江文瑜的〈木瓜〉一詩是台灣現代詩裡罕見以詩為慰安婦阿嬤代言的文學作品。本文論證江文瑜以詩再現「慰安婦」創傷，一方面能將創傷賦義轉化，讓慰安婦故事進入社會認納的層次，減輕恐怖真實的侵擾，重構創傷主體與世界的連結。同時，文學成為一種記憶歷史創傷的公共論述，對於主流的歷史敘述而言，多元而異質的慰安婦創傷故事加入，更可產生質疑大歷史因民族、權力或性別問題而「消費」慰安婦的存在，或為了便利性或曖昧性而剝除慰安婦的歷史位置。此外，江文瑜的再現是從被殖民者女性的立場書寫她們的個人生命史，也從女性角度重新看宏大的歷史事件，同時具備庶民史、女性、被殖民者的觀點，其書寫成效在於「建構女性的史觀」。

Chiang Wen-yu’s “Papaya” is a rare modern poem which expresses comfort women’s affections in Taiwan. This paper explicates that the representation of comfort women’s trauma through poetry is able to transform the significance of trauma into signifiers and then make these women’s stories be recognized by the society as well as decrease the harassment of horrific reality. Hence, the connection between the suffering subject and the world is reconstructed. In fact, literature is a public discourse of historic traumas. The diverse stories of comfort women can query that if the mainstream history deprives the historical position of these women because of nations, powers, or genders. Moreover, Chiang Wen-yu wrote their life history from the standpoint of colonized females. In other words, Chiang inspected the important historical event from the viewpoint of plebeians, females, as well as the colonized, and thus the effect of her work is “constructing the female historical viewpoint.”