童偉格的書寫回應一種在知識－存有論上的要求，並轉而成為一種倫理－美學的實踐，其中，「他人之死」成為書寫所雙重不可觸及的本源，構成了一種艱難的抒情。這個本源也使得童偉格的小說具有一種當代文學所必然具有的後設性質，總是意圖書寫不可書寫、思考不可思考。然而童偉格的另一獨特之處，在於使得書寫具有一種「我思」的獨特構成，因為有著對於「他人之死」的哀悼與思考，所以能成為「無傷」的存在，其中，被安那其動員的時間則是這個文學我思的可決者，敘事的時間（或時間的敘事）因而總是破碎與多歧，成為童偉格小說中極為特異的感性構成。

Tong Wei-Ger’s work presents a mode of epistemo-ontology and is transfigured into a practice of ethico-aesthetics. “The death of the other,” which features an arduous lyric, serves as a double inaccessible origin of his writing. The origin as such makes Tong’s oeuvre characteristically metafictional in accordance to contemporary literature, and attempts to write the unwritable and to think the unthinkable. However, another singular characteristic of Tong’s work lies in the literary Cogito in his work. It reveals a sense of mourning and thinking emanating from “the death of the other,” thereby becoming the existence of the “non-wound.” As such, Time, as mobilized in an anarchic manner, becomes the determinable of the Cogito. This explains why the time of the narrative (or the narrative of time) is always broken and bifurcated, which embodies the sensibility of Tong’s work.