本文運用小說、手稿與劃記批註，探究郭松棻後期作品對七〇年代保釣運動的回應。在郭後期的寫作中，對昔時革命導師魯迅的互文，成為郭與其運動經驗協商的重要介面。〈月印〉、〈雪盲〉與郭八、九〇年代重讀魯迅留下的藏書批註與讀書筆記，見證其繞道於魯迅，所間接展開與保釣的對話。在郭後期的小說中，攸關政治的七〇年代總是隱蔽的。這段消失的時間以十年或十七年為度，以其斷裂與匱缺，洩露小說家的精神癥候。本文認為，郭對戰後初期的眺望，實以左翼為媒介，疊合了對保釣的借代視野，在二二八事件撐開的顯性歷史架構下，嵌入七〇年代的隱性歷史架構。《驚婚》對亞樹的運動經驗之「輕描淡寫」，便極具象徵性地揭示這一點─那是橫渡戰後初期到七〇年代，從戒嚴台灣到冷戰美國，一道屬於左翼的風景線。而郭生前未曾出版的保釣小說〈冰蠶〉，則以美學技藝的失落，揭示其在思想上清理保釣的「未完成」狀態。對這篇手稿的塵封，因之透露郭嘗試「告別保釣」的轉折。七〇年代從此隱寄在小說中。也正是這道傷口鑿出的景深，使更後來的郭對歷史的省思有所突破，發展出曖昧迂迴、充滿詩意的敘事聲腔，成就了文學史上的郭松棻。

This essay uses fiction, manuscripts and annotations to explore the “Baodiao Movement Narrative” in Kuo Songfen’s late works. In Kuo’s late writings, the intertextual reference of writings of Lu Xun, a Spiritual Teacher with Both Political and Literary Exemplary Meanings, becomes an important interface for Kuo to negotiate with his own movement experience. “Moon Seal” and “Snowblind”, as well as Kuo’s annotations and reading notes on his re-reading of Lu Xun in the 1980s and 1990s, testify to his detour from Lu Xun and indirect dialogue with the Baodiao movement. In Kuo’s late novels, the politically relevant 1970s are always hidden. This period of disappearance is measured in terms of ten or seventeen years, revealing the novelist’s trauma symptom through its fractures and shortages. This essay argues that Kuo’s concern of the early postwar period, mediated by the left wing, embeds the implicit historical structure of the 1970s under the explicit historical framework of the February 28th Incident. The loss of aesthetic technique in Kuo’s unpublished novel “Ice Silkworm” reveals the unfinished state of his ideological purge of the Baodiao movement. This manuscript was sealed, indicating Kuo’s attempt to “Farewell to Baodiao movement”. The 1970s have been hidden from view in his fiction ever since. Then, Kuo made a breakthrough in his introspection of history and developed an ambiguous and poetic narrative voice.