1980年代末期，西西因罹患癌症而導致右手逐漸失去功能，為了復健右手與訓練左手的使用，2005年起她陸續展開結合縫製與書寫的創作，完成了《縫熊志》和《猿猴志》。不管是從縫製毛熊系列串起中國古代歷史、文化與服飾的發展，或是製作猿猴布偶的過程中，解構並重思再現猿猴的方法，在這些縫製與書寫的過程中，西西藉由布偶這個物質，重新審視了各種生命，以及人類與其他物種之間的相遇和關係。縫製的行為，除了是一種疾病過後身體復健的過程之外，這個實踐亦在西西的書寫中形成一種新的創作與思考媒介。相較於現有論述多以知識性和遊戲性的方式討論這兩本書，這篇文章嘗試借鑒新物質主義所開展出來的論述空間，並著重物質性和關係性的思考，探討西西如何以布偶作為方法，由此帶出物質的能動性，以及人類與非人類共生共存的環境倫理與生命想像。

At the end of the 1980s, Xi Xi's right hand gradually lost functions because of cancer. To rehabilitate her right hand and train the left, Xi Xi began to create works in 2005 by combining sewing and writing. Since then, she has completed The Teddy Bear Chronicles and Chronicles of Apes and Monkeys. In her works, Xi Xi draws the association between the sewing of teddy bears and the development of ancient Chinese history, culture, and clothing, a processual doll fabrication that deconstructs and reconstructs the representation of apes and monkeys. In the twinned sewing and writing process, dolls are made to reflect on the existence of various lifeforms and illustrate the relationships between humans and other species. Sewing serves as not only a means of rehabilitation but also a medium for creativity and thinking. Existent scholarship mostly focuses on the two books from an epistemological or ludic perspective. In contrast, this essay explores the creativity of Xi Xi through new materialism by examining materiality and relationality. Xi Xi's use of dolls as a method is to develop a material-based agency and examine environmental ethics and life imagination regarding the coexistence of human and nonhuman beings.