後冷戰的轉型正義話語逐步發展為處理系統性暴力、追求歷史真相與正義的重要框架，並在跨太平洋的後殖民語境中發揮關鍵作用。在這些全球性鬥爭中，台灣史學研究中的性別分析獲得前所未有的關注，特別是女性主義文學研究領域，透過重建「台灣女性」作為統一的歷史主體來批判男性中心的民族主義敘事。然而，這樣的論述無意間再生產了以英美自由主義為中心的認識論，並粉飾了台灣民族主義的矛盾與暴力。

　　為了反思這一女性主義的主體建構工程如何鑲嵌於轉型正義與後殖民國族打造的跨太平洋糾葛中，本論文選擇探討張亦絢2015年出版的長篇小說《永別書：在我不在的時代》，作為對知識解殖的介入。透過文本與論述分析，我將該小說與批判文本置於對話之中，主張其中介了特定的女性主義知識主體位置，並形構出一種「真實的政治」：一方面重新配置了後冷戰國族歷史記憶，另一方面也強化了對親密關係與社會關係的自由主義式管治。小說透過對文學創作實踐的後設反思，試圖建構女性主義小說家的主體性，召喚冷戰自由主義下的文學現代性想像。本文指出，此一想像既有賴於對非菁英階級、社會與性／別不馴者的決絕切割，同時又無法脫離與其之間的持續糾纏，遂而使小說所構想的「正義」圖景變得不／可能。

　　The post-Cold War discourse of transitional justice has unfolded as a vital framework for addressing systemic violence and pursuing historical truth and justice in transpacific post-colonial time-space. Among these global struggles, a gender-based analytic in Taiwan’s historiographical scholarship has gained unprecedented traction, particularly in feminist literary studies. While this approach critiques masculinist nationalism by recuperating a unified subject of Taiwanese women, it inadvertently reinforces an Anglo-American-centric liberal logic of recovery and inclusion, uncritically mending the contradiction and violence of Taiwanese nationalism.

　　To interrogate this feminist project of subject-making within the transpacific entanglements of transitional justice and post-colonial state-building, this thesis turns to Zhang Yi-xuan’s 2015 novel Book of Farewell: The Era without Me. Employing textual and discourse analysis, I situate the novel in dialogue with critical texts to argue that it mediates a feminist subject-position that articulate a “politics of truth,” reconfiguring post-Cold War historical memory while fostering liberal management of intimacy and social relations. Through its self-reflexive mediation on the practice of novel-writing, the novel constructs the subjectivity of the feminist novelist by mobilizing a Cold War liberalist imaginary of literary modernity. This imaginary hinges on both the erasure of, and an incomplete severance from, the non-elite, the socially unruly, and the sexually deviant. The novel’s neocolonial production of the victim-novelist, then, remains paradoxically tethered to its disavowed others, rendering its vision of justice un/likely.

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