平路在《袒露的心》追索身世真相，不僅是尋找生母，更好奇文字能袒露的限度，陳俊志則在《台北爸爸，紐約媽媽》中自剖成長歷程與家族傷痛，兩本散文在論者眼中皆勇敢揭露傷疤，然細究文本，不難發現所謂的袒露其實包裝在敘事策略之下。因此，本文從書中的時間、人稱選擇、文本引用和鏡頭語彙的反覆使用等敘事策略，試圖析理小說家平路和導演陳俊志如何透過繁複的技法說家族故事，看似揭露身世與傷痛，在作者致力釐清往事因果的同時，反而在文中創造更跳躍的時間，再加上第二、第三人稱的交錯，安插其餘文本的角色與對話，文本中誕生了更多的「他」與「她」，更進一步，在真正道出身世真相與傷痛事件前，作家利用照片和鏡頭語彙的穿插，彷若安置層疊遮掩的布幕，將事件舞台化和劇場化，虛實構設出足以讓作者「我」順利袒露的安全距離。平路利用混亂的時間描寫呼應父親的時空錯亂，陳俊志則試圖從內蘊死亡象徵的照片中重新賦予詮釋，因此所謂的和解並非抒情式與感受化的快速結論，而是藉由層疊的敘事策略達致。

Ping Lu (1953-) explores the truth of his personal background in “Naked Heart” (2017). She not only seeks to find her birth mom, but also curiously explores the limit of naked expression of words; Chen Chung Je (1967-2018) on the other hand, explores the family traumas and growth experiences in “Taipei Dad, New York Mom” (2011). Both writings bravely expose the traumas they experience to the bystanders, however, if taking a closer look, these “naked” personal growth experience and family traumas, actually are carefully “covered” by narrative strategies.

Therefore, this article attempts to analyze how novelist Ping Lu and Director Chen Chung Je use repetitive techniques to convey family stories, apparently exposing their backgrounds and traumas through essays, but creating more dynamic, disorder time series as the writers attempt to clarify causality of past events. With the addition of second and third person, and dialogs with alternative characters, the essays gave birth to more “he” and “she” narratives. Additionally, the writers employ photographical and theatrical terminologies to establish a stage-like atmosphere for the events, as if to build up curtains for a stage-play, thus exposing the writers’ “self” within safe narrative boundaries.

Ping Lu uses disordered time expressions to coordinate with her father’s disordered time; while Chen Chung Je attempts to re-establish meanings to photos with intrinsic death symbols. The “settlements” thus are not quick emotional or expressive conclusions, but rather the achievements of layered narrative strategies.