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    年度書名
    2018劉依潔, 非關引渡－－讀朱國珍〈慾望道場〉, 《橋》的工作何嘗不是如此？第八期的台灣新銳作家專題，推薦優秀青年作家張郅忻和她的「聯合國」。透過作家細膩同理的眼光與溫度，打開另一些在台灣的東南亞移民／移工的底層視野，以及早年台灣人在海外（越南）的紡織廠的歷史與生活，見證大歷史與小歷史交會下的世態、人情、夢想與各式生命的流變。 　　「青年現場」專欄－－歸納與分析了新世紀以來台灣文學中的「少女」書寫現象。「如何勞動，怎樣書寫」藉由分析林立青《做工的人》及魏明毅《靜寂工人》，我們能夠看見台灣當下的兩種勞動書寫的特質，及階段性的介入與旁觀的各自限制。 　　「『文學性』的再反思與重構」則為2017歲末於淡江大學中文系所舉辦的兩岸現當代文學評論青年學者工作坊的論文／發言稿的紀要。在兩岸中生代學者對「文學性」的觀念梳理與相關作品的再解讀與累積下，我們期望能持續擴充對「文學」理解與想像的力量，並為下一個世代奠定綜合美感、歷史、社會與哲理深度的「文學」視野。, 人間出版社
    2018劉依潔, 芳菲且住, 本書收錄作者多年來的採訪、書評、報導及生活瑣記。翻讀篇章，曾與重量級人物說話的場景、糾纏數日的書籍不免一一浮上心頭；童小的記憶、青春年少歲月、家人朋友的情感點滴、職場心情與生命片段，彷彿都回返眼前；曾經鏤刻的痕跡，來過又離開的時光，原來都在心底熨貼陪伴，念想即至。 　　全書分為兩部分：第一部分「流轉的重量—採訪報導與書評」以人物採訪為主，還有幾篇書評、報導。 　　第二部分「急什麼？路這麼美—創作」來自於部落格篇章，涵括童小的記憶、青春年少時光、家人朋友的情感點滴、職場心情與生命片段。生活裡的感受和體會輕盈瑣碎，未及記下的逸散成煙，而記下的，或為韶光容顏。, 淡江大學出版中心
    2018林黛嫚, 林黛嫚的文學教室：寫作的美學與技藝, 如果你有以下需求，本書正是為你而寫： 　　◎想要考試作文得高分的學生 　　◎需要授課教材的作文班老師 　　◎喜歡寫作，但不知如何精進的文青 　　◎想要用寫作表達想法、記錄人生的人士 　　作者累積三十多年文學創作與寫作教學的能量，以及擔任學測、指考與國家考試的閱卷經驗，在本書揭櫫寫好作文是一項技藝，優美的寫作更展現了文學的力與美！ 　　本書包含三部分：首先釐清寫作常見的疑問和困惑；接著探討寫好文章的關鍵，包括寫作前的準備、寫作的注意事項與技巧，並以名家作品深入賞析；最後則選取時下最盛行的主題類型，形式優美、結構完整的範文，讓寫作原理全面展示。 　　不論你期望從寫作上得到什麼，都可以在本書找到屬於你自己的答案！, 幼獅文化事業股份有限公司
    2018羅雅純, 戴震道德情理倫理新詮, 本書以《戴震道德情理倫理新詮》為題，援引「西方倫理學」為參照系統，展開中西對比下戴震學研究。研究論題外部「系統性」旨在探討戴震「道德情理」意涵及西方倫理學型態歸判；內部各章論題「關聯性」則是貫穿傳統戴震學、當代戴震學及中西「情感」視域下戴震哲學與「道德規範根源論」、「德性倫理學」比較研究。全書宗旨圍繞「戴震情欲倫理」主軸，形成「系統性」及「關聯性」的結合論述，抉發不竭的戴震哲學價值是本書終極展望。, 文史哲
    2017林偉淑, 炫麗又迷幻的狂野腳色, , 印刻文學生活雜誌
    2017林偉淑, 愛情的倖存者—讀陳玉慧的《德國丈夫》, , 印刻文學生活雜誌
    2017LIN TAI MAN; YANWING LEUNG; JONATHAN STALLING, CONTEMPORARY TAIWANESE WOMEN WRITERS, With this first English-language anthology of contemporary Taiwanese women writers in decades, readers are finally provided with a window to the widest possible range of voices, styles, and textures of contemporary Taiwanese women writers. Each story unfolds and takes readers through fascinating narratives spanning adolescence, marriage, and motherhood as well as sex, politics and economics on many different scales—some appear as snapshots of lives in transition, others reveal whole lives as time-lapse images across decades, while a few implode into the stillness of a single bottomless moment. Individually each story expresses its own varied, expansively heterogeneous narrative; when read as a whole collection, readers will discover a pointedly gendered exploration of modern Taiwan. For example, in Ping Lu’s “Wedding Date,” we meet a wheelchair-bound mother who seems to get younger by the day as her filial daughter prematurely ages. A talented writer in her youth, the protagonist’s imagination imbues her life with an intimacy that seems so real it almost becomes so, despite piling signs to the contrary. In “The Story of Hsiao-Pi,” by Newman Prize–winning author Chu T’ien-wen, the narrator lovingly examines the life of a troubled village boy, who builds an expected future upon the fierce if complicated love of his mother and stepfather. Taiwan itself becomes the protagonist in Tsai Su-fen’s “Taipei Train Station,” where the station serves as an aperture through which numerous lives pass, if only briefly, into view before emerging into the possibilities of the city. Chung Wenyin recalls her first steps into literature and love through her story “The Travels and Lover of a Junior High Girl,” an adventure that explores the evolving ideas of love and the eros of art, and the open-ended possibilities of life itself. After an amateur psychic tells her that her future son, who has not even been conceived yet, is following her around, waiting for his time to enter the world, the narrator of Essay Liu’s story “Baby, My Dear” begins to search for his father. In contradistinction, Su Wei-chen takes readers into the traumatic space of a mother losing her daughter to leukemia in “No Time to Grow Up,” asking the heart-rending question if children who die so young have had enough time to understand their short existence in the mortal world. Yuan Chiung-chiung traces the dynamic and transformative process of divorce, reinvention, and love through the story “A Place of One’s Own,” while Liao Hui-ying opens a window into class identity, fate, motherhood, and, ultimately, love in the context of an arranged marriage in “Seed of the Rape Plant.” Li Ang offers a tale of Taiwanese oppositional politics, personal sacrifice, and unrequited love in “The Devil in a Chastity Belt.” Chen Jo-hsi draws the collection to a close with a poignant vignette exposing the point where international politics and the dinner table meet, somewhere between the power of imagination and anticipation and the machinations of political power in her story “The Fish.” The quality and diversity of the stories in this anthology are representative of the work produced by the Taipei Chinese PEN, which curates, translates, and publishes the best Chinese Literature from Taiwan since its founding 1972. Taipei Chinese PEN Center continues the work initiated by the Chinese P.E.N. Center in 1928 Shanghai under the direction of literary greats like Hu Shi, Xu Zhimo, Lin Yutang, and Cai Yuanpei, who served as its first president. It was Lin Yutang and his successor Nancy Ing Chang who became the first modern presidents of the Center in Taiwan in 1970 (refounding the journal in 1972) and the center was renamed The Taipei Chinese Center in 2008 when the Quarterly became The Taipei Chinese PEN. 2018 marks 47 years of continuous publication and under the direction of its current president, Pi-twan Huang., CAMBRIA PRESS
    2016林玉玫, 蘇門詞人「主體意識」與詞作「文人化」現象研究, ,
    2014詹孟蓉, 「上山下鄉」報告文學之研究, ,
    2013黃春明; 平路; 蔡素芬; 林黛嫚; 王文興; 宇文正, 台灣與馬來西亞短篇小說選, , 中華民國筆會; 馬來西亞國家翻譯圖書院