I used my personal intimate memories accumulated in the two years I’d spent in the States to make a book. Every image’s “studium” has been intentionally positioned in the binding part in the middle of the book, making any faces or facial impressions invisible. The reader is then only able to peek at the abstract figures or ambiguous narrative elements instead of particular people or things; to me as the author, as a result of not being able to see, was able to keep the true memories in literally the middle of the book—the deepest spot in my memory.
我把留美這兩年之間的私密回憶整理成冊，將每幅影像的知點（羅蘭巴特）放置在書本裝禎的中間處，看不見臉，也看不見表情，於是讀者只能窺視我回憶的抽象形，或模糊的敘事元素，而非具體的人事物；身為作者也因為再次的看不見，使得真實的回憶得以保存在（書本）中間，或是我的記憶深處。
我把留美這兩年之間的私密回憶整理成冊，將每幅影像的知點（羅蘭巴特）放置在書本裝禎的中間處，看不見臉，也看不見表情，於是讀者只能窺視我回憶的抽象形，或模糊的敘事元素，而非具體的人事物；身為作者也因為再次的看不見，使得真實的回憶得以保存在（書本）中間，或是我的記憶深處。
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