摘要：Before the lifting of martial law , due to the special confrontation and segregation between the Mainland and Taiwan ,the literary works of writers in 1930s have been restricted into the forbidden zone for a long time , which resulted in the introduction and criticism of these works being misunderstood . Their true connotation can not be interpreted , because of deeply political influenced . This is not only a chaotic because of the hostility between Taiwan and Mainland , but a loss of mutual cultural development . Although the forbidden and misunderstanding zones have become a passing memory during the historical fighting process between Kuomintang and the Communist Party , it cannot be eliminated from the literature history . This paper discusses the creation motive and writing position of 1930s writers , and analyzes the reasons of them being misunderstood and the strategies of misunderstanding their works under special political atmosphere in Taiwan by studying several literary books under the name of 1930s writers , including An Introduction to Chinese Writers in 1930s by Ding Wang , Chinese Writers from 1920s to 1930s by Su Xuelin , A Critical Review of Chinese Writers in 1930s , A Face book of Chinese Writers in 1930s by Jiang Mu ,A Review of Chinese 1930sWriters by Chen Jiying ,Chinese1930s Writers I Knew by SunLing,1930s Chinese Literary World and The League of Leftist Writers by ChenJingzhi.Duetothe distortions and obstacles of misunderstanding , understanding is therefore valuable .%解嚴之前，因著兩岸特殊的對峙與隔絕限制，1930年代作家作品在臺灣不僅長期列入被遮蔽的“禁區”，無法自由接觸和閱讀，連帶著也使相關的介紹與研究陷入被扭曲的“誤區”，蒙上一層政治色彩而無法撥云見日，還原本來面目。這是兩岸“敵對狀態”下的一個亂象，也是雙方文化發展的一大損失。雖然禁書與誤讀已然成為國共斗爭歷史過程中逐漸遠去的記憶，但它也已深刻地成為文學史不能抹煞的一頁。它的存在，本身就是文學史的一部分。以臺灣“三十年代作家”為名出版的多部著作為切入點，彰顯這些作者對三十年代作家的研究動機、寫作立場，并分析三十年代作家在臺灣特殊的政治氣氛、文藝政策下被“誤讀”的原因、被“誤讀”的策略，從而體認到，正因為“誤解”的傷害與重重障礙，才更顯示出“理解”的必要與難能可貴。
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