台灣新文學的性質是寫作語言的選擇與對文學主體的認知兩者同步進行的。而原住民族新文學則是兩階段發展，在六十年代選用新文學語言，到八十年代才準確把握文學主體意識。這中間的兩個十年代，便是一個用新語言寫舊文學的過渡年代。原住民族新文學是經歷「舊‧新文學」與「新‧新文學」兩個階段。陳英雄是「舊‧新文學」的唯一作家。二十年內只有一位作家，應該顯示陳英雄在原住民文學史上的不可取代的地位。\r讀作品本身是認識作家的第一要務，但是本文寫作時兼採用直接訪談方式，以他的生活與認知來印證他的作品。訪談期間意外獲得他的長篇小說「咆哮大地」的未刊草稿，更成為認識陳英雄文學的近況的重要材料。由於對作家生活的瞭解與對「咆哮大地」做深入分析，本文可謂探索到陳英雄文學的整體相。 The essence of Taiwan’s neo-literature lies in that choosing a written language and identifying the subjectivity in literature are moving in parallel. The development of Taiwanese aborigines’ neo-literature can be divided into two phases: In the 1960s, it was choosing the language of the neo-literature; not until the 1980s was the subjective consciousness in literature being precisely grabbed. The two decades in between is the transition period of using a new language to write old literature. Taiwanese aborigines’ neo-literature experienced the two phases of “old-new literature” and “new-new literature”. Chen Ying-siong is the only writer of “old-new literature”, the only one during the two decades. That indicates Chen Ying-siong occupies an irreplaceable place in Taiwanese aborigines’ literature history. Reading the works of a writer is the top priority of knowing the writer. Still, this article also includes the interviews with Chen Ying-siong to verify his works through his life and thoughts. During the interviews, I was unexpectedly given the unpublished manuscripts of one of his novels, The Roaring Earth. They’ve become the important materials to know the current conditions of Mr. Chen’s literature. With knowing Mr. Chen’s life and conducting further analysis of The Roaring Earth, this article can be viewed to have found the panorama of Mr. Chen’s literature.