小說如何介入現實？小說為何介入現實？小說介入現實思考、回應、又或產生了什麼樣的倫理問題？伊格言2013年9月出版的小說《零地點》作為一種零度書寫的文本，提供了一個反思知識傳播與小說倫理的契機。在作者不諱言希望以作品傳遞個人反對興建核四緣由之同時，《零地點》被期待發揮群治的作用。然而，當作者所傳遞的訊息是，如果一意孤行興建核四，小說虛構的內容恐將無可避免，那麼作者是認為《零地點》不僅是寓言更是預言：作為寓言，小說希望趨吉避凶；作為預言，小說信誓旦旦。本文以《零地點》為發端，討論小說作為一種知識傳播範例，如何介入現實以及如何展開了關於倫理、關於文明啟蒙的討論。的自傳性色彩，卻又並非自傳性小說，而是一篇「關於私小說的小說」，且與當時台灣、日本的文藝評論文學活動有高度的互文性。濱田透過小說人物甘井君的文學活動及其與文學界之交遊關係，將日治末期／「新體制」下的台灣文學界予以形象化進行諷刺，對「新體制」下激進之皇民化運動及文藝政策對言論空間的壓迫，進行了在戰爭時期罕見的尖銳諷刺，也映照出作者自身在「新體制」下的複雜性及陰暗面。
〈甘井君の私小說〉向來缺乏研究。本文將之對照以創作前後期間台灣文學界的文藝評論、及外地台灣與日本中央文壇文藝思潮之連動，並置入「新體制」下台灣文學界的文脈閱讀。嘗試更具體掌握小說的諷刺／指涉對象，也希望藉此更完整地勾勒出濱田隼雄及其作品的面貌，並拓展出戰爭時期濱田隼雄作家位置的解讀可能性。

"Amaikun’s I-Novel” by Hamada Hayao was written during a crucial period in which the author was making a shift of genre towards national policy literature, and just before he participated in the lst “The Great East-Asia Writer’s Conference" held in Tokyo. This work was in-part autobiographical, but not an “INovel” of Hamada. More precisely, it was a meta-fiction about the “I-Novel”, and had a highly intertextual relationship with the literary criticism of Japan and Taiwan. Portrayed through Amaikun’s literary activities and his friendships in literary circles, Hamada puts forth an ironic representation of literary society in the late period under Japanese rule. It is noteworthy that this work uncommonly displayed sharp critiques of the radical “Kominka Movement” under the “New Order” system and the oppression of national literature policy, as well as reflected the complexity and inner dimensions of Hamada himself. In this article, I placed this largely-ignored work within the context of the Taiwan literary world of 1942, and attempted to facilitate possible explanations of Hamada Hayao’s ideological leanings during the war period.