本文試圖以德希達（Jacques Derrida）的檔案概念，將道奇生（Charles Lutwidge Dodgson）或卡若兩（Lewis Carroll）－其更廣為人知的筆名－的名著《愛麗絲夢遊仙境》與《鏡中奇緣》讀成檔案。這兩本《愛麗絲》小說除了具有公共、公開的檔案特性之外，亦是德希達筆下的（非）檔案。不同於一般認知下具有整體性、一致性與本真性的檔案，德希達的檔案標示著在建檔狂熱(archive fever)與死亡驅力拉扯之餘的、一些無法被他約整肅與歸檔收編的剩餘，而這兩本愛麗絲小說作為夢，亦成為這些剩餘現身的場域。換句話說，這屬於檔案／夢的剩餘（語盲的剩餘、欲望的剩餘、書寫的剩餘、回憶的剩餘），就如德勒茲(Gilles Deleuze)所一直稱許的加號（AND）與裝配邏輯，又橫向地連結到荒誕文學。因為這剩餘，讓我們知道《愛麗絲夢遊仙境》與《鏡中奇緣》中所有好笑、瘋狂、荒謬、滑稽、不合邏輯與常理的橋段，正帶領我們朝向域外，而這種跨界卻也標示著這兩本愛麗絲小說，不是無意義書寫（＂nonsense＂：意義的缺失與空白），而是無意義書寫（nonsense意義的增生與繁衍）。
The two ＂Alice＂ books of Charles Lutwidge Dodgson (or Lewis Carroll, his much more famous pseudonym) have been acclaimed as the cornerstone of children's literature and of nonsense literature. By having recourse to Jacques Derrida's conception of archive and its relation with dreams, this paper intends to read these two ＂Alice＂ books as archives, which reflect and condense miscellaneous Victorian phenomena. Meanwhile, it also regards them as Derridean (non)archive, which indicates that every residual of archive fever (the residual of language, of desire, of writing and of memory) is silently but staunchly lurking in the archive. Since these two stories are dreams, the intangible and incompatible residual within further horizontally/rhizomatically connects us to the nonsense writing: every hilarious, ridiculous, nonsensical, illogical and unbelievable plot rather directs us toward an outside, a beyond which points out that these two ＂Alice＂ books are not writing of ＂nonsense＂ (absence or lack of sense), but ＂nonsense＂ (proliferation of sense).