Dicte´e by Teresa Hak Kyung Cha has received relatively little critical attention mainly because the text resists the expectations of representation commonly associated with Asian American literature. It is an experimental work, which combines fragments of citations and captionless photographs and images. It is also a collage of genres, voices, cultures, languages. The text, however, includes many aspects of Cha`s life and her Korean heritage. The critics of Dicte´e are divided into two groups: one group focuses on Cha`s Korean references, and the other group explores the affinities between Dicte´e and other postmodern texts. This paper attempts to show that the seemingly contradictory elements of postmodern and autobiographical work together to produce an intense critique of colonial language. I focus on the relationship between the fragments in the ten parts of Dicte´e, and its creative use of the nine Muses. It is true that each fragment is juxtaposed with the next for collision rather than linkage. The fragments, however, are related by the theme of language. Cha shows that language can be very powerful in uncovering suppressed voices and providing new visions. At the same time, she also shows that language is not transparent but opaque, that it can be used as an ideological apparatus, and that it can be dislocated and fossilized because it is subject to time. Cha`s experience as immigrant and exile gave her different perception and orientation toward language. In Dicte´e, the reader is central in that s/he is the activator of the work. Its fragmented structure invites the readers to produce multiple dimensions to the work by multiple interpretations.