在台馬華文學與原鄉想像之間的關係極其複雜，甚至問題重重。原因在於「在台馬華文學」一詞涉及文化的原鄉（中國）、地緣的故鄉（馬來西亞）、流寓的異鄉（台灣）。三鄉糾葛也造就在台馬華文學的離散多鄉（甚或流寓多鄉）的複雜情狀，成為在台馬華文學的重要特性。本文試圖以李永平與黃錦樹的例子，釐清「原鄉」與「故鄉」之別。前者為非地緣的、文化的、歷史的、民族的原鄉中國，可名之曰想像中國、中國情結、或「北方憧憬」；後者為地緣的原鄉：出生、成長的故鄉，身體經驗過的畛域，家人、親人生活的所在，同時也是國族認同的符號域。李永平的原鄉書寫在文化原鄉與地綠故鄉之間徘徊，黃錦樹則頻頻回顧舊家燈火，思索離散者由島至島的漂泊命運與安身立命的（舊／新）家園。

Then relationship between Mahua literature in Taiwan (MLiT: Chinese-Malaysian literature in Taiwan) and imaginary homelands is a complicated and even problematical one, for the term ”Mahua literature in Taiwan” suggests the existence of a cultural homeland [China], a geographical homeland [Malaysia] as well as a sojourning place in the foreign country [Taiwan]. Taiwan, for that matter, is also a cultural and literary cosmopolitan for Southeast Asian sinophone writers. It is this idea of multiple homelands for the diasporic Chinese-Malaysian that contributes to the complexity and ambiguous identity of Mahua literature in Taiwan. Using the examples of Li Yongping [Lee Yung Ping] and Huang Jinshu [Ng Kim Chew], this paper attempts to explore the subtle nuance of concepts such as native homeland and homeland, and how the two or three homelands are treated by Mahua writers in Taiwan. Whereas for the Mahua writers ”native homeland” is almost an imaginary one, ”homeland” simply refers to the places that they were born, grew up and left behind.