林海音在台灣文壇最為人矚目的書寫特色，背景都是建立在終戰前的北京，往往以北京、童年、女性與婚戀敘事為主軸，本文將另闢蹊徑，鎖定林海音五○年代以台灣為背景的書寫，到底這位「台灣製造」的女作家，是如何書寫她的第一故鄉呢？相較於其他由大陸遷台的女作家，林海音跨越省籍鴻溝所展現的複合身分，無疑是非常值得關注的。本研究試圖借重蘇珊‧弗瑞蒙（Susan Stanford Friedman）所提出的「社會身分新疆界說」（the new geographics of identity）之概念，來掌握林海音所形成的複合主體，也以此來彰顯林海音調和各方勢力的複雜性與多元的社會身分話語。在分析林海音複合主體的同時，並嘗試說明林海音書寫台灣之發聲策略與呈現形式：以報導者的姿態，充當不同對話折衝的中介位置，以進入戰後台灣文學文化生產再製的場域之中。

As most critics recognize, Lin Hai-Yin often sets up her stories in Beijing before the Second World War and unfold the plots along the axes of women’s life, childhood and marriage. Against this backdrop, this paper instead focuses on Lin Hai-Yin’s writings in the 1950s and examines the ways by which Lin writes about her hometown Taiwan. Compared with other female writers from Mainland China, Lin has multiple identities that cut across different ethnic and geographic boundaries. Based on the new geographics of identity proposed by Susan Stanford Friedman, this paper attempts to examine Lin’s double crossings in hope of understanding her multiple subject positions that negotiate a variety of political /cultural forces. In analyzing Lin’s multiple subject positions, this paper wishes to investigate her speaking strategy and form of expression. That is to say, she represents herself as a reporter mediating different discourses by which to enter the field of cultural production in postwar Taiwan.