對越戰前後的越南人而言，「美國是我們的主，法國是我們的神」，心中的神祗不能更換，但至少腳下還有土地。但對有自覺力卻漂泊海外的越南華裔詩人尹玲，卻有無根的茫然。這也衍生了她的逃逸意識和一生漂泊的心態，她有東方的身體、西方的進步思想。只有藉不斷逃逸、跨越，彷彿讓心中沒有著落，才有安定的力量。本文即透過拉康的三域說、梅洛龐蒂的身體－主體說、左右腦的「跨與互動」探討尹玲的詩作的逃逸動力和抵抗精神，並指出尹玲的「無根鄉愁」使她能始終處在追求「過程的」關係之中，而不必一定能產生什麼「結果」。末了並以尹玲的詩作挪用高德曼，找出意涵結構再細緻分析詩的方式，指出閱讀的「延緩」也是使讀詩人走向「過程」、自字詞中重生的方式，宛如為一首詩建構一座「小小城堡」、「一傘的圓」，以顯現出詩之深層意涵和結構之美

To Vietnameses who were in the time of the Vietnam War, they were forced to believe ＂The United States is our Lord; our God is France,＂. Although gods in their hearts can be replaced, there was at least a land they could step on. But to Vietnamese Chinese poet Yin Ling, who had self-awareness but stayed overseas, she felt lost due to rootlessness. She has the body of the East, but the progressive thinking of the West, which also formulated her thoughts of escape and wandering throughout her life. Only by constantly escaping across, as if to make her heart free from landing, she could then find the power of stability. This paper used Lacan's three orders, the main body of the theory of Merleau-Ponty, and the ＂cross and interaction＂ of the left and right brains, to explore the power of escape and spirits of resistance in Yin Ling's poetry. The article pointed out that Yin Ling ＂rootless nostalgia＂ enabled her to always be in pursuit of the ＂process＂, but not necessarily being able to produce any ＂results＂. Lastly, this article used Goldman's theory to analyze two poems of Yin Ling