Official policy on arts and literature in the 1950s focused on promoting fighting consciousness and getting citizens to learn from past experiences. The ultimate reason for the policy arose from the nation's unrest caused by the civil war between the KMT and the CCP. When writers tries to record or fabricate the trajectory of history, they revealed not only remorse and nostalgia for times and places lost, but also renewed the consciousness of “nation” again and again. With family ethics prioritized in Chinese society, an imagined nation could materialize only if it was integrated with the reality of “family.” Therefore, gender relations formed through the connubial interactions became important factors for shaping the imagination of a nation. Paradoxically, at the same time when gender discourse was used to construct the national imagination, it simulataneously questioned and deconstructed from many levels the legitimacy and rationality of the (male) national consciousness. In accordance with the official policy are the “Chinese Literature Award Committee” (Zhunghua Wenyi Jiangjin Weiyuanhui) and Literary Creation (Wenyi Chuangzuo), both of which became the main factors dominating the development of literature in the fifties. The purpose of this article is to use works that were awarded by the Committee and were published in Literary Creation as examples to analyze the dialectics and confrontations between gender and nation. Four issues will be discussed: 1. The Literature Award Committee and Literary Creation; 2. Gender Myth in the fighting consciousness; 3. Sexual Politics in the Fiction of Women Writers; and 4. Men? Or Women - The entaglement of the Imagination of Taiwan and sexualized national subjectivity.