擅寫兩性交鋒與政治辯證的李昂，從早期借託故鄉鹿港為地景的《鹿城故事》系列(1973-1974)，演繹深嵌於流言與窺視中的鄉土社會；中期則以饑餓、性與權力為情境，批判鄉土文化語境中家庭親屬與村群網絡的《殺夫》(1983)；另有在現代經驗下，以座落鹿港的園林風物，反襯國族政治寓言的《迷園》(1991)；晚近則有創設盤據鹿城國域的女性群鬼列傳《看得見的鬼》(2004)，種種融神魔、情慾、世情與諷喻為一爐的詭異陰森鄉土書寫，不僅使原為映照台灣開發史頁的鹿港地景風物，成為一種可見性的歷史－社會－空間的現實裝置，更形構出作者觀看鄉土世界的一種獨特方式。在主流鄉土書寫中，「鄉土」總是聯結著「懷舊」與「鄉愁」，而帶有強烈與豐盈的隱喻，其中最顯豁的鄉土意識即是「愛戀」的情結。然而在李昂小說難以抹去的鄉土情節中，卻總是兼攝「恐懼地景」與「景觀詩學」的對舉，呈顯出批判性與辯證性的鄉土視野。本論文的關懷所在，乃在於探索李昂小說中鹿城鄉土書寫的幅面及意義，特別是李昂所表呈鄉土書寫差異性的實踐，雖是根植於生活經驗中的物質空間與再現於心靈中的想像空間，卻是逸出於以「真實」與「想像」簡單組合而成的鹿城鄉土，而浮露出與鹿港空間相連結，卻又是絕對不真實的一個虛像空間。所謂異質書寫，除了標示李昂的鹿城鄉土書寫，乃作為男性鄉土書寫史觀與女性鄉土想像中共時性的非同質書寫外，也指稱李昂所賦予鹿城異質性的獨特空間，所謂「不是地方的地方」，卻具有反照「感知其存有」之功能與意義的鄉土空間。

Li Ang, a writer skilled in writing gender war and political debates, demonstrated and expressed regionalism in the series of ”The Ghost Town of Lukang” by using the landscapes of her hometown Lukang in her early days. In recent years, she has written ”Visible Ghosts,” the legends about many female ghosts across Taiwan. Such mysterious local writings integrated with Gods, demons, passion, desire, human nature, and sarcasm not only make the original landscapes and customs of Lukang in the history of Taiwan become a visible device of social reality but also construct a way to observe the local world from her perspective.The essay is concerned about exploring the breadth and meaning of Lukang in Li Ang's novels, especially the practice about the difference in regionalism writing which expressed by Li Ang, though they are planted in material space of life experience and reappeared in imaginary space of mental, they run off from the Lukang's regionalism made up of reality and imaginary which simply mix, and expose the connection with Lukang's space. But it is absolutely not a real fictitous space.