This paper explores the ways by which Chen Yuhui portrays gender relations from the perspectives of home, homecoming, and national identity in her semi-autobiography, "Mazu's Bodyguards". Due to her 20-year voluntary exile in Europe, Chen pays particular attention to the theme of "home". As a woman, she also focuses on home, women's leaving home and gender relations from a female perspective. She implies that home is a shackle to women but a sanctuary to men. Social transition, personal traits, and education affect the ways in which the female members of haishen family solve familial problems, pursue freedom, and exercise agency.Thanks to their rebellious and adventurous spirits, both the grandmother and the mother, a young woman living during the Japanese and the post-war period respectively, are courageous enough to escape from their uncle or father's home. However, dominated by patriarchal thoughts, they are unable to break the shackles of their husbands'. By contrast, "I", born in the 1960s, finally throws off patriarchal bondage and gains her subjectivity successfully. On the contrary, the home which confines women is the sanctuary from which men seek comfort whenever they encounter troubles in society. In addition, Chen Yuhui also discusses the change and enhancement of national identification of male and female characters after their respective homecoming trip to China, Okinawa, and Taiwan. Erma begins to doubt his Chinese identity, which he has assumed for most of his life, but is still unable to consider himself a Taiwanese. He ends up being ambivalent towards his identity. Nevertheless, Linzi and "I" identify with Taiwan, despite their different lineage, cultures and languages from the Taiwanese. Here, Chen seems to imply that women are firmer, more courageous and pragmatic in terms of national identification.