大約從 2010年開始，以藝文人士身分為號召的公民運動愈來愈頻繁的出現在媒體版面。雖然相較之下，連署或遊行更容易成為鎂光燈焦點，然而若藝術家、文學家對於議題的介入沒有表現在他們的創作中，似乎是坐實了他們對運動的幫助僅止於「名人光環」、「提高媒體能見度」這樣的疑慮。公民權利的行使或許能達到某些階段性的目標，但創作的積累卻有可能為往後其他改變現狀的努力提供養分。本文的基源問題即是，書寫能否成為一種公民社會實踐的行動方式呢？ 在這些作家中，吳音寧尤具代表性。她的作品既是報導文學，也可以視為廣義的自然導向文學，特別《江湖在哪裡？──臺灣農業觀察》這部作品。報導文學與自然導向文學中的環境書寫，有一個主要的共通點，就是實際涉入議題，以及非虛構的特質。本文將從報導文學及自然書寫脈絡分析著手，再由吳音寧的社運經驗切入，藉以分析《江湖在哪裡》這部作品的特質。並進而闡述「書寫作為一種社會實踐」的意義。

Civic movements launched by artists appear frequently in media since 2010. Although media are more focusing on petitions or demonstrations, the question is those artists or writers who involved in civic movements were just for their own reputations? It remains in doubt if the involvement of civic issues are never show up in their creations. Civic movements might reach some short-term goals, but the creations could become a nurture for other civic movements in future. This article is dicussing about how the writing act as a part of social practice. Yin-ling Wu is a typical writer with great enthusiasm on social activity. Her book titled“Where is Jiang Hu?—Observation of Taiwan's agriculture”is a reporting literature and a generalized nature-oriented literature. The similarity of both writing are non-fiction and practically involved in social issues. This article intends to use reporting literature and nature-oriented literature's viewpoints, as well as Yin-ling Wu's experience on social activities to analyze“Where is Jiang Hu?”.