本文以廖鴻基《討海人》為討論文本，分以臨場的謀篇佈局、細緻的觀察視野、生動的形象塑造、深沈的主題意識等層面，分析廖鴻基在討海寫作方面所呈現的特色。得出在一或多個捕魚航程下，以「出航－捕魚－返航」三區塊式的謀篇佈局手法，並採取放大搏鬥橋段的敘述方式，以加強散文敘事的情節張力。善用顏色字詞建構海洋的立體空間感與魚體的多層次感，細緻觀察與體會討海人使用的語彙，傳達出討海人易出髒話與簡潔的口語習慣。此外，廖鴻基也特意深刻地描繪出討海人卑微但極其強烈自尊感的性格，以及軀體、動作、眼神、富有情感的魚類形象，再突顯出生存、生活、生命三個層次的生命主題，以此擴及到人與魚、討海人與岸上人、海洋文化與陸地文化等等的衝突主題。這些在作品中所呈現的種種寫作特色，讓廖鴻基成為傑出的現代海洋文學作家。

This paper focuses on the book Fishermen (Tao-Hai-Ren). We need to review this book on several levels: setting and context, detailed profiling, vivid imagery and the deeper theme. At each level, the writing style of Hong-Chi Liao prevails in portraying the life of fishermen. Tension drives the plot through Liao's depiction of the fishermen's struggle with the sea, an endless three-step cycle of sailing, fishing and returning. Liao's rhetorical description brings color to the ocean, rendering it into a living body that fosters an abundance of fish. His work masters the jargon of the mariner's patter that bursts forth in curses or simple and short phrases. Liao reveals a paradox in his fishermen, as humble people with strong self-esteem. He weaves them into a theme of a tooth and claw struggle. This is expressed in the iconic images of fish catches and the body languages of gestures, where glints of the eyes replace the spoken word. We herein examine: men and fish, fishermen and islanders (the shore people), oceanic culture and mainland culture-and the conflict of those behind these terms. Such distinct features used in this work help to build the place for Hong-Chi Liao in modern oceanic literature.