旅美多年的作家李渝，以溫州街系列而聞名，其作品大多聚焦於臺灣與變遷中的臺北城，藉由寫實與虛構的交錯、夢的意象與空間書寫，佐以繪畫與文學的知識與美學，呈現家國與懷鄉之思、流離經驗與國族意識。然而，不同於其他由臺灣遷居至美國的移民作家，絕大多數著眼於新居地美國的社會文化衝擊、族群問題或無（失）根感，李渝較少著墨於這些議題。就地理區位而言，自1970年代以來，紐約即是擁有第二多臺灣移民的區域，僅次於加州，而紐約市也成為許多旅美作家書寫的重心，儘管相較於其他作家，李渝的紐約書寫數量較少，但是紐約仍於其生命歷程中佔有重要的意義。因此，本論文將探究李渝作品中的紐約書寫，試圖以紐約市為背景的文本分析，且置於臺灣旅美作家的紐約書寫系譜中予以定位，是以理解移民與新居地之間的關係與對話，原鄉（臺北）與異鄉（紐約）的時空錯置，都市中的族裔關係，以及移民的身份認同議題，尤其在「九一一事件」發生後，透過移民的角度，反思災害與人類生活轉變的關係，現代性想像與本質性追尋的重構，希冀在既有的李渝研究成果之外，提供另一個解讀其鄉園書寫的切入點。

This article explores the literary representation of ethnic landscape, temporal and spatial juxtaposition in Li Yu's work. Li Yu is a writer who immigrated to the United States in the 1960s and lived in New York until her death in 2014. She is famous for her Wenzhou Street series, and her work addresses Taiwan and the transformation of Taipei by adopting the strategies of juxtaposition of fictionality and reality, dream and spatial writing to represent nostalgia, migration experience and identity. However, in comparison to other immigrant writers, she rarely touches upon cultural shock, ethnic issue or rootlessness in the host state. In terms of geographic locale, New York has the second large population of Taiwanese immigrants, and has been a major location represented in literature. Living in the city for more than forty years, New York must be meaningful for Li Yu in life. Accordingly, this article analyzes Li Yu's writing on New York to tease out the relation and interaction between immigrant and the host state. It argues that through the immigrant's perspective, Li Yu's representation of New York is twofold: juxtaposition of homeland and host state, and cosmopolitan outlook on humanity. It aims at offering an alternative angle of studying Li Yu's work by pointing out the significance of her writing on New York as another homeland.