夏曼‧藍波安與廖鴻基同為台灣海洋文學最重要的代表人物，甚至研究者將兩人的創作視為台灣海洋文學的高峰。經本研究發現，夏曼‧藍波安與廖鴻基在海洋書寫上雖有著不同的身份背景、不同的人生經驗，更有著原／漢不同的視角，但在不同內容的書寫中卻表現了同樣的內涵，筆者因此稱兩人的海洋書寫為
「殊途同歸」。首先，兩人的海洋文學中，都有著「回歸海洋」以填補主體匱缺之處。在夏曼，表現為回歸海洋以求得達悟族人的認同，並回歸達悟，成為真正的達悟男人；在廖鴻基，則在逃離陸地人心之兇險，回歸海洋尋覓人性為求生存而在甲板上互相依存的情態，並希望藉由書寫海洋來提醒讀者認同台灣與海洋關係密切的事實。再者，兩人的海洋書寫又同樣有著「身體」力行之處，皆藉由個人之身體來與廣闊的大海拚搏，在個人與海洋的戰鬥中表現其海洋書寫的吸引力。最後，在兩人的書寫中，也同樣表現著對「現代性」的抗拒，在夏曼，現代性與漢人結合，所以多在文中抨擊漢人強迫達悟族人接受其價值觀、貨幣經濟制度，以及漢人破壞蘭嶼生態環境的行為；而在廖鴻基，則以生態保育為重心，反對現代科技對海洋資源的予取予求，亦表現對現代人對海洋強調其工具價值的抗拒。

Both Syaman Rapongan and Liao Hung-Chi are leading figures in Taiwanese
maritime literature and the researcher of this paper views both as marking the full
maturity of the genre in Taiwan. The findings of this research reveal that although
these two writers, an aborigine and a Han Chinese, respectively, differ in both
personal background and life experiences, leaving their ocean writing tinged
respectively with aboriginal and Han perspectives, their works convey very similar
meanings, on the basis of which this research argues that while their ocean writing
was virtually created with “different means”, they nevertheless led to “the same end.”
First, in the ocean writing of both, the attempt of restoring the “lack of subjectivity” is
carried out by “returning to the ocean.” In Syaman’s terms, “returning to the ocean”
signifies seeking recognition among the Tao people; it is equally important to identify
with the people in order to become a real Tao man. As for Liao, the theme focuses on
escaping from the evil nature of human beings; this can only be made possible by
returning to the ocean. Scenes of characters caring for each other on the deck for
survival are an example of this point and attest to the fact that the writer hopes to
remind readers of the close relationship between Taiwan and the sea through his ocean
writing. Second, the ocean writing of both implies “bodily labor,” in which one is
supposed to wrestle physically with the immense ocean. The battle with the ocean
also constitutes the tension that appeals to readers in these ocean writings. Lastly, the
work of both writers expresses resistance to “modernity.” In Syaman’s work,
modernity is connected with the Han people by criticizing their imposition of the Han
cultural values and monetary economy on Tao people, as well as their damaging the
natural environment of Orchid Island, where the Tao people live. Liao emphasizes
ecosystem conservation and opposes the overexploitation of marine resources caused
by modern technology, which is also a protest against modern people’s viewing the
sea simply in terms of its instrumental value.