舒巷城（1921-1999）確立了二次大戰後香港的本土書寫傳統，這點已逐漸被評論家所公認。本文試圖考察，這種重新肯認「家」、「鄉」的書寫角度，所形成的地誌書寫特色，地誌中對於「家」與「鄉」的描寫，究竟形成怎樣的藝術魅力？又要如何放置在 1950 年代到 1960 年初期的時代氛圍中加以詮釋，藉以說明鄉土作家所展現的本土意識？從舒巷城作品可以看到香港的本土文學傳統中，存在著一個非左翼、非右翼，同時又是殖民者缺席的「鄉土」空間。舒巷城文學的意義，正在於默默持守香港作為「家園」的基本價值。當意識型態話語在冷戰氛圍中滿天亂飛之際，舒巷城的地誌書寫與本土意識便像是定風石與引路旗，讓追隨者可以順著來路知道自己的身世。於是乎，讀者才能在每一次閱讀舒巷城小說時，一再確認家園香港的容顏，也就是確認故鄉的恆在，此在！

It has come to be commonly recognized among the critics and reviewers that Shu Hsiang-Cheng (1921-1999) establishes the genre of native writing for the post-war Hong Kong. This paper attempts to investigate how Shu in his topographical writing of Shu depicts “home” and “homeland” and presents his native consciousness in the context of Hong Kong from the 1950s to the early 1960s. in Shu’s work, the idea of “native land” is neither left-winged nor right-winged, and this home land is a space where colonizers are absent. His works preserves and showcases the fundamental value of Hong Kong as “homeland” which the reader may confirm by themselves while reading them.