山海書寫一直是原住民族漢語文學裡相當重要的命題。但就筆者的觀察，相較於原住民男性作家已經藉由書寫建立了在自然空間裡父系文化傳承的典範，原住民女作家的書寫卻幾乎不涉及狩獵活動，也因此我們完全無法在現有的文學作品裡找到任何「女獵人」的形象。但若要回答原住民女作家不寫狩獵的原因，我們並不能單純的用缺乏狩獵經驗，或是複製傳統二元性別對立的分工模式來解釋。本文將從文學美學、出版市場以及空間裡的性別編碼等角度來詮釋這個現象，試圖指出原住民女作家如何受限於已然建立的文學典範，她們的書寫又是如何展現出迥異於原住民男作家的空間想像及身體經驗。並進一步指出，文化是一新∕舊揉合的過程，在書寫原鄉、保留文化之際，也許我們都該去思考新的創作的可能，而不是去想像或是複製一個「原汁原味」的傳統。這也是為何我們需要一部得以想像女獵人的文學作品。

Mountain and sea writing has been an important subject in aboriginal Mandarin literature. Yet, in my observation, female aboriginal writers virtually didn’t touch upon hunting activity in their books, while male aboriginal writers have established an example of patrilineal cultural heritage in nature. Therefore, we can hardly find an image of “female hunter” in literary works up until now. However, the lack of hunting experience and/or a tradition of gender division of family labor should not be the reasons that female aboriginal writers didn’t write about hunting. From the perspectives of literary aesthetics, publish marketing, and sexual segregation of space, this essay is going to interpret this phenomenon and try to explain how female aboriginal writers were confined to an established model of classic literature and how they expressed their spatial imagination and personal experiences differently in contrast to male aboriginal writers’. Culture is formed through a conflation of past and presence. While writing about home country and keeping cultural heritage, we may consider about new possibilities of writing materials, rather than imagining or mimicking a tradition which has existed for a long time. That’s why we are eager to have a literary work about female hunting.