本文以台灣與日本的離島出身作家陳淑瑤《流水帳》（澎湖）與池上永一《風車祭》（八重山）為例，探討小說中以農業社會歲時節令與神靈信仰為中心的離島鄉土誌書寫具有何種生態與性別意涵。在兩部小說中，澎湖與八重山離島與自然生態密切聯繫的前現代農業生活、神靈信仰、庶民語言與村落共同體，如何分別標示台灣與澎湖的族群認同、日本與沖繩的族群差異，呈現台灣與沖繩本土化運動中對於「女性鄉土」的建構？兩部小說中離島鄉土誌書寫的生態與性別意涵，分別如何呈現此一性別化的鄉土想像與國家現代化、在地父權的相互建構性以及性別權力關係？本文討論的結果顯示出，後現代主體與關係重建不能只是將自然、女性、庶民、聲音等他者建構為未受現代性污染的「純粹本質」，或是去歷史化、去脈絡化的抽象混雜性，而應探討資本主義現代性如何與在地父權形成既頡頏又共謀的關係，藉由對各種現代性「他者」的收編與排除生產出各種「在地性」，以合法化其支配權威與邏輯。 This article deals with two novels by writers from Penghu Islands and Yaeyama Islands, remote islands of Taiwan and Japan, and explores the ecological and gender implications in the local writings featuring solar terms, traditional festivals and folk beliefs in agricultural society. In the local cultural movement in Taiwan and in Okinawa, how are the sexualized local imaginations constructed through agricultural lifestyle, spiritual beliefs, folk dialects, and village communities? How do the ecological and gender implications in the novels expose the mutual construction process between the female/local image, nation-state’s modernization project, and local patriarchy? The discussion in this article shows that, a postmodern subject and relation reconstruction cannot view women, nature, and voice as “pure essence” unpolluted by modernity or as dehistoricized and decontextualized concept of hybridity. Instead, we should explore how capitalist modernity forms a complex relation of alliance and competition with local patriarchy, and legitimizes its authority and logics of dominations by produces various “locality” through inclusion and exclusion of its Others.