A number of Taiwanese women's hsiang-tu (or homeland) fictions since 2000 have moved toward topographical writing, indigenization and national allegory. This paper first deals with Wu Chien-cheng's notion of topographical writing, Yeh Shih-tao's discussion on ”hsiang-tu literature” and ”Taiwanese literature,” as well as Arif Dirlik and Roxann Prazniak's notion of indigenism in their discussion of the three modes of cultural identity formation. I argue that, in these women's hsiang-tu fictions, hsiang-tu does not mean ”homeland” only, but it also implies a recognition of the historical memories of the land of Taiwan over the past four hundred or even thousands of years. And then I use Lai Hsiang-ying's short stories ”Island” and ”Fort Zeelandia” and Li Ang's collection of short stories ”Visible Ghosts” as examples to investigate the complicated relationship between women, hsiang-tu, and nationalism. I contend that ”Island” and ”Fort Zeelandia” use a series of tropes to portray contemporary Taiwanese character and to imagine Taiwan as Maternal Body, and that the two short stories evoke Taiwanese nationalism by depicting the female narrator as re-identifying with the land of Taiwan through pregnancy and homecoming. I argue that ”Visible Ghosts” portrays the history and the geographical changes on the land of Taiwan in the past three and four hundred years through stories about the oppression and subversion of five female ghosts in Lou-gang and that in so doing the book becomes a national allegory about Taiwan.