散文家李欣倫的創作從少女時期延展至婚姻中的妻子，以至成為一個母親。《以我為器》與《原來你什麼都不想要》兩部散文集，書寫了作為一個母親同時發生在外在環境與自我內心世界的矛盾與拉扯。不同文化脈絡底下對於「母職」的期待是有所差異的，說明著「母親」作為一種社會身份，同樣也可能是一種被建構出來的定義。作家透過書寫對話自身也向外在社會提出質問，創造出一種殊異於過往、更富於批判力量與批判性的語言風格。本篇論文將透過李欣倫散文分析女性作家對於當代社會裡母職形象的質疑之聲，以及作家從少女轉變為母親之後，文字風格、文法敘事以及聲腔變化之際衍生而出的「母性語言」，並藉以形成對於既定母親形象進行反操演的文字革命，同時也探問「女性書寫」一詞因身份所產生的差異性。

Li Xinlun’s writings span from her teenage years through her experiences as a wife and, ultimately, as a mother. She explores the contradictions and struggles between the external environment and her inner self in the context of motherhood. The expectations associated with "mothering" vary across cultural contexts, illustrating that “mother” as a social identity is itself a constructed definition. Through her writing, Li Xinlun engages in self-dialogue while simultaneously questioning the society, thereby crafting a distinctive linguistic style that is more powerful and critical attuned than traditional literary forms. This paper analyzes how Li Xinlun’s essays articulate a female writer’s skepticism toward the contemporary representation of motherhood. It also examines how her transition from a young girl to a mother influences her prose style, grammatical structures, and narrative voice, giving rise to a “maternal language.” This transformation, in turn, constitutes a textual revolution that subverts and redefines the conventional image of motherhood. Additionally, the paper explores how the category of “women’s writing” is shaped by identity and its inherent differences.