The purpose of this paper is to define "women`s writing" accomplished in "Anna Livia Plurabelle" of Finnegans Wake by James Joyce. Women`s writing, initiated by such diverse critics as Julia Kristeva, Helene Cixous, Luce Irigaray, Alice Jardine, and Toril Moi, is a new technique Joyce substitutes for the limited "male-oriented writing". Women`s language, therefore, is not only threatening to a predominantly patriarchal culture, but also a medium through which women may be creative in new ways. Joyce makes use of the diffusive, changeable writing technique for his purpose of creating the characters, Molly in Ulysses and Anna in Finnegan`s Wake. They are both river-women and can re-live in the works. "Anna livia Plurabelle" of Finnegan Wake can be a linguistic subversion of the name and the law of the Father, a revolution of the word that disrupts the traditional symbolic order and challenges male-oriented writing practices. Anna Livia, always "yea-saying", embodies the "women creature" who speaks fluidly and remains free. The narrative of her, shaped by the voyeuristic voices of the washerwomen on the banks of the river Liffey, refuses closure and begins again and again-but with a difference. Anna`s womb/delta(A) is rife with words and with many children. She is differentiated from Maria, a virginal, loveless, childless little old maid, in "Clay" of Dubliners. The relationship between the washerwomen of "Clay" and those of "Anna Livia Plurabelle" must not be overlooked. The two representations of washerwomen, in "Clay" and in "Anna Livia Plurabelle", intricately inverted structural relationship between them. The washerwomen`s speech, repressed and silenced in "Clay", is restored to the central one in "Anna Livia Plurabelle". It reveals the hidden, repressed, and suppressed desires of women that forge women`s writing. According to this, I insist that James Joyce considers women`s potential as the ultimate source of new writing.