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1)绽放于废墟上的罂粟花

From 1943 to1945，Zhang Ailing（Eileen chang，1920-1995）was the most popular writer in Japanese-occupied Shanghai.The unusual political environment provided a great deal of opportunity for the development of an alternative literature. While most writers kept silent for political reasons, Zhang Ailing cleverly avoided politics while adopting a non-elitist attitude, giving free rein to her own literary talent. She was called a “poppy flower” blooming in the ruins.

Zhang Ailing was concerned with writing about the daily life of common people with detailed depiction and elegant wording, particularly stressing the relationship between men and women of the metropolis in times of change. She did not draw on a vista of pure love just to satisfy reader’s illusions. On the contrary, she presented the earthy aspects of relationships:practical calculations,exchange of money and sex, unmasked desires,and mutual utilization. Her stories are framed by dreary settings and tinged with dingier experiences in life.

Zhang Ailing has been refered to as a “literary witch,”not only due to the cold and gray ambience in her works, but also for her sharp insights into the negative aspects of human nature and her tragic views on life. She devised an unusual metaphor:”Life is a luxurious and splendid robe which is infested with lice.”Zhang Ailing became very famous in literary circles by early twenties, her observations on human nature and the ways of life’s vicissitudes by then already mature, even revealing a judicious wisdom beyond her years. Some may say that the negative human aspects that her works focus on are trivial, which, however, help to get her works out of dramatic implications and emphasize some kind of overwhelming power set against the hopelessness of human emancipation. Zhang never bitterly criticizes the flawed characters in her writing; rather the opposite, she attaches to them her own empathy with their absurd and wearisome lives. All the same, she herself manages to transcent this through her wit, to observe common life from high above.

2)女性的天空是低的

The sky is too low for women,and their wings so thin…Yes, I shall fly. Yet I feel…that I’ll only for down” These words, which Xiao Hong(1911-1942)shared with a friend, are a crystallization of her personal experience as a woman. At age 19, she left home to escape an arranged marriage. Her fiancé tracked her down and gained her love by pretense. They lived together in an inn. Several month later, the man left a pregnant Xiao Hong as a “hostage” for unpaid and board, and disappeared. In desperation, Xiao Hong had to write to a newspaper for help. Xiao Jun, who rescued her from a living hell, became the most important lover in Xiao Hong's life. He encouraged her to take on literary writing. However, this woman, always yeaning for the warmth and love of family, was never to find her ideal world. She never received enough respect and understanding in her marriages to Xiao Jun and Duanmu Hongliang, but was always subordinate and neglected, and even had to make sacrifices. She never had enough courage and strength to get out of her predicament. After leaving Xiao Jun, she moved south with Duanmu. In 1942 she died alone in the Japanese-occupied city of Hong Kong.

Xiao Hong was fortunate in that she found a wide within literature and her imagination, where she could fly freely and leave behind indelible traces. She wrote The History of Hulan River in her last years. Living in Japanese-occupied Hong Kong, Xiao Hong recalled her childhood and wove into her work her nostalgia for her hometown far away as well as for the past. This semi-autobiography clearly reveals her sense of loneliness and sorrow. But the novel is not simply about her nostalgia, but contains her penetrating observations of the spirit of the nation and reflections on Chinese national culture, all through her descriptions of her native Hulan county as a microcosm of China. The work displays her acute insight and broad artistic perspective.

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