Foreword
? Since the 1990s, a number of female writers have emerged from both sides of the Taiwan Strait, exploring the social value of women, and using their own practical life experiences and complex inner emotions to make the image of women shine in their works. Huang Biyun is one of the unique female writers.
I. Female Image and Its Shaping Techniques
Generally speaking, the shaping of female image is the basis and key for writers to write about women. In Huang Biyun's novels, we can find that the heroines of different stories often occupy the same name. "There is no shortage of contemporary writers who honor and mimic the original canon, but it is extremely rare to find one who frequently reuses the names of his characters as Huang Biyun does." [1] Whether it is Ye Tiny, who is careless and persistent in pursuing homosexual love on the university campus, or Ye Tiny, who lives in exile in Paris and finally perishes for love, or Ye Tiny, who is extremely traumatized and unable to suppress her vomiting at times, there are similar qualities in all of them - character settings on the fringes of the society, and emotionally unfathomable to the common people. thoughts. Of course, this also highlights Huang Biyun's unique approach to writing about women, abandoning tradition and creating a new type.
"She was the only female student I know who wore cheongsam embroidered shoes to class, which were really contrived, but very striking. I remember it was a pair of extremely colorful red embroidered shoes. She had a short, ear-length haircut, and often hung her eyes and looked down to take notes, like a good student. But she wore peach cardamom - women who wear cardamom are bad women, immovable, selling seduction in small places, and even more thoroughly bad women." [2] The novel She is a Woman, I am also a Woman opens with an image of a "bad woman" who is "artful" and clever, and in the story, a woman, Ye Zixiao, is attracted to a "bad woman", Xu Zhixing, who is a "bad woman". In the story, a woman, Ye Fine, is attracted to a "bad woman", Xu Zhixing, and develops a homosexual relationship in the university dormitory that is not recognized by the world. Tiny and Zhixing are two women with very different personalities, the former hidden inside, the surface of the ordinary ordinary public schoolgirls, the latter hair in the outside, words and deeds dressed to catch people's eyes. Seemingly no intersection of the two in the first encounter, fine will be secretly alarmed, destined to have a story. Fine close to the line, not hesitate to ask the boys in the class, and intentionally sit next to the line in class, after acquaintance, moved to the line dormitory to live together; fine love line, said to be the same as a man, "pay attention to her clothes, the smell of more than the temperament of the temperament" [3], but even more so than the man; fine extremely love line, "love to want to find out how to do"[3], but even more than a man; fine extremely love line, "love to want to find out how to do"[4], "love to want to find out what the man is doing"[5]. "Love to the point of wanting to discover whether she has a temperament" [4], the man heavy lust sound and color, where the woman's temperament, and even think that this is a trouble, as long as the birth of the beautiful, obedient enough, the other is redundant. Between them never kiss and caress this thing, more often than not, together with smoking pretending to be wild, together with watching movies and reading books, together with the department store plaza. Huang Biyun at this point, and then blurred the relationship between the two, fine and the line of life, to a certain extent more like bosom friend confidant sympathy, accompanied by care. The conflict arises when the two of them fight for a scholarship at school, and Tiny gets it, while Zhixing does not. Tiny used her scholarship to buy a fire-red jacket for Zhixing, but that night Zhixing was drunk and went upstairs at 1:00 p.m. to the sound of a motor. Zhixing used her charm on men from then on: "At twelve o'clock at midnight she was always roaming around like a panther in a big red sweater and black leather boots. Downstairs a little baby blue car was waiting for her. [5] "Hsing was the ambitious woman who traded a face of heavy makeup and a 34B body for a handful of coins or the cover of a magazine. And Tiny is a woman of peace and introspection, she hides all her thoughts quietly, to the line of love and resentment, fight and acceptance, in the end, they are silently consumed.
In "She's a Woman, I'm a Woman," Huang Biyun condensed the characterization of the two women, and the whole story has no other superfluous characters, and all the causes and results are centered around these two people. Fine with the line, from the beginning of the strangers to produce lingering strange feelings, and finally ended up going their own way, if only stay on the surface of the novel, looking for the feeling between the lines, readers will not inevitably not flirt with: "It is just an emotional bonding cliché of the bridge, the male and female love for same-sex dating can be captured by the eyes?" However, once you experience it carefully, you will be able to understand Huang Biyun's good intentions in the portrayal of the two women in the line of Tiny. First of all, the acquaintance between Tiny and Hsing is not the so-called similarity of odor; Tiny notices Hsing's cheongsam-embroidered shoes, not from an admiring point of view, and she even categorizes Hsing as a "bad woman", which is enough to prove that Tiny and Hsing were originally people from two worlds. But then, the phrase "I don't know that I would like a bad woman"[6] puts all the readers' hearts in their throats, obviously full of disdain and ridicule, but how can I "like" it? This is exactly where Huang Biyun's ingenuity comes in. The feelings and relationships between people are sometimes not limited to resemblance and similarity, but rather to the ability to connect at the touch of a button. There is no doubt that the characters of Ye Xiaoxiao and Xu Zhixing are not similar, but they are connected. Zhixing copied fine "code notes" with ease, fine and Zhixing know how to sell themselves in a low-profile way, they play wild dancing in the apartment of "Fireworks Alley", everything is so natural and easy. This kind of relationship, not you say one, say two say ten say a hundred, I all promised you answer right, but I say "heaven" you can open your mouth back to "earth" of tacit understanding and equal power. Tiny and the line are both smoky, beautiful women, Huang Biyun in order to be able to y highlight their image, they used two character ways to shape the two seemingly different women, as mentioned above, Tiny hidden in the inner, restful and introverted character, the line of hair in the outer, full of ambition and desire, but in fact they are more like a person's two faces, or a pair of interconnected twins, the same intelligence, the same efforts! The same intelligence, the same hard work, the same pursuit of life, just not in the same way or method. Yan Chunjun commented that Huang Biyun is "so young and so talented"[7], although the words are simple, the meaning is really heavy, from the short space of "She is a woman, I am also a woman" in the image of women shaping the ingenious new writing techniques, Huang Biyun's talent, can be seen.
On the other hand, the women in Huang Biyun's works are strongly personalized. "She is not quite like a young female writer, but rather like a man who has spent his life summarizing himself." [8] Although most of the women in Huang Biyun's novels are in the adolescent stage of their lives, they always show a kind of sadness and emotion of "beautiful flowers, but very bitter taste" [9]. According to Ying Yuli, the "breath" of Huang Biyun's novels is "the result of an innate 'bohemian' temperament," and "'bohemian' is the name given to the novels of Huang Biyun. 'Bohemian' temperament refers to the fact that the writer himself has a kind of spiritual prodigality and rebelliousness, which is manifested in the lives of people who roam the world and come and go without a trace, who keep a considerable distance from the world and affection, but they are not hippies or such like characters, whose souls are tranquilized or compensated for in their writing. " [10] Huang Biyun is indeed a writer with this type of temperament. The loss of her mother at an early age and the experience and shadow of being treated violently by her father when she was young had a long-lasting effect on Huang Biyun, and as an adult she traveled between various professions and countries, and the images of the women in her writing can be said to be, to a certain extent, a reflection of her heart and life. Cheng Shujing in Shengshi Loves, "Suddenly she saw her own tiny, purple-white face on the glass of the wall. She held her face. In hell she saw herself: tiny, purple-white." [11]; Ye Fine in A Chinese Woman Stranded in Paris, "Her face, faintly purplish, a pair of lips so cracked that they bled, her eyes a pair of tattered pears, their shapes not quite clear; only the fine hair, draped like a vegetal willow." [12] Wang Jiang Green in the Loveless Chronicle, "The woman in the blue uniform pinned to the railroad bureau lapel pinning her long hair into a hat, the train across the snowy plains she puffed out a breath of warm air in front of the window and scratched some meaningless words like sweet on the window. Would there be a little chill behind her ear, someone's cool hand touching her. But no it was just her, alone, warming her memory in the waiter's little lounge, pressing to cover a nonexistent, bleeding wound." [13] Most of the women in Huang Biyun's novels are different from the traditional ones; because of their feelings, they are thin and embarrassed or even inhuman; because of their feelings, they are wandering around in their lives, as if their lives should not be like this, but they can't think of a better way. But feelings are just a breakthrough for Huang Biyun to write about women, women have been easily trapped by love since ancient times, Huang Biyun seized the main line of emotional bondage, and used her own unique female perspective to shape the image of women with their own labels.
The resistance and struggle of women
From primitive tribes to feudal society, and even now, women have always lived in the shadow of male-dominated lives and relationships. The same for the love of women who give their hearts and souls are often more vulnerable and humble in love, as a female writer, Huang Biyun deep and keen insight into this, the image of the female image rose to the record of women's resistance, as Dai Hongjun said, "love, marriage in her pen is nothing more than a character to seek life confirmation of a way of struggling. " [14]
Shengshi Lian, an early work by Huang Biyun, recounts the short-lived marriage between a university professor, Fang Guochu, and a college student, Cheng Shujing. In the story, Cheng Shujing is a woman of few words and independence, and her interactions with Fang Guochu before her marriage have been submissive and quiet. Unfamiliar with the curriculum, just silently increase the work time, a pile of a pile of book reports; fell in love with the teacher, will only sit quietly in front of the desk, without saying a word to let the heart of the bird folded wings; even the proposal of such a major event, even in a sudden car accident before the scribble agreed. At this moment, Cheng Shujing is like a soft pocket, no matter what Fang Guochu stuffed into it, she will be tenderly tolerated. The young Cheng Shujing is full of platonic wishes for love, and is willing to make concessions in love. When she is really going to step into marriage, to get the security and results of love, in her simple wedding ceremony, to see Fang Guochu's former so-called comrades, one by one, intestines and belly full of lust, and Fang Guochu also sang full of red, "she suddenly felt that do funeral and do happy original almost, are a desperate hilarity" [15] in front of everything is the future of their own day to day to make love. Is everything in front of her the life she has to face day by day in the future? Shu Jing began to have a slight doubt in love. And her wedding night, which she had fantasized about countless times and pinned infinite expectations on, ended up with a man with little sense roughly ripping off his clothes and snoring after two or three times of venting. This man is Fang Guochu, after tonight is what she will call her husband, rely on a lifetime of people, how can this be, "Marx said that marriage is institutionalized prostitution, it turns out he was right." [16] Shu Jing is full of bitterness, I thought I could take a step back to catch love, now it is more like being trapped in a love trap.
But women have always been full of insistence on love and persistence, if Huang Biyun only from this inner brief hesitation and Cheng Shujing bluntly give up the thirst for love, very easy to make the work to commit the plot of the criticism of the thin, women's struggle and resistance can not be reflected. Therefore, Huang Biyun portrays Cheng Shujing's inner self with three twists and turns in Shengshi Loves, which makes the female struggles in the story extremely layered and gradual, and the story content more reasonable and profound. Cheng Shujing is a traditional woman, after the wedding night, Fang Guochu apologized to her, and she only replied "I am a wife's responsibility" [17], but she is also a woman with an independent personality and independent thinking, she understands that the years are full of worries, and treating him politely doesn't mean that she can treat him as if nothing has happened, "Fang Guochu bought a new house for her. "Fang Guochu bought her jewelry, clothes, and flowers, which she gladly accepted, saying 'thank you' and kissing him on the face; but always locking the door of the guest room." [18] The first wound of the marriage was difficult to forgive so easily, and even though they later shared the same bed **** pillow, in Cheng Shujing's heart she already felt no grace and no love. In fact, Fang Guochu and Cheng Shujing marriage the most fundamental problem lies in the age and mentality of the gap, the book is young and full of vitality of the college students, life still has all kinds of unknown possibilities, she will be in love in the small living room between the bedroom, the beginning of the heart is to have compromised and aggrieved; Fang Guochu is line to the middle-aged, doctoral degree to take over, the teaching profession to seek to the hands of the last and even married, as if the life is no longer He seems to have nothing more to ask for in life, leaving all his strength to be used only for getting fat. In the novel, Huang Biyun inserts the character Zhou Zu'er, which clearly highlights the gap between Cheng and Fang in terms of life ideals. Zhou Zu'er is a classmate of Cheng Shujing's, and at the beginning Cheng Shujing uses Zhou Zu'er's pursuit of herself to stimulate Fang Guochu, who "knotted a blood-red leather tie, with honey-colored skin, and grinned at Shujing"[19] It is this image of the sunny boy that makes Fang Guochu feel uneasy and stimulates his possessiveness, and ultimately determines to marry Cheng Shujing. determined to marry Cheng Shujing. Throughout the novel, Zhou Zu'er is like an indispensable chess piece that drives the storyline, and at the same time is also the spiritual impetus for Cheng Shujing's resistance, and it can be said that Zhou Zu'er symbolizes the vitality and freedom that Cheng Shujing seeks after the marriage.
"My father taught me that duty, honor, and within marriage, when there is no more love, is meekness and patience." [20] Cheng Shujing didn't do that, she hated Fang Guochu's entire being stuck in the past tense, but not to put up with his lifelessness, nor to get used to a life as boring as stagnant water as he was, Cheng Shujing wanted to pull him out of the past tense, wanted to shake him up hard to save herself, to save the little hope that she still had left, "Shujing couldn't help but pinch his neck, shaking him: 'Guo Chu, Guo Chu!' She pinched him, and he gradually found it difficult to breathe before reaching out to climb on her, Shujing said in a burning voice: 'I, I! Fang Guochu eyes lax, looking at Shu Jing, see through her, his God, far away from nowhere. Shu Jing was dazzled and dizzy, hating to pinch him to death immediately: ''Me! I am so young, why are you burying me? Why are you burying me? Fang Guo Chu was just dead still, uncomfortable in the neck, he just wanted Shu Jing to let go of his hand quickly, but he didn't pull her again." [21] Cheng Shu Jing is like going crazy in front of a piece of wood, can not get a hint of response, Fang Guo Chu's heart has grown thick calluses, Shu Jing so much and so heavy struggling emotions like hitting on cotton, she is all in one place, the whole body loosened up, but also to understand, the original is their own Fang Guo Chu forced into an old man, and he married him, so that he has completed a lifetime of responsibility and obligation, and then can not find the reason for upward mobility. "Shu Jing shrinking on the sofa, Shu Jing heart repeated, he is finished. She is not willing to finish like this:She went down with him, she must also be finished ...... Ashes to ashes. So she would rather burn, let him in the dim end of the fire watching, and then he sank ...... A burning, a sinking, husband and wife when the same sweet *** suffering, why to this." [22] So far, Cheng Shujing heart still remaining a little bit of hope is also all broken, and then desperate screaming wake up pretending to sleep, and then struggling hard to take away the willing to sink.
But Shujing still did not leave Fang Guochu, because women's love for men is also often with the toughness of the stagnant water of the marriage feel suffocated, but he could not stop the heart of love. Cheng Shujing even felt in a trance that everything could start over again, how she longed for this relationship, for which she compromised, for which she suffered, for which she struggled, for which she was disillusioned and for which she had hallucinations. She walks from the library to her home with the naive wish of a newlywed thinking, "Maybe a wake-up call will still ****enjoy the family, husband and wife, she can only count on this one wake-up call to change everything." [23] But not yet to the door, far away from the room to hear the sound of laughter and yelling, a burst, raucous Cheng Shujing's ears, the door in front of the Huang Suxin bloomed like crazy, this sleep has not yet had time to sleep has come to his senses. Impossible, Cheng Shujing woke up in a self-directed illusion, knowing full well that it was no longer possible, "she suddenly felt very weak, so she gently held the white wooden door"[24], struggling posture how futile, Shujing no longer want to shake him awake, no longer want to pinch him pain, let him immersed in the past happiness, the "Shujing a raised face, a handful of Huang Su Xin rubbed a thin" [25] she Fang Guochu's heart like a flower, thin. No longer have illusions, people do not care about the flood of emotions, Cheng Shujing time and time again to move the clothes away from Fang Guochu's apartment, as usual, life and work, the night to sleep in her own room, the two are under one roof, but also a little bit of a stranger's meaning. In the end, when everything is ready, Cheng Shujing Fang Guochu appointment, said to him, "and I divorce, OK?" [26] This time there is no contradiction in the resistance, there is no violent argument, everything is quiet, from the rupture of hope to the disillusionment of the heart, creating this silent premeditation. We know that a woman who still has thoughts about a man will cry and hang herself, and use violent behavior to win the man's attention and care, but if her heart is already as good as dead, she will only shrivel up silently by herself. Silence is better than violence, silent struggle and resistance without fancy clothes, but more heavy and powerful, Cheng Shujing to the withering of a heart as the price to win the battle with Fang Guochu in marriage, and finally "Fang Guochu can not help but shake his head: 'I have never seen a woman like you. Shu Jing side of the face, lips are still like a smile pursed: 'you see less.' Fang Guo Chu pulled her: ''Gamely.'' [27]
Huang Biyun wrote Shengshi Loves, which expresses women's inner contradictions and struggles through marriage and love, with the aim of highlighting women's resistance to life. In traditional works, women's writing is often the subordinate of men, the significance of women's existence is to set off the male image of the tall, but Huang Biyun is just the opposite, using Fang Guochu, the "old-fashioned" male to set off Cheng Shujing's independence, advanced thinking, and other "new" features, Huang Biyun's other works in the "Shengshi Love", the "new" features of the "new" features. The women in Huang Biyun's other works are also more or less antitraditional in character, and there are obvious traces of women's struggles in the storylines. Compared to Eileen Chang, who also wrote mainly about women, Huang Biyun broke the bottleneck of imitating Eileen Chang's style of portraying women with grievances in the 1960s, and "there is a tendency to replace the tradition of the grievous woman with that of the martyr". [28]
Three, the limitations and significance of women's writing
Although Huang Biyun has shown extraordinary talent in her women's writing, there are still obvious limitations. "The most important feature of Huang Biyun's women's writing is that it is not only women's writing, her women's aspirations are presented simultaneously with her way of understanding the world." [29] As a woman, Huang Biyun expresses what she encounters in her life and what she perceives in her heart in writing, and it is clear what the reality is, what the essence is, what women need, and how they fight for and against it, but it is disappointing to see that we can't find a happy ending for the women in almost all of her works. In other words, Huang Biyun has successfully utilized her own female point of view to look at the world and speak up for women with her own power, but unfortunately she has not found the real way out for women, that is, after struggling, women either lose or are lost, struggling has become a norm for women, and the answer of how to move on after struggling is missing in women's writing. The answer to the question of how to move on after the struggle is missing in women's writing, so it is not possible to give women a "happy ending" in the true sense of the word in the work.
Shengshi Lian (盛世恋) is a story about a woman who eventually divorces Fang Guochu, ostensibly winning the marriage battle, and exchanging her madness and silent detachment for a full-body retreat. However, when she is separated from Fang Guochu at an intersection where the traffic lights are flashing, the green light is on, and Fang Guochu rushes to cross the street, and in the midst of the crowds of people, he will never again take into account the disappearance and existence of Cheng Shujing. "Such a summer noon, such a traffic light intersection station, such a thousand people, the person she loves is already far away. Shu Jing tightly grasped the signage, but felt slippery, she made an effort to clench her fists, all she had was this. Passion tends to flare up after things have passed. Red light, green light, for the first time. Shu Jing cried." [30] Such a victory was too lopsided for Shujing; on the contrary, Fang Guochu was more like a desperate recovery, shaking off a big burden and flinging himself away impatiently. At the end of the story, Shujing is just holding her shoulders up, in the crowd, I don't know where she is, Huang Biyun no longer give Shujing the courage to rebirth and love, the writing ends abruptly, "We don't know where Shujing went. Perhaps when she is no longer young ...... perhaps she will find someone worse than Fang Guochu, get married and have children. In this day and age, it seems that's all she can do." [31] It seems as if Shu Jing has lost the possibility of developmental change in her life, forever stranded in this war, living her life in a position of struggle, all her life only able to win in marriage and lose in love.
Look at other works, "Loveless Chronicle", Jiang Green sent to Lin Youyu's last letter, no signature and no address, "open to see is a broken tooth; not a rooted one complete tooth, but half a broken tooth, is an adult broken teeth not milk teeth." [32] Jianglv loves Lin Youyu, although they have only been lovers for one night, she has sent him so many letters, but in return, she is mistrusted and reported, in that sensitive and chaotic era, perhaps Jianglv has more than one broken tooth, bleeding and aching for love, Jianglv doesn't say a word but just leaves, Huang Biyun likewise didn't let her be relieved in love; Ye Xiaoxiao in Vomiting because she witnessed her mother being raped and killed at a young age, and developed the disease of uncontrollable vomiting at any time. Because she witnessed the rape and murder of her mother when she was young, she suffered from the disease of uncontrollable vomiting at any time, and she fell in love with her brother who lived in a foster family, and she knew that it was a violation of human nature, but she still couldn't control her own feelings, and in the end, in order to make herself a normal person, she was forced to let go of her heart's love, and chose to leave; and even in the case of "A Chinese Woman Living in Paris," Tiny left her lover and traveled to France, but she still couldn't let go of her heart's obsession, and she ended up being martyred for her love! ......
"Dare to ask what love is, and teach people to live and die", Huang Biyun will be women in the love of the cage, struggling for love, but in vain, her women will be heart and blood spent on the full love and enduring struggles, but get "leave"! "The result is that either the resistance is useless and returns to its original form, or the struggle to escape from nothing. Huang Biyun's arrangement, on the one hand, exposes the limitations of her ideological failure to find a real way out for the majority of women, but on the other hand, it accomplishes her tragic writing style, which is difficult to imitate in women's writings.
Huang Biyun's women's writing is often sublimated by the pain of ordinary life, "Behind the mundane appearance, there is a strong sense of tragedy. This tragic consciousness is due to the author's writing about the Sisyphusian existential dilemma faced by modern people." [33] Sisyphus is famous for his cunning wit, the gods punished him for constantly pushing a boulder to the top of a mountain, but the boulder would roll down the mountain again and again due to its own weight, the Sisyphusian existential dilemma refers to this kind of unstoppable but ineffective and hopeless behavior. Huang Biyun's women's writing is like throwing women into a predicament, where the boulder is the materialization of love and marriage, and they think that as long as they are close to the top of the mountain, they will be relieved and reborn, but on the contrary, the closer they get to the top of the mountain, the more they can feel their inner turmoil and fear. In all the stories, women's resistance is not an overnight success, it is a slow accumulation and fermentation, this process, women from certainty to questioning, from raising eyebrows to shouting, from looking to confusion, as if they were dancers with shackles on their feet, stretching out their soft limbs in the midst of hope, tiptoeing up in a graceful form, thinking that they would be able to regain their freedom from the light, but they awakened in the infinite darkness. Huang Biyun pen, women dancing posture frozen, she did not find the key to open the shackles for women, but she struggled for women to dance the moment fixed, such as bird wings stretching general slender arms, disillusionment before the last bit of glitter in the eyes, are full of the beauty of the tragedy.
"In the history of literature, pessimistic sentiments have always been deeper than blind optimism and praise of life, and more able to withstand repeated chewing back." [34] The process of breaking the shackles of women and seeking a real way out is inevitably long and arduous, and it is precisely for this reason that Huang Biyun's women's writings take on a tragic color, and the "unfinished form" created by Huang Biyun is more valuable and weighty than the "completed form.
Conclusion
Mr. Yan Chunjun mentioned in his article that the world's writers can be roughly divided into two categories, one is "I write the Spring and Autumn with my own hands", and their works are all concerned with the fate of mankind and social history, such as Lu Xun, Marquez, etc.; the other category of writers basically belongs to the "self-narrative biography". The other type of writing is basically a "self-narrative biography", which is very good at looking back and exploring their own hearts, and exchanging the nourishment of creation with self-chewing and frying, and Huang Biyun belongs to the latter.[35] Huang Biyun's works are all about human destiny and social history. [35] Huang Biyun's women's writing can be said to be self-writing to a certain extent. Huang Biyun dances the fiery red and passionate flamenco dance, and the women in her hands will also dance with the shackles **** with tears and blood; her eyebrow raised pen, and what she thinks and writes are all "eyebrow raised women".
A Brief Analysis on Description
about Women in Works of Huang Biyun ?
Abstract : Huang Biyun, an obscure authoress of HongKong for mainland renders, is young but experienced. Her writings are filled with sophisticated insights and pessimistic attitude.Also,the descriptions about women in her works are full of intensive personality. She speaks for women from her unique feminine perspective in a posture of confident woman with passion like dancing Flamenco.
Key words ： Female image; Flounder ; Tragic
Notes:
[1]Sun Yixue, Chen Tao. Repetition: A Spectacle of Huang Biyun's Fiction[J]. Contemporary Writers' Review, No. 2, 2007
[2]Huang Biyun. She is a woman and I am a woman [M]. Taiwan: Taiwan Maitian Publishing House, 1994
[3]Huang Biyun. She is a Woman and I am a Woman Too [M]. Taiwan: Taiwan Maitian Publishing House, 1994
[4]Huang Biyun. She is a woman and I am also a woman [M]. Taiwan: Taiwan Maitian Publishing House, 1994
[5]Huang Bi-Yun. She is a woman and I am also a woman [M]. Taiwan: Taiwan Maitian Publishing House, 1994
[6]Huang Bi-Yun. She is a woman and I am also a woman [M]. Taiwan: Taiwan Maitian Publishing House, 1994
[7]Zhao Heifang. Hong Kong Love and Love - Fictional Narrative and Desire before the Handover [J]. Contemporary Writers' Review, No. 5, 2003
[8]Yan Chunjun. How can the word "raw" be enough - A first reading of Huang Biyun (below)[J]. Taiwan, Hong Kong and Overseas Chinese Literature Review and Research, August 15, 1997
[9]Huang Biyun. The Aftermath [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[10]Ying Yuli. The cloud that has never been seen - Huang Biyun's fictional world [J]. World Chinese Literature Forum, May 15, 1998
[11]Huang Biyun. The Aftermath [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[12] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[13]Huang Biyun. The Loveless Chronicles [M]. Taiwan: Taiwan Daitian Publishing House, 2001
[14] Dai Hongjun. A Brief Discussion on the Tragic Consciousness of Huang Biyun's Novels [J]. World Chinese Literature Forum, December 25, 2003
[15]Huang Biyun. The Aftermath [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[16] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[17] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[18] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[19] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[20]Huang Biyun. Mei Xing Shi [M]. Hong Kong: Hong Kong Tiandi Publishing House, 2001
[21]Huang Biyun. The Aftermath [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[22]Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[23] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[24]Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[25] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[26] Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[27]Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[28]Jiang Wanqin. Love at the End of the Road: A Comparison between Eileen Chang's Love in a Fallen City and Bi-Yun Huang's Love in Bloom [J]. Journal of Huangshan College, October 20, 2005
[29]Zeng Liqin. Huang Biyun's Women's Writing[J]. Journal of Chengde National Teachers College, March 15, 2009
[30]Huang Biyun. Its Aftermath [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[31]Huang Biyun. Afterward [M]. Hong Kong: Hong Kong Tiandi Publishing House, 1991
[32]Huang Biyun. The Loveless Chronicles [M]. Taiwan: Taiwan Daitian Publishing House, 2001
[33]Dai Hongjun. A Brief Discussion on the Tragic Consciousness of Huang Biyun's Novels [J]. World Chinese Literature Forum, December 25, 2003
[34]Yan Chunjun. How can the word "Sheng" be better--First Reading of Huang Biyun (above)[J]. Taiwan, Hong Kong and Overseas Chinese Literature Review and Research, May 15, 1997
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[2]Jiang Wanqin. Love at the End of the Road - A Comparison between Eileen Chang's Love in a Fallen City and Huang Biyun's Love in the Shengshi [J]. Journal of Huangshan College, October 20, 2005
[3]Sun Yixue, Chen Tao. Repetition: A Spectacle of Huang Biyun's Novel [J]. Contemporary Writers Review, Vol. 2, No. 2, 2007
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[7]Zeng Liqin. Huang Biyun's Women's Writing[J]. Journal of Chengde National Teacher's College, March 15, 2009
[8]Zhao Heifang. Hong Kong Love and Love - Fictional Narrative and Desire before the Handover [J]. Contemporary Writers' Review, No.5, 2003