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In the turbulent transitional era of old and new, the group of female writers since the May Fourth period have engraved topics such as love and marriage, historical missions, political concerns, cultural reflections, social inscriptions, and even reflections on philosophical life and inner deep psychological emotions of male and female characters in social changes. Xiao Hong, Zhang Ailing, Ling Shuhua, Lu Yin, Shi Pingmei and others discussed in this book each used their different female narratives and body writing to strike a distant and sad cultural and historical echo for modern Chinese literature, leaving a far-reaching narrative literary legacy for the changing new era, which is worthy of reconsideration by contemporary academic circles.

Lu Xun was sitting in the faculty preparation room of Peking University. A young man he was unfamiliar with silently handed over a package of books and hurriedly left. Lu Xun opened it and saw that it was a copy of "Asakusa". More than ten years later, I walked into the place where Lu Xun sat and rested. I also held a copy of "Weeds", but I couldn't see Beijing and the world in Beijing as seen by Lu Xun. Many years after leaving our hometown, our hometown has been replaced by the urban landscape. However, the wilderness is still the wilderness, the sea is the sea, the island is the island, the butterfly returns to the butterfly, and the dance returns to the dance. There is still a sadhu in my life who is sitting quietly on the banks of the Ganges. Sitting on the corpse-burning platform on the shore of the ferry in Varanasi, I sat quietly and entered Zen, ignoring the life and death around me. All kinds of scarcity occupy the vast world on both sides of the Ganges River under various names, occupying various spaces on the sea and islands, like flowers occupying butterflies, like butterflies occupying dance, and like cremation rituals occupying the time and space of several major traumas in our lives.