Author: Wang Hongyan
From Silence to Noisy —— The Evolution of Contemporary Female Prose
Contemporary female prose has experienced a process from silence to noise. The 1950s, 1960s and the Cultural Revolution were silent periods for women's prose, but after the new period, especially in the 1990s, China's women's prose appeared a chorus of various voices-trendy prose, the older generation, the new generation, young women and so on, which made women's prose once noisy and entered the peak of women's prose creation.
silent
After the founding of the People's Republic of China, until the early 1960s, China's prose was generally successful. In the early days of the founding of the People's Republic of China, the mode of Yan 'an prose was inherited, and communication and close-up became the main stylistic forms. Its contents mostly show the tradition of hard struggle in the revolutionary period, the great achievements of famous figures, and the new people, new things and new ideas in the socialist transformation and construction period after the founding of New China. Prose, as a style closely related to real life, is often more easily influenced by various policies and guidelines in reality, which was proved in the seventeen-year period. After the policy of 1956, there was a small climax in the field of prose creation. 1960, after "anti-rightist", "Great Leap Forward" and three years of difficulties, the CPC Central Committee put forward the eight-character policy of "adjustment, consolidation, enrichment and improvement" and began to adjust the literary and artistic policy, which directly brought the climax of 19 1 and 1962 prose creation. Besides some old writers Bing Xin and Ba Jin, there are three famous prose writers, Yang Shuo, Liu and Qin Mu, whose works began to mature during this period. In addition, Deng Tuo and Wu Nanxing's essays are also famous.
However, the achievements of prose in this period, although more open in expression space and more social consciousness, are difficult to compare with the May 4th Movement. However, replacing objective judgment with blind identification, aesthetic concept with utilitarian concept, multiple aesthetic dimensions with simple "poeticization" and horizontal reference with vertical inheritance all make the field of prose present a single creative trend. In terms of prose structure, Yang Shuo's three-step style, Qin Mu's beaded style and Liu's grand picture of history and reality have all formed some fixed patterns, which not only restricted themselves, but also misled China's prose creation for many years. What is even more frightening is that the individual emotions on which prose depends have also been shelved, and the true inner world of the individual has become unspeakable. Yang Shuo once said in the article "A Random Talk on Writing in Sanlihe Mountain" that he avoided personal feelings because he was worried that the feelings of the non-proletariat would be revealed as soon as they were written, which would inevitably put him in a politically passive position. It is in this state of mind that most writers can only avoid themselves. The publicity and politicization of personal feelings have become the discourse tendency of the whole seventeen years.
In addition to Bing Xin, Chen, Ding Ling and other old writers, there are also young writers such as Ru Zhijuan who came out of the revolutionary bonfire. However, during this period, they did not form a noticeable phenomenon of group creation like the May 4th Movement or the 1930s and 40s. Old writers have not surpassed their previous achievements, and new writers have not fully grown up. Like the main theme of the times, female writers are immersed in the collective praise of "ode". Personal ideal and social ideal are integrated as far as possible, and personal memory is consistent with the memory of the times and history. They abandoned the darkness of their inner world, and any topic related to their personal desires became the object of their conscious rejection. The conscious consciousness belonging to the public has a certain suppression on the individual subconscious, and the long-standing external "gaze" has gradually evolved into a kind of self-gaze and self-discipline. Obviously, if prose leaves the inner observation, then it leaves the supporting force on which it depends, and only becomes a replica of the objective world. 17-year-old female prose is the peak of the development of revolutionary prose in the 1930s and 1940s. If there are contradictions and conflicts between revolutionary narrative and personal discourse in that period, then seventeen years no longer exist. Their lives began to be filled with a broad social picture. In the so-called equality of "times are different, men and women are the same" without gender differences, women are intoxicated with red happiness, and she begins to believe that she can fully integrate into the patriarchal order, thus forgetting her gender.
As far as creation is concerned, Bing Xin, Chen and Ding Ling all have new works in this period. Bing Xin's prose still insists on beauty and truth, but it is obviously incompatible with the theme of the times, so Bing Xin's silence most of the time is more meaningful than her speech. Chen wrote mainly essays during this period. As a writer who fled to Yan 'an in the late 1930s, most of Chen Jianguo's later works are memories of some revolutionary figures and revolutionary years, as well as the transformation of intellectuals. Like the mainstream literature at that time, she paid more attention to social imagination than personal feelings and inner world. Zi Han's works also have distinct characteristics of the times. Although they are all works of Fu, Zi Han's perspective is more delicate and vivid, so it is more realistic than most of his works at that time.
Reflection and Mourning (Early)
During the May 4th Movement, Zhou Zuoren had asserted: "Essays are the acme of literary development, and his prosperity must have been in the era of Wang Gang's downfall". 1 In the decade of the Cultural Revolution, it was just the opposite. If the May 4th Movement was an era of Wang Gang's downfall, then the Cultural Revolution was an era of infinite transcendence. Except for model operas or large-scale songs and dances, which submerged individuals in groups, it could not accommodate any personalized creation. When daily life and personal inner world become unspeakable, prose has no possibility of existence.
After the Cultural Revolution, people began to pay attention to telling the truth and telling the truth in the prose field as a way to set things right in the spiritual field. The "sacred" lies in the decade of the Cultural Revolution have been exposed, but the lies in people's minds, even the lies they unconsciously told themselves, have not disappeared. Because of this, writers like Ba Jin are precious. It was the older generation of essayists, represented by Ba Jin, who began to lead China's prose back to the May 4th prose tradition, and Ba Jin himself remolded himself with the attitude of self-nirvana. Relatives and friends who died in the tragic world are the guilt and pain of the survivors, even those irrelevant people and things have shown their own shortcomings. He found that in a catastrophe, he, like everyone else, went with the flow and did not hurt others became the highest ethical requirement, not to mention a sense of justice or humanitarian spirit. Prose in this period combined personal feelings and the spirit of historical criticism, and commemorative prose appeared in large numbers as a specific form of scar literature. Without exception, this kind of mourning prose is marked with the psychological guidance of survivors' remorse and helplessness-let the lost soul rest in peace, let the restless soul calm, let the dirty memories be washed away, and let the things that really belong to life be praised. This is the soul of commemorative prose.
The female prose in this period also involves the theme of writing truth and mourning. Experienced from the dragon flag-five-color flag-blue sky and white flag to the five-star red flag; Bing Xin, from emperor-warlord-taijun-chairman to chairman, has experienced a long history of a century and is still writing constantly in the new period. For Bing Xin, her love is not reflected in the early praise, but her call and appeal. Social responsibility and critical consciousness became the soul of Bing Xin's prose in his later years. My request, I sobbed and watched it again, and on Mencius and democracy are all representative works in this respect. At this time, the classic Bing Xin Ti has been replaced by miscellaneous style. However, in later essays such as Little Kingfisher in the Dream and Where is My Home, Bing Xin, who is full of tenderness and sadness, remains the same. More than half a century of endless love and beauty has finally been tempered into some kind of holy land. Bing Xin in his later years has reached the realm of not arbitrarily surpassing the moment. There is no trace of an axe in her handwriting. The love she believed in since she was a child kept her soul young.
"Writing essays at will" is the writing mentality of many essayists after the Cultural Revolution, and Chen Ye, who experienced catastrophe, is no exception. The Return of the End of the World was written during the Cultural Revolution in order to give her complete files to her daughter and the Party. For essayists who grew up during the May 4th Movement, expressing social injustice with prose seems to be a stereotype of writing psychology, but the Cultural Revolution strongly impacted this psychology. Prose writing can't really touch real life and real psychology, and once it loses its authenticity, prose will lose its foundation of existence, so prose writing in the real sense can only survive underground, and Return to the End of the World is such a work. It describes Chen's life from 19 19 to 1949, including her love and marriage. People who struggled with her during the Cultural Revolution said that "a separate file should be set up in the future" and "a person's history can be created in the future". (Chen: "How can I write peace") Chen started the creation of "Return to the End of the World" just to save his real files. This is a file set up by one person and written by another. Days, like Random Thoughts by Ba Jin, is also a book that tells the truth. And it was written during the Cultural Revolution, not later. Although Chen did not directly criticize this catastrophe, her writing itself has become a refuting force, supporting the meaning space of life and leading a persecuted soul to the glory of truth and belief. But what is totally different from this value is the golden mean and the aesthetic pursuit of moderation and peace of China writers. In her autobiography, Chen Ye wrote a lot about her personal love life, her love and regret, guilt and pain, but most of them were handed down from generation to generation. And based on the age of writing and the lessons left by history, she doesn't want to blame others, because considering that people can be transformed, they have no right to jump to conclusions, and the wicked complain first. This is a personal moral issue and has nothing to do with * * *. She didn't make a thorough disclosure for fear of misunderstanding by readers. Political belief directly affects the writer's creation. When she looks at the world with only one eye, she loses the possibility of leading to multi-dimensional deep space. On the other hand, she dare not praise a person too much, for fear of dragging others down, so many narratives can only be tasted, and it is difficult to go deep. Therefore, although Heaven is a work that tells the truth and is full of fearless spirit, it still leaves a lot of regrets. Perhaps it could have opened up a broader spiritual world like Confessions, entered the depths of self-soul, and showed the commonality of human destiny, but it is a pity that Chen did not make such an attempt.
At the beginning of the new period, many women's essays are still influenced by the poetic prose of seventeen years, showing a kind of exquisite poetry and introversion, praising the great changes in China's urban and rural areas after the Cultural Revolution, eulogizing the party's policies, capturing the people's new mental outlook, goodness, truth, goodness and beauty, paying attention to the combination of lyrical narration and discussion, and lacking the impact and critical consciousness like the prose of seventeen years. This kind of article often pays attention to the suspense at the beginning, connecting the preceding with the following, and shows that the self is a person full of childlike innocence and no evil thoughts, but lacks insight. It is that the mind is not polluted and there is no developed personality.
The real change of female prose began with Zhang Jie. /kloc-at the end of 0/979, Zhang Jie's "Picking Ears of Wheat" was published, which became the beginning of the inward turn of China's contemporary prose. It strongly impacted the tendency of politicization and popularization in China's literary world for many years. In the literary history of new China for more than 20 years, Zhang Jie told people for the first time that not all emotions can be clearly classified, but they are all class or social. On the contrary, she reveals a certain nameless state of human emotion. "Picking Ears of Wheat" is divided into two parts. The first part is from picking wheat ears, lamenting girls' yearning for beautiful love to disillusionment with their fate, which is a portrayal of the fate of female groups. The second part is about the sincere feelings between picking wheat ears and the old man selling stove candy. Here, it is more of a portrait of a poor old man. On the surface, it is picking wheat ears, but in the heart, it is sympathy and sadness, which is an ode to love and beauty. These are an enlightening emotional aesthetic education for the prose and even the whole literature at that time.
Towards diversification (since1mid-1980s)
In the mid-1980s, China literature entered an unprecedented experimental and pioneering stage, and the rapid change of literary forms and concepts became a common phenomenon. However, even under such impact, the garden of prose remained silent. The revival of prose is more of a vertical return to the May 4th tradition. However, in the process of large-scale westernization of literature in the new period, prose can't find any foreign theories that it can learn from —— the west has no tradition that lasted for more than 2,000 years like China's prose, so it can't provide a set of fashionable and modern discourse experience for China prose writers. Prose can only keep its aesthetic style unchanged for thousands of years-sleeping under the protection of traditional Confucianism, Taoism and Buddhism culture. It is precisely because of this that some people suggest that prose is dead-"prose is dead, prose is redundant style" 3. The development prospect of prose style is not optimistic. As the style that follows China traditional culture best, will it go to the end like many national art forms? This was a problem in the middle and late 1980s.
However, times often have their irony. Prose, which had just been suspected, suddenly became popular in the early 1990s. It has become the best-selling style in the market, and the long-lost prose garden has ushered in the spring of tourists. In the 1990s, it became an era of "pan-prose", and prose became a ubiquitous literary form, as Jiang Zilong said:
"... there is a tendency of prose in the literary world, such as poetry prose, novel prose, TV prose, film prose, photography prose ... literature prose, everything prose, everything prose. As a result, prose has become an unfashionable but very popular style. It has never been popular, but it is the most popular. "four
So, how did the sudden "prose fever" come into being?
First, it is the result of the development of prose itself. In the early 1980s, Literary and Art Newspaper put forward the idea of "reviving prose". Substantial progress has also been made in the research and criticism in the field of prose, which is not only reflected in some definitions of prose ontology, but more importantly, it criticizes the patterned creative forms gradually formed in the development of prose from the Yan 'an era to the 1950s and 1960s, and subverts some widely recognized prose theories, including Xiao Yunru's "scattered form and scattered spirit", Qin Mu's "beading theory", Yang Shuo's "poetic theory" and Ling Ke's "scattered point theory". Although these theories played a positive historical role when they were put forward, their gradual classicalization and textbook development brought hidden dangers to the overall development of prose. Eliminating this theory in the field of prose is a great liberation of thought, providing a huge context for the prosperity and diversification of prose creation, and also an indispensable theoretical premise for the formation of "prose fever". Prose that has been restored to its true colors has become a style that pays attention to itself, is free in form, has sincere feelings and profound thoughts, and is therefore more attractive to readers.
The 1990s was an era of mixed culture. For more people, reading is a way to relax. After more than ten years of commitment, the avant-garde heavy poetic consciousness and subversion became pale and ridiculous, and finally entered the Jedi, an era of popular culture, which essentially excluded pioneers, especially the pioneers of formalism. When poetry and novels are silent, more inclusive and casual prose appears. Its flexibility conforms to the flexibility of the economic era, its sincerity and simplicity give people a sense of intimacy, and more importantly, it pursues the truth of life. Undoubtedly, in today's highly developed film and television network, people no longer rely on literature and art to experience some illusory space-time imagination. The advantage of literature lies not in its fiction, but in the depth and breadth of its penetration into the human mind and its concern for the most common daily life. Prose, on the other hand, fits the latter and becomes a representative style to show the ordinary mentality of literature. The top-down enlightener who once waved the banner of salvation was finally abandoned, while the essayist who was willing to communicate with readers like a psychiatrist won the trust. In the final analysis, in a cultural atmosphere that rejects fairy tales and legends, any heroic fiction and disguise will be accused. The writer has lost his identity as a cultural shaper, and his economic status and his own cultural situation determine that he is hard to convince. The dream of beautifying life for the sake of art is out of control. This era is an era of beautifying life-the popularity of prose proves that no novel can match the fiction of life itself. Literature has entered a depressed era, but after symbolization, literariness has re-entered public life and become a consumer product. Prose is a popular cultural consumer product that is closest to art in such an era.
When prose returns to the heart and self, female essayists also begin to write for their own souls. The intergenerational phenomenon of female prose in this period is more obvious, and the works of the older generation such as Bing Xin and Jiang Yang are more complete. In particular, Jiang Yang's creation shows profound artistic accomplishment.
Jiang Yang's prose combines the roots of China's traditional culture and western cultural accomplishment. Her prose is not only full of literary spirit and calm temperament, but also has a wide range of knowledge, which is peaceful and quiet. Jiang Yang is an important figure in China's prose circle since the new period, and many of her works are classics in China's contemporary prose history.
Jiang Yang's series of essays reflecting on the Cultural Revolution have made outstanding achievements in artistic expression and ideological depth, among which Six Chapters of Cadre School is representative. Jiang Yang recorded the experience of intellectuals in China during the Cultural Revolution with the mentality of facing chaos but not chaos. It is worth noting that Jiang Yang cut into people's living conditions under special circumstances by restoring people's daily life during the Cultural Revolution. However, the "great metaphor" of history and reality is based on this-what makes daily life deprived? What makes people's desire for a normal life become extravagant hope and not understood? Jiang Yang's prose about remembering people is beautiful, not grandiose, and has the style of historical writing, especially the prose about recalling his father and aunt. Memories of My Aunt and Memories of My Father are very representative essays of Jiang Yang. The current writer wrote about the tragic death of his third aunt, Yang Yinyu, who had no time to prepare a decent coffin. "The board closed hastily, and it was too late to paint. That coffin seems to symbolize the bumpy life of my third aunt. " A few strokes can show the soul of the character. In addition, Jiang Yang is always calm when describing violence, and Remember My menstruation is called "an extremely rare masterpiece showing' cruel beauty' in China's prose history" because of its poetic violence. Jiang Yang's description of the persecution of intellectuals during the Cultural Revolution in his later period was also carried out in a calm, concise and poetic style. Remembering my father is a summary of my father's life and a review of my family relationship with my father. There are about 30,000 words, which can be regarded as a long prose, but Jiang Yang has a good grasp of the rhythm, and the whole prose does not have any lengthy feeling to read. My father is a typical intellectual in China and upholds the principle of "if you are rich, you will help the world, and if you are poor, you will be immune to it". Today, my father's democratic political thought seems to be thought-provoking. He believes that overthrowing a government will not solve the problem, but also strive for a good system to ensure a good government. Although my father didn't write his own book Poetic Charm in the end, in the eyes of his children, he is still a great scholar who left a brilliant masterpiece. Jiang Yang compared Don Quixote to his father: "In Don Quixote, I always feel the saddest thing is what he said after waking up at the end of his life:' I'm not Don Quixote, I'm just a good man.' I once said on behalf of my father,' I'm not Don Quixote, I'm just the author of poetry. I can only say for my father now:' I am not Don Quixote, I am just your father.' Although it is a pity that this book has not been published, I imagine my father will say, "Do I just want to publish a few books of my own?" A few short sentences vividly summed up my father's life.
In the narrative way, Jiang Yang's prose does not deliberately pursue ideological content, and the whole article forms a natural narrative flow. China's traditional line drawing technique is often adopted, so her prose is simple in form, paying attention to aftertaste, keeping the true meaning, and being unpretentious and natural. Implication, elegance, forbearance, understanding, not showing the inner struggle of the soul, only a smooth and peaceful understanding, and a high aesthetic attitude towards China's entry into WTO are all very important qualities of Jiang Yang's prose. Even when expressing the denial of social reality, Jiang Yang's brushwork is often implicit, which has no direct conflict with institutional discourse and is a circuitous narrative. Her prose presents the image of an oriental wise man-calm, philosophical, wise and aesthetic. Therefore, Jiang Yang's prose is introverted, and there is an aesthetic intelligence that melts turmoil into calmness and violence into poetry.
Invisibility Cloak is a philosophical paper by Jiang Yang. She hopes to have a dress that can make her invisible, "the outside can't see the inside, but the inside can see the outside", so that she can stare at the world in her hiding place. Undoubtedly, "this is a Chinese-style' political wisdom'" 6 and the philosophy of dealing with the world, and it is also the survival wisdom accumulated by a generation of intellectuals in years of political movement. Because of this, Jiang Yang's masterpiece Six Chapters of Cadre School lacks the most valuable "shame of sports". In the preface to Six Chapters of Cadre School, Qian Zhongshu wrote: "I think she missed an article, and the title of the article may be tentatively named" shame of sports ". "Remember work, remember leisure, remember this, remember that, it's just a small embellishment of this big background and an episode of the big story." However, Qian Zhongshu also believes that shame is not a feeling worthy of praise. "This kind of mental state seems to be not only useless, but also very unfavorable. If you don't feel, you will be relaxed and happy. " Even after the Cultural Revolution, I realized that shame and repentance were the moral integrity of intellectuals, but I was happy at last. This is probably the way for China intellectuals to preserve their sanity, which also makes China's prose lack the courage to face the pain and the sense of responsibility to seek salvation. Jiang Yang's prose also avoids the pain in the depths of the soul, and the process of purgatory-like suffering is also omitted. Of course, she will not regret her "silence" as a victim during the Cultural Revolution. What the article presents is just a new look of a soul phoenix after nirvana. Those perseverance, silence is golden, subtle, and there is no moment of eruption. Even though Jiang Yang's prose can represent the highest achievement of China's contemporary prose, she still can't break through the limitations of China's traditional culture, which is the lack of Jiang Yang's prose art itself.
Mesozoic essayists were born in the forties and fifties, and the characteristics of these writers are complex. Zong Pu was born earlier, Su Ye was later, and so on. There are many traditional cultural aesthetic temperament in his prose, paying attention to the aesthetic orientation of beauty, neutrality and elegance. However, Thaung Myint and Shu Ting, who were born later, have more poetic light in their prose, paying attention to the capture of spiritual images, emphasizing the texture of language and words, and their feelings are also very delicate, which is closely related to their poet origins. The essays of Julius, Ye Meng and Mei Zhao have entered the inner world of women more deeply. They all call for the reform of prose creation, and many of their articles have the characteristics of stylistic experiments, which have had a great influence on traditional prose creation. Absurdity, subconsciousness, symbolism, etc. are rare features in previous prose, but in their prose, these creative techniques have been well integrated into the text practice. The essays of writers such as Kuang, Zhang Jie, Zhang Kangkang, Wang and Han Xiaohui pay more attention to rational spirit and depth consciousness. They pay attention to the current situation and explore the historical tradition and realistic situation of women's culture. Their prose is a kind of female prose with more strength and depth. Specifically, Zong Pu's Yanyuan Series, Ye Meng's Daughter's Mountain Shame and Creation Series, Lin Si's Soul Series, Su Ye's Old Things in Qinhuai and Zhang Jie's Early Wild Goose Series began to appreciate ugliness, and their brushwork became tough and frank. Wang Culture Reflection Series "The Weakness of Masters" and "Watching the Soul"
In The Rise —— Selected Essays of the New Generation in Contemporary Chinese mainland (published by North Literature and Art Publishing House 199 1), the "new generation" essays appeared as a group for the first time, which became a creative phenomenon that people can't ignore. The new generation of prose writers was born in the 1960s, among which female writers account for a large proportion and become an important new force in China's prose creation. The first thing to mention is Cao Minghua, who was very popular with young people in the mid-1980s. Her Notes of a Female College Student and the later Monologue of a Modern Woman were the earliest integration of the new generation prose and campus prose. Under the depression of the whole prose circle, since the publication of 1.986, the total sales volume has reached 1.3 million copies. This is the first sensation of post-prose in the new period, and it is also a precursor to the upsurge of female prose in the 1990s. Because of this, it is necessary for us to see what enlightenment Cao Minghua has brought us.
In the early 1980s, when people were still immersed in recalling scars and reflecting on history, Cao Minghua provided people with a narrative about "now". The seventeen-year "revolutionary narrative" and the "scar narrative" after the Cultural Revolution were both replaced by "personal narrative" here. The "individual" is presented as a state of life in daily situations rather than a special mission. The war between idealism and idealism is over, and what remains is the spiritual journey in real life. Although Cao Minghua's prose was born in the 1980s and died in the 1980s because of its distinctive sense of the times and the representativeness of a specific group, there is no doubt that the whole prose circle of Cao Ming Huawei has prompted an important creative message, that is, prose should return to the narrative space truly related to individual experience. No matter how loud the roar of the times is, the personal voice must not be drowned, because that is the soul of prose.
Among the new generation of writers, there are both "new prose" writers who try to break through the previous prose mode and some urban leisure prose writers. These are two creative tendencies in the field of female prose in the new period, especially after the 1990s.
Among the new generation of writers such as Feng, Hu, Black Sea, Su Su (Northeast), prose has begun to undergo great changes. They emphasize the artistic and cultural significance of prose, while pursuing the deep consciousness and critical spirit of prose. Compared with the creations of Julius and Ye Meng, the "new prose" of the new generation is closer to life and easier to understand. But on the spiritual level, they are in the same strain, that is, the tense relationship between the individual and the outside world, and the harmonious and comfortable relationship between subject and object that was common in prose in the past was broken. Here, we see the difference between two cultural traditions and two life forms, which is close to a fracture. For the older generation of essayists, they are more influenced by China traditional culture and May 4th literature, and their literary beliefs are more the continuation of Lu Xun and Zhou Zuoren. Traditional culture, whether it is traditional narrative style or spiritual temperament, has a great influence on them. Coupled with the spread of western culture and the great historical changes in the past hundred years, people can feel the outlook on life, personality spirit and wisdom of eastern culture very strongly in the old writers. But for the new generation of prose writers, it is different. Prose is not a philosophical or transcendental style. On the contrary, what they are looking for in this style is personal redemption and reflection. For example, writers of "new prose" are also writing about the trauma of the Cultural Revolution. The topic of the Cultural Revolution is driven by a new generation of scenes and ideas, not an event. It is related to personal psychological complex and life experience, not just a scar or reflection of an era. Although the new generation can only be compared with the old generation in cultural background and writing skills, they do not want to continue their creative ideas but find another way, which just makes up for their lack of cultural education, thus publicizing the unique vitality and artistic imagination of this generation.
In the 1990s, with the emergence of the new generation of female essayists and creative schools, coupled with the existing female essayists of the older generation and the Mesozoic era, female prose really showed a prominent voice. On the one hand, it constantly expands into the deep space of life, on the other hand, it begins to compromise with the fast food culture in the market. On the one hand, feminist thoughts began to impact China's female writing; On the other hand, traditional life and classical culture are still inexhaustible discourse reserves in China's female prose. The prose of the older generation has continued the purest language and cultural resources in China tradition, while the writers of the middle and new generations have started the experiment of trendy prose and "new prose". Under these circumstances, female prose presents a diversified creative style, which is also the embodiment of the multidimensional female spiritual space. The "trendy prose" represented by Yu Si, Ye Meng and Mei Zhao, the old generation prose represented by Bing Xin, Jiang Yang and Wei Junyi, the wisdom prose dominated by Mesozoic writers such as Zhang Jie, Zhang Kangkang, Wang Qi Ying and Han Xiaohui, and writers such as Su Ye and Zong Pu who followed the traditional lyric style of prose represented by Huang Ai Dongxi, Huang Yin and Susu (Shanghai). The "scholar prose" represented by Faye Wong, Dai Jinhua, the "new generation prose" represented by Chen Ran, Feng, Zhang Hu, Black Sea,, Sang Sang and Cheng, and the online prose represented by Anne Baby in the 1970s have jointly formed the development of different generations and styles in the field of female prose.