如果我们把李秋沅的两部作品《木棉·流年》和《木棉·离歌》,放在下面一个语境下去观照,会显得更加的珍贵:在现代化的潮流下,“故乡”这个词遭遇到前所未有的尴尬,我们正在失去我们的故乡。当然,木棉岛不一定就是李秋沅的故乡鼓浪屿。但作者在后记中说:“我不太敢将笔墨触及我所挚爱着的故乡鼓浪屿。”这至少说明,木棉岛脱胎于鼓浪屿。所以,我把李秋沅的这两部作品,视作她为故园而写的传记。旧时的鼓浪屿是什么样子的呢?李秋沅说,她“忘不了彼时黄昏 It would be even more precious if we put the two works of Li Qiuyuan on the basis of ”kapok flocks“ and ”kapok farewell songs“ under one of the following contexts: under the tide of modernization, the word ”hometown“ To an unprecedented embarrassment, we are losing our hometown. Of course, Kapok Island is not necessarily the hometown of Li Qiuyuan Gulangyu. However, in the postscript, the author said: ”I do not dare to touch my hometown Gulangyu with my pen.“ This at least shows that Kapok was born out of Gulangyu Island. Therefore, I regard these two works by Li Qiuyuan as her biographies written for her hometown. Gulangyu is the old look like it? Li Qiuyuan said she ”can not forget twilight