卫慧的创作在70年代出生的作家的作品中较有代表性。近年来对她的作品评说较多,但大多是从“后现代”、“后殖民”等角度,只看到与传统的断裂方面,而忽略了对传统的承续。事实上,卫慧作为一个受过高等教育的女性作家,并且身处90年代的上海都市社会,其作品还有另一种为评论者所不见的情绪、意蕴———类似古典阴柔美的审美意蕴。这既是中国传统阴柔美文化对作者创作的潜在辐射,也是作者为扩大作品影响的一个写作策略。 Wei Hui’s writings are more representative of the works of writers born in the 1970s. In recent years, there are many comments on her works, but mostly from the perspective of “postmodern ”, “postcolonial ” and so on, she only sees the traditional aspects of the fracture and neglects the continuation of the tradition. In fact, Wei Hui, as a highly educated female writer and in the Shanghai metropolitan society of the 1990s, has another emotion and implication that her critics can not see --- similar to the aesthetic implication of classical femininity. This is not only the potential radiation of Chinese traditional feminine culture on the author’s creation, but also a writing strategy for the author to influence his work.