Summary of the Core Content
This article uses the passing of Shi Nansheng (the real-life inspiration for the character Jiang Nansun in Eileen Chang’s novel *Golden Years*) as a starting point to discuss the timeless value of Eileen Chang’s works. The “Eileen Chang heroines” she created—independent, sober, and concerned with maintaining dignity—are essentially a product of Hong Kong’s economic boom during the 1970s and 1980s. At that time, Hong Kong was transitioning from a manufacturing-based economy to a consumer society, with a large number of women entering the workforce and facing dilemmas between love and money, independence, and loneliness. Thirty or forty years later, cities like Beijing, Shanghai, Guangzhou, and Shenzhen have reached a similar economic stage, and these old novels have suddenly resonated with urban women on the Chinese mainland. The article also explores the “Shanghaiese” influences in Eileen Chang’s writing (the cultural impact of capital from Shanghai flowing south), the challenges of adapting her works for different contexts (the conflict between traditional family structures on the mainland and Hong Kong’s sense of independence), the perceived “coldness” of Eileen Chang’s characters in modern times (a remnant of the era’s survival logic), and her own fate as a “remnant of that era.”
Breakdown and Interpretation
1. Why do mainland girls suddenly love reading Eileen Chang’s novels now? — The economy has reached the same stage
Eileen Chang’s novels were written in Hong Kong during its economic upswing in the 1970s and 1980s, when the city was transitioning from manufacturing to a service-based economy, with widespread employment and rising incomes, leading to more women becoming independent workers. The issues she addressed—“Do I want a lot of love or a lot of money?” “What if I’m independent but lonely?” “How can I maintain my dignity?”—were the real struggles faced by professional women in Hong Kong at that time.
Today, cities like Beijing, Shanghai, Guangzhou, and Shenzhen are in a similar economic situation: women are working, earning more, but still facing these same dilemmas—for example, whether to rely on their parents for a down payment on a house or how to balance love and careers. Eileen Chang’s novels seem prophetic; they describe Hong Kong’s past, yet they accurately reflect the realities of life on the mainland. For instance, the concept of “wanting a lot of love or a lot of money” from her novel *Xi Bao* has become a common phrase among women today, as they finally have the financial independence to make such choices.
2. Where does the “refined taste” in Eileen Chang’s novels come from? — The influence of Shanghaiese culture
Eileen Chang was born in Shanghai and grew up in Hong Kong, and her novels reflect this cultural heritage. In the 1940s and 1950s, many Shanghai business owners moved to Hong Kong with their money and industries (such as textile factories), bringing with them Shanghai’s sense of refinement, professional ethics, and dignity. Hong Kong’s economic growth was essentially a continuation of these Shanghaiese values in a different location.
Eileen Chang captured this essence in her characters—like Jiang Nansun’s neat short hair and attention to clothing, as well as Zhu Suosuo’s urban sophistication. As mainland cities (especially Shanghai) have developed, this Shanghaiese modernity has “returned.” Shanghai girls find Eileen Chang’s novels relatable because they represent something that was once lost but now regained.
3. Why are adaptations of Eileen Chang’s novels often criticized? — The contrast between mainland family structures and Hong Kong’s independent lifestyle
In the 1970s and 1980s, Hong Kong was a city of immigrants where people largely relied on themselves; families provided support but were not overly involved in their lives (for example, Jiang Nansun’s wealthy family did not interfere with her choices). Mainland girls, however, face different pressures—relying on parents for financial assistance with housing and facing pressure to get married quickly, as well as the influence of their original families.
Therefore, adaptations of Eileen Chang’s novels must be adapted to fit mainland contexts. For instance, in *The Story of Roses*, the wealthy Hong Kong heroine is transformed into a Beijing woman with conflicts with her in-laws; in *Cheng Huan Ji*, the character Mai Chenghuan is portrayed as a “princess from a Shanghai alley,” highlighting her struggles with her mother. Without these elements that reflect mainland family dynamics, Eileen Chang’s characters seem out of place.
4. Why does Eileen Chang’s image appear so “cold” in modern times? — The remnants of the era’s survival logic
Eileen Chang’s early life was quite dramatic: she pursued a painter at 17, had a child at 19, and even intercepted her friend’s private messages. Later in life, she idolized Shi Nansheng (a symbol of independence and dignity) and emphasized the importance of maintaining a good appearance. Her perceived “coldness” (such as her lack of contact with her son) is not a natural trait but a result of the harsh realities of Hong Kong’s survival era. In that city, one had to be independent and unapologetic to survive. However, after moving to Vancouver, where life was slower and safer, this “hard shell” became unnecessary. As a “remnant of that era,” her later works lack the vibrancy of her earlier ones, as they were no longer rooted in their original Hong Kong context.
5. Eileen Chang’s view on consumption: It’s not about material possessions, but about dignity after overcoming scarcity
Eileen Chang’s novels often mention luxury brands like Casmir and scarves, good restaurants—these are not signs of wealth display but a reflection of Hong Kong’s consumer society. In the 1970s and 1980s, people in Hong Kong were just beginning to enjoy the fruits of economic growth, and she taught them to feel confident about their desires (e.g., “Clothes should fit you, not you fitting the clothes”). This view on consumption is still popular today; for example, women buying expensive skincare products is seen as a way to treat themselves well. Eileen Chang helped legitimize this desire for a refined lifestyle, which is a natural outcome of economic development.
Final Conclusion
Eileen Chang’s novels are like postcards from Hong Kong’s prosperous era, sent to the future mainland. She herself was the last “remnant” of that era, carrying the wisdom of survival that became obsolete in a world that no longer needs it. The passing of Shi Nansheng means we have lost a real-life example of the “Eileen Chang heroine,” but her stories will continue to be understood by women in every city experiencing economic growth.