在中國的文學傳統中，女性文學幾乎全被歸類於「閨怨文學」。過去或許如此，但是近四、五十年來，在台灣，就像齊邦媛教授說的:「我們活在一個容不下閨怨的時代。」因此，女性文學便展現出另種與過去迥然有別的風貌。 回顧過去的歷史陳跡，光復初期，在台灣的女子，剛從日治的陰影出來，必須在語言和艱苦的物質生活中奮鬥；而由大陸來台的女子，在渡海的途中也早已把閨怨淹埋在海濤中了。文思泉湧，感情澎湃的女作家們，在經歷了一場空前未有的時代大動亂，早就走出閨房和廚房，用更積極的態度與勇氣，壯實了文壇。 在台灣寫作的女作家之中，林海音是一位實力最強的代表之一。 In the traditional Chinese literature, the feminine literature has almost been denned as “chamber-room sorrow literature”. This used to be true. For almost four or five decades, in Taiwan, just as Professor Chi Pan-yen put it, “we are living in a time not allowing the chamber-room sorrow." After the Taiwan Restoration in 1945, the Taiwanese females had to struggle for living in a hard condition; and the females from mainland China also had burying their chamber-room sorrow in crossing the Taiwan Strait. The ups and downs of life is not words and sentences, it is a real living experience. In views of early published female writers, the Chinese literature in Taiwan is not so-called “chamber--room sorrow’ literature. Among the female writers in Taiwan, Lin Hi-Yin is one of the most powerful representatives.
