Chen Ruoxi's novels have always had a strong realistic color [3]. As some scholars have pointed out, her novels have been developing step by step with the whole realistic political and social situation (it can be said that when she went there, the story ended there), reflecting the life patterns of various characters at every special stage of her birth. Her female consciousness is no exception [4]. Chen Ruoxi's works are often closely related to the space-time environment and ideology he experienced. The real author Chen Ruoxi and the implied author (Chen Ruoxi's Second Self) [5] are often not far apart, and are inextricably linked. Therefore, according to Chen Ruoxi's personal life course and the change of time and space environment, the academic circles divide the creative characteristics of his works into four stages:
(1) Early works (works from university, 1957~ 1962): such as Uncle Qin, Black Cat with Gray Eyes, Barry's Journey, Soul Collection, Xinzhuang, George and Burning Night. During this period, Chen Ruoxi's novels have shown a realistic color, paying attention to the local folk customs and civilians in her growing environment [6], especially describing the tragic fate of middle-and lower-class women dominated by traditional folk customs and taboos under the patriarchal social system [7]. Folk taboos and women are the themes of her writing.
(2) Novels reflecting Chinese mainland's Cultural Revolution: 1966, Chen Ruoxi returned to the mainland with her husband as a student studying in the United States in Taiwan Province Province at the beginning of the Cultural Revolution, and lived in the Cultural Revolution for seven years before and after. 1973 left the mainland and returned to Hong Kong. Chen Ruoxi, who stopped writing for eleven years, first revealed the inside story of the Cultural Revolution in the form of novels in Hong Kong's Ming Pao Monthly on 1974 and 1975 respectively, and published works such as County Magistrate Yin and Gunner in Beijing, which attracted worldwide attention and became a well-known writer. In Chen Ruoxi's fifteen short stories and one novel Return, two novels, Jingjing's Birthday and Nixon's Press Group, tell their stories from the perspective of women's first person. In Hukou, Ren Lanxiu, Ding Yun, Unit 13, Girlfriend Afen and other works, telling other people's stories from the first-person perspective of women shows that Chen Ruoxi attaches importance to women's thinking consciousness. The female characters in the novel are also rich and varied, but they can't get rid of a fate, that is, political interference and the intrusion of political movements. "Politics" has violently penetrated into their world and dominated their destiny. Their luck and misfortune all stem from political factors [8]. The fate of women under the social system has always been one of Chen Ruoxi's concerns.
(3) Novel creation with the theme of American Chinese society and the worldly wisdom of the three places across the Taiwan Straits: Chen Ruoxi/Kloc-0 moved to San Francisco from Canada in 979, bid farewell to the novels of the Cultural Revolution in terms of novel theme, and took the American Chinese society and the worldly wisdom of the three places across the Taiwan Straits as the theme; Novels such as Breakthrough, Vision, Erhu and Paper Marriage, and collections of short stories such as Inside and Outside the City, Sorrow of Wang Zuo, Guizhou Women, etc. Chen Ruoxi seems to be stepping into a brand-new field, and people from different political, social and cultural backgrounds have entered her field of vision [9], among which the reflection on female subjectivity is still one of the main concerns. Although the novel involves various themes such as divorce, affair, dispute between mother-in-law and daughter-in-law, single-parent family and so on, at first glance, it does not seem to be divorced from the category of women's problems in the 1980s [10]. However, in the struggle between old and new values, Chen Ruoxi repeatedly points to the reflection of women's subjectivity, realizing women's growth, awakening and independence through broken marriage or unfortunate love. Therefore, in the face of the shackles of the traditional concept of marriage and family, the female images in Chen Ruoxi's novels in the 1980s showed unprecedented freedom. Hong Qian, a professor at Xiamen University, pointed out that Chen Ruoxi had written dozens of short stories about women's fate from his early old works, Black Cat with Grey Eyes (1957) to The Third Party (1995), which spanned 36 years. The female images in his novels have experienced roughly from "unfortunate Eve" to "suffering beauty" and then to "comfortable woman".
(4) Looking for the daughter's home in Taiwan Province Province: Chen Ruoxi returned to Taiwan Province to settle down 1995, a resident writer of Central University for one year, and an adjunct professor of Tzu Chi Medical College. Now she is the executive director of China Women Writers Association, a member and volunteer of Wilderness Protection Association. It is because of the divorce of relatives and friends, and Shi and I are actively engaged in the counseling work of "Yixian Club" that we discovered the seriousness of women's problems in Taiwan Province Province [12]. Daughter's Home, Creating the Peach Blossom Garden, Aunt Shimizu's Coming Home, and The Secret of the Perfect Husband all focus on the female problems in Taiwan Province society. As she said in the preface of "Daughter's Home", "What Women Depend on":