《扶桑》体现了严歌苓雌性写作中人类学叙事,它不仅为作者获得了巨大的声誉,也为扶桑赢得了神一般的身位.严歌苓将扶桑写成文明之前、文化之前、概念之前的存在,并将动物的"自然"混同于人的"自由",将人的奴性、本能强说成母性、神性.诚然,同情弱者与被侮辱者,是文明社会的标识,也是时代的潮流,但如果不把"人"立将起来,如《扶桑》般渲染在被强暴中的享受与自由,则与纵恶无异.《扶桑》中的问题,源于作者对张志扬先生著作的误读.%The Lost Daughter of Happiness(Fusang)epitomizes the anthropological narrative in the feminine writings of Yan Geling in that it has not only gained huge reputation for the author but has also secured a sacred position for Fusang, someone Yan describes as an existence prior to civilization, to culture and to conception whilst she confuses the animalistic'nature' with the'freedom'of humanity, depicting the human slavishness as motherhood and sainthood. It is true that sympathy with the weak and the humiliated is one of the signs that mark a civilized society and a trend of the time. However, if a'human being'is not stood up, the way it is done in The Lost Daughter of Happiness(Fusang)in which the enjoyment of and freedom in the rape is sensationalized, it is tantamount to letting the evil go wild. The issues as exist in The Lost Daughter of Happiness (Fusang)originate with the author's misreading into The Door: the Record of Someone who Does not Have a Door to Enter into by Zhang Zhiyang.
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