In the 1980s-90s, Hong Kong fiction writers expressed their concerns on 1997 handover. The narration on identity and/ or historical archaeology generally included feeling such as uneasy, anxiety and fear. XiXi’s “the floating city” and “Fei To City”, Dung Kai-cheung’s “Wing Shing Street”, Li Bihua’s love affairs of Shek Tong Tsui are some examples. In 2007, ten years after handover, several “ten-years” retrospect and reviews were found in Hong Kong literary criticism. But the focus of literary critics and creative writers are not (and need not) the same. Would the concerns and feelings related to handover still a continuous and serious topic in Hong Kong fiction, similar as before 1997? How fiction writers imagined Hong Kong? And, how do metaphors work in their creative writing? What is the relationship between politics and lyric? This paper will study on the fiction published around 2007. For example, Hon Lai-chu’s “Lam Muk is a chair” (2006) Wong King-fai’s “The guilt and loves in Democratic City” (2007), Chan Chung-hing’s “poetic grapes” (2007), etc.
|Publication status||Published - Jun 2013|