This article offers an analytical reading into An Account of an Alien Land(Yixiang ji)and Beauty of Serendipity (Huali yuan)by Eileen Chang, a series of‘travelogues in a foreign land’that can be viewed as‘alien writings’in her exterior volume by paying attention to her views on writing that had experienced great change from after 1947 to the early 1950s, in an attempt to prove that there are many discrepancies between her writing techniques based on the imagerization, situationalization and landscaping of materials that had developed from the semi-colonial urban interior context with such representative works as The Legend(Chuanqi)and The Rumour(Liuyan), and An Account of an Alien Land, about the countryside, an heterogeneous Other. In Beauty of Serendipity, that tells the story of a‘grand spiritual occasion’in rural life, the poetic treatment, dramatized and situationalized, eventually gets back on and swallows up the author:Writing that has been shaped by the colonial urban modernity and the self identification of the emotional subject have both fractured in the relationship of individual histories to the surrounding‘Other’. And this fracture, to a certain degree, predicted the general features of the dividing range in the map of Eileen Chang’s writing career, signifying a conclusion to her writing poetics in the occupied period of Shanghai as well as to her subject matter.%析读张爱玲外集———可视为“异文”的《异乡记》和《华丽缘》等“异乡游记”系列，关注张爱玲1947年后至五十年代初变化甚巨的文艺写作观，可以发现以《传奇》《流言》为代表的根植于半殖民地都市内室语境下发展出来的物象意象化、情境化、景观化的写作技术，在以异质他者的农村为主题的《异乡记》中处处显出扞格不合之处。在叙述乡村生活“精神的盛举”之《华丽缘》中，戏剧化和情境化的诗学处理最终报复和反噬作者：被殖民都市现代性塑造的写作－情感主体的自我认同，在个体历史以及与周遭“他者”的关系上皆出现了断裂。而这种断裂则一定程度地预示了张爱玲写作生涯地图上分水岭的大体样貌，标志着其沦陷期写作诗学技术及题材的告一段落。
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