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Tatiana Fisac of the [[Autonomous University of Madrid]] argued that the book uses the Taiwanese authors of 1949-1976 "as the truly significant contributors to the Chinese literary canon during that time" and ""alternative worlds" to the asphyxiating political atmosphere for creative writing that prevailed during the Maoist era on the mainland, when the subordination of literature to official politics was enforced."<ref name=Fisacp476/> Huang argues that even though the authors from 1949-1976 were mainly in Taiwan, the time period 1949-1976 was relevant to the Mainland and not Taiwan, and he argued that the exclusion of the Mainland works "only adds to the inadequacy of their overall "historical scheme"".<ref name=Huangp1090/> He also stated that not including Communist literature during the 1949-1976 period results in "a disruption in the anthology's implied historical presentation, and therefore, undermines to a degree its comprehensiveness" and that this is the case "[e]ven if one agrees with the editors that the literature produced in China during this period generally lacks genuine literary appeal".<ref name=Huangp1089/> McDougall argued that by omitting almost all Mainland authors from 1949 to 1976, "readers are deprived of flawed but nevertheless compelling examples of political fiction struggling to make sense of drastic social change."<ref name=McDougallp654/>

Tatiana Fisac of the [[Autonomous University of Madrid]] argued that the book uses the Taiwanese authors of 1949-1976 "as the truly significant contributors to the Chinese literary canon during that time" and ""alternative worlds" to the asphyxiating political atmosphere for creative writing that prevailed during the Maoist era on the mainland, when the subordination of literature to official politics was enforced."<ref name=Fisacp476/> Huang argues that even though the authors from 1949-1976 were mainly in Taiwan, the time period 1949-1976 was relevant to the Mainland and not Taiwan, and he argued that the exclusion of the Mainland works "only adds to the inadequacy of their overall "historical scheme"".<ref name=Huangp1090/> He also stated that not including Communist literature during the 1949-1976 period results in "a disruption in the anthology's implied historical presentation, and therefore, undermines to a degree its comprehensiveness" and that this is the case "[e]ven if one agrees with the editors that the literature produced in China during this period generally lacks genuine literary appeal".<ref name=Huangp1089/> McDougall argued that by omitting almost all Mainland authors from 1949 to 1976, "readers are deprived of flawed but nevertheless compelling examples of political fiction struggling to make sense of drastic social change."<ref name=McDougallp654/>



Genres of post-1976 works include ''[[xianfeng (disambiguation)|xianfeng]]'' ([[avant garde]]) works, works by women, and "misty" (menglong) poetry. Works in the first category include those of [[Can Xue]] and [[Yu Hua]]. Those in the second include those of [[Li Ang (writer)|Li Ang]], [[Tie Ning]], and [[Xi Xi]]. Those in the third category include [[Bei Dao]] and [[Shu Ting]].<ref name=Fisacp476/>

Genres of post-1976 works include ''[[xianfeng (disambiguation)|xianfeng]]'' ([[avant garde]]) works, works by women, and "misty" (menglong) poetry. Works in the first category include those of [[Can Xue]] and [[Yu Hua (author)|Yu Hua]]. Those in the second include those of [[Li Ang (writer)|Li Ang]], [[Tie Ning]], and [[Xi Xi]]. Those in the third category include [[Bei Dao]] and [[Shu Ting]].<ref name=Fisacp476/>



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