known as Haipai (Shanghai School). A novella and six of her stories have been translated and collected in an anthology, Lapse of Time. In his preface to that collection, Jeffrey Kinkley notes that Wang is a realist whose stories "are about everyday urban life" and that the author "does not stint in describing the brutalising density, the rude jostling, the interminable and often futile waiting in line that accompany life in the Chinese big city". Wang has tried other forms of writing. In 1996 Wang co-wrote the period film Temptress Moon with director Chen Kaige and Shu Kei. In 2007, she translated Elizabeth Swados' My Depression: A Picture Book from English. Wang has been a professor in Fudan University since 2000s. Narrative style Wang likes to combine history with current facts to create, and integrate historical cultural into the narrative of the novel. "The Song of Everlasting Sorrow" is actually a poem written by Bai Juyi, a poet in the Tang Dynasty, about the love between Tang Xuanzong and Concubine Yang. Based on a piece of real news and ancient history, Wang Anyi unfolded another kind of love story, cleverly combining current knowledge and history. On the other hand, Wang Anyi is good at narrative methods that see the ‘big’ from the ‘small’. From "Song of Everlasting Regret" to "Kao Gong Ji", she reflects the changes in society and the times through the description of characters. Hong Zicheng commented that "Among women writers, Wang Anyi is seen as a writer with an exceptionally wide field of vision and the ability to harness many forms of life experience and literary subject matter." The cultural critic, Dai Jinhua, remarked on her literary creation after Wang won the 2017 Newman Prize for Chinese Literature, "Wang Anyi is a good at capturing the miniature drama of mundane lives ... Her world is a gallery of humans, in which you encounter China, the world, and the river of life that is enduring and sublime, yielding yet constantly invigorated ... She does not write about ordinary people in a general sense; she writes about laborers, and the daily lives of those laborers, regarding their love, fear, life, and death." Through her writing career, Wang transitioned from experience-based writing to more strategic narration. In a 1991 interview, she claims that her early works only describes scenes, without the narrator's presence. Late on, she transitioned from objective narration