朱少麟（1966-）從九〇年代出版第一部作品後，一直是暢銷作家，但她並非為了賣書而寫作，每一部作品皆是反思自我生命焠鍊而成的。目前為止，她僅僅寫了三部小說，但這三本書是她思索生命的軌跡，而最後一部作品《地底三萬呎》一書，是作者經過兩部小說的省思後，再進一步地求索人生的問題和解答。本書虛構出一個邊境的河城，這架空的城鎮便可放諸四海，是所有社會的縮影，也可說是人心的折射。書中的場景、物品、名稱和對話，在作者的巧手下，織就成華美細膩的意象網絡。筆者認為「鏡像折射」為這本小說設計的基調，書中的世界彷彿是鏡子所構成的迷宮，所有的一切都能被視為「鏡子」，植物、動物、河川、城鎮、人們互相折射出彼此，且在對方身上又看見他人的折射，眼睛所見的「真實」，皆是折射的虛像。虛實交錯穿插，無限擴展，從多元角度詮釋自我生命，每個詮釋既是真實也是虛幻。本文希望藉由分析書中的人物、意象與結構，探討朱少麟如「多面鏡像」的寫作手法。

Zhu Shaolin （1966-） has been a best-selling author since her first novel had been published in the 90’.She never writes only to sale, instead, every piece of her novel has reflected her deeply thoughts on her own life. Although she has only written three novels so far, all of them have revealed the trajectory of her life. The reason why we choose "the underground 30,000 feet" to discuss is because this book provides the answers to the questions of life. This book invents a imaginary border town, a River City, which can be viewed as the Epitome of our socities, and can be taken as the refraction of the people as well. The scenes, items, names and conversations in this book have been delicately tranformed into a skilled- gorgeous- metaphorical networking. I believe that the mirror refraction is the main tone of this novel. The world in this book is like a
mirror-made maze, thus everything can be regarded as a "mirror", like, plants, animals, rivers, towns. People mutually reflect each other, and simultaneously see the projection from others. But what hat they have received is only an inflectionally virtual image. The illusion and the truth are criss-crossed and unlimitedly expanded in this book. She adopts a multi-dimensional method to interpret her own life, and each interpretion can be real and fantasy at the same time. I therefore propose this article as "mirror refraction” By the analysis of the settings in the book, I can explore her " multi-faceted mirror writing techniques.