華語語系文學的提出主要是想在中國（現當代）文學以外建構更實切的名號， 以更好的定義與闡釋包括中國以及中國以外其他地區或國別的文學。最關鍵的劃 分在於文本中對中文的運用，是使用正統/純正/規範中文，或是以「異言中文」 （Chinese of difference），前者為中國文學，後者為華語語系文學。無論如何，華 語語系文學的討論是進入21 世紀才開展，但異言中文的出現卻遠早於華語語系概 念的提出，是離散於各地的華人與當地本土語彙交融之後的產物。作為出身大陸 後遷臺的謝冰瑩與鍾梅音，她們來南洋的動機或許不同，但是她們都無可避免地 走入一個她們並不太習慣的異言中文的世界裏。她們從陌生到自覺到吸取挪用異 言中文，這是讓人感興趣的過程。她們如何在生活中歸納了一連串的異言中文詞 彙，並與正統中文比照，進而有意識地吸納這些異言中文來寫作，而這樣的作品 又產生了怎樣的語言形式上的效果。

The advocating of Sinophone Literature is a means to construct an accurate terminology apart from the (Modern and Contemporary) Chinese Literature, with the aim to provide a better definition and interpretation of the other Chinese literature outside the territory of China. The main difference between the Chinese literature and the Sinophone literature is the former uses standard Chinese while the latter uses “Chinese of difference”. Even thoughthe discourse of Sinophone Literature has only started emerging in the 21 century, but the existence of “Chinese of difference” appeared earlier than that, and is the mixture of Chinese and local languages. As mainlander who later migrated to Taiwan, Xie Bingying and Zhong Meiyin, though they have different motive to travel and stay in Nanyang (Southeast Asian), they both have to face the alienation world of Chinese of difference. Xie Bingying and Zhong Meiyin feel strange at the beginning, however, they conceive the sense of conscious, and eventually absorb and use Chinese of difference after. Thisis an interesting process. This paper explores how they figure out the vocabularies of “Chinese of difference” and compare them with the standard Chinese, and further adopt them into their literary writings consciously. This paper also investigates what kind of effect in term of linguistic form that their works created in the end.