周芬伶延續過去十多年來對文、物的關注，寫成《花東婦好》中男性小說家和收藏者的描摹，透過小說家從無法言說到文字愛好的設定，以及對父系史的爬梳，暗示了文字發展史下的政治迫害、社會動盪及世代差距，因同中逐異的思考招致溝通破裂，成為個人及家族創傷。收藏者因忽視古物的「本真性」，引發的終極自戀與慾望導致悲劇，誤入歧途。相較於此，周芬伶塑造了由物而感通的女巫群，以殷商時代的婦好和琉球公主愛沙為核心，轉化宗教轉世的觀點，讓當代女性承繼了女巫在文字、醫療、香方、植栽等技藝，相較於百千年的古物，女性以花、香為載體，物質中隱含的死亡意象，也象徵著女性因物而悟，進一步從通透物質到具有溝通人、神、鬼、獸等之異質存有，展現女性和母系社會的精神力量。作為收藏者和小說家，周芬伶進一步將文物出土過程比擬為敘事，發揮了文物具有碎片和溯返的象徵性，在小說中安插了書中書的形式，提供碎片化的敘事線索，幫讀者拼組故事全貌。另外，器物的陳年性也輔助小說家對於歷史敘事的多重想像，在寫實及文學反映現實的基礎上，周芬伶藉由小說家的摸索，將歷史敘事嘗試歸結到「返回心靈的家」，此又巧妙疊合了小說溯返母系家庭的終局。由是，《花東婦好》借用文字、繪畫等藝術媒材，塑造一群跨時代、通物質進而溝通各個存有的女巫群，回應了厭女時代下，男性因政治鬥爭所引發的受難及瘖啞史，示範了「異中求通」的包容性。

Jhou Felin continues her concern about literature and objects for more than a decade, and writes about male novelists and collectors in "FU HAO of the Eastern Locus at Huayuanzhuang" Through her fictional characters' inability to speak to their love of words and her examination of patriarchal history, the author hints at the political persecution, social unrest, and generational disparity in the development of the written word, the exclusion of others that leads to communication breakdown and even personal and family trauma. The collector, however, neglects the "authenticity" of antiquities, and the ultimate narcissism and desire triggered by the objects, which eventually leads to tragedy and misconceptions. In contrast, Jhou Felin has created a group of witches who are inspired by objects, taking the Yin Shang era's Fuhao and the Ryukyu princess Aisha as the core, transforming the religious view of "reincarnation" and allowing contemporary women to inherit the witches' skills in writing, medicine, incense, and planting. It is also a symbol of women's enlightenment through material things, and further extends from the material to the heterogeneous existence of communication with humans, gods, ghosts, and animals, showing the spiritual power of women and matriarchal society. As a collector and novelist, Jhou Felin further likens the process of excavation to a narrative, exploiting the symbolic nature of artifacts as fragments. In addition, the historical nature of the artifacts also assists the novelist's multiple imaginations of the historical narrative. On the basis of realistic and literary reflections of reality, Jhou Felin the novelist's exploration, tries to bring the historical narrative back to "the home of the heart", which subtly overlaps with the endgame of the novel's return to the matriarchal family. This novel draws on artistic media such as writing and painting to create a group of witches who can communicate with each other across generations and materially, responding to the history of political struggles and mute men in the era of misogyny, and demonstrating the inclusiveness of "seeking common ground among differences".