有關閩北女神臨水夫人的小說，最廣為人知的是《臨水平妖記》，這本書大陸失傳多年，兩岸交流後回傳大陸。其內容主要則是根據《閩都別記》前幾章情節加以改寫。《閩都別記》書成於乾隆、嘉慶之間。另有一本《陳靖姑傳》，因失傳許久，不能確定何時所作。檢閱最近出版的福建民間信仰相關論著，乃至福建古田舉行的臨水夫人研討會論文集均未提及這本《顯法降蛇海遊記傳》。自孫楷第以後的各本小說提區之類的工具書，亦未著錄此。雖別有一本《海遊記》(三秋出版社《中國古代珍秘本文章》)，名稱近似，內容卻完全不同。所以截至目前為止，這本全像小說應是根據臨水夫人平妖古事所創作，最早的小說作品。 這本小說的「出土重現」有以下幾點值得關注：第一、就版本學上這，它是清初乾隆時代文元堂重刊的建本全像小說，原本 則是明代末期熊龍峰忠正堂刻本。雖然邊角磨圓，版心分離，紙薄易碎，但裡面的圖文大致完整。這類全像小說或許不如元刊或明刊本珍貴，但原本在臺灣重見天日，應屬稀有。第二、就內容而後，它較接近於《三教源流搜神大全》卷四「大奶夫人」所述，卻又有所不同，且更加詳給。和《閩都別記》、《臨水平妖記》差弱較大，顯然反應創作者和流傳時地的特殊背景。第三、從民間攸仰觀點看，這本小說雖然把陳靖姑的出世、學法、降蛇收妖、得道受封等托諸觀世音菩薩的主導，有獨尊佛教的傾向，但卻也強調閭山法教的特質，在思想上有此提升巫教地位，以與儒、釋、三教並立之意，這種觀點可說極少見。第四、在文藝技巧上呈現一種質樸粗糙的特質，說明通俗文學作家汲取民間信仰時可能出現的一些問題。第五、「建本全像小說」另有明代吳還初的《天妃娘媽傳》，述湄州媽祖林默娘故事，同為女神，同樣與水有關；而一生於閩南、一生於閩北，在臺灣的香火信眾有有強弱之別，亦擬順便對照探討。本文即按以上五點加以論述。

The most well known novels about Madam Riverside, a goddess popular in the northern Fjuian province, is Linshui Pingyao Ji (An Account of Riverside Subdued a Monster). This novel was lost in China and later brought back to China from Taiwan recently. The content of this novel is based on the first few chapters of Mindu Bieij (An Account of the Min Capital). Mindu Bieji was written during the reigns of Emperor Qianlong and Jiaquing. Another work related to this series of works is Chen Jingu Zhuan (A Biography of Chen Jingu). As this book was lost so it would be hard to date it. Quanxiang Xianfa Xiangshe Haiyiu Jizhuan (A complete Illustrated Account of Manifestation of Spiritual Power in a Journey to the Ocean in which a Serpent was Tamed) seems to be the earliest among this series of books based on the story of Madame Riverside subduing the musters. This statement is based on the fact that this novel is not mentioned in any of the research on Fujian popular beliefs published in China, nor was it mentioned in any of the research on Fujian popular beliefs published in China, nor was it mentioned in any papers presented at a conference on Madame Riverside held in Fujian, Gutian. Even in a reference book in which the excerpts of classical novels are collected, this novel is not mentioned. Although there is a novel entitled Journey to the Ocean in this reference book, it has no connection to our subject of study as the content is quite different. The “rediscovery” of this novel givers rise to the following issues that require further investigation. First, it is a Qianlong era reprint by Wenyuan Hall based on the mode carved by the Ming Zhongzheng Hall (run by Xiong Longfeng). It is printed on very thin and fragile paper with round edges. The illustrations and writings remain intact in this edition. Although it is a Qing reprint and is not as valuable as the Ming and Yuan editions, the discovery of this text is important in that this kind of edition quite rare. Second, the content of this onvel is very similar to the chapter four of Sanjiao Yuanliu Soushen Daquan but not Mindu Bieji and Linshui Pingyao ji. This provides us some clues for the time and location of this novel. Third, this nvoel is quite unique in that the significance of local shamanism is stressed. Although Guanyin Bodhisattva is portrayed as the advisor of Chen Jingu who guides Chen to leave household, to subdue the monster serpent, and finally to attain the Dao, its Buddhist inclination is outweighed by the doctrine of Lu Mountain that seems to be the real center of this novel. Fourth, the literary skills adopted in this novel are immature and unsophisticated, which points to the possibility of popular writers creating stories drawing from folk beliefs. Fifth, another complete illustrated novel is Tianfei Maniang Zhang (The Biography of Heavenly Consort Maniang), a biography portraying the life of Lin Moniang of Meizhou in southern Fujian. As both novels are biographies of goddess related to water, and one was popular in Southern Fujian and another in Northern Fujian, and they were both worshipped in Taiwan, a comparison and contrast of these two deities become a very interesting and important topic. These are the five issues that I will discuss in my paper.