鍾曉陽以擅寫言情小說見稱。〈喚真真〉不屬於鍾曉陽的典型風格，亦非她名聞臺港的作品，但本論文仍以此小說為研究對象，原因如下：第一，論者一向認為，鍾曉陽與時代無關。不過，從〈喚真真〉來看，她仍有充滿「香港」地方感的作品；第二，從文本分析的角度，〈喚真真〉表面言男女傷逝之情，屬於成長小說類型。然而，男主角的私人記憶，可連繫到香港二十世紀六、七十年代的集體記憶與情感，令〈喚真真〉不難從一則淺顯的、具普遍性質的成長短篇，偷渡到成為只能出現在香港獨特語境的小說；第三，〈喚真真〉寫於1980年代，小說對香港近乎鄉愁式的追懷，較之二十世紀末以來在各類「記憶」跡近泛濫之下而產生的文化製品，〈喚真真〉自然樸拙的筆觸，反覺清新可喜。無論從作者或香港的同類小說而言，〈喚真真〉都獨具特色，值得研究。

Zhong Xiaoyang is known for her many stories based on love themes but Whispering ”Zhen Zhen” is by no means a typical story of Zhong's nor is it widely known amongst local readers and those in Taiwan. Yet I still choose to closely study this novel for a few reasons. First of all, I opine that although Zhong's works are not necessarily tied to any specific times, Whispering ”Zhen Zhen” dose project a strong sense of ”Hong-Kongness”. Secondly, although the story merely evolved around the love between two lovers that faded away as they gradually grew up, one will find from the private memories of the male protagonist traces of collective memories and passion pertaining only to Hong Kong in the 60s and 70s of last century, meaning the story has subtly transformed into a novel characterized by the unique cultural context of Hong Kong. Written in the 1980s, the nostalgia sketched in plain style had prompted Whispering ”Zhen Zhen” to stand above all other overly nostalgic cultural products emerged since the late 20(superscript th) century. Whispering ”Zhen Zhen” is indeed worthy of study in contrast to Hong Kong novels of the same category.