林海音的代表作《城南舊事》由五篇各自獨立而又相互聯繫的作品組成，記述了臺灣女童英子在北京城南度過的童年時光，是作者童年生活的真實寫照，主人公生活居住環境的變化伴隨著主人公的成長與故事的發展，使得文本中的空間書寫意識尤為明顯。通過分析《城南舊事》中對於主人公居住過的永春會館、蕉嶺會館等地的空間書寫可一窺其中蘊含的作家的客居身份以及與籍地文化圈的聯繫，而作者書寫了在新簾子胡同、梁家園胡同等地的北京典型民居四合院中長大的經歷，又彰顯了客居文化圈與作者一家的關係；作品中主要人物對於所居的文化空間模式的接受，以及適宜於這一文化空間模式的思維活動和行為習慣表現出英子父母與英子兩代人空間意識的不同；作者在成長後以在異鄉書寫著兒時的北京故事，此時的北京又成為了她魂牽夢縈的故鄉書寫，又有著很強的文化認同的意味，昭示了作者大中國主義的觀點。

Lin Haiyin's masterpiece My Memories of Old Beijing is composed of five separate but interrelated parts. It remembers the childrenhood of the Taiwan girl Yingzi in south old Beijing, and is the true portrait of the writer's childhood. The living environment of the protagonist changes along with her growth and the development of the story, therefore, the awareness of spacial writing is especially easy to be felt. By analyzing the spacial writing of the protagonist who lives in Yongchun Guild Hall, Jiaoling Guild Hall and other places, the contact between the writer's guest identity and Jidi culture circle can be displayed. However, the author's experience of growing in Beijing typical Courtyard of Xinlianzi Hutong, Liangjiayuan Hutong and other hutongs can highlight the relationship between the guest culture circle and the author's whole family. The acceptance for different space modes, thinking modes and behaviors reflects the differences between Yingzi and her parents in spacial awareness. The author depicts Beijing childhood story in a foreign land in her adulthood when Beijing has became the hometown in her writing. It represents a great culture identity and the writer's view of a united China.