汪曾祺、馬麗華，都以擅於書寫「苦難」而成就文名。汪曾祺以淡化、抒情的風格藝術化了苦難，成就其「人生獨到的觀察」、「品位較高的藝術享受」，迥異於同時代之傷痕文學，獨樹一幟。馬麗華則先以壯麗的「審美暈眩」建立西藏苦難特色，之後又以「文明醒覺」意識扮演介入者，重構西藏的理想風景。 　　兩人相異之處在於，汪曾祺是往後（傳統、舊民俗）走，往寫意寫，自居於逃避者角色，作品風格傾向靜止、休養、滋潤功能。馬麗華則是往前（現代、新文明）走，往寫實寫，自居於在場者角色，作品風格傾向動盪、批判、治療功能。 　　兩人成功之處，都在於視角的超越，使筆下的苦難獲得提煉或昇華，不但顯現出優化的精神世界、生命質量，亦是人類未來終極思考的觀照；最終意義，已不是在苦難本身，而是化解苦難、凌越苦難。

Wang Zeng-qi and Ma Li-hua are both good at and famous by writing misery. Wang Zeng-qi use sentimental style to make misery artistic and accomplish “unique life observation” and “the higher taste of art enjoyment”, which is quite different form contemporary scar literature.Ma Li-hua first builds the Tibet misery by the magnificent“aesthetic vertigo”, then as the involved role by“culture awareness” to reconstruct the Tibet ideal landscape. 　　The difference between two of them is that Wang Zeng-qi is on the traditional way and writes by the escapist. His works style tends toward recuperation and moisture function. But Ma Li-hua is on the modernized way and writes as the role in presence. Her works style tends to criticize unrest and the treatment of functional. 　　Both of their success are the beyond of viewpoints , which not only distill or sublimate miseries, but also show us another spiritual world that is also the ultimate thinking of future view – not only looking the misery itself, but resolving the misery, going beyond the misery.