西西的創作一直有傳承的特性，除了繼續前期的某些想像方式，也會預示下一階段的創作方向。例如〈浮城誌異〉裏有關「肥土鎮」的源起，很多來自〈肥土鎮的故事〉，飛翔的想像方式可以遠溯至1973年發表的短篇小說〈草圖〉，而對於九七回歸的問題，〈浮城誌異〉的第十三則「窗戶」，首次加入了「被觀看」的元素，預示了之後的創作如〈瑪利個案〉及〈肥土鎮灰闌記〉中的後設風格。本文以「浮城」，「浮人」和「飛翔」三個意象為綱領，試圖分析〈浮城誌異〉和西西前後期創作的關係，及馬格列特的畫作如何起作用，最後歸納出全文的結構如何和想像的步伐一致，產生出呼應和起伏。

Succession has long been the feature of Xi Xi’s creative writings. Her writings not only inherited some ways of imagination from her previous works, but also foretold her writing directions of the next stage of creation. In Fucheng Zhiyi (or The Chronicles from the Floating City), for instance, the origin of ＂Feitu Zhen＂ (or Fertile Soil Town) is originated from Feitu Zhen de Gushi (or The Story of Feitu Zhen); The imagination of ＂flying＂ can be traced back to Caotu (or The Sketch), which was a short story published in 1973; As for the Handover of Hong Kong in 1997, ＂TheWindow＂, which was the thirteenth entry of Fucheng Zhiyi, has added the element of ＂being gazed＂ [Giovanna1], and foretold the meta-style of Xixi's latter works such as Mali Ge’an (or The Case of Mali) and Feitu Zhen Huilanji (or The Legend of Chalk Circle in Fertile Soil Town). Through the images of[Giovanna2] ＂floating city＂, ＂floating people＂ and ＂flying＂, this paper attempts to analyze the relationship between Fucheng Zhiyi and Xi Xi's former as well as latter works, and investigates how the painting of Magritte influenced Xixi's writings. It then concludes that the textual structure and the imaginations found in her work are in the same pace, which produced echoes and ripples of the story.