In this paper, Zhang Guixing's novels Elephants 群象and Monkey Cup猴杯are the main texts under discussion, and the perspective of explaining "graphs" (文 wen) and analyzing "characters" (字 zi) is utilized to examine cultural imaginings and representational strategies in Sinophone literature. The paper indicates that Sinophone literature consistently adopts "Chineseness" as a critical target for dialogue. Zhang Guixing's novels use the interactions between "characters" and "graphs" to develop a dialogue with "Chineseness" that runs through the inner essence of his stories, plot configurations, character development, and rhetorical devices. Chinese characters were originally created based on pictograms (象形 xiangxing 'shape' or 'form'). The 象 xiang in the title Elephants refers to 'elephants' and 'truth,' but also has connotations regarding writing, imagery, and symbolism. Elephants adopts the varied meanings of 象 xiang and uses Chinese characters and symbolic techniques in the search and hunt for 象 xiang. As a result, however, the text deviates from the "China/Chineseness" that is its source and the object of its pursuit. Monkey Cup focuses on "graphs." Beginning with the tattoos of the indigenous peoples of Borneo, the work rethinks and rewrites concepts within Chinese culture, including civil administration, writings on ceremonial rites and regulations, and writing/speaking. A primitive or original biological nature replaces an acquired humanistic nature, and the ideal of edification through civilization is replaced by the reality of the weak falling prey to the strong. Even though this is the case, however, Sinophone script or Chinese characters still prevail as the medium of narrative representation. The tensions inherent therein continuously develop the self-dialectical energy within Sinophone literature.