张抗抗，女，1950年7月出生于杭州市。历任第七、八、九届中国作家协会副主席。现任国务院参事。定居北京。从事写作四十余年，已发表小说、散文共计八百余万字，出版各类文学专著近百种。代表作有长篇小说《隐形伴侣》《赤彤丹朱》《情爱画廊》《作女》、中篇小说集《把灯光调亮》、短篇小说集《白罂粟》、散文随笔集《牡丹的拒绝》《张抗抗散文》等。曾获全国优秀短篇小说奖、优秀中篇小说奖、第二届全国鲁迅文学奖，有多部作品被翻译成英、法、德、日、俄文，并在海外出版。

      张抗抗的作品大致由以下三个方面的内容构成：中国“文化大革命”时期的知识青年生活、中国改革开放后的城市生活及女性诉求、作者对历史的回顾与思考。张抗抗八十年代的作品，具有明显的启蒙主义思想特征。随着社会环境的变化，其女性叙事特点渐渐凸显，塑造了一批新时代的女性形象。但她仍然是一位具有强烈社会批判与自我批判精神的实力派作家。她的写作风格糅杂了现实主义和浪漫主义，也有为数不少的探索性实验文本。

      张抗抗的短篇小说《白罂粟》《干涸》、中篇小说《残忍》《请带我走》，揭示了一个扭曲年代的人性异变，对“文革”的非理性、暴力以及人自身的虚伪软弱，进行了清理和认识。长篇小说《隐形伴侣》讲述了两个青年男女在北大荒恋爱、结婚又离婚的故事。小说的女主人公满怀对生活的美好理想，但婚后的生活使她的理想破灭，陷入极度的痛苦和迷惘之中，她对以往的“信仰”及人性本质发出了诘问，终于认识到每一个人的体内都有另一个终身无法摆脱、令人震颤的“隐形伴侣”。《赤彤丹朱》从女儿的视角讲述了父母一生的遭遇。以不同颜色的中国汉字的排列组合，构成一幅悲壮的历史图景。作者描述了从“红色理想”到“红色风暴”到最后“红色神话”的消解，从个体命运中寻找半个世纪席卷中国的“红色变奏曲”的成因，对诸如“牺牲”“阶级”“血缘”“真相”等，进行了解构。《作女》，以中国汉字中的“作”（折腾）为引线，塑造了中国20世纪90年代到21世纪以来，女主人公“卓尔”以及一群京城的年轻女性。她们在不断的放弃与尝试中，体现出强烈的独立精神，具有鲜明的女性主义立场。《情爱画廊》的故事发生在烟雨朦胧的江南小城与粗犷的北方都市之间，以地域文化差异呈现出东方情调和中国风格。小说表现了女主人公在传统的“母性”和女人“自我 ”之间内心的纠葛与挣扎。

      张抗抗新近刚完成了一部新的长篇小说，反映20世纪80年代中国知识分子的心灵史，非常值得期待。

Zhang Kangkang was born in Hangzhou in July 1950. She served as Vice-President of the 7th, 8th and 9th sessions of the China Writers Association. She currently works as a consultant to the State Council and resides in Beijing. In the more than 40 years that she has worked as a writer, she has published more than 8 million words and close to 100 literary works, including novels and essays. Her most notable works include the novels Invisible Partner, Four Shades of Red, Gallery of Love and High-Maintenance Women, the collection of novellas Turn Up the Lights; the collection of short stories White Poppies,  as well as the collections of essays The Refusal of the Peony and Collected Essays of Zhang Kangkang. She has won awards such as the National Prize for Outstanding Short Story, National Prize for Outstanding Novella, and the 2nd Lu Xun Literary Prize. Her works have been translated into English, French, German, Japanese and Russian.

The subject matter of Zhang Kangkang's works can be roughly divided into three categories: the lives of young intellectuals during the Cultural Revolution, urban life and feminist struggles after the "opening-up and reform", as well as her own personal recollections and musings on history. Zhang Kangkang's works from the 1980s carry evident characteristics of the "new enlightenment" movement from that time. As society continues to change, Zhang has increasingly emphasized the female identity of the narrator, creating different representations of women in the new age. However, her works are still known first and foremost for their critiques of society and the self. Her writing style blends modernism and romanticism, although she has also written a number of experimental texts.

Zhang Kangkang's short stories White Poppies and Dried-Up, as well as her novellas Ruthless and Please Take Me Away, speak of warped human experiences during a tumultuous period of history. They summarize the irrationality and violence of the Cultural Revolution, as well as the hypocrisy and fickleness of human nature. The novel Invisible Partner tells the story of a young couple in the Great Northern Wilderness who fall in love, get married and finally get divorced. The novel's protagonist is initially full of hopes and aspirations, but the harsh realities of life after divorce cause her to slip into a state of immense anguish and confusion. She begins to doubt her past convictions and the essence of human nature, before finally realizing that inside every human is an inescapable, soul-stirring "invisible partner". In Four Shades of Red, a daughter recounts the hardships that her parents have endured throughout their lives. Zhang arranges differently colored Chinese text into a poignant portrait of history. By examining the fate of individual characters, the author traces the origins of the ideology that for half a century took China by storm, evoking it as a song entitled Three Variations on Red that progress from "Red Ideals", to the "Red Storm", and finally, to the "Red Myth". Zhang also deconstructs notions such as "sacrifice", "class", "blood relations" and "truth". High-Maintenance Women (Zuo Nü) uses the implications of the Chinese word zuo ("to do pointless things") as an on-going theme as Zhang tells the tale of Zhuo'er and a group of young women in Beijing from the 1990s to the beginning of this century. As they jump from one endeavor to the next, they demonstrate a powerful sense of independence, as well as clear feminist values. The plot of Gallery of Love is split between the small cities shrouded in rain and fog to the south of the Yangtze River, and the harsh cities of the North. Gallery of Love shows the inner turmoil of the female protagonist resulting from conflict between her role as a traditional mother and her ideals as an independent woman.

Zhang Kangkang recently completed a new novel that reflects the spiritual journey of Chinese intellectuals from the 1980s. Its publication is anticipated by critics and readers alike.