“非虚构”这一文体在我国呼应着转型期积聚的现实问题，其兴起、发展是作家、市场共同推进的结果。李娟、梁鸿、黄灯的“非虚构”创作影响较大，在主体态度、多维乡土取材、女性写作特质等方面共通。她们的创作呼应着霍洛韦尔对“非虚构”文体要素的定义，且具备系于取材路径的特殊性。进入具体的乡土书写，三位作者的书写一同覆盖了乡土的三重维度。面对乡土整体性的衰落，作者们陷入进退失据的困境，而性别经验带来的无依感使其在城乡之间的漂泊者外多了一重“漂泊的女性”身份。分析过程得见主体的“漂泊者”意识与其“非虚构”创作的文学立场之间的关联，同时也能看到“文学性”与“社会性”不能兼顾、有限“真实”难以承托预设命题这两大局限。

"Non-fiction" this style echoes realistic problems gathered in transformation period in our country, its rise and development are the result that writers and market push together. Li Juan, Liang Hong and Huang Deng have great influence in their non-fiction literature creations, and share common aspects such as attitudes, multi-dimensional local materials and female writing characteristics. Their works echo Hollowell's definition of "non-fiction" stylistic elements, and have the particularity of the source material path. Entering into the concrete rural writing, the three authors' writing covers the three dimensions of rural areas together. In the face of the overall decline of rural areas, the authors fall into the dilemma of being adrift, and the sense of having no dependence brought by gender experience makes them become "wandering women" in addition to the drifters between the urban and rural areas. In the process of analysis, we can see the correlation between the subject's consciousness of "drifters" and its literary position of "non-fiction" creation. And we can see two major limitations: "literariness" and "sociality" can not take into account, limited "reality" can not support the presupposition.