＂Chuanqi＂, Eileen Chang's first fiction anthology shows her primal concern with the genre of fantasy related to the traditions of literary fantasy in China and the West. Through analysizing three stories from this anthology in the aspects of image, rhetoric, and structure, this essay argues that they represent the modernity of fantastic fiction, superbly embodying her female point of view and her aesthetics of ＂beauty and desolation.＂ By limitedly applying the theories of Tzvetan Todorov and Rosemary Jackson on the fantastic, I delineate unique characteristics of Chang's fantasy. Unlike the supernatural, dreamlike ＂second world,＂ she creates fantastic moments in everyday life, in which ＂uncanny＂ experiences imply doubt and fear in the modern world. In her use of the fantastic, Chang questions reality and truth from the female point of view, not only subverting the ＂status quo＂ governed by reason, but also problematizing her own fiction language, best exemplified by the ambiguous image of the modern woman on the cover design of ＂Chuanqi＂.