In the 1990s Chinese fictions, narratives of masculinity are summarized in three aspects. Firstly, male egos manifest masculinity which aspires to be dominative. the pursuit to hegemonic masculinity accompanies self objectification and loss of his identity. Secondly, hegemonic masculinity is ambilateral. The successful male lacks relationship, only to prove that the practice of hegemonic masculinity is in discord with masculinity which has been provided by patriarchism. Finally, the heterogenized heroic masculinity has been created. It simultaneously embraces positive qualifications of traditionally heroic male identity and the commercialistic trait that goes with the consumeristic society. Meanwhile, the masculinity featuring elimination of everything non masculine reveals nervousness and anxiety for its weakening. Hereby, male narratives in the 1990s Chinese fictions expose precariousness of masculinity with two features. The hegemonic masculinity causes precariousness because it disagrees with the masculinity that is required to practice gender roles granted by the patriarchal system. Also, masculinity becomes precarious because it claims to be powerful. The request for powerful masculinity reminds it of masculinity that leads to control and power. Since the powerful masculinity is built on eliminations of non masculine traits, it contains dangers of isolation and discord. Then it becomes a major precariousness conceived in the strong masculinity.