Feminism and narratology joint hands to come out of their theoretical quagmires in the 1980s as the former often ignoring textual precision and the latter sacrificing the contextual significance. Susan Lanser first proposes to combine classical narratology with feminist criticism and connect structuralism with gender politics with the suggestion of "feminist narratology". It undergoes fruitful development in the following four decades with continuous efforts of theorists such as Susan Lanser, Robyn Warhol, and Kathy Mezei, which can be divided into three periods: the emergence in the 1980s, intersectional development since the 1990s, and a prospect of heading toward queerer and more feminist narratology since 2010s. In China, Dan Shen and many other scholars have been introducing and applying feminist narratology in textual analysis. Most notably, Shen provides a feasible and effective method to plot analysis with "covert progression" and "dual narrative dynamics", contributing to the development of feminist narratology. Borrowing from Lanser's prospection of feminist narratology as "queerer" which means to "destruct", this study suggests "to queer" is not only "to destruct" the sexual fixities, cultural hegemony, literary tradition, and binary thinking, but also "to construct" a community with gender equality, an innovative and open literary community, and a community with a shared future for all beings with an analysis of Beat poetess Diane di Prima's poems.