刘震云的《故乡面和花朵》以 4卷本近 2 0 0万字的篇幅达到了形式主义文本实验的极致 ,它把汉语言的快感式表达推到登峰造极的地步 ,无疑是汉语小说最为奇异怪诞的作品。但这部作品并未引起学术界的足够重视 ,更谈不上深入研究。探讨这一作品的文本构成、思想意向与叙事方式 ,应该是破解汉语小说在当代达到最大的艺术可能性的有效途径。这部小说把乡土中国的现实 ,与后现代的未来的空间杂糅在一起 ,以极端荒诞的手法来解构历史与未来 ,它用后现代手法对乡土中国的改写 ,使本土性这一被固定化的历史叙事 ,被推到神奇的后现代场域 ,显示出刘震云对乡土中国叙事的强有力开创。其彻底的虚无思想而又混杂着传统孝道的暗恋 ,预示着当代精神价值重建的真正困局 Liu Zhenyun’s “Native Lands and Flowers” reached the extreme of formalistic textual experiments with 4 volumes of nearly 20,000,000 characters. It pushed the expressive expression of the Chinese language to the top and is undoubtedly the most weird of the Chinese novels works. However, this work has not drawn enough attention from the academic world, let alone in-depth research. Exploring the text composition, ideological intent and narrative style of this work should be an effective way to crack the maximum possibility of Chinese art in the contemporary era. This novel combines local Chinese reality with the space of the postmodern future to deconstruct history and the future with extreme absurdity. It uses the postmodern approach to rewrite the native China so that the localization is fixed Historical narrative, was pushed to the magical postmodern field, showing Liu Zhenyun’s strong pioneering of local Chinese narrative. Its complete nihility and mixed with the traditional filial piety of crush on, indicates that the real spiritual value of the real reconstruction of the dilemma