一每一个作家都在致力于寻找语言和小说之间的秘密契约。阎连科也是一样。单从语言来看,《日光流年》、《坚硬如水》和《受活》这三部长篇,很难让人相信它们是出自同一位作家之手,它们之间的差异性不仅体现在语速、语态和语气的不同上,也表现在修辞、语言内部的张力和整个叙事方式上的不同。但是,这三部小说却有一个最大的共同点,即对方言的极具实验性的使用。《日光流年》如耙耧山脉朝雾般“黏稠”的语言使我们感受到这一群命中注定活不过四十的人们内心的怨恨、愤怒和孤独而绝望的挣扎;而《坚硬如水》的“狂欢”书写则让我们感受到时代话语对民间语言的强压及由此产生的民间思维对时代思维的颠 Every writer is dedicated to finding the secret contract between language and novel. Yan Lianke is the same. From a linguistic point of view, it is difficult to convince people that they are from the same writer with the three senior members of The Sun, New Year, Hardship, and Living. The difference between them is not only reflected in the speed of speech , The difference in tone and tone, but also in the rhetoric, the tension within the language and the narrative style of the whole difference. However, one of these three novels has one of the biggest things in common, that is, its highly experimental use of dialects. “The Year of the Sun,” like the fog-like “sticky” language of the raking mountains, made us feel the desperation of hearts, resentment and loneliness in this group of people who were destined to live only forty lives. The “hard-working” “Carnaval ” Let us feel the writing of the era of discourse on the language of the strong pressure and the resulting folk thinking Britain’s thinking