叶兆言是这样一个作家:在《枣树的故事》、《悬挂的绿苹果》等作品中,人们可以感觉到形式上的某种开拓与求新;但在他的《追月楼》、《状元境》中,人们又不难发现其形式所严格恪守的古典写实主义传统。在我注意到叶兆言作品的形式并注意挖掘它的意味时,一个隐藏着的现象被我随之发现了。毫无疑问,存在着这么一类作家,他们的创作实践可以通过某些特定的术语来表达。譬如,张承志小说中强悍的英雄主义激情与沉醉于內心独白形式之中的感悟,苏童小说中藏掖于意象之中的神秘与潜伏于情节线索之中的历史感,残雪小说中的荒诞感与诉诸形式上的梦呓特征。这里,术语概括的既是形式又是意味,既是作家鲜明的风格特征,同时也是主题学范畴的某种概括。对批评家来说,抓着了这些至少意味着抓住了一个能够撼动作家的强有力的支点。所幸的是(抑或不幸?),在叶兆言的小说中也存在着 Ye Zhaoyan is such a writer that people can feel some form of pioneering and innovation in works such as The Story of Jujube and Hanging Green Apple. However, in his “Chasing the Moon House,” “ Habitat ”, people are not difficult to find its form strictly abide by the classical realism tradition. When I noticed the form of Ye Zhaoyan’s work and paid attention to discovering it, a hidden phenomenon was discovered by me. There is no doubt that there is such a class of writers whose creative practice can be expressed in certain terms. For example, Zhang Chengzhi’s fierce heroic passion and indulgence in the form of inner monologue, the mystery hidden in the images of Su Tong’s novels and the historical sense lurking in the clue of the plot, the absurdity in Can Xue’s novels And resort to formal dreams feature. Here, terminology is both a form and a mean, which is both a distinctive stylistic feature of the writer and a generalization of the subject category. For critics, clutching them at least means grabbing a powerful fulcrum that can shake writers. Fortunately (or unfortunate?), Ye Zhaoyan novels exist