小说已经根据自己的内在逻辑走到道路尽头了吗?它是否已经穷尽了其全部可能性、全部认识和全部形式?我听说有人把小说的历史比作因长期开采而被耗尽的煤田。但是,它不是更像一块错过机会,听不见呼吁的墓地吗?这里,我想对四种呼吁作出特别应答。游戏的呼吁:劳伦斯·斯特恩的《项狄传》和丹尼斯·狄德罗的《宿命论者雅克》,在我 Has the novel come to the end of the road according to its own internal logic? Has it exhausted all its possibilities, its full realization, and its totality? I have heard that the novel’s history is likened to the field of coal that has been depleted by long-term exploitation. But is not it more like a cemetery that missed the opportunity to hear the call? Here, I would like to make a special response to the four appeals. The game’s appeal: Lawrence Stern’s “Di Di Chuan” and Denis Diderot’s “fatalist Jacques,” I