20世纪80年代,是文学回归的春天,是中国文学界愿意想起、愿意回忆的时代,也是一个挥之不去的时代。很多作家记录了关于80年代的回忆,他们叙述苦难,揭发伤痕,书写难过,表达反思。基于同样的人生历程叙事,蒋韵的长篇小说《行走的年代》,蒋韵的理解与感受与众不同。她在《后记》中写道:“有的人终其一生注定要行走在路上,他们是我们的翅膀。”八十年代让“这些人”狂热,狂热地行走在路上,也让他们迷惘,迷惘地找寻翅膀,这是他们在这个时代的一种对于自我的表达形式,带有寓言性质,而且是多义的表达。瓦尔特·本雅明认为“寓言是一种表达方式,是一种优于象征的审美形式。寓言不仅是修辞概念,不仅是艺术作品的形式 In the 1980s, it was the spring of literature return, the time when Chinese literary circles would like to think of and remember, and it is also a lingering period. Many writers recorded memories of the 1980s, describing suffering, exposing wounds, writing sad, and expressing reflections. Based on the same narrative of life course, Jiang Yun’s novel The Walking Age, Jiang Yun’s understanding and feeling are different. She wrote in The Postscript: ”Some people are destined to walk on the road life, they are our wings. “ Eighties let ”these people“ fanatical, fanatical walking on the road, also Let them be confused and find their wings lost. This is their expression of ego in this era, with a fable nature and a polysemous expression. Walter Benjamin argues that ”allegory is an expression, an aesthetic form that is superior to symbolism." Allegory is not only a rhetorical notion, not only in the form of a work of art