他把传统小说重点“写什么”变为“怎么写”，预示了小说观念的根本转变，标

He changed the focus of traditional novels on "what to write" into "how to write", foreshadowing a fundamental change in the concept of the novel and marking the degeneration of "writing" to "writing". In 1985 he wrote "The Temptation of Mount Gandis", which marked the maturity of his narrative methods. Through the replacement of multiple narrators, the role of the narration itself is emphasized, the interpretation of the interpretation is turned to the narration mode, and the story is hidden behind the narration mode. This "narrative trap" makes the meaning of the narrative way higher than that of the story.

He changed the focus of traditional novels to "how to write", which foreshadowed the fundamental change of the concept of fiction and marked the degradation of "creation" to "writing". In 1985 he wrote "The Temptation of Gundis Hill", which marked the maturity of his narrative approach. Through the replacement of multiple narrators, the meaning of the narrative is emphasized, the identification of interpretation is turned to the narrative mode, and the story is hidden behind the narrative mode. Such a "narrative trap" makes the meaning of the narrative way higher than the meaning of the story.

He changed the focus of traditional novels from "what to write" to "how to write", which indicated the fundamental change of novel concept and the degeneration of "creation" to "writing". In 1985, he wrote "the temptation of Mount Gangdise", which marked the maturity of his narrative method. Through the replacement of several narrators, it emphasizes the meaning of the narrative itself, turns the recognition of interpretation to the narrative mode, and hides the story behind the narrative mode. Such a "narrative trap" makes the meaning of the narrative way higher than the meaning of the story.<br>