《童年》是萨洛特惟一一部谈及自身的作品 ,但作者一反传统自传叙事的惯例 ,对生活经历中的重大事件绝口不谈 ,而是浓墨重彩地讲述一些微不足道的琐碎小事 ,消解了自传的教谕和指涉功能 ;她无意阐述某种形而上的意义 ,而是专注于形而下的感觉描写 ,挖掘尘封于记忆深处飘忽不定的心理感受 ,从而消解了读者对于真实性的怀疑。作者寓叙事于对话之中 ,虚构了一个批评者的声音 ,不是信誓旦旦地叫卖真实 ,而是将一切对其叙事的可能的怀疑主动展示出来。像萨洛特的小说一样 ,《童年》处处体现着萨洛特对于一切传统、成规、套式、惯例的怀疑精神 Childhood is Salot’s only talk about his own work, but the author’s anti-traditional tradition of autobiographical narration, the life experience of the major events must not talk about, but hard to tell some trivial trivial matter, digestion She did not intend to elaborate on some metaphysical meanings. Instead, she focused on the metaphysical description of feelings and dredged the erratic psychological feelings of dusty memories, thus eliminating readers’ suspicion of authenticity. Instead of vowing truthfully, the author narrates narratives in conversation, fictionalizing the voice of a critic, but instead exposes all possible doubts about his narrative. Like Salot’s novels, Childhood embodies Salot’s spirit of suspicion of all traditions, conventions, sets and conventions