轩锡明7岁到了青海,一头扎进农村,与吃洋芋的放羊娃一起玩耍,和拉鼻涕的小伙伴同桌读书,按说也该算是个“青海人”,作品也应该洋溢一股土生土长的炕烟味,但是细读他的作品就会发现,与本土作家井石,鲍义志等人相比,他有自己特殊的味道。这种不同并不在于能否熟练地应用当地的方言俗语,而在于作品本身的内含、在于作品所表现出的文化意蕴。他的作品又不同于杨志军、昌耀,他不愿做过多的形而上的思考,而更多地注目于生活本身,这与他所处的环境有关,相对比较封闭的生活使他接受西方现代思潮的影响要晚一些,而出生于农村,艰难生活的磨炼又使他更为务实,是生活逼着他拿起了笔,是农村的巨变呼唤着他,使他情不自禁地走上了创作之路。最初的创作便以其稚嫩而又充满活力的生活气息吸引着读者。收在其小说集《魔琴》中的《赶马车的小伙子》、《捧上一掬酸瓶瓶》应该是这一时期的产物。 At the age of 7, Xuan Xi Ming went to Qinghai, plunged into the countryside, played with the sheepskin to eat the potato, and studied at the same table with her little boy who had runny nose. It should also be regarded as a “Qinghai man” by her saying that her work should also be a native However, if you read his works carefully, you will find that he has his own unique taste in comparison with the local writers Weishi and Bao Yi-Zhi. This difference does not lie in the ability to apply local dialects and colloquialisms skillfully, but rather lies in the inherent implication of the work itself in the cultural connotations exhibited by the work. His works are different from Yang Zhijun and Chang Yao. He is unwilling to do too much metaphysical thinking, and he focuses more on life itself, which is related to his environment. Relatively closed life makes him accept western modern thoughts Was born later in the country and his hard life made him more pragmatic. Life forced him to pick up the pen, a great change in the countryside called him so that he could not help embarking on the path of creation . The original creation attracts readers with its immaculate and vibrant atmosphere of life. Collected in his novel “Mo Qin” in the “chariot boy”, “holding a bottle of acid” should be the product of this period.