Was serialized "Feilian's Village" long post, with poetic prose to remember the lost village, the style of writing clear and sparse, a moment of unparalleled. It was later published as a book by Huaxia Publishing House in 2004.

Many literati who read from the countryside have a Tao Yuanming-style idyllic complex. Every day driving a silver-white car to work, sitting in the office building during the day to edit the sad and happy stories of the past and present, and at night back to the East Lake home sitting in front of the computer to write a blog, but the heart is thinking, "I hope that as soon as possible, the end of the affairs of the city as soon as possible will be the old family, has been rusty hoe, shoulder to shoulder". The city's Tao Yuanming is Shu Feilian.

Shu Feilian began writing very early. When he wrote The Chess Player from the Cold Water Village, he had just turned twenty. Whether or not the author is willing to talk about his young work at the time, the quality of the text is actually quite impressive.

Structurally speaking, Wulin Town, Coldwater Village, Chongning Mountain, the plains, and back to Coldwater Village, each change of location is against the will of the protagonist, and destiny is like an invisible thread that keeps pulling him away from the path he wants to take, and eventually, although he walks back from the wrong path by his own will, he realizes that the first fork in the road in his life is what triggered the whole absurd life. Linear and cyclopean narrative is not quite novel but is also satisfactory, although the author believes that such a cyclopean structure is still too subtle and clumsy, if you can open up the narrative, more relaxed, whether there will be a newer weather. In terms of content, the chess player from the cold water village can no longer be simply attributed to which type of novel, which is almost a good work should have the necessary conditions. "Liu Si's face immediately changed abruptly, turned around and agilely picked up the pig-killing knife in his mouth, stepped on the edge of the window, and slid down the drain

Flying down the drain, grabbed his daughter's hand, and then ran toward the woods south of the village. The girl kept turning back the whole way." In such icy and charming sentences, we can already see his special love for the culture of chivalry.

In terms of language style, although Shu Feilian was still in the ivory tower of the academy, he consciously resisted the rough teaching style of his country's liberal arts education with his innate intuition, and injected into his writing the nourishment of the sense of language that he had drawn from the countryside since he was a child. (Example: for a moment, Yuan An thought of the blacksmith's daughter, Xiu Xiu, the girl who was healthy, simple, and beautiful, and who could well have been a plain and ordinary couple like all the other young people in town, quarrelling, playing cards, and having a bunch of children, but that possibility had been cut off by her mother.)

Of course, Shu Feilian hadn't developed his own distinctive style at the time, and his lines are reminiscent of Kafka's The Castle, with shades of Calvino and even Greek mythological tales. That said, even if the imitation marks y, such a starting point is not too low.

In addition, if there is any shortcoming in this text, it is that Fei Lian's nature of loving white descriptions has not been fully stretched out, and his language has been precipitated by some of the literary cadence of the academy, with too many adjectives and subtle rhythms, which is obviously not his forte. The dragged-out, dispensable lines of his work are still not recognized by the public. (Example: "The room was filled with the sweet and sour aroma of roasted sweet and sour fish, an aroma that gave real meaning to the home and made people feel cozy and peaceful. Soon soup pots and dishes gathered on the table, and the sumptuous dinner and his mother's silent, solemn face instead made Yuan An feel godly; this was his last night in Wulin Town.")

Shu Feilian has never been shy about the influence of folklore on him. In his teenage years, he was exposed to readings without thesis white all belong to folk creations. According to the author, folk literature is characterized by disregard for feelings and resting on their laurels. Perhaps to tell a complete story in a short space, it is necessary to eliminate the content with strong subjective color, so folk literature often presents a kind of super-objective attitude: life is just like grass, and it can be narrated only in plain language. It can even be said that in order to cater to the tastes of the marketplace, it is permissible to be slick; in order to achieve the purpose of indoctrination, it is also permissible to be didactic. But attention to detail and emotion, exaggeration, and sensationalism are not tolerated or needed. This characteristic is better or worse not to say it, but to the west wind eastward academy of literature, to the current home country began to prevail and have a prairie fire trend of murmuring style, is undoubtedly a family elders of the spicy slap.

Perhaps this will become one of Shu Feilian's unique difference from other writers. This is why "Feilian's Village" has become a classic work of Internet literature.

In 2010, Shu Feilian's new work "Greenwood" was published, got the two chairmen of the Association of Writers, three university professors, ten famous writers, including Cang Yue, Jiangnan, Cai Jun, Bufeiyan, Feng Ge, small linden, including the joint recommendation, known as Wang Xiaobo's heir, Wang Xiaobo "heroic novels" revival of the Tang Dynasty legend, the series is the author of the series of "Greenwood" with the "heroic novels" revival of Tang dynasty, the "Greenwood" series is the author of the series of "Greenwood" with the "Greenwood" series of "Greenwood" series of "Greenwood" series of "Greenwood" series of "Greenwood" series of "Greenwood" series of "Greenwood" series. The Greenwood Chronicles series is the author's attempt to revitalize the Song dynasty with the Greenwood Novels. The author is the editor-in-chief of the domestic genre literature magazine Imago Legend - Martial Arts Edition, and has a deep understanding of martial arts, fantasy and other genres of literature. He endeavors to intersect these experiences with his own writing practice, trying to cross the boundaries between popular literature and pure literature, and create a new text. Influenced by semiotics and structuralism, the author endeavors to intersect the classical Chinese sense of language with the narrative and concepts of postmodernism, and his work exhibits a pioneering quality that is close to that of Western writers such as Pamuk, Eco, and Calvino. The eight works are independent of each other and also have flitting connections. Since 2003, they have continued to be published in domestic genre literature magazines, and have been selected for inclusion in the annual domestic literary yearly anthologies of all years, representing a domestic endeavor to explore the field of genre literature and traditional narratives towards new literature.