台灣小說創作發展到二十世紀末，總體敘事上的「華麗」對新世代小說家而言無啻是個嚴格的考驗。在九○年代初出文壇的「五年級」新世代作家們大多數是在技巧、風格、形式、語言、題材上變本加厲，與那些已然奠定地位的文學前輩們爭妍競豔。其中少數則是另闢蹊徑，尋覓小說書寫的化外之境。此間，駱以軍與袁哲生大概可以算是上述兩種創作典型的代表。袁哲生的小說是九○年代台灣創作主流以外的另一種「異數」。既沒有和其他同時代作家對美學形式、技巧的學習或模仿（如張大春、平路、駱以軍等），也沒有對時下的社會文化議題表現出高度興趣（如李昂、朱天心等）。相反地，袁哲生的寫作手法明顯表現出「輕」的技巧，其美學則帶有濃厚的抒情風格。特別是場景的經營、意象的捕捉、節制與留白的敘事手法、抒情的視野，還有現代文學傳統裡審視關注的人類的普遍經驗、共通處境，這些都在袁哲生筆下獲得再次發揮與詮釋的機會。因此，本文試圖透過「輕」與「抒情」這兩個美學概念來貫通袁哲生十年來的創作特色及其核心，在分析作家美學技巧的同時，並且嘗試說明作家選擇的技巧與形式、主題內容之間的相互扣連。

By the end of the 20th century, the development of Taiwanese fiction generally has become descriptively “lavish” which proved to be a difficult challenge for new generation writers.　The new generation writers of “the 60’s” that has dominated the literature forum of the 90’s, mostly choose to elaborate too far on writing technique, style, format, linguistic and theme so as to compete with writers of previous generations who have established their names in this field. A few writers choose an opposite way, ventured out into a totally different area. Within this period, writers Luo Yichun and Yuan Zhesheng, respectively could be considered as the typical icons of these two poles of fiction writing.Yuan Zhesheng would be considered as a renegade when compared to other mainstreams in Taiwanese literature.　His works doesn’t have the aesthetic format, the learning of writing techniques or the mimicking of works done by masters such as Chang Tachuen, Ping Lu and Luo Yichun. Nor does he express his interest in society related issues like writers Li Ang, Chu Tienhsin and so on. On the contrary, Yuan Zhesheng’s writing style shows significantly the technique of “lightness” whereas its aesthetics brings out the thickness of rich lyrics.　What’s more to mention his scene management skills, the capturing of images, sparing and spacing, all within the field of descriptive writing style and lyric vision.　In addition to these, his works include the conventional values found in contemporary literature, such as the reflection and examination of humanity and the sharing of general experiences and common predicament.　These values once again has a chance to elaborate and prosper in Yuan Zhesheng’s writing.　For these reasons, this study would like to use two aesthetic concepts namely, “lightness” and “lyrics”, to understand the core value and special characteristics of Yuan Zhesheng’s works over the past ten-year. Aside from analyzing the aesthetic techniques of the writer, this study will also attempt to explain the reasons behind the selection of technique, format, theme and content as well as the correlation between different factors.