留白，體現在汪曾棋作品裡，是自我憐惜的寂寞境界、無法認同的現實世界，以及受創心靈的解脫。它被以各種手法營造為純審美化的藝術內容，其處理結果，為一種除傷去憂的浪漫主義理想、寫意式的文人畫美學。儘管實質心境是悲欣交集的，但作品流露的態度卻是苦中何妨作樂、絕望處亦有可為。「絕望處」是寂寞，「可為處」是美麗，汪曾棋小說的況味，就來自於這兩種力量的交集，再加上「純審美」的藝術傾向，從而造就其小說成為「人生獨到的觀察」、「品位較高的藝術享受、自成一家的精美享受」。雖然，他小說的意義是建構在對現實的留白與審美上，是滋潤而不是治療，頗具局限性；但換個角度看，他被推崇的獨特性，正也是產生在這種局限中，才顯得自成一家。

Blankness, as embodied in Wang Tseng-chi's汪曾祺 fiction, is a lonely world of self-pity and of irreconcilable reality, as well as an emancipation of a trauma-stricken mind. Inherently aesthetic in nature, his blankness is a freehand "literati painting" that reflects this nature, while at the same time produces the result of a romantic ideal that eliminates pain and melancholy. Despite of the mixed reality of both the bitter and the sweet, Wang's works reveal a move to find happiness amidst sorrow and a belief that things can be achieved despite an oppressive feeling of despair. The pendulum of Wang's uniqueness swings back and forth between the loneliness in desperation, and the beauty in action. With his artistic tendencies toward pure aesthetics, Wang's works contain peculiar observations on life, a unique and delecate enjoyment of things, and a high level of artistic refinement. Even though the meaning of Wang's works is built upon a blankness of reality and pure aesthetics, and is consoling in nature rather than therapeutic, it has its stark limitations. Yet, from another perspective, his uniqueness and distinctiveness that come from these limitations is what makes Wang's works extremely original.