作為一個說故事的職人，駱以軍透過《西夏旅館》意圖質問二個基進問題：「為何有故事，而非沒有？」，以及「故事如何成為無限？」對於第一個問題，駱以軍透過一種「故事入口」的微感書寫，反覆地展演故事進場前一瞬的特異時空狀態。對於第二個問題，《西夏旅館》則形塑一種「故事有字，字即故事」的故事－單子宇宙。這似乎是一種故事書寫的萊布尼茲主義。然而，在這些特異的形式之外，纏祟《西夏旅館》的是一個「變成」的大寫故事。從時間中的「變成之傷害」，駱以軍以書寫的意志建構了一整座強虛構的文學時空。

As a storyteller, Yi-Chun Ro raises two radical issues in the Western Xia Hotel: the first is, “Why is there history and not, rather, nothing?” Second, “How does the story become infinite?” Regarding the first question, Ro’s writing offers a micro-sensation, the discovery of space-time of the before entrance of the story. As to the second, Western Xia Hotel offers a world in which there are words in the story, but each word in turn is a story, too. It seems that the writing is already confused with Leibniz’s universe. Yet, beyond these singular forms, it is a History of becoming that haunts Western Xia Hotel. From the injury of becoming in Time, Ro endeavors to write a space-time block, which is literary fiction in the strong sense.