在花蓮作家中，王禎和善以多語交織、雜燴式的的小說語言表現其對所在土地的多面觀察，一方面是其對鄉土的「寫實」，一方面也是對鄉土的「睥睨」。論者或謂王禎和的文字運用是一種對「鄉土」的翻譯。「這套雜燴語言不僅道出臺灣歷史的演進，更反映臺灣歷史裏，多種文化交錯、衝突、混合、一再蛻變重生的文化模式」。其翻譯的動力來自一種期待掙脫束縛尋求解放的庶民活力。同樣的，在這個發展脈絡之下，九○年代竄起的鄉土寫手林宜澐，同樣也是成長於花蓮，「其作品所反映出來的恣肆奔放的草莽性格，可能更甚於他的先驅者王禎和。」而這樣的繼承關係除來自於遊走在虛構與現實間的獨特想像力，及如魔法師一般在多重身份間轉換的說故事模式之外，其獨特營造的嘉年華語言風格也是其主要特色。本文以為林宜澐另一語言特色在善於以「時語襲改」及「頂針換喻」的方式堆塑出一種對時代與社會的揶揄嘲謔與跳躍遊戲式的觀察，並將之擴大為其主要的創作手法。相對而言，王禎和的語言運用則偏向隱喻式的方式。本文將嘗試由此出發，比較兩人語言表現形式的異同，以進一步探討兩人創作特色可能的關係內涵。

Among Hualian writers, Wang Chengho is known for his exploration of heteroglossia in novels as well as his observation of the local life: on the one hand he represents his homeland in a realist style, on the other, he belittles it. As critics have argued, the heteroglossia in his works reveals the process of Taiwanese history, reflecting the intersection, contradiction, and hybridization of multiple cultures during its course. His works thus function as a translation of ‘the local,’ based on his expectation of the liberating energy of the vulgar. Writing in a similar style, Lin Yiyun, grown up in Hualian, emerged as Wang’s follower at 90s. Compared with his predecessor, Lin’s ‘wildness’ shown in his works goes even further. The comparative relationship between Wang and Lin does not only root in their imaginative writings wandering between the virtual and the real and their skills as story tellers, skipping between multiple perspectives, but also in their characteristic carnivalesque language style. This paper argues that Lin’s other language strength lies in his creative appropriation of terms in vogue and employment of ‘Ding-Zhen metonymy’, which contributes to his playful observation and ironical representation of the society at a particular era. In comparison, Wang tends to employ metaphors.