1978年改革開放以來，藏族作家扎西達娃寫出小說〈西藏，繫在皮繩結上的魂〉後，藏族漢語文學便豎立起旗幟鮮明的族群文學特色。往後，1990年代以《塵埃落定》聲名大噪的阿來，以及二十一世紀初以〈放生羊〉一文獲得關注的次仁羅布，也陸續成為藏族漢語文學的「民族代言人」，豐厚了該族的寫作成績。扎西達娃、阿來和次仁羅布這三人的小說路線固然相異，但是相同的是，小說具有同樣的藏族文化底蘊。當代藏族漢語文學寫作者，被迫或自願跨越語言限制敘寫藏族民族主題時，必須將潛藏在政治限制裡的宗教文化「翻譯」成小說敘寫重心，但是三位作家在不同時代呈現相異敘寫方向的同時，其根基底蘊卻是同源於「神話」與「人」的藏族文化精神。

After the Opening of China in 1978, Tibetan writer Tashi Dawa wrote the short story “Tibet: A Soul Knotted on a Leather Thong 西藏，繫在皮繩結上的魂.” Since then, Tibetan writers have established distinctive ethnic literary characteristics in their Chinese-language writings. The novelist A Lai, who won great fame in the 1990s through his work After the Dust Settled 塵埃落定, and Tsering Norbu, who attracted attention for his short story “The Sheep Released to Life 放生羊,” in turn became representative ethnic voices in Tibetan Chinese literature. Although these three writers have the same Tibetan cultural heritage, they have taken different approaches to their works. Whether they are forced or willing to write about Tibetan national themes, these contemporary Tibetan writers of Chinese literature have overcome language barriers and have “translated” religious cultures, hidden behind political restrictions, into the focus of their fictional narratives. While the three writers have taken disparate narrative strategies in three different periods, their backgrounds are rooted in the Tibetan cultural spirit, which is derived from both “the mythological” and “the human.”