「亡靈敘事」手法不僅能展現作家恢弘多元的想像力，也使創作內容有了更自由的釋放。本文針對閻連科的中篇作品，進行廣泛蒐羅，計得相關作品七篇。首先以〈橫活〉一文，說明其對古典「說書人」敘事模式的沿襲，乃為配合小說題材與時代背景；至於「亡靈敘事」模式的加入，則顯示了作家創作初期對文體實驗的高度興趣與創造企圖。次以〈尋找土地〉、〈和平殤〉及〈在和平的日子裡〉，分析閻連科如何根據內在結構與情感表達訴求，抉擇敘事者，並由此解決戰爭小說空間跨度大的敘事問題。最後以〈鳥孩誕生〉、〈行色匆忙〉、〈天宮圖〉，說明作家如何藉由農民化鬼的設計，體現底層民間百姓求生的掙扎。總結而言，亡靈敘事手法的運用，實表徵了作家召喚庶民情懷、解構主旋律的文化反思，同時也藉由跨時空對話反映社會問題，重構了歷史景觀。

“The narrative of the dead” can not only show the writer’s broad imagination but also make the expression of creation freer. I searched a wide range of Yan Lianke’s medium-length works, getting seven pieces of related work. First of all, I will use “Heng Huo 橫活” to explain that it follows the narrative of classical “storytellers” to agree with the theme and the background of the novel. The addition of “the narrative of the dead” shows Yan’s high interest in stylistic experiments and his attempt of creation in the early stage. Secondly, I will use “Xunzhao tudi 尋找土地,” “Heping shang 和平殤” and “Zai beping de rizi li 在和平的日子裡” to analyze how Yan expresses his demands and chooses the narrators according to the inner structure and emotion, and thus solves the narrative problem of oversized space span in war novels. Finally, I will explain how Yan designs peasant ghosts to reflect the struggles for survival of the folk people in “Niaohai dansheng 鳥孩誕生,” “Xingse congmang 行色匆忙” and “Tiangong tu 天宮圖.” The use of “the narrative of the dead” actually symbolizes the value connotation and cultural reflection of Yan Lianke’s call for common people’s feelings and deconstruction of the main melody, and it also reflects the social problems through inter-temporal dialogue and reconstructs the historical landscape.