As the first Chinese writer who wins the Nobel Prize for literature，Mo Yan’s success undoubtedly gives Chinese literary world a shot in the arm.From 1981 to the present，Mo Yan has published a series of novels.And his style of writing sets his own banner.If we make a comprehensive survey of his writing，it’s not hard to find his characteristics：the blend of magic realism and folk culture，“self out”narrative strategy，strong vanguard color，the carnival plot，frequent use of color words and the strong beauty of tragedy.The author thinks，among these characteristics，the ability to tell the story is the most successful merit，and it’s also one of the vital factors to judge the novel.Most writers are used to placing the main narrator in the main position，or beyond the main position，to control the story,But Mo Yan，on the opposite，is used to placing the main narrator in the least significant position，and stories are often told by onlookers or children. To present the story in all directions，Mo Yan also changes the narrative angles a lot.The plot’s development is based on the character’s psychological time order，and which breaks the objective time.In fact，Mo Yan’s “self out”narrative strategy is a kind of innovation based on Faulkner’s narrative strategy.This article takes MoYan’s two representative novels:Big Breasts and Wide Hips ， Sandalwood Death and two novellas: The Transparent Carrot，Red Sorghum for example ， round “self out”narrative strategy ， from narrative angle ， characterization，time structure ，three aspects，through comparative study of the above works and Faulkner’s representative novel The Sound and the Fury，to analysis MoYan’s creative absorption of Faulkner’s narrative strategy.

莫言是中國第一位獲得諾貝爾文學獎的作家，這一獎項的獲得，無疑給中國文 壇注入了一記強心針。從 1981 年至今，莫言發表過許多作品。其創作風格，獨樹 一幟。縱觀這些作品，不難發現其特點主要體現為魔幻現實主義與民間文化的交 融、“自我抽離式”敘事、濃烈的先鋒色彩、狂歡化情節、色彩詞的頻繁使用，以 及作品所傳達出的，強烈的悲劇美。筆者認為，在這些特點中，莫言最成功之處在 於其講述故事的能力，這也是決定作品優劣至關重要的因素之一。有別於大多數作 家將敘事者放在主場或超越主場，控制整個故事的手法，莫言則把敘事主體放在整 個環境中最次要的位置，往往是以旁觀者，或兒童的視角去敘述整個故事，期間頻 繁變換敘事角度，全方位呈現故事，并以人物的心理時間為序，對客觀時間結構進 行了打破。莫言這一“自我抽離式”敘事策略，其實是以借鑒福克納敘事策略為基 礎的創新。本文将以莫言的兩部長篇代表作：《豐乳肥臀》、《檀香刑》及兩部中篇 小說《透明的胡蘿蔔》、《紅高粱》為例，圍繞“自我抽離式”敘事策略，從敘事視 角、人物刻畫及時間結構三方面，將莫言上述幾部作品與福克納的代表作《喧哗与 騷動》進行比較研究，分析莫言對福克納敘事策略的創造性吸收。