进入新世纪以来,方方的小说围绕着知识分子题材、市民生活题材和女性题材创作,实现了其创作的转型。方方创作的转型具有相当的启示意义,折射出当代小说的几个重要话题。然而,在中国当代作家中,方方的文学地位是较暖昧和尴尬的,一方面,方方一直被视为当代女作家中的佼佼者,她的新作每每一出,多有好评;另一方面,方方却不像王安忆、迟子建等若干女作家那样已获得较为明确的定位。之所以造成这种暖昧的境况,其中有一个原因,就是方方创作形态本身的驳杂性,进入新世纪以来,方方的小说愈加呈现出这一特征。本文试图梳理方方创作的新世纪创作转型,并由其最新的长篇小说《水在时间之下》,探讨方方创作的新变。 Since entering the new century, Fang’s novels have centered around the theme of intellectuals, civic life themes and the creation of female themes, thus realizing the transformation of his creation. The transformation of Fangfang’s creation has some enlightenment significance and reflects several important topics of contemporary fiction. However, in the contemporary Chinese writers, Fang’s literary status is more ambiguous and embarrassed. On the one hand, Fang Fang has always been regarded as one of the best contemporary female writers. Her new works are often acclaimed; On the one hand, however, Fang Fang has not obtained the rather clear position as several female writers such as Wang Anyi and Chi Zijian did. One of the reasons for such an ambiguous situation is the refutation of the square form itself. Since the beginning of the new century, Fang Fang’s novels have shown this feature more and more. This article tries to sort out the creative transformation of Fangfang’s creation in the new century and explores the new changes of Fangfang’s creation from its latest novel Water Under Time.