蕭颯(1953─)自七○年代中期出道以來，即以清峻爽利的筆觸以及寫實冷靜的文風擄獲了文評家們的注意；時至今日，睽違文壇數十年的蕭颯仍備受文評家與研究生們的青睞，以其為研究對象的學術論文依然迭出不窮。面對當代評論者逕以「婚姻」與「愛情」作為蕭颯小說的主流評論，本論文試圖從「感時憂國」、「文以載道」的寫實主義評論傳統出發，檢視此一主流美學評論傳統對蕭颯小說的洞見與不見之外，仔細論述蕭颯如何運用細節(detail)描寫的技巧，機鋒暗藏的將文本縫製成一個危機意念展現的場域，從「都市」、「青少年」、「女性」的文類中形塑一個立體多角的危機敘事體，折射出七、八○年代台灣社會在現代化進程裡遭逢的文化危機，為蕭颯的小說敘事提供另一角度的想像與觀照。 Xiao Sa(1953-)has grabbed a lot of attention from critics for her clear, rigid, calm and honest writing style since mid-70s when she began her writing career. Even until now, two decades of her departure from the literary world, there are, still, many critics and postgraduates appreciating her works and relevant studies have been continuously published. Many contemporary critics use such concepts as ‘marriage’ and ‘love’ to interpret her fictions. This thesis, however, aims to analyze them by traditional realism. The study therefore applies patriotism and moral values to examine how such realistic methods may discover or neglect messages between the lines. A discourse analysis is also used to look at her detailed narrative style, which has constructed her texts as a field full of crisis awareness. From ‘urban space,’ ‘adolescence’ and ‘women’ she has shaped a narration of crisis with different facets. It is this very awareness that reflects the Taiwanese society in 70s and 80s, encountering a cultural crisis during its modern civilization. By employing a realistic approach, this study provides an alternative interpretation and review of Xiao Sa’s fictions.