1920年代，臺先生以鄉土小説斐聲文壇。他的14篇鄉土題材小説，呈現了兩種相異的筆調：一是“自省型”，大多採用第一人稱的叙事觀點，並以“我”的感懷來收束全篇，表現一種知識分子對於世界的醒覺和關懷；二是“呈現型”，選擇一種非“我”述體的叙事手法，强調故事人物特質或狀態的“描寫”，展現以悲心閲世，包容一切的書寫姿態。本文指出，臺先生於鄉土題材採用“自省型”寫法的作品數量雖少，卻更能代表他此時主要的文學表現，内涵魯迅所言的“鄉愁”特徵，這意味著，臺先生終究無法在一片“感時憂國”的呼聲中自外其身。通過這樣的對照，顯示臺先生《地之子》中“呈現型”小説的意義，就在於能够捨棄過多“寫實主義”所肩負的啓蒙使命，採取不同的叙事策略，轉而呈現一個具體的人如何“活”的生命實相，從而找到擺落“鄉愁”感傷的叙述方式，展現鄉土寫實小説的不同可能。

In 1920's, Mr. Tai's native novels are marvelous in literary circle. Among his fourteen native novels, two different characters were shown as Self-contemplation type and Objective Presentment type. The former type of writing uses the first person's point of views and concludes the emotion made by the first person, which represents the awareness of intelligentsia toward the society. On the other hand, the latter type of writing uses rather than the first person to describe the stories and emphasizes the main characteristics, which shows the sympathy toward the world. This article points out that Mr. Tai's native novels with Self-contemplation describing mode are not so plenty, but that can present his major performance in literary; his articles have the nostalgia emotion which Lu Xun mentions and that also shows Mr. Tai could not escape from ＂Obsession with China＂. With the comparison, this article considers that Mr. Tai's Son of Land talks about the meaning of novels by using Objective Presentment describing mode; it could abandon too much realism's enlightened missions and it uses a different describing mode to show how a specific person lives in his real life; then it could find describing way without Self-contemplation.