鍾肇政文學在世界文學中的現代主義脈絡中，代表著後進國家對於世界文學的再學習，極思追趕前衛技巧的模仿。鍾肇政的短篇小說創作歷程有一段現代主義時期，他的小說觀並非是一味的模仿而已，他有他獨特的小說觀，這是本文要探討的。本文將以〈大機里潭畔〉為例，並比對幾位評論者對鍾肇政的評論，歸納出，作者建構一個逝去的不可追尋的童年之夢，夾雜著亂倫的驚駭內裡。一般讀者除了對於筆觸不以為然外，更希望作者能夠挖深亂倫的部份，可是這並非鍾肇政所追求的趨向，因為若此道路，必然就會淪為〈阿夏家的沒落〉的模仿的趣味。本文透過對愛倫坡與海明威跟鍾肇政小說的比較，發現了鍾肇政表現那種哀愁的世界，屬於台灣泥土的融合了異國的情調、台灣的歷史背景，還有鍾肇政個人的病與對於愛情的憧憬，而構成的永恆的唯美境界，這是鍾肇政所切出的人生斷面，也是永恆的世界。總之，鍾肇政的小說觀想要創作出一種根植於台灣的現代主義，或是說土俗與現代技巧結合，或者說有泥土味的現代主義。思想上，仍是以台灣人的立場、角度與歷史現實出發，來尋求現代主義思想或技巧上的融合。

In the context of modernism in world literature, Zhau -Zheng Zhong literature represents the re-learning of world literature by the backward countries, and the pursuit of imitation of avant-garde skills. Zhau -Zheng Zhong wants to create a modernism rooted in Taiwan, or a combination of local and modern techniques, or earthy modernism. In terms of thought, it is still based on the standpoints, angles and historical reality of the Taiwanese people to seek for the integration of modernist ideas or techniques. Take the example of ＂Daji Li Tan Pan＂ as an example, the author constructs a lost childhood dream that cannot be pursued. Mixed with incest inside the horror. In addition to the disagreement with the brushstrokes, the average reader hopes that the author can dig deeper and incest. However, this is not the trend pursued by Zhau -Zheng Zhong, because if this road, it will inevitably become the taste of the ＂ Usher's Passing＂ Therefore, the world of mourning belongs to the earthy atmosphere of Taiwan, which combines the exotic atmosphere, the historical background of Taiwan, the illness of Zhau -Zheng Zhong and the embarrassment of love, and constitutes the eternal aesthetic realm, which is cut by Zhau -Zheng Zhong. The cross section of life is also an eternal world.