從黃春明小說與言談中對土地與人格，農村與文化、勤儉與倫理的理念陳述，或許可以將之歸結為黃春明文學中蘊含著一套「鄉土倫理學」（Native ethics），其中顯示了小說家對於他所熟悉的鄉土世界及其文化的信念。因此，在六○年代的小說中，從〈青番公的故事〉故事結尾的水鬼故事開始，便一直試圖透過人間與自然、神鬼交融一處的鄉土氛圍，藉此對比出機械文明充斥的現代社會，理性與功利是如何消蝕了鄉土文化中人性與人情的美善。九○年代以降之〈銀鬚上的春天〉、〈呷鬼的來了〉、〈眾神，聽著！〉，因此顯得更為理念化，更具神秘色彩，但同時也顯示現實問題的巨大。本文將探討黃春明如何將人間、神鬼與自然完整交融的鄉土世界描繪為孕育鄉土倫理學的場域，而藉由這些帶有神秘經驗色彩的情節構設，小說家如何呈現當代台灣社會的心靈災難與救贖的可能。

From Huang Ch'un-Ming's writing related to topics such as lands and personalities, villages and culture, and diligence and ethics, we perhaps could conclude that Huang's literary world is comprised a certain category of ”Native ethics.” From this ethics, the novelist displays his believes on the native world and culture that he has been long familiar.This essay is going to argue the native world in Huang's novels as a terrain of ”Native ethics.” We will focus on how Huang inter-merges the secular world, ghosts and gods, and Nature in such a representation. Through the plotting of mystic experiences, Huang opens up a possible path to spiritual salvation for contemporary social and cultural milieu in Taiwan.