1942年毛澤東主導的「工農兵文學」政策，文學為政治服務的意圖極其顯著，中共建政後，「農民文學」也就成為重要的文學發展主題。然而隨著1978年改革開放，面對政治創傷和經濟發展的變局，被喻為農民代言人的作家高曉聲不再屈從於集體政治下的一體化思維，轉而探討、思考中國農民的生存狀態與未來發展。高曉聲在作品中，除了呈顯農民傳統的家庭觀和純樸性格外，也寫出了他們在改革開放後興起發財夢的背景成因。只是當政府不再以農村作為發展重心、當全球化經濟主導未來趨向時，這些農民不僅不再有發財的可能，甚至再度淪為被邊緣化的弱勢處境。

Since Mao Ze-Dong's Talks at the Yan'an Forum on Literature and Art, the intention of making literature serve the politics is dominant in the police of literature and art for the workers-peasants-soldiers. Then it is a logical outcome that Peasants Literature became an important theme of literature development under the regime of Communist Party of China. Along with the historic course of Reform and Opening and confronting the political trauma and the economic transformation, Gao Xiao-Sheng, once known as the spokesman of peasants, however, is no longer subject to the politically unitary thinking mode and come to thinking about the existent condition and future development of them. In his writings he presents the background and cause of their dream of making a fortune emerging after the Reform and Opening besides their traditional view of family and plain personality. But when the village is no longer a top priority of development and the globalization is a dominant trend, what the peasants have to face about themselves are not only the ending of the dream of making a fortune but also the marginally vulnerable plight.