自《紅字團》至《我們自夜闇的酒館離開》，駱以軍為後現代小說注入抒情要素，建構出自己的敘事風格；《妻夢狗》確立了駱以軍書寫家庭劇場的特徵；《第三個舞者》將題材及於社會空間；《月球姓氏》則回歸到家庭甚至家族劇場，探尋歷史的裂縫；《遣悲懷》進一步將私小說推向極處，觸及對死亡的探究。駱以軍《月球姓氏》－書，加入歷史元素，採後現代寫作方式，建構家族史，以不斷變化的空間場景，碎片式的錯置書寫，將現實與虛構雜揉，以凍結時間的方式，翻索零散的記憶，意圖召喚出家族血裔的身世，展現出特異風貌。本文試圖取《月球姓氏》〈廢墟〉一文為例，探察駱以軍的後現代小說表現手法，得出作者「以拼貼方式呈現情節」、「以光霧效果銜接故事」、「藉時間縫隙拼組記憶」、「以時間迷宮揭示評論」及「以時空錯置表達失落」，凸顯出後現代主義「不確定的內在性」，「深度模式」、「歷史感」及內在主體的消失，傳達往事已矣的感傷。

Luo, Yi-Jun added the lyric factor and set up his own narrative style in The Red Letter Group and We Left from the Dark Tavern. He established the character about family theater in The Wife, the Dream and the Dog. In The Third Dancer, the writer expended the subject matter to the society. After that he focused the theater to the family or the clan to find the break during the past time in The Moon Family Name. The following book To Release the Sad Reflections further discussed the death problem that deepens the fiction about the mentality. Luo, Yi-Jun wrote the novel The Moon Family Name in post-modern style, added the factor about the history, and established the history about his clan. In the novel he made the space changeable, arranged the broken statement, mixed the reality and the fictitious situation, let the time ceased, looked for the scattered memory, and tried to find the antecedents about his clan. That makes the fiction outstanding. This article tends to focus in one piece in the novel called "Remains" in order to find the displaying pattern in post-modern style. It is analyzed that the writer displayed the plot by pieces, connected the story by light, constituted the memory through the chink of the time, announced the commentary with the maze of the time, and expressed the depression by misplacing the time and the space. All the patterns highlighted the "indetermanence", the disappearance of the depth form, the sense of the history, and the internal topic emphasized by the post-modernism. The patterns in "Remains" helped to express the sentiment about the past events.