魯迅開啟了現代主義之中非理性的濫觴，黑暗意識異軍突起，綿延影響其後數代作家的尾隨。魯迅雖身處鐵屋，然而對於清明秩序猶有幾許嚮往，另一方面卻又禁不住矛盾地憂怨自傷。是以，暴力成為一種不可避免的修辭學。無血的大戮，反而大舉招魅，頻頻游走在吃人、戀屍、逆倫的邊界。到了八○年代後，余華、殘雪、莫言等先鋒派作家，有意無意在冥冥中，以文革後創傷的暴力效應，呼應了魯迅其時的非理性書寫，甚且樂在其中、耽溺不已。即連香港作家，李碧華、黃碧雲亦難逃劫數，以衰朽女體的殘敗愛情，照應宏大歷史的慘無人道。吃人、戀屍、逆倫，不約而同成為他們筆下人物的宿命──如此看來，鐵屋是否始終未曾遠離？時值後現代，時間理性愈益迫近，宏大歷史的傷痕遺緒，是否也未曾結痂，甚且陰魂不散，死去活來？

Lu Xun as the beginning of modernism, with a deep unreason characteristics. He works with many dark consciousness, affecting the later modern writers. Although Lu Xun's iron house in which to live, but that he was lucid order is still something to look forward. On the other hand, he could not help but to worry more contradictions. Finally, led him to write about violence as an inevitable rhetoric. Seems to be a war without blood, but large-scale called for strange demons, frequently walk in eating human, necrophilia, and the unnatural relationship. To 1980's later, Yu Hua, Can Xue, Mo Yan, and so these avant-garde writers, consciously or unconsciously somewhere, all because of the trauma by the Cultural Revolution, but to show violence in the novel's narrative, which was just echoes Lu Xun writing of non-rational. Even Hong Kong writers, including Byi-hwa Li, Byi-yun Huang also been deeply affected. They all use of the aging female body and the ruins of love, destiny, to respond to grand narrative of inhuman. Eating human, necrophilia, and the unnatural relationship invariably described as their character's fate. It seems that iron house is always not far from China? A time when post-modern, rational and increasingly approaching the time, the scars left behind grand historical thread, it also never scab, but was even lingering, very tough battle, unreason for the next restoration foreshadowed?