Overseas scholarship on Mo Yan has often proceeded from narratology and postmodern theory, while domestic scholarship has tended to foreground his representations of local history. Yet few studies systematically integrate these two strands. Against this background, the present article examines how, upon "reliable historical anchors," Mo Yan deploys multi‑dimensional strategies of unreliable narration to construct a literary reconfiguration of history and thereby achieve cultural critique. Through close reading, the paper analyzes three representative works—Red Sorghum, Life and Death Are Wearing Me Out, and Frog—from the perspectives of narratology, historiographic metafiction, and historical‑cultural studies. The paper shows how China's modern and contemporary social transformations and local memories are absorbed and rewritten in Mo Yan's fiction, and the paper clarifies the cultural‑critical intents embedded therein. The study identifies how this "literary reconfiguration of history" is built and articulates three anti‑authoritarian implications: challenging orthodox historical discourse, resisting the unification of collective memory, and reflecting on the violence and alienation within modernization.
Hao Huang (Sat,) studied this question.