' s novel The Portrait of a Stranger is a pair of peeping eyes and a monologue from the inside of the peeper. The relationship between father and daughter in the book actually represents the universality of human relations: they need each other and run away from each other. This symbolism can be perceived even in deliberately loose and disorderly words. In the preface written for this book, Sartre put forward the idea of "anti-fiction": "Anti-fiction retains the surface and outline of the novel: these imaginary works introduce us to fictional characters and their stories. But it is to make people even more disappointed: it is to use novels to counter novels, as if to write novels. In fact, it is to destroy them before our eyes and write an unfinished and impossible novel. It wants to combine Dostoevsky and george meredith, just as Miro wants to combine Rembrandt and Rubens with Murder of Painting. These strange and difficult-to-define works do not indicate the decline of novels, but only indicate that we are living in an era of thinking, and novels are thinking about themselves. " "Don't expect to find something she doesn't want to provide in nathalie sarraute's book; For her, man is not a personality, a story or even a cross combination of various habits, but an endless relationship between particularity and universality. Weakly coming and going. " Sallot later further explained this concept: "Any novel is anti-fiction as long as it tells the unspoken reality of predecessors and uses the unused methods of predecessors. I think that although the book we are writing now will not exceed the' validity period' in a short period of time, our works will also become traditional novels for younger novelists in the future, and they will write anti-novels. " Sallot's collection of essays "The Age of Doubt" published in 1956 is recognized as an important document of contemporary French literature. Here are two widely quoted passages in the paper, from which we can clearly see her views on Balzac-style traditional novels and new novels: "In that heyday, the characters in novels really had all the splendor, and they were worshipped in various ways and cared for in every possible way. He lacks everything, from the silver buttons on his shorts to the sarcoma with exposed veins on his nose. Now, he gradually lost everything: his ancestors, his carefully built house (from the cellar to the top floor, full of all kinds of things, even the smallest gadgets), his wealth and status, clothes, body and appearance. What is particularly serious is that he lost his most precious possession: his unique personality. Sometimes even his name is gone. "There is an expanding new trend today, which has brought us many letter works. These works think they are novels. However, the main character of the novel is a nameless' I', who has no distinct outline, is indescribable, unpredictable and hidden. This' I' usurped the position of the hero of the novel and occupied an important seat. This character is both important and unimportant, he is everything, but nothing; He is often just a reflection of the author himself ... "Since the Planetarium, sallot has paid more and more attention to the conditions of artistic creation, works and the possible study of their acceptance. This kind of research has become one of the primary themes in her later works. In Golden Fruit, the author is concerned about the fate of a book after it comes out. A book that doesn't know its content but only knows that its aesthetics are out of date is read by everyone with the strong recommendation of newspaper editors and pedants, but its success will soon pass, because it is only a superficial thing. In Between Life and Death, the author shows us the writer's life journey from childhood to death, and explains what the conditions or environment for success are for a writer. Whether it's Planetarium or Golden Fruit, or Between Life and Death (1968) or Did you hear it? "(1972)," Fools Say "(1976), the author is not telling a story, nor shaping his character, but exploring the consciousness and psychology of people in collective relations (such as family, class, culture, etc.), and exploring language and skills. In sallot's later plays, the characters are as uncertain as in the novels, as if trying to make psychological analysis in spoken language or dialogue. Like some new novelists, The Application of Language published by sallot in 198 is another reflection on the sending and receiving of information after Between Life and Death. She abandoned the continuous form of novels, and used a set of short essays to explore the value of language, as she did when writing Orientation, to describe a floating and hazy perceptual world, showing that she was more and more persistent in tapping the potential of language. Different from other new novelists, sallot focused on diluting the plot and blurring the characters, and the purpose of doing so was to highlight psychological research and analysis. However, her psychoanalysis is different from mauriac's, and she grasps the pre-feeling of psychological activities, which is obviously influenced by Proust. But unlike Proust, in order to highlight psychological activities, the characters in her works often can't even see their gender, age, family and identity. All sallot's works are novel, such as You Don't Like Yourself, which is written entirely by simple dialogue. Maybe it's because the song is high and low, and her works can't attract a large number of readers. She is even regarded as an obscure writer. Someone once suggested calling her creation "abstract literature", and sallot immediately replied: "You'd better let me live for two more years!" At that time, though it was half-joking, sallot was very concerned about writers who were regarded as difficult to read. However, sallot does not want to please critics or readers, which is in line with almost all modernist writers. Sallot hated being summarized by others and put her into a frame. She doesn't agree with any literary school, and even doesn't admit to being a "new novel". However, she also said: "People say that we have formed a' sight school'. It's wrong to include me. We just agree that characters and plots are outdated. " Now, in order to commemorate her, it is helpless to classify her as a "new novel school". Words and thoughts, called "logos" by the Greeks, are unremitting pursuits, even desperate pursuits, for sallot. Because what she wants to convey in words is something that precedes consciousness and feelings. This is a tendency thing, which makes us tend to people, not anything else. Sallot wants to develop the function that language does not have originally, and show something irrational and beyond reason. She called it "tropism" Sallot has accomplished some impossible things, first of all, an extraordinary longevity, and then a lifelong struggle. Until her death, she still maintained her creative enthusiasm. Novels are written in various ways, but as a novelist, you only need to have one characteristic. Sarot's creation is as described in her article: "She approached the goal with great care, then suddenly left because of shyness or shrinking in front of complex things, and finally threw the drooling monster to the reader through the magical effect of the image."