进入新世纪以来，余华出版了《兄弟》和《第七天》两部长篇小说。这两部作品展现出了余华在叙述风格上的转变，而这种转变是得失相半的。本文试图将余华新世纪以来的作品《兄弟》与《第七天》置于作家的整个写作脉络之中进行比较，以讨论这两部作品叙述风格上的转变，并对这种转变给予评价。人物上，余华创作了新时代下的新型形象，赋予他们与以往创作的人物不同的特征与状态。叙述形式上，余华首次采用“正面强攻”的方式来书写时代，这使得《兄弟》与《第七天》不再是简化了的“事实框架”，而是复调的时代乐章。两部作品都采用了细节的铺陈和“重复”书写来形成叙述，二者一繁一简，呈现出不同的审美效果。两部作品都由荒诞而抵达真实，但却采取了不同的策略：《兄弟》以一种狂欢化的荒诞隐喻和讽刺了时代，形成一种悲喜交加的审美图景，但过于失去节制的荒诞情节引起反思；《第七天》为现实添加了两重荒诞的滤镜，探寻了在比艺术更荒诞的现实中展现文学性真实的方式。

Since entering the new century, Yu Hua has published two novels, Brothers and The Seventh Day. These two novels show the change of Yu Hua’s narrative style, and this change is controversial. Thus, this paper attempts to compare Yu Hua’s new century novels Brothers and The Seventh Day in light of the writer’s entire writing context, in order to discuss the change of narrative style in these two novels and further evaluate this change. In terms of characters, Yu Hua creates new types of figures in the new era, endowing them different characteristics and living status from the figures created in the past. In terms of narrative form, Yu Hua uses the method of “positive narrative” to render the era for the first time, which makes Brothers and The Seventh Day no longer simplified “factual framework”, but polyphonic music of their era. Both novels utilize detail description and “repetitive” writing as methods of narrative. While one novel appears to be complex and the other to be concise, they present different aesthetic effects. Both novels, though taking the form of absurdity, target at the reality. However, they adopt different strategies: Brothers uses carnival absurdity as metaphor and satire of the era, presenting an intermingled aesthetic picture of grief and joy, yet the absurdity sometimes goes too far and causes controversy; meanwhile, The Seventh Day attaches two levels of absurdity to the reality, exploring the ways in which literary reality can be revealed in a society more absurd than literature.