《繁花》开辟了文学作品表达上海经验的新的可能性。从语言形态来看，金宇澄具有双语模式的沪语叙事从传统的叙事中打开了一个新的创作空间，以段子作为小说基本的叙事单位，将自己有意识地投身于上海的一个个语言场，让对话成为故事的主角，也使得最具上海方言特色的不响性格作用在小说的叙事层面，构成典型的说书人视角。从具体的题材内容看，《繁花》将小说的舞台设定在普通人的日常生活领域，通过主人公之间的交流凸显外部他人的话语的存在和冲击力，同时始终有一个旁观的第三视角在注视着上海这座城市，观察着饭局上的一式一样和七嘴八舌，记录着这段独属于上海俗世的流金岁月。

"Flowers" introduces a novel approach to capturing the essence of the "Shanghai experience" in literary works. From a linguistic perspective, Jin Yucheng's narrative in Shanghai language, employing a unique "bilingual mode," harnesses the untapped potential of traditional marginal languages and creates an innovative creative space. By adopting the paragraph as the fundamental narrative unit, Jin Yucheng deliberately immerses himself in various linguistic domains within Shanghai and elevates dialogue to become the protagonist of his story. Furthermore, he skillfully incorporates the distinct feature of "not ringing," characteristic of Shanghai dialect, into the narrative level of his novel, thus embodying a quintessential storyteller perspective. In terms of subject matter and content, Flowers sets its stage within ordinary people's daily lives in order to emphasize how external voices impact their existence through interpersonal communication between protagonists. Simultaneously, there is always a discerning third perspective observing Shanghai cityscape while witnessing diverse tongues spoken at dinner tables—a testament to this era being part of Shanghai's secular golden years.