新世纪以来，残雪的短篇小说写作呈现了新的样态，故事性的写实与象征性的写意在文本中更好地交融一体，并通过西方哲学的观照视角，在作品中彰显出人类本质的生存状态与存在方式。在她新世纪短篇小说的意象群之中，一对浸润了西方现象学观念的空间意象尤为值得关注。此组意象即“登楼入室的悬置空间意象”与“沉坠地下的未知空间意象”，二者虽然一高一低，在垂直运动中相向而行，但空间意象之间的相互转换，以及其对人类存在方式的高度象征，正是“现象学还原”过程在文学创作中的体现。还原的过程彰显了我们所生存的空间中高低上下的虚妄分野，表现了垂直运动中人的生命浮沉。残雪在新世纪的短篇小说写作中有意识地创造并运用这对空间意象，体现了新世纪的残雪以哲学理论指导写作并成功实现了突破。新世纪残雪短篇小说的空间意象成为了一种对存在本质的隐喻与象征，体现了人类生命之浮沉。

    Since the new century, Can Xue's short novels writing has taken on a new form. The narrative realism and symbolic freehand brushwork are better integrated in the text. Through the perspective of western philosophy, Can Xue's works highlight the survival state and existence mode of human nature. Among the image groups of her short stories in the new century, a pair of spatial images infiltrating the concept of Western phenomenology deserve special attention. This group of images is "the suspended space image of climbing into the room" and"the unknown space image of sinking into the ground". Although they are high and low, they face each other in the vertical movement, the mutual transformation between space images and their high symbol of human existence are the embodiment of the process of "phenomenological reduction"in literary creation. The process of restoration shows the illusory distinction between high and low in the space we live in, and shows the ups and downs of human life in the vertical movement. Can Xue consciously creates and uses this pair of spatial images in the writing of short novels in the new century, which reflects that Can Xue has successfully achieved a breakthrough under the guidance of philosophical theory. The spatial image of Can Xue's short novels in the new century has become a metaphor and symbol of the essence of existence, reflecting the ups and downs of human life.