The language of "Border Town" is the language of Shen Congwen in his prime, the best language. It is neither as sweeping and unrestrained as in the early period, nor as overly polished and obscure as in the later period. In the language of this period, every sentence is full and full of moisture, sour and sweet, like a basket of newly picked Yantai agate cherries. Shen Congwen's novels have unique local characteristics. His themes, characters, natural scenery, local customs, and language are all marked with the mark of "Western Hunan." The subject matter is taken from the daily life of Xiangxi society; the characters are "foolish people" in rural areas of Xiangxi, a group of native "country people"; the scenery is the charming scenery of Xiangxi's mountains and rivers. Shen Congwen was a master at depicting local customs and customs. He painted long scrolls of customs, weddings, customs, costumes, myths, legends, beliefs, etiquette... everything was included and everything was strange, making him a "conventional figure" in modern China. Genre Painter". He is particularly good at revealing the beauty of humanity and human nature contained in these ancient customs and customs passed down from generation to generation, which is fascinating and amazing. In addition, Shen Congwen's use of earthy dialects makes his novels full of rich local characteristics of Western Hunan. The poetic flavor of "Border Town" comes first from the strong local flavor of Western Hunan. The writer tells the love story between Cuicui, Nuosong and Tianbao. The natural scenery and living customs of Chadong are intricately presented to readers. The crystal clear river, the small town leaning on the water and the mountains, the stilted buildings on the river streets, the cable-climbing ferry, the white pagoda that is related to the "feng shui" of Chadong, and the deep green birds in the bamboo baskets. The chirping of birds,...these scenery rich in local color are natural and beautiful, graceful and not overpainted. Shen Congwen's novella "Border Town" is a masterpiece, and its artistic originality mainly lies in two aspects. It is reflected in several aspects: as the pinnacle of the pastoral tradition of modern Chinese literature, it consolidates, develops and deepens the rural lyric mode; it reshapes the image of China after Lu Xun's "The True Story of Ah Q". The pastoral nature of "Border Town" and the image of China complement each other, providing a classic style and mood for late-developing countries to respond to passive modernization. Further analysis also shows that "Border Town", as a literary refinement of the cultural conservative trend since modern times, has profound flaws in its text and problems such as the misappropriation of foreign cultural resources, which reveals the poetic conception of the subject nation towards itself. The virtuality and strategy of imagination, and its close connection with the alien imagination in Western literature