This article traces, rebuilds, and describes the acceptance history and meaning in Taiwan of the 2012 Nobel Prize laureate in literature, Mo Yan.
    First, this article reconstructs Mo Yan’s acceptance view of the field in Taiwan’s publishing industry and shows how its history has been transferred from reality to literature. In other words, his works accept the coexistence of historical and modern characteristics, as well as local persistence and artistic innovation, which have been transformed into a pure form of literature or artistic inclination.
    Second, local and postmodern social trends of thought have been linked with the acceptance of his works in Taiwan since the 1990s. His creative attitude has revealed that his former notion of “people” subsequently overlapped with that of local people. Moreover, his diverse materials, the atypical and fringing plots in his novels, as well as the unique settings, nonlinear descriptions, masculine and sentimental creativity, and density complement Taiwanese postmodern literature trends and practices. His works also contain a certain deep strangeness, which can be consulted as a reference regarding the content of Taiwanese postmodern literature.

    Therefore, despite receiving the Nobel Prize, he remains somewhat controversial in Taiwan; however, as a renowned, powerful, and representative Chinese writer among Taiwanese academics who not only creates literature practice, Mo Yan’s acceptance history and meaning in Taiwan has left a critical part for comprehending the principles of Taiwanese literature.