Root-seeking literature mainly represents writers and works: Acheng and his chess king; Wang Anyi and her Bao Xiaozhuang: Zheng Yi and his old well; Han Shaogong and his father; Zheng Wanlong and his old bonzi pub; Zhang Chengzhi and his River in the North; Li Hangyu and His "Ge Chuanjiang Series" Novels. This is the most concerned writer and work in the heyday of root-seeking literature. As for Mo Yan's Red Sorghum, although it has a great influence, it has caught up with the decline of root-seeking literature and is generally not regarded as a typical work. The influence of root-seeking literature lies in that it has kept the traditional voice in the radical and impetuous modernization process since the new period, and strived to make a national and local voice in the surging tide of westernization culture. This is totally countercurrent. The limitation of root-seeking literature can often be reflected in the contradiction between the writer's theoretical declaration and creative practice. Han Shaogong and others keep saying that tradition should be rejuvenated and given modern life. As a result, the irreconcilable conflict between tradition and modernity has occurred, and the thinking has broken, which cannot meet the writing expectation of the modernization of traditional culture. What is even more amazing is that Han Shaogong first played the banner of cultural root-seeking, but his creation is not "root-seeking", but an enlightening and critical "root-seeking"!