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四川作家李浩，孜孜不倦地甚至可以說著魔似的在曆史的深處與民間打撈記憶，就如作家在《亂世遂州》中所說：“尖起一雙招風大耳，仔細聽茶客酒徒們神侃。特別喜歡聽那些三教九流的趣聞逸事，或江湖豪客們的龍門陣。”這些記憶或者叫“龍門陣”裏的人和事，在李浩的《蜀中盜誌》裏，讓我領略了李浩的才情。沒有想到的是，原來那些個零零碎碎的短小故事，如今在長篇小說《亂世遂州》長成了一棵大樹。
得益於方誌野史的打撈與啟示，得益於民間的詼諧與智慧，《亂世遂州》成了一部蔚為大觀的關於曆史關於民間的宏大敘事。當然，作為作家，其最重要的本領就是虛構，按川人的話說叫“擺龍門陣”。僅就曆史題材的小說來看，虛構的本質在於它與曆史和現實之間有偌大的空間，這一空間是作家能力和才情的展示區，或者說，在曆史與現實的這一虛構空間裏，作家才有可能成為作家。這一空間，無所不有，無所不可能成為另外一段曆史和另外一種現實圖景。書寫這另外一種現實和另外一種圖景，正是作家的使命（或許也可叫作宿命）。而且，成為隻有某一作家的認知和才情所決定的敘事文本和敘事模型。
蜀中作家李浩的機智在於，他選擇了“罪案敘事”。這一敘事模型，中外古今都屬一大流派，而且是一個讀者眾多，趨之若鶩的流派。在中土，它叫“公案小說”；在西洋，它叫“罪案小說（Crime Fiction）”。我們所稱道的，前者諸如《包公案》《施公案》《彭公案》，後者諸如柯南·道爾的“福爾摩斯”係列、克裏斯蒂的“波洛”係列。所謂“罪案敘事”，就是將敘事的中心與關節置於罪（crime）與罰（fine）的糾纏、執法者（lawman/policeman）與犯罪者（criminal）之間的鬥智鬥勇。《亂世遂州》正是這樣一部小說。