The art of micro-fiction by Zeng Xin, a Thai-Chinese writer, is characterized by its“realistic orientation”and its pursuit of“crystallization”, realistically oriented in its material selection and writing strategies. In terms of subject matter, there are nine categories in his work, such as“human experience”,“Chinese-language education”,“economic crisis”and“the ageing problems”whereas his writing strategies include multiple perspectives, focus on human nature and the Chinese-language complex. The“crystallization”, on the other hand, highly condenses Zeng Xin’s perception and use of micro-fiction as a genre, something that has a two-fold significance of an“end”and a“poetic eye”. An analysis of his work finds that its formation can be actualized as two approaches, that of being comprehensive and technical. Zeng Xin proposes the highest realm of“crystalliza-tion”through clashes between and merging of impulses and sedimentation, and heat and cold to the degree where“sometimes‘rationalizations’can be‘realized’beyond the emotional, with something deeper than the surface”.%“偏重现实”和“追求‘结晶儿’”，是泰华作家曾心微型小说艺术中的两大重点。“偏重现实”，主要体现在作品取材与写作策略两个方面。按题材划分，有“人生际遇”、“华文教育”、“经济危机”、“老年问题”等九类。写作策略包括多种视角、人性焦距、中文情结。“结晶儿”，高度概括了曾心对微型小说文体的认识和运用，它兼具“结尾”与“诗眼”两重意义。结合作品分析，其形成过程又可以具体化为综合型与技艺型两条路径。通过冲动与沉淀、热与冷的相碰与融合，曾心提出了“结晶儿”的最高境界———“有时会‘悟’出一些超出情感的‘理’来，在表层里面有更深层的东西。”
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