Within the few years of its first publication in 1980, Dai Houying’s most popular and controversial novel Human, Ah, Human! drew significant attention from literary scholars throughout Chinese and English world and was often interpreted by the liberal humanist discourse as the representative work of the “thaw literature” or as the plea to revive the “human.” Recently, such appropriations of the notions of “the human” have raised suspicions among some critics both from the Beijing‐based “revisiting the 1980s (重返八 十年代) group” and some Western critical scholars, who begin to reevaluate Marxist humanism in the 1980s China. This paper, however, attempts to utilize several post‐humanist critical theories that have been persistently on guard against the theoretical limits of both liberal and Marxist humanism to reinterpret this novel. Here, the novel Human, Ah! Human, is able to encompass both the contradiction and reconciliation of various kinds of “human” voices. This paper will revisit its theatrical setting where the newborn “human” figures encounter and contend with one another. Rather than the sudden emergence of a humanist hero, or a Marxist humanist hero, it is the encounter of the Machiavellian wild individual, the philistines who pursue earthly happiness, and the romantics, that offer the untrodden path to approach the historical “real.” This paper will exhibit their combinations, permutation, and rehearsal in the fictional structure.