Though Lu Yao's Ordinary World (Pingfan de Shijie) has enjoyed considerable sales volume and reading quantity similar to his other novel Life (Rensheng), it is not accepted by the literary circle as Life and failed to spark the kind of nationwide discussion once created by Life. One explanation for this is the sweeping desire for innovation that was present in literary circles in the 1980s, but the creation method of the Ordinary World was too conservative to stimulate the interpretive impulse of the new critics; another reason is that the incredible length and sheer complexity of Ordinary World prevented scholars from recognizing how difficult it was conceived and what innovation it made. This paper embarks on an intensive reading of Ordinary World in terms of its characterization, the character groups of urban and rural youths, senior cadres, and rural grassroots cadres, and a re-elucidation of its "overlapping areas," in an attempt to extensively analyze the content of the panoramic chronicle of Chinese society at the beginning of reform and opening up, and the writer's profound thinking and artistic innovation in his description, trying to clarify the many vague understandings of this masterpiece in the literary circle.