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二十世纪初至今百余年，“私小说”的确是日本现代文学发展史上非常重要的文学样式或现象。文学评论家中村光夫曾在其《日本的现代小说》（岩波书店，1968）中断言，日本所有的现代作家或多或少都曾写过“私小说”——晚年的芥川龙之介写过哀切的私小说《点鬼簿》，川端康成和三岛由纪夫等精神气质迥然相异于“私小说”样式的作家也曾写过类似的作品，如三岛由纪夫的短篇小说《椅子》。评论家伊藤信吉说过，明治以来，随着新作家的出现，相继形成了一些新的文学性格，其中具有广义文学性格的，惟有生命力强韧且长久的“私小说”。有人将“私小说”定义为“第一人称小说或意识与感觉性经验碎片的重构”；也有人强调“私小说”与日本“日记”传统具有的紧密关联——典型的例证正是“私小说”代表作家林芙美子的《放浪记》，及阿部昭由“日记”类作品编集而成的代表作。评论家饗庭孝男说，“日记”记录的是现实中切身体味的深刻幻灭，梦幻中深化或提升了生命的生活记录，其根底里浮动着对于生命苦楚或瞬间幻灭的依依不舍。有趣的是，这种日记文学的特点也明显体现在太宰治的《斜阳》等代表作品中。 其实，在日本的“私小说”发展史上曾有一个理论值得一提。即将日本“私小说”样式区分为两种不同的趋向或类型。一类是“破灭型（或‘毁灭型’）”，另一类则是“调和型”。前者的主要代表作家是葛西善藏、嘉村矶多和太宰治，后者的主要代表则是志贺直哉。前者的基本特征从词语本身亦可察知——此类作家总是面对种种无法克服的“危机”感，无论面对外在环境还是内在感觉，他们都无法看到任何新生和希望，他们面对的只有哀愁和绝望，“破灭”或“毁灭”是他们每日每时都要面对的必然——他们无以回避的生活方式或结局。相反后者的基本特征则在于，作家或作品中人物未必需要在充满现实或心理“危机”的苦斗中“自我”毁灭，他们有可能达成一种妥协或者和解的状态。 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