贾平凹的创作道路充满变数,他一直在不断地突破自己。在他所有的变化中,通常会认为《废都》及其遭遇的阻碍是他后期转变的一个标识。然而,本文认为,真正隐含着他转变的并且具有内在发动机制的作品当属《怀念狼》。这部小说在新千年跨年度的时间关节写作发表,小说中有一张狼皮一直在预示着情节的变异,它不只是一个惊异的意象,而且预示着一系列怪诞、奇异、甚至魔幻的情节。通过分析这部作品,可以揭示贾平凹创作世界的某些难以言喻的隐情。这部作品由狼皮辐射的艺术手法,那种内在不稳定性的力道,预示着他后来不可避免要转向更为朴实、凝重、痛楚的乡土叙事。不可忽略的是,狼皮的诡异,依然或隐或显地贯穿于那些作品的内在气蕴之中。 Jia Pingwa’s creative road full of variables, he has been constantly breaking himself. In all of his changes, it is often assumed that the “scrap capital” and the obstacles it encountered were a hallmark of his later turnaround. However, this article argues that the real implication of his transformation and has an inherent engine of the work is “miss the wolf.” Published in the inter-annual joint writing of the new millennium, this novel has a wolf skin that has been predicting the variation of the plot. It is not just a marvelous image but also a series of weird, bizarre and even magical plots. By analyzing this work, we can reveal some unspeakable hidden secrets of Jia Pingwa’s creative world. The artistry of the work, radiated by the wolf skin, the strength of inherent instability indicates that he later inevitably turned to a more rustic, narcissistic and painful native narrative. Can not be ignored is that the wolf skin strange, still or implicitly or through those works inherent in the gas content.