摘要：张炜是新时期文坛上重要的小说家之一，从《九月寓言》确立野地意象和民间文化立场开始，其小说创作进入了全新的阶段。2007年《刺猬歌》出版，两部小说时隔十五年之久。通过两部小说的比较分析，可以看出随着社会变革，张炜由于启蒙思想的偏颇、自身潜在资质的不足、现实关照的盲点以及成长环境的自我限定等无法规避的问题，导致小说创作呈现出文学性的缺失和思想力的不足。

关键词：张炜小说　转变　创作理念　困顿

Abstract: Zhang Wei is an important writer of fiction in the literary field in present time China. From the September Fables, which establishes wild image and the position of folk culture, he began to write his novel into a new phase, until Hedgehog Song published the first time fifteen years later, in 2007. By comparing the two novels, it can be seen that as social change, it brings about the inevitable problems in the creation course such as the biased initiation thought, latent intelligence as a humanities intellectual in particular, the blind-spotted concern for reality, the limitations of life experiences and so on. All of these factors contribute to the literature flaw and the ideas’ insufficiency in Zhang Wei’s novel creation.  

Key words: Zhang Wei’s novels, change, creation ideas, distress

从《九月寓言》到《刺猬歌》，张炜的创作，随着社会变革的加深，面临着内外的困境：一方面既不能抵抗工业化进程下农业文明的萎缩和精神阵地的失守，精神的野地在不断枯竭，向别种文化（齐文化）的诉求也显得十分无力，导致魔幻化只是一种华丽的装饰；另一方面不能融入新世纪文化语境，难以形成对现实的有效批判，只能通过无力的丑化和浅显的追思，达不到既有的深度，也破坏了小说的艺术表现。也许情况正如陈晓明所言，“文学在还乡式的书写中自以为找到了精神的根基……这是对旧日的忠诚，它不能、无法再这个图像时代……与狼共舞。哪里是文学真正的未来之路呢？就像是它的精神还乡，永远是以返回为根基之旅吗？还乡的书写，是最初的书写，也是最终的书写。但这只是自我回归，它不能在这个时代找到新的书写之路吗？”