閻連科自傳性色彩的小說除了展示爲瑤溝系列外，也反映在以農民軍人為主角的和平軍旅小說中，嚮往城市的農民軍人仍舊無法擺脫血脈根源的宗法情結和土地幽靈，在鄉／城空間中流動千迴百轉的家／國意識，意味著農民軍人精神和認同的不適應症。然而，到了本文第三節探索「大寫父親身體」的議題時，顯示閻連科由自傳色彩小說中鄉土政治形塑宗法化的象徵身體，轉而關注父親般國體的領導者－父法國體－展現意識形態的極權宰制，以各型態的話語示現和發揮影響。認祖與審父皆為探索主體建構的議題，分別攸關河南黃土地的血脈根源、父法國體的傷痕記憶與與主體價值的關係，意味著閻連科從河南鄉土中的農民和農民軍人的生存實況，轉型為關注鄉土中國的國家寓言。然而，黃土地的根脈之情和創傷的集體記憶是閻連科關注的核心面向，認祖與審父的論題在後期的創作中形成帶有強烈河南地域色彩的國家寓言。本文第四節「淘金與掏空：回歸原鄉母體」討論商業經濟蓬勃發展的後毛時代，父法的紅色幽靈仍就顯靈在後毛時代的慾望追求模式和思考邏輯中，但是閻連科採取不同於「尋父與審父」的創作心態，讓精神無父的一代人在後毛時代回歸到原鄉母體中獲得精神安頓。原鄉母體是相對於父法國體的概念，意指尋找現代／文化中國的純粹本質和信仰寄託。

Yan Lianke's autobiographical novels demonstrate in yao ditch series (瑤溝系列) and Peace military novels (和平軍旅小說). Peasant-soldiers long for living in the city, but they still couldn't get rid of patriarchal clan. In this way, their family/country consciousness interflow in township/city space, meaning their mind can't adapt this situation. Section Ⅲ of this paper discussing capital Father's body shows Yan Lianke change from autobiographical novel to state fables concerning Mao Father how to use ideology to control the state. Identifying ancestors and Father that is the issue of constructing subject is about of Henan (河南) blood and traumatic memory caused by Mao Father's state system, it forming state fables of Henan's feature. Even though people seek pursue in business development of Post-Mao era, they still obey Mao's ideology. Therefore, Yan Lianke make people showing the spirit of non-Father to settle in Mother of culture china.