“Through a mixture of fantasy and reality, historical and social perspectives, Mo Yan created a world reminiscent in its complexity of those in the writing of (American writer) William Faulkner and (Columbian writer) Gabriel García Márquez, at the same time finding a departure point in old Chinese literature and in oral literature,” said the award statement released on Oct 11.
10月11日公布的諾貝爾頒獎(jiǎng)公告中寫道：“將魔幻現(xiàn)實(shí)主義與民間故事,、歷史與當(dāng)代社會(huì)融合在一起,，他創(chuàng)作的世界令人聯(lián)想起福克納（美國作家）和馬爾克斯（哥倫比亞作家）作品的融合,，同時(shí)又在中國傳統(tǒng)文學(xué)和口頭文學(xué)中尋找到一個(gè)出發(fā)點(diǎn),。”

“I grew up in an environment immersed with folk culture, which inevitably comes in to my novels when I pick up a pen to write. This has definitely affected, even decided, my works’ artistic style,” Mo told a group of reporters in his hometown of Gaomi, Shandong, shortly after he won the award.
獲獎(jiǎng)后不久,，莫言在家鄉(xiāng)山東高密接受記者采訪時(shí)表示：“民間藝術(shù),、民間文化伴隨著我成長，我從小耳濡目染這些文化元素,，當(dāng)我拿起筆來進(jìn)行文學(xué)創(chuàng)作的時(shí)候,，這些民間文化元素就不可避免地進(jìn)入了我的小說，也影響甚至決定了我的作品的藝術(shù)風(fēng)格,?！?br>

Although China boasts a tradition of literature and scholarship, few writers have won international acclaim. For this reason, the Nobel Prize in Literature has always been an aspiration for Chinese writers.
雖然中國有著引以為傲的文學(xué)和學(xué)術(shù)傳統(tǒng)，但很少有本土作家獲得過國際贊譽(yù),。因此,，摘得諾貝爾文學(xué)獎(jiǎng)成為中國作家的夙愿。

“I really didn’t see this coming,” Lu Jiande, director of the Institute of Literature at the Chinese Academy of Social Sciences, told 21st Century. “I know Mo Yan pretty well and one thing a lot of people don’t know is how good he is with words.”
中國社會(huì)科學(xué)院文學(xué)所所長陸建德在接受《二十一世紀(jì)英文報(bào)》記者采訪時(shí)表示：“我真的沒有想到,。我很了解莫言,，而很多人都不清楚他駕馭文字的功力到底有多棒?！?br>

“His calligraphy is surprisingly beautiful. In his writing, he can make words live and breathe,” Lu said. “He is far ahead of other Chinese in the sense that he takes the critical perspective inside first, starting from criticizing himself instead of the outside world.”
陸建德說：“他的文筆出奇地優(yōu)美,。在他筆下，他可以讓文字鮮活起來,，仿佛具有生命,。他自身首先具備一種批判的視角，在批評(píng)外部世界之前,，他先自我批判一番,。從這一點(diǎn)上來講，他遠(yuǎn)遠(yuǎn)領(lǐng)先于其他國人,?！?br>

Mo created a cast of colorful characters and said that if there was a prototype, it would be the abandoned “black boy” who first appeared in the 1985 novel Red Transparent Radish, which bears imprints of the author’s childhood.
莫言創(chuàng)作出了一眾鮮活的人物形象。他說，如果非要在他的小說中找一個(gè)原型,，那一定是被拋棄的“黑孩”,。這個(gè)人物首次出現(xiàn)是在莫言1985年創(chuàng)作的小說《透明的紅蘿卜》中，他身上有著作者小時(shí)候的影子,。

Mo dropped out of school and became a cattle herder as a child. At 20, he left his hometown and joined the army.
莫言從小輟學(xué),，自幼便在家鄉(xiāng)放牧。20歲時(shí),，他離家參軍。

Gaomi county is where most of Mo’s stories happen. It’s a place that has inspired him throughout his 31-year writing career.
莫言小說中的故事多發(fā)生在高密縣,。在31年的寫作生涯中,，這個(gè)地方激發(fā)出他許多的創(chuàng)作靈感。

Many got to know of Mo through director Zhang Yimou’s film, Red Sorghum. It was adapted from his 1986 novel of the same name, bringing to life a visual landscape of red sorghum fields and a fiery setting sun. Set in Gaomi, the novel tells the story of a sedan carrier who saves the bride he is carrying from bandits and later marries her.
許多人是通過張藝謀導(dǎo)演的電影《紅高粱》才知道莫言的,。這部電影改編自莫言1986年的同名小說,，它再現(xiàn)了火紅斜陽下一片紅高粱地的景象。小說背景設(shè)置在高密縣,，講述了一個(gè)轎夫從土匪手中救出新娘,，并與之喜結(jié)連理的故事。

Mo left the army in 1997 and gradually developed a writing style all of his own. History, family sagas, blood and violence are frequent elements in his most famous works, such as Big Breasts and Wide Hips or Sandalwood Penalty.
莫言1997年退伍,，逐漸樹立自己獨(dú)特的寫作風(fēng)格,。歷史、家族史詩,、血腥和暴力是他諸多名作中的常見元素,，相關(guān)主題作品有《豐乳肥臀》和《檀香刑》。

Some critics point out that Mo’s works have a tendency toward vulgarity.
有些評(píng)論家指出,，莫言的作品有粗俗化的傾向,。

In an interview with South China Morning Post, Professor Xiao Ying of Tsinghua University said the award was “outside of my expectations, as Mo Yan’s works are still short on the idealism of pursuing humanity, which marks previous Nobel literature prize winners”.
在接受《南華早報(bào)》采訪時(shí)，清華大學(xué)教授肖穎（音譯）說,，這個(gè)獎(jiǎng)項(xiàng)“出乎我的意料,，因?yàn)槟缘淖髌啡匀蝗狈ψ穼と诵缘睦硐胫髁x，而這正是衡量前幾任諾貝爾文學(xué)獎(jiǎng)得主的因素,?！?br>

“Mo Yan’s works are rather vulgar and dark and lack a sincere sympathy and respect for human beings and life,” Xiao said.
肖穎還說：“莫言的作品過于粗俗、黑暗,，缺乏對(duì)人類以及生活的真誠共鳴與尊重,。”

Lu said Mo’s works had a richness and complexity beyond the publicity his books usually enjoyed. However, he also pointed out that “in general, Chinese literature tends to be overly admiring of sheer power, and unquestioningly approving of human desire and materiality.
陸建德說,，莫言的作品比大眾所宣傳的更加豐滿且復(fù)雜,。然而，他也指出，總體看來,，中國文學(xué)往往極度推崇絕對(duì)權(quán)力,，對(duì)人類欲望以及物欲照單全收。

“We haven’t been critical enough of the weakness, dark side and distortion of human nature,” he said.
“我們對(duì)弱點(diǎn),、黑暗面以及人性扭曲的批判還不夠,。”他說道,。