Mo Yan is a famous contemporary Chinese writer. In the mid-1980s, he rose to prominence as vernacular works, full of complex emotions of "nostalgia" and "resentment", and was classified as a writer of "root-seeking literature".
In 2000, Mo Yan's "Red Sorghum" was selected by Asia Weekly as one of the "Top 100 Novels of the Chinese 20th Century". In 2005, Mo Yan's "Sandalwood Punishment" was unanimously shortlisted for the Mao Dun Literature Award. In 2011, Mo Yan won the Mao Dun Literature Award for his work "Frog". In 2012, Mo Yan won the Nobel Prize in Literature. The prize was won for the integration of folktales, history and contemporary society through illusional realism.
01
Life and death fatigue
Mo Yan | Zhejiang Literature and Art Publishing House | 2022
I don't know, I want to cry and laugh. Living is not easy, humor is priceless. - Mo Yan
In fifty years, Simon went through six reincarnations: one was a donkey, the second was an ox, the third was a pig, the fourth was a dog, the fifth was a monkey, and finally he was born as a human being.
In these six lifetimes, he witnessed three generations of the blue-faced family experiencing the fatigue of life and death, they loved to the end, hated to the end, and did what they did, there was extreme pain, and there was also complete indulgence.
And their story begins on January 1, 1950...
02
Sandalwood punishment
Mo Yan | Zhejiang Literature and Art Publishing House | 2017
The foundation structure of "Sandalwood Punishment" is in the context of the 1900 Penghu ReformAtion, the eight-power alliance army attacking Beijing, the hasty escape of Empress Dowager Cixi, and the forced construction of the Jiaoji Railway in Shandong by the Germans, and the ups and downs of enmity between the characters, colorful folk tales, and appalling bloody torture have created a literary narrative atmosphere rich in original mystery.
It is in this sometimes real and sometimes magical narrative that the novel presents a picture of the high-density northeast countryside that is widely open and harmonious, and the people of the high-density northeast township are active in this picture. The scene of anti-colonial struggle they staged, the lingering love story, and the earth-shattering cat drama, together presented the vast and colorful land of Gaomi Northeast Township.
03
Fat buttocks
Mo Yan | Zhejiang Literature and Art Publishing House | 2003
In the novel, through the mother, she raises one child after another with hardship and hardship, and regards the Shangguan Golden Boy as the general importance of life, and its intention is to show that man is always the most precious in the universe, life has indisputable significance, is the first," and the reproduction of "species" naturally has unparalleled significance. The inheritance and inheritance of life is the source of human eternal existence. Everything in the universe shows its value and meaning because of the existence of life.
It is also in this sense that the novel reveals that man is not only the subject of history, but also the subject of beauty, and the inheritance and continuation of life are the most praised. The lifeless universe and the world, beautiful and ugly, pure and dirty, mean and noble, no longer have meaning.
04
frog
Mo Yan | Shanghai Literature and Art Publishing House | 2012
"Frog" is composed of five letters, four long narratives and a drama written by the playwright Tadpole to the Japanese writer Yoshihito Sugitani, which greatly expands the expressive space of the novel artistically. The whole work takes the life experience of the rural female doctor aunt who has been engaged in obstetrics and gynecology for more than 50 years as a clue, and uses vivid and touching details and self-reflection to show the "fertility history" of the sixty years of ups and downs in New China, exposes the chaotic scene of the current Chinese fertility problem, and also deeply analyzes the humble, embarrassing, tangled and contradictory soul world of Chinese intellectuals represented by the narrator tadpole.
05
Late ripening people
Mo Yan | People's Literature Publishing House | 2020
I think the really scary bad guys aren't the people who know they're bad, but the people who don't know they're bad but think they're right and good. Those bad people who know that they are bad still have a conscience in their hearts, so they still know their own bad, and those bad people who do not know that they are bad have only self-righteousness in their hearts, they always think that they are right, he always thinks that others owe him, he always hates others and scolds others.
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