爱华网既然我们有兴致接受莫言获得诺奖，我们就要有勇气接受外国人眼中的莫言，以及外国人眼中的中国。 不管你认同也好，痛恨也罢，外国人的看法就在那里。 就象多年前，不管你蔑视洋鬼子，还是痛恨洋鬼子，他们的坚船利炮就在那里，尽管我们忍受了战败的耻辱，但好在让我们重新认识了自己。
如果你阅读到其他人的翻译，上来第一句是“莫言是个诗人”，那么，我劝你别再往下读了，读我的吧。为什么？因为莫言不是诗人，而外国人也不会弱智到称赞他是诗人。poet并不只有“诗人”这一个意思。根据Merrian-Webster's Collegiate Dictionary (11)，poet除了one who writespoetry外，还有一个意思：one (as a creative artist) of great imaginative andexpressive capabilityes and special sensetivity to themedium. 又据Webster'sNew World College Dictionay (5)，poet的第二个意思是a person who displaysimaginative and beauty of thought, language, etc.总之，poet的另外一个意思是：富有想象力的艺术家，善于抒情的艺术家；有诗才(或诗人气质)的人最近，我发现某出版社结集出版的历届诺奖文学奖的颁奖词，也是用的“诗人”的翻译稿，这种在网上粘贴的编辑真可怜啊。 我会慢慢把全文贴出，并接受吹毛求疵。 诺贝尔奖颁奖典礼上，文学委员会主席帕•瓦斯特伯格介绍了莫言的作品，阐述了授予他诺贝尔文学奖的原因。瓦斯特伯格的颁奖辞全文如下：
Your Majesties, Your Royal Highnesses, Esteemed NobelLaureates, Ladies and Gentlemen, 尊敬的国王和皇后陛下，尊敬的诺贝尔奖得主们，女士们先生们，
Mo Yan is a poet who tears downstereotypical propaganda posters, elevating the individual from ananonymous human mass. Using ridicule and sarcasm Mo Yan attackshistory and its falsifications as well as deprivation and politicalhypocrisy. Playfully and with ill-disguised delight, he reveals themurkiest aspects of human existence, almost inadvertently findingimages of strong symbolic weight. 莫言是一位富有想象力的作家，他将模式化的宣传说教一把扯了下来，从一个没有个性特征的芸芸大众中彰显出个人。他用冷嘲热讽的笔触抨击历史以及对历史的弄虚作假，抨击剥夺行为和政治伪善。他揭示了人类生存所面临的最为阴暗的一面，几乎是在漫不经心之间，他找到了极富象征意义的人物形象，戏谑之中难掩兴奋。
North-easternGaomi county emb odies China's folk tales and history. Few realjourneys can surpass these to a realm where the clamour of donkeysand pigs drowns out the voices of the people's commissars and whereboth love and evil assume supernatural proportions. “高密东北乡”是中国民间故事和历史的具体化，很少有人能够超越它们通达这样一片国土，在这里，驴嘶猪叫淹没了人大代表的声音，爱和邪恶的表现已经达到了怪异的程度。
Mo Yan's imagination soars across theentire human existence. He is a wonderful portrayer of nature; heknows virtually all there is to know about hunger, and thebrutality of China's 20th century has probably never been describedso nakedly, with heroes, lovers, torturers, bandits – andespecially, strong, indomitable mothers. He shows us a worldwithout truth, common sense or compassion, a world where people arereckless, helpless and absurd. 莫言的想象力超越了整个人类的现实存在。他很擅长对大自然的描写，对饥饿的所有状况有着切身的感受，大概从来没有人象他那样露骨地描写过20世纪中国的野蛮残暴，在他的笔下，有英雄、情侣、执行酷刑的人、土匪，尤为特别的是，还有坚强和不屈不挠的母亲。他呈现给我们的是一个没有真理、缺乏常识或同情心的世界，一个大家都不计后果、无助而荒唐可笑的世界。
Proof of this misery is the cannibalismthat recurs in China's history. In Mo Yan, it stands forunrestrained consumption, excess, rubbish, carnal pleasures and theindescribable desires that only he can attempt to elucidate beyondall tabooed limitations. 中国历史上反复出现的人吃人现象为这种悲惨境遇提供了佐证。在莫言的书中，它代表着毫无节制的消费、纵欲、荒唐、淫乐和难以形容的欲望，唯独莫言冲破了所有的禁忌限制，努力地讲述着这一切。
In his novel Republic ofWine, the most exquisite of delicacies is a roastedthree-year-old. Boys have become exclusive foodstuff. The girls,neglected, survive. The irony is directed at China's family policy,because of which female foetuses are aborted on an astronomicscale: girls aren't even good enough to eat. Mo Yan has written anentire novel, Frog, about this. 在他的小说《酒国》中，最精致的美味是烧烤的三岁男孩的肉。男孩成为独家美食，而女孩则因受到轻视而得以幸存。这一讽刺直指中国的计划生育，因为这一政策导致女胎被大量流产，而原因就是由于女孩不那么好吃。莫言就此事写了一部纯粹的小说，这就是《蛙》。
Mo Yan's stories have mythical andallegorical pretensions and turn all values on their heads. Wenever meet that ideal citizen who was a standard feature in Mao'sChina. Mo Yan's characters bubble with vitality and take even themost amoral steps and measures to fulfill their lives and burst thecages they have been confined in by fate and politics. 莫言的故事假以神话和寓言的形式，颠覆了所有的价值观。在他的小说中，我们从没碰到如毛时代高大全人物那样的理想国民。莫言笔下的人物充满了生命力，为了生存他们不惜采取非道德的步骤和手段，以此打破束缚他们的命运和政治的牢笼。
Instead of communism's poster-happyhistory, Mo Yan describes a past that, with his exaggerations,parodies and derivations from myths and folk tales, is a convincingand scathing revision of fifty years of propaganda. 借鉴神话和民间故事中夸张、摹仿和转意的手法，莫言描述了一段与宣传了50年的社会有所不同的往事，它不同于共产主义宣传画中所描绘的幸福生活，令人信服，却言辞尖厉。
In his most remarkable novel, BigBreasts and Wide Hips, where a female perspectivedominates, Mo Yan describes the Great Leap Forward and the GreatFamine of 1960 in stinging detail. He mocks the revolutionarypseudo-science that tried to inseminate sheep with rabbit sperm,all the while dismissing doubters as right-wing elements. The novelends with the new capitalism of the ‘90s with fraudsters becomingrich on beauty products and trying to produce a Phoenix throughcross-fertilization. 《丰乳肥臀》是莫言最出色的一部小说，它主要是从女性的视角叙事，在该小说中，莫言对1960年的大跃进和大饥荒进行了极其详尽的描述。他嘲笑试图用公兔给母羊授精的革命性伪科学，这些人根本不理会被打成右派的人对此表示的怀疑。小说止笔于90年代资本主义的重新兴起，当时，搞假冒伪劣的人在美容产品上发了大财，而这些骗子们却要试图通过杂交的方法来养凤凰。
In Mo Yan, a forgotten peasant worldarises, alive and well, before our eyes, sensually scented even inits most pungent vapours, startlingly merciless but tinged byjoyful selflessness. Never a dull moment. The author knowseverything and can describe everything – all kinds of handicraft,smithery, construction, ditch-digging, animal husbandry, the tricksof guerrilla bands. He seems to carry all human life on the tip ofhis pen. 因为莫言，一个被人遗忘的农民世界呈现在世人的眼前，活灵活现，气味刺鼻却弥漫着肉欲的馨香，触目惊心的残酷又不失令人喜悦的无私，读来从不感到乏味。各种手工艺、铁匠活、盖房、挖渠、畜牧和游击队的计谋等等，他无所不知，无所不写。似乎生活的方方面面都涌向了他的笔尖。
He is more hilarious and more appallingthan most in the wake of Rabelais and Swift — in our time, in thewake of García Marquez. His spice blend is a peppery one. On hisbroad tapestry of China’s last hundred years, there are neitherdancing unicorns nor skipping maidens. But he paints life in apigsty in such a way that we feel we have been there far too long.Ideologies and reform movements may come and go but human egoismand greed remain. So Mo Yan defends small individuals against allinjustices – from Japanese occupation to Maoist terror and today’sproduction frenzy. 与拉伯雷和斯威夫特以及当今的加西亚•马尔克斯之后的大多数作家相比，莫言的描述更加妙趣横生和惊世骇俗。他的调味品中只有胡椒，因此言辞辛辣。他勾勒出了中国近百年以来宽阔的历史画面，其中没有舞动的麒麟呈祥，也没有欢跳的少女献媚。但是他把生活描述成象猪圈一样地脏乱差，让我们感到我们过这样的日子已经很久了。意识形态可以变来变去，改革运动可以搞来搞去，但人类的自私和贪婪却挥之不去。所以，莫言要为小人物受到的所有不公打抱不平，他们经历了日本的侵略，经历了毛时代的恐怖，及至现在又陷身于物欲横流的世界。
For those who venture to Mo Yan’s homedistrict, where bountiful virtue battles the vilest cruelty, astaggering literary adventure awaits. Has ever such an epic springflood engulfed China and the rest of the world? In Mo Yan’s work,world literature speaks with a voice that drowns out mostcontemporaries. 对于那些阅读莫言的作品，冒昧创入莫言所描写的家乡的人来说，宽宏大量的美德和最卑劣无耻的横蛮在这里交锋，等待着你的将是一次惊人的文学冒险之旅。曾经有如此一种规模宏大的文学春潮席卷过中国乃至世界其他地方吗？莫言的作品是一种世界文学的表达，他已经让大多数与他同时代的人望尘莫及了。
The Swedish Academy congratulates you.I call on you to accept the 2012 Nobel Prize for Literature fromthe hand of His Majesty the King. 瑞典学院祝贺你。我恳请你从国王陛下手中接过2012年诺贝尔文学奖。
莫言小说的英文版本
Explosions and Other Stories / edited byJanice Wickeri. – Hong Kong : Research Centre for Translations,Chinese University of Hong Kong, 1991
Shifu, You’ll Do Anything for a Laugh / translated from the Chineseby Howard Goldblatt. – New York ; Arcade Pub., 2001.《师傅越来越幽默》
Red Sorghum: a Novel of China / translated from the Chinese by HowardGoldblatt. – New York : Viking, 1993. 《红高粱家族》
The GarlicBallads : a Novel / translated from the Chinese by HowardGoldblatt. – New York : Viking, 1995.《天堂蒜苔之歌》
The Republic of Wine / translated from the Chineseby Howard Goldblatt. – New York : Arcade Pub., 2000. 《酒国》
Big Breasts and Wide Hips : a Novel /translated from the Chinese by Howard Goldblatt. – New York :Arcade Pub., 2004. 《丰乳肥臀》
Life andDeath are Wearing Me Out : a Novel / translated from the Chinese byHoward Goldblatt. – New York : Arcade Pub., 2008.《生死疲劳》
Change /translated by Howard Goldblatt. – London : Seagull, 2010. 《鞭》
Pow /translated by Howard Goldblatt. – London : Seagull, 2013《四十一炮》
SandalwoodDeath / translated by Howard Goldblatt. – Norman : Univ. ofOklahoma Press, 2013. 《檀香刑》
SelectedStories by Mo Yan / translated by Howard Goldblatt. – Hong Kong :The Chinese University Press, 20-?.(已发布而尚未出版)
