尊敬的瑞典学院各位院士，女士们、先生们：
of the , and :
通过电视或网络，我想在座的各位对遥远的高密东北乡，已经有了或多或少的了解。你们也许看到了我的九十岁的老父亲，看到了我的哥哥姐姐、我的妻子女儿，和我的一岁零四个月的外孙女。此刻我最想念的人，我的母亲，你们永远无法看到了。我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。
the of and the , I that here has at least a with Gaomi . You may have seen my , as well as my , my , my wife and my , even my , now a year and four old. But the who is most on my mind at this , my , is you will never see. Many have in the honor of this prize, but her.
我母亲生于1922年，卒于1994年。她的骨灰，埋葬在村庄东边的桃园里。去年，一条铁路要从那儿穿过，我们不得不将她的坟墓迁移到距离村子更远的地方。掘开坟墓后，我们看到，棺木已经腐朽，母亲的骨殖，已经与泥土混为一体。我们只好象征性地挖起一些泥土，移到新的墓穴里。也就是从那一时刻起，我感到，我的母亲是大地的一部分，我站在大地上的诉说，就是对母亲的诉说。
My was born in 1922 and died in 1994. We her in a peach east of the . Last year we were to move her grave away from the in order to make room for a rail line. When we dug up the grave, we saw that the had away and that her body had with the damp earth it. So we dug up some of that soil, a act, and took it to the new . That was when I the that my had part of the earth, and that when I spoke to earth, I was to my .
我是我母亲最小的孩子。
I was my ’s child.
我记忆中最早的一件事，是提着家里唯一的一把热水壶去公共食堂打开水。因为饥饿无力，失手将热水瓶打碎，我吓得要命，钻进草垛，一天没敢出来。傍晚的时候我听到母亲呼唤我的乳名，我从草垛里钻出来，以为会受到打骂，但母亲没有打我也没有骂我，只是抚摸着我的头，口中发出长长的叹息。
My was of our only to the for water. by , I the and broke it. , I hid all that day in a . , I heard my my name, so I out of my place, to a or a . But didn’t hit me, didn’t even scold me. She just my head and a sigh.
我记忆中最痛苦的一件事，就是跟着母亲去集体的地理拣麦穗，看守麦田的人来了，拣麦穗的人纷纷逃跑，我母亲是小脚，跑不快，被捉住，那个身材高大的看守人煽了她一个耳光，她摇晃着身体跌倒在地，看守人没收了我们拣到的麦穗，吹着口哨扬长而去。我母亲嘴角流血，坐在地上，脸上那种绝望的神情令我终生难忘。多年之后，当那个看守麦田的人成为一个白发苍苍的老人，在集市上与我相逢，我冲上去想找他报仇，母亲拉住了我，平静的对我说：“儿子，那个打我的人，与这个老人，并不是一个人。”
My most going out in the ’s field with to glean ears of wheat. The when they the . But , who had bound feet, could not run; she was and so hard by the , a hulk of a man, that she fell to the . The the wheat we’d and off . As she sat on the , her lip , wore a look of I’ll never . Years later, when I the , now a old man, in the , had to stop me from going up to her. “Son,” she said , “the man who hit me and this man are not the same .”
我记得最深刻的一件事是一个中秋节的中午，我们家难得的包了一顿饺子，每人只有一碗。正当我们吃饺子时，一个乞讨的老人来到了我们家门口，我端起半碗红薯干打发他，他却愤愤不平地说：“我是一个老人，你们吃饺子，却让我吃红薯干。你们的心是怎么长的？”我气急败坏地说：“我们一年也吃不了几次饺子，一人一小碗，连半饱都吃不了！给你红薯干就不错了，你要就要，不要就滚！”母亲训斥了我，然后端起她那半碗饺子，倒进了老人碗里。
My is of a Moon day, at , one of those rare when we ate at home, one bowl . An aging came to our door while we were at the table, and when I tried to send him away with half a of dried sweet , he : “I’m an old man,” he said. “You are , but want to feed me sweet . How can you be?” I just as : “We’re lucky if we eat a of times a year, one small , to get a taste! You be we’re you sweet , and if you don’t want them, you can get the hell out of here!” After ( me down) me, her half of into the old man’s bowl.
我最后悔的一件事，就是跟着母亲去卖白菜，有意无意地多算了一位买白菜的老人一毛钱。算完钱我就去了学校。当我放学回家时，看到很少流泪的母亲泪流满面。母亲并没有骂我，只是轻轻的说：“儿子，你让娘丢了脸。”
My most sell at , and me an old one jiao – or not, I can’t – off to . When I came home that , I saw that was , she did. of me, she said , “Son, you your today.”
我十几岁时，母亲患了严重的肺病，饥饿，病痛，劳累，使我们这个家庭陷入了困境，看不到光明和希望。我产生了一种强烈的不祥之兆，以为母亲随时都会自己寻短见。每当我劳动归来，一进大门就高喊母亲，听到她的回应，心中才感到一块石头落了地。如果一时听不到她的回应，我就心惊胆战，跑到厨房和磨坊里寻找。有一次找遍了所有的房间也没有见到母亲的身影，我便坐在了院子里大哭。这时母亲背着一捆柴草从外面走进来。她对我的哭很不满，但我又不能对她说出我的担忧。母亲看到我的心思，她说：“孩子你放心，尽管我活着没有一点乐趣，但只要阎王爷不叫我，我是不会去的。”
a lung when I was still in my teens. , , and too much work made hard on our . The road ahead bleak, and I had a bad about the , that might take her own life. Every day, the first thing I did when I in the door after a day of hard labor was call out for . her voice was like my heart a new lease on life. But not her threw me into a panic. I’d go for her in the side and in the mill. One day, after and not her, I sat down in the yard and cried like a baby. That is how she found me when she into the yard a of on her back. She was very with me, but I could not tell her what I was of. She knew . “Son,” she said, “don’t worry, there may be no joy in my life, but I won’t leave you till the God of the calls me.”
我生来相貌丑陋，村子里很多人当面嘲笑我，学校里有几个性格霸蛮的同学甚至为此打我。我回家痛苦，母亲对我说：“儿子，你不丑，你不缺鼻子不缺眼，四肢健全，丑在哪里？而且只要你心存善良，多做好事，即便是丑也能变美。”后来我进入城市，有一些很有文化的人依然在背后甚至当面嘲弄我的相貌，我想起了母亲的话，便心平气和地向他们道歉。
I was born ugly. often in my face, and beat me up of it. I’d run home , where my would say, “You’re not ugly, Son. You’ve got a nose and two eyes, and there’s wrong with your arms and legs, so how could you be ugly? If you have a good heart and do the right thing, what is ugly .” Later on, when I moved to the city, there were who at me my back, some even to my face; but when I what had said, I just my .
我母亲不识字，但对识字的人十分敬重。我们家生活困难，经常吃了上顿没下顿。但只要我对她提出买书买文具的要求，她总是会满足我。她是个勤劳的人，讨厌懒惰的孩子，但只要是我因为看书耽误了干活，她从来没批评过我。
My held who could read in high . We were so poor we often did not know where our next meal was from, yet she never my to buy a book or to write with. By hard , she had no use for lazy , yet I could skip my as long as I had my nose in a book.
有一段时间，集市上来了一个说书人。我偷偷地跑去听书，忘记了她分配给我的活儿。为此，母亲批评了我，晚上当她就着一盏小油灯为家人赶制棉衣时，我忍不住把白天从说书人听来的故事复述给她听，起初她有些不耐烦，因为在她心目中说书人都是油嘴滑舌，不务正业的人，从他们嘴里冒不出好话来。但我复述的故事渐渐的吸引了她，以后每逢集日她便不再给我排活，默许我去集上听书。为了报答母亲的恩情，也为了向她炫耀我的记忆力，我会把白天听到的故事，绘声绘色地讲给她听。
A once came to the , and I off to to him. She was with me for my . But that night, while she was for us under the weak light of a lamp, I ’t keep from I’d heard that day. She at first, since in her eyes were men in a . good ever came out of their . But she was into my , and from that day on, she never gave me on day, to go to the and to new . As for ’s and a way to my , I’d the for her in vivid .
很快的，我就不满足复述说书人讲的故事了，我在复述的过程中不断地添油加醋，我会投我母亲所好，编造一些情节，有时候甚至改变故事的结局。我的听众也不仅仅是我的母亲，连我的姐姐，我的婶婶，我的奶奶都成为我的听众。我母亲在听完我的故事后，有时会忧心忡忡地，像是对我说，又像是自言自语：“儿啊，你长大后会成为一个什么人呢？难道要靠耍贫嘴吃饭吗？”
It did not take long to find else’s , so I began my . I’d say I knew would , even the once in a while. And she wasn’t the only of my , which later my older , my aunts, even my . , after my had to one of my , she’d ask in a voice, as if to : “What will you be like when you grow up, son? Might you wind up for a one day?”
我理解母亲的担忧，因为在村子里，一个贫嘴的孩子，是招人厌烦的，有时候还会给自己和家庭带来麻烦。我在小说《牛》里所写的那个因为话多被村子里厌恶的孩子，就有我童年时的影子。我母亲经常提醒我少说话，她希望我能做一个沉默寡言、安稳大方的孩子。但在我身上，却显露出极强的说话能力和极大的说话欲望，这无疑是极大的危险，但我说的故事的能力，又带给了她愉悦，这使她陷入深深的矛盾之中。
I knew why she was . kids are not well of in our , for they can bring to and to their . There is a bit of a young me in the boy who falls afoul of in my story “Bulls.” me not to talk so much, me to be a , and . I was of a – and the that went with them. My to tell her joy, but that a for her.
俗话说“江山易改、本性难移”，尽管我有父母亲的谆谆教导，但我并没有改掉我喜欢说话的天性，这使得我的名字“莫言”，很像对自己的讽刺。
A goes “It is to the of a river than a ’s .” my ’ , my to talk never went away, and that is what makes my name – Mo Yan, or “don’t speak” – an of .
我小学未毕业即辍学，因为年幼体弱，干不了重活，只好到荒草滩上去放牧牛羊。当我牵着牛羊从学校门前路过，看到昔日的同学在校园里打打闹闹，我心中充满悲凉，深深地体会到一个人，哪怕是一个孩子，离开群体后的痛苦。
After out of , I was too small for heavy labor, so I a and on a . The sight of my in the when I drove my past the gate me and made me aware of how tough it is for – even a child – to leave the group.
到了荒滩上，我把牛羊放开，让它们自己吃草。蓝天如海，草地一望无际，周围看不到一个人影，没有人的声音，只有鸟儿在天上鸣叫。我感到很孤独，很寂寞，心里空空荡荡。有时候，我躺在草地上，望着天上懒洋洋地飘动着的白云，脑海里便浮现出许多莫名其妙的幻象。我们那地方流传着许多狐狸变成美女的故事，我幻想着能有一个狐狸变成美女与我来作伴放牛，但她始终没有出现。但有一次，一只火红色的狐狸从我面前的草丛中跳出来时，我被吓得一屁股蹲在地上。狐狸跑没了踪影，我还在那里颤抖。有时候我会蹲在牛的身旁，看着湛蓝的牛眼和牛眼中的我的倒影。有时候我会模仿着鸟儿的叫声试图与天上的鸟儿对话，有时候我会对一棵树诉说心声。但鸟儿不理我，树也不理我。许多年后，当我成为一个小说家，当年的许多幻想，都被我写进了小说。很多人夸我想象力丰富，有一些文学爱好者，希望我能告诉他们培养想象力的秘诀，对此，我只能报以苦笑。
I the loose on the to graze a sky as blue as the ocean and land as far as the eye could see – not in sight, no human , but bird calls above me. I was all by and ; my empty. I lay in the grass and float by, which gave rise to all sorts of . That part of the is known for its tales of foxes in the form of young women, and I would a girl to tend with me. She never did come. Once, , a fiery red fox out of the brush in front of me, my legs right out from under me. I was still there long after the fox had . I’d down the cows and gaze into their deep blue eyes, eyes that my . At times I’d have a with birds in the sky, their cries, while at other times I’d my hopes and to a tree. But the birds me, and so did the trees. Years later, after I’d a , I wrote some of those into my and . me with on my vivid , and of often ask me to my to a rich . My only is a wan smile.
就像中国的先贤老子所说的那样：“福兮祸之所伏，福祸福所倚”，我童年辍学，饱受饥饿、孤独、无书可读之苦，但我因此也像我们的前辈作家沈从文那样，及早地开始阅读社会人生这本大书。前面所提到的到集市上去听说数人说书，仅仅是这本大书中的一页。
Our Laozi said it best: “ on . is in .” I left as a child, often went , was , and had no books to read. But for those , like the of a , Shen , I had an early start on the great book of life. My of going to the to to a was but one page of that book.
辍学之后，我混迹于成人之中，开始了“用耳朵阅读”的漫长生涯。二百多年前，我的故乡曾出了一个讲故事的伟大天才蒲松龄，我们村里的许多人，包括我，都是他的传人。我在集体劳动的田间地头，在生产队的牛棚马厩，在我爷爷奶奶的热炕头上，甚至在摇摇晃晃地进行着的牛车社，聆听了许许多多神鬼故事，历史传奇，逸闻趣事，这些故事都与当地的自然环境，家庭历史紧密联系在一起，使我产生了强烈的现实感。
After , I was into the world of , where I on the long of . Two years ago, one of the great of all time – Pu – lived near where I grew up, and where many , me , on the he had . I to be – the with the , in team or , on my ’ kang, even on and down the road, my ears with tales of the , , and and , all tied to the and clan , and all of which a in my mind.
我做梦也想不到有朝一日这些东西会成为我的写作素材，我当时只是一个迷恋故事的孩子，醉心地聆听着人们的讲述。那时我是一个绝对的有神论者，我相信万物都有灵性，我见到一棵大树会肃然起敬。我看到一只鸟会感到它随时会变化成人，我遇到一个陌生人，也会怀疑他是一个动物变化而成。每当夜晚我从生产队的记工房回家时，无边的恐惧便包围了我，为了壮胆，我一边奔跑一边大声歌唱。那时我正处在变声期，嗓音嘶哑，声调难听，我的歌唱，是对我的乡亲们的一种折磨。
Even in my , I could not have a day when all this would be the stuff of my own , for I was just a boy who loved , who was with the tales me were . Back then I was, a doubt, a , that all were with souls. I’d stop and pay my to a old tree; if I saw a bird, I was sure it could human any time it ; and I every I met of being a beast. At night, fears me on my way home after my work were , so I’d sing at the top of my lungs as I ran to build up a bit of . My voice, which was at the time, , songs that on the ears of any who heard me.
我在故乡生活了二十一年，期间离家最远的是乘火车去了一次青岛，还差点迷失在木材厂的巨大木材之间，以至于我母亲问我去青岛看到了什么风景时，我沮丧地告诉她：什么都没看到，只看到了一堆堆的木头。但也就是这次青岛之行，使我产生了想离开故乡到外边去看世界的强烈愿望。
I spent my first years in that , never from home than to , by train, where I got lost amid the giant of wood in a mill. When my asked me what I’d seen in , I sadly that all I’d seen were of . But that trip to in me a to leave my and see the world.
1976 年2 月，我应征入伍，背着我母亲卖掉结婚时的首饰，帮我购买的四本《中国通史简编》，走出了高密东北乡这个既让我爱又让我恨的地方，开始了我人生的重要时期。我必须承认，如果没有30 多年来中国社会的巨大发展与进步，如果没有改革开放，也不会有我这样一个作家。
In 1976 I was into the army and out of the Gaomi I both loved and hated, a phase of my life, in my the Brief of had by her . Thus began the most of my life. I must admit that were it not for the years of and in , and the and of her doors to the , I would not be a today.
在军营的枯燥生活中，我迎来了八十年代的思想解放和文学热潮，我从一个用耳朵聆听故事，用嘴巴讲述故事的孩子，开始尝试用笔来讲述故事。起初的道路并不平坦，我那时并没有意识到我二十多年的农村生活经验是文学的富矿，那时我以为文学就是写好人好事，就是写英雄模范，所以，尽管也发表了几篇作品，但文学价值很低。
In the midst of life, I the and of the , and from a boy who to and them on by word of mouth into who with them down. It was a rocky road at first, a time when I had not yet how rich a of my two of life could be. I that was all about good doing good , of deeds and model , so that the few of mine that were had value.
1984年秋，我考入解放军艺术学院文学系。在我的恩师着名作家徐怀中的启发指导下，我写出了《秋水》、《枯河》、《透明的红萝卜》、《红高粱》等一批中短篇小说。在《秋水》这篇小说里，第一次出现了“高密东北乡”这个字眼，从此，就如同一个四处游荡的农民有了一片土地，我这样一个文学的流浪汉，终于有了一个可以安身立命的场所。我必须承认，在创建我的文学领地“高密东北乡”的过程中，美国的威廉·福克纳和哥伦比亚的加西亚·马尔克斯给了我重要启发。我对他们的阅读并不认真，但他们开天辟地的豪迈精神激励了我，使我明白了一个作家必须要有一块属于自己的地方。一个人在日常生活中应该谦卑退让，但在文学创作中，必须颐指气使，独断专行。我追随在这两位大师身后两年，即意识到，必须尽快地逃离他们，我在一篇文章中写道：他们是两座灼热的火炉，而我是冰块，如果离他们太近，会被他们蒸发掉。根据我的体会，一个作家之所以会受到某一位作家的影响，其根本是因为影响者和被影响者灵魂深处的相似之处。正所谓“心有灵犀一点通”。所以，尽管我没有很好地去读他们的书，但只读过几页，我就明白了他们干了什么，也明白了他们是怎样干的，随即我也就明白了我该干什么和我该怎样干。
In the fall of 1984 I was into the of the PLA Art , where, under the of my , the Xu , I wrote a of and , : “ ,” “Dry River,” “The ,” and “Red .” Gaomi made its first in “ ,” and from that on, like a who finds his own piece of land, this found a place he could call his own. I must say that in the of my , Gaomi , I was by the and the García Márquez. I had not read of them , but was by the bold, way they new in , and from them that a must have a place that to him alone. and are ideal in one’s daily life, but in , and the need to one’s own are . For two years I in the of these two that I had to their ; this is how I that in an essay: They were a pair of , I was a block of ice. If I got too close to them, I would into a cloud of steam. In my , one when they enjoy a , what is often to as “ in .” That why, I had read of their work, a few pages were for me to what they were doing and how they were doing it, which led to my of what I do and how I do it.
我该干的事情其实很简单，那就是用自己的方式，讲自己的故事。我的方式，就是我所熟知的集市说书人的方式，就是我的爷爷奶奶、村里的老人们讲故事的方式。坦率地说，讲述的时候，我没有想到谁会是我的听众，也许我的听众就是那些如我母亲一样的人，也许我的听众就是我自己，我自己的故事，起初就是我的亲身经历，譬如《枯河》中那个遭受痛打的孩子，譬如《透明的红萝卜》中那个自始至终一言不发的孩子。我的确曾因为干过一件错事而受到过父亲的痛打，我也的确曾在桥梁工地上为铁匠师傅拉过风箱。当然，个人的经历无论多么奇特也不可能原封不动地写进小说，小说必须虚构，必须想象。很多朋友说《透明的红萝卜》是我最好的小说，对此我不反驳，也不认同，但我认为《透明的红萝卜》是我的作品中最有象征性、最意味深长的一部。那个浑身漆黑、具有超人的忍受痛苦的能力和超人的感受能力的孩子，是我全部小说的灵魂，尽管在后来的小说里，我写了很多的人物，但没有一个人物，比他更贴近我的灵魂。或者可以说，一个作家所塑造的若干人物中，总有一个领头的，这个沉默的孩子就是一个领头的，他一言不发，但却有力地领导着形形色色的人物，在高密东北乡这个舞台上，尽情地表演。
What I do was : Write my own in my own way. My way was that of the , with which I was so , the way my and my and other told . In all , I never gave a to when I was my ; my was made up of like my , and it was only me. The early were of my : the boy who a in “Dry River,” for , or the boy who never spoke in “The .” I had done bad to a from my , and I had the for a on a site. , be into as it , no how that might be. has to be , has to be . To many of my , “The ” is my very best story; I have no one way or the other. What I can say is, “The ” is more and more than any other story I’ve . That boy with the to and a of the soul of my . Not one of all the I’ve since then is as close to my soul as he is. Or put a way, among all the a , there is one that above all the . For me, that boy is the one. he says , he leads the way for all the , in all their , on the Gaomi stage.
自己的故事总是有限的，讲完了自己的故事，就必须讲他人的故事。于是，我的亲人们的故事，我的村人们的故事，以及我从老人们口中听到过的祖先们的故事，就像听到集合令的士兵一样，从我的记忆深处涌出来。他们用期盼的目光看着我，等待着我去写他们。我的爷爷、奶奶、父亲、母亲、哥哥、姐姐、姑姑、叔叔、妻子、女儿，都在我的作品里出现过，还有很多的我们高密东北乡的乡亲，也都在我的小说里露过面。当然，我对他们，都进行了文学化的处理，使他们超越了他们自身，成为文学中的人物。
A can only so much, and once you have your own , you must tell the of . And so, out of the of my , like , rose of , of , and of I of from the of . They for me to tell their . My and , my and , my and , my aunts and , my wife and my have all in my . Even of Gaomi have made cameo . Of they have to them into .
我最新的小说《蛙》中，就出现了我姑姑的形象。因为我获得诺贝尔奖，许多记者到她家采访，起初她还很耐心地回答提问，但很快便不胜其烦，跑到县城里她儿子家躲起来了。姑姑确实是我写《蛙》时的模特，但小说中的姑姑，与现实生活中的姑姑有着天壤之别。小说中的姑姑专横跋扈，有时简直像个女匪，现实中的姑姑和善开朗，是一个标准的贤妻良母。现实中的姑姑晚年生活幸福美满，小说中的姑姑到了晚年却因为心灵的巨大痛苦患上了失眠症，身披黑袍，像个幽灵一样在暗夜中游荡。我感谢姑姑的宽容，她没有因为我在小说中把她写成那样而生气；我也十分敬佩我姑姑的明智，她正确地理解了小说中人物与现实中人物的复杂关系。
An aunt of mine is the of my novel, Frogs. The of the Nobel Prize sent to her home with . At first, she was , but she soon had to their by to her son’s home in the . I don’t deny that she was my model in Frogs, but the her and the aunt are . The aunt is and , in , while my real aunt is kind and , the wife and . My real aunt’s years have been happy and ; her in her late years as a of , and walks the like a , a dark robe. I am to my real aunt for not being angry with me for how I her in the novel. I also her in the and real .
母亲去世后，我悲痛万分，决定写一部书献给她。这就是那本《丰乳肥臀》。因为胸有成竹，因为情感充盈，仅用了83 天，我便写出了这部长达50 万字的小说的初稿。
After my died, in the midst of grief, I to write a novel for her. Big and Wide Hips is that novel. Once my plan took shape, I was with such that I a draft of half a words in only days.
在《丰乳肥臀》这本书里，我肆无忌惮地使用了与我母亲的亲身经历有关的素材，但书中的母亲情感方面的经历，则是虚构或取材于高密东北乡诸多母亲的经历。在这本书的卷前语上，我写下了“献给母亲在天之灵”的话，但这本书，实际上是献给天下母亲的，这是我狂妄的野心，就像我希望把小小的“高密东北乡”写成中国乃至世界的缩影一样。
In Big and Wide Hips I used with my ’s , but the ’s state is a total or a of many of Gaomi ’s . I wrote “To the of my ” on the page, the novel was for all , , , of my , in much the same way as I hope to make tiny Gaomi a of China, even of the whole world.
作家的创作过程各有特色，我每本书的构思与灵感触发也都不尽相同。有的小说起源于梦境，譬如《透明的红萝卜》，有的小说则发端于现实生活中发生的事件，譬如《天堂蒜薹之歌》。但无论是起源于梦境还是发端于现实，最后都必须和个人的经验相结合，才有可能变成一部具有鲜明个性的，用无数生动细节塑造出了典型人物的、语言丰富多彩、结构匠心独运的文学作品。有必要特别提及的是，在《天堂蒜薹之歌》中，我让一个真正的说书人登场，并在书中扮演了十分重要的角色。我十分抱歉地使用了这个说书人真实姓名，当然，他在书中的所有行为都是虚构。在我的写作中，出现过多次这样的现象，写作之初，我使用他们的真实姓名，希望能借此获得一种亲近感，但作品完成之后，我想为他们改换姓名时却感到已经不可能了，因此也发生过与我小说中人物同名者找到我父亲发泄不满的事情，我父亲替我向他们道歉，但同时又开导他们不要当真。我父亲说：“他在《红高粱》中，第一句就说‘我父亲这个土匪种’，我都不在意你们还在意什么？”
The of is to every . Each of my from the in terms of plot and . Some, such as “The ,” were born in , while , like The have their in . the of a work is a dream or real life, only if it is with can it be with , be with by , , and boast a well . Here I must point out that in The I a and in one of the novel’s most roles. I wish I hadn’t used his real name, his words and were made up. This is a with me. I’ll start out using ’ real names in order to a sense of , and after the work is , it will seem too late to those names. This has led to who see their names in my going to my to vent their . He in my place, but then urges them not to take such so . He’ll say: “The first in Red , ‘My , a ’s ,’ didn’t upset me, so why you be ?”
我在写作《天堂蒜薹之歌》这类逼近社会现实的小说时，面对着的最大问题，其实不是我敢不敢对社会上的黑暗现象进行批评，而是这燃烧的激情和愤怒会让政治压倒文学，使这部小说变成一个社会事件的纪实报告。小说家是社会中人，他自然有自己的立场和观点，但小说家在写作时，必须站在人的立场上，把所有的人都当作人来写。只有这样，文学才能发端事件但超越事件，关心政治但大于政治。
My come with that deal with , such as The , not I’m of being of the of , but and anger allow to and a novel into of a event. As a of , a is to his own and ; but when he is he must take a , and write . Only then can not just in , but them, not just show for but be than .
可能是因为我经历过长期的艰难生活，使我对人性有较为深刻的了解。我知道真正的勇敢是什么，也明白真正的悲悯是什么。我知道，每个人心中都有一片难用是非善恶准确定性的朦胧地带，而这片地带，正是文学家施展才华的广阔天地。只要是准确地、生动地描写了这个充满矛盾的朦胧地带的作品，也就必然地超越了政治并具备了优秀文学的品质。
I’ve lived so much of my life in , I think I have a more of life. I know what real is, and I true . I know that in the and minds of every , that be in terms of right and wrong or good and bad, and this vast is where a gives free rein to his . So long as the work and this , , it will and be with .
喋喋不休地讲述自己的作品是令人厌烦的，但我的人生是与我的作品紧密相连的，不讲作品，我感到无从下嘴，所以还得请各位原谅。
on and on about my own work must be , but my life and works are , so if I don’t talk about my work, I don’t know what else to say. I hope you are in a mood.
在我的早期作品中，我作为一个现代的说书人，是隐藏在文本背后的，但从《檀香刑》这部小说开始，我终于从后台跳到了前台。如果说我早期的作品是自言自语，目无读者，从这本书开始，我感觉到自己是站在一个广场上，面对着许多听众，绘声绘色地讲述。这是世界小说的传统，更是中国小说的传统。我也曾积极地向西方的现代派小说学习，也曾经玩弄过形形色色的叙事花样，但我最终回归了传统。当然，这种回归，不是一成不变的回归，《檀香刑》和之后的小说，是继承了中国古典小说传统又借鉴了西方小说技术的混合文本。小说领域的所谓创新，基本上都是这种混合的产物。不仅仅是本国文学传统与外国小说技巧的混合，也是小说与其他的艺术门类的混合，就像《檀香刑》是与民间戏曲的混合，就像我早期的一些小说从美术、音乐、甚至杂技中汲取了营养一样。
I was a who hid in the of his early work; but with the novel Death I out of the . My early work can be as a of , with no in mind; with this novel, , I in a my story to a crowd of . This is a in , but is so in China. At one time, I was a of , and I with all sorts of . But in the end I came back to my . To be sure, this was not its . Death and the that are of the novel but by . What is known as is, for the most part, a of this , which is not to with , but can with art from other . Death, for , mixes with local opera, while some of my early work was by fine art, music, even .
最后，请允许我再讲一下我的《生死疲劳》。这个书名来自佛教经典，据我所知，为翻译这个书名，各国的翻译家都很头痛。我对佛教经典并没有深入研究，对佛教的理解自然十分肤浅，之所以以此为题，是因为我觉得佛教的许多基本思想，是真正的宇宙意识，人世中许多纷争，在佛家的眼里，是毫无意义的。这样一种至高眼界下的人世，显得十分可悲。当然，我没有把这本书写成布道词，我写的还是人的命运与人的情感，人的局限与人的宽容，以及人为追求幸福、坚持自己的信念所做出的努力与牺牲。小说中那位以一己之身与时代潮流对抗的蓝脸，在我心目中是一位真正的英雄。这个人物的原型，是我们邻村的一位农民，我童年时，经常看到他推着一辆吱吱作响的木轮车，从我家门前的道路上通过。给他拉车的，是一头瘸腿的毛驴，为他牵驴的，是他小脚的妻子。这个奇怪的劳动组合，在当时的集体化社会里，显得那么古怪和不合时宜，在我们这些孩子的眼里，也把他们看成是逆历史潮流而动的小丑，以至于当他们从街上经过时，我们会充满义愤地朝他们投掷石块。事过多年，当我拿起笔来写作时，这个人物，这个画面，便浮现在我的脑海中。我知道，我总有一天会为他写一本书，我迟早要把他的故事讲给天下人听，但一直到了2005年，当我在一座庙宇里看到“六道轮回”的壁画时，才明白了讲述这个故事的正确方法。
, I ask your to talk about my novel Life and Death Are Me Out. The title comes from , and I’ve been told that my have had fits to it into their . I am not well in and have but a of the . I chose this title I that the basic of the faith , and that ’s many are in the realm. In that lofty view of the , the world of man is to be . My novel is not a tract; in it I wrote of man’s fate and human , of man’s and human , and of ’s for and the to which they will go, the they will make, to their . Lan Lian, a who takes a stand , is, in my view, a true hero. A in a was the model for this . As a I often saw him pass by our door a , cart, with a lame up front, led by his wife. Given the of back then, this labor group a sight that kept them out of step with the times. In the eyes of us , they were , in us such that we threw at them as they us on the . Years later, after I had begun , that and the he into my mind, and I knew that one day I would write a novel about him, that or later I would tell his story to the world. But it wasn’t until the year 2005, when I the mural “The Six of ” on a wall that I knew how to go about his story.
我获得诺贝尔文学奖后，引发了一些争议。起初，我还以为大家争议的对象是我，渐渐地，我感到这个被争议的对象，是一个与我毫不相关的人。我如同一个看戏人，看着众人的表演。我看到那个得奖人身上落满了花朵，也被掷上了石块、泼上了污水。我生怕他被打垮，但他微笑着从花朵和石块中钻出来，擦干净身上的脏水，坦然地站在一边，对着众人说：
The of my Nobel Prize has led to . At first I I was the of the , but over time I’ve come to that the real was a who had to do with me. Like a play in a , I the me. I saw the of the prize both with and by and . I was he would to the , but he from the of and the , a smile on his face; he wiped away mud and grime, stood off to the side, and said to the crowd:
对一个作家来说，最好的说话方式是写作。我该说的话都写进了我的作品里。用嘴说出的话随风而散，用笔写出的话永不磨灭。我希望你们能耐心地读一下我的书，当然，我没有资格强迫你们读我的书。即便你们读了我的书，我也不期望你们能改变对我的看法，世界上还没有一个作家，能让所有的读者都喜欢他。在当今这样的时代里，更是如此。
For a , the best way to speak is by . You will find I need to say in my works. is off by the wind; the word can never be . I would like you to find the to read my books. I force you to do that, and even if you do, I do not your of me to . No has yet , in the world, who is liked by all his ; that is true times like these.
尽管我什么都不想说，但在今天这样的场合我必须说话，那我就简单地再说几句。
Even I would to say , since it is I must do on this , let me just say this:
我是一个讲故事的人，我还是要给你们讲故事。
I am a storyteller, so I am going to tell you some stories.
上世纪六十年代，我上小学三年级的时候，学校里组织我们去参观一个苦难展览，我们在老师的引领下放声大哭。为了能让老师看到我的表现，我舍不得擦去脸上的泪水。我看到有几位同学悄悄地将唾沫抹到脸上冒充泪水。我还看到在一片真哭假哭的同学之间，有一位同学，脸上没有一滴泪，嘴巴里没有一点声音，也没有用手掩面。他睁着大眼看着我们，眼睛里流露出惊讶或者是困惑的神情。事后，我向老师报告了这位同学的行为。为此，学校给了这位同学一个警告处分。
When I was a in the 1960s, my a field trip to an of , where, under the of our , we cried tears. I let my tears stay on my for the of our , and as some of my spat in their hands and it on their faces as tears. I saw one among all those – some real, some phony – whose face was dry and who his face with his hands. He just at us, eyes wide open in an of or . After the visit I him to the , and he was given a .
多年之后，当我因自己的告密向老师忏悔时，老师说，那天来找他说这件事的，有十几个同学。这位同学十几年前就已去世，每当想起他，我就深感歉疚。这件事让我悟到一个道理，那就是：当众人都哭时，应该允许有的人不哭。当哭成为一种表演时，更应该允许有的人不哭。
Years later, when I my over on the boy, the said that at least ten had done what I did. The boy had died a or more , and my was when I of him. But I from this , and that is: When you is , you to be not to cry, and when the tears are all for show, your right not to cry is still.
我再讲一个故事：三十多年前，我还在部队工作。有一天晚上，我在办公室看书，有一位老长官推门进来，看了一眼我对面的位置，自言自语道：“噢，没有人？”我随即站起来，高声说：“难道我不是人吗？”那位老长官被我顶得面红耳赤，尴尬而退。为此事，我洋洋得意了许久，以为自己是个英勇的斗士，但事过多年后，我却为此深感内疚。
Here is story: More than years ago, when I was in the army, I was in my one when an the door and came in. He down at the seat in front of me and , “Hm, where is ?” I stood up and said in a loud voice, “Are you I’m no one?” The old ’s ears red from , and he out. For a long time after that I was proud about what I a gutsy . Years later, that pride to of .
请允许我讲最后一个故事，这是许多年前我爷爷讲给我听过的：有八个外出打工的泥瓦匠，为避一场暴风雨，躲进了一座破庙。外边的雷声一阵紧似一阵，一个个的火球，在庙门外滚来滚去，空中似乎还有吱吱的龙叫声。众人都胆战心惊，面如土色。有一个人说：“我们八个人中，必定一个人干过伤天害理的坏事，谁干过坏事，就自己走出庙接受惩罚吧，免得让好人受到牵连。”自然没有人愿意出去。又有人提议道：“既然大家都不想出去，那我们就将自己的草帽往外抛吧，谁的草帽被刮出庙门，就说明谁干了坏事，那就请他出去接受惩罚。”
Bear with me, , for one last story, one my told me many years ago: A group of eight took from a storm in a . , their way. They even heard what like . The men were , their faces ashen. “Among the eight of us,” one of them said, “is who must have the with a deed. The ought to to step to his and spare the from . , there were no . So one of the came up with a : Since no one is to go , let’s all fling our straw hats the door. ’s hat flies out the door is the party, and we’ll ask him to go out and his .”
于是大家就将自己的草帽往庙门外抛，七个人的草帽被刮回了庙内，只有一个人的草帽被卷了出去。大家就催这个人出去受罚，他自然不愿出去，众人便将他抬起来扔出了庙门。故事的结局我估计大家都猜到了，那个人刚被扔出庙门，那座破庙轰然坍塌。
So they flung their hats the door. Seven hats were blown back ; one went out the door. They the man to go out and his , and when he , they him up and flung him out the door. I’ll bet you all know how the story ends: They had no flung him out the door than the them.
我是一个讲故事的人。
I am a storyteller.
因为讲故事我获得了诺贝尔文学奖。
Telling stories earned me the Nobel Prize for Literature.
