Mo Yan
As Chinese names, Guan Moye's family name is Guan, Mo Yan's family name is Mo.
Mo Yan
莫言
Mo Yan in 2008
Born Guan Moye (管谟业)
17 February 1955 (age 58)
Gaomi, Shandong, China
Pen name Mo Yan
Occupation Writer, teacher
Language Chinese
Nationality Chinese
Education Master of Literature and Art - Beijing
Normal University (1991)
Graduated - People's Liberation Army Art
School (1986)
Period 1981 – present
Notable work(s) Red Sorghum Clan,
The Republic of Wine,
Life and Death Are Wearing Me Out
Notable award(s) Nobel Prize in Literature 2012
Spouse(s) Du Qinlan (杜勤兰) (1979-present)
Children Guan Xiaoxiao (管笑笑) (Born in 1981)
Guan Moye (simplified Chinese: 管谟业; traditional Chinese: 管謨業;pinyin: Guǎn Móyè; born 17 February 1955), better known by the pen name Mo Yan (/moʊjɛn/, Chinese: 莫言; pinyin: Mò Yán), is a Chinese novelist and short story writer. He has been referred by Donald Morrison of U.S. news magazine TIME as "one of the most famous, oft-banned and widely pirated of all Chinese
writers",[1] and by Jim Leach as the Chinese answer to Franz Kafka or Joseph Heller.[2] He is best known to Western readers for his 1987 novel Red Sorghum Clan, of which the Red
Sorghum and Sorghum Wine volumes were later adapted for the film Red Sorghum. In 2012, Mo was awarded the Nobel Prize in Literature for his work as a writer "who with hallucinatory
realism merges folk tales, history and the contemporary".[3][4]
Contents
[hide]
∙  1 Early life
∙  2 Pen name
∙  3 Works
∙  4 Influences
∙  5 Style
∙  6 Nobel Prize in Literature, 2012
∙7 Controversies and criticism
∙8 List of works
o8.1 Novels
o8.2 Short story and novella collections
o8.3 Other works
∙9 Awards and honours
∙10 Adaptations
∙11 See also
leftist∙12 References
∙13 Further reading
∙14 External links
Early life[edit]
Mo Yan was born in 1955, in Gaomi County in Shandong province to a family of farmers, in Dalan Township (which he fictionalised in his novels as "Northeast Township" of Gaomi County). Mo was
11 years old when the Cultural Revolution was launched, at which time he left school to work as a
farmer. At the age of 18, he began work at a cotton factory. During this period, which coincided with
a succession of political campaigns from the Great Leap Forward to the Cultural Revolution, his
access to literature was largely limited to novels in the socialist realist style under Mao Zedong, which centered largely on the themes of class struggle and conflict.[5]
At the close of the Cultural Revolution in 1976, Mo enlisted in the People's Liberation
Army (PLA),[6] and began writing while he was still a soldier. During this post-Revolution era when he emerged as a writer, both the lyrical and epic works of Chinese literature, as well as translations of foreign authors such as William Faulkner and Gabriel García Márquez, would make an impact on his works.[7] In 1984, he received a literary award from the PLA Magazine, and the same year began attending the Military Art Academy, where he first adopted the pen name of Mo Yan.[8] He published his first novella, A Transparent Radish, in 1984, and released Red Sorghum in 1986, launching his ca
reer as a nationally recognized novelist.[8] In 1991, he obtained a master's degree in Literature from Beijing Normal University.[6]
Pen name[edit]
"Mo Yan" — meaning "don't speak" in Chinese — is his pen name.[9] In an interview with Jim Leach, chairman of the National Endowment for the Humanities, he explains that name comes from a warning from his father and mother not to speak his mind while outside, because of China's
revolutionary political situation from the 1950s, when he grew up.[2] The pen name also relates to the subject matter of Mo Yan's writings, which reinterpret Chinese political and sexual history.[10] Works[edit]
Mo Yan began his career as a writer in the reform and opening up period, publishing dozens of short stories and novels in Chinese. His first novel was Falling Rain on a Spring Night, published in
1981. Several of his novels were translated into English by Howard Goldblatt, professor of East Asian languages and literatures at the University of Notre Dame.[11]
Mo Yan's Red Sorghum Clan is a non-chronological novel about the generations of a Shandong famil
y between 1923 and 1976. The author deals with upheavals in Chinese history such as
the War of Resistance Against Japanese Aggression, the Communist revolution, and the Cultural Revolution, but in an unconventional way; for example from the point of view of the invading Japanese soldiers.[12] His second novel, The Garlic Ballads, is based on a true story of when the farmers of Gaomi Township rioted against a government that would not buy its crops.The Republic of Wine is a satire around gastronomy and alcohol, which uses cannibalism as a metaphor for Chinese self-destruction, following Lu X un.[12]Big Breasts & Wide Hips deals with female bodies, from a grandmother whose breasts are shattered by Japanese bullets, to a festival where one of the child characters, Shangguan Jintong, blesses each woman of his town by stroking her
breasts.[13] The book was controversial in China because some leftist critics regarded Big
Breasts' perceived negative portrayal of Communist soldiers.[13]
Extremely prolific, Mo Yan wrote Life and Death Are Wearing Me Out in only 42 days.[2] He composed the more than 500,000 characters contained in the original manuscript on traditional Chinese paper using only ink and a writing brush. He prefers writing his novels by hand rather than by typing using a pinyin input method, because the latter method "limits your vocabulary".[2]Life and
Death Are Wearing Me Out is the story of a landlord who is reincarnated in the form of various animals during the Chinese land reform movement.[8] The landlord observes and satirizes Communist society, such as when he (as a donkey) forces two mules to share food with him, because "[in] the age mine is yours and yours is mine."[10]
Influences[edit]
Mo Yan's works are predominantly social commentary, and he is strongly influenced by the social realism of Lu X un and the magical realism of Gabriel García Márquez. In terms of traditional Chinese literature, he is deeply inspired by the folklore-based classical epic novel Water Margin.[14] He also cites Journey to the West and Dream of the Red Chamber as formative influences.[2]
Mo Yan, who himself reads foreign authors in translation, strongly advocates the reading of world literature.[15] At a speech to open the 2009 Frankfurt Book Fair, he discussed Goethe's idea of "world literature", stating that "literature can overcome the barriers that separate countries and nations".[16]
Style[edit]
Mo Yan's works are epic historical novels characterized by hallucinatory realism and containing elements of black humor.[10] A major theme in Mo Yan's works is the constancy of human greed and corruption, despite the influence of ideology.[12] Using dazzling, complex, and often graphically violent images, he sets many of his stories near his hometown, Northeast Gaomi Township in Shandong province. Mo Yan says he realised that he could make "[my] family, [the] people I'm familiar with, " his characters after reading William Faulkner's The Sound and the Fury.[2] He satirizes the genre of socialist realism by placing workers and bureaucrats into absurd situations.[10]
Mo Yan's writing is characterised by the blurring of distinction between "past and present, dead and living, as well as good and bad".[13] Mo Yan appears in his novels as a semi-autobiographical character who retells and modifies the author's other stories.[8] His female characters often fail to observe traditional gender roles, such as the mother in the Shangguan family in Big Breasts & Wide Hips fails to bear her husband sons, and who is instead an adulterer, becoming pregnant with girls by a Swedish missionary and a Japanese soldier, among others. Male power is also portrayed cynically in Big Breasts & Wide Hips, and there is only one male hero in the novel.[13]
Nobel Prize in Literature, 2012[edit]
Mo Yan In Stockholm to receive the Nobel Prize in Literature 2012
On 11 October 2012, the Swedish Academy announced that Mo Yan had received the Nobel Prize in Literature for his work that "with hallucinatory realism merges folk tales, history and the contemporary".[4]Aged 57 at the time of the announcement, he was the 109th recipient of the award and the first ever resident of mainland China to receive it—Chinese-born Gao X ingjian, a citizen
of France, having been named the 2000 laureate. In his Award Ceremony Speech, speech, Per
Wästberg explained: "Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy."[17]

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