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2012年10月11日，一个振奋人心的消息公布了：莫言获得2012年诺贝尔文学奖，成为中国第一个获此殊荣的作家。
莫言，原名管谟业，于1956年生于山东省高密县，童年便过着贫苦的生活；12岁读五年级时辍学回家，在农村劳动多年；1976年应征入伍，历任战士、政治教员、宣传干事，曾在解放军艺术学院和鲁迅文学院研究生班学习。自20世纪80年代中期起，莫言以一系列乡土作品崛起，充满着“怀乡”以及“怨乡”的复杂情感。虽然早期被归类为“寻根文学”作家，但其写作风格素以大胆新奇著称，作品激情澎湃，想象诡异，语言肆虐。除了诺贝尔文学奖，莫言2011年凭长篇小说《蛙》获第八届茅盾文学奖。
莫言曾说，我永远不会为了一个奖去写作，不管是茅盾文学奖，还是诺贝尔文学奖。他始终认为自己的文学成就是“世无英雄，竖子成名”。但是，是金子总会发光的。诺贝尔奖让更多的人认识了莫言以及他的作品，不管是对于作者还是读者来说，这绝对是个两全其美的好事儿。
The Nobel for Literature goes to Chinese writer Mo Yan. Making the announcement， the Swedish Academy’s permanent secretary， Peter Englund：
Peter Englund： The Nobel Prize in Literature for 2012 is awarded to the Chinese writer Mo Yan， who with 1）hallucinatory realism merges folk tales， history and the contemporary.
Mo Yan is probably best known for writing what would become the movie Red Sorghum.
It was for many， their first look at Chinese cinema when it came out in the U.S. nearly a quarter century ago. It starts with a marriage party in the late 1930s. A poor but beautiful woman is being carried in a reddraped 2）litter towards the old， rich 3）leper she’s being forced to marry.
Red Sorghum is like so many works by Mo Yan. 4）Dense， sprawling， influenced by everything from folktales to 5）William Faulkner， and passionately concerned with the dramas of ordinary people. Howard Goldblatt is Mo’s primary English translator.
Howard Goldblatt： He’s very sensual. Lots of color， lots of smells， lots of sounds. He loves music， he loves the sound of trains.
Mo Yan is a pen name that means “don’t speak.” Mo used to talk to himself as a child and his mother used to silence him. Goldblatt says Mo grew up in a peasant family in a rural part of Shandong Province.
中国作家莫言成为诺贝尔文学奖的得主。瑞典皇家科学院常任秘书长彼得·英格伦宣布了这一消息：
彼得·英格伦：2012年诺贝尔文学奖的得主为中国作家莫言，他将魔幻现实主义与民间故事、历史与当代社会融合在了一起。
莫言最广为人知的作品可能是后来被拍成电影的《红高粱》。
在将近四分之一个世纪以前，这部电影出现在美国的时候，它可能是很多人观看的第一部中国电影。影片以20世纪30年代的一场婚宴开始。一个贫穷却美丽的女人坐在一顶红色的轿子里，她被迫与一个年老却富有的麻风病人成婚。
《红高粱》与莫言的其他作品如出一辙。莫言的作品深受民间故事以及威廉·福克纳的影响，内容庞杂、肆意扩展，热衷于关注普通人的戏剧性色彩。葛浩文是莫言作品的主要英语翻译家。
葛浩文：他非常在意感官上的享受。很多颜色，很多味道，很多声音。他喜欢音乐，还喜欢火车的声音。
莫言是个笔名，意思是不要说话。小的时候，莫言曾经自己跟自己说话，他的母亲则叫他保持沉默。葛浩文说莫言在山东省农村地区的农民家庭长大。
Goldblatt： He left school at the age of 10， and his education was pretty much his grandfather and uncles back in this 6）impoverished coal mining village who told stories. And he listened and absorbed them and... and then began to read and read everything he could. Mo joined the army and that let him go to college. He’s written more than half a dozen novels all set in or near a fictional version of the rural area where he was born. The latest deals with China’s one-child policy and its consequences.
Goldblatt： And so he writes about an aunt of his who was， in fact， a barefoot doctor and then became a doctor herself， who was present at the birth of thousands of children over the years. But also present at the deaths of thousands of 7）fetuses that were， in terms of policy， aborted. And he...he writes about that in very， very sharp critical， socially conscious ways. But， spins a wonderful yarn about this woman and her relations with a lot of things， including the title “Frogs.”
葛浩文：十岁时，莫言便不再上学了。而在这个穷困的煤矿村里，他所受的教育基本来自爷爷和叔叔们讲的故事。他理解了自己听到的故事，然后开始阅读，读他能读到的一切东西。
莫言参过军，这为他开启了通往大学的大门。他六部以上小说的背景均设定为以他出生的地方为原型而虚构的农村。最近的一部作品则以中国的独生子女政策及其影响为主题。
葛浩文：所以他写了他的一位姑姑，实际上她是一个赤脚医生，后来自己成了一名医生。多年来，她见证了几千名孩子的诞生，却也目睹了几千名婴儿因为政策而被堕胎。莫言通过非常尖锐的批判，从社会意识的视角进行创作。然而作品却也讲述了关于这个女人的美好的故事，以及她同许多事情的丝丝缕缕的联系，包括书的题目所说的“青蛙”。
Howard Goldblatt reads from his translation of a section of Frogs recently published in the magazine Granta.
Goldblatt： Moonlight reflected on the water around her shimmered like glass. The croaks of toads and frogs sounded first on one side， and then on the other， back and forth like a 8）antiphonal chorus. Then the croaks came at her from all sides at the same time. Waves and waves of them merging to fill the sky. Suddenly there was total silence. Broken only by the chirping of insects. Auntie said that in all her years as a medical provider traveling up and down remote paths late at night， she’d never once felt afraid. But that night she was terror stricken.
It turns out Mo Yan is afraid of frogs. In a Granta podcast from the London Book Fair this year， he said 9）censorship is a fact of his literary life.
Mo Yan： （through translator） Many approaches of literature have political bearings. For example， in real life， there might be some sensitive issues you don’t want to touch on. I think writers can inject their own imagination to isolate them from the real world. So actually I believe censorship is great for creating literature.
Mo’s got a bad 10）rap from some 11）dissidents says Howard Goldblatt， but... Goldblatt： He’s not an accommodator， he’s very comfortable in his role as a writer. Without writing， Mo Yan himself feels that he simply wouldn’t exist.
Mo’s name’s been mentioned as a possible Nobel laureate for years. And the 57-year-old author， whose first memories include starvation， has joked he’ll use the prize of over $1 million to buy rice.
葛浩文为我们朗读了他翻译的《蛙》中的一段，这部作品最近被刊登在《格兰塔》杂志上。
葛浩文：一片片水，被月光照着，亮闪闪的，如同玻璃。蛤蟆、青蛙，呱呱地叫。这边的停下来，那边的叫起来，此起彼伏，好像拉歌一样。有一阵子四面八方都叫起来，呱呱呱呱，叫声连片，汇集起来，直冲到天上去。一会儿又突然停下来，四周寂静，惟有虫鸣。姑姑说她行医几十年，不知道走过多少夜路，从来没感到怕过什么，但这天晚上她体会到了恐惧的感觉。
原来是莫言害怕青蛙。在《格兰塔》杂志一个关于今年伦敦书展的播客视频里，莫言说审查制度在他的文学生涯中无可避免。
莫言：（通过翻译）很多文学的艺术手段都带着政治意味。比如说，在现实生活中，也许有一些敏感的话题你不会想去碰触。我觉得作家可以为自己注入想象力，从而与现实世界分离。所以实际上，我相信审查制度对于文学创作是件好事。
葛浩文说，莫言也曾受到很多与他意见不合的人的严厉指摘。但是……
葛浩文：他并不是一个妥协者，他以作家的身份活得很自在。如果不能写作，莫言觉得自己根本活不下去。
莫言这些年一直被视作诺贝尔奖的有力竞争者。这位57岁的作家说自己记忆里的第一件事就是挨饿，他戏称自己要用一百多万美元的奖金去买大米。翻译：小寒
莫言，原名管谟业，于1956年生于山东省高密县，童年便过着贫苦的生活；12岁读五年级时辍学回家，在农村劳动多年；1976年应征入伍，历任战士、政治教员、宣传干事，曾在解放军艺术学院和鲁迅文学院研究生班学习。自20世纪80年代中期起，莫言以一系列乡土作品崛起，充满着“怀乡”以及“怨乡”的复杂情感。虽然早期被归类为“寻根文学”作家，但其写作风格素以大胆新奇著称，作品激情澎湃，想象诡异，语言肆虐。除了诺贝尔文学奖，莫言2011年凭长篇小说《蛙》获第八届茅盾文学奖。
莫言曾说，我永远不会为了一个奖去写作，不管是茅盾文学奖，还是诺贝尔文学奖。他始终认为自己的文学成就是“世无英雄，竖子成名”。但是，是金子总会发光的。诺贝尔奖让更多的人认识了莫言以及他的作品，不管是对于作者还是读者来说，这绝对是个两全其美的好事儿。
The Nobel for Literature goes to Chinese writer Mo Yan. Making the announcement， the Swedish Academy’s permanent secretary， Peter Englund：
Peter Englund： The Nobel Prize in Literature for 2012 is awarded to the Chinese writer Mo Yan， who with 1）hallucinatory realism merges folk tales， history and the contemporary.
Mo Yan is probably best known for writing what would become the movie Red Sorghum.
It was for many， their first look at Chinese cinema when it came out in the U.S. nearly a quarter century ago. It starts with a marriage party in the late 1930s. A poor but beautiful woman is being carried in a reddraped 2）litter towards the old， rich 3）leper she’s being forced to marry.
Red Sorghum is like so many works by Mo Yan. 4）Dense， sprawling， influenced by everything from folktales to 5）William Faulkner， and passionately concerned with the dramas of ordinary people. Howard Goldblatt is Mo’s primary English translator.
Howard Goldblatt： He’s very sensual. Lots of color， lots of smells， lots of sounds. He loves music， he loves the sound of trains.
Mo Yan is a pen name that means “don’t speak.” Mo used to talk to himself as a child and his mother used to silence him. Goldblatt says Mo grew up in a peasant family in a rural part of Shandong Province.
中国作家莫言成为诺贝尔文学奖的得主。瑞典皇家科学院常任秘书长彼得·英格伦宣布了这一消息：
彼得·英格伦：2012年诺贝尔文学奖的得主为中国作家莫言，他将魔幻现实主义与民间故事、历史与当代社会融合在了一起。
莫言最广为人知的作品可能是后来被拍成电影的《红高粱》。
在将近四分之一个世纪以前，这部电影出现在美国的时候，它可能是很多人观看的第一部中国电影。影片以20世纪30年代的一场婚宴开始。一个贫穷却美丽的女人坐在一顶红色的轿子里，她被迫与一个年老却富有的麻风病人成婚。
《红高粱》与莫言的其他作品如出一辙。莫言的作品深受民间故事以及威廉·福克纳的影响，内容庞杂、肆意扩展，热衷于关注普通人的戏剧性色彩。葛浩文是莫言作品的主要英语翻译家。
葛浩文：他非常在意感官上的享受。很多颜色，很多味道，很多声音。他喜欢音乐，还喜欢火车的声音。
莫言是个笔名，意思是不要说话。小的时候，莫言曾经自己跟自己说话，他的母亲则叫他保持沉默。葛浩文说莫言在山东省农村地区的农民家庭长大。
Goldblatt： He left school at the age of 10， and his education was pretty much his grandfather and uncles back in this 6）impoverished coal mining village who told stories. And he listened and absorbed them and... and then began to read and read everything he could. Mo joined the army and that let him go to college. He’s written more than half a dozen novels all set in or near a fictional version of the rural area where he was born. The latest deals with China’s one-child policy and its consequences.
Goldblatt： And so he writes about an aunt of his who was， in fact， a barefoot doctor and then became a doctor herself， who was present at the birth of thousands of children over the years. But also present at the deaths of thousands of 7）fetuses that were， in terms of policy， aborted. And he...he writes about that in very， very sharp critical， socially conscious ways. But， spins a wonderful yarn about this woman and her relations with a lot of things， including the title “Frogs.”
葛浩文：十岁时，莫言便不再上学了。而在这个穷困的煤矿村里，他所受的教育基本来自爷爷和叔叔们讲的故事。他理解了自己听到的故事，然后开始阅读，读他能读到的一切东西。
莫言参过军，这为他开启了通往大学的大门。他六部以上小说的背景均设定为以他出生的地方为原型而虚构的农村。最近的一部作品则以中国的独生子女政策及其影响为主题。
葛浩文：所以他写了他的一位姑姑，实际上她是一个赤脚医生，后来自己成了一名医生。多年来，她见证了几千名孩子的诞生，却也目睹了几千名婴儿因为政策而被堕胎。莫言通过非常尖锐的批判，从社会意识的视角进行创作。然而作品却也讲述了关于这个女人的美好的故事，以及她同许多事情的丝丝缕缕的联系，包括书的题目所说的“青蛙”。
Howard Goldblatt reads from his translation of a section of Frogs recently published in the magazine Granta.
Goldblatt： Moonlight reflected on the water around her shimmered like glass. The croaks of toads and frogs sounded first on one side， and then on the other， back and forth like a 8）antiphonal chorus. Then the croaks came at her from all sides at the same time. Waves and waves of them merging to fill the sky. Suddenly there was total silence. Broken only by the chirping of insects. Auntie said that in all her years as a medical provider traveling up and down remote paths late at night， she’d never once felt afraid. But that night she was terror stricken.
It turns out Mo Yan is afraid of frogs. In a Granta podcast from the London Book Fair this year， he said 9）censorship is a fact of his literary life.
Mo Yan： （through translator） Many approaches of literature have political bearings. For example， in real life， there might be some sensitive issues you don’t want to touch on. I think writers can inject their own imagination to isolate them from the real world. So actually I believe censorship is great for creating literature.
Mo’s got a bad 10）rap from some 11）dissidents says Howard Goldblatt， but... Goldblatt： He’s not an accommodator， he’s very comfortable in his role as a writer. Without writing， Mo Yan himself feels that he simply wouldn’t exist.
Mo’s name’s been mentioned as a possible Nobel laureate for years. And the 57-year-old author， whose first memories include starvation， has joked he’ll use the prize of over $1 million to buy rice.
葛浩文为我们朗读了他翻译的《蛙》中的一段，这部作品最近被刊登在《格兰塔》杂志上。
葛浩文：一片片水，被月光照着，亮闪闪的，如同玻璃。蛤蟆、青蛙，呱呱地叫。这边的停下来，那边的叫起来，此起彼伏，好像拉歌一样。有一阵子四面八方都叫起来，呱呱呱呱，叫声连片，汇集起来，直冲到天上去。一会儿又突然停下来，四周寂静，惟有虫鸣。姑姑说她行医几十年，不知道走过多少夜路，从来没感到怕过什么，但这天晚上她体会到了恐惧的感觉。
原来是莫言害怕青蛙。在《格兰塔》杂志一个关于今年伦敦书展的播客视频里，莫言说审查制度在他的文学生涯中无可避免。
莫言：（通过翻译）很多文学的艺术手段都带着政治意味。比如说，在现实生活中，也许有一些敏感的话题你不会想去碰触。我觉得作家可以为自己注入想象力，从而与现实世界分离。所以实际上，我相信审查制度对于文学创作是件好事。
葛浩文说，莫言也曾受到很多与他意见不合的人的严厉指摘。但是……
葛浩文：他并不是一个妥协者，他以作家的身份活得很自在。如果不能写作，莫言觉得自己根本活不下去。
莫言这些年一直被视作诺贝尔奖的有力竞争者。这位57岁的作家说自己记忆里的第一件事就是挨饿，他戏称自己要用一百多万美元的奖金去买大米。翻译：小寒