○  莫言获奖演讲英文版  ○

hat else to say. i hope you are in a forgiving mood. i was a modern-day storyteller who hid in the background of his early work; but with the novel sandalwood death i jumped out of the shadows. my early work can be characterized as a series of soliloquies, with no reader in mind; starting with this novel, however, i visualized myself standing in a public square spiritedly telling my story to a crowd of listeners. this tradition is a worldwide phenomenon in fiction, but is especially so in china. at one time, i was a diligent student of western modernist fiction, and i experimented with all sorts of narrative styles. but in the end i came back to my traditions. to be sure, this return was not without its modifications. sandalwood death and the novels that followed are inheritors of the chinese classical novel tradition but enhanced by western literary techniques. what is known as innovative fiction is, for the most part, a result of this mixture, which is not limited to domestic traditions with foreign techniques, but can include mixing fiction with art from other realms. sandalwood death, for instance, mixes fiction with local opera, while some of my early work was partly nurtured by fine art, music, even acrobatics.

finally, i ask your indulgence to talk about my novel life and death are wearing me out. the chinese title comes from buddhist scripture, and i've been told that my translators have had fits trying to render it into their languages. i am not especially well versed in buddhist scripture and have but a superficial understanding of the religion. i chose this title because i believe that the basic tenets of the buddhist faith represent universal knowledge, and that mankind's many disputes are utterly without meaning in the buddhist realm. in that lofty view of the universe, the world of man is to be pitied. my novel is not a religious tract; in it i wrote of man's fate and human emotions, of man's limitations and human generosity, and of pe

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