○  莫言获奖演讲英文版  ○

or the other. what i can say is, "the transparent carrot" is more symbolic and more profoundly meaningful than any other story i've written. that dark-skinned boy with the superhuman ability to suffer and a superhuman degree of sensitivity represents the soul of my entire fictional output. not one of all the fictional characters i've created since then is as close to my soul as he is. or put a different way, among all the characters a writer creates, there is always one that stands above all the others. for me, that laconic boy is the one. though he says nothing, he leads the way for all the others, in all their variety, performing freely on the northeast gaomi township stage.

a person can experience only so much, and once you have exhausted your own stories, you must tell the stories of others. and so, out of the depths of my memories, like conscripted soldiers, rose stories of family members, of fellow villagers, and of long-dead ancestors i learned of from the mouths of old-timers. they waited expectantly for me to tell their stories. my grandfather and grandmother, my father and mother, my brothers and sisters, my aunts and uncles, my wife and my daughter have all appeared in my stories. even unrelated residents of northeast gaomi township have made cameo appearances. of course they have undergone literary modification to transform them into larger-than-life fictional characters.an aunt of mine is the central character of my latest novel, frogs. the announcement of the nobel prize sent journalists swarming to her home with interview requests. at first, she was patiently accommodating, but she soon had to escape their attentions by fleeing to her son's home in the provincial capital. i don't deny that she was my model in writing frogs, but the differences between her and the fictional aunt are extensive. the fictional aunt is arrogant and domineering, in places virtually thuggish, while my real aunt is kind and gentle, the classic cari

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