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莫言:要想寫得好,先把文學(xué)獎(jiǎng)忘掉
Sharing a stage with J.M. Coetzee, the 2003 Nobel laureate in literature, Mo Yan revealed publicly on Tuesday his mood change after winning his own such prize. The two laureates were brought together by the Second China-Australia Literary Forum in Beijing, which kicked off on Tuesday and will conclude Wednesday. Mo, the first Nobel winner in literature born and living in China, said he had trouble with the sudden publicity, which put a lot of pressure on him. "I only hope to return to my writing desk as soon as possible," Mo said, "and I would also like to do good in society anonymously." Mo said he was even bothered by numerous requests asking him to offer help that took advantage of his fame. "I was upset the first several days after the prize announcement, but then I realized the prize is just like a mirror that reflects various attitudes about my winning, and more, reflects the real me," Mo said. "I still consider myself an ordinary citizen who writes. And presenting quality works is my duty and best way of giving back to society." "I'm no superstar," he emphasized several times. Mo believes Chinese literature has achieved much in the past three decades, and the driving force behind that is not the prize. "Writers' creations should not be driven by awards, or criticism, or readers' expectations," Mo said. "Good literary pieces are always centered on people and human emotions," he said. Coetzee discussed his own views on the Nobel Prize. Coetzee spoke of the literary tastes of Alfred Nobel, founder of the prize, and pointed out Nobel's personal preference that literary works show "progress and power of the human spirit", which could be an influence on the Swedish Academy's choices. Mo said he misunderstood the standards of the academy's selection before he visited Stockholm to receive the prize in December. "I thought they were judging the authors' personality or political features, then I learned the sole standard of their selection is literature itself, which is also deeply based in the Swedish people's long-established practice of reading a large number of books," Mo said. During the forum, established Chinese and Australian writers discussed subjects as diverse as tradition and modernity, the local and the universe and cultural inclusiveness. And they will also read works to each other and the readers. "Both China and Australia are countries with a great literary tradition in the Asia-Pacific region," said Tie Ning, chairwoman of the Chinese Writers Association, the forum's organizer, "I hope the mutual exchange will help people see the changing country and its various literary expression." Tie also said the writers communication will further promote Chinese writers to a global audience. Australian Ambassador to China Frances Adamson agreed. "It's a milestone of literary exchanges between the two countries, who are longtime friends," Adamson said. This is the first time the South Africa-born Coetzee, who now lives and teaches in Australia, has visited China in an official capacity. His works, including Life & Times of Michael K and Disgrace, are popular among Chinese readers. Chinese writer Li Er said he has been influenced by Coetzee's rational writing. |
四月二日,中澳文學(xué)節(jié)在中國現(xiàn)代文學(xué)館舉行。中國諾貝爾文學(xué)獎(jiǎng)得主莫言,與首次到華訪問的2003年諾獎(jiǎng)得主JM庫切,會(huì)面交鋒,就諾貝爾文學(xué)獎(jiǎng)及其意義分別發(fā)表演講。庫切談到阿爾夫瑞德?諾貝爾良好的文學(xué)品味,以及他關(guān)于文學(xué)"理想主義的導(dǎo)向"對諾獎(jiǎng)歸屬的影響。 莫言首次在公開場合坦誠談及與諾獎(jiǎng)的愛恨情緣,甚至向媒體呼吁,請少邀請我參加活動(dòng),我會(huì)用寫作來回報(bào)大家。莫言的幽默發(fā)言引來陣陣?yán)斫獾男β?,以及庫切的"我給您我真誠的同情"。 莫言說,他自己絕對會(huì)回避諾獎(jiǎng)這一話題。今天是冒著風(fēng)險(xiǎn)和庫切切磋。他說文學(xué)創(chuàng)作不應(yīng)以獎(jiǎng)項(xiàng)為目的,而是應(yīng)追求自我表達(dá),追求光明。 要想寫得好,先把文學(xué)獎(jiǎng)要忘掉獎(jiǎng)。 過去幾年,因?yàn)橐恢北徊┎蕶C(jī)構(gòu)列為最有機(jī)會(huì)得獎(jiǎng)的中國作家,莫言深受其苦。甚至說,和一個(gè)作家有仇,就造謠他最有希望的諾獎(jiǎng)。 去年八月,因?yàn)椴┎实念A(yù)測,莫言為了躲避過多地關(guān)注回到高密。在幾乎忘卻時(shí),諾將悄然而至。 得獎(jiǎng)之后,我起初心煩,想不到這么多人恨我。 莫言坦言諾獎(jiǎng)之后,竟有親戚朋友求他找工作,幫看病,打官司。這引發(fā)他對諾獎(jiǎng)得主在社會(huì),特別是在中國,該扮演怎樣的角色得思考。 我就是作為老百姓在寫作,不要錯(cuò)以為自己成了大人物。 用我家鄉(xiāng)話來說,你要知道自己吃幾碗干飯。 我還是希望能獨(dú)來獨(dú)往,才能冷眼旁觀。 我希望能自由的選擇生活方式,而作家的地位也不用抬太高。 我會(huì)繼續(xù)安靜的寫東西,同時(shí)悄悄的做有益于社會(huì)的與寫作無關(guān)的事。 我盡快回到書桌,寫出好作品,才是我該做的。 他說在去瑞典領(lǐng)獎(jiǎng)的十幾天,他也重新認(rèn)識(shí)到以前對諾獎(jiǎng)的認(rèn)識(shí)有偏差。 瑞典學(xué)院關(guān)注的首先是文學(xué),而不是人的因素,或政治的因素。 文學(xué)本身是最重要的標(biāo)準(zhǔn)。而對諾獎(jiǎng)的評(píng)判,來自瑞典社會(huì)上下長期大量的閱讀。 比如跟國王王后吃飯時(shí),王后就提到,她十幾年前就開始閱讀不同語種的莫言作品譯本。 諾獎(jiǎng)是面鏡子,照出世間百態(tài),照出真正的我,以及哈哈鏡里的我。 再過六個(gè)月,新的諾獎(jiǎng)得主名單將出爐。到時(shí)候就沒人理我了。 我期待,他說。 (記者 梅佳,本文為編譯,原文刊登于4月3日《中國日報(bào)》) |