Table of Contents

Mo Yan Wins the Nobel Prize for Literature 
Nobel Lecture 
Mo Yah_A Date with the Master 
An Interview with Mo Yan 
Qiu Huadong_Rural Raconteur 
Timeline of Achievements 
Shi Zhanjun_A Tale of Many Cities 
Deng Yiguang_Shenzhen is Located at 22°27’—22°52’ N 
Xiao Hang_The Gift 
Pan Xiangli_A Miraculous Sleigh Ride 
Xu Yigua_How to Grow Bananas 
Wang Shou_Death of a Playboy 
Han Song_The Last Subway 
Zhang Yiwei_Only Later 
Xue Yiwei_The Taxi Driver 
Dung Kai—cheung_Windows 98 and South Park 
Tai Kuang_Watching the Sunset from the World Trade Center,What do you need to build a skyscraper？， Rain Traffic Jam 
Zhu Ling_World Map, The Intersection of Nanjing Rd.and Beijing Rd. 
Ou Ning_Lost and Regained, Empty City, San Yuan Li 
Wang Yin_White Sea, Time of Flowers, The Scent of Autumn， No.9 New Continental Village 
Wang Xiaolong_Men Must Also Give Birth Once, Surgical Ward，The Taxi Always Comes at the Moment of Despair, A Surplus Economy 
Yangzi_As Night Fell, It Started Raining, Yellow Flowers Beneath the Overpass 
Huang Jinming_A Corner of Milky Way Park, In Pearl Square, A Building’s History of Collapse 
Yao Feng_Amsterdam, Early Morning in Rio de Janeiro， Breakfast at Lisboa,Pattaya, Joyous Pavilion 
Liao Weitang_Minibus 9, Aubade， Ballad of Queen’s Pier, Written in Fog，A Song of Departure for the Pearl River Delta, Summer 2012, Hong Kong Rain 
Yang Xiaobin_The Dude Sonnet, Female Bank Monogatari, A lively weekend in the underpass, A Boutique Called Hustler 
Recommended Books

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Mo: A writer is limited by where he comes from.I left home twenty—some years ago, and I've gradu—ally used up my earliest memories.But if you're able to take those early emotional incidents and turn them into experience, they can be applied to the entirety of your later life.I think the so—called limitations of one's home are actually more a limitation of language. 
A writer's language is partially the product of later training, but its heart, its spirit, is established at a much earlier age.I think I inherit my language from country people, from the heritage of the oral folk tradition.For one thing, it's got a kind of ex—aggerated, hyperactive flow to it, and it also has a lively, rustic feel. 
In the countryside you'll often meet people who can't read a single character, but give you the impression of profound learning the moment they start talking.Their descriptions of events and people are unbelievably vivid; their delivery is spell—binding.Men, women and children are powerless before them, and even if you know they're spinning nonsense you listen with gusto—because you're listening to a good story.I think that's the fundamental wellspring of my language. 
Furthermore, I think this is the source of the whole Chinese romantic literary tradition, and of our mode of literary expression.Romances are generally passed down through oral storytelling—the further back in history you go the fewer literate people there were.Oral storytelling is prone to embellishment, of course, and each storyteller would add his own flair, until some ordinary event of two hundred years ago might, after passing through so many retellings, be—come something really remarkable. 
That's why I say that one is limited by one's home—first through language, and then through experience.Later I read many works of translated foreign fiction, as well as classical and modern Chinese fiction, so why didn't my language start to resemble that of Yu Hua, or Su Tong, or Ye Zhaoyan? 
I was at the Lu Xun Academy with Yu Hua and we listened to the same lecturers, read mostly the same books, but there's still a striking difference between our language and styles.Wang Anyi's writing about Shanghai and its environs, Su Tong's Suzhou—I think it's all down to the limitations of home.It's a good thing, in one sense, and bad, in another: it's just a fact that needs to be accepted.It means there is value in having more writers. 
Everyone's trying for a breakthrough, of course,everyone's trying to change themselves.But a deep—water fish can't live in the shallows—you are who you are.The best we can hope for is to make our limita—tions more flexible, to push them outwards and bring new material inside.I must open the sluice gates to my childhood memories and experiences, must ensure that the water flows and does not stagnate.