Why Mo Yan won the Nobel Prize for Literature

When I first heard the news that Mo Yan won the Nobel Prize for Literature, I didn’t take it seriously. First of all, I don’t think Mo Yan is the most powerful writer in China at the moment. As the writer Zhao Yu said on Weibo: “Teacher Mo Yan is not as good as Han Shaogong in terms of thought and wisdom; not as good as Zhang Chengzhi in terms of passion and certain complexes; in terms of fighting against the system and Not as good as Yan Lianke in terms of realistic concern; not as good as Liu Zhenyun in terms of human transparency and mastery; not as good as Zhang Wei in terms of novel length and poetry; not as good as Ge Fei in terms of polishing language and narrative skills; not as good as Shi Tiesheng in terms of restraint and reflection; not as good as Jia Pingwa in terms of Chinese attributes and diligence in language "On..." Secondly, I think Mo Yan's words and deeds lack concern and criticism of reality. How can such a Mo Yan deserve the "most glorious" Nobel Prize in Literature? Maybe some people disagree with my views. In order to find a more powerful target for criticism, I decided to follow the trend and "read" Mo Yan's masterpieces. Although Mo Yan is a fellow from Shandong, I didn't give him face before and only read his "Sandalwood Punishment". Now, in order to win the Nobel Prize for Literature, I read three of his masterpieces - "Big Breasts" in one go. Buttocks", "Life and Death Fatigue", "Frog". "You don't know if you don't read it, but you will be shocked when you read it." I gradually realized the superficiality of my own views and the depth of Mo Yan's works. In terms of pure works, Mo Yan's award is indeed well deserved to a large extent. "Mo Yan's magical realism works combine folk tales, history and contemporary times." This is the reason why Mo Yan won the Nobel Prize. Magic is only on the surface. The author believes that the greatest value of Mo Yan's works lies in its realism. Mo Yan admitted that he was a weak and timid person in life. When taking a taxi, he had to hand cigarettes to the driver. Therefore, he was cautious about speaking in reality and poured his care and criticism of reality into his works. The naked exposure of violence in "Sandalwood Punishment", the loud praise of mothers in "Big Breasts and Big Hips", the repeated sobs of suffering in "Life and Death", and the painful reflections on family planning in "Frog" are all insightful and colorful, both touching and touching. Food for thought. In the author’s “experience,” if Mo Yan’s works are not “the best” among contemporary Chinese writers for their concern for reality and courage to criticize, they are at least “one of the best.” Moreover, not only are the themes clear and profound, but the content of Mo Yan's works is also magnificent, broad in scope, and long in time (for example, "Life and Death and Fatigue" was written from 1950 to 1998, from the underworld to the yang world, and from the five animals to everyone). It can be called an "epic masterpiece". In terms of language style, these works of Mo Yan have been seeking innovation and change. The splendidness of "Sandalwood Punishment", the richness of "Big Breasts and Big Hips", the strangeness of "Life and Death Fatigue", and the plainness of "Frog" all correspond to what Su Shi said: "Any writing must be majestic and colorful when you are young. "Getting older and more mature leads to dullness." The changes in the language style of Mo Yan's works also reflect Mo Yan's increasingly rich and profound knowledge and understanding of life and the world, and he and his works are becoming more and more mature. In addition to the content and language strength of the work, it cannot be denied that there are many other factors that contributed to Mo Yan winning the Nobel Prize, such as the international popularity of his work "Red Sorghum" directed by Zhang Yimou, the life-long Nobel Prize for Literature judges Ma Yueran and Nobel Prize winner Kenzaburo Oe’s admiration for Mo Yan’s works, the national characteristics of Mo Yan’s works and their popularity in Sweden, etc. In any case, Mo Yan won the Nobel Prize, both strength and luck are indispensable. In today's China, there is more than one writer as powerful as Mo Yan, but there are very few writers who have the "right time, place, and right people" like Mo Yan. Therefore, it is almost impossible for China to win another Nobel Prize in Literature in recent years.