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Guan Moye (simplified Chinese : ; traditional Chinese: ; pinyin: Gun My; born 17 February 1955), better known by the pen name Mo Yan (; pinyin: M Yn), is a Chinese novelist and short story writer. Donald Morrison of U.S. news magazine TIME referred to him as “one of the most famous, oft-banned and widely pirated of all Chinese writers“, and Jim Leach called him the Chinese answer to Franz Kafka or Joseph Heller.

He is best known to Western readers for his 1987 novel Red Sorghum Clan, of which the Red Sorghum and Sorghum Wine volumes were later adapted for the film Red Sorghum. In 2012, Mo was awarded the Nobel Prize in Literature for his work as a writer “who with hallucinatory realism merges folk tales, history and the contemporary”.

Early life

Mo Yan was born in 1955, in Gaomi County in Shandong to a family of farmers, in Dalan Township (which he fictionalised in his novels as “Northeast Township” of Gaomi County). Mo was 11 years old when the Cultural Revolution was launched, at which time he left school to work as a farmer. At the age of 18, he began work at a cotton factory. During this period, which coincided with a succession of political campaigns from the Great Leap Forward to the Cultural Revolution, his access to literature was largely limited to novels in the socialist realist style under Mao Zedong, which centered largely on the themes of class struggle and conflict.

At the close of the Cultural Revolution in 1976, Mo enlisted in the People’s Liberation Army (PLA), and began writing while he was still a soldier. During this post-Revolution era when he emerged as a writer, both the lyrical and epic works of Chinese literature, as well as translations of foreign authors such as William Faulkner and Gabriel Garca Mrquez, would make an impact on his works.

In 1984, he received a literary award from the PLA Magazine, and the same year began attending the People’s Liberation Army Arts College, where he first adopted the pen name of Mo Yan. He published his first novella, A Transparent Radish, in 1984, and released Red Sorghum in 1986, launching his career as a nationally recognized novelist. In 1991, he obtained a master’s degree in Literature from Beijing Normal University.

Pen name


Mo Yan began his career as a writer in the reform and opening up period, publishing dozens of short stories and novels in Chinese. His first novel was Falling Rain on a Spring Night, published in 1981.

Mo Yan’s Red Sorghum Clan is a non-chronological novel about the generations of a Shandong family between 1923 and 1976. The author deals with upheavals in Chinese history such as the War of Resistance Against Japanese Aggression, the Communist Revolution, and the Cultural Revolution, but in an unconventional way; for example from the point of view of the invading Japanese soldiers.

His second novel, The Garlic Ballads, is based on a true story of when the farmers of Gaomi Township rioted against a government that would not buy its crops. The Republic of Wine is a satire around gastronomy and alcohol, which uses cannibalism as a metaphor for Chinese self-destruction, following Lu Xun.Big Breasts & Wide Hips deals with female bodies, from a grandmother whose breasts are shattered by Japanese bullets, to a festival where one of the child characters, Shangguan Jintong, blesses each woman of his town by stroking her breasts. The book was controversial in China because some leftist critics objected to Big Breasts’ perceived negative portrayal of Communist soldiers.

Extremely prolific, Mo Yan wrote Life and Death Are Wearing Me Out in only 42 days. He composed the more than 500,000 characters contained in the original manuscript on traditional Chinese paper using only ink and a writing brush. He prefers writing his novels by hand rather than by typing using a pinyin input method, because the latter method “limits your vocabulary”.Life and Death Are Wearing Me Out is a meta-fiction about the story of a landlord who is reincarnated in the form of various animals during the Chinese land reform movement. The landlord observes and satirizes Communist society, such as when he (as a donkey) forces two mules to share food with him, because ” the age of communism… mine is yours and yours is mine.”


Mo Yan’s works are predominantly social commentary, and he is strongly influenced by the social realism of Lu Xun and the magical realism of Gabriel Garca Mrquez. In terms of traditional Chinese literature, he is deeply inspired by the folklore-based classical epic novel Water Margin. He also cites Journey to the West and Dream of the Red Chamber as formative influences.

Mo Yan, who himself reads foreign authors in translation, strongly advocates the reading of world literature. At a speech to open the 2009 Frankfurt Book Fair, he discussed Goethe‘s idea of “world literature”, stating that “literature can overcome the barriers that separate countries and nations”.


Mo Yan’s works are epic historical novels characterized by hallucinatory realism and containing elements of black humor. A major theme in Mo Yan’s works is the constancy of human greed and corruption, despite the influence of ideology. Using dazzling, complex, and often graphically violent images, he sets many of his stories near his hometown, Northeast Gaomi Township in Shandong province. Mo Yan says he realised that he could make ” family, people I’m familiar with, the villagers…” his characters after reading William Faulkner‘s The Sound and the Fury. He satirizes the genre of socialist realism by placing workers and bureaucrats into absurd situations.

Mo Yan’s writing is characterised by the blurring of distinctions between “past and present, dead and living, as well as good and bad”. Mo Yan appears in his novels as a semi-autobiographical character who retells and modifies the author’s other stories. His female characters often fail to observe traditional gender roles, such as the mother of the Shangguan family in Big Breasts & Wide Hips, who, failing to bear her husband any sons, instead is an adulterer, becoming pregnant with girls by a Swedish missionary and a Japanese soldier, among others. Male power is also portrayed cynically in Big Breasts & Wide Hips, and there is only one male hero in the novel.

Nobel Prize in Literature, 2012″]

On 11 October 2012, the Swedish Academy announced that Mo Yan had received the Nobel Prize in Literature for his work that “with hallucinatory realism merges folk tales, history and the contemporary”. Aged 57 at the time of the announcement, he was the 109th recipient of the award and the first ever resident of mainland China to receive itChinese-born Gao Xingjian, having been named the 2000 laureate. In his Award Ceremony Speech, Per Wstberg explained: “Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy.”

Swedish Academy head Peter Englund said less formally, “He has such a damn unique way of writing. If you read half a page of Mo Yan you immediately recognize it as him”.

Controversies and criticism

Winning the Nobel Prize occasioned both support and criticism.

Firstly, it won warm welcome from the Chinese government immediately after the announcement of the Nobel Prize. The People’s Daily Online, the official newspaper of the Chinese Communist Party, published on 11 October 2012: “Congratulations to Mo Yan for winning the Nobel Prize in Literature! It is the first time for a writer of Chinese nationality to win the Nobel Prize in Literature. Today is the day that Chinese writers have awaited for too long and that Chinese people have awaited for too long.”

The Chinese writer Ma Jian deplored Mo Yan’s lack of solidarity and commitment to other Chinese writers and intellectuals who were punished or detained in violation of their constitutionally protected freedom of expression. Several other Chinese dissidents such as Ye Du and Ai Weiwei also criticized him, as did 2009 Nobel Laureate Herta Mller who called the decision a “catastrophe”. A specific criticism was that Mo hand-copied Mao Zedong‘s influential Yan’an Talks on Literature and Art in commemoration of the 70th anniversary of the speech, which described the writer’s responsibility to place politics before art, These “Talks”which were the intellectual handcuffs of Chinese writers throughout the Mao era and were almost universally reviled by writers during the years between Mao’s death in 1976 and the Tiananmen protest in 1989were now again being held up for adulation. Mo Yan not only agreed but has gone further than others to explain that the “Talks,” in their time, had “historical necessity” and “played a positive role.” He has also attracted criticism for his supposed good relationship with the Chinese Communist Party in general.

Anna Sun, an assistant professor of Sociology and Asian studies at Kenyon College, criticized Mo’s writing as coarse, predictable, and lacking in aesthetic conviction. “Mo Yan’s language is striking indeed,” she writes, but it is striking because “it is diseased. The disease is caused by the conscious renunciation of China’s cultural past at the founding of the People’s Republic of China in 1949.”Charles Laughlin of the University of Virginia, however, accuses Sun of “piling up aesthetic objections to conceal ideological conflict,” comparing her characterization of Mo to the official China Writers Association‘s characterization of Gao Xingjian as a mediocre writer when Gao won the Nobel Prize in 2000.

Perry Link, describing Mo Yan’s fiction and politics in the New York Review of Books, asked, “Does this writer deserve the prize?” Link commented that Chinese writers, whether “inside the system” or not, “all must choose how they will relate to their country’s authoritarian government.” This “inevitably involves calculations, trade-offs, and the playing of cards in various ways.” Link’s main criticism was that Mo Yan “invoke(d) a kind of daft hilarity when treating ‘sensitive’ events” such as the Great Chinese Famine and the Cultural Revolution. Link believed that the regime approved it because “this mode of writing is useful not just because it diverts a square look at history but because of its function as a safety valve.” As Link pointed out, to treat sensitive topics as jokes might be better than banning them outright. Link compared Mo to Liu Xiaobo, winner of the 2010 Nobel Peace Prize, who was jailed for dissidence, whose moral choices were “highly unusual.” It would be wrong, Link concludes, “for spectators like you and me, who enjoy the comfort of distance, to demand that Mo Yan risk all and be another Liu Xiaobo. But it would be even more wrong to mistake the clear difference between the two.”

Charles Laughlin, however, published an article called What Mo Yan’s Detractors Get Wrong on ChinaFile against Link’s argument. As a response to Link’s criticism that Mo Yan trivialized serious historical tragedies by using black humor and what he called “daft hilarity”, Laughlin emphasized the distinction between documentary and art and literature: “art and literature, particularly since the traumas of the twentieth century, never simply document experience.” Laughlin argued that Mo Yan’s intended readers already know that “the Great Leap Forward led to a catastrophic famine, and any artistic approach to historical trauma is inflected or refracted.” According to him, “Mo Yan writes about the period he writes about because they were traumatic, not because they were hilarious.”

Salman Rushdie called Mo Yan a “patsy” for refusing to sign a petition asking for Liu Xiaobo’s freedom.Pankaj Mishra saw an “unexamined assumption” lurking in the “western scorn” for these choices, namely that “Anglo-American writers” were not criticized for similarly apolitical attitudes.

In his Nobel Lecture, Mo Yan himself commented, “At first I thought I was the target of the disputes, but over time I’ve come to realize that the real target was a person who had nothing to do with me. Like someone watching a play in a theater, I observed the performances around me. I saw the winner of the prize both garlanded with flowers and besieged by stone-throwers and mudslingers.” He concluded that “for a writer, the best way to speak is by writing. You will find everything I need to say in my works. Speech is carried off by the wind; the written word can never be obliterated.”

Another source of criticism was a perceived conflict of interest on the part of Gran Malmqvist, who is one of the members of the Swedish Academy. Malmqvist had translated several of Mo Yan’s works into Swedish and published some through his own publishing house. Mo had also written a laudatory preface to one of Malmqvist’s own books, and been a close friend of Malmqvist’s wife for 15 years. The Nobel committee denied that this constituted a conflict of interest, and said that it would have been absurd for Malmqvist to recuse himself.

List of works

Mo Yan has written 11 novels, and several novellas and short story collections.

This is a complete list of Mo Yan’s works published as a collection in 2012 in China (after Mo Yan received the Nobel Prize).


Short story and novella collections

  • White Dog and the Swing (30 short stories, 1981-1989)
  • Meeting the Masters (45 short stories, 1990-2005)
  • Joy (8 novellas; six of them are published in English as Explosions and Other Stories)
  • The Woman with Flowers (8 novellas)
  • Shifu: You’ll Do Anything for a Laugh (9 novellas; one of them, Change, is published independently in English)

Other works

  • The Wall Can Sing (60 essays, 1981-2011)
  • Our Jing Ke (play)
  • Broken Philosophy (interviews, only available in Chinese)
  • Ears to Read (speeches, only available in Chinese)
  • : Grand Ceremony

Awards and honours

Honorary doctorate


Several of Mo Yan’s works have been adapted for film: