Mo Yan in Context

Front matter

mi.i d IN CONTEXT

Nobel.

Glob;

Part One Leaves

A Mutually Rewarding yet Uneasy and Sometimes Fragile Relationship between Author and Translator Howard Goldblatt

The Censorship of Mo Yan's Ks 7r = 2K (The Garlic Ballads) Thomas Chen

Representations of "China" and "Japan" in Mo Yan's, Hayashi's, and Naruse's Texts Noriko J. Horiguchi

Abortion in Faulkner's The Wild Palms and Mo Yan's tE (Frog) Lanlan Du

Rural Chineseness, Mo Yan's Work, and World Literature Chengzhou He

Part Two Trunk The Realpolitik of Mo Yan's Fiction Sabina Knight

Mo Yan's Life and Death Are Wearing Me Out in a Cultural and Visual Context Yuhan Huang vii ix

Mo Yan's The Garlic Ballads and Life and Death Are Wearing Me Out in the Context of Religious and Chinese Literary Conventions Chi-ying Alice Wang

Religious Elements in Mo Yan's and Yan Lianke's Works Jinghui Wang

Mo Yan's Work and the Politics of Literary Humor Alexa Huang and Angelica Duran

Part Three Roots

Cosmopolitanism and the Internationalization of Chinese Literature Ning Wang

Variation Study in Western and Chinese Comparative Literature Shunging Cao and Miaomiao Wang

A Textbook Case of Comparative Cultural Studies Donald Mitchell and Angelica Duran

Epilogue

Soul Searching in Contemporary Chinese Literature and Society Fenggang Yang

Selected Bibliography of and about Mo Yan's Work in Chinese and English Angelica Duran and Yuhan Huang

Index

Acknowledgments

The editors of Mo Yan in Context: Nobel Laureate and Global Storyteller Angelica Duran and Yuhan Huang acknowledge gratefully the advice and support of Purdue University and Purdue University Press, especially James Mullins, dean of Purdue University Libraries; Charles Watkinson, director of Purdue University Press; and Steven Tötösy de Zepetnek, editor of the Purdue University Press series of Books in Comparative Cultural Studies. Also deserving special acknowledgment include Keith Dickson, interim chair of the School of Languages and Cultures; John Duvall, editor of Purdue’s Modern Fiction Studies for direction and funding; Daniel Hsieh and Mark Tilton, consecutive directors of Purdue’s Asian Studies; Wei Hong, director of Purdue’s Confucius Institute; JoAnn Miller, associate dean of Interdisciplinary Programs; Charles S. Ross, director of Purdue’s Program in Comparative Literature; Irwin Weiser, dean of the College of Liberal Arts; Fenggang Yang, director of the Purdue Center for Religion and Chinese Culture; and Michael Brzezinski, dean of Purdue’s International Program. A final acknowledgment must go to the Sino- American Symposium, an important series of scholarly gatherings since the 1980s that alternates between the P.R. of China and the U.S., with the most recent hosted at Purdue University in 2013. Angelica Duran dedicates her efforts for the publication of the volume to Sean O’Connor, her companion in discovering “all Earths Kingdomes and their Glory” (Milton, Paradise Lost 11.384).

vii

Note

Readers of Mo Yan in Context: Nobel Laureate and Global Storyteller should be aware of the style of the Purdue University Press’s series of Books in Comparative Cultural Studies: the series uses no footnotes or endnotes. When used judiciously, footnotes or endnotes provide additional depth to the main discussion; however, in this volume—following the series’ style guide—the contributors’ texts are presented to be reader friendly for general readers and thus without footnotes or endnotes. At the same time, the editors of the volume provide depth in part through a substantial introduction and a selected bibliography, the former articulating part of the conversation in which the volume’s contributors are engaged, and the latter giving signposts for further interactions. With regard to languages, the series generally follows in-text the Western sequence of First Name Surname unless, for example in Asian languages, the names are established, historical, or aka names. This is done because Western academic publishing is not consistent with surnames in other languages, which, similar to East Asian languages, use the Surname First Name sequence. However, some contributors to the volume have chosen the Chinese sequence in their texts, and two ways of in-text East Asian names reflect the contested nature of conventions as in East Asian names. Further, while the series style generally does not allow for titles with subtitles, the press decided to grant an exception, and thus the volume’s title is with a subtitle (articles in the volume are without subtitles).

Introduction to Mo Yan in Context: Nobel Laureate and Global Storyteller

In The Economy of Prestige: Prizes, Awards, and the Circulation of Cultural Value James F. English chronicles the enduring cultural entity of artistic prizes in terms of global economies, or systems, in which prizes act as cultural capital to be exchanged. While noting that prizes date "back at least to the Greek drama and arts competitions in the sixth century B.C.," English concentrates on "the modern ascendancy of cultural prizes," which he notes can "conveniently be said to have started in 1901 with the Nobel Prize for Literature, perhaps the oldest prize that strikes us as fully contemporary, as being less a historical artifact than a part of our own moment" (1, 28). The attention and prestige that a Nobel Prize endows, as well as the cultural authority that it has accumulated over more than a century, ensures attention and curiosity in each of its six categories: chemistry, economic sciences, literature, medicine, peace, and physics. The life's work and works of Nobel laureates have inevitably come to be seen as forming a kind of canon, which would surprise its creators: "the Academy members who commenced work in that first Nobel Committee of 1901 would have been terrified had they realized what they were about to set in train" (Engdahl 317). John Guillory's definition of cultural capital is especially helpful in its clear-eyed delineation of the elements which come into play, especially for literary forms of cultural capital, in order to circulate in today's global culture under construction such as access and authority and in its demonstration of the ambivalence—the simultaneous attraction and repulsion—surrounding ideologically, politically, and financially freighted cultural exchanges.

Ambivalence well describes the response to the Swedish Academy's announcement in October 2012 that it had awarded the Nobel Prize in Literature to Mo Yan (X F). Issues of access, authority, politics, and literary merit emerged on various fronts. Usually, the media publishes a few articles about the new laureate with a pleasant exposition of the author's writing style and such. For example, the political involvement in Turkey of the 2006 Nobel Prize in Literature Laureate Orhan Pamuk was deemphasized. The comments in The New York Times centered mostly on his writing style: "Mr. Pamuk's prize is richly deserved. It was awarded for a body of work, fiction and nonfiction, that is driven by the conscience of imagination, as well as the conscience of memory" ("Orhan Pamuk's" <http://www.nytimes.com/2006/10/16 /opinion/16mon4.html?_r=0>). Certainly, the media had plenty of praise when Seamus Heaney was awarded the Nobel in 1995, which perhaps helps to account for the few complaints that he did not write enough about the "maimed music" and "cold/ Raw silence" that came from the Irish-British clashes of the 1960s (see Heaney, "Station Island," "Casualty").

The political commentary that followed Mo Yan's 2012 Nobel is a rare but not isolated case. In a few cases, like that of Chinese-born but naturalized French citizen Gao Xingjian's Nobel in 2000 and Holocaust survivor Imre Kertész's Nobel in 2002, the award has been fraught with objections. Western media made much of the pseudonym “Mo Yan” (4 F )—which means "Don't Talk"—the writer originally pets»

named Guan Moye (F WAV) uses. Mo Yan addressed the matter of his pseudonym at the award ceremony of the Newman Prize for Chinese Literature in March 2009 at the University of Oklahoma (see "Six Lives"). Using hyperbole and referring to himself in the third person, as he has done in some of his fictional works, he stated that "back then he was thinking that he should have a pen name, since all major writers had one. As he stared at the new name that meant 'don't talk,' he was reminded of his mother's admonition from way back. At that time, people in China were living in an unusual political climate; political struggles came in waves, one more severe than the one before, and people in general lost their sense of security. There was no loyalty or trust among people ... many people got into trouble because of things they said; a single carelessly uttered word could bring disaster to one's life and reputation as well as ruination to one's family ... Whenever he [Mo Yan] felt like showing off his eloquence, his mother would remind him, 'Don't talk too much" ("Six Lives" 26). Mo Yan was asked again to address the topic in relation to the imprisoned 2010 Nobel Peace Prize Laureate Liu Xiaobo. Media curiosity is understandable given that Mo Yan and Liu are the only two Chinese-born Nobel Prize awardees in any category who have retained their Chinese citizenship. Notwithstanding, Mo Yan commented only briefly, providing additional political responses regarding his works' merits. The New York Times focused nearly a third of the article "After Fury Over 2010 Peace Prize, China Embraces Nobel Selection" on similar comments Mo Yan made at the University of California—Berkeley in 2011 (see Jacobs and Lyall <http://www.nytimes.com/2012/10/12/books/nobel-literature-prize.html?_r=0>). A couple of months later, world.time.com keyed in on the pen name in terms of political activism and censorship, rather than literature (see Ramzy <http://world.time. com/2012/12/07/chinas-nobel-laureate-mo-yan-defends-censorship>; for a discussion on silence in literature, see Damrosch; Summit). Chinese media never dedicated as much attention to the Nobel Prize in Literature as it did following the October 2012 announcement. It is for this reason that Jing Tsu's and David Der-wei Wang's

Global Chinese Literature: Critical Essays pays attention to China's quest for the Nobel Prize at a time when Gao was the only Chinese-born writer to earn the Prize.

People's Daily, the official mouthpiece of the Chinese government, acknowledged Mo Yan as "the Chinese Mo Yan," emphasizing that the Prize "will take Chinese literature to readers worldwide. China has many excellent authors and literary works. They are insufficiently read due to the barriers of language and ideological differences. Many foreign readers know little about Chinese literature, and Chinese literature has very limited influence in the world. Awarding the Nobel Prize in Literature to Mo Yan will bring attention to Chinese writers and works, and it will also evoke interest by Sinologists, who will be able to translate and introduce Chinese literature to the world" (unless indicated otherwise, all translations are by Yuhan Huang) "~H, Pride FP as a EA RA ah KRAMER AS IVE m, BATES Rts. MEISE, PEE A bs HYPE IE AAS Z, HE ER se tH Sc Sez Ee DUR SCR eS E EEA, SEERA ESSE PED A ESR, GE eT A E LFR, MC ERAR ARP DREE & FP E i MFT 28 Bt Ft_E AK" (Dong 3). People's Daily listed the three reasons for the pen name which Mo Yan provided in a press conference at Stockholm: "First, the first character in my given name, 'mo! i is a combination of the two characters 'mo yan’; second, when I was young, I was very talkative and brought troubles to my family, thus my parents often taught me of the virtue of silence; third, when one speaks too much one loses one's energy in writing. Now that I have made writing my career, I will write down all that I would like to talk in words" "XFA CHER, X AMAA Ona Fil, KARRANKA, PIT Be Bs SAEZ WEL, BEER RRE RIT, Pr ATT BE ht hs SRAWMRS WARNS ET, BPP ea SAL, BE DoH AY Ae PS HHS" (Liu, 4). This may be the most opportune moment to note that Mo Yan in Context refers to the author by the Chinese phrase and pen name

"Mo Yan." Our intent in this editorial choice, as with other choices, is to be as sensitive as possible to the texts and human agents that comprise this volume and to imply a rigorous concentration on the textual and cultural expressions of a specific author, not on a historical individual.

Western and Eastern readers are exposed to different motives about the Prize and about literature based on the amount and type of press attributed just to a pen name. Contributors to Mo Yan in Context seek to include both sets and to jostle with them in order to further global conciliation through comparative cultural studies, an emerging field whose framework and methodology have been percolating in many fields, as noted previously, and have been developed by Steven Tétésy de Zepetnek since the late 1990s (e.g., "From Comparative"). They are able to engage in such an ambitious, worthwhile aim in large part because of another aspect of modernity that has paralleled the new prize culture that English notes: globalization. Like the foundations of prize culture, this volume is fully dependent on the increased communication, access, and travel that are the hallmarks of globalization: ten of the sixteen contributors to this volume are Chinese born, with three claiming the U.S. as their long-term home. This background about the human agents behind this volume leads us to yet another caveat about another editorial choice. We co-editors have sought to lend guidance primarily in terms of overall direction and content, but not to homogenize individual voices or personas. The contributors’ author profiles at the end of each article speak to the variety of the contributors’ national, linguistic, and disciplinary identities.

Insofar as the benefits of the circulation of artistic production and distribution, Mo Yan's works are indeed more accessible than those of other contemporary Chinese writers with the exception of those of Gao. As such, his works had greater chances of being nominated by the "600-700 individuals and organizations qualified to nominate for the Nobel Prize in Literature" and enabling "the members of the Academy to read and assess the work of the final [15—20] candidates" ("Process" <http://www.nobelprize.org/nomination/literature/process.html>). The list of the 109 awardees of the Nobel Prize in Literature since 1901 reflects the predominant language facilities of the Academy members and their access, including the prevalence of English and regional (in this case Western) restrictions in the past century before globalization ripened: English (26), French (13), German (13), and Spanish (11) works have garnered the lion's share of the Prizes ("Facts" <http://www -nobelprize.org/nobel_prizes/facts/>). Insofar as the repercussions of Mo Yan's Prize, his works will gain further access and authority. There is also another "insofar" for cultural and literary scholars and cosmopolitanites (see Wang, Ning), to which this textual gathering around a prized literary artist is a testament. Insofar as this group is concerned, Mo Yan's Prize serves as a ripe opportunity to circulate more broadly the critical conversations in which they have been engaged for quite some time.

This critical conversation is perhaps best characterized, rather than in the terms of cultural capital, in terms of "ripeness," which in turn pays homage to the roots or root-seeking movement in Chinese literature and culture associated with Mo Yan. The term seeks to reflect an ideological imperative that arose in the 1980s and that is articulated primarily in artistic productions that are self-consciously rooted in traditional, nonstandard culture and which fixate on specific locales to gain insights into contemporary Chinese culture. Although many root-seeking authors refer to popular language and rural settings in their writings, as does Mo Yan, the search for roots is not nostalgic for customs and languages of the past or of the rural. It is instead a rediscovery of the nation's past and rethinking of its place in the contemporary context, facilitating present productivity. Han Shaogong's article "X HJ#R" ("The Root of Literature") defined the root-seeking movement and articulated the commonly felt sense of the importance of not forgetting, quoting the contemporary Chinese novelist Acheng (JX): "a nation seems to be forgetful of its own past, yet it is not easy to forge" ("~“TPRIKA CMS, ARRAK, HERMA A DBCS iC HJ. ") (84). Root-seeking literature seeks to ground remembrance and memory in the soil of national and folklore culture. If the root is not deep enough, the "leaves won't grow thick" (Han 77). In growing the "leaves," or the resulting expressions of strong roots, Chinese writers since the second half of the twentieth century have developed a critical body of work toward the past as well as individualistic limbs that value personal experience and independent growth.

The 2012 Nobel Prize in Literature is the well-deserved recognition of the life's work of one individual, fully matured yet still growing. Contributors to Mo Yan in Context attend in Part One: Leaves carefully and closely to the shimmering shadow his works have cast as world literature and in world literature; Part Two: Trunk to its nativist core; and Part Three: Roots to its cultural foundations. In Part One contributors discuss a selection of Mo Yan's short stories and novels in terms of their translation to English and the unique nature of the literary conversation Mo Yan engages in world literature. The trajectory of Parts One and Two is neither an unintentional reflection of a Western hegemonic interest nor the outcome of a too precious preservation of the logic of the vegetative metaphor that governs this volume. Rather, it is driven by the internal logic of Mo Yan's works, first shaded by the leaves of world-renown writers then blossoming into its own. In a short article on writing novels in the Chinese tradition, Mo Yan discussed his trajectory in coping with the influence of foreign world literature:

I wrote an article for the first issue of tH XÆ / World Literature in 1987, entitled "Avoiding the Two Burning Furnaces." I meant that Marquez and Faulkner were two burning furnaces, while I was ice. If I came too close to them, I would melt and vaporize. Yet my avoidance was by no means complete. It was like lovers with tumultuous passion who broke up yet still thought about one another. Their [Marquez's and Faulkner's] techniques are simply too convenient to use, and I have accumulated too many stories that are similar to theirs. The momentum was great, and it takes time to divert. In the following decade, I wrote with rebellion. I wrote The Garlic Ballads, The Republic of Wine, Big Breasts and Wide Hips, and many other novels... It was not until 2000 when I was writing Sandalwood Death that I felt the ability to produce writings equal to my Western counterparts. In my creation of the three novels Sandalwood Death, POW!, and Life and Death are Wearing Me Out, I have retreated from Western influence and learned from Chinese folk literature and traditional writings... In the history of literature, there are two things that can save a declining art form: one is the folk, the other is the foreign. ("The Tradition" 153)

In Part Two: Trunk contributors read Mo Yan's works in terms of its most immediate Chinese literary, cultural, and social context linking the "leaves" of its literary presentations to the main body of its creation. Some of those nativist elements are near the surface, nearly raw in their presentation, such as China’s controversial and difficult national family planning (it !/42 A) or One-child policy. Others are equally provocative, although they extend much further into the rich soil of China's religious heritage. Given government policies and current religious demographics, the religious elements of folk religion and Buddhist, Taoist, and Hindu religions which are explored in this Part may seem counterintuitive to some readers. But they should not be, given that the author himself sites "Chinese folk literature and traditional writings," redolent with such elements, as so influential.

It is the contention of this volume that the readily visible signs of Mo Yan's artistic works, towering within the literatures of the world, are rooted in cultural, literary, and critical systems, which it is the function of Part Three: Roots to demonstrate. We might here invoke the image from Mo Yan's Life and Death are Wearing Me Out of a poplar tree which, when "yanked" out of the ground, reveals roots "half a block long" (36). This volume proposes that rooting the cultural narratives within and about Mo Yan's works in its native China and in the West, primarily the U.S., enriches our appreciation of the variety and specificity of the discourses generated through these encounters, and may yield more generally applicable paradigms that illuminate the workings and foundations of transcultural as well as distinctly nationally and linguistically bound zones in other times and places.

The only English-language critical study of Mo Yan's works to date is A Subversive Voice in China: The Fictional World of Mo Yan by Shelley W. Chan. Chan's single-author book is "a thematic study of Mo Yan's fictional works within the framework of his continuity with and innovations on Lu Xun's work against the background of post-Mao China" (6). Mo Yan in Context is distinct from Chan's book in its multiauthorship and degree of interdisciplinarity, thus ensuring that (specialist) depth is brought to bear on its cultural and critical breadth. Extended Anglophone scholarship about Mo Yan's work appeared with articles by Howard Goldblatt, Hongtao Liu and Haiyan Lee, and Alexa Huang in the journal World Literature Today, shortly following his 2009 Newman Prize for Chinese Literature. As one would imagine, Mo Yan's works have received more critical attention in China: Zhang Zhizhong's single-authored volume 325 i (On Mo Yan) is the first volume of criticism devoted entirely to Mo Yan's work. Zhang presents detailed and incisive readings of Mo Yan's earlier stories and novels, yet covers no work later than The Garlic Ballads. The collected volume X. = Wt 3% 6 #} (Materials for the Study of Mo Yan) remains one of the most important resources for the study of Mo Yan's work in

Chinese (see Kong, Shi, Li). Instead of giving a coherent reading of a specific set of historical and cultural contexts, Materials focuses on comprehensiveness and materials for further research with its content ranging from letters of and interviews with Mo Yan in the 1980s to literary reviews published in newspapers and magazines in the 2000s. In X € HY) itt Ft (Mo Yan's Fictional World), Fu Yanxia looks closely at Mo Yan's literary style and use of literary forms. Well based on critical theories and supported by close textual readings, Fu nonetheless gives little attention to other aspects of Mo Yan's work. Chen Xiaoming's edited volume X Wt 9%: 2004-2012

(The Study of Mo Yan: 2004-2012) includes more recent interviews and reviews of Mo Yan and his work. As the title implies, the volume includes material up to the time of Mo Yan winning the Nobel Prize and thus avoids any post-Prize criticism. As Chen expounds in the preface to the volume: "The time range is strictly defined in order to avoid any conscious or unconscious afterthoughts" ("mÆ PHI PBR BCE, Tah Ae ta BEGET Ag SC sk EY Jn LH") (13). Chen has good reason to distance himself from the book craze for Mo Yan-trelated books in China since his laureateship. Besides the republishing of Mo Yan's writings with two sets of Mo Yan collections by two of the most prestigious Chinese publishing houses in literature—eleven volumes by Shanghai Wenyi Publishing House ( EX E Hit žE) and twenty volumes by Zuojia Publishing House ({F 2 H hig #t)—numerous Mo

Yan-related books came out in China in late 2012 and early 2013. Just to list a few: Kt Wis A (Big Brother on Mo Yan) penned by Mo Yan's elder brother Guan Moxian; a collection of interviews and accounts of Mo Yan's experience of receiving the Nobel Prize in Literature entitled Hh: WZ íT (Grand Ceremony: The Journey to the Nobel Prize) (see Mo Yan); Ye Kai's literary exposition 52 & AY XH E] (Mo Yan's Republic of Letters); and AR F: JAK. EK TAR PINAR (Seeing Mo Yan: The Nobel Laureate in the Eyes of Friends, Experts, and Counterparts), a volume by a colleague of Mo Yan at Beijing Normal University Zhang Qinghua, co-edited with Cao Xia.

Careful afterthoughts and reflective contemplations on Mo Yan in the context of the Prize's cultural and social implications are as, if not more, important than prior criticisms. Thus Mo Yan in Context provides a multiauthored volume that situates Mo Yan's work in its literary, cultural, and social context, as well as within a broader view of reading and studying world literature. Natural growth—from leaves, to trunk, to roots—is opportunistic, as is this volume, in its focus on the Sino-Anglophone branches (under and above ground), more particularly the Chinese-U.S. offshoot of this literary flowering. The 2008 Translation, Globalization and Localization: A Chinese Perspective edited by Ning Wang and Yifeng Sun is a major contribution to the approach this volume takes. It takes to heart the practical realities and critical tendencies of current Chinese scholarship, especially in terms of the globalization in which this volume participates. Thus Mo Yan in Context uses a global voice both to extend its readership and to fulfill a capacious model of scholarship. Our ambitions are high: to be part of the first major wave of studies of the intersections of globalized Chinese and U.S. cultures, which is of wide interest to many scholars but difficult to transform into a resource like this one given the newness of the historical, cultural, and linguistic conditions that enable such work. This volume is responsive to the global interest in all aspects of the relationships between these two great global powers. The Economist made much of the similarities and differences between the long-standing term "the American Dream" of the U.S. and "the Chinese Dream" that the newly appointed Chinese general secretary and military commander-in-chief Xi Jinping used in November 2012 to describe the cultural path for "the Chinese nation" that he envisioned ("China's Future" <http://www.economist.com/printedition/2013-05-04>). Moreover, this volume is the result of the long-standing, deliberate, and successful attempts by educational institutions in the U.S. and China to foster joint research in the sciences, technology, engineering, and mathematics (STEM) fields, as well as in the humanities.

Mo Yan in Context is tethered relentlessly to Mo Yan yet extends broadly in its contexts of the interface of literature and Chinese and Western, primarily U.S., societies. Yet it in no way aspires to be comprehensive. The distinctive features of this collection of Western (primarily Anglophone) and Eastern (primarily Chinese) cultural studies are its historical breadth and inclusion of major critical scholars based in both the West (exclusively U.S. institutions) and the East (exclusively Chinese institutions). The division can be thought of as addressing the two main notions Tötösy de Zepetnek and Louise O. Vasvári define in the Companion to Comparative Literature, World Literatures, and Comparative Cultural Studies: "Comparative cultural studies is a combination of tenets of comparative literature and cultural studies—minus the former's Eurocentrism and the national approach—and including the ideological orientation of cultural studies" (4).

As noted, then, Mo Yan in Context does indeed fixate on China and the U.S. Each Part, however, provides a trenchant corrective for the potential of a nationalistic fixation: for example, in Part One alone with Chengzhou He's emphasis on the transnational nature of Mo Yan's authorial role and works and Lanlan Du's comparative study of reproductive rights in a novel by Mo Yan and another by another Nobel laureate, William Faulkner; and in Part Three with Donald Mitchell's and Angelica Duran's delineation of the globalization of religions. Additionally, the volume extends comparative literature's recent innovations in its "national approach," developed through its disciplinary conversations with world literature, which requires a specialist's sensitivity to the texts themselves. Our volume is one that reacts to rather than rejects Roland Greene's articulation of "an almost superstitious obeisance to the category of the national" (26) and that heeds Eric Griffin's caution that, "like a number of scholars who came into the profession in [the wake of the New Historicist movement of the 1980s and 1990s], I began to sense that as much as some New Historicist criticism spoke of crossing borders and committed as many of its practitioners were to unmasking the apparatuses of ideology, New Historicist critical methodologies—like those of the older historicisms they claimed to be interrogating and displacing—often failed to envision a time when the boundaries between national were substantially different from what they were in modernity" (21).

It is in part this awareness that precipitated our attention to the limiting and delimiting identities inscribed in Mo Yan's works, especially since his works emerged from a specific locale but also within an increasingly borderless world. The contributors of this volume, thus, do not eschew but rather put their specialist knowledge in careful conversation with other specialists' knowledge in the hopes of fulfilling David Damrosch's belief that "the specialist's knowledge is the major safeguard against the generalist's own will to power over texts that otherwise too easily become grist for the mill of a preferred historical argument or theoretical system" (287). Such considerations and others account for the comparative cultural studies approach that can be witnessed in this volume's value of the scholarly analogue of the popular and populist characters in Mo Yan's fictions. After the first decade of the twenty-first century, as Haun Saussy defined, "the concept of world literature" consists "chiefly of a canon, a body of works and their presence as models of literary quality in the minds of scholars and writers. But the phrase ‘world literature’ is not used exclusively" (291). Saussy refers to a "global literary history" that necessarily has incorporated popular and high-culture reader receptions, as well as the economic matters which Damrosch outlines in his exposition of Goethe's "newly minted [in 1827] term Weltliteratur" (1). Horace Engdahl suggests that Alfred Nobel, too, with business interests in many countries, was a cosmopolitanite in creating the literary prize and bequeathing to the Swedish Academy the daunting task of choosing prizewinners from the literatures of the entire world, following the intellectual tradition of "Weltliteratur" (317). This is another theoretical foundation of Mo Yan in Context.

Part One: Leaves leads off with Howard Goldblatt's "A Mutually Rewarding yet Uneasy and Sometimes Fragile Relationship between Author and Translator." Goldblatt elucidates with candor the uneasiness owing to internal and external reasons as well as to the successes, from personal satisfaction to wide readership, in translating from Chinese to English generally and Mo Yan's works in particular. Goldblatt's article doubles as a spirited defense of Mo Yan's selection as the 2012 Nobel Prize in Literature Laureate as based on the right reasons. The defense is text based, a task done with significant knowledge since Goldblatt is Mo Yan's English translator. Text based means understanding the process of translation, respecting reader reception and authorial intent, and referring to the work, primarily but not limited to his latest novels published in English, establishing his bona fides as a master storyteller and contemporary China's finest writer. This method contrasts with some media responses directly following Mo Yan's selection and reviews, some of which Golblatt, in turn, reviews.