瑞典文學院諾獎委員會主席是怎麽說莫言的？
尊敬的國王和皇後陛下，尊敬的諾貝爾獎得主們，女士們先生們，
莫言是個詩人，他扯下程式化的宣傳畫，使個人從茫茫無名大眾中突出出來。 他用嘲笑和諷刺的筆觸，攻擊歷史和謬誤以及貧乏和政治虛偽。他有技巧的揭露了人類最陰暗的壹面，在不經意間給象征賦予了形象。
高密東北鄉體現了中國的民間故事和歷史。在這些民間故事中，驢與豬的吵鬧淹沒了人的聲音，愛與邪惡被賦予了超自然的能量。
莫言有著無與倫比的想象力。他很好的描繪了自然；他基本知曉所有與饑餓相關的事情；中國20世紀的疾苦從來都沒有被如此直白的描寫：英雄、情侶、虐待者、匪徒--特別是堅強的 、不屈不撓的母親們 。他向我們展示了壹個沒有真理、常識或者同情的世界，這個世界中的人魯莽、無助且可笑。
中國歷史上重復出現的同類相殘的行為證明了這些苦難。對莫言來說，這代表著消費、無節制、廢物、肉體上的享受以及無法描述的欲望，只有他才能超越禁忌試圖描述。
在小說《酒國》中，最精致的佳肴是燒烤三歲兒童。男童淪為食物；女童因為被忽視而得以幸存。這是對中國計劃生育政策的嘲諷，因為計劃生育大量女胎被墮胎： 女孩連被吃的資格都沒有。莫言為此寫了壹整本小說《蛙》。
莫言的故事有著神秘和寓意，讓所有的價值觀得到體現。莫言的人物充滿活力，他們甚至用不道德的辦法和手段實現他們生活目標，打破命運和政治的牢籠。
《豐乳肥臀》是莫言最著名的小說，以女性視角描述了1960年的大躍進和大饑荒。他譏諷了革命偽科學，就是用兔子給羊受精，同時不理睬所有的懷疑者，將他們當成右翼。小說的結尾描述了九十年代的新資本主義，會忽悠的人靠賣化妝品富了起來，並想通過混種受精培育鳳凰。
莫言生動的向我們展示了壹個被人遺忘的農民世界，雖然無情但又充滿了愉悅的無私。每壹個瞬間都那麽精彩。作者知曉手工藝、冶煉技術、建築、挖溝開渠、放牧和遊擊隊的技巧並且知道如何描述。他似乎用筆尖描述了整個人生。
他比拉伯雷、斯威夫特和馬爾克斯之後的多數作家都要滑稽和犀利。他的語言辛辣。他對於中國過去壹百年的描述中，沒有跳舞的獨角獸和少女。但是他描述的豬圈生活讓我們覺得非常熟悉。意識形態和改革有來有去，但是人類的自我和貪婪卻壹直存在。所以莫言為所有的小人物打抱不平。
在莫言的小說世界裏，品德和殘酷交戰，對閱讀者來說這是壹種文學探險。曾有如此的文學浪潮席卷了中國和世界麽？莫言作品中的文學力度壓過大多數當代作品。
瑞典文學院祝賀妳。請妳從國王手中接過2012年諾貝爾文學獎。
莫言諾獎頒獎詞（英文版）
Award Ceremony Speech
Presentation Speech by Per W?stberg, Writer, Member of the Swedish Academy, Chairman of the Nobel Committee, 10December2012
Your Majesties, Your Royal Highnesses, Esteemed Nobel Laureates, Ladies and Gentlemen,
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. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight.
North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.
Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd.
Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations.
In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.
Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads. We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfil their lives and burst the cages they have been confined in by fate and politics.
Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda.
In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation.
In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen.
He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of García Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy.
For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries.
The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.