At ChinaFile Shelley Wing Chan discusses her enthusiasm over Mo Yan, which led to her book A Subversive Voice in China: The Fictional World of Mo Yan.
Rebecca Liao calls Mo Yan “Passionately Individual, Likely to Remain Friendless,” while Xiaolu Guo 郭小櫓 answers the question, “Are all Chinese novelists ‘state writers’?”
In “A New Normal for Chinese Literature?” Sheila Melvin wonders if China and Chinese literature can “rise above politics and [mark] the beginning of a new “normal” in which writers are free to write and readers free to read.”
In a piece called “Mo Yan’s Middle Finger,” translator A E Clark reads the stories Mo Yan tells in his Nobel lecture and points out what he sees as his self-serving defense against criticism.
RC Davis-Undiano, executive director of World Literature Today, was interviewed for a Beijing broadcast on Chinese literature overseas and Mo Yan.
In “Between The Red Lines: An American Writer in China,” Amelia Gray says, “It’s not just Mo Yan who has to choose his words carefully. All artists in authoritarian regimes face similar stakes, and it’s time that we as an international community of artists start paying attention to those artists and those stakes.” But she spends ten days in China unable to know more than “the names of Ha Jin and Ba Jin,” as “interacting knowledgably with early- and mid-career Chinese writers is difficult, because their work is typically not translated into English.”
And in response to Charles Laughlin’s “What Mo Yan’s Detractors Get Wrong” (to which I linked in the last roundup), Perry Link in “Politics and the Chinese Language” discusses “two important questions: 1) To what extent, if any, are Mo Yan and other contemporary Chinese writers trapped in a Maoist language that constricts their expression, and perhaps their vision as well? and 2) Can writers who live under political censorship nevertheless find ways to write to write well?”