作家名片 | 王威廉：我的作品，以想象穿透现实

近年来，中华文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网(CCTSS)联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。

此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。

王威廉，男，1982年6月出生。2000年，他考入广州中山大学物理学系，后来转入人类学系。物理学和人类学的学习，加上对哲学的热爱，使得他的作品有种复杂深刻的视野。他获得了十月文学奖、花城文学奖、有为文学奖等十多种重要奖项。他现居广州，任职于广东省作家协会，兼任广东外语外贸大学创意写作专业导师。他被认为是中国青年作家中有代表性的一位。

“王威廉的小说叙事充满思想和艺术张力，语言既有形而下的鲜活感，又有形而上的思辨度，对人性的解剖鲜血淋漓，有着与众不同视角与震撼力，显示了诡异而神秘的气质。他的小说以黑色幽默的风格、强烈的戏剧性以及张弛有度的逻辑完成了对人性复杂面貌的层层解剖。”紫金人民文学之星奖授奖词对他的评价很贴切。他的小说，以荒诞的构想书写当下巨变的中国，以想象力来构造思想的深度。长篇小说《获救者》写一个地下黑暗王国实行精神控制。最终却发现他们的统治者其实是个怪胎，以影像技术虚构了自己的高大形象。

他的小说《内脸》聚焦人脸，探讨了脸的哲学内涵。“你”陷入了两个女人的恋情，其中一个女人得病，丧失了表情，而另一个女人则具备丰富的表情。“你”在这两个女人之间体验着脸的意蕴。续篇《第二人》中，假设了脸的威慑功能。毁容的人取得了巨大的成功，健康的“我”却极为失败，“我”为了成功，愿意变成他那样：烧毁自己的脸。这个小说改编成话剧，已经上演了几十场。他的其他小说，如《倒立生活》写了一对恋人渴望倒立着生活；《鲨在黑暗中》写了地下室的鲨鱼与侏儒的交流，反思了人类的暴力历史；《看着我》写了小人物对权力的反抗，当权威蔑视他的时候，他以暴力方式强迫对方正视自己。当然，他的小说有抒情，比如《听盐生长的声音》，收入英文小说集《The Sound of Salt Forming》（University of Hawaii Press），以中国西部的盐湖为背景，写了人的命运、悲壮与希望。此书也被翻译成韩文。

他的小说虽然也涉及中国乡村的变迁，比如《秀琴》，但更多关注中国城市的变化；比如《父亲的报复》，写了移民的精神认同以及中国城市的拆迁；比如《归息》，关注的是中国知识分子的命运，两代人对于这个国家的忧思和对话。《铁皮小屋》《信男》则反思了当代的文化困境，物质上的富足能否保证精神上的自足？信息时代，废除了深情的书信，人与人之间是否还有深度交流的可能？此外，他还写有《小说家的声音》《深度现实主义》《写作的光荣》等文学理论文章。

Wang Weilian

Wang Weilian, was born in June 1982. In 2000, he was accepted into the Department of Physics of the Sun Yat-sen University in Guangzhou and later transferred to the Department of Anthropology. His background in physics and anthropology, as well as his passion for philosophy, imbues his works with profound and complex insights. He has won over a dozen important prizes, such as the October Prize for Literature, the Huacheng Prize for Literature, and the Youwei Prize for Literature. He currently resides in Guangzhou, where he works for the Guangdong Provincial Writers Association, as well as acting as an expert mentor for a creative writing class at the Guangdong University of Foreign Studies. He is considered to be one of the most emblematic writers of his generation.

"Wang Weilian's novels brim with imagination and tension; his use of language is rich in metaphorical and metaphysical significance. His works dissect every sinew of the human experience, demonstrating a unique and startling perspective while creating a sense of mystery. These in-depth observations of the different facets of existence are accompanied by dark humor, intense drama and sound logic." The introduction speech for the Zijin People's Literary Star Award was also filled with apt praise for Wang. His novels evoke the immense transformations of modern China in a fantastically imaginative manner. This imaginative power adds to the works' allegorical significance. His full-length novel The Rescued (Huo Jiu Zhe) speaks of mind control in a dystopic underground empire. The protagonists of the novel ultimately discover that their ruler is actually a freak who has fabricated his grand image using audiovisual technology.

His novel Inner Face (Nei Lian) focuses on the human face, discussing its philosophical implications. In this story, which features narration in the second person, "you" plunge headfirst into a relationship between two women. One of these women has lost all facial expression as the result of an illness, while the other has a highly expressive face. Between these two women, "you" come to understand the significance of the face. In the sequel The Second Person (Di Er Ren), Wang Weilian explores the face's potential to instill fear. When a man becomes greatly successful following a tragic accident that leaves him disfigured, the novel's healthy yet unsuccessful first-person narrator is filled with envy and decides to mutilate his own face. This novel has been adapted into a theatrical production that has been taken to the stage dozens of times. His other works include: Upside-Down Living (Dao Li Sheng Huo), in which a couple longs to live upside-down; A Shark in the Dark (Sha Zai Hei An Zhong), in which a shark and a dwarf communicate and reflect upon the violent history of human civilization; and Looking at Me (Kan Zhe Wo), which tells the story of a small fry who lashes out at the authorities and forces them with violence to treat him like an equal. One of his most lyrical works is an English-language series entitled The Sound of Salt Forming (published by the University of Hawaii Press), which evokes the fate, tragedy and hope of the life on the backdrop of western China's salt lakes. This book has also been published in Korean.

Although certain works of his, such as Xiuqin (Xiu Qin), evoke the transformation of China's rural villages, Wang Weilian's novels largely focus on the changes that have occurred in the nation's cities. For instance, in Fatherly Vengeance (Fu Qin De Bao Fu), Wang speaks of the cultural identity of immigrants and the relocation of communities in China's cities; while, in Rest (Gui Xi), he centres on the fate of China's intellectuals, as well as creating a dialogue between two generations of Chinese people concerning their fears for their country. Tin Shed (Tie Pi Xiao Wu) and The Devotee (Xin Nan) reflect upon cultural dilemmas in modern society and ask: can material wealth ensure spiritual satisfaction? In the Age of Information, is truly profound communication between two human beings still possible, now that heartfelt handwritten letters are a thing of the past? Wang Weilian has also published essays on literary theory, such as The Voice of the Novelist (Xiao Shuo Jia De Sheng Yin), Profound Realism (Shen Du Xian Shi Zhu Yi), and The Glory of Writing (Xie Zuo De Guang Rong).

英文审校 | 咸慧

编辑 | 朱贺芳

“文化互译，沟通世界”