编者按
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”。
海男，女，本名苏丽华。1962年1月1日出生于云南省永胜县。曾任《大家》杂志副主编，现为云南师范大学文学院特聘教授。在国内出版八十多部作品，包括散文、小说、诗歌，曾有部分诗歌翻译成英语、法语。长篇小说《梦书：西南联大》已列入中宣部对外翻译计划将由德国欧洲大学出版社出版。
海男出生于云南边疆，24岁那年曾携妹妹海惠沿黄河流域行走。海男的早期作品，如长篇小说《男人传》《女人传》《花纹》，洋溢着对女性主义文学的探索，曾在文坛引起众多的争议和批评者的瞩目。海男是中国不多的女性主义先锋文学代表作家。同时，她的作品中弥漫着云南地域的人文色彩和神秘背景，她的写作语言中充斥着属于个人独创的魔幻主义的色彩，以神咒般的魔力，揭秘人类对于生与死的时间之谜。多年来，她不断地游走于云南大地，出版了八十多部以散文、小说、诗歌为形式的作品，近些年还开始画油画钢笔画，开始了另一种跨界艺术的创作和探索。她无疑是中国作家中最具活力、永远沉迷于语言的写作者之一，也是为语言而生的纯粹而孤独的探索者。
2014年，海男的诗集《忧伤的黑麋鹿》以全票荣获第六届鲁迅文学奖。在《忧伤的黑麋鹿》中，弥漫着海男生命中那种特有的忧伤，诗句中有来自自然王国中的万千幻象，也有云南广袤的精神地理，以纵横不息的狂野的穿越，保持了诗人对于灵魂的醒悟和挚爱。评委会授奖词称：“绵密的意象呈现，情感与理性的平衡，沉郁和明朗的叠加，形成了别具一格的诗歌气质。”诗集《光阴之于我犹如酒杯之于嘴唇》是海男另一部厚重的诗集，收集了海男三十多年来的一些重要作品，是海男诗歌历程中不容忽视的一部诗集，充满了女诗人细腻的诗歌特质，伸展着灵魂的神秘之触须，潜藏着人与自然的概貌。2017年出版的《我的心像鼓一样激荡》，是海男的最新诗集，尽管世界在变，海男的诗歌仍然问询时间，正如她所言:写诗，不是为了写出生活中的烦恼，而是为了写出诗中的阴影以及被阴影照耀了大半辈子的杂芜。写诗，不是为了打发空虚，而是为了填满那些像水井般深邃而神奇的时间。
海男正以她个人的写作姿态，生活在心远地偏的云南，不倦地写作并生活。海男目前正创作一部题为《边疆》的近三千行长诗，她总是想挑战自己的写作能力，而这部作品无疑是来自她身体中的另一部史诗。写诗对于海男来说，犹如在云南大地上漫游，而这部称之为《边疆》的长诗，将揭开海男诗歌中充满神性的另一些更深厚幽秘的主题。
Hai Nan
Hai Nan is the pen name of the female writer Su Lihua. Born on January 1, 1962 in Yongsheng, Yunnan province. Former associate editor of Da Jia, currently a specially hired professor at the College of Literature at Yunnan Normal University. Over eighty of her works have been published in China, including prose, novels, and poetry. Some of her poetry has been translated into English and French. The novel Book of Dreams: Southwestern University (Meng Shu: Xi Nan Lian Da) is set to be translated and published by Germany’s European University Press.
Hai Nan was born at the border of Yunnan province, and at the age of 24 she traveled along the basin of the Yellow River with her younger sister Hai Hui. Her early works, such as the novels The Life of a Man (Nan Ren Zhuan), The Life of a Woman (Nü Ren Zhuan), and Floral Patterns (Hua Wen), are vivid explorations of feminist literature and were also the subject of much debate and criticism among literary circles. Hai Nan is one of China’s few representative authors of feminist avant-garde literature. In addition, her works brim with the humanistic flavor and allure of the Yunnan region. Her written language is flooded with original tones of fantasy, and reveals the answers to humanity’s questions of the time of life and death with spell-like magic. For years, she has wandered through the Yunnan region, publishing more than 80 volumes of prose, novels, and poetry. In recent years she has even begun creating paintings and drawings with oil and pen, respectively, opening up another kind of artistic creation and exploration. Without a doubt, she is one of China’s most vibrant and language-obsessed writers, a pure and solitary explorer who lives for language.
In 2014, Hai Nan’s poetry collection The Grief-Laden Black Elk (You Shang De Hei Mi Lu) won the 6th Lu Xun Literary Prize by unanimous decision. The Grief-Laden Black Elk brims with a special kind of grief that is derived from Hai Nan’s own life. Its verses contain myriad fantasies originating from the natural kingdom, as well as the vast spiritual geography of Yunnan. Through wild and unhindered acts of transcendence, the work maintains the poet’s spiritual realizations and her true love for the spirit. The review committee for the Lu Xun prize stated the following when they presented Hai Nan her award: “Meticulous imagery, a balance of emotions and rationality, and the overlapping of darkness and light form a unique poetic temperament.”
Time Is to Me as a Wine Glass Is to the Lips (Guang Yin Zhi Yu Wo You Ru Jiu Bei Zhi Yu Zui Chun) is an impressively weighty collection of poetry, gathering some of Hai Nan’s most important works in thirty years. Out of all of Hai Nan’s poetry, this collection in particular cannot be ignored. It is filled with the writer’s exquisite poetic tendencies, stretching forth the soul’s mysterious feelers, and concealing the appearances of people and nature.
My Heart Beats Like a Drum (Wo De Xin Xiang Gu Yi Yang Ji Dang) is Hai Nan’s newest collection of poetry. Although the world is changing, Hai Nan’s poetry maintains its chronological enquiries. As the writer herself has stated, one does not write poetry in order to depict life’s annoyances, but rather to depict the shadows within the poetry, as well as the weeds and thickets of one’s life highlighted by these shadows. One does not write poetry to dispel a feeling of emptiness, but rather to fill those moments that are as deep as a well and just as magical.
With her unique and individual attitude towards writing, Hai Nan lives in the faraway land of Yunnan, tirelessly writing and living. She is currently writing a poem titled Border (Bian Jiang) that will consist of nearly 3,000 lines. Hai Nan is always eager to challenge her own writing abilities, and this work is doubtlessly another epic poem poured out from within. To Hai Nan, writing poetry is like roaming through Yunnan; Border will undoubtedly uncover a new magic-filled theme in her poetry, one profound and secret.
编辑 | 朱贺芳
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