北京演讲2000

在我身上，同时存在着不得不深入自我内部的倾向和试图向社会、向世界开放自我的态度，这造就了我的文学。我在萨特身上学会了参与社会，不断重复着回到个人内心这个课题同向社会、向世界开放自我的课题相结合的原点后再重新起步的循环。这也是一个“包含差异的重复”。自《万延元年的足球队》以来，我一直在思考与中心对抗的边缘“根据地”的模式，并借助米哈伊尔·巴赫金的荒诞现实主义理论，开始有意识地强化这种小说的方法。在探讨某个国家某个时代文学的丰富程度和广度、深度时。“Capability”和自由的概念是行之有效的标准。尽管在看法上存在着巨大的“差异”。但我依然从现、当代中国文学家们的步伐中看到了巨大连续性。《老井》和《红高粱》等恢弘的长篇显示出了中国小说家们的才气、方法和能量，同时也显示出．中国未来应该实现的“Capability”是丰富、广大和深远的。

Beijing Speech 2000

I find in me a tendency to explore my internal self and an attitude to open myself to the society and to the public, and thus my literary style comes into being.I learn from Sartre his participation in the society and his repeated returning to his internal self,which coincide with my attitude to open myself to the society and to the public. The coincidence is a sort of＂differentiated repetition＂. With the help of the marginal mode of＂a base area＇and the theory of grotesque realism by Mikhail Bakhtin, I begin consciously to create my novels.When it comes to the richness and depth of literature in a country,the concept of ＂Capability＇and freedom serves as an effective standard. Though there exists a great＂difference＂ , I think I find great continuality from modern and contemporary Chinese writers. A case in point is the novels＂Lao Jing＂ （Old Water Well and＂Hong Gao Liang＂ （Read Grain Sorghum）, which show the great＂Capability＇in Chinese novelists.