LIAO YIWU 廖亦武 2013

How the Chinese Communist Party Occupies Sweden
— Open questioning about Mr. Goran Malmqvist
By Liao Yiwu
Mr. Malmqvist,
How did you do it to be equally at ease with the totalitarian China and the democratic west, just like a lot of China’s officially-sanctioned writers? You are revered as a member of the Swedish Academy and a sinologist, but where are your moral principles? I, Liao Yiwu, a witness of June 4th crackdown, would like to raise a few questions about you in front of the public.

Since the 1989 massacre in Tian’anmen Square, Mr. Malmqvist has visited China many times in 1999, 2005, 2006, and again in 2012. In 1990, shortly after the massacre, he met with Mo Yan, of the China Writers Association, in Hong Kong, and, until now, many in China’s literary circles are still passing on the story of the two’s “three-cigarette friendship.” At that time, China was virtually a military camp on high alert, a land with crying souls of the dead, I and many others had been thrown into prisons, and you will have to forgive me for not being able to imagine how the two talked about literature over wines and how they did it with the stench of blood still in the air.
Following Nobel Prize ceremony, Mr. Malmqvist visited China and was interviewed by dozens of Chinese state-owned media outlets. Surrounded by adoring crowds wherever he went, he promoted his translation of The Great Riddle and Memories Look at Me by Tomas Tranströmer. He also made the incongruous comparison of Mo Yan and Tomas Tranströmer as “novelist and poet, storyteller and non-storyteller.” In late October, 2012, he and his wife published My Goldfish Can Sing Mozart, a collection of micro stories with an introduction by Mo Yan, that has profited in both mainland China and Taiwan.
Mr. Malmqvist was once an admirer of Mao Zedong and translated The Complete Poems of Mao Zedong. He said, in defending Mo Yan’s all-too-willing participation in hand-copying Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art, that the Talks were good but were later abused by others. But this is the very text in which Mao Zedong made it patently clear that the fundamental task of literature and art was to serve the need of the dictatorship. As a scholar, Mr. Malmqvist has failed to make a rudimentary distinction between the genuine native literature of the Republic era, as represented by Shen Congwen (沈从文), and the so-called “native literature” that has been tampered by the communist party’s thought control. Instead, he talked about Mao Zedong, Shen Congwen, Zhao Shuli, Sun Li, Mo Yan, Li Rui, Cao Naiqian and others in one breath, and absolved Mo Yan from the shame of hand-copying that notorious text that many other CWA writers had at least the discretion to decline. As the only person in the Swedish Academy who knows something about Chinese language and history, Mr. Malmqvist no doubt influenced the judgment of the panel, and did an awful thing that pleased the CCP regime.
On December 28, 2012, in an interview with Yang Cheng Evening News in Guangzhou, Mr. Malmqvist made statements that are a flagrant deviation from Nobel’s humanistic ideals against authoritarianism:
Yang Cheng Evening News: What are the criteria of Nobel Prize for literature?
Mr. Malmqvist: The only criterion is literary quality. We are not concerned with the author’s political position, and literary quality is the only criterion.
But at the same time, the Nobel Committee, in presenting the prize to Mo Yan, stresses what it believes the anti-communist political stand of Mo Yan’s work. In his letters to Liao Yiwu, Mr. Malmqvist also repeatedly emphasized his own anti-communist stand.
So, which Malmqvist are we supposed to believe? When he says different things to different audiences, what does that tell us about him?
Mr. Malmqvist has also repeatedly violated the confidentiality principle of the Nobel Prize, handpicking Nobel hopefuls and making it known in Chinese literary circles years ago.
In his open letter to Liao Yiwu, Mr. Malmqvist identified Gao Xingjian and Bei Dao as dissidents. I will not dwell on this other than pointing out that Gao, who has long been naturalized in France, does not consider himself a dissident; while Bei Dao, who had made a deal with the CCP regime and returned to China, nowadays sits side by side with communist officials in poetry festivals and is agreeable enough to be interviewed by the People’s Daily.

Also in his open letter to Liao Yiwu, Mr. Malmqvist brazenly changed my own words, equalizing himself with the Academy. My original letter to my Swedish publisher on December 5, 2012, reads:
I am very pleased that the largest newspaper in Sweden, Dagens Nyheter, will publish An Open Letter to the Nobel Committee for Literature on Thursday. Thank you.
That the Sweden Academy is in concurrence with the Chinese totalitarian regime about a writer has, in part, something to do with the academy’s life tenure system. Mr. Göran Malmqvist has kept too cozy a relationship with China’s officially-sanctioned writers, and even become close friends with some of them. Such relationship impedes his judgment of literary creation in current China. The mistake one old man has made becomes one of the worst mistakes that the Nobel Committee has made over its hundred-year history. It is almost a subversion of the universal values that literature is supposed to represent. I am grateful that this prize has been in the past awarded to writers, such as Solzhenitsyn, Brodsky, Pasternak, Herta Meuller, Camus, Sartre, García Márquez and more, who have exemplified the best conscience of the human race and our refusal to make compromise with the evil.
Mr. Göran Malmqvist represents the ultimate authority in world literature who has been courted vigorously, and spoiled badly, by CCP-controlled Chinese literary circles. He enjoys generous living at the expenses of taxpayers, but he manages to tarnish the most significant literary prize in the eyes of all people who oppose dictatorship. He has facilitated Mo Yan’s descent in Sweden where the latter scorned some of the universal values held dear in this land.
Mo Yan’s success is an important piece in China’s grand strategy to “occupy” the west. In a recent interview with Radio France Internationale, I said the following:
“In 2010 when I heard the news that my friend Liu Xiaobo was awarded Nobel Peace Prize, I was in a department store in Paris swarmed by crowds of Chinese rich shoppers. It immediately reminded me of a movie called Les chinois à Paris. I turned and said to my friend, French sinologist Marie Holzman, ‘it’s not People’s Liberation Army that has occupied Paris, but the Chinese Army of Shoppers. I have no idea there are so many rich Chinese, because when I was in China, I knew way more people struggling in life’s ruins than enjoying its riches. Thus, in a faraway place like Paris, I was seized by an acute sense of Chinese inequality. In 2012, I was shocked again. This time, CCP occupied Sweden with big fanfare where motherland lovers sang triumphantly “March forward bravely my love,” the theme song of the movie Red Sorghums at the top of their lungs outside the Royal Concert Hall. And inside, CCP’s literary star Mo Yan told media that censorship was like security check in airports, and that no Chinese writers had been imprisoned, leaving people (including many of his readers) flabbergasted. What’s wrong with the west? If you ask me, the real miracle of China’s so-called rise is the CCP’s erosion, and occupation, of the west, from economy to culture.”
Finally, please listen to the song that artist Gao Yuan wrote for the Rock & Roll band Punk, now exiled in Sweden:
Humans have face, trees have bark,
A light bulb has a glass cover.
Upon its conscience, the Academy issues the prize,
Just as a prostitute earns money with her body.

Liu Xiaobo is in prison,
But Mo Yan is being awarded money;
Gao Zhisheng is in prison,
But Mo Yan is being awarded money;
Shi Tao is in prison,
But Mo Yan is being awarded mon
Tan Zuoren is in prison,
But Mo Yan is being awarded money;
Li Bifeng is in prison,
But Mo Yan is being awarded money;
Nurmuhemmet Yasin the Wild Pigeon died in prison,
And Ai Weiwei was being fined.
But Mo Yan the liar said, and he said,
China does not imprison writers,
And censorship is just airport security.

Don’t you see
China is a big prison?
Do you have shame, or do you not?
Do you have shame at all?
January 30, 2013



3条回应 to “LIAO YIWU 廖亦武 2013”

  1. Mo Yan 莫言 and Liao Yiwu 廖亦武 | 中国大好き Says:

    […] Sweden this month (March 2013). He wrote another open letter to Göran Malmqvist. I have copied it here, along with a recent speech he held in Hamburg. In the open letter, Liao mentions a new song by the […]

  2. Liao Yiwu, Meng Huang, Maria Rosen: Performance in Stockholm | 中国大好き Says:

    […] Liao Yiwu reading his poem “The Massacre”, Meng Huang reading his “Letter to Liu Xiaobo in Prison” and Maria Rosén singing the Swedish folksong “Ballad from Roknäs”, 19th March 2013, 9 pm, Sergels Torg, Stockholm, Sweden Texts and lyrics in Chinese: DVD and CD recordings of Liao Yiwu’s works, with texts in Chinese, English and German: Please click on the image below Recent texts and speeches by Liao Yiwu: […]

  3. 安平物流 Says:



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