From Imitation To Innovation—Mo Yan’s Native Construction Of Magic Realism

Mo Yan is a typical writer in the 1980 s who was born, bred and has written in his hometown—— "Northeastern Gaomi county". He has created a fantastic and substantial image of his beloved land which emerges from both Chinese and Western cultures. Magic Realism from Latin America inspired him a lot and promoted him to imitate, intermingle and innovate. His native innovation of Western Magic Realism has made his works show extraordinary talents that led to the Nobel Prize in Literature in 2012. He was awarded as was said: "Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature...with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers."In his longtime practice of writing, he is always making his stories are always rooted in the most fantastic literal kingdom "Northeastern Gaomi county", because he has heard and seen a lot of resources in his hometown that create a unique personal writing style.He realizes that the real success of creative writing comes from a writer’s escaping from the borrowed Magic Realism. One must use native and traditional folk resources as the fountain and the key of his writing while imitating original themes, structures and narrations of Magic Realism. This is for explaining why and how Magic Realism can combine with Chinese literature. As Sandalwood Death was finished, Mo Yan completed his attempt to retreat to native traditions and the native transformation of Western Magic Realism. He eventually formed a unique narrative style of contemporary fiction.The Nobel Prize of Literature for Mo Yan is a double-edged sword. On the one hand it admits that Mo Yan has excelled other writers of his period, but on the other the it reveals the utilitarianism hidden in literature. We should ponder over "Mo Yan Mania" in literature advancement.