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”。

　　毕飞宇，男，1964年1月生于江苏省兴化市。1987年毕业于扬州师范学院（现扬州大学）中文系，现为南京大学教授、江苏省作家协会副主席。中国作协第九届全委会委员。二十世纪八十年代中期开始小说创作，曾获法国《世界报》文学奖，英仕曼亚洲文学奖，中篇小说《青衣》入围英国独立报外国小说奖的短名单，2017年荣获法兰西文学艺术骑士勋章。著有《毕飞宇文集》（九卷），短篇小说《哺乳期的女人》和中篇小说《玉米》荣获鲁迅文学奖，长篇小说《推拿》获第八届茅盾文学奖。作品曾被译成法语、英语、德语、意大利语、荷兰语、西班牙语、日语、韩语等在国外出版。

　　毕飞宇的作品既有现代主义也有写实主义的特征，有许多丰富的细节描写，被誉为“写女性心理最好的男作家”。同时毕飞宇喜欢用短句，往往惜墨如金，这使他的作品呈现出练达、峭拔的美学风格。毕飞宇曾经说过，我追求的风格是典雅和纯正，有书面语的特征，也就是说，一方面是自然的，但同时又是“被处理”的。

　　《哺乳期的女人》讲述了断桥镇一个父母均外出打工的小男孩啃咬一个“哺乳期的女人”惠嫂的乳房，从而引起一场轩然大波的故事。惠嫂尽管遭到没有吃过母乳的旺旺突然的“袭击”与“伤害”，但年轻的母亲并没有对旺旺的行为表现出严厉的谴责，并逐渐理解了孩子的心。作品在对琐碎的民间生活的真切描摹中注入丰富深邃的人性，其中特别突出的是对人物行为的细节描写，让我们捕捉到一个精神上受到伤害的儿童，对母爱既渴望亲近又忧惧哀伤的复杂心理。《玉米》（又名《三姐妹》）通过对“极限”的探测，广博地处理了诸如历史、政治、权力、伦理、性别与性、城镇与乡村等等主题，所有这些主题如同血管在人类生活的肌肤下运行。对我们来说，读《玉米》是经验的苏醒和整理，二十世纪七十年代的乡村和城镇、那时的日常情境在毕飞宇笔下精确地展开，因确凿直抵本质。（评论家李敬泽语）

　　《平原》是毕飞宇苦心经营的一部长篇小说，讲述体现了“60年代生”作家厚重的“文革情结”与“乡土情结”，将故事历史追忆下放到苏北平原到一个不起眼的村庄——王家庄，勾画了“激情燃烧的岁月”里遍布神州大地的乡村“理想国”的荒谬图景。毕飞宇在《推拿》中以很小的切口入手，以一个推拿店里一群盲人的生活为中心，去触摸属于黑暗世界中的每一个细节，并对盲人独特的生活进行了透彻的把握。在写作中作者摒弃了传统习惯中对特殊群体“自上而下的悲悯与同情”，本着对盲人极大的尊重与理解，直抵人性最共通却又最不为人知的隐秘角落。

　　毕飞宇

　　Bi Feiyu

　　Bi Feiyu， was born in Xinghua City， Jiangsu Province in January 1964. He graduated from the Chinese Department of Yangzhou Normal College （now Yangzhou University） in 1987 and is currently a professor at Nanjing University and vice chairman of the Jiangsu Writers Association. He is also a member of the Ninth National Committee of the China Writers Association. In the mid-1980s， he began writing novels， winning the Le Monde Literary Award from France and the Man Asian Literature Award from Britain. His noveletteThe Moon Opera was shortlisted for The Independent Foreign Fiction Prize in Britain and he was awarded the Ordre des Arts et des Lettres from France in 2017. He is the author of Bi Feiyu Collection （9 volumes）， the short story Lactating Woman， the novellette Maize （Three Sisters）， which won the Lu Xun Literary Prize， and the novel Massage， which won the eighth Mao Dun Literary Prize. His works have been published abroad and have been translated into French， English， German， Italian， Dutch， Spanish， Japanese， Korean， and other languages.

　　Bi Feiyu’s works have the characteristics of both modernism and realism， with a lot of rich and detailed descriptive writing， and he has been hailed as “the best male writer of female psychology”. At the same time， Bi Feiyu likes to use short sentences， often with few words， which allows his works to display a mature and vigorous aesthetic style. Bi Feiyu once said that the style he pursues is elegant and pure， a style which has the characteristics of written language， that is to say， on the one hand， it is natural， but at the same time， it is “processed”.

　　Lactating Woman tells the story of a boy from Duanqiao Town， whose parents are both working elsewhere， biting the lactating breasts of his brother’s wife， which causes a great uproar. In spite of the sudden “attack” and “injuries” she receives from Wangwang， who had never been breastfed， the young mother does not show severe condemnation of Wangwang’s behavior and gradually understands the child’s heart. The work injects rich and profound humanity into the true depictions of trivial folk life. Most prominent are the detailed depictions of the characters’ behaviors， which allows us to capture the complex psychology of a mentally-injured child who desires to be close to a mother’s love but is also fearful of it.

　　Maize （Three Sisters） deals extensively with topics such as history， politics， power， ethics， gender and sexuality， as well as urban and rural areas through the detection of “limits”. All these themes are like blood vessels running under the skin of human life. For us， reading Maize is the waking-up and consolidation of experience. The daily scenarios in the villages and towns in the 1970s accurately flow out of Bi Feiyu’s pen， with the concise writing cutting straight to their true essence. （Reviewer Li Jingze）

　　The Plain is Bi Feiyu’s painstakingly-managed novel， describing the “Cultural Revolution Complex” and “local complex” that embodies writers born in the 1960s， placing recollections of historical stories into the Plains of Northern Jiangsu， a humble village – Wangjiazhuang， outlining the absurd picture of the “ideal country” in the countryside of Shenzhou in the “burning years”.

　　Bi Feiyu starts with a small entry point in Massage， centering on the lives of a group of blind people in a massage shop， to touch every detail in their dark world and gain a thorough grasp of the unique lives of blind people. In the book， the author rejects the “top-down sorrow and sympathy” of special groups in traditional customs， and reaches the hidden corners where human nature is most common but least known on the basis of having a great respect and understanding for blind people.