Fiori Picco mi ha detto che l'intervista/tisana è uscita in Kosovo
e in Cina sia in inglese che in cinese e che sta avendo un grande successo, di questo sono super felice e la ringrazio per l'informazione e per avermi mandato le pagine nelle due traduzioni che io metto qui sotto se volete leggerle anche in queste lingue, ma senza foto, quelle le trovate nell'intervista originale in Italiano.
https://mariacristinabuoso.blogspot.com/2022/09/una-tisana-con-cao-shui.html
Italian Media Interview With Cao Shui: Integration Of Eastern And Western Civilizations Will Surely Establish The Great Harmony World
意大利媒体专访曹谁：东西方多种文明的融合必将建立起大同世界
Italian Media Interview With Cao Shui: Integration Of Eastern And Western Civilizations Will Surely Establish The Great Harmony World
Maria Cristina Buoso：
Hello, today we will meet a representative figure of contemporary Chinese literature also known by the name of Shawn Cao.
Let's get comfortable and ... happy readingJ
REQUESTS
1 - Where do you prefer that we sit to chat with our cup of herbal tea and why you have chosen this place? (If you want to share a photo…)
Cao Shui: If we could sit together and cross the border created by COVID-19, I would hope to have a cup of tea with you in the cafe opposite the Roman Pantheon. My pen name is Cao Shui. Cao is an ancient oriental surname, representing a long tradition of the East. Shui means Who, which is in a sense a theme of Western philosophy -- consider the words on the pillars of Delphi temple in Greece which say: know yourself. The combination of these Eastern and Western references in my name represents my ambition to integrate Eastern and Western civilizations. In my mind, Rome is one of the birthplaces of Western civilization. I want to sit in front of the Pantheon of Rome, because many Western civilizations originate from the gods of Rome. So far, the names of our planets, months and weeks all come from the gods of Rome. I want to understand western civilization from here.
I would like to share a photo of me at the first Boao International Poetry Festival of me and Türkiye poet Nurduran Duman speaking together at the award ceremony. It was she who led me to join the World Poetry Movement, and ever since I have communicated with poets from all over the world and established a global literary circle.
(Cao Shui and Nurduran Duman at the first Boao International Poetry Festival, 2019)
2 - What herbal tea did you choose and why this one?
Cao Shui: If we could sit together and drink tea, I would choose chamomile. You know, tea originated in China. There are many kinds of tea in China, but I choose chamomile tea, which Italians drink every day. My ambition is to integrate Eastern and Western cultures, so as part of my effort to understand various civilizations, I hope to learn about Italian culture from the tea that Italians drink most often -- enter a culture through their food and drink.
3 - If I come to your room, what books would I find on your bedside table?
Cao Shui: If you come to my room, you would find six books at the bedside: the Bible, the Historical Records by Sima Qian（司马迁的《史记》）, the Indian epic Mahabharata, the Greek epic Iliad, Divine Comedy by Dante Alighieri and the Sun by Hai Zi（海子的《太阳》七部书）. I read these books over and over again. My house is called "the Tower of Babel", from the Tower of Babel in the Bible.
4 - And in your bag or backpack?
Cao Shui: I like reading books as I travel along the way, usually the books that I am paying attention to at any particular time. For example, during my long-distance trip to Tibet and Xinjiang in 2008, I put the Bible and the Classic of Mountains and Rivers（《山海经》） in my bag. Recently, I have been reading George Orwell's 1984 and George Martin's Game of Thrones. I am also reading and translating the American poet George Wallace's anthology American Flyer.
5-Why did you choose to name your house Tower of Babel?
Cao Shui：Ancient Chinese writers would name their own houses or place of study. Every Chinese writer would name their study. Du Fu named his Washing Flower Thatched Cottage, Su Shi named his Grain Forest Hall. Cao Xueqin named his Mourning Red Pavilion. Lu Xun named his Green Forest Study, Hu Shi named his Hiding Light Room, and Jia Pingwa named it Upper Study. Every writer would have a study name, like that. Western writers have also engaged in this phenomenon. Voltaire, a French Enlightenment writer, named his study "Confucius Temple" and chose for his pen name "master of Confucius Temple", all indicative of his high praise for Chinese Confucian culture. Houses are like an outer layer of clothes to us, they affect our hearts and aspirations.
My house in Qinghai is called "The Spire of the Tower of Babel". This allusion comes from the Bible. Human beings were not successful in building the "The Tower of Babel" because of God's intervention. Because I hope to integrate the cultures of all famous ethnic groups in the world and establish a common home of mankind, I named my home "Babel Tower / The Tower of Babel". This is also the name of my first novel. In the book, I imagined a country called the "State of Babel", located in the center of the Eurasia. It is an absurd country ruled by a dictator, echoing the paradox in the novel Catch-22 – which exists everywhere. The protagonist hopes to carry out democratic reform and establish an ideal country in that country, but ultimately fails, and escapes. This novel is the matrix of all my novels, later novels are all influenced by it.
My house in Beijing is called "Home of Eurafrasia", in recognition of my idea that the oldest civilizations of mankind are distributed in ancient Eurafrasia, that is, Asia, Europe and Africa. It is the cradle of mankind. From Babylon to Canaan, Egypt and Greece in the west, to Persia, India and China in the east. In today's era of globalization, I hope that through international exchanges, mankind can move towards an ideal common world again. I should also mention that my son's name is Cao Eurafrasia, which also has the same meaning.
6 - Do you prefer to read paper-book or E-book?
Cao Shui: I prefer paper books. This comes from my reading habits since childhood. I feel the beauty of literature better in paper books. Of course, nowadays I also read e-books on mobile phones and computers. Due to the convenience, this is probably a trend. Although the change from paper books to e-books is only a change of media, just like the change from parchment in the West and bamboo in the East to paper, the move to e-books will cause a change of content. I am already observing and experiencing that.
7 - Have you ever read comics? If so, which ones? Do you have one that remains in your memory?
Cao Shui: Of course! Reading comics was one of my favorite activities when I was young. There were The Romance of the Three Kingdoms（《三国演义》）, Journey to the West（《西游记》）, All Men Are Brothers（《水浒传》）, and Dream of Red Mansions（《红楼梦》）, adapted from Chinese classics; as well as the comics Grimm's Fairy Tales, The Mermaid, Snow White and Pinocchio, which were adapted from western fairy tales. In my memory, Pinocchio by Carlo Collodi will jump out immediately. Because my nose is relatively large. Besides, Pinocchio（匹诺曹） is translated into Chines with the same surname as mine -- Cao（曹）In fact I was called Pinocchio by some children at that time. These days I watch many of the American Marvel comics.
8 - Do you like going to the cinema, to the theater? What do you prefer to see? What is the last movie you saw? Did you like it? And at the theater? How are Chinese theater and cinema different from Italian?
Cao Shui: I like to go to cinema and theatre. I like all kinds of drama. Movies are also a kind of drama. Of course, because there are more cinemas, I go to more movies. I think the general development of literature has led us to this situation -- from the Lyric Literature Era, represented by poetry in agricultural society, to the Narrative Literature Era, represented by novels in the industrial society, and on to the current era of Dramatic Literature represented by movies in the information society. This is an era for drama! And I also write screenplays myself.
The latest movie I saw was the American film Dune, which was adapted from the novel of the same name by the Frank Herbert. The most recent play I saw was War Horse, adapted from the novel of the same name by writer Michael Morpurgo. I like these two works very much and they are both classic adaptations, though I will not analyze the details here. I also cross over literature and film. I think literature should become the engine of the film industry.
The difference between Chinese and Italian dramas and films is a big topic. Italy is the origin of Western opera. Chinese opera has been fully mature since the Yuan Dynasty. But when it comes to features in common, it is the dramatic elements of the two countries where I see this in effect. Both engage in poetic dramas and can be sung; The difference between them, I think, is that Italian drama focuses on structure, while Chinese drama focuses on formula. In fact, I may pay more attention to film than to drama, and Italian films have always been my focus. I have watched neorealistic films repeatedly, such as Rome, Open City directed by Roberto Rossellini and Bicycle Thieves directed by Vittorio De Sica. I pay a lot of attention to New Wave directors such as Pierre Paolo Pasolini, who directed The Thousand And One Nights, the Decameron and the Canterbury Tales, as well as his forbidden film Salò or the 120 days of Sodom. Recently, I have paid attention to Sicilian director Giuseppe Tornatore, who shot Malèna and Nuovo Cinema Paradiso. I have watched those repeatedly. Among Chinese directors, I have paid close attention to Zhang Yimou's Red Sorghum（张艺谋的《红高粱》）, Jiang Wen's Let The Bullets Fly（姜文的《让子弹飞》）, Chen Kaige's Farewell My Concubine（陈凯歌的《霸王别姬》） and other works. China Hong Kong directors Wong Kar Wai's Chongqing Forest（王家卫的《重庆森林》）, Tsui Hark's New Dragon Gate Inn（徐克的《新龙门客栈》）, Zhou Xingchi's Mermaid（周星驰的《美人鱼》）, China Taiwan Ang Lee's Crouching tiger（李安的《卧虎藏龙》）, Hidden Dragon, Hou Xiaoxian's The Assassin（侯孝贤的《刺客聂隐娘》）, and Yang Dechang's A Brighter Summer Day（杨德昌的《牯岭街少年杀人事件》）. The essence of film is drama, film originated in drama. The biggest difference between film and drama is the medium. Therefore, comparing Chinese and Italian films, one must look at origin and essence. The biggest difference is that Chinese films follow the formula of Chinese drama, while Italian films have the structure of Italian opera. We can discuss this topic another day.
9 - Do you watch TV? Are there any TV series you follow? A TV series that you saw when you were younger and that has remained in your heart.
What kind of television do you watch in China and how has it changed in recent years?
Cao Shui: When I was young, I had very little entertainment. I just waited for two episodes of TV serials in the evening. These days I not only watch TV serials, but also write TV screenplays. I have written the TV serials Kunlun Myth and King Peacock. TV serials are more popular than movies. Among the TV serials I have seen, the most impressive one is the Game of Thrones in the United States. I have watched all eight seasons. The Chinese TV serials Nirvana in Fire（《琅琊榜》） is also excellent, but the sequel is not very good. I prefer to watch historical dramas, war dramas and comedies. As we all know, TV serials came into being later than film. To some extent, it is an extended film. The relationship between film and TV serials is similar to the relationship between short stories and novels in literary classification. Many people think that TV dramas are artistically weaker than that of movies. In my opinion, the artistry of TV dramas is constantly improving. TV serials are a popular art, they have a great relationship with the market. In the golden age of Chinese TV serials we witnessed 30 years of rapid economic development in China. More recently, however, with the slowdown of the global economy, China's economic growth has also slowed down, and Chinese TV serials have entered a bottleneck period. I think this moment is a great opportunity for improvement and adjustment.
10 - When did you start writing and why? In China, what does a young writer have to do today to make himself known? Is it the same for a woman who wants to write?
Cao Shui: I started to write in middle school. I started to keep a diary in 1997. My diary was the earliest form of literary writing. Now I have completed 100 books, probably tens of millions of words. Strict literary writing began in 1999, when I began to write poems. At that time, I wrote to give a kind of order to the world, at least this was my initial impulse. Later I thought it should be the pursuit of light – you see, I was afraid of the dark when I was young, and even the shadow of people. At night, there had to be a person holding me. Now, I don't worry about such things when I write. I think literature illuminates my life.
In China, there are probably two ways for a young writer to become famous. The traditional way is to publish in a literary magazine and then win some literary awards; The newer way is to publish works that achieve success in the market. Most of the famous post-80s writers are successful in the market. Of course, the way that the magazines are published is growing to be more reflective of this of these two ways. I am probably a combination of the two ways. I am a cross-border writer, I have published a large number of poems in literary magazines and won many literary awards. At the same time, the trilogy of The Secret History of Kunlun written by me is a best-selling book and has been recognized in the market. I should add that there is a third way, that is, the promotion of literary events. I was once immersed in the "Cao Shui and Yi Sha Controversy"（2018-2020） in Chinese poetry circles. This was a three-year debate between the Great Poetry Movement, which I advocated, and the Post-Oral Poetry School advocated by the old poet Yi Sha. This debate helped to make the two of us famous. As for feminism, it is not particularly influential in China. I think conditions are the same for male and female writers -- that is, attempt to get your works to attract more people's attention. Of course, the premise is that your works are unique to our times. Perhaps because of traditional reasons, there are far more male writers than female writers in China, which may be several times that of female writers. I think this may change in the future.
11where did the dispute with Yi Sha take place? On social media? On TV?
Cao Shui: The debate between Yi Sha and I began on the Internet social media. On August 26, 2018, I criticized the "Oral Poetry" advocated by Yi Sha on Tiktok (similar to YouTube in the West), which resonated with countless Chinese online poets. Yi Sha accepted an interview to respond with criticism of the "Great Poetry Movement" advocated by me, and before long the whole Chinese poetry circle began to participate in the discussion. By the end of March 28, 2020, there were more than 500 papers written by hundreds of poets. I compiled these articles into a book named The Complete Review Of Cao Shui And Yi Sha Controversy, I hope to find a chance to publish this book. This controversy, which was later called the "Cao Shui And Yi Shui Controversy", occurred at a key moment in the development of Modern Chinese Poetry – the most pivotal moment in 100 years, and likely affect the development of Chinese poetry well into the future. Recently, there has been a nationwide criticism of Jia Qianqian's "Shit Urine Fart" Style Poetry in China, a kind of poetry writing actually rooted in Yi Sha. If you are familiar with the history of modern Chinese literature, you will notice that Hu Shi once wrote an important article "Preliminary Opinions On Literary Reform"（《文学改良刍议》） in the "New Culture Movement" in 1917, which led the revolution of modern Chinese literature. I also want to write an article "New Opinions On The Literary Reform: The Ten Major Drawbacks Of Chinese Literature"（《文学改良再议：中国文坛的十大弊端》）. I believe that in today's globalized world, the "Great Poetry Movement", which I advocate, should be the developmental direction for poetry.
12 - You write different literary genres… How and when did you approach them for the first time? Would you like to let us know all of them by talking about them briefly? Among these, which one do you prefer and why?
Cao Shui: I write poems, essays, novels, screenplays, as well as fairy tales and translations. I started writing poetry in 1999. At that time, I read a large number of literary works, including Hai Zi's Asian Bronze(亚洲铜）, and began to write myself. I wrote a poem "Broken Straw Hat"（《破草帽》》）: "I / wearing a broken straw hat / peeping into the world", so I was called "Straw Hat Poet" by my classmates. We also set up a literary society called "Soaring Society". In 2007, I published this society’s first book of poetry, Who Is The Symbol Of Depression（《谁在苦闷中象征》）. Later, I published 10 books of poetry, including Epic of Eurasia（《亚欧大陆地史诗》）. I wrote prose at the same time as poetry. In 2009, I published my first collection of essays, Notes On The Top Of The Tower Of Babel（《巴别塔尖手记》）. Later, I successively published four collections of essays, including Great Poetics（《大诗学》）. I started to write novels from The Spire Of The Tower Of Babel（《巴别塔尖》） in 2005, taking the absurd life on the campus as a prototype. This book was published in 2007, and later 10 novels such as The Secret History Of Kunlun（《昆仑秘史》） were successively published. I started to write film and television scripts from the 2012 TV serials Kunlun Myth（《昆仑神话》）, the story for which came from my novel The Secret History Of Kunlun. From then on, I crossed over to film and television script writing. Later, I successively created more than 100 episodes, including the TV serials King Peacock（《孔雀王》）, the film Sun City（《太阳城》）, and the drama Prince Snow Leopard（《雪豹王子》）. I started to write fairy tales from the Prince Snow Leopard in 2016. This book was adapted into the stage play Prince Snow Leopard . Later, I created 12 fairy tales such as the Hoh Xili Animal Kingdom（《可可西里动物王国》）. I have been engaged in translation since 2017, when the Chinese Writers Association held an international writers exchange program in Beijing, where I met poets from all over the world, including Nurduran Duman and Fiori Picco, a famous Italian Sinologist. I started with a translation of the book of poems by Nurduran Dumen, the footsteps of Istanbul. Later, I translated and published The Song Of The Dream Land (2022) by Colombian poet Fernando Rendon, The Golden Bird In The Sun (2022) by Russian poet Vadim Terekhin, and now I am translating American Flyer by American poet George Wallace.
13-You lead the movement of Great Poemism, do you want to tell us about it?
(Medal of the Great Poetry Movement, obverse and reverse, 2022)
Cao Shui: In 2007, I wrote the Declaration Of Great Poeticism（《大诗主义宣言》） and launched the Great Poetry Movement（大诗主义运动）. Now it has become one of the three major trends of poetic aesthetic thought in China. The core idea of Great Poeticism is to create a great poem by integrating the Eastern and the Western cultures, integrating ancient and modern cultures, and integrating spiritual and secular cultures. This year, we designed a silver medal with my head on the front and the oldest world map of Asia, Europe and Africa on the back. The words on the medal represent the three key propositions of the movement, and the medal is specially awarded to poets, critics and translators who have made contributions to the Great Poetry Movement around the world.
Literature is constantly developing, from lyric literature represented by poetry in agricultural society to narrative literature represented by novels in the industrial age, and then to dramatic literature represented by film and television scripts in the information age. Yes I advocate "Great Poetics". But I like all the literary types. I think they are all expressions of my heart, and they are all there to give order to the world.
14-You have won literary awards in Italy, would you like to tell us about them? Do you know Italian literature? You are very active internationally, and not only in your country. Would you like to talk briefly about your experience? Do you have a dream that you would like to see come true?
(Cao Shui and Fiori Picco at "The Lyric Of The Tower Of Babel" seminar in Beijing, 2018)
My Flowers Of The Empire（《帝国之花》） was translated into Italian by the famous Italian Sinologist and writer Fiori Picco and published by the Italian Fiori d’Asia Publishing House. Later, I won three international literary awards in Italy, namely: "Apollo Dionysus Award" of the 8th Italian Roman International Academic Prize for Poetry and Contemporary Art (il Premio Accademico Internazionale di Poesia e Arte Contemporanea “Apollo dionisiaco”) , the 8th Italian Giovanni Bertacchi International Poetry Award, the 27th Italian International Squid Bone (Ossi di Seppia) Poetry Award. I also won the Silver Award of the First Toronto International Poetry and Art Festival in Canada, and the 2021 Top Ten Chinese Poetry Collections Award. Fiori Picco and I met in Beijing, just as Chinese literature and Italian literature was meeting. It was she who translated my poems into Italian, and facilitated the spread of my poems from Italy into the western world. She is a great bridge between Chinese literature and Italian literature.
I have a systematic understanding of Western literature, from the Iliad and Odyssey by Homer in Greek to the Aeneas by Virgil, the Art of Poetry by Horatius in Latin, to the Divine Comedy by Dante Alighieri, the Decameron by Giovanni Boccaccio, the Gadfly by Ethel Lilian Voynich, the Baron on the tree by Italo Calvino, and the Squid Bone by Eugenio Montale in Italian. Virgil's Aeneas and Dante's Divine Comedy are very important for me as I put forward the "Great Poetry Movement".
When I was a child, I read a painted Bible. The stories in it deeply attracted me, especially the story of the Tower of Babel. Later, it became one of the themes of my literary writing. My first novel was The Spire Of The Tower Of Babel（《巴别塔尖》）, and my poetry collection included The Lyric Of The Tower Of Babel（《通天塔之歌》）. My translation project was the "The Project Of Tower Of Babel", and my house was called The Top Of Tower Of Babel. Putting aside the meaning of God's punishment in the Bible, my dream is to let people of all nationalities in the world rebuild the tower through literature and communicating freely together. In 2017, I participated in the International Writing Program of the Chinese Writers Association and met many international poets. Later, I successively participated in the 30th Medellin International Poetry Festival, the 26th Havana International Poetry Festival, the 14th Indian Kritya International Poetry Festival, the 4th Qinghai Lake International Poetry Festival and other international poetry festivals. My works have been translated into more than 20 languages such as English, France, Germany, Russia, Japan, South Korea, Sweden, Greece, India, Italy, Spain, Türkiye, and Arabia. There are more than 30 famous poets in the international poetry world who have written comments. I have been called the representative poet of the "young generation leading the new world" by the outstanding Indian poet Rati Saxena. Now he also serves as the editor in chief and deputy editor in chief of the Great Poetry, World Poetry, Global Poets and World Poetry Circle, and communicates with poets from all over the world. This is another underlying idea of Great Poeticism: human beings come from the same place and will surely go to the same place. I hope that in the future we can establish a world republic for all mankind.
15 - Do you have a genre that you prefer to read when you want to relax? An author you prefer in particular?
Cao Shui: When I want to relax, I like reading humorous works. I like Catch-22 by American writer Joseph Heller, the Decameron by Italian writer Giovanni Boccaccio, the Good Soldier Svejk by Czech writer Jaroslav Hasek, and the Tales of Confucianism（《儒林外史》） by Chinese writer Wu Jingzi. Of course, I also like to read serious works, such as The Unbearable Lightness of Being by Czech writer Milan Kundera, Norwegian Forest by Japanese writer Murakami Haruki, Soul Mountain（《灵山》） by Chinese French writer Gao Xingjian, Red Sorghum（《红高粱》） by Chinese writer Mo Yan, and The Deserted City（《废都》） by Chinese writer Jia Pingwa, The Satanic Verses by English writer Salman Rushdie, and The Game Of Thrones by American writer George Martin. The works of these writers have deeply affected me, and I especially like to read them during my break time.
16- If you had to write a fourhanded novel with a female writer, who would you choose and why?
Cao Shui：I think literature can only be created by one person. Just as there are no two identical leaves in the world, it is difficult for two people to create together. However, when it comes to the creation of film and television scripts, they are often co-created, so I do co-write with others. If I had to write a novel with a female writer, I would choose J. K. Rowling, the author of Harry Potter. I like reading her novels very much, though magic is much more interesting to me in ancient Chinese culture. There are many magical animals and magic in the Book Of Mountains And Seas(《山海经》）. I think she and I could write a novel series about Chinese magic, maybe called The Mountain And Sea Elves. I think readers all over the world would like it. I think your idea is very creative. I think that, to a certain extent, there is an insurmountable gap between male writers and female writers. In addition there is the question of the difference between eastern and western civilizations. Any such cooperative effort would be very interesting and yield very unique results.
17Have you ever thought about writing thrillers, detective stories or romance? Which genre appeals to you the most and why?
Cao Shui：Both Eastern and Western writers, when talking about literature, tend to sneer at popular literature, although they also read all day, or watch movies and TV dramas adapted from these literatures. Why do we enjoy them every day but think they are not art? This is unfair to popular literature. In fact, in the past most literary classics were popular literature, William Shakespeare's plays were watched by Londoners every day, and China's "Four Classic Novels" were all read by ordinary people. Dating back to the epic era, Homer's epic and the Indian epic were also listened to by ordinary people. It is undeniable that some popular stories lack depth, but if a work is not popular during its own time, it can hardly become a classic for future generations. The best approach is to combine the pursuit of elegance with secular aesthetics. Therefore, I have been writing novels for the public. For example, The Secret History Of Kunlun (《昆仑秘史》)trilogy is a best seller. I call it a "Great Novel" because my aim for it is to be as inclusive as my "Great Poetry" is. The Secret History Of Kunlun contains elements of detective stories. In the process of the protagonist Long Hao's exploration of the time axis, he explores the civilizations of various countries in the world, including of course the Chinese and Roman civilizations. This is suggested in the title, The Secret History Of Kunlun II: The Chinese Imperial Seal And The Roman Crown（《昆仑秘史II：传国玉玺与罗马皇冠》）. Human beings are always full of curiosity, so I am willing to write a "cultural detective novel". There are also three types or novels -- historical novels, mythological novels and fairy tales -- which attract me and which I am writing now.
18 - Let's imagine that tonight you can go and attend a meeting with an author of your choice, who may be living or not, in Italy or anywhere in the world. Who would you like to meet and why? Who is the woman in your heart since childhood?
Cao Shui: If I could meet a writer tonight, I would choose Dante Alighieri, the great Italian poet. I once wrote a poem "The Night Banquet Of Cao And Dante Alighieri"（《但丁和曹谁的夜宴》）. We were born on the same day, June 5, and I imagined our having a banquet on the Pamir Plateau in the center of Eurasia. In my advocacy of the Great Poetry Movement, Dante's Divine Comedy has had the greatest impact on me, and my Epic of Eurasia has been deeply influenced by him. I would like to discuss with him the creation of "Great Poetry". Finally, I would like to ask him about his past with Beatrice. We all have a woman who has been imprinted in our hearts since childhood. In my writing, I named this imaginary woman Princess Lin, as described in my poem The Bride Of Pamirsburg. just like Beatrice in the Divine Comedy, she guided my literary creation. Every male writer or man has an image of a perfect woman in his heart, whose ideal nature is founded in a real woman.
19 - Let's imagine now that you could invite someone here with us for a cup of herbal tea. Who would you invite and why?
Cao Shui: If I could invite someone for tea, I would invite Christopher Nolan, the director of Inception. I have watched almost all his works, and I have several good stories that I want to collaborate on with him. That includes my Secret History of Kunlun trilogy（《昆仑秘史》三部曲）, King Peacock trilogy （《孔雀王》三部曲）and Golden Empire trilogy（《黄金帝国》三部曲. We could also collaborate on The Secret History of Kunlun, which has been completed, the King Peacock, currently being written, and the Golden Empire the outline of which has also been completed.
20 - Let's imagine you are at a themed party. Which dress or mask would you like to wear and who would you like to invite you and what dance would you like to do with him or her?
Cao Shui: If I was at a theme party, I would want to wear the clothes of the emperor Cao Cao (155-220) （曹操）of the Chinese Wei Dynasty, and wear a dragon head mask. I would dance a waltz with Emilia Clarke, who plays the Dragon Queen Daenerys Targaryen in the Game of Thrones. Because Cao Cao is my ancestor, one of the greatest emperors in China, one of the greatest poets in Chinese history, and the protagonist of China's greatest novel The Romance Of The Three Kingdoms（《三国演义》）, I would hope to inherit his great dream of "Great Unification". The Dragon Queen is an elegant and noble woman I like. She is also committed to unifying the seven kingdoms. I dream of meeting her, in a dramatic scene of meeting between Eastern and Western civilizations.
21 - Do you love animals? Do you have one? Do you want to post its picture? Who is the boss?
Cao Shui: I like animals very much. I think people are half animals. I once had several dogs, one of which was called Babylon. At the most critical moment in my life, he always accompanied me. I wrote The Bone Flute Of Babylon for him. I also like snow leopards, I think they are the kings of the Qinghai-Tibet Plateau. I once wrote the novel Prince Snow Leopard. I know a snow leopard named Princess Pride Snow. She was artificially bred by the Qinghai-Tibet Plateau Wildlife Park. She was bred and fed by the zoologist Qi Xinzhang, who is also my friend.
(Princess Pride Snow in Qinghai Tibet Plateau Wildlife Park, 2019)
22 - Let's talk about grandparents. What relationship do you have with them? Are they still alive? If not, what would you like to be able to tell them if you had the opportunity to have 5 minutes with them? If, on the other hand, you are lucky and they are still alive… Where would you like to take them on a trip and why?
Cao Shui: My grandfather's name is Cao Shengsuo, and my grandmother's name is Li Fengxian. My grandmother died when my father was 9 years old, and my grandfather died when I was in college. I think they have met in heaven. My grandfather's greatest legacy to me is the stories he told me when I was a child. I would add details and retell them to my classmates. They were fascinated by them and the whole classroom would be silent. I was famous for being good at telling stories when I was young -- it is my earliest act of literary creation, just like the earliest literature of mankind, oral literature. Another influence from my grandfather me is the family name - Cao, which has a history of 3000 years and represents a long Oriental tradition. My pen name always retains this surname.
If I have five minutes to meet them, I would carefully look at what my grandmother looks like and what characteristics she has passed on to me. Because no picture of her has been handed down, people sometimes say that some part of me may look like her. When I was born, my grandfather was not good to me, but later I studied well and always became first in my class. As a result he began to be good to me and hoped that I would become famous and make my ancestor’s surname illustrious in the future. I want to tell them both about my current life, my wife Duo Mi and my son Cao Eurafrasia, my house "The Tower of Babel" and "Home of Eurafrasia", and tell them about the books and scripts I have written so that they can be happy. If you could give me three extra days, I would take them to three places, Beijing, Rome and New York, and show them how vast the world is.
23 - Same question but addressed to your parents.
Cao Shui: Luckily, my father Cao Jiangang and my mother Guo Aihua are still very healthy. My parents not only brought me up, but also gave me stories, perhaps their greatest legacy. When I was young, my family was not rich. My parents would insure that my priority was to study, they would buy me luxury picture books, -- because in rural China, going to college is the best way to change one’s fate. Later, I became a master of arts at Beijing Normal University, and my sister Cao Xi became a doctor of chemistry of the Chinese Academy of Sciences. We changed our fate by studying. I have already taken my parents to Beijing for a trip and similarly, I want to take them to Rome and New York in the future. I want them to feel the world.
24 - What do you think about male and female friendship? Do you have a friend or close friend?
Cao Shui: Many people think that the relationship between men and women is either a love relationship or one that is strange. I think friendship can exist between men and women. I have several female friends in the literary world. We often get together to talk about literature and life. I think of them as close friends.
25 - If you could choose an era to go with the time machine, where would you like to go? And why?
Cao Shui: If I had a time machine, I would like to travel to China's Ming Dynasty. Perhaps, as the Chinese American historian Huang Renyu wrote in 1587，A Year of No Significance:The Ming Dynasty in Decline. 1587 is the year when China began to lag behind the West. I want to talk to Emperor Wanli about the democratic revolution and scientific discoveries that were being carried out in the West, and help him to lead China's reform. In that way, China would also have entered modernization early, rather than lag behind the West. I would also urge the emperor to send envoys to the Indian Mughal Empire to meet Akbar the Great, the Ottoman Turkey Empire to meet Murat III, the Safavid Dynasty of Iran to meet Abbas I, and the Holy Roman Empire to meet Maximilian II to tell them the same thing, so that the whole world could consciously reform and innovate, enter the World Republic early on, and avoid World War I, The Second World War and the Russian Ukrainian war. Mankind originates from the same place, and it is bound to establish a common World Republic.
26 - Which book would you like to write tomorrow?
Cao Shui: I will write the trilogy of the Golden Empire（《黄金帝国》） tomorrow. It is a novel that integrates Eastern and Western civilizations, and will integrate the history of the Roman Empire and the Chinese Empire. There are many amazing similarities between Eastern and Western history. For example, Caesar's assassination led to the establishment of the Roman Empire, and Xiang Yu's failure led to the establishment of the Han Empire. Both the Roman Empire and the Han Empire perished due to the invasion of northern barbarians. I want to construct a story about the development of human history, which is the inspiration of The Game Of Thrones.
27 - If you can give a gift to your readers, what would you give them and why?
Cao Shui: If I could give my readers a gift, I would give them houses. You see in China, most people struggle for a house all their lives, they are called "house slaves"（房奴）. I would give them houses, so that they could be liberated, do what they like to do, and read books freely in the house. This may also be the future of Great Common World（大同世界） prompted by Confucius.
28 - If tomorrow someone offers you a trip to do immediately, where would you like to go and why?
Cao Shui: If I could travel tomorrow, I would take the Silk Road. Zhang Qian of China or Marco Polo of Italy gave me enlightenment. I would start from Xi'an in China, pass through New Delhi in India, Tehran in Iran, Baghdad in Iraq, Jerusalem in Israel, Cairo in Egypt, Athens in Greece, and finally arrive at Rome in Italy. The Silk Road connects the seven ancient civilizations. Many people in China talk about cultural self-confidence -- I want them to know that only by understanding world civilization can we build cultural self-confidence. The biggest theme of all my works is to integrate these civilizations and build a new civilization for all mankind.
29 - Finally, what do you think of our conversation and what would you have wanted me to ask you?
Cao Shui: I have received many interviews in China. In comparison, I think this interview was interesting, innovative, systematic and specific. I spent two whole days answering and translating your questions, because every question was enlightening, as if we were drinking tea in the cafe in front of the Pantheon in Rome. Your questions were far beyond my expectations, and shows my life in a comprehensive way. I think both Chinese and Italian readers will like it. I send you my best regards.
30 - If you want to leave the link of your book and cover, if you want to add something to let Italian readers know you a little more, you can do it.
Cao Shui: Although I have published 30 books in China, only Flowers of Empire（《帝国之花》） is translated into Italian, so I can provide the cover and link of it. At the same time, I will list the titles of my poems, anthologies, novels, fairy tales and translations, and provide a cover for each category: poetry colletions Epic of Eurasia，essays Great Poetics, novel Secret History of Kunlun, fairy tale Prince Snow Leopard , and translation Footsteps Of Istanbul.
https://www.amazon.com/fiori-dellImpero-Flowers-Empire-Chinese-ebook/dp/B0947SWNLK/ref
List Of Cao Shui's Works
Poetry Collections: “Who Symbolizes In The Depression” （《谁在苦闷中象征》）(2007), "Cold Lyric"（《冷抒情》） (2007), "The Great Yin And Yang Map Of Eurasia"（《亚欧大陆地大阴阳图》） (2009), " Epic Of Eurasia"（《亚欧大陆地史诗》） (2010), "The Bride Of Pamirsberg" （《帕米尔堡的新娘》）(2018), "The Lyric Of The Tower Of Babel"（《通天塔之歌》） (2018), "Flowers Of The Empire"（《帝国之花》） (2021), And "The Great Sadness Dance" （《大悲舞》）(2022).
Essays: Notes On The Tower Of Babel（《巴别塔尖手记》） (2009), Animal Kingdom Of Hoh Xili（《可可西里动物王国》） (2018), Great Poetics（《大诗学》） (2022), Kunlun Tour（《昆仑游》） (2022), Walking Around The Great West （《环大西部行走》）(2022).
Novels: The Spire Of The Tower Of Babel（《巴别塔尖》） (2007), Secret History Of Kunlun I: Time Axis（《昆仑秘史I：时间地轴》） (2011), Secret History Of Kunlun Ii: The Imperial Seal And The Roman Crown（《昆仑秘史Ii：传国玉玺与罗马皇冠》） (2011), Secret History Of Kunlun Iii: The Tower Of Babel （《昆仑秘史Iii：通天塔》）(2017), Secret History Of Kunlun Prequel: The Spire Of The Tower Of Babel（《昆仑秘史前传：巴别塔尖》）(2012), Lonely Star In Troubled Times: The Legend Of The Prince Hutai（《乱世孤星：虎台太子传奇》） (2013), Prince Snow Leopard （《雪豹王子》）(2016), Great Hero Of Wei Dynasty: Biography Of Yuan He（《北魏风云：源贺传》） (2017), King Peacock （《孔雀王》）(2022).
Fairy Tales: Prince Snow Leopard（《雪豹王子》） (2016), Three Sisters Of Wild Yak（《野牦牛三姐妹》） (2022), Tibetan Antelope Guard（《藏羚羊护卫队》） (2022), Prince Snow Leopard （《雪豹王子》）(2022), Tibetan Wild Donkey Father（《藏野驴爸爸》） (2022), The Beauty Bear（《熊美人》） (2022), Marmot Bar （《旱獭酒吧》）(2022). Where Is The Home Of The River（《大河的家在哪儿》） (2022), The Snow Mountain Where Eagles Can't Fly （《鹰飞不过的雪山》）(2022), Run! Tibetan Antelope（《奔跑吧！藏羚羊》） (2022), The Hidden Art Of Tibetan Wild Donkey（《藏野驴的隐身术》） (2022), I Am Not a Vulture （《我不是兀鹫》）(2022), And The Snow Lotus Suba Is Not Afraid Of Cold （《苏巴不怕冷》）(2022).
Translations: The Footsteps Of Istanbul By Nurduran Duman（《伊斯坦布尔的脚步》，纽都然·杜门）(2019), The Song Of The Dream Land By Fernando Rendon（《理想国的歌声》，费尔南多·伦德）(2022), The Golden Bird In The Sun By Vadim Terekhin（《太阳中的黄金鸟》，瓦迪姆·特里金） (2022), The Horn Of Metatron（《梅塔特隆的号角》） (2022), And The American Flying Man By George Wallace（《美国飞人》，乔治·华莱士）(2022).
Italian translated by Fiori Picco
English translated by Cao Shui， Proofed by George Wallace
(end)
（Portrait of Cao Shui by Song Zuifa）
Biography of Cao Shui
Cao Shui（Chinese: 曹谁;pinyin: Cáo Shuí), also Shawn Cao (born in Jun 5, 1982), is a Chinese poet, novelist, screenwriter and translator. He is a representative figure of Chinese Contemporary Literature. He leads “the Greatpoeticism” movement. In his “Manifesto of Greatpoem”, he aims to integrate sacred and secular cultures, oriental and occidental cultures, ancient and modern cultures in Chinese literature. In 2008, he resigned from a newspaper and traveled around Tibet and Xinjiang, which is the center of Eurasia or the World in his view. His novels Secret of Heaven trilogy tells the whole developing history of human civilization. His most notable works includes Epic of Eurasia, the already mentioned trilogy and King Peacock (TV series). In his works, he extracts elements of various ancient human civilizations, from Babylon to the west to Judea, Egypt, Greece, to the east to Persia, India, China, and uses these elements to reconstruct a new Utopian human homeland, which always described as Eurasia, the Top of the Tower of Babel or Kunlun Mountains (Heaven Mountains). So far twenty books of Cao Shui have been published, including five poem collections, three essay collections, ten novels, three translations and one hundred episodes TV series and films. He has won more than 50 literary awards worldwide, including the 1st Chinese Young Poet Award, the 4th Cao Yu Cup Drama Award, the Apollo Dionysus Award of the 8th Italian Rome International Academy of Contemporary Poetry and Art Award, the 12th Russian Golden Knight Award, and the Top Ten Public Figures of the 5th Chinese Poetry Spring Festival Gala, etc.His works have been translated into English, Italian, Spanish, French, German, Swedish, Portuguese, Danish, Polish, Russian, Hungarian, Croatian, Slovenian, Turkish, Arabic, Japanese, Korean, Hindi, Nepali, Vietnamese, Tibetan, Mongolian, etc. He has been invited to participate in the 30th Medellin International Poetry Festival, the 26th Havana International Poetry Festival, the 14th Kritya International Poetry Festival in India and the 4th Qinghai Lake International Poetry Festival. He is a member of China Writers Association, China Film Association and China Poetry Society. He is also chief editor of Great Poetry, deputy editor in chief of World Poetry, secretary general of Boao International Poetry Festival and vice president of the Silk Road International Poetry Festival. Currently he lives in Beijing, and works as a professional writer and screenwriter.
MARIA CRISTINA BUOSO
She wrote her first works when she was very young, starting with fairy tales, poems, screenplays and short stories, then moving on to novels and detective stories. The poem "Help me" was included in the Multimedia Anthology "A poem for Telethon", for charity (2004). The poem "Peace at War" in the competition held by ALIAS (Melbourne - Australia), received an Honorable Mention. The poem "Bugie" (Stones of Angles ) was included in Vol. 6 - In Our Own Words: A Generation Defining Itself - Edited by Marlow Perse Weaver USA (2005). She won the third prize in the Literary Competition “ Joutes Alpines ”of the Associantion Rencontres Italie Annecy (France) for the Sect. Prose (Italy) with the short story “The old album” (1997). These are just some of the various awards she has received, as well as numerous awards in Italy. She has published several poetic anthologies and novels. She is a famous literary blogger and actively participates in numerous clubs and events. She collaborates with Fiori Picco promoting oriental culture and Chinese authors on her blog.
https://mariacristinabuoso.blogspot.com/
https://www.instagram.com/mcbmipiacescrivere/
https://twitter.com/Macri61B
https://www.linkedin.com/in/maria-cristina-buoso-04093327/
意大利媒体专访曹谁：东西方多种文明的融合必将建立起大同世界
意大利著名作家玛丽亚·克里斯蒂娜·布索（Maria Cristina Buoso）：
你好！今天，我们将与中国当代文学的代表人物曹谁会面，他也有一个英文名字Shawn Cao。
那么就让我们一起开始享受舒适和快乐的阅读时光！
1-如果能够坐在一起访谈，您喜欢我们坐在哪里喝一杯茶，您为什么选择这个地方？（您想共享您的哪张照片。）
曹谁：如果能够坐在一起，能够穿越被新冠疫情阻挡的国界，我希望跟您一起坐在罗马万神殿对面的咖啡馆喝一杯茶。我的笔名是曹谁，曹是古老的东方姓氏，代表东方悠久的传统，谁是西方哲学主题，如同希腊德尔菲神庙柱子上的语句：认识你自己。我的志向是融合东西方文明，在我的心中罗马是西方文明的发源地之一，所以我想坐在罗马万神殿前，因为许多西方文明源自罗马的神灵，至今我们的行星、月份、星期的名字都来自罗马的神灵。我想从这里去理解西方文明。
我想分享我在首届博鳌国际诗歌节上的一张照片，这是我和土耳其诗人纽都然·杜门（Nurduran Duman）在颁奖典礼上一起发言的照片，她引导我加入世界诗歌运动。正是从这次开始，我跟世界各国的诗人交流，建起一个世界诗歌运动的文学圈。
（曹谁和纽都然在首届博鳌国际诗歌节上，2019年）
2-你选择了什么茶，为什么选择这一种茶？
曹谁：假如我们能够坐在一起喝茶，我会选择洋甘菊茶。你知道，茶叶起源于中国，中国有许多种类的茶，不过我选择意大利人每天喝的洋甘菊茶。我的志向是融合东西方文化，所以我希望了解各种文明，我希望从意大利人最常喝的茶去了解意大利文化。我想进入一种文化，莫过于通过他们的食物。
3-如果我来到你的房间，我会在你的床头柜上看到什么书？
曹谁：如果你来到我的房间，会在床头找到西方的《圣经》、东方的《史记》、印度史诗《摩诃婆罗多》、希腊史诗《伊利亚特》，还有但丁的《神曲》和海子的《太阳》七部书。这些书都是我在反复阅读的，我的房子叫做“巴别塔尖”，这个典故就来自《圣经》的通天塔，我希望把这些伟大的文明融合为一体。
4-在你的背包里能找到什么书？
曹谁：在旅行途中我喜欢读书，通常是当时正在关注的书，比如我在2008年到西藏和新疆的长途旅途中，包中放的是《圣经》和《山海经》。我最近在读乔治·奥威尔的《1984》和乔治·马丁的《权力的游戏》，还在翻译阅读美国诗人乔治·华莱士的诗集《美国飞人》。
5-你为什么选择给你的房子命名？为什么是“巴别塔尖”和“亚欧非之家”？
曹谁：古代的中国作家都会为自己的屋子或者书房取名，中国的每个作家都会为书房取名，杜甫取名“浣花草堂”，苏轼取名“谷林堂”，曹雪芹取名“悼红轩”，鲁迅取名“绿林书屋”，胡适取名“藏晖室”，贾平凹取名“上书房”，每个人都会有一个书房名。西方的作家也有这种现象，法国启蒙主义作家伏尔泰为书房取名“孔庙”，为自己取笔名“孔庙大主持”，看来他对中国儒家文化非常推崇。房子对于我们，就像放大的衣服，会我们的内心和志向。
我在青海的屋子名叫“巴别塔尖”，这个典故来自《圣经》，人类因为上帝的阻止没有建成“巴别塔”，我却希望能够融合世界各名族的文化，建立起人类曾经的共同家园，所以取名“巴别塔尖”。这也是我的第一本长篇小说的名字，在书中虚构一个处于亚欧大陆中心的国家“巴别国”，那是一个由独裁者统治的荒诞的国度，好像是《第二十二条军规》（Catch-22）中的悖论处处存在，主人公希望在那个国度进行民主改革，建立一个理想国，可是最终失败逃亡。这本小说也是我所有小说的母体，后来的小说都受他的影响。
我在北京的屋子名叫“亚欧非之家”，因为我觉得人类最古老的文明都分布在古老的亚欧非洲，也就是亚洲、欧洲、非洲，那里是人类的摇篮，从巴比伦向西到迦南、埃及、希腊，向东到波斯、印度、中国，在全球化的今天，我希望通过国际交流，让人类重新走向大同世界。当然我的儿子名叫曹亚欧非，也是共同的含义。
6-你更喜欢纸质书还是电子书？
曹谁：我更喜欢纸质书，这源于童年开始的阅读习惯，我在纸质书中更能感到文学的美。当然现在也会在手机电脑上阅读电子书，因为他的方便性，这大概是一种趋势。虽然从纸质书到电子书只是媒介的变化，就像当年从西方的羊皮卷和东方的竹简到纸张的变化，不过媒介的变化会引起内容的变化，我正在观察和体验。
7-你读过漫画吗？如果是，是哪些？你的记忆中最深的是哪一本？
曹谁：当然读过漫画，这是我小时候的最爱之一。小时候有中国古典名著改编的《三国演义》《西游记》《水浒传》《红楼梦》等，也有西方童话改编的漫画《格林童话》《美人鱼》《白雪公主》《匹诺曹》等。现在我也看美国漫威的漫画。我的记忆中，立刻会跳出卡洛·科洛迪的《匹诺曹》（Pinocchio），因为我的鼻子比较大，而在中文的翻译中又把匹诺曹翻译成跟我同姓的名字，所以当时还被一些孩子叫我匹诺曹。
8-你喜欢去电影院还是去剧院？你喜欢看什么？你看的最后一部电影是什么？你喜欢吗？在剧院呢？中国的戏剧和电影与意大利的有什么不同？
曹谁：电影院和剧院，我都喜欢去，我喜欢所有的戏剧类型，电影也是一种戏剧。当然因为电影院更多，我去的电影院要多。我觉得文学大体上分为这样的历程，从农业社会以诗歌为代表的抒情文学时代，到工业社会以长篇小说为代表的叙事文学时代，到信息社会以电影为代表的戏剧文学时代，所以现在是一个戏剧时代，我自己也写剧本。
我看的最近一部电影是美国电影《沙丘》（Dune），这部电影是从作家弗兰克·赫伯特（Frank Herbert）同名小说改编的电影。我看的最近一部戏剧是《战马》（War Horse），同样是从作家麦克·莫波格（Michael Morpurgo）同名小说改编的。这两部作品我都非常喜欢，都是经典的改编作品，在这里我就不去分析细节。我自己也跨界文学和电影，我觉得文学应该成为电影工业的发动机。
中国和意大利的戏剧和电影的区别，这是一个很大的话题。意大利是西方歌剧的起源地，中国戏剧从元杂剧就完全成熟，其实两国戏剧的共同性更多，他们都是一种诗剧，都可以演唱；他们的区别，我觉得意大利戏剧重结构，中国戏剧重程式。相对于戏剧，我对电影可能关注更多。意大利电影是我一直在关注的，我曾经反复观看新现实主义的电影，比如罗伯托·罗西里尼（Roberto Rossellini）导演的《罗马，不设防的城市》（Rome, Open City），维托里奥·德·西卡（Vittorio De Sica）导演的《偷自行车的人》（Bicycle Thieves）。我对新浪潮导演更加关注，比如皮埃尔·保罗·帕索里尼（Pier Paolo Pasolini），他的《一千零一夜》《十日谈》《坎特伯雷故事集》都看过，甚至他拍的禁片《索多玛120天》（Salò or the 120 days of Sodom），近期关注西西里导演朱塞佩·托纳多雷（Giuseppe Tornatore），他拍的《西西里岛的美丽传说》（Malèna）《天堂电影院》（Nuovo cinema Paradiso），我都是反复观看的。中国导演我关注张艺谋的《红高粱》、姜文的《让子弹飞》、陈凯歌的《霸王别姬》等作品，中国香港导演王家卫的《重庆森林》、徐克的《新龙门客栈》、周星驰的《美人鱼》等，中国台湾导演李安的《卧虎藏龙》、侯孝贤的《刺客聂隐娘》、杨德昌的《牯岭街少年杀人事件》等。电影的本质是戏剧，或者起源于戏剧，跟戏剧的最大不同是媒介不同，所以对比中国和意大利电影，最大的区别是，中国电影有中国戏剧的程式性，而意大利电影更有意大利歌剧的结构性。这个话题，我们改天可以专门探讨。
9-你看电视吗？你喜欢看什么电视剧吗？一部你年轻时看过的电视剧，一直留在你心中。你在中国看什么样的电视？近年来它发生了怎样的变化？
曹谁：我不但看电视剧，还写电视剧本，写过电视剧《昆仑神话》《孔雀王》。电视剧比电影更加大众化，小时候的娱乐比较少，就等着晚上看两集电视剧。我看过的电视剧中，印象最深的是美国的《权力的游戏》，八季都完整看完。中国电视剧《琅琊榜》也很优秀，可惜续集不太好。我比较喜欢看历史剧、战争剧、喜剧。我们都知道，电视剧的产生比电影要晚，某种程度上是延长的电影，电影和电视剧的关系类似文学分类中的短篇小说和长篇小说的关系。许多人也认为电视剧的艺术性比电影要弱，事实上我觉得电视剧的艺术性也在不断提高。电视剧是大众艺术，所以跟市场的关系比较大，中国的电视剧曾经在中国经济高速发展的30年有过一个黄金时代，近年来随着全球经济的放缓，中国的经济增长也放缓，中国的电视剧也进入一个瓶颈期，我觉得这正是一个提升和调整的时机。
10-你什么时候开始写作的？为什么？在中国，一个年轻的作家今天要做什么才能让自己出名？对一个想写作的女人来说也是这样吗？
曹谁：我是在中学时代开始写作的，大概从1997年记日记开始，我的日记是最早的文学创作形式，如今有大约100本了，可能有上千万字。严格的文学创作，从1999年开始，那时我开始写诗。我当时创作，就是要给世界一种秩序，这就是最初的冲动。后来我想应该是追求光明，因为我从小就害怕黑暗，连人的影子都害怕，一到晚上必须有一个人抱着。我写作的时候就不会焦虑，我想文学可以照亮我的人生。
在中国，一个年轻的作家大概有两种出名方式，传统的方式是在文学杂志发表，然后获得各种文学奖；全新的方式是出版作品，在市场上获得成功。现在出名的80后作家，大多是在市场上的成功，当然杂志发表的方式也在慢慢显现作用。我自己大概是两种方式的结合，因为我本来就是跨界作家，我在文学杂志发表大量诗歌并且获得许多文学奖，同时我出版的《昆仑秘史》三部曲等是畅销书，获得了市场的认可。当然还有第三种方式，那就是文学事件的推动。我曾经处于中国诗歌界的大论战“曹伊之争”（2018-2020）中，我所倡导的大诗主义运动和老诗人伊沙倡导的后口语诗流派，进行了三年的论战，这都会让作家出名。女权主义在中国并没有太大的影响，我想对于男女作家来说都是一样的，那就是让你的作品为更多的人关注，当然前提是你的作品是我们这个时代独一无二的。可能因为传统的原因，中国的男作家远比女作家多，可能是女作家的几倍，我想未来可能会改变。
11-你与伊沙的论战发生在哪里？在社交媒体上？在电视上？
曹谁：我与伊沙的论战从网络社交媒体开始，2018年8月26日我在中国社交媒体抖音（类似西方的YouTube），批评伊沙倡导的“口水诗”都是垃圾，引起无数中国网络诗人的共鸣，伊沙也接受访谈回应批评我所倡导的“大诗主义运动”，于是整个中国诗坛都开始关注，截止2020年3月28日结束，有几百位诗人写的五百多篇论文，我把这些文章辑录成《曹伊之争评论全编》，我会找机会把这本书出版。这个论战过后被叫做“曹伊之争”，是中国新诗发展一百年之际的一次论战，会影响中国未来诗歌的发展。最近中国爆发对贾浅浅“屎尿屁”体诗歌的全民批判，这种诗歌写作其实是根源在伊沙。假如了解中国现代文学史，就会知道胡适曾经在1917年的“新文化运动”中写过一篇重要的文章《文学改良刍议》，引领了中国现代文学革命。我也想写一篇文章《文学改良再议：中国文坛的十大弊端》。在全球化的今天，我所倡导的“大诗主义运动”，合一天人、融合古今、合璧东西，应该是未来诗歌的发展方向。
12-你写不同的文学体裁。你第一次接触它们是如何和何时？你想通过简单的讨论让我们了解他们吗？其中，你更喜欢哪一种？为什么？
曹谁：我写作诗歌、散文、长篇小说、影视剧本，还有童话、翻译。我写诗歌是从1999年开始的，当时我读了大量的文学作品，包括海子的《亚洲铜》，就开始自己写作，我写了一首诗《破草帽》：“我/戴着破草帽/窥天下”，因此被我的同学们称为“草帽诗人”。我们还成立一个叫“翱翔社”的文学社。2007年出版第一本诗集《谁在苦闷中象征》，后来陆续出版了《亚欧大陆地史诗》等10本诗集。我写散文大概跟诗歌同时，2009年出版第一本散文集《巴别塔尖手记》，后来陆续出版了《大诗学》等4本散文集。我写长篇小说从2005年的《巴别塔尖》开始，是以大学校园的荒诞生活为原型的，这本书在2007年出版，后来陆续出版了《昆仑秘史》三部曲等10本长篇小说。我写影视剧本从2012年的电视剧《昆仑神话》开始，因为故事来自我的长篇小说《昆仑秘史》，从此跨界到影视剧本创作，后来陆续创作电视剧《孔雀王》，电影《太阳城》，戏剧《雪豹王子》等一百多部集。我写童话从2016年的《雪豹王子》开始，这本书改编成了舞台剧《雪豹王子》，后来又创作了《可可西里动物王国》童话系列等12本。我从事翻译从2017年开始，当时中国作家协会在北京举行了国际作家交流计划，我在那里认识了世界各国的诗人，其中包括照片中的纽都然·杜门（Nurduran Duman）和意大利著名的汉学家雪莲（Fiori Picco）。我从翻译纽都然·杜门的诗集《伊斯坦布尔的脚步》开始，后来翻译出版了哥伦比亚诗人费尔南多·伦德的《理想国的歌声》（2022），俄罗斯诗人瓦迪姆·特里金的《太阳中的黄金鸟》（2022），最近正在翻译美国诗人乔治·华莱士的《美国飞人》。
这就是我创作的六个类型的大概介绍。我主张“大诗学”，文学在不断发展，从农业社会以诗歌为代表的抒情文学，到工业社会以长篇小说为代表的叙事文学，再到信息社会以影视剧本为代表的戏剧文学。所以所有的文学类型我都喜欢，我觉得都是对我内心的表达，都是给这个世界以秩序。
13-你领导了伟大的诗歌运动（大诗主义运动），你想告诉我们情况吗？
（大诗主义运动奖章，正面和反面，2022年）
曹谁：我在2007年创作了《大诗主义宣言》，发起了大诗主义运动，现在成为中国八零后发起的三大思潮之一。大诗主义的核心主张是合璧东西、融合古今、合一天人，去创作一种伟大的诗。我们在今年设计了纯银的奖章，正面是我的头像，背面是最古老的亚欧非洲的世界地图，文字就是这三大主张，这专门颁发给世界各国对大诗主义运动做出贡献的诗人、评论家和翻译家。在2018-2020年间，大诗主义流派和后口语诗流派进行了影响整个汉语诗坛的大论战，后来冠名“曹伊之争”，影响了整个中国诗坛的发展，如今他的影响还在持续发酵。
14-你在意大利获得了文学奖，你想告诉我们关于他们的情况吗？你知道意大利文学吗？你们在国际上非常活跃，不仅仅是在你的国家。你想简单谈谈你的经历吗？你有一个想让他变成现实的梦想吗？
（曹谁和雪莲在北京《通天塔之歌》研讨会上，2018年）
曹谁：我的《帝国之花》，由意大利著名汉学家、作家雪莲翻译为意大利文，由意大利花达西亚出版社出版，过后在意大利获得了三个国际文学奖，分别是：意大利第8届罗马当代国际诗歌艺术学院奖之“阿波罗·狄奥尼索斯奖”，意大利第8届乔万尼·贝尔塔基国际诗歌奖，意大利第27届《乌贼骨》国际诗歌奖，还获得了加拿大首届多伦多国际诗歌艺术节银奖，2021华语十佳诗集奖。我和雪莲在北京的相遇，是她把我的诗歌翻译到意大利，让我的诗歌从意大利开始传播到西方世界，她是沟通中国文学和意大利文学的伟大桥梁。
我对西方文学有系统了解，从希腊语的荷马的《伊利亚特》《奥德赛》，到拉丁语的维吉尔的《埃涅阿斯》，贺拉斯的《诗艺》，到意大利语的但丁（Dante Alighieri）的《神曲》，薄伽丘（Giovanni Boccaccio）的《十日谈》，伏尼契（Ethel Lilian Voynich）的《牛虻》，卡尔维诺（Italo Calvino）的《树上的男爵》，蒙塔莱（Eugenio Montale）的《乌贼骨》等。维吉尔的《埃涅阿斯》和但丁的《神曲》对我提出“大诗主义”非常重要。
我在小时候就读到一本彩绘本的《圣经》，里面的故事深深吸引我，尤其是通天塔的故事，后来这成为我文学创作的主题之一，我的第一本长篇小说是《巴别塔尖》，我的诗集有一本《通天塔之歌》，我的翻译项目是“通天塔计划”，我的屋子叫“巴别塔尖”。抛开《圣经》中上帝惩罚的含义，我的梦想就是要让世界各民族的人能够重建文学的通天塔，在一起自由交流。2017年我参加中国作家协会的国际写作计划，认识许多国际诗人。后来陆续参加了第30届麦德林国际诗歌节、第26届哈瓦那国际诗歌节、第14届印度Kritya国际诗歌节、第4届青海湖国际诗歌节等多个国际诗歌节。我的作品已经被翻译为英、法、德、俄、日、韩、瑞典、希腊、印地、意大利、西班牙、土耳其、阿拉伯等20余种文字，在国际诗坛有三十多位著名诗人写作评论，被印度杰出诗人拉蒂·萨克塞纳称为是“领导新世界的年轻一代”的代表诗人。如今还担任《大诗刊》《世界诗歌》《世界诗人》《世界诗坛》的主编和副主编，跟世界各国的诗人交流。大诗主义还有一个理念：人类同源，世界大同，我希望未来我们可以建立起全人类的世界共和国。
15-当你想放松时，你有喜欢阅读的体裁吗？你特别喜欢哪位作家？
曹谁：当我想放松时，我喜欢阅读幽默的作品。我喜欢美国作家约瑟夫·海勒（Joseph Heller）的《二十二条军规》，意大利作家乔万尼·薄伽丘（Giovanni Boccaccio）的《十日谈》，捷克作家雅洛斯拉夫·哈谢克（Jaroslav Hasek）的《好兵帅克》，中国作家吴敬梓（Wu Jingzi）的《儒林外史》等。当然也喜欢读严肃的作品，捷克作家米兰·昆德拉（Milan Kundera）的《不能承受的生命之轻》，日本作家村上春树（Murakami Haruki）的《挪威的森林》，华裔法国作家高行健（Gao Xingjian）的《灵山》，中国作家莫言（Mo Yan）的《红高粱》，中国作家贾平凹（Jia Pingwa）的《废都》，英国作家萨尔曼·拉什迪（Salman Rushdie）的《撒旦诗篇》，美国作家乔治·马丁（George Martin）的《权力的游戏》。这些作家的作品都深刻影响了我，都是我在休息时特别喜欢阅读的。
16-如果你不得不和一位女作家一起“用四只手”写一部小说，你会选择谁？为什么？
曹谁：我觉得文学只能一个人去创作，因为这世界上没有两片同样的树叶，所以也很难去一起创作。不过在影视剧本的创作中经常是合作创作的，所以我也可以跟人合作写作。假如不得不和一位女作家共同写一部小说，我会选择《哈利波特》（Harry Porter）的作者罗琳（J. K. Rowling）。我非常喜欢读她的小说，不过在中国古文化中有更多有趣的魔法，《山海经》中就有许多神奇的动物和魔法，我想我们可以把中国魔法写一个长篇小说系列，也许就叫《山海精灵》，我想全世界的读者都会喜欢。我觉得你的想法非常有创造性，我觉得男作家和女作家在某种程度上有不可逾越的鸿沟，再加上东西方文明的区别，这样的合作一定非常有趣，会创作出非常独特的作品。
17-你有没有想过写惊悚片、侦探小说或爱情小说？哪种类型最吸引你，为什么？
曹谁：不论是东方还是西方的作家，在谈论文学的时候，都对大众文学嗤之以鼻，虽然他们也在整天阅读，或者观看这些文学改编的电影和电视剧。为什么我们每天都在享用，却又认为他们不是艺术？这对于大众文学是不公平的。事实上，过去文学经典，大多是大众文学，莎士比亚的戏剧可是伦敦人每天都在看的，中国的“四大古典名著”也都是普通人在传诵的，上溯到史诗时代，荷马史诗和印度史诗也是人们传唱的。不可否认，有些流行文化缺少深度，但是当时不流行的，后世也很难成为经典。最好的状态是把高雅追求和世俗审美结合起来。所以我自己本来就在写大众的长篇小说，比如《昆仑秘史》三部曲就是畅销书，我把它叫做“大小说”，因为我希望像我的“大诗”一样包罗万象。《昆仑秘史》有侦探小说的元素，在主人公龙昊在探寻时间地轴的过程中，展示世界各国的文明，当然包括中华和罗马文明，《昆仑秘史II：传国玉玺与罗马皇冠》，从书名就可以看出来。人类总是充满好奇心，所以我愿意写一种“文化侦探小说”。我的长篇小说中还有三个系列：历史小说、神话小说和童话，这都是吸引我的，也是我现在正在创作的。
18-让我们想象一下，今晚你可以选择去会见一个作家，他可能活着或者去世，他可能在意大利或世界任何地方。你想见谁？为什么？从童年起，你心中的女人是谁？
曹谁：假如在今晚可以会见一位作家，我会选择意大利伟大的诗人但丁（Dante Alighieri）。我曾经写过一首诗《曹谁与但丁的夜宴》，因为我们诞生在同一天6月5日，幻想我们在亚欧大陆中心的帕米尔高原的夜宴。我一直在倡导大诗主义运动，这是源自印度、巴比伦、希腊、罗马的史诗的运动，对我影响最大的便是但丁的《神曲》，我创作的《亚欧大陆地史诗》也受到他的深刻影响。我想跟他探讨“大诗”的创作，最后还想问问他跟贝雅特丽齐（Beatrice）的往事，我们都有一个童年就印入心中的女人。这是一个想象中的女人，也就如我诗集《帕米尔堡的新娘》中所描述的，就像但丁《神曲》中的贝阿特丽丝（Beatrice）一样，她引导我在文学创作中行走。每个男作家或者男人心中都有一个完美女人的形象，大概是以现实中的一个女人想象成的。
19-现在让我们想象一下，你可以邀请某人和我们一起喝一杯茶。你会邀请谁？为什么？
曹谁：假如可以邀请谁喝茶，我想邀请《盗梦空间》的导演克里斯托弗·诺兰（Christopher Nolan）。我看过他几乎所有的作品，我有几个好故事想跟跟他合作，分别是我的《昆仑秘史》三部曲，《孔雀王》三部曲，《黄金帝国》三部曲。《昆仑秘史》已经完成，正在创作《孔雀王》，《黄金帝国》的大纲也完成。这是有关各个文明，从巴比伦向西到迦南、埃及、希腊，向东到波斯、印度、中国的故事，人类来自同一个地方，必将建立共同的世界共和国。
20-让我们想象你正在一个主题派对上。你想穿什么衣服或戴什么面具？你想邀请谁？你想和他或她跳什么舞？
曹谁：假如在一个主题派对上，我想穿着中国魏朝皇帝曹操（155-220）的皇帝服装，戴着龙头面具。我想跟《权力的游戏》中龙女王丹妮莉丝·坦格利安（Daenerys Targaryen）的扮演者艾米莉亚·克拉克（Emilia Clarke）跳一支华尔兹。因为曹操是我的祖先，中国最伟大的帝王之一，他还是中国历史上最伟大的诗人之一，他也是中国最伟大的小说《三国演义》的主角，我希望传承他的伟大的“大一统”梦想。龙女王是我喜欢的优雅高贵的女人，她也致力于统一七国，我梦想能够跟她相遇。这也是东西方文明碰撞的一种戏剧性场景。
21-你喜欢动物吗？你养过动物吗？你想张贴它的照片吗？谁是老板？
曹谁：我非常喜欢动物，我觉得人的一半就是动物。我曾经养过几只狗，其中一只名叫“巴比伦”，他在我人生奋斗的最关键时刻始终陪伴我，我为他写过《巴比伦的骨笛》。我还喜欢雪豹，我觉得他是青藏高原的王者，我曾经写过长篇小说《雪豹王子》。我认识一只雪豹，名叫傲雪公主（Princess Pride Snow），是青藏高原野生动物园人工繁殖的，她是由动物学家齐新章繁育和喂养的，他也是我的朋友。
（傲雪公主在青藏高原野生动物园，2019年）
22-让我们谈谈你的祖父母。你和他们有什么关系？他们还活着吗？如果没有，如果您有机会与他们相处5分钟，您希望能够告诉他们什么？如果你很幸运，他们还活着，你想带他们去哪里旅行？为什么？
曹谁：我的祖父名叫曹生锁，我的祖母名叫李凤仙。我的祖母在我父亲9岁时就去世，我的祖父则在我上大学的时候去世，我想他们已经在天国相会。我的祖父给我的最大遗产是，他在小时候给我讲的故事，我会添油加醋把他们讲给同班同学，他们都听得非常入迷，整个教室都会因此鸦雀无声，我从小以擅长讲故事著称，这是我最早的文学创作，就像人类最早的文学是口头文学。我祖父给我的另一影响就是家族姓氏——曹，这拥有三千年历史的姓氏，代表着悠久的东方传统，所以我的笔名中始终都保留我的姓氏。
假如我有5分钟时间跟他们相会，我会仔细看看我的祖母长什么样，她把什么特征遗传给了我，因为没有一张她的照片流传下来，人们有时又会说我的某个部位长得像她。在我出生时，祖父对我并不好，可是后来我学习好，总是成为班级的第一名，他就开始对我好，希望我将来出人头地。我要跟他们讲我现在的生活，我的妻子朵咪和儿子曹亚欧非，告诉他们我的房子“巴别塔尖”和“亚欧非之家”，告诉他们我写的图书和剧本，让他们能够开心。假如能再给我哪怕三天时间，我会带着他们去游走三个地方，北京、罗马、纽约，告诉他们世界是多么广大。
23-同样的问题，但是主角变成你的父母。
曹谁：非常幸运，我的父亲曹建刚和母亲郭爱华都还非常健康。父母亲不仅把我养育大，他们对我的最大遗产也是故事。在小时候，家里并不富裕，父母会优先供我读书，给我买奢侈的绘本，因为在中国的农村，上大学是改变命运的最好途径。后来我成为北京师范大学文学硕士，妹妹曹希成为中国科学院化学博士，我们算是因读书而改变命运。我已经带他们到北京旅行，同样地将来我想带他们到罗马、纽约旅行，我想让他们感受这个世界。
24-你如何看待男女友谊？你有女性的朋友或密友吗？
曹谁：许多人认为，男女的关系，要么是爱情关系，要么是陌生关系。我觉得男女之间同样有友谊。我在文坛有几位女性的朋友，我们经常会聚会，谈论文学，也谈论生活，我想这就是密友。
25-如果你可以跟着时间机器一起选择一个时代，你想去哪里？为什么？
曹谁：假如我有时间机器，我希望穿越到中国的明朝，也许如美籍华人历史学家黄仁宇所写的《万历十五年》（1587，A Year of No Significance:The Ming Dynasty in Decline），也就是1587年，中国开始落后西方的年份。我想要跟万历皇帝，讲西方正在进行的民主革命和科学发现，让他主导中国改革，那样就会让中国也提早进入现代化，不至于到现在都落后于西方。我还希望出使印度莫卧儿帝国去见阿克巴大帝（Akbar the Great），出使奥斯曼土耳其帝国去见穆拉德三世（Murat III），出使伊朗萨非王朝去见阿巴斯一世（Abbas I ），出使神圣罗马帝国去见马克西米利安二世（Maximilian II），告诉他们同样的事，让世界自觉地改革和创新，提前进入世界共和国，避免第一次世界大战、第二次世界大战、俄乌战争的发生。人类源自同一个地方，也必将建立共同的世界共和国。
26-明天你想写哪本书？
曹谁：我明天会写《黄金帝国》三部曲，这是一本融合东西方文明的小说，会让罗马帝国和中华帝国的历史融合起来。东西方历史有许多惊人的相似，比如凯撒的遇刺让罗马帝国建立，项羽的失败让大汉帝国建立，罗马帝国和大汉帝国都因为北方蛮族的入侵而灭亡。我想要构造一个人类历史发展的故事，这是《权力的游戏》对我的启示。
27-如果你能给你的读者一份礼物，你会给他们什么？为什么？
曹谁：如果我能给读者一份礼物，我希望给他们一个房子。因为在中国，大部分人一辈子都在为一座房子奋斗，他们被称为“房奴”。我希望给他们一座房子，让他们解放出来，能够做自己喜欢做的事，能够在房子里自在地看书，这可能也是孔子构想的未来的大同世界的样子。
28-如果明天有人让你马上去旅行，你想去哪里？为什么？
曹谁：如果明天可以旅行，我希望走一遍丝绸之路，中国的张骞或者意大利的马可波罗给我启示。我想从中国的西安出发，经过印度的新德里，伊朗的德黑兰，伊拉克的巴格达，以色列的耶路撒冷，埃及的开罗，希腊的雅典，最后抵达意大利的罗马，这条丝绸之路，把古代七大文明中华文明、印度文明、波斯文明、巴比伦文明、迦南文明、埃及文明、希腊-罗马文明连接在了一起。中国许多人在讲文化自信，我要告诉他们：唯有了解世界文明，才能建立文化自信。我的所有作品的最大主题，都是要融合这些文明，构造一个全人类的新文明。
29-最后，你觉得我们的谈话怎么样？你原本想让我问你什么？
曹谁：我接受过许多中国的访谈，相比而言，我觉得来自意大利的访谈，有趣、创新、系统、具体。所以我花了一整天的时间去回答，一整天的时间去翻译，因为每个问题都具有启发性，仿佛我们真的在罗马万神殿前的咖啡馆喝茶。你的谈话，远远超出我的预期，但是又很全面地展示了我的人生，我想中国读者和意大利读者都会喜欢，我希望把我最好的敬意送给你。
30-如果你想留下你的书和封面的链接，如果你想添加一些东西让意大利读者更多地了解你，你可以这样做。
曹谁：我虽然在中国出版30本书，但是翻译为意大利语的只有《帝国之花》（Flowers of Empire），所以我可以提供《帝国之花》的封面和链接。同时把我的诗集、文集、长篇小说、童话、翻译的书名列出，每个类别分别提供一张封面：诗集《亚欧大陆地史诗》、文集《大诗学》、长篇小说《昆仑秘史》、童话《雪豹王子》、翻译《伊斯坦布尔的脚步》。
https://www.amazon.com/fiori-dellImpero-Flowers-Empire-Chinese-ebook/dp/B0947SWNLK/ref
曹谁著作列表：
诗集：《谁在苦闷中象征》（2007），《冷抒情》（2007），《亚欧大陆地大阴阳图》（2009），《亚欧大陆地史诗》（2010），《帕米尔堡的新娘》（2018），《通天塔之歌》（2018），《帝国之花》（2021），《大悲舞》（2022）。
散文集：《巴别塔尖手记》（2009），《可可西里动物王国》（2018），《大诗学》（2022），《昆仑游》（2022），《环大西部行走》（2022）。
长篇小说：《巴别塔尖》（2007），《昆仑秘史I：时间地轴》（2011），《昆仑秘史II：传国玉玺和罗马皇冠》（2011），《昆仑秘史III：通天塔》（2017），《昆仑秘史前传：巴别塔尖》（2012），《乱世孤星：虎台太子传奇》（2013），《雪豹王子》（2016），《北魏风云：源贺传》（2017），《孔雀王》（2022）。
童话：《雪豹王子》（2016），《野牦牛三姐妹》（2022），《藏羚羊护卫队》（2022），《雪豹王子》（2022），《藏野驴爸爸》（2022），《熊美人》（2022），《旱獭酒吧》（2022）。《大河的家在哪儿》（2022），《鹰飞不过的雪山》（2022），《奔跑吧！藏羚羊》（2022），《藏野驴的隐身术》（2022），《我不是兀鹫》（2022），《苏巴不怕冷》（2022）。
译著：《伊斯坦布尔的脚步》，纽都然·杜门（2019），《理想国的歌声》，费尔南多·伦德（2022），《太阳中的黄金鸟》，瓦迪姆·特里金（2022），《梅塔特隆的号角》（2022），《美国飞人》，乔治·华莱士（2022）。
（完）
（曹谁肖像，宋醉发摄）
曹谁简介：
曹谁，诗人、小说家、剧作家、翻译家，北京师范大学文学硕士，中国民主同盟盟员。原名曹宏波，字亚欧，号通天塔主。曾参加鲁迅文学院第14届作家高研班、中国文联第9届编剧高研班、中国作协第10次作代会、第8次青创会。1983年生于山西榆社，2008年去职远游，在西藏、新疆周游数月而返青海，开始职业写作生涯，现居北京。2007年发起大诗主义运动，2017年倡导剧小说运动，2018年发起曹伊之争。著有诗集《亚欧大陆地史诗》《通天塔之歌》《帝国之花》等十部，长篇小说《巴别塔尖》《昆仑秘史》（三部曲）《雪豹王子》等十部，文集《大诗学》《可可西里动物王国》《西藏新疆游历记》等四部，翻译《理想国的歌声》《太阳中的黄金鸟》《伊斯坦布尔的脚步》等三部，电影剧本《昆仑决》《子弹上膛》《一个王朝的背影》、电视剧本《孔雀王》和舞台剧本《雪豹王子》等百余部集。作品发表于《人民文学》《诗刊》《作家》等文学杂志，入选上百部权威选本。有多部长篇小说改编为影视剧、广播剧、舞台剧等。有作品翻译为英、法、德、俄、日、韩、瑞典、希腊、印地、意大利、西班牙、土耳其、阿拉伯等20余种文字，在国际诗坛有三十多位著名诗人写作评论，被印度杰出诗人拉蒂·萨克塞纳称为是“领导新世界的年轻一代”的代表诗人。曾获首届中国青年诗人奖、第5届青海青年文学奖之“文学之星”、第4届曹禺杯剧本奖、第8届意大利罗马当代国际诗歌艺术学院奖之阿波罗·狄奥尼索斯诗歌奖诗歌奖、第12届俄罗斯金骑士奖、第5届华语诗歌春晚2019年度华语十佳诗人等50多项省级以上文艺奖。曾参加第30届麦德林国际诗歌节、第26届哈瓦那国际诗歌节、第14届印度Kritya国际诗歌节、第4届青海湖国际诗歌节等多个国际诗歌节。系中国作家协会会员，中国电影文学学会会员，世界诗歌运动成员，《大诗刊》主编，《世界诗歌》副主编，《世界诗坛》副主编，《世界诗人》英文主编，华语诗歌春晚副总导演，博鳌国际诗歌节常务副秘书长。
玛丽亚·克里斯蒂娜·布索
玛丽亚·克里斯蒂娜·布索（MARIA CRISTINA BUOSO），意大利著名诗人、小说家。她很小的时候就开始写她的第一部作品，从童话、诗歌、剧本和短篇小说开始，然后转向小说和侦探小说。《帮助我》这首诗被收录在慈善机构的多媒体文集《电视马拉松的一首诗》（2004年）中。在ALIAS（墨尔本-澳大利亚）举办的比赛中，诗歌《战争中的和平》获得了特别荣誉奖。她在意大利安内西协会（法国）举办的“阿尔卑斯山之旅”文学比赛中获得台奖。短篇小说集《旧专辑》于1997年出版。她在意大利获得许多奖项。她出版了多部诗集和小说集。她是一位著名的文学博主，积极参与文坛活动，在意大利拥有大批读者。她与菲奥里·皮克合作，在她的博客上宣传东方作家。
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