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”。

　　须一瓜，女， 1963年11月生于福建。厦门晚报记者，中国一级作家。出版了《淡绿色的月亮》《蛇宫》《你是我公元前的熟人》《提拉米苏》《火车火车娶老婆没有》《第五个喷嚏》《老闺蜜》等中短篇小说集，长篇小说《太阳黑子》《别人》《白口罩》《双眼台风》等。获华语传媒奖、郁达夫小说奖、人民文学小说奖、小说选刊小说奖、小说月报小说奖等。

　　须一瓜是独特的，我们几乎很难把她和另外一个作家联想起来。她骨子里生来就有着对雷同的高度敌意。就题材、素材、地域、类别而言，在归类问题上，须一瓜都难以就范。她着意书写的是城市生活和人性的丰富性和复杂性，挑战的是文学的“不可能性”。因此，她的小说大都迷宫般地扑朔迷离、乱花迷眼，读她的小说在很大的程度上是一种智力较量。须一瓜让小说不仅有心理侦探叙事的质地，还在追问存在的思辨力量下，展示了一个作家向小说哲学家的精神状态上升的取向。

　　《太阳黑子》讲述的是三个逃犯的故事。三名十六七岁的少年，犯下强奸灭门的大案。在逃亡的十几年间，因为愧疚和良心的折磨，他们四处助人努力求善，把余生过成了洗涤罪恶和赎罪之旅。最终，在警察的追踪下、在爱情的煎熬以及阴暗房东的窃听下，他们还是走上刑场。在一个罪感麻木的时代，须一瓜写出恶的自我审判，在一个人心黑暗的时代，她写出心灵之光，在一个精神腐败的时代，写出一种值得信任的善和希望，这是今日写作真正的难度所在。《太阳黑子》成功地克服了这一难度，并写出了那些平凡生命可以争得的尊严。它的精神路径或许是孤绝的，但须一瓜用一种久违了的理想主义情怀，强有力地向我们证明，无论时代如何萎靡，人性之光一直都在。

　　须一瓜的中篇小说《淡绿色的月亮》位列中国小说学会、年度小说排行榜榜首。它讲述的是一户中产人家，半夜小偷入室，强壮的丈夫妥协求和、破财消灾，妻子困惑于丈夫的不反抗，她一直在纠结、在暗暗追问男人的勇气、责任及英雄情怀。最终，这个精神漩涡，摧毁了这个美好的家。

　　须一瓜的新作是短篇小说《会有一条叫王新大的鱼》。小说基本由对话构成的。事情的原委、情节的推动、不同人物的感受、心境、意图都靠对话碎片完成，它摆脱了故事的重力，充满语言符号艺术本身的意趣。

　　须一瓜

　　Xu Yigua

　　Xu Yigua was born in November 1963 in Fujian. She is a Xiamen Evening News reporter and a first-rate Chinese writer. She has published a series of short stories including The Light Green Moon， The Serpent Court， You Are My Ancient Acquaintance， Tiramisu， Train， Train， Do You Have a Wife Yet？， The Fifth Sneeze， Old Girlfriends and so on as well as novels including Sunspots， Others， White Masks and Double-eyed Typhoon. She has won the Chinese Language Media Award， Yu Dafu Novel Prize， People’s Literary Fiction Prize， Fiction Selection Novel Award， Fiction Monthly Fiction Award and so on.

　　Xu Yigua is unique and it is almost impossible for us to associate her with any other author. She was born with a high degree of hostility towards similarities. In terms of subject matter， material， regions， and categories， it is difficult to classify her work. What she wants to write about is the richness and complexity of urban life and humanity， and the challenge is the “impossibility” of literature. Therefore， most of her novels are as complex and confusing as a maze. Reading her novels is an intellectual battle to a large extent. Xu Yigua makes it so her novels not only have the texture of a psychological detective narrative， but also puts them under the speculative power of questioning existence， showing the orientation of a spiritual rise from a writer to a novelist philosopher. 

　　Sunspots tells the story of three fugitives. Three 16 and 17-year-olds commit the major crime of raping and killing an entire family. In the more than ten years of their escape， because of the tortures from their sense of guilt and consciences， they help others to strive for goodness and spend the rest of their lives on a journey washing themselves of sin and searching for atonement. In the end， under the police’s tracking， in the suffering of love and the eavesdropping of a shady landlord， they still walk out on to the execution ground. In an age of guilt and numbness， Xu Yigua writes a self-judgment on sin. In an era of darkness for humanity， she writes about the light of the soul. In an era of spiritual corruption， she writes about a type of kindness and hope that is worth trusting in. This is where the real difficulties lie in writing today. Sunspots successfully overcomes these difficulties and writes about the dignity that an ordinary life can obtain. Its spiritual path may be isolated， but Xu Yigua uses a long-lost idealistic sentiment to prove to us strongly that， no matter how dispirited the times are， the light of humanity is always there.

　　Xu Yigua’s novella Light Green Moon is ranked first in the Chinese Fiction Society and Annual Novel Rankings. It is about a middle class family. In the middle of the night， a thief enters the household and the strong husband gives the thief what he wants to prevent disaster. The wife is puzzled by her husband‘s non-resistance and feels conflicted and secretly queries the man’s courage， responsibility and heroic feelings. In the end， this spiritual vortex destroys this wonderful home.

　　Xu Yigua’s new work is the short story， There Will be A Fish Called Wang Xinda. Basically， the novel is made up of dialogue. The story of the matter， the pushing forward of the plot， the feelings of different people， the mood， and the intentions all rely on the fragmentation of the dialogue. It is free from the gravity of the story and full of the interest and charm of the language and symbol artistry itself.