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| More than three decades after scribbling his first poem as a teenager in the mountains of northern China, Chen Nianxi is living a literary dream. He has published two critically acclaimed books. He hobnobs with intellectuals around banquet tables. He tours the country promoting his writing, flitting between book fairs and university lecture halls. | 十几岁的时候，陈年喜在中国北方山区写下了第一首诗。30多年后，他实现了自己的文学梦。他出版了两本广受好评的书，在宴会桌边与知识分子们相谈甚欢，走遍全国推广自己的作品，在书展和大学讲堂之间穿梭。 |
| Still, he often finds his joy tempered with a sense of alienation. | 尽管如此，他经常感觉自己的快乐之中掺杂着一种疏离感。 |
| “I can’t completely leave behind my old life. I also don’t really know how to participate in this new life,” said Mr. Chen, 51, in a video interview from the southern city of Ningbo, where he was attending a book trade fair. “So I really feel like I’m in a very awkward position.” | “我没有办法全然摆脱过去的生活，也没有办法很好地参与当下的生活，”51岁的陈年喜在宁波参加书展期间接受视频采访时说。“所以真的现在面临很尴尬的一个问题。” |
| The source of that tension is the vast gulf between his new circumstances and his old. For more than 15 years, he labored in gold, iron and zinc mines across China, detonating explosives by day and scrawling poems on the backs of newspapers at night: | 这种紧张的根源是他的新环境和旧环境之间的巨大鸿沟。15年多来，他在中国各地的金矿、铁矿和锌矿工作，白天引爆炸药，晚上在报纸背面写诗： |
| I while away my middle age at 5,000 meters deep | 我在五千米深处打发中年 |
| I explode the rocks layer by layer | 我把岩层一次次炸裂 |
| And through this rebuild my life | 借此 把一生重新组合 |
| My lowly family is far at the foot of Mount Shang | 我微小的亲人 远在商山脚下 |
| They are sick, their bodies covered in dust | 他们有病 身体落满灰尘 |
| However much of my middle age I cut off | 我的中年裁下多少 |
| However much their old age can be prolonged | 他们的晚年就能延长多少 |
| Mr. Chen has emerged as one of the best-known practitioners of a relatively new genre in China: migrant worker literature. As China’s breakneck economic growth has collided with growing awareness of the human toll exacted, readers have increasingly sought out the voices of people like Mr. Chen. | 陈年喜已经成为中国一种相对较新的文学流派——农民工文学——最知名的创作者之一。随着中国经济的飞速发展，人们也更能意识到经济发展所带来的损害，读者们更加迫切地寻求像陈年喜这样的声音。 |
| His poems speak of the loneliness of the mines, the deaths of fellow workers and the distance between modern life and his work underground. They lament the toll of physical labor, while also valorizing its clarifying power. This summer, two years after publishing his first poetry collection, he published a book of essays, “To Live Is to Shout at the Sky.” | 他的诗讲述了矿山的孤独、工友的死亡以及现代生活与他的地下工作之间的距离。它们哀叹体力劳动的沉重代价，同时也赞美它的净化力量。今年夏天，在第一本诗集出版两年后，他出版了散文集《活着就是冲天一喊》。 |
| Its title comes from a poem, “Qinqiang,” that he wrote after a night of singing with fellow workers at a mine in Xinjiang. Qinqiang is a type of traditional opera from northwestern Shaanxi Province. | 这个名字来自他的诗作《秦腔》，那是他在新疆一个煤矿和同事们一起唱了一晚后写的。秦腔是陕西西北部的一种传统戏曲。 |
| Sing of great sorrow and great joy, sing of great love and great hate … | 歌唱大喜大悲唱大爱大恨…… |
| The downpour of Qinqiang enlightens you … | 秦腔的大雨醍醐灌顶…… |
| Makes you realize | 让我懂得 |
| To live is to shout at the sky | 活着就是冲天一喊 |
| Mr. Chen speaks of wanting to fill a gap in China’s literary and pop culture. But he is also wary of being confined as a writer only to that gap — and to the accompanying low expectations. | 陈年喜说他想填补中国文学和通俗文化之间的空白。但他同时也担心，作为一名作家，他会被局限在这种空白，以及随之而来的低期望值之中。 |
| “There will definitely be people who treat you as a spectacle: ‘You’re so underprivileged, your life is so distant from literature, and you actually wrote something,’” Mr. Chen said. | “肯定有一些人带着围观的眼光来看的，比如说，你是一个特别底层的人。你的生活和文学是非常遥远的人。而你恰恰是写出了作品，”陈年喜说。 |
| He insists on his work being judged on its artistic merits, not his hardscrabble background. | 他坚持认为评判他作品的标准是艺术价值，而不是他的贫困背景。 |
| “Look at this work’s literary value, its social nature. Don’t wear colored glasses to look at it,” he said. “When we compare our works to today’s mainstream literature, when it comes to weight or artistry, they are not at all inferior to anyone else’s.” | “去看这个作品它的文学性，它的社会性，它的艺术性，而不是带着有色眼镜去看这个作品，”他说。“我们把自己的作品放在当代主流文学当中，从自己作品的厚重程度、艺术程度来说，一点不逊色于任何一个人。” |
| Critics have agreed. In a review in The Paper, a popular state-run newspaper, Ma Zhen, a contemporary literature scholar, said there was a roughness to Mr. Chen’s poems, but that they also carried “classical bloodlines,” with frequent allusions to classical Chinese literature. | 评论家们对此表示同意。当代文学学者马臻在受欢迎的国有媒体“澎湃”上发表的评论文章称，陈年喜的诗歌有些粗糙，但它们也带有“古典气韵”，经常间接引用中国古典文学。 |
| Mr. Chen was born in the mountains of Shaanxi, his father a carpenter, his mother a farmer. | 陈年喜出生在陕西山区，父亲是木匠，母亲是农民。 |
| The 1980s were a time of rapid social and economic liberalization in China, and a teenage Mr. Chen devoured the resulting explosion of newspapers and literary journals. He wrote his first poem in high school, about a plane sowing seeds. | 1980年代是中国社会和经济快速自由化的时期，由此带来了报纸和文学期刊的爆炸式增长，十几岁的陈年喜浸淫其中。他在高中时写了第一首诗，是关于飞机播种的。 |
| He chose poetry, he said, because its length made it seem the most accessible form of writing. | 他说，他之所以选择诗歌，是因为它的长度显得像是最容易上手的写作形式。 |
| After high school, Mr. Chen farmed and got married. He published some poems in local publications. But in 1999, after his son was born, the family needed to pay for baby formula. Mining paid relatively well. So he headed for the Qinling mountain range, which hulks horizontally across Shaanxi. | 高中毕业后，陈年喜开始务农并结了婚。他在当地的出版物上发表了几首诗。但1999年儿子出生了，养孩子的开销很大。采矿业的收入相对较高。于是他前往横贯陕西的秦岭山脉。 |
| He worked deep underground, in claustrophobic conditions. Accidents claimed the lives of several colleagues, as well as the hearing in his right ear. He eventually traveled across the country for work, going months without seeing his family. | 他在地下深处工作，处于幽闭的环境中。事故夺去了几位同事的生命，也夺去了他右耳的听力。后来，他为了工作走遍全国，一连几个月不能见到家人。 |
| Before then, he had written flowery poems about the beauty of nature, copying the poets he had read in magazines in hopes of getting published. But in the mines, with no real hope of publication, he turned to his own experiences. | 在此之前，他模仿在杂志上读到的诗，写过关于自然之美的花哨诗歌，希望能够发表。但在煤矿里，由于没有真正出版的希望，他开始书写自己的经历。 |
| “In the middle of the night, when everything is quiet and you’re living in a shed, you really feel how small you are,” Mr. Chen said. “Writing is like opening a window in your head and letting out some pressure.” | “但是夜深人静的时候，住在工棚的时候，茫茫世界当中，人真的是无穷小无穷小。很孤独很茫然，”陈年喜说。“所以写作在这个时候就像自己的大脑开了一个天窗一样，会缓解自己的压力。” |
| He used empty kegs of explosives as tables. He kept his writing from other workers, worried they would see him as snobbish. | 他用装炸药的空桶当桌子。他不让工友们看到他的作品，担心他们觉得他附庸风雅。 |
| In 2011, he found a broader audience via the blogging craze then spreading across China. Online, he met other poets, amateur and professional. One day in 2014, a well-known critic, Qin Xiaoyu, happened across Mr. Chen’s blog and asked to meet. | 2011年，他通过当时席卷中国的博客热潮找到了更广泛的受众。在网上，他结识了其他业余和专业诗人。2014年的一天，著名评论家秦晓宇偶然看到了陈年喜的博客，要求与他见面。 |
| Over the next year, Mr. Qin and a filmmaker, Wu Feiyue, followed Mr. Chen and five other migrant worker poets, for a documentary called “The Verse of Us” (later released internationally as “Iron Moon”). | 在接下来的一年里，秦晓宇和电影制作人吴飞跃跟随陈年喜和其他五名农民工诗人拍摄了一部名为《我的诗篇》的纪录片（后来以Iron Moon的名字在国外上映）。 |
| The film, released in 2015, received considerable attention — in part because of tragedy. Another poet it featured, Xu Lizhi, a factory worker for the electronics giant Foxconn, committed suicide during the filmmaking process. His death, which followed a string of deaths of other Foxconn workers, renewed international scrutiny of Chinese laborers’ working conditions. | 这部于2015年上映的电影受到了相当大的关注，部分原因是悲剧。片中另一位诗人许立志是电子业巨头富士康的工人，在电影拍摄过程中自杀身亡。他的死是在富士康其他工人相继死亡之后发生的，这些事件再次引起了国际社会对中国劳工工作状况的关注。 |
| The documentary also came amid growing awareness of how reliant China, and the world, had become on this labor force, said Faye Xiao, a professor of modern Chinese literature at the University of Kansas. | 堪萨斯大学中国现代文学教授肖慧说，这部纪录片上映之际，人们开始越来越意识到中国和世界对劳动力的依赖程度。 |
| “Our everyday lives cannot last for even one day without the labor of migrant workers. But at the same time, they remain politically voiceless and socially marginalized,” Professor Xiao said. “That is why more and more intellectuals and middle-class readers want to know more about their everyday struggles.” | “没有农民工的劳动，我们的日常生活连一天都维持不了。但与此同时，他们在政治上没有话语权，在社会上被边缘化，”肖慧说。“所以越来越多的知识分子和中产阶级读者希望更了解他们的日常挣扎。” |
| The film’s timing was lucky for Mr. Chen. He had recently left the mines, after undergoing neck surgery for a work-related injury. Through his new recognition, he found work writing copy for a tourism company — his first white-collar job. In 2019, he published his poetry collection, “Demolitions Mark.” | 这部电影的上映时机对陈年喜来说是幸运的。他在此前不久因工伤做了颈部手术，离开了矿山。借助这些最近得到的声誉，他找到了为旅行社写文案的工作——这是他的第一份白领工作。2019年，他出版了诗集《炸裂志》。 |
| But even as he was finally making a living by writing, he said he felt increasingly removed from his primary inspiration, the physical labor of the previous decades. He also worried about retreading the same ground and being typecast with the label of worker poet. | 但他说，虽然终于可以靠写作谋生了，但他觉得自己日益远离了最初的灵感，也就是过去几十年的体力劳动。他还担心自己会重蹈他人覆辙，被贴上工人诗人的标签。 |
| At the same time, he felt like an outsider in the glamorous world he had entered. He recalled meeting a rich businessman at a dinner in Shanghai who declared that he had been so stirred by “The Verse of Us” that he would now always pay his workers on time. | 与此同时，在他所进入的这个迷人世界里，他感到自己是个局外人。他回忆说，在上海的一次晚宴上，他遇到一位富商，这位富商说，《我的诗篇》让他深受感动，现在他总是按时给工人发工资。 |
| A poem Mr. Chen wrote to his son, who unlike him would go on to college, captured his ambivalence about straddling two worlds: | 陈年喜为儿子写了一首诗，和他不同，他的儿子将进入大学，这首诗记录了他跨越两个世界的矛盾心理： |
| Your clear eyes | 你清澈的眼波 |
| Penetrate text and numbers … | 看穿文字和数字…… |
| But still cannot see the real scenes of this world | 但还看不清那些人间的实景 |
| I want you to bypass your books and see this world | 我想让你绕过书本看看人间 |
| But also fear that you would really see it | 又怕你真的看清 |
| Despite his success, Mr. Chen is cleareyed about the limits of art to change reality, whether society’s or his own. | 尽管取得了成功，但陈年喜很清楚艺术在改变现实方面的局限性，无论是社会的还是他自己的。 |
| Last year, he was diagnosed with pneumoconiosis, an incurable lung disease common in miners. | 去年，他被诊出患有尘肺病，这是在矿工中很常见的一种无法治愈的肺病。 |
| Mr. Chen, who coughed throughout the interview, said he had struggled for inspiration in the past year. Writing did little to alleviate his anxiety about his illness. | 在接受采访过程中，陈年喜一直在咳嗽。他说，过去一年里，他一直在努力寻找灵感。写作并没有减轻他对疾病的忧虑。 |
| But he also has signed deals for another poetry collection and is thinking of writing a novel. He is also the writer-in-residence of a charity dedicated to helping those with pneumoconiosis, writing essays to raise awareness. | 但他还签了出版另一本诗集的合约，并考虑写一部小说。他还签约一个帮助尘肺病患者的慈善机构，通过写文章来提高人们对尘肺病的认识。 |
| “We still need plentiful, diverse works to prop up contemporary literature and culture,” Mr. Chen said, adding that he hoped his work “will broaden modern people’s perspectives or remind them to look downward a bit.” | “确实从文学主流也罢，民间也罢，它还是需要百花齐放的，还是需要丰富的作品的面貌，不同的作品来支撑这个时代的文学文艺吧，”陈年喜说。他希望自己的作品能向这个时代提供“很多的思考。因为你的作品会让这个时代人们的认识眼光更加开阔，或者更加向下一些”。 |
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