The Nobel citation said Mr. Mo's "hallucinatory realism merges folk tales, history and the contemporary".
The Swedish Academy praises Mo, "who with hallucinatory realism merges folk tales, history and the contemporary".
The Nobel committee called him a writer "who with hallucinatory realism merges folk tales, history and the contemporary".
Mo was hailed by the Nobel committee for merging "folk tales, history and the contemporary" with "hallucinatory realism".
In its citation, the jury said Mo "with hallucinatory realism merges folk tales, history and the contemporary".
The Swedish Academy, which decides on the award, said the novelist's "hallucinatory realism" merged folk tales, history and the contemporary, and created a world reminiscent of those forged by William Faulkner and Gabriel García Márquez.
When a non-Anglophone writer wins the Nobel Prize in Literature, as Mo Yan, the Chinese novelist, did this morning, it's natural to seek out points of comparison closer to home: Mo has been compared to Kafka, for example, and the Nobel Committee has cited the way his "hallucinatory realism merges folk tales, history, and the contemporary".
In recent years, this has ranged from the Belarusian journalist Svetlana Alexievich, honoured for her "polyphonic writings, a monument to suffering and courage in our time", to China's Mo Yan, "who with hallucinatory realism merges folk tales, history and the contemporary".
Chinese author Mo Yan, who left school for a life working the fields at the age of 12, has become the first Chinese citizen ever to win the Nobel prize in literature, praised by the Swedish Academy for merging "folk tales, history and the contemporary" with "hallucinatory realism".
It's long been accepted that Mo Yan's work is influenced by García Márquez's magical realism; in the official press release, the Nobel prize committee praised him for a "hallucinatory realism" that "merges folk tales, history and the contemporary".
