艾伟，男，1966年3月生于浙江上虞。现居杭州。浙江省作家协会副主席，杭州作家协会主席。1996年发表第一篇短篇小说《少年杨淇佩着刀》。他的代表作有长篇《爱人同志》、《风和日丽》、《南方》等，另有短篇小说集多种。有部分小说被翻译成德、日、俄、意、希腊等多种语言。其中长篇《爱人有罪》译成意大利语出版。

　　艾伟的作品主要反思二十世纪以来革命洪流之下中国人的血泪欢欣，他试图穿透整齐划一的意识形态修辞术，进入到杂草丛生的历史的荒芜深处，见证在时代意志下，人心的复杂律动，试图写出革命时期人的野心、爱欲、异化与残酷，同时写出了爱的顽强与易碎。他的长篇人物不多，往往聚焦于人性的幽微深处，抵达黑暗的无可名状的无意识领域，显示出深邃的精神品质。

　　《爱人同志》是一部具有鲜明艾伟标记的小说。1979年中越战争中伤残的英雄刘亚军被一位女学生张小影爱上。他们的故事被赋予政治色彩，张小影被描述成一位圣女，他们的婚姻以“王子和公主终成眷属”这种童话的方式被媒体广泛报道，一度成了时代楷模。艾伟从童话结束的地方开始，书写他们婚后的日常生活。1980年代，正是中国社会向市场经济过渡的阶段，道德英雄慢慢被市场英雄所取代，他们身上的光环慢慢退去，被人们遗忘。于是战争进入到两性之间，他们相互依靠又相互折磨，两性的隐秘、精神与肉体的撕裂、时代变迁与身心伤痛、光辉岁月的记忆与饱受冷落时的幻想等等，以惊人的方式呈现。《风和日丽》的叙事者杨小翼是开国将军的“私生子”，故事从1949年开始至2000年结束，以“私生子”的视角写了共和国五十年的历史。首先这是一部关于杨小翼的“个人史”，书写了杨小翼作为女人一生要经历的种种情感，同时也是一部关于“父亲”的小说，杨小翼的“寻父、弑父、审父”的精神蜕变，也是中国人共同的生命历程。

　　《南方》是艾伟最新的作品。本书围绕一个女人的活泼生命来展开男性欲望的缠斗，以具有南方气息的俗世人情为底色，生动呈现二十世纪自五十年代至九十年代中期这三十多年巨大的社会变迁。这是一部在文体上有所探索的小说。小说设置了三个人称：你、我、他，三个视角讲述了三个故事：一个是杜天宝（“他”）的故事，一个是肖长春（“你”）的故事，一个是罗忆苦（“我”）的故事。三个故事的话语形态彼此独立、平行，而其内在结构又相互关涉、交织，共同构成一个完整的关于人性和历史的寓言文本。艾伟在小说中展示了人性的善、恶、高尚、堕落、忏悔等，并以冻库、蛇等意象隐喻两个不同的时代。

　　Ai Wei was born in March of 1966 in Shangyu, Zhejiang province, and currently resides in Hangzhou. The vice-chairman of the Zhejiang Writers Association and chairman of the Hangzhou Writers Association, Ai published his first novel “Young Yang Qi Is Carrying a Knife” in 1996. His most representative works include “Comrade Dearest,”“Sunny With a Fair Wind,”and “The South,” in addition to a number of short story collections. Some of Ai’s novels have been translated into languages including German, Japanese, Russian, Italian, and Greek. His novel “The Guilty Lover” has been translated into Italian.

　　Ai Wei’s works consider primarily the joy and suffering of China’s people against the backdrop of revolutions that swept through the country over the course of the 20th century. He attempts to cut through the orderly, uniform rhetoric of ideology, getting in and among the weeds that lie at the very depths of history’s wasteland. There, amid the spirit of the times, Ai bears witness to the complex rhythms governing humanity, attempting to put to paper the wild ambition, thirst for love, alienation, and cruelty that those living through times of revolution exhibited. Ai also writes of the indomitability and fragility of love. His novels may often focus on the very depths of human nature, yet he is sparing with the number of characters within them. There is profound spirituality to be found in the dark, indescribable land of unconsciousness at which the work arrives.

　　“Comrade Dearest” is a novel with the trademarks of Ai written all over it. The heroic Liu Yajun, who suffered debilitating injury in 1979 during the Sino-Vietnam war, becomes the object of affection of a female student, Zhang Xiaoying. Their story is given a political coating: Zhang Xiaoying is described as a saint, their wedding reported widely by the media in such fairytale terms as “the eternal matrimony of a prince and princess.” At once, they become a model of the times.

　　Ai begins from the place in which fairytales end, describing the daily happenings of their post-marriage lives. The 1980s was just the moment when China was transitioning towards the market economy: moral heroes were slowly being replaced by market heroes, the halos above their heads slowly fading along with people’s memories of them. And so, the war came between them. They relied on each other, but also wore away at each other. Things began to surface in the most shocking ways: secrets between them, emotional and physical clashes, the changing of the times, physical pain, heartache, memories of a more glorious time, and fantasies in times of hardship.

　　The narrator of “Sunny With a Fair Wind” is Yang Xiaoyi, the illegitimate child of a general serving during the founding of the People’s Republic of China. The story, beginning in 1949 and ending at the turn of the century, follows the 50-year history of the PRC, but from the perspective of a “bastard.” First and foremost, the novel is the memoir of Yang Xiaoyi, putting to paper all the many emotions that she, as a woman, had to go through in her life. At the same time, it is a novel about fatherhood. The transformations in Yang’s frame of mind — from wanting to find her father, to wanting to kill him, to wanting to try him — speaks to the shared experiences of Chinese people.

　　“The South” is Ai’s most recent work. The book revolves around the spirited life of a woman — a means to exploring the torment of male desire. The culture and way of life of southern China provides the backdrop against which the story vividly plays out, plotting the more-than three decades of seismic social change that China underwent between the 1950s and ’90s. In terms of literary form, this is an explorative novel. The story assumes three voices: you, I, and he. These three perspectives tell the stories of three different people: Xiao Changchun, Luo Yiku, and Du Tianbao, respectively. The parallel narratives progress independent of each other, yet there is interference and overlap between their internal structures; together, they form a complete fable-like text about humanity and history. In his work, Ai presents to us the benevolence, cruelty, nobility, degeneracy and remorse of humanity, while using imagery such as frozen storage containers and snakes as allegories for different eras.