近年来，中国文化“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”。

李瑛，男，1926年12月生于辽宁省锦州市，祖籍河北省丰润县。曾任解放军总政文化部部长、中国作家协会主席团委员。1949年从北京大学中文系毕业，参加了中国人民解放军。曾任新华通讯社第四野战军总社记者。1942年开始发表作品，1944年与同学合出诗集《石城底青苗》，1948年出版第一本诗集《枪》。诗集《生命是一片叶子》获首届鲁迅文学奖诗歌奖。

李瑛有“军旅诗人”之称，擅长通过描写士兵的日常生活场景来歌颂士兵的勇敢和忠诚。李瑛还写有许多国际题材的诗歌，以世界各国人民争取民族独立和民族解放的斗争为背景，情感强烈。李瑛善于以小见大，细小具体的生活局部反映了时代的特点；他还善于抓住自然景色的特点，描绘辽阔壮美的自然景色，意象鲜艳明丽。

《我骄傲，我是一棵树》以一棵树的口吻，激情洋溢地表现了这棵树坚韧不拔、热爱生活的品质和无私奉献的精神。这棵树生长在作为中华文化发源地的黄河边上，他既有阻挡风沙雨雪的本领，又有关爱弱者、关心社会、奉献自己的美好品质。他即使失去“生命”，也要变为煤炭，向社会奉献最后的光和热。其实树的情感就是诗人的情感。《我的中国》是一首抒情长诗，共3600余行。诗人以自己的成长经历为经，以纷繁的时代生活为纬，以饱满的热情、如实的笔触记录了时代的发展，以广阔的视野、深刻的探讨铺开了文化发展的历史巨幅。面对未来，诗人呼唤道：“现在，在阳光下，让我们一起/从五十个十月用二十世纪末的窗口/眺望未来。”《一月的哀思》书写了周恩来总理逝世后，全国的悲痛气氛和人们对总理的沉痛怀念。诗人描写了北京十里长街的百万群众送别总理灵车的画面，穿插回忆了总理的感人事迹，生动地刻画出了总理的光辉形象。诗人运用了中国传统诗歌反复咏唱、回环往复的写法，并且结合了电影中蒙太奇的手法，总体呈现出了刚柔相济的风格。

李瑛晚年诗歌，技巧自然，不着痕迹。诗人将情感融于诗歌的意境，幽远深邃，感情隐忍，令人心痛。他以“灵魂是一只鸟”作为五首新诗《在墓园》《亲人离去之后》《灵魂是一只鸟》《寻找》《什么是孤独》的总题，表达了他对去世亲人的沉痛思念。

Li Ying, male. Born in December 1926, in Jinzhou, Liaoning province. His family is originally from Fengrun, Hebei province. Former head of the cultural division of the People’s Liberation Army and presidium member of the Chinese Writers Association. In 1949 he graduated from Peking University with a degree in Chinese and subsequently entered the People’s Liberation Army. Former reporter with the Fourth Field Army Cooperative for Xinhua News. His writing was first published in 1942. Together with a classmate, he released the poetry collection Green Sprouts Below the Stone City in 1944, and in 1948 his first poetry collection, Gun , was published. His poetry collection Life Is a Leaf won the first Lu Xun Literary Prize for Poetry.

Sometimes known as the “Army Poet,” Li Ying is skilled at portraying scenes from the everyday life of a soldier, and at using these scenes to praise the courage and devotion of these soldiers. Li Ying has also written many poems with international themes. These poems are set against a common background—people fighting for the their independence and liberty—and are filled with strong emotion. Li Ying has a knack for conveying grand ideas and themes with smaller examples, such as using small, specific parts of life reflect the characteristics of certain eras. He is also skilled at grasping the features of natural landscapes. The natural landscapes he depicts are vast and magnificent, and filled with bright, gorgeous imagery.

I Am Proud, I Am a Tree  is written from the perspective of a tree, using this voice to passionately display its unyieldingness and love of life, as well as its spirit of selfless devotion. This tree grows besides the Yellow River, the cradle of Chinese civilization. In addition to his instincts for blocking wind, sand, rain, and snow, he also watches over the weak, cares for society, and dedicates his own good qualities to the people’s wellbeing. Even if he loses his “life,” he will still be turned into coal, devoting the last of his warmth and brightness to society. In fact, the tree’s emotions are a perfect reflection of the author’s own.

My China is a long lyrical poem with over 3,600 lines. Using his own experiences growing up as well as numerous lives and eras as threads, the poet records the  country’s development through the years with passionate and truthful language; using a wide breadth of perspectives, he explores the history of China’s development, laying out a massive canvas as he does so. As he confronts the future, the poet calls out, “Now, under this sunlight, let us/after experiencing these fifty Octobers, look through the window of the end of this century/and gaze upon the future.”

January Sorrow and Grief depicts the entire country’s grief after the death of former Chinese premiere Zhou Enlai, as well as the people’s sorrowful but cherished memories of the man. The poet describes the mighty crowds of people who lined the streets of Beijing to bid a final farewell to the former premiere’s hearse. Interspersed with memories of Zhou Enlai’s moving deeds, the poem paints a vivid and lofty image of him. The poet combines   techniques of repetition and symmetry found in traditional Chinese poetry with a cinematic montage technique to present a style that is simultaneously firm and supple.

Li Ying’s later poems are seamlessly written and marked by the natural use of technique. The poet melds his emotions with the imagery of his poems—deep, abstruse, patient, and heartrending. With a single phrase as a theme—“the soul is a bird”—he penned five new poems: In the Graveyard , After the Passing of a Family Member, The Soul Is a Bird, Searching, and What Is Loneliness. These poems express his deep pain and thoughts on his departed family members and relatives.