Born in an aboriginal Atayal tribe named Mihu.
Went to Tungshih Junior High School, where he was often discriminated due to his aboriginal identity.
(Note:Photograph provide by Walis Nokan; First year in the teachers college)
During this period, he read extensively the poetry by Chou Meng-tieh, Yu Guangzhong, and Yang Mu, and composed his first modern poem. He started to pay attention to the life of the lower class in society after learning about Wu Cheng’s poetry.
(Note:Photograph provide by Walis Nokan; Walis Nokan (the first from the right) in his third year in the college)
(Note:Photograph provide by Walis Nokan; Walis Nokan (the right))
Met some Communists in Taiwan and learned a rough picture of the social condition of Taiwan’s aboriginals.
Co-established the Aboriginal Post(1989-1995) with Taban Sasala and others.
(Note:Photograph provide by Walis Nokan; Giving a speech to the aboriginal in Wulai, Taipei, in 1990)
Co-established the Hunter Culture Magazine (1990-1992) with Liglav A-wu.
(Note:Publication of the book on the ten major incidents that happened to Taiwan’s indigenous peoples in 1992)
“Mihuo: Record of the Land” Award Acceptance Speech
In these last few years, I have been gradually enlightened through the myths and legends of old men, while my dreams have also begun to slowly take shape. For example: Returning to the tribe to establish a children’s library; compose volume after volume of fairy tales passed down through tribal oral tradition; open up my home for people to come and chat; inviting tribespeople to come tell stories by the fireplace at night; regularly asking elders to speak about their life histories…Oh, you’re asking me about winning the award! The prizemoney can help to start realize a little dream of mine to build a library for tribal children. It’s not the type with air-conditioned rooms, but one with flowers and grass, with trees and dirt, a library that can cultivate dreams in the hearts of children. If you like it, come and find me!
(Note:Photograph provide by Cheng Sheng-yi)
According to the rule of Atayal naming.
“Losin Wadan: Colonialism, Ethnicity and Self” Award Acceptance Speech
In this year of field research into tribesmen during the “White Terror” era; amid the back-and-forth journey between Central, Northern, Hualien, Taitung and Southern Taiwan; and while combing through those memories and years tribespeople cannot bear to discuss the most—I understood: This was a journey of enlightenment and growth for me.
I have never forgotten; I was in my early 20s at the time. The tribe elder who was captured and imprisoned for being bent on safeguarding the dignity of the tribe—40 years later, the white hair on his head still refuses to lie down, a manifestation of his soaring will. The elder said: “We are from Pinsbuohang (the mythical origins of the Atayals, meaning ‘Cause stone to break’). Our ancestors passed through hardships and broke through stone to come into this world. Remember: We Atayals are the children of stone-breakers!”
After writing “Losin Wadan”, I know very well that this is just the first step toward breaking the stone. Learning and reminiscing the spirit of our ancestors has always been the goal I and this generation of tribespeople have been working toward.
(Note:Photograph provide by Cheng Sheng-yi)
“Have You Seen the Rainbow Bridge?” Award Acceptance Speech
Cinema has always had the convention of “paying tribute” to classic films. “Have You Seen the Rainbow Bridge?” is a tribute to Su Tong’s “The Completion of a Ritual”, much like how my prose poetry over the past year have been repeated tributes to Su Tong. In this perspective, some of the boundlessness of literature can perhaps be gleaned from my indigenous identity. If we interpret the state of Taiwan’s Northern and Southern literature in this way, then perhaps mutual questioning, research, and more introspection and sympathy will be able to slowly smooth out “ideological” debates. I personally believe so.
Accordingly, when I enter into various literature competitions carrying works touted as “indigenous literature”, it is actually no longer about winning prizes; what is important is the impact on all sorts of ideological literature hegemony. Thus, the judges’ positive reaction to “Have You Seen the Rainbow Bridge?” is actually a progressive testimony to the fact that the garden of Taiwan’s literature diversity is equipped with the soil of growth, allowing us to see the world through the point of view and perspective of another window. I also hope readers will be able to “see” in “Have you Seen the Rainbow Bridge” a spiritual world of indigenous peoples that is on the brink of distress, and through sympathy and introspection, adjust our views toward this group of people.
(Note:Photograph provide by Cheng Sheng-yi)
(Note:After the 921 earthquake, Walis Nokan wrote in a pre-fabricated house, photo taken in 2002)
(Note:Photograph provide by Walis Nokan; With Syman Rapongan in an exchange event between Taiwanese and Japanese authors, photo taken in Kyoto)
“Seven-Day Reading ” Award Acceptance Speech: A Journey Forged Through Suffering
“Seven-Day Reading” depicts the plight of Native Americans. It is also a response to the tribe I call home. This is a journey forged through suffering—as is the case with history, this writing also suffered through the fate of multiple rejections. Fortunately, the judges saw the faint glow within and allowed it to take flight from the murky files, showing that even a faint light can shoot straight to people’s hearts.
(Note:Photograph provide by Cheng Sheng-yi)
(Note:Photograph provide by Walis Nokan; In the ceremony of the Wu Zhuo-liu Literature Award)
The first aboriginal poet represent Taiwan for this event.
(Note:Photograph provide by Embajada de la República de China (Taiwan) en Nicaragua)
(Note:Photograph provide by Centre culturel de Taïwan à Paris)