近年来，中华文化“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”。

　　陈东东，男，祖籍江苏吴江，出生并长期生活于上海。1980年代初在上海师范大学中文系读书期间开始写诗，毕业后做过教师、史料员、编辑等工作，现居深圳和上海，专事写作。他是上世纪八十年代以来中国当代诗歌的一位代表性诗人，也是当代诗歌生活的重要参与者，曾创办和主编民间诗刊，担任民间诗歌奖评委，组织民间诗会和诗歌节等活动。出版的主要作品有诗集《夏之书·解禁书》（2010，重庆）《导游图》（2013，台北）；诗文集《短篇·流水》（2000，北京）；随笔集《黑境子》（2014，北京）《只言片语来自写作》（2015，北京）等。

　　陈东东的诗歌热衷于捕捉自然场景。诗人孙文波认为，“天空和大海构成了陈东东诗歌的主要背景，同时在他的诗中成为那种被人们称之为象征性的隐喻”；北京大学中文系教授陈晓明认为“陈东东的自然景观浸透了社会历史内涵，它们总具有文化/政治的暗喻性质”；作为八十年代诗歌的象征符号之一，又是九十年代诗歌最重要、最激进的实验者，陈东东被诗人李建春、王家新评价是“经得住时间考验的诗人”。 

　　《海神的一夜》是诗人二十年前出版的同名诗集的增订本，除了添加之后所写的七十多首诗，也补充了之前写下而未收入当初那本诗集，另外拆解和调整了上世纪八九十年代的一两个组诗，其中有些篇章，也作为单独的诗作编进了此集。陈东东一向视短诗写作为根本性的写作，因此这部短诗集被诗人视作自己诗歌创作的“中途小歇”，并与《流水》等诗文集汇合呈现出诗人的诗歌写作全貌。长诗《流水》，对应曲式结构布局篇章，摹用和发挥文字谱的语言方式，以臆写伯牙和钟子期传说作为展开，故事的知音主题，贯穿这个由倾听和阅读而引起了写作的讽寓式故事，在不同方面受到格律诗与《一千零一夜》《金瓶梅》《尤利西斯》等文学作品的启示，是“从倾听和阅读到来的写作”，进行的是写作跟倾听和阅读的对话，亦探讨了[戏仿的严肃性]。《组诗·长诗》汇总了陈东东三十五年间（1981-2016）写下的组诗和长诗，诗人于跋语中自谦，“它除了能让读者免去到处收罗的麻烦，一集在手，就算齐备， 还让作者跟他早先的写作拉开了足够长久的距离，能以重新审视的眼光，剔去现在看来根本不值得保留的篇章。”

　　陈东东

　　Chen Dongdong

　　Chen Dongdong， whose ancestral home is Wujiang， Jiangsu Province， was born in Shanghai and lived there for a long time. In the early 1980s， he began writing poetry while studying at the Chinese Faculty of Shanghai Normal University. After graduating， he worked as a teacher， historical documenter， and editor. He currently lives in Shenzhen and Shanghai and specializes in writing. He has been a representative of Chinese contemporary poetry since the 1980s and an important participant in the life of contemporary poetry. He has founded and edited folk poetry publications， served as a judge for folk poetry awards， organized folk poetry and poetry festivals and other events. His main published works include the poetry collections The Book of Summer： The Book of Dismissal （2010， Chongqing） and The Guide Map （2013， Taipei）， the poetry and essay collection Short Paper： Flowing Water （2000， Beijing）， and the essay collections The Black Mirror （2014， Beijing） and A Few Words Come from Writing （2015， Beijing）.

　　Chen Dongdong’s poetry is keen on capturing natural scenes. The poet Sun Wenbo believes that “the sky and the sea constitute the main background of Chen Dongdong’s poetry， and at the same they have became known as symbolic metaphors in his poetry.” Chen Xiaoming， a professor at the Chinese Faculty of Peking University， believes that “Chen Dongdong’s natural landscapes are soaked in social and historical content， they always possess a cultural or political metaphorical nature.” As one of the symbols of poetry in the 1980s， and the most important and radical experimenter of poetry in the 1990s， Chen Dongdong has been evaluated by poets Li Jianchun and Wang Jiaxin as “A poet who can stand the test of time.”

　　One Night of Poseidon is an addendum of the poems of the same name published by the poet twenty years ago. In addition to the more than 70 poems written after the addition， it also supplements the original poems that were written and not included in the original， as well as one or two poems from the 1980s and 1990s that have been disassembled and adjusted， some of which were also included in this compilation as separate poems. Chen Dongdong has always regarded short poetry writing as fundamental writing. Therefore， the poet regards this short poetry collection as a “small break” in his poetry creation， and together with poetry compilations such as Flowing Water， it presents a complete picture of his poetry writing. The chapters of the long poem Flowing Water are laid out in a corresponding musical structure， using the music of the words， and unfolding through the legend of Bo Ya and Zhong Ziqi， familiar themes flow through this satirical and metaphorical story through listening and reading and it shows inspiration from various metrical poems and literary works such as One Thousand and One Nights， Jin Ping Mei and Ulysses in different aspects. It is “writing that comes from listening and reading”. It is about the dialogue writing has with listening and reading. It also deeply explores the seriousness of parody.

　　Poems and Epics brings together the short and epic poems written by Chen Dongdong in the thirty-five years spanning from 1981 to 2016. The poet is self-deprecating in his postscript， “It saves the reader from the hassle of collecting different books from everywhere. This one book gives you everything. It has also allowed the author to pull away from his earlier writing for a long enough period of time to re-examine and remove the chapters that now seem to be not worth keeping at all.”