葉梅，女，土家族，中國(guó)作協(xié)主席團(tuán)委員、著有小說(shuō)集《花燈，像她那雙眼睛》《撒憂的龍船河》《五月飛蛾》《最后的土司》《九種聲音》《第一種愛(ài)》《回到恩施》《妹娃要過(guò)河》，散文集《我的西蘭卡普》《朝發(fā)蒼梧》《大翔鳳》《從小到大》《穿過(guò)拉夢(mèng)的河流》、評(píng)論研究《葉梅研究專(zhuān)集》等。有多部作品被選載、翻譯、獲獎(jiǎng)。葉梅的小說(shuō)對(duì)民族文化的表現(xiàn)，對(duì)于現(xiàn)代性的批判和反思，其提供的角度給人以啟示，她并不是以哀怨的姿態(tài)或者以批判姿態(tài)去夸張地表達(dá)民族文化與現(xiàn)代文明之間的裂痕，而是采取一種chao越的立場(chǎng)，極力展示民族文化、地域文化本身的美感，構(gòu)成了對(duì)于中國(guó)現(xiàn)代文學(xué)傳統(tǒng)的一種重要反思。

Ye Mei, a female writer of Tujia ethnic nationality, is currently a member of the presidium of China Writers Association. To date, she has published novels, novellas, and prose that, amongst many others, include The Melancholy Dragon Boat River,The Moth in May，My Xilankapu,River Threading through Lameng. Her critical studies include Studies on Ye Mei. Many of her works have been awarded literary prizes and been reprinted and translated into other languages. One can discern in her novels an inspiring perspective in her expressions of racial culture and her criticisms and reflections on modernity. Rather than a plaintive or an overly critical voice that deplores, in an exaggerated manner, the ruptures between ethnic culture and modern civilization，she has approached her themes from the standpoint of transcendence, with the utmost demonstration of the beauty of her ethnic and regional cultures, which constitutes a significant reflection on the modern Chinese literary tradition.