The Imaginary Context of the Paradigm of "Flower and Grass Poetics"—— Commenting on Liu Qiong's Prose Collection "Outside the Words Between Flowers"

Author: Chang Xiaojun

All the wonders of the world are a portrait of the soul. Liu Qiong's new book "Outside the Words Between Flowers" captures the "flowers" in ordinary imagery to write a figurative life, and its significance lies in using classical poetry in traditional Chinese culture to show the poetic aesthetics of idealism, so that people can appreciate the connotation and spirit of flowers. Further, this interlacing of classical beauty and modern life allows time memory to reflect the writer's life course. Such as the Kelsang flowers born in the plateau, the persimmon trees growing in the unit, and the orchids placed on the table, all of them are all in the colorful tones that coincide with the inner changes, full of philosophical flavor.

Liu Qiong is not good at writing grand narratives, but always pays attention to the beauty of daily life and finds the sustenance of the soul from the flowers. It can be said that "Outside the Words of Flowers" is a series of pictures related to life, or related to history, or intersect with feelings. The pure and beautiful picture, flashing with dappled memories of time, is constantly collaged in the vivid and perceptible, telling the enjoyment of beauty, inner peace, and precipitating a deeper authenticity of life, which is in line with the true meaning of writing and presents the purity of the heart. Beauty is natural, so reading "Outside the Words Between The Flowers" does not need to deliberately create poetry. As a product of the heart, it is a writing that experiences the inner realm from a female perspective, just as it is comfortable when we see plants, always putting itself in the reader's shoes to understand the relationship between reality and nature, and showing extraordinary arrogance in the context of classical temperament. It can be seen from this that the indispensable thing in the United States is emotion, such a beautiful and unspoken view of nature, is the unity of words and people, is the unity of nature and reality, only by combining the view of nature with the concept of art, can we better pin the writer's spiritual taste. Liu Qiong is not focusing on flowers and plants, she focuses her vision on people and nature, such sensitivity can not see the weakness of the heart, but the feeling of free and easy life.

It is not difficult to see that Liu Qiong's unique focus is still on the "outside", using the word "outside" to point out the title, which seems to be in opposition to the "Words Between the Flowers", in fact, showing the individual vision with the charm of grass and trees, which is where the writer's mind lies, that is, ""The Words Outside the Flowers" is not a tribute to the classics, it is a living word." Also writing about daily life, Liu Qiong's flowers, grasses, people, and things do not have the beauty of fragrant and beautiful surprises, but "I" tell legendary stories like still water. This makes the relationship between man and nature real and rational, secular but not vulgar, and also makes scholarly writing more refined and more humanistic. "'Outside' is what I want to express, my writing wants to relax and untie myself, I don't want to be wrapped around the "Words Between the Flowers", "The Words of the Flowers" mainly write about the daily life in China, but my "Words Outside the Words of the Flowers" is outside the flowers and words." With the help of details, the writer shows the style of life and the times, and such a narrative has the meaning of listening to flowers and smelling in time. Liu Qiong sublimates her spirit in the purpose of "not knowing what to do, going deeper", which is a kind of self-intoxicating aesthetic requirement, shaping the inner world and making the breath of life full of aesthetic experience. If you can't sink your heart into serious thinking, just write about life in general, you can't reflect the writer's concern and love for society. From flowers and plants to the multi-dimensional reality, I believe that it is not only reflection, but to examine the times from a literary perspective. It is gratifying that Liu Qiong records the moments of life with "literati aesthetics", uses her aesthetic landmarks to fit the spiritual scene of the ancients, constantly forms the paradigm of "flower and grass poetics", and rationally feels the imaginary context of ordinary but not mediocre, ordinary and not bland. How does Liu Qiong examine these flowers? I think her brilliance lies not in the traceability and expansion of the knowledge background, but in the ability to write the subtlety of the heart in different perspectives of storytelling. If considered in this context, it will highlight the psychological state of female intellectuals and make the reader understand more deeply, broadly, and spiritually. Just imagine, can write from the flowers of time, write ordinary triviality, write red dust rolling, although this can not be regarded as an outlier, but subconsciously still write human scrutiny, literary aesthetics, poetic lyricism. Such an inner world is rich and splendid, and it is unusual. No matter where such a poetic heart is, it does not lose the purity of empathy. Perhaps related to her personality, she should be a person who likes to be stable and knowledgeable, and when she "introduces 'situation' in the 'material environment'", in the writing of words, she is consciously or unconsciously integrated into the pursuit of poetry. Writing aesthetics with the true disposition of literature, doubling the love for life in poetry, revealing the beauty of self-authenticity, such spiritual freehand, no matter how elegant and customary, has a strong literary atmosphere. Liu Qiong's true love writing itself is rich, she does not dwell on real encounters and contradictions, but inadvertently expresses the beauty of life, although it can not be regarded as an aesthetic ideal, but there is rationality and criticism in such realism, so that the vision of traditional and modern intertwining has become more and more broad. In such an environment, writing unusual patterns with "idle pen", writing the fullness of life with "idle feelings", and looking at world fame and fortune with the eyes of "idle people", it seems that she still yearns to live out the same state as Tao Qian. Critic Chen Xiaoming pointed out: "She pays great attention to the writing of female writers, and also appreciates the warmth and gentleness of female writers, especially the classical and meticulous brushwork that female writers are good at. However, she does not indulge in this warmth and delicacy, but always maintains the rationality of critics. In fact, flowers and words are just single lines of a coherent story, such as the eyebrows of the article, with a faint temperament in the shadows. The reality outside of flowers and words is the theme of her spiritual inquiry. (Chang Xiaojun)

Source: Shaanxi Daily