Zhang Wei: Poets work hard, throughout their lives, and it is quite unbelievable that they can leave one or two good sentences

Pure everyone

The poet labors, and throughout his life, it is quite amazing that he can leave one or two good sentences

ZHANG Wei

Tang Wang Wei," Jiang Gan Xue ji tu

Wang Weiwen's lexicography matured very early, and his teenage works have the details of the text, and the layout and planning have a considerable aesthetic balance, which shows that it is both precocious and has the skill of a young child. "The ancient tomb is like a cangling mountain, and the palace is like a purple platform." The stars are separated by seven dawns, and the nine springs of the river Han are open. There are sea people who rather cross, and no spring geese do not return. More smell of loose rhyme, suspected to be the doctor's mourning. "When writing this poem "Passing the Tomb of the Qin Emperor", Wang Wei was only fifteen years old, with a pharaoh's way, a majestic weather, and a kind of vigor beyond his age. "September 9th Remembrance of Shandong Brothers" is known as the ancient song of the journey of thinking of relatives, with profound meaning, and he was only seventeen years old when he wrote this poem. At the age of nineteen, he wrote the seven-character ancient poem "Taoyuan Xing", which was rated by posterity as "a narrative of shunwen, without having to give opinions, but yi yu rong and, inexhaustible." (Qing Shen Deqian's "Tang Poems") It can be seen that Wang Wei is really a brilliant person, and the advantages of the word chapter are so significant. The benefits of this for a person to complete the great article of a lifetime are self-evident; but will a person rely on and take advantage of it too much? If you use too much in the difficult period of writing, you may lose the will of the soul to be honed, and lack some overlapping traces of setbacks.

People with superior words will unconsciously believe in the power and function of the words themselves, rely on the words themselves to derive poetry, and gradually become habits. The words themselves do have this function, and they will certainly produce the beauty of words, but this breeding capacity is extremely limited. When this limitation is perceived and recognized by a person, it is often too late. Because as far as human nature is concerned, the natural existence of the accommodating mind, the accommodation of words, the accommodation of inertia, over time is irrepressible, and the words themselves have become obstacles.

Statue of Wang Wei

Some of Wang Wei's poems have many dictionaries and rhetoric, but they are not as appealing as other verses, and the reason may be that the mind has not arrived with the words, and the two are somewhat separated. Li Du, who was his contemporary, had very rare situations, and they impressed people with the power of their hearts and minds, that is, their radiance. Some people may think that this is only due to the difference in style, because Wang Wei is originally a faint and ethereal person. This understanding seems to be reasonable, but it is not precise enough, because at a time when he had not yet developed this style, especially those poems of response, farewell and resentment that were not characterized by this style, there was already a sense of rhetoric. In the author's skillful combination of words and words, the wonderful talent does not overflow, does not lead to the depth of life, leaving more of the color of the words themselves. The ability of lexicon is really a double-edged sword in poetry.

Sometimes in the mediocre modern reading, we often lament the roughness, barrenness and sloppiness of the words; sometimes we feel that the writer lacks long-term solid text training, and will take a most basic requirement as the supreme requirement. In fact, the lesson of writing is indeed the most difficult and lifelong, but this kind of lesson must occur in parallel with the persistent inquiry into the meaning of life, and it must be subordinated to the latter, and the two cannot be stripped away. Once the power of this inquiry diminishes, the text is invoked as a treasure chest and toolbox, and it is used repeatedly. We have taken all sorts of ingenious tools to cover up and replace incompetence and barrenness. Sometimes this vacuous and powerless state of life is really covered up, but it can only be used for a while, and it is difficult to last long. The traces left by the whole process of life, in the long river of words or sonorous, or joyful, or moaning, or mediocrity, or protrusion, or fierceness, or excellence, can be exposed in the listening of time.

Do not honor the covenant book

Author: Zhang Wei

Publisher: Guangxi Normal University Press

Publication date: 2021-01

Words are tools that propel all elements, and their growth is the explicit external part, like the hairs of the earth, the trees on the hills. The vibrant green is lovely and foreshadows the richness of life, but we also have to look at the original color of the earth and the bones of the mountains. When using a paintbrush to highlight their hard essence, one may look for the earth of the north, in the relatively small and sparse bushes, among the barren and bare hills and rocks, and even in the desert, to feel its strength and desolation. This kind of bone beauty, essential beauty, can profoundly impress us, form a confrontation with life, and form a dialogue between life that is powerful, uncovered, and even a little desperate and cruel.

It turns out that the faded mountains and the earth are also a kind of speech, which is speaking, but it is just another kind of speech, a simpler and more direct nakedness that is rarely concealed. It is also growing, and there is an inexhaustible force rushing within it. This power will not be weakened by the change of seasons, and will not be deformed and disappeared by the severe cold and snow.

You are in the plateau (1-10) (Mao Dun Literature Award winner)

Publisher: People's Literature Publishing House

Publication date: 2019-05

Serious years harvest the surface. Where are they after harvest? What's left behind? We should know all this.

When evaluating ancient poets, people unconsciously adopt a criterion, that is, to see how many good sentences they have circulated in the world. With the continuation of time, a thousand years or more have passed, and a country and an ethnic group will inevitably leave some good sentences. They are often mentioned, difficult to get around, and whenever there is a certain scene and moment, it will naturally come to mind and blurt out. If we start from the source of Chinese poetry, we often think of some sentences like this: "Ladies and gentlemen, gentlemen are good." ("Shijing Zhounan Guan ju") "The road is long and its cultivation is far away, and I will seek up and down." (Qu Yuan's "Leaving the Troubles") "Song to wine, life is geometric." (Han Cao Cao's "Short Song Line") "Under the eastern fence of picking chrysanthemums, leisurely seeing the South Mountain" (Jin Tao Yuanming's "Drinking Twenty Songs • Five") "Confidant in the sea, the end of the world is like a neighbor." (Tang Wang Bo, "Send Du Shaofu to Ren Shu Prefecture") "The sea is born of the bright moon, and the end of the world is at this time." (Tang Zhang Jiuling, "Looking at the Moon and Huaiyuan") "The flow is three thousand feet straight down, and it is suspected that the Milky Way has fallen for nine days." (Tang Li Bai,"Wanglushan Waterfall") "Alone in a foreign land as a stranger, every festive season is doubly thinking of relatives." (Tang Wang Wei, "Remembering the Shandong Brothers on September 9") "Reading books breaks through ten thousand volumes, and the next pen is like a god." (Tang Du Fu's "Twenty-two Rhymes to Wei Zuo Chengzhang") "The wildfires burn endlessly, and the spring wind blows and grows again." (Tang Bai Juyi, "Endowed with Ancient Grass farewell") "Spring silkworms to the end of the dead silk, the wax torch into gray tears began to dry." (Tang Li Shangyin, "Untitled") "I hope that people will be long-lasting, and thousands of miles will be cherished together." (Song Sushi, "Water Tune Song Head, When is the Bright Moon") "The mountains and rivers are doubtful and there is no way, and the willows are dark and the flowers are bright and another village." (Southern Song Dynasty Lu You", "You Shanxi Village") "Who has not died since ancient times, keep Dan's heart and sweat and youth." (Southern Song Dynasty Wen Tianxiang", "Crossing Zero Ding Yang") "Horizontal eyebrows are cold to a thousand fingers, and bow down to the cows." (Lu Xun's "Self-Deprecation") and so on. These sentences have to be counted, they are too many. Each good sentence is followed by an unforgettable face and figure, and they are also immortal.

Zhang Wei's Series of Monographs on Reading Classical Literature (4 volumes)

Publisher: Zhonghua Bookstore

Publication date: 2019-08

Of course, we cannot measure a person's overall achievement, and look at an artist, a writer, a thinker, and we cannot use this as a criterion entirely. But it is indeed a symbol and symbol that cannot be bypassed. Can we forget Li Bai's "An can destroy the eyebrows and bend the waist of the magnate, so that I can't be happy" ("Sleepwalking in heaven and staying away"), "The snowflakes of Yanshan Mountain are as big as a seat" ("North Wind"), "One husband should be closed, and all husbands cannot be opened" ("Shu Dao Is Difficult")? Can you forget Du Fu's "Will be the top of the mountain, overlooking the mountains and small" ("Wangyue"), "two yellow orioles singing green willows, a line of egrets on the blue sky" ("Absolute Sentence")? Can you forget Bai Juyi's "The sunrise and the river flowers are red and the fire is better than the fire, and the spring river is as green as blue" ("Remembering Jiangnan"), "Looking back at a smile and a hundred beautiful students", "Wishing to be a bird in heaven, wishing to be a lianli branch in the earth" ("Long Hate Song"), "At this time, silence is better than sound", "The same is the end of the world, why should we have known each other" ("Pipa Line") "This can be a memory, but at that time it was already confused" ("Jinse") reminds us of Li Shangyin. The beauty of good sentences is indescribable, they are the diamonds of language, the legends of spirit. Without them, our language would be barren, how thin our poetic history would be, and how sparse the relationship between poetry and life, with the people, and with society would be. They are like a long color train that connects different eras, connects daily life, connects spirit and material.

Wang Wei Zhuxi diagram

Although the creator of literature and art does not have to take it as his duty to pursue good sentences, the good sentences that are born naturally seem to be the explanation of long and arduous labor. They exist there, shimmering and glowing, and their light is not obscured by the dust of time, what a powerful spiritual and civilized penetrating force. Sometimes we marvel at the fact that when you pick up the best sentences, you will find that many sentences are concentrated on a certain person or a certain person at a certain moment. What a great soul, some spirit of art. Therefore, there are many good sentences in the past, and making a simple comparison is also a way to summarize and recall.

The meaning of good sentences is different, the colors are different, and the temperament is different. Some are desolate, some are beautiful, some are mysterious, some are hazy, and some are strange. But one thing in common is that they can deeply touch you, attract you, and make you remember. "Death before the master is successful, and the hero is full of tears." ("Shu Xiang") "Er cao's body and name are destroyed, and the rivers and rivers are not wasted." ("Drama for Six Absolute Sentences · II") "Good rain knows the season, when spring is happening." Dive into the night with the wind, and the moisturizer is silent. "('Happy Rain on Spring Night') These good sentences are so sonorous and powerful that they can't be done without Du Fu." Lanling wine tulips, jade bowls filled with amber light, but so that the owner can drunk guests, do not know where is the other country. "I was born to be useful, and I will come back when all the money is gone." ("Will Enter the Wine") "The flow is three thousand feet straight down, and it is suspected that the Milky Way has fallen for nine days." ("Wanglushan Waterfall") This belongs to the romantic and flowing Li Bai. When Qu indexes, you will find that Li Du left the most good sentences, followed by Su Dongpo and so on. Wang Wei has at least five or six groups, and there are also three or four groups of those who use it more frequently, although one or two of them have disputes over authenticity, but they are still remarkable. Generally speaking, poets work hard and spend their entire lives, and it is quite amazing that they can leave one or two good sentences.

My wilderness feast

Publication date: 2020-01

Taking Wang Wei as an example, we can divide its good sentences into three levels: First, the academic level of poetic research, that is, the good sentences that researchers cannot neglect. This part is deep and peculiar, and the writing is exquisite, although it does not hurt the poetic connotation, but it is not as smooth as the other kind. For example, "The birds are changing, sitting for a long time and falling flowers" ("From the King of Qi to the Yang Clan Beiye Should Be Taught"), "The Sound of the Spring Throat Dangerous Stone, the Sun Cold Green Pine" ("Over the Xiangji Temple"), "The grass in the rain is green, and the peach blossoms at the water's edge are red" ("Lingchuan Beiye") and so on. The second is the cultural level, that is, the good sentences that are often quoted by intellectuals. Such as "empty mountains after new rain, the weather comes late in autumn." ("Mountain Residence Autumn Dawn"), "The sun sets in the head of the river, and there is lonely smoke in the ruins." ("Pei Xiucaidi") "Jun comes from his hometown and should know about his hometown." ("Three Miscellaneous Poems, II") "The fruits of the mountain fall in the rain, and the grass and insects under the lamp" ("Sitting Alone on Autumn Night"), "The Loose Wind Blows the Belt, and the Mountain Moon Plays the Piano" ("Reward Zhang Shaofu") and so on. These good sentences are recited only among cultural people with considerable knowledge. The third is the level of life, such as "being a stranger in a foreign land alone, thinking of relatives every festive season" ("Remembering the Shandong Brothers on september 9"), "Bright Moon Pine Illumination, Qingquan Stone Upstream" ("Mountain Residence Autumn Breeze"), "Persuade the Jun to drink a cup of wine, and go out of the West out of Yangguan without a reason" ("Send Yuan Er Envoy Anxi"), "Red beans are born in the southern country, and spring comes to send a few branches" ("Acacia") and so on. These verses are almost household names, known to women and children.

The birth of Jiaju is not accidental, it is an externalized way of life texture, and it is the "ore seedling" exposed before the mining of talent. Generally speaking, to become a good sentence, it is not only gorgeous and smooth, but also specific and deep enough, both unforgettable, but also direct to the depths of the soul, its vividness and generalization express the universal experience of human beings, and it is a concentrated expression. Here, the fine work of the text and the popularity of the folk have been integrated, and such a realm is really difficult, so good sentences can always be encountered but not sought. It is difficult to make a good sentence because it still lacks deep and long-term vitality, and it has not yet reached the level of wide acceptance in the depth and breadth of human universal experience.

Collected Writings of Zhang Wei (50 volumes)

Publisher: Lijiang Publishing House

Publication date: 2021-03

Good sentences need to break through the elegance in the general sense, need to be activated, need to break the work of general words, enter the interior from the appearance, and let the spiritual movement be closely integrated with the contemporary and folk, and be highly unified at the two levels of popular and elegant. This fit is difficult. We will find that this so-called clever hand is always frequent in the pen of the great poet. We will then know that their criteria for selection are not only academic, but rather rely on the intuition of life, and are collectively determined after some special weighing. Those who rely on the creation of the text itself, rely too much on the words, and most of them have lost the power to reach the hearts of the people. The relationship between good sentences and people's emotional depth and persistence is the greatest, that is to say, the depth of physical and mental friction and the profound interlacing of spiritual traces in real life have greater decisive significance. The arrival of this moment, the popularity of its manifestations is very important. In the general sense, straightforwardness and popularity do not ensure its permanence, nor will it find a deep inheritor and interpreter; and once the maintenance of generations is lacking, it is ultimately difficult to become what we call a good sentence.

Wang Weishi's intentions

Good sentences need to be repeated, repetition is emphasis, this is the maintenance of time. Therefore, there are too many conditions needed to become a good sentence. Some of Wang Wei's best sentences are always circulating at different levels, and some are not only quoted frequently, but also used in a wider range. Some of them are only cited at the academic level, and the scope is relatively narrow. Therefore, the meaning of these two good sentences is different, and comparatively speaking, the former is the real good sentence.

Zhang Wei is a contemporary writer and vice chairman of the China Writers Association. A native of Qixia City, Shandong Province. He began publishing in 1975.

In 2020, he published the 50 volumes of Zhang Wei's Collected Writings. The works have been translated into dozens of languages such as English, Japanese, French, Korean, German, Serbian, Spanish, Swedish, Russian, Arabic, Turkish, Romanian, Italian, Vietnamese, and Polish. He is the author of 21 novels, including "Ancient Ships", "Fables of September", "Hedgehog Song", "Book of Other Provinces", "You are in the Plateau", "Du Yaoshi", "The Secret History of Aiyobao", etc.; the poetic monograph "Also Says Li Bai and Du Fu", "Tao Yuanming's Legacy", "Chu Ci Notes", "Reading the Book of Poetry" and many others. His works have won the Outstanding Novel Award, the "100 Excellent Chinese Literature Books in 100 Years", the "Top 100 Chinese Novels in the World", the Mao Dun Literature Award, the China Publishing Government Award, the China Excellent Publication Award, the China Writers Publishing Group Special Award, the Southern Media Outstanding Writer Award, the Jingdong Literature Award, etc. Recent works such as "In Search of the Fish King", "The Lone Pharmacist", and "The Secret History of Eyo fort" have won many awards. The new work "My Feast in the Wilderness" received a warm response, and "The Book of Non-Fulfillment" won the 6th Long Poetry Award and Special Award.

(The original title of this article is "Zhang Wei | Five Poets of the Tang Dynasty | How to Come from Good Sentences", reprinted from: Southern Weekend)

"The Book of Not Fulfilling the Covenant" is the latest blockbuster poem by Mao Dun Award winner and contemporary famous poet and writer Zhang Wei. Although the work takes poetry as the form of expression and love as the clue, in fact, it has transcended the concept and boundary of poetry in the traditional sense, and the writer mobilizes the comprehensive means of humanities, thought, history, philosophy, literature, art, etc., with a strong spiritual background and mobilization of writing energy beyond ordinary people, to create a composite poetry text with great impact, which can be regarded as the three-dimensional all-round coverage poetic presentation of his masterpieces "Ancient Ship", "September Fable" and "You are in the Plateau". This long poem is divided into 52 sections, which crosses the ancient Qi country and today's society, integrates the long historical civilization and the historical culture with the coastal civilization as the background, and completes the artistic transcendence of time, space, history and culture with the form of poetry and great energy.

Zhang Wei's long poems are like a thick and grand symphony, time and space are open and closed, the imagery is rich, the momentum is magnificent, the rhythm is clear and full of long rhymes, expressing the love and attachment to nature, life and homeland, bringing readers aesthetic enjoyment.

No Practice Book (Mao Award winner and famous writer Zhang Wei's latest self-transcendence masterpiece, when the exclusive blind box form limited random sale of signed plutonium prints, plutonium prints)

Tao Yuanming's Legacy (by Zhang Wei)

Author: Zhang Wei

You're in the Plateau (Collector's Edition)

Author: Zhang Wei Editor-in-Chief

Zhang Wei wrote fondly about Su Dongpo's magnificent life

Manuscript of the Ancient Ship

Apologies on Fire: A Collection of The Poetry of Guidimaga

Author: Gidimaga

God's homeland eagle in speech - Haizi poetry anthology

Author: Haizi

The Festival of Spring: Selected Poems of Luo Yihe

Author: Luo Yihe

Xinmin said : I walked down from the white-headed Bayan Kara: Chang Yao Poetry Anthology

Author: Chang Yao Editor Liao Yuan

# Arguments on flames

By Gidimaga

This book is a collection of major poetic works by the outstanding Chinese poet Jidimaga, and also contains the author's tribute speeches and cultural declarations in the field of global culture. As a representative text of the author, this book is a model for its international translation and extrapolation. The book is divided into two parts. The first series is poetry, which selects nearly 200 excellent poetry works of the author in various periods, fully showing the whole picture of his poetry creation, and the poets mostly take the people, things, customs and other themes of the Yi people in their hometown, which have profound meaning, unrestrained freedom, unique expression and appeal. The second series is the essence of the poet's literary speeches and essays in international poetry activities, showing the poetic height, international vision, spiritual consciousness and cultural heritage of The poet jidimaga, who is strongly recognized in contemporary China.

# Naming and Acquaintance: Museum Visits • Part II

By The Water of Yang

"Naming and knowing" is a word that the author constantly repeats in the study of famous things, "naming" is for "things"; "knowing each other" must be between "things" and "poems" to open up the connection between the two. As in the previous part, the ten articles in the second part are also obtained from exhibitions in museums around the world, or household utensils, or study utensils, or gold and silver jewelry... More than 70 museums and more than 400 photographs of artifacts, from naming to acquaintance, step by step lead readers into the "bustling" world of cultural relics in each museum, so that the beauty of things, the imprints of time, the fragments of history, and the poetry of life are intertwined on paper.

# Cultural Heritage: A Collection of Documents from the 2nd Chinese Art Workshop

Edited by the Central Research Institute of Literature and History

This book is based on the project of the Second Chinese Art Workshop of the Central Research Institute of Literature and History, and brings together the lectures and interactive records of Chinese cultural and artistic masters such as Wang Meng, Liu Mengxi, Zhong Chengxiang, Zheng Xinmiao, Wu Jiang, Chen Lai, Nyima Zeren, Long Rui and other famous Chinese cultural and artistic masters. From poetry study to calligraphy and painting study to opera tasting, the Chinese art workshop collection of the Central Research Museum of Literature and History has a clear theme and vivid content, which not only plays a positive role in inheriting the Chinese context and promoting the creative transformation and innovative development of traditional art, but also enables the majority of readers to have an overall feeling and experience of the essence and aesthetic spirit of traditional Chinese art, which can cultivate readers' interests and hobbies, enhance readers' aesthetic cultivation and art appreciation ability.

# Things on Earth (Updated Edition)

By Wei An; Feng Qiuzi, eds

The latest, most complete and most rigorous updated version of Wei'an, commissioned by Wei'an's former close friend and famous writer Feng Qiuzi, was commissioned by Wei'an's family and has been sorted out and selected for several years, and guangxi normal university press has been presenting it in October 2020. New reed bank posthumous works: 20 essays, essays, 22 poems, 1 letter, 2 translations, a total of 45 (first); in addition, the continuation of the Reed Bank "Afterword", the appendix "Reed Bank Life and Creation Chronology" and "The Follow-up Dissemination of Reed Bank Works" provide more comprehensive, accurate and detailed historical information for recording Reed Bank's life and study of Reed Bank and his creation.

# Dirt is next to me: The Reed Bank Diary (Top, Middle, Bottom)

Reed's diary lasted from January 1, 1986 to April 6, 1999, when he was hospitalized for treatment. 1 year is 1 series, three volumes of diaries a total of 14 series, a total of nearly 800,000 words, plus the appendix "Selected Letters of Reed Bank", "Reed Bank Life and Creation Chronology", "Reed Bank Works Follow-up Dissemination", etc., the total number of words is 900,000 words. His diaries mostly narrate the moral beliefs of the earth, the natural and humanistic processes experienced by him, and the writers of different eras who interacted with the author, their experiences, concepts, creative conditions and personal interests, the literary and artistic phenomena under the influence of the times, the travel experiences of half of China, and the many social science and natural science works he has read.

# Festival of Spring: Selected Poems of Luo Yihe

Luo Yihe, Chen Dongdong, eds

Luo Yihe, an underrated poet, editor and critic. "The Rite of Spring: Selected Poems of Luo Yihe" is a compilation and integration of Luo Yihe's representative poems, poetry reviews, and letters. It collects 59 representative short poems of Luo Yihe, 14 medium-sized poems, 9 poems of the "Sacrifice" series, 6 poems on poetry and creation, 5 poetry reviews, and 7 letters. From poetry to literary theory, from commentary to letters, it comprehensively presents the spiritual world of the poet and the literary and artistic trends of the era in which he lives.

# Son of the Star Core - Luo Yihe Memorial Poetry Collection

Edited by Chen Dongdong

Luo Yihe is an outstanding contemporary Chinese poet, authoring short poems "Xiu Yuan", "Thinking for Beauty", long poems "Blood of the World", "The Sea" and so on. He not only put forward the proposition of "xiuyuan" for the prospects of Chinese poetry and the tasks of poets, showing the poet's grand historical vision and profound and submerged personality qualities, but also the beauty of his poetry with a quiet life experience and a humble human nature. "Son of the Star Core - Luo Yihe Memorial Poetry Collection" is a collection of commemorative Luo Yihe poems composed of 7 poems, 37 articles, and 1 audio recording. Among them, there are both memories of Luo Yihe's life and an exploration of his poetry creation, in addition, the creation and development of contemporary poetry art are also reviewed, reflected and summarized between the lines.

# Play out the New Year painting (up and down)

Wang Shucun

Written by Wang Shucun, an art historian and folk art collector, this book includes the most exquisite New Year paintings from ten provinces and cities such as Jiangsu, Anhui, Fujian, Sichuan, Shanxi, Henan, Shaanxi, Tianjin, and Hebei, comprehensively showing the painting styles, repertoire and performance characteristics of various places. In terms of style, this book uses the three levels of words of "talking drama", "saying pictures" and "detailed appreciation", which deeply plays out the essence of the New Year painting and shows the broad connotation of Chinese folk culture.

# Cao Xueqin's Legacy:

As a method with a mirrored world

Written by Ji Wenjun

"Dream of the Red Chamber" is a novel, but also a precious legacy of Cao Xueqin.

Ji Wenjun, a famous female writer, doctor of literature and art, and expert in red studies, has been studying for 10 years. He was called "the novelist who knows the most about "Dream of the Red Chamber" by the famous writer Li Jingze, and was praised by the famous writer Li Er as the highest achievement in the study of "Red Studies".

# Cao Xueqin's territory:

"Dream of the Red Chamber" reading reception history

Ji Wenjun, author of "Cao Xueqin's <红楼梦>Territory: A History of Reading And Acceptance", takes "Dream of the Red Chamber" as the main body of his research, and outlines the legendary "experience" of "Dream of the Red Chamber" from birth to today from the perspective of cultural species to obtain survival. This book is a popular reading for the study of "Dream of the Red Chamber", which not only has the logical exposition of academic research works, but also has vivid and interesting expressions, which has certain guiding significance for middle school students to accept the original "Dream of the Red Chamber".

# Mercy

Written by Fan Guobin

Fan Guobin, a columnist of Southern Weekend, brought us a dialogue between spirit and soul with Wang Yang's wanton words, vast and profound knowledge, and profound and thorough philosophical thoughts.

Li Jingze, Zhang Zongzi, Zhu Youke, DuoMa and other jointly recommended.

# Burning at Night: A Portrait of Frozen Time

Black pottery

Writer Zhang Wei and essayist Feng Qiuzi jointly recommended that "New Prose" represents the writer and "poet essayist" HeiTao with a unique and poetic writing and a highly recognizable language style, expanding the territory of prose writing, expressing memories from the depths of time and the face of "fatherly" Jiangnan.

# Peng Cheng's series of works

Peng Cheng

Guangxi Normal University Press, Pure "Peng Cheng Works Series" contains three parts, namely "Spring Eyes of the Earth", "The Direction of the Heart", and "The Season of Reading", which is a judge of the Mao Dun Literature Award and the Lu Xun Literature Award, and the new prose represents the latest self-selected collection of writer Peng Cheng. Peng Cheng's writing is calm, quiet and sincere, a clear stream in prose writing, and the writing style highlights the simple aesthetics and profound connotations.

# Empire of Imagery: A Lesson in Poetry Writing

Huang Fan

Writer and poet Huang Fan devotes himself to revealing creative writing and teaching you how to easily learn to write poetry. Wang Dingjun, Ouyang Jianghe, gray baby jointly recommended! Writer and poet Huang Fan summarized his teaching and creative experience in the form of both literary and theoretical thinking and four lessons, and explored the theory of creative poetry writing that suits the Chinese context and is self-contained.

# Biography of Zhang Ailing (Revised Edition)

Written by Zhang Jun

Zhang Ailing, a person's legendary life reflects a complex social change. Literary critic Yu Kexun, literary historian Chen Zishan, and "Hundred Tribunes" speaker Peng Yuping sincerely recommend! On the basis of a large number of Zhang Ailing's textual materials, Zhang Jun, a professor and doctoral supervisor of Sun Yat-sen University, symmetrically presents Zhang Ailing's personal life and literary career on a time axis, and explores her cold view of the noise of the world, the deep understanding of life sorrow, and the true perfectionist pursuit of the heart.

# Sit alone with the sheep lion Mu

Be safe

Sitting Alone is a manuscript of natural literature. "Sheep Lion Mu Grand Canyon" is located in the territory of Wugong Mountain in Ji'an City, Jiangxi Province, with a unique and beautiful natural ecology, known as the "plant kingdom" and "natural zoo" reputation. From the end of 2014 to the spring of 2020, the author spent up to 6 years, away from the hustle and bustle of the world, alone in the hinterland of the sheep and lions, observing and recording the changes in the scenery of the Four Seasons of the Grand Canyon, describing the story of a person and a Grand Canyon with exclusive first-hand information, writing the rapidly changing mountain scenery and inner changes, presenting a natural kingdom and spiritual kingdom of freehand and craftsmanship.

# Shovor Strange Story Collection

by Leopold Shawo

"Shovor Strange Stories" is the story told by father Shovor to his son Runo. Shovor's story constructs a kingdom of monsters, strange creatures and animals, expressing affection, love, morality, and the construction of relationships, while expressing absurdity while expressing the bruises of the human soul. His works are as short as fables, poetic and calm, with a silent critique, which is typical of Shawo's style. These seemingly bizarre stories can often reach the truth and cause people to think deeply than the real world.

# The Radiance of Ashes: Selected Poems of Paul Celan

By Paul Zelan; translated by Wang Jiaxin

Brilliant Ashes: Selected Poems of Paul Celan, carefully selected and translated by renowned poet and translator Professor Wang Jiaxin, is a collection of about 360 poems and some of Celan's award-winning speeches, essays and important letters. This book not only fully demonstrates the essence of Celan's lifelong creation, but also the brainchild of Wang Jiaxin's translation and research of Celan over the years, which is of great significance to the creation and translation of Celan's translation and chinese contemporary poetry. Celan's award speeches, essays, and letters appended to this book also show us a painful and remarkable poetic heart.

# In the mangrove forests of Ussuri (top and bottom)

[Soviet] by V. K. Arsenyev

Translated by Simon

Influenced by the famous writer Zhang Wei for decades to create, touching and profound naturalism "hidden classics", the famous Russian traveler, geographer Arsenyev through field investigation, carefully presented the unique style of the Ussuri region more than 100 years ago, everywhere can see the author's reverence and love for nature, how human beings live in harmony with nature ideas.

# Book of Problems (Part 1 & 2)

By Edmund Jarbes

Translated by Liu Nanqi; translated by Ye Anning

The first Chinese translation of the French poet and writer Edmund Abbots's Book of Problems, a cross-text work that "does not belong to any genre, but is all-encompassing". Through the poetic shell of sound and light flickering, imagery and association, Jabes injects the core of "root-seeking" thinking and the "writing" quest to sacrifice himself to the "infinite" field that is obscured by the "infinite" field. A masterpiece of the pure translation series "Eamond Abbots Series".

# Books of similarities

The works were included in the Western canon, and the Chinese edition of the "Book of Similarities", one of the works of the famous French thinker Edmund Abbots, was first published. It is divided into three volumes, namely "Book of Similarities", "Suggestive Desert" and "Indelible And Imperceptible". The book is full of Jabesian philosophical reflections, from language to literature, from religion to tradition, anxiety and distress in the torture of the author's soul continue to be clear and firm. One of the most important works in the "Eamond Abbots Series" of the Pure Translation Series.

# Book of Boundaries

by Edmund Jarbes

Translated by Liu Nanqi

The Book of Boundaries is one of Edmund Abbots' masterpieces and is divided into four volumes, namely "The Little Book of Unsuspecting Subversion", "The Book of Dialogue", "The Journey", and "The Book of Sharing". As a cross-genre experimental work between poetry, prose, aphorisms, and philosophical essays, this book is a work of Jacobes's contemplation, which can also be seen as his self-talk. In terms of form, the text belongs to the type of fragmentation, thinking out of the way, the style is unique; in terms of content, it focuses on the thinking and exploration of the essence of human existence, with ideological depth and philosophical insight.

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