The article "A corn seed is running" Yu Xiuhua
Faster than an autumn wind, faster than a train
Faster than the corn cob chase
It cannot be blocked from the flood season of rivers and fish
Can't delay the hillside, and a red maple accident
To pass through the tomb of the autumn wind, through the snow, through the pain of spring
Can't stop for a moment, can't stop for a moment
Pass by the city, pass by neon and seawater like insomnia
Pass by the castle, and the death of the rose
It always exalts the thunder of the heart, the simplest grain of gold.
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I have said more than once that Yu Xiuhua has been living and dying in the thick atmosphere of this long-term dream life, and I can no longer distinguish any boundary between things. Delusional paranoia, dreamlike seriousness, often intertwined, complement each other, complement each other, so that the screen of consciousness is always in a surreal magnetic field. No matter how powerful the reality of existence is, it is difficult to resist this dissolving "oscillation" and dissolve into nothingness or emptiness. Therefore, I speculate that when Yu Xiuhua was moving towards awakening, she had a certain determination of invection and paranoia, and maintained a certain posture of dazed and dreamy.
The germination of a seed often carries a certain narcissism and self-love, but in fact, only a very small number of abnormal people can go beyond the norm and face the limits with true knowledge or ignorance. For a suspected "patient" like Yu Xiuhua, either he calmly and thoroughly understands the true face of death, and regards death as the highest realm and destination of beauty and life, or he pushes the concept to the extreme, and finally does not know what death is. We don't know whether Yu Xiuhua's spiritual world belongs to the former? latter? Or is it less purely a combination of both?
Yu Xiuhua is a very small number of artists and poets far in front of the public, and her strange creativity and shadow-like personality disorder are accompanied by a paradox that is aesthetic in the face of secular life and artistic activities. This paradox is almost pre-existent, predestined, insurmountable fate. It must be admitted that there are some genius artists and poets whose personality and spiritual development are very sound and perfect, which of course owes to the Creator, but it must also be seen that a small number of highly gifted artists and poets have their personality, spirit, serious perversion, separation, and many defects (including major moral degeneration), and art history still accommodates them, as a unique spiritual wealth through the ages and people's hearts, and personality defects are only a lesson of life to warn the world, and future art history will generally dilute it or even abandon it outside aesthetic judgment.
The text "Grandpa runs fast on the street" Liu Aofu
Grandpa died eleven years later
Appear on the street and run
This fact alarmed uncle and father
They invited local residents
The city came out of the cave to capture Grandpa back
Grandpa was still running around somewhere in the city
Uncle and Dad were already plastering the city with notices
The only one who stood still was me
Dad and Uncle's actions were rather futile.
Sometimes I always think that liu Aofu's work wants to express not only the emptiness of the spiritual power expended in the conflict between reality and ideals in some aspects of ideological life, but also the repression of self-aggrandizement after the disillusionment of voluntary disillusionment and the kind of mournful desire brought about by the failure of childhood sexual dreams, but I even see the impulse of reason and the sadness of direct death of reality.
I am not used to walking hesitantly in the shadow of tragedy in the obscure corners of words, but in fact, when poetry appears to be sad and lonely, it is the most perfect and exciting! From the rapid running to the street, from the bulletin to the intersection, and from the futility to the onlookers, it is self-evident that the realistic emotions and the more balanced intellect have been deliberately banished and replaced by a tidal wave of irrationality. His completely opened body and pre-consciousness, in the encounter with the words, ambiguity was completely conquered by the words, in the public understanding of the general shortage, ugly, negative aesthetics, postmodern basic knowledge is still in the "bud", Liu Aofu's shocking customs will certainly be rejected by the times, must be cooled by the mainstream. Genius and madness are just around the corner, and when the first foot is stepped out, the tragedy presupposes doom. This is the inescapable fate of any extreme rebel.
Those rigid things, once scattered by the abundance of life, sway into many poetic scatters: luminescence, jumping, tremors, and rapid running and rebirth, pervading the surroundings of natural personnel, many sensibilities join, and the mixture and confluence of ideas and experiences, constantly condensing, dividing sins, flesh and blood. The poem of life becomes full of color.
One of the aesthetic functions of modern poetry is to produce a sense of surprise in the poem, and the generation of surprise, according to Russian formalism, is to create the effect of defamiliarization of words. For modern poetry is not a copy of the normal, i.e., a world of experience that has been blunted by millions of people, but to be re-broken and reshaped into another world that is different from the norm and awakens like a dream, and this world is full of running grandfathers.