Lin Rong, a native of Hengshui, Hebei. He is a member of the Chinese Writers Association and a member of the Hebei Literary and Art Critics Association. He is currently the executive editor of the civil journal "67 Degrees". Think of writing as first and foremost a way of listening, listening to yourself, listening to the things that shine. In a poem, everything can happen.
A handful of clean air in the Ideal
——Comment on 10 poems by Lin Rong
Warm weather
vestige
He, like a snowball
Scroll yourself
Take a ball left and right
As soon as the sun came out
Huge snowballs turned into one
A bunch of black marks
Wen Jingtian's comment: Poetry can shape the most concise allegories. Fables have a natural symbolic exchange meaning. The author outputs the parables and the reader receives the revelation. The meaning of the snowball includes both Chinese and Western meanings. The first is "left and right fengyuan", which is an oriental social thinking, and there is also a related escaping of homophonic meanings, and the snowball is round no matter how it rolls. The circle is the circle, and the circle is the source. The second is the contrast between white and black, large and small, existence and disappearance, which is reflected in the second half. After reading the poem, and then reading the title of the poem, "Traces", this is a kind of thought, but also a summary of the conclusion. Meaningful.
Aerial prairie
Grass trampled by horses and sheep
Be amazed by tourists, and step on the grass under their feet
After a light rain
They're greener and deeper into the bone marrow: blades that flutter with the wind—
Wings of life come back
Wen Jingtian commented: Human beings often take care of their own fate, and perhaps only poets will hurt autumn flowers. The meaning of the aerial grassland has two layers, one is the grassland and the other is the air. The author still uses a concise and clear way to compare and observe. Admiration and trampling, contradiction and uniform action on the grass, such an inevitable fate, but brought resistance. Away from the grass on the plain, the light rain brings opportunities, do not give up any opportunity to turn over, this is the posture of the grass, so the aerial grassland is really not extinguished in the air.
Haze weather
Sunlight has become a luxury
The sky, the endless blue sea has become a luxury
Want to be a few tens of meters away
See her face
It has become a luxury
The comfort from the eyes and lips has become a luxury
He wanted to bring her back
In the last moment, he wasn't by her side
His lover died, died
Brought by smog
fear
Wen Jingtian commented: Light, environment, distance, body, spirit, the five so-called luxuries in the poem, from distance to body and mind gradually deepened, layered the survival dilemma and spiritual dilemma caused by the harm of smog. This kind of implicit arrangement helps to guide the reading and also helps to lay the groundwork for the fate of the characters in the poem, but the clever thing is that the answer given by the author is also a judgment of the death of the depth of consciousness, not a natural death, but a death created by the pressure of one's own fear. It was not he who killed but committed suicide. So it leads people to reflect, how does the smog come about? Thus, the poem has the meaning of automatic questioning. Step by step, Shu Lang's cold writing is in place.
girlish
Bangs covered her forehead
She hung low
Trembling jaws
Step by step, I approached the lotus pond
She saw all sorts of eyes on the water
Saw the frightened self
afterward
She jumped
Breaking the calm of the water
On the lotus pond, ripples like flowers grow
Wen Jingtian commented: The author is always good at portraying the details of the fate of the characters when they are on the verge of extinction. These details form a mirror image of the character's perspective. And the mirror image reveals the tragedy in reverse, as if it is the part of a novel in which human nature struggles the most intensely, the poetic purification part of the climax, and the reason why the poem is poetry lies in the extraction of the psychological mirror and the mapping of symbolic meaning.
war
The pigeons were dormant in the depths of the sky, gray clouds
Like a huge one
nail
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Wen Jingtian's comment: We often talk about poetry like a sentence. What is a sentence? In the eyes of today's people, it is to generate a reasonable poetic logic in a limited space. The quatrain writes three things, a scene metaphor, an image shift, and a virtual substitution. The technique is refined, the sense of picture and the escape field coexist, and the multi-layered poetry is expressed with very little pen and ink. Pigeons, gray clouds, nails, the sky. It is both an ontology and a metaphor. The intergeneration between the metaphors achieves the maximum effectiveness of words, that is, the poetic understanding of the theme.
The wind that moves endlessly
Before it was far away, the wind turned back again
There is no point in saying
The myopic mirrors of the fish keepers were taken away
From behind
Blindfolded him with force
The constant movement of the wind, churning and stirring in the fish pond
A bow
Tie between them
Wen Jingtian's comment: When we read, we often care about what the text says, and the psychological experience after saying it. There is a class of poetry that transmits some information to the reader in reverse, information about the state of being, information about Zen. This is the different naming method in the West and the East. The so-called poetry of retreats. The poem constructs such a field through certain materials, which is full of syntactic tension, as well as the blurring of entities, and the looming of symbols. The wind is this field, controlled by the state of existence or Zen, and the poem thus reaches a state: consciousness.
Settle down
The bee nest is built on the upper left arm of the Buddha
The wasp nest is built on the right wrist of the Buddha
Bees and wasps go back to their homes
Peaceful
The tall Buddha is for people to look up to
The two nests were also looked up
Wen Jingtian comments: Bee and wasps, each is different. But it's all about life. Why dwell around the Buddha's body? The Buddha's body is mutilated. Between the left and right hands, there are living beings, so acquiescence. Buddhas do not care about loss, they embrace all kinds of things, so they are looked up to. Buddha is an ecology and a vitality. The two looks up in the poem also have different meanings. But it's one. This time, I chose to speak directly about my experience rather than to do text analysis, in the hope that readers would find the highlights of the poem themselves. If I can read so many things, I believe you too. Poetry is written in the everyday, in the ordinary mind. No need for lyricism is already praise, no need to reason is already arrived.
bury
They use scattered peach blossoms
Buried, the bare roots of the peach tree
Under the lonely peach tree
Two people who humiliated each other, knelt down
Tribute to love
Wen Jingtian's comment: The author makes good use of two verses into poems, or contrast, or contemplation, or projection. This poem belongs to the latter category. The upper part is the background and symbol, and the lower part is the story and characters. The details of the composition and the simplicity of the narrative, like a stage play, travel through time, present the plot under different spaces, and together catalyze the birth of the literary realm of miniature drama.
mood
A persimmon that goes from hard to soft
Green turned into sweetness
He said persimmons should become softer and sweeter
Will meet the person who loves it
There was a ripple of satisfaction on his face as he said this
And she thought:
In the twilight of the night, the frost is thin and red
Wen Jingtian commented: I appreciate short poems telling stories, and I also agree that short poems talk about human nature. The difficulty is there. Not the usual big. Different states of mind, different understandings. The same persimmon, the man pays attention to the process of transformation, while the woman values the endowment of persistence. There is no high or low state of mind, no good or bad state, and no wrong position. The subtlety of life lies in this, so there is a clutch. Timeless, deep expression, it is clear that it is an emotional novel, and it seems to talk about life. The two protagonists in the poem do not have an average pen and ink, but the spiritual taste of life reproduced has reached an equal height. The author is unique.
graft
Spring is here
The trees are glowing new and green
As the sun sets, a young pine casts a shadow of obedience
It was transplanted here from elsewhere
Dirt here
Can you hold its roots
I walked past it, stepping on the pine needles scattered on the ground
It's like stepping on yesterday's self
Not far away, a teenager with a foreign accent
I'm running fast
Mother who works as a cleaner
Wen Jingtian commented: A transplanted tree, a teenager who migrates from abroad, people and trees live separately. Not only that, but the tree constitutes a silhouette of a scene of human survival, and the similarity between the teenager running to the mother and how the young pine takes root shows the posture of survival. The story of transplantation unfolds. From obedience to fast pace, passive to active. From witnessing to feeling, my camera in the poem connects people and trees, and naturally produces reflection. Organic materials that constitute the poetry of reflection projection. Cleverly conceived and intriguing.
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