The spiritual totem of the lamplighter

"Flame on Porcelain", by Lu Weiping, Huacheng Publishing House, December 2021 edition, 58.80 yuan.

□ Ye Yanbin

Lu Weiping is a recognized and powerful poet in contemporary poetry. He was an intellectual who had reformed and opened up to the southern coast, and his life and poetry, which had begun as a migrant worker, made his writing always loyal to his own experience and heart. His name in the poetry world is almost a symbol of quality poetry, and since the 1990s he has won several poetry awards. The poetry collection "Flame on Porcelain" once again presents the poet's extraordinary talent and creativity.

Lu Weiping's most vivid impression on readers is that of an excellent civilian intellectual writer who walked with the times. For decades he shared the fate of the great wave of immigrants who created this era, and he was highly recognized by readers for speaking out for this huge social group. He sang in a low place and adhered to the consciousness of the common people, making his works a distinct texture left by the changes of this era, and also becoming an aesthetic presentation of a new form of Chinese social genes. "I regret letting this stone blossom" writes: "I knock on this stone / I will turn a big stone / Become many small stones / Called stone blossom / Stone blossom is a stone to speak / But when I see one by one / Run in the footsteps of the wind / Silence after the wind stops / I regret letting this stone blossom / I can endure a big stone / Long silence / But the silence of the weak / Always makes me feel uneasy." This is the voice of the poet, and it is also the cry of the poet to society, although low, but it is shocking and gripping. Because of his adherence to the populist consciousness, his poems focus on the small people and small details that were neglected in the big times, bringing the reader closer to those who have been neglected and forgotten: "Glass cleaners / Smaller than a spider / Bigger than a mosquito / I can only see them as flies / Adsorbed on the skyscraper / The light of the glass / Reflecting their darkness / More accurately / Their darkness makes the glass bright / I will not worry that they will fall / Tie their ropes / Will not let them escape easily / On the way to and from work / I see that they only have a question over and over again /Life at the bottom/How do they have to get to such a high place/can they earn it back? In this poem, the great age of the great and the small of the small, the brightness of the skyscraper and the darkness of the window cleaner, the high status of the workers and the lowness of life, are impeccablely completed in this poem. These poems are undoubtedly the most distinctive texture of this era, and they are also the latest testimonies left by the poet. Taking the people as the center is not a slogan in Lu Weiping's poetry, but the lifeblood of writing.

Guangdong is the forefront of reform and opening up, and I once said that the wave of immigrants in Guangdong has created a new generation of new people, who have experienced the pain of broken arms and the pain of grafting. The success of Lu Weiping's poetry lies in the fact that after experiencing this painful transformation, he looked at the once familiar world with a new vision, and the things that had been regulated by old textbooks, old customs and even old ways of discourse were renamed by the poet. It is discovery, but also creation, and the good poet will always be the name of the world. Please read The Burning of Books: "There are always some books / it is used to burn / The fire it emits / Shine on me / In the dark night / Read other books." "Is this refactoring or awakening? You go to enlightenment, and when you understand it, you have light! Please read The Nails: "Who was it when you started to rust / Painted the walls again and again / The white of the walls, hurting your black / You were the only bright spot on the walls / The colorful clothes and hats hung around your neck / You can't remember from what day / Your eye-catching is because you became / A spot, you think of a rotten tooth / The cruelest punishment / Even if you have ever bitten a stone / bit open the iron lid of a wine bottle / Let it rot slowly / Do not pull it off, is this a nail / Inevitable ending, your pain / Forgotten by the walls again and again. "Is this talking about nails?" I thought I was talking about me, I was used to making a screw that never rusted, but after we rusted, who was whitewashing the wall of our pain? Pain doesn't have to scream, it really hurts to grit your teeth. And enlightenment may have another joy, please read The Castle: "I only build my castle on the beach when the sea is low / I know that the sea will be at high tide / Take away my castle / But I enjoy it / I love the sea / I want to wave in every moment of joy / There is a futility of my life." I believe that without experiencing a kind of enlightenment of life, I can't write such a clear sentence as "In the joy of every moment of the waves, there is the futility of my life"! In fact, this is the duty of the poet, Lu Weiping said, "The poet is the prisoner of the word, but also the guard of the word, only the poetry can reconcile the two identities of the poet." In the process, the world is constantly renamed, creating new images and moods, while at the same time allowing the poet to gain new tension and connotations to the old language.

Lu Weiping adheres to the position of civilian writing, adheres to the innovation and development of poetry, and more consciously completes the cultivation and grasp of poetry language by contemporary literati. He said that "experience should seep in, emotions should seep out", and in this infiltration, the purity and refinement of language were completed. Lu Weiping's poetry has a distinct degree of recognizability, peace and warmth, and generosity and openness. The penetration of emotion makes Lu Weiping's way of speaking reveal the poet's compassion and friendliness in peace and warmth. In many poems about migrant workers, they habitually show the bitterness and darkness of those low-level life, so as to complete the conquest of the reader with sharp and rough language. One of Lu Weiping's masterpieces, "Encountering a Group of Apples in Fruit Street", is written about apples, but its symbolic meaning is to love and kindness and blessing to the girls who have left their hometowns: "They are certainly not on a tree / But they are all apples / This is enough to unite them / Body next to each other / Warm each other Fragrance / They are not like durians / They smell bad / They also grow a body of evil thorns / Guard against others / I see them smiling from afar / When I approach, their faces are red / It is the red of the country girl's bowed head / Not like peaches Red is frivolous / Not like strawberries Red is smelly / They are the cleanest and healthiest fruits / They are good fruits / The best of them always stand in the most conspicuous place / Accept the city's selection / They are the lucky ones of the apples / How many apples have never been in the city in their lives / It's almost the New Year I pick a few of them that are most homesick to take home / Let them go and see / White-haired daddy in the snow. "This poem is the inspiration that only a person with a clean and good heart can get, and this poem is also a poet who cherishes the cleanliness and purity of language, and can only be written by a poet with a cultivated word. Those rough and fierce "hot and popular" poets, in the face of such language, reveal the unbroken fire of the poetic language and the inner anger of the poet. The poet is a person who fulfills his mission with words, as in the poem "In Front of bai juyi's tomb": "An Inner Mongolian said that he was far away from the grass on the plains / A Tibetan said that he was one year old and one withered / A Hainanese said that he was a fallen man at the end of the world / A Gansu man said that he had to meet and why did he ever know each other... They all speak in tongues / but I can understand every sentence. Similarly, Lu Weiping's poetry grows low, but the height of his inner dimension and language is that many readers of different aesthetic pursuits and poets and different aesthetic cultivations are likely to become his confidants, because reading these works makes us believe Lu Weiping's words: "Poetry obeys the needs of the heart, and in the middle of the night, I face things that cannot be illuminated, and I still do not forget to light the lamp until the dawn comes." Because of this, Lu Weiping's creation and research on Lu Weiping's creation are bound to attract the attention of contemporary poetry.