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I worked at Stars
Blue
In the early 1980s, as a phosphorus miner in Jinhe, I published several small poems in newspapers and periodicals, and I had the honor of serving as an "amateur editor" for nearly a year in the recently revived "Stars" poetry journal.
The inaugural issue of the poetry journal "Stars"
The title of "amateur editor" may be difficult for young friends to understand, but it was all the rage twenty or thirty years ago. At that time, the new wave of literature was surging and literary journals were mushrooming. But the editorial talent was not enough, and the seniors came up with ways to find editors from the authors, or seconded or hired or part-time to help the newsroom. Since it was not in the establishment, the word "amateur" was given to show the difference. The selection process is also very simple: any work that has left an impression on the predecessors can be shortlisted, and several old editors exchange views, send a letter to the author's unit without objection, and notify the author once agreed. As far as I know, there is no author who is reluctant to go to The Stars. Before me, the poets Xiong Yuanzhu, He Xinghan, Luo Gengye, Fu Tianlin, and Li Gang, who were already quite famous in China, all went to "Stars" as amateur editors. In that case, like a short study abroad, in addition to contacting poets from all over the country from the manuscript, there are sometimes poets who visit the editorial department and communicate with us without restraint.
Fu Tianlin took a photo in 1981
I was called to "Stars" after I learned about me from the teacher of Liusha River, the editor-in-chief Bai Hang. In the mid-to-late 1970s, Teacher Liushahe and I were close neighbors, and after I got married, my home was settled in the alley where his ancestral home was located. I remember the first time we met, he said to me frankly, "I'm the real rightist." The intention is for me to carefully consider whether to associate with him or not. But in the seven or eight years since then, every time I came home, I would go to his old house and chat in the sky, and mostly at night, because during the day he would have to pull up large bases and nail wooden boxes. Also involved in the small talk was his old nephew, Mr. Yu Bokui, who was a few years older than him. Years later, I went to visit him and remembered this "night talk in Sanjia Village, Chuanxi Province". The summer night was hot and sleepless, and the three of them "repelled mosquitoes with a sunflower fan and talked about coarse tea", and sometimes they dispersed after midnight. He once specially wrote a couplet for this purpose, the upper link: "Downtown Hua Lantern Brilliant", the lower link: "Deserted Garden Night Talk".
In 1988, Bai Hang (left), founder of the poetry magazine "Stars" (left), and Liushahe (right) together (Source: Xinhua Literature and Art)
What I particularly admire is the strong knowledge of Teacher Liushahe. During the conversation, he often quoted fragments from ancient and modern Chinese and foreign classics, and also made an interpretation. Teacher Liushahe was the first true poet I knew, and he was a scholarly poet; he made me so awe-inspired by the title of "poet" that I was always uneasy and ashamed when I was later introduced as a "poet".
I don't know how Teacher Liushahe introduced me to Teacher Bai Hang, when I went to "Stars", I was almost confused, and the published works were not up to ten, fortunately, my mind was to improve the ability to appreciate poetry as soon as possible, "enter the role" as soon as possible, and not disappoint the teachers.
Founded in January 1957, Stars was soon criticized for publishing Liushahe's "Grass and Trees" and Yue Bai's "Kiss". During the "anti-rightist" period, baihang, quicksand river, Shitianhe, Baixia, Baidi and other founding poets were classified as rightists, and after being unfairly dealt with, they disappeared for more than 20 years. Thereafter, the unrecognizable Star remained unrecognizable until October 1960, when it was "streamlined and adjusted" and discontinued. It was not resumed until October 1979, after a lapse of 20 years.
The inaugural issue of the poetry magazine "Stars" (Source: Cover News)
"Stars" initially flashed like a meteor, but it is well known for its dedication to New Chinese poetry, and the seeds of poetry it sowed spread throughout the land of China. After the resumption, "Stars" gathered several generations of new and old poets, and once again became the leader of the exploration of new poetry. At this moment, when I write these few words, I still think of the feeling of reverence and anxiety mixed with when I stepped into No. 2 Buhou Street (Provincial Literary Association Compound) in Chengdu.
No. 2 Buhou Street, a mansion in downtown Chengdu during the Republic of China, was once the residence of General Xiong Kewu. After the Sichuan Provincial Federation of Literary and Literary Organs were stationed, the courtyard layout remained unchanged, and the courtyard was full of flowers and green grasses, plum bamboo pavilions, and orchid chrysanthemums. The courtyard near the compound is home to many writers and artists. When I was walking in the morning, I saw the old writer Ai Wu lining up with a basket to buy bean sprouts, and I also saw the female writer Bao Chuan poking honeycomb coal under the eaves. They are very simple, living at home is the same as ordinary people, the difference is the polite temperament. I greeted Elder Ai with "good morning", and he heard the sound and bowed down to return the salute " Early, early!" "The residents on the street are also infected, rarely shouting, and the area around the Wenlian compound is very quiet."
The editorial office of "Stars" is in the left compartment behind the compound, the room is less than 20 square meters, five or six old-fashioned writing desks, a dozen chairs, two bookcases along the left wall of the entrance, and a long table, with warm water bottles and tea cups, etc., which are somewhat shabby. Usually, everyone selects and edits manuscripts on the writing desk, which is very quiet, only when selecting the prepared manuscript for review, there is almost a whisper-like exchange with the editor-in-chief Bai Hang or the deputy editor-in-chief Chen Xi.
At that time, the number of manuscripts and letters received by "Stars" every day ranged from dozens to as many as one or two hundred. Whoever arrives first, carefully cut the opening of the envelope with scissors, except for the mail with a clear recipient, the teacher and we do not distinguish each other, take a stack, unfold it and first use a pin to pin a page on each manuscript "Notes on the Stars", and then read it carefully. After delineating the selected works, briefly write the reasons for selection for review.
When selecting manuscripts, the order of the author's self-editing can be adjusted, and the group of poems is particularly concerned, and the progression of poetic thoughts and internal associations must be considered, and sometimes painstaking efforts are made to rank the most appropriate first. But teachers often emphasize that the work should not be easily changed, unless there is an obvious error or a common sense "hard wound". Teacher Bai Hang once said: "Those here, including me, may not be smarter than the author, we must respect the author, this is the rule!" ”
In April 1983, bai hang (left) and Ai Qing (right) are together at the polling table of the National New Poetry Awards
I benefited greatly from nearly a year of amateur editing and laid the foundation for my later role as a full-fledged editor of the supplement. To this day, when reading Wenyou's works, I subconsciously grab a red pen to correct the mistakes I see one by one, even if they have been printed into books. In the face of the manuscript, the first thought that came to mind was why he wrote these words, rather than focusing on the rhetoric and smooth writing. This accumulation of habits is the result of the teachers' meticulous supervision and meticulous supervision.
I remember one day, teacher Bai Hang suddenly asked aloud when he was close to work at noon: "Everyone thinks, have the works of the two Sichuan poets in this issue of the "Poetry Journal" ever sent to us?" "Poetry Journal" is a publication of the China Writers Association, and what he means is that if the manuscript has indeed been sent to "Stars" and ignored by us, it should not be done, and it will definitely disappoint the author. A question like this, or a few-numbered comments on the manuscript (e.g., "The 4th one you didn't choose seems better", "The 3rd one is barely better, you see?). I often feel ashamed and uneasy for a few days, and it is these gentle and serious teachings that subtly affect me, making me understand that "editors" are lonely altruists whose value and happiness are found in good works, good authors, and nothing else. In the subsequent editing career, I often thought about this, and I was self-disciplined, as if I were in the abyss, and never decided to choose between my own likes and dislikes. It also made me a real friend with a large number of authors, trusting each other and always having a friendship.
At that time, the editorial cycle of "Stars" was about two months, that is, at the end of each month, the manuscript of the issue that would be published two months later was compiled and arranged. This was followed by proofreading of the next month's sample, signed and printed by the editor-in-chief after the three schools. Before the final draft is submitted, it will be circulated for the last time, intended to brainstorm and identify problems. Sometimes, people would sit around the square table and express their opinions, which was called the "square table meeting" by our group of young people, and the teachers participated equally. At the Square Table, any editor who raises an objection to a work is substituted for good reason. To this end, the two teachers, Bai Hang and Chen Xi, who take turns to preside over the editing, will always pre-select some works as backups.
Formally sitting with two generations of amateur editors, unashamedly reviewing the upcoming finals, a situation that may be unique to Stars. Because in the years since, I have also contacted many editors of literary journals, and when I talk about this link, their reactions are almost always surprised and then admired. Now that I think about it, this democratic style must also be related to the experiences of several predecessors, but I have always regarded this as respect for authors and works, and scrupulous responsibility for publications. It should be known that the 1980s was the most active and prosperous period of Chinese poetry, the rebuttal of poetry propositions and the diversity of poetic pursuits were unprecedented, and the full respect for the author of "Stars" and its open-ended publications provided fertile soil for young poets. Howe does not exaggerate to say that this is a major motivation for Sichuan to become a major province of poetry.
There are also times when teachers avoid us, but this is rarely the case - the provincial federation of literary and literary associations or writers associations ask them to study what documents, or where to listen to reports, they generally do not ask us to participate. I think this probably has two meanings, one is that they think that amateur editors are not on the staff, there is no need or stipulation that they must participate; the other is that they think that it is a routine and that they cannot waste time by pulling us away. But if there are foreign poets visiting, the "Stars" do the east to invite them, the teachers will inform us one by one to "go to accompany and listen to the poet's opinions." I have seen Zou Difan, Shao Yanxiang, BaiXia, Yu Weiye, Fang Jing, Gao Miao and other predecessors at the dinner party, and I have also accompanied Beidao, Shuting, Gu Cheng, Ye Wenfu, Lei Shuyan and other famous poets of the same era to visit some famous places in Chengdu. They all left me with the impression of being blunt, waiting for people, and never being contrived. To a certain extent, these contacts gave me a glimpse of the current situation of contemporary poetry, and to understand the issues that poets are thinking about, such as poetry and society, poetry and the times, and the direction of poetry. They also argue, and the arguments are serious, and each seems to have a good reason.
It was these contacts, as well as the experience of receiving visiting young authors in the newsroom, that prompted me to read many works on poetry theory at home and abroad. On the one hand, I feel that I am shallow, on the other hand, I want to talk to the author as the editor of "Stars", and it is too much to read more. At that time, there were so many poetry societies in Chengdu and Kawauchi that today's young people cannot imagine. There are more than 10 poetry clubs in a university, such as Sichuan University, Sichuan Normal University (now Sichuan Normal University) such as liberal arts and sciences universities, literary societies are very active, young poets not only communicate frequently with university poetry groups in Beijing, Shanghai, Wuhan, Guangzhou, and Chongqing, but also some have emerged and become famous. They often come to the Stars in groups, report to the house, and then communicate with us. Almost every one of them had lofty ambitions and had the dream of a great poet in his heart. They speak up and say what they think. I remember one day, a college student from the "Jinjiang" Literary Club of Sichuan University went straight to Teacher Bai Hang and asked if he could open a column such as "Selected Poems on Campus" and claimed that he could compose the manuscript on his behalf. Teacher Bai Hang's reply was "The proposal is very good, but we still need to study it specifically." A few months after I left The Stars, a similar column did appear in The Stars, but it didn't last long, and it is unknown why it was interrupted for a short time.
The love of poetry also makes it easy for people who don't know each other to communicate and inadvertently build trust and friendship. Some of the college student poets I've hosted have been successful in other fields, but still correspond with me from time to time (later become phone calls). There was a northern poet who, after traveling to Jiuzhaigou, actually took a detour to Deyang for a few days, just to "relive those years immersed in poetry" with me--this is a sentence written to me later after he returned to Hebei, in addition to friendship, pure poetry as a common pursuit. Kawauchi's poets exchanged more information, until my works became scarcer, and they also passed on to me: To write, don't live up to "Stars".
The Folk Poetry Society was created around the influence of campus literature, and in the mid-1980s, its boom was no less vigorous than that of the campus. At that time, some people commented: There are some schools of poetry in the whole country, sichuan all have them; there are some schools in Sichuan, which may not exist in the outside world. This statement has an exaggerated component, but it also reflects the strength of the Sichuan poetry crowd at that time. In this regard, Teacher Bai Hang once asked me about my views on some poetic claims. I also spoke up and enthusiastically praised some of the poets and their societies that I was more familiar with. The general tendency is to hope that such a vibrant foreign view can lead to the true blossoming of contemporary poetry. However, I also expressed my disgust at excessively obscure writing, especially the poems that proclaimed "Write to yourself, you must understand". I didn't know the height of the sky, left and right, but Teacher Bai Hang listened very seriously, and nodded his head in approval from time to time. Later, I once wrote an article "There is a sea behind his eyes", which was published in the "Literature Newspaper" in Shanghai, and wrote about Bai Hang, who always maintained a poetic heart.
Bai Hang, founder of "Stars" poetry magazine (Source: Cover News)
When I left "Stars", the teachers gave me a lot of gifts, Teacher Shahe gave me a very exquisite notebook from the Shanghai Publishing House, and on the title page was inscribed with a gift of "All Roads Lead to Rome"; Teacher Chen Xi and Lan Jiang sent me their collection of poems; Teacher Zeng Sanming (the mother of the female poet Jiajia) gave me a set of "Towards the Future Series"; and Teacher Sam ming's husband You Quan (a special review editor of "Stars" at that time) gave me a collection of Belinsky papers that he had treasured for a long time. When Mr. Bai Hang happened to be published in his "A Brief Discussion on Li Bai and Du Fu", he gave me a copy and whispered to me: You are very self-respecting, and you have not used the name of "Stars" to indiscriminately distribute works everywhere; you are not famous yet, but the teachers hope that you will have the opportunity to come again. He took me outside the gate of No. 2 Buhou Street, and when he shook goodbye, he said in a serious tone: "Poets should be independent and uninhibited, and those societies should pull you, you must be cautious." ”
After I said goodbye, I didn't work at "Stars", and after about three or four months, the "Stars" teachers gave me another gift - they recommended me to join the Sichuan Writers Association.
Hurried for more than thirty years, the teacher's teachings are still in the ears. After leaving "Stars", I was indeed a loner, a scattered soldier, and soon fell into the press, the poet's dream gradually drifted away, and to this day, I can only say to my predecessors that I have a devotion to poetry.
(Selected from "A Brief Reading of deyang Literature and History (III)")
Source: Sichuan Provincial Local History Work Office
Author:Lan You
Contributed by: Party History Research Office of the DEYANG MUNICIPAL COMMITTEE OF THE CPC (DEYANG MUNICIPAL LOCAL HISTORY OFFICE) THE CULTURAL AND HISTORICAL COMMITTEE OF THE DEYANG MUNICIPAL CPPCC
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