In the deep sea of the meniscus, the snow hides Gong Xuemin's heart
Text/Ichikawa
Finding one's own spiritual genealogy among words is one thing that all poets do together. Savoring a strange loneliness in the beauty of defamiliarization is a pleasure that is easier to obtain as a poet than the average writer. How to grasp the rhythm of this, how to distinguish that rhythm, whether the listening part is placed on the hand or next to the ear, whether the telling part is placed below the water surface, or placed above the water surface to contact and cultivate with the light.
Gong Xuemin's poems present the multiple parts of the above elaboration, and jointly draw such thoughts into multi-point scattered thought texts, restore the ontology of the poem to a fixed device, and carry out specific word and sentence planning for the external environment of human existence. The alignment will bounce clearly, a sound of joint fluid reverberating and flowing in an enclosed environment, while the outerr layers of the body remain on the skin it already has.
This delicate expression is reminiscent of the deep-sea echoes of the joints. One side is the heavens, the other side is the earth, and the more orderly humans, insects, beasts, and birds dance in it, and this hunting and hunted part becomes the daily cultivation of the poetic text. This note-like order lays over the ocean within the bones, requiring the reader's heart to capture the meaning of it. The characteristics of the performance are "the shadow of the red birch tree", "the flower of the shotgun", "the praying mantis dragging the big knife", etc., the different levels of this life state have jointly completed the "man is the scale of all things" to prove that "all things are people themselves" This is the softest wisp of philosophy in Gong Xuemin's text, but it has inadvertently become the hardest steel knife, looking at the straight blade, you can gaze at yourself, all things, life, and the universe.
What is sentimental, is it the problem itself, or the people who think about it, the people who take care of themselves, or the causal relationships that bind people to nature, people to people? Gong Xuemin did not give a definite answer, in rhetoric he captured the possible road "iron in the wind, the smell of decay in the village", "mankind becomes a gap, becomes a verb in my heritage", "moonlight trampled into plastic film by rain boots" condenses mourning, and in an instant is a morning dewdrop, refracted by the sunlight, where the temperature climbs high in the light, and the only dew will disappear in the middle of the earth, and this pain is hardly expressed by him as "the last flag, a // verb nailed to the wall." ”
There are always poets who leave their own ample evidence for "presence", and more importantly, where the "presence" of independent existence comes from, the answer seems to move towards a greater unity, defamiliarization based on a greater common divisor, in order to obtain the greatest support for independent originality, which Gong Xuemin does in "Money Leopard" and "Mantis", simulating the most important "presence" evidence of the bystander in the rhetorical system he confirms, which is full of infinite concern for life. That kind of fixed flowing life experience is like a Tibetan bronze mirror hanging high in people's hearts at all times. Through the solemn and light lines of poetry in one life entity, the authentic state of another life, the most important thing is to understand that "being born as a human being, responsibility is my most important form of existence", which is undoubtedly the biggest enlightenment that Gong Xuemin brought to contemporary poetry.
Attached: Gong Xuemin's poetry works
Jiuzhai Blue
All pure water, in the direction of purity, like grass
sprout. The blue of the blue is like the fish in love in winter
Slipping past a lonely Tibetan song...
Jiuzhaigou let their voices be so unbridled
Blue bar. Speak from afar
of grass, painting the story in the background of the black-necked crane long.
Dancing fish with blue waists of water plants,
Drifted away in the direction of the sky.
Went to the source of the Tibetan blue.
The shadow of the red birch tree, kneaded by the wind
Water-like blue. The woman leaning on the tree,
Winter with pigtails,
Lead the names of snowflakes and aquatic weeds all over the field, then
The sky was empty, and only blue remained.
Leopard
In the early 1970s, a piece of leopard skin for money purchased from farmers hung on the wall of the county supply and marketing cooperative's buying station.
——— inscription
Come on
The shotgun shells of my past life were turned into flowers by me.
Iron galloped in the wind, the smell of decay in the village
Diffused with the speed of iron.
Sew the dawn together with the dusk,
Humanity becomes a gap, a verb in my legacy.
I planted iron on the ground, sprouted, grew,
The village was pale in the shade and was forgiven by me.
I ran with iron in my fur fist,
The distance of running determines the length of iron,
The faster I go, the slower the iron,
The longer the village is left to decay itself.
I fished with a line made of iron running speed,
The dining table of the forest is surrounded by a white cloth of the sky,
Hungry birdsong,
Become the bait for the village to fly,
Come on
The flowers of the shotgun have swung me into a swagger
The last flag, one nailed to the wall
verb.
mantis
The grain is bundled tighter and tighter by pesticides and enters the bone marrow
Peasants in uniform
Kill three thousand insects and eight hundred wound grain.
Insects with locusts, borers, moths, bugs, mites... Of moves
Resist one by one and retreat to the weakening of the farmland
gasp.
Eight hundred grains were recruited, and the internal wounds were firmly guarded
Warriors in food.
Praying mantis dragging a large knife, in the farmland under the moonlight
Alone
Everywhere you go, there is silence under the heavens
Pesticides are the first to go.
Moonlight trampled into plastic film by rain boots
Spread on the ground of wounds
Waves of plastic ripple through fields and hills
Faster than a praying mantis knife.
The fallen mantis is like a good man who wants to go up Liangshan
Block the car with idioms on asphalt roads
Delusional uprising.
The slogan of harvesters being packaged with pesticides is getting closer and closer
The praying mantis sharpens its knife desperately on the road
Until the fishy smell of thinning into asphalt, just in one fell swoop
Split yourself into asphalt. The slogan of the harvester
The waves flooded the entire legendary Liangshan Mountain.
Gong Xuemin was born in May 1965 in Jiuzhaigou County, Aba Tibetan and Qiang Autonomous Prefecture, Sichuan Province. He began publishing poetry in 1987. In the spring of 1995, he conducted a field investigation along the route of the Long March of the Central Red Army from Ruijin in Jiangxi to Yan'an in Shaanxi and created a long poem "Long March". He has published poetry collections such as "Jiuzhai Blue", "Forbidden City", "Paper Sunflower", "Endangered", etc. He is the editor-in-chief of the poetry journal "Stars" and the vice chairman of the Sichuan Writers Association.
Yichuan, a well-known poetry critic and poet, whose works have appeared in newspapers and poetry anthologies such as "Stars", "Yangtze River Poetry Journal", "Poetry Tide", "Yalu River", "People's Liberation Army Daily", "People's Armed Police Alarm" and other newspapers and poetry anthologies.