Lingnan Poetry Circle "Double Heroes Shine"
Wen 丨 Ye Yanbin
Yang Ke and Lu Weiping are poets who have had a wide influence throughout the country, and are also two very important representative poets in the Guangdong poetry world.
Yanke is a mature poet with important influences in contemporary poetry. Since he appeared in the Chinese poetry scene in the 1980s, he has been active in the forefront of creation, publishing 12 poetry collections such as "Selected Poems of Yang Ke", many of which have been translated abroad, and have repeatedly won literary awards at home and abroad. In the past 40 years of creation, Yang Ke has started from a pioneering posture, made useful explorations in the fields of folk and intellectual writing, and written many influential works, which have been affirmed by the poetry community. The poetry collection "I Saw My Motherland in a Pomegranate" presents the creative achievements of an excellent poet who is mature and old.
As Jank's work goes, "A poet can write about himself, about his heart, about his dreams... In the same way, he should also write about mountains and rivers, about the land, about the life of Li Mincang, about the pursuit of the future, and present the thousand-year accumulation of language and literature. In other words, Yang Ke's dedication to the feelings of home and country and the life of the avenue is an important direction for his recent creations. Bringing into view the major themes of the times and society, these major themes and the sounds of the times present a new attempt in the aesthetic sense. For example, the widely disseminated "I Saw My Motherland in a Pomegranate" is no longer an old-school political lyric poem passion plus political expression, but a new spirit of the times is opened up with artistic images. In this poem, the word with strong political color of the motherland becomes a series of vivid and vivid images, living brothers and sisters, and all this is gathered into the poetic image of the pomegranate. The feeling of home and country is a poetic theme that Chinese poets cannot avoid, and strives to maintain effective communication with the times and the public, Yang Ke replaces passion and preaching with new poetic art, so that the theme of the times can enter the public life in a beautiful way.
Yang Ke's recent efforts to keep the right way to combine the modernity of real life with the realistic sense of modern poetry have made the landmark symbols of this era find their place in poetry, and at the same time added new artistic images and aesthetic symbols to the poetry gallery. Just like the poem "Tianhe City Square" gives readers new horizons in new forms and new ways. In this poem, Yang Ke writes about the world of Guangdong, which can be seen as a modern Guangdong "Qingming River Map". And the last paragraph of the poet's entry, with a stroke of genius, writes about the connection between the present and history: "A girlfriend gave me a youth dress/wool with metal buttons. Keeps. More noble than a suit / If the neck is added to a scarf / It will be the revolutionary youth of may fourth / This is the square of today / The only connection with the past and the far north. Such works are like the brush of a painter, leaving a moving frame for the great social changes in Guangdong today: "Meeting the Future in Huaqiang North", "Guangzhou Calmly in the Epidemic", "Close to the Great Power Heavy Weapon Intelligent Burning Plains" and so on.
As a work of the poet's spiritual totem, in this collection of poems, the poet strives to respond to the times and leave testimony for a new life. On the other hand, it traces back to history, traces the source of tradition, pays tribute to the sages, and presents the self-conscious cultivation of a contemporary literati, such as the poem "Light and Respecting Tingshan, Heavy and Peach Blossom Water", which proves that poets always follow their inner feelings when they strive to explore the integration and innovation of the life of the times.
Lu Weiping is a recognized and powerful poet in contemporary poetry. He was an intellectual who came to the southern coast after the reform and opening up, and his life and poetry were accompanied by poetry, so that his writing was always loyal to his own experience and heart. In the poetry world his name is almost a symbol of quality poetry. The poetry collection "Flame on Porcelain" once again presents the poet's extraordinary talent and creativity.
Lu Weiping was 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 position of a commoner, so that his works left a distinct texture of the changes of this era, and also became an aesthetic presentation of a new form of Chinese social genes. Poems such as "I Regret Letting This Stone Blossom" are undoubtedly the most vivid textures and the latest testimonies of this era. People-centered, in Lu Weiping's poetry, it is not a slogan but a lifeline of writing.
Guangdong is the forefront of reform and opening up, and the tide 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 undergoing 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. 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, he constantly renamed the world, creating new images and moods, while at the same time giving new tension and connotation 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. Lu Weiping's poetry grows low, but the height he reached makes it possible for many poets with different aesthetic pursuits and readers with different aesthetic qualities 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 are impossible to be illuminated, and 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.
The unity of compassion and poetic wisdom
--Reading Lu Weiping's poems
Wen 丨 Wu Sijing
Lu Weiping is a poet I have always loved and followed. In 2007, I published a commentary about him in the Poetry Journal, "Lu Weiping: "Downward" and "Upward", arguing: "The 'downward' and 'upward' mentioned here refer to two levels in Lu Weiping's poetry: one level is downward, persistently clinging to the earth; the other level is upward, to fly towards the sublime spiritual realm. The two forces are opposite in direction, but are organically unified in his poetry. Now, 15 years later, his poetry still adheres to these two dimensions. In his recent Notes on Poetry, he said: "The best sleeping position for a poet is to sleep on his side, with one ear pressed against the earth to hear the seeds sprout, and one ear facing the sky to listen to the whispers of the stars." However, with the enrichment of his life experience, the broadening of the field of thinking, and the deepening of his understanding of poetry, his poetry creation has presented a broader pattern, and in him, the feelings of great compassion and rich poetic wisdom have reached unity at a higher level.
Lu Weiping was a poet with great compassion. He was born in 1965 to an ordinary peasant family in Longjingchong Village, Xinjian Township, Hong'an County, Hubei Province. The experience of life at the bottom experienced from childhood has made him always pay attention to the vulnerable groups in society, and strive to illuminate the dark night of the world with the light of humanistic care in his heart. Lu Weiping has several works dedicated to his father and mother, such as "Mother Alive", "Sending Mother up the Mountain in the Rain", "Filling in Remittance Slips at the Post Office", "Father's Loneliness", etc., which are written about his deep affection for his parents. After his mother's death, he went to the funeral and buried her on the mountain, and the poet said goodbye to her mother, "Mother, you went up the mountain / After you went up the mountain, there was one more mountain on the mountain / ... My mother who was lower than the water all my life / Because this mountain stood high / My mother who was as humble as grass all my life / Great on this mountain" ("Sending Mother Up the Mountain in the Rain"). The poet is writing about his mother, but he is also speaking out for the people at the bottom, saying the noblest truth of the lowly.
In addition to writing about his own relatives, Lu Weiping projects his vision to the current society, and a considerable part of his poetry involves the living conditions of the bottom. "Chalk Ash" writes about his elementary school Chinese teacher, whose hair is as white as chalk ash: "I asked him / Every time you finish class / I would pat the chalk ash on my body / Why did the chalk ash / all ran to your hair", the teacher "did not answer my chalk ash question / Just like my father / Walked on the winding field all my life / Did not answer me a righteous person / How to take fewer detours".
Comparatively speaking, when Lu Weiping writes about his parents and teachers, he will choose the most representative scenes to enter the poem, and when Lu Weiping puts the perspective of observation into the wider world, there are not many cases like this that directly write the characters in life into the poem. He knows very well that as poetry, writing for the bottom should not only be a call for survival, it should first be poetry, that is, it should follow the aesthetic principles of poetry, and use poetry to grasp the world and talk about the world. When he pays attention to the living conditions of the bottom with great compassion, his poetry does not only stay on the truthful exhibition of the scenes of the life at the bottom, but refines the original ecological things in life and treats them with imagery or symbolization, so that ordinary scenes and images emit the light of poetry. At the beginning of the new century, he wrote "Encountering a Group of Apples on Fruit Street", which is ostensibly about apples, but in fact implies that the streets of the city are crowded with groups of migrant country girls, who are like apples, facing customers and facing the selection of the city. This is integrated into the poet's heartfelt sympathy and deep love for the migrant workers, reflecting the poet's poetic wisdom. This wisdom, in his own words, is epitomized as "seeing in the simplest words the complexity and richness of things" (Notes on Poetry). In Lu Weiping's recent poems, he prefers to include animals and plants, and most of them are insignificant animals and plants such as ants, flies, moths, fireflies, mosses, fallen leaves, earthworms, and salted fish.
In the poet's pen, ants are a symbol of all sentient beings. When the thunder roared, the black clouds pressed against the city, and the storm was coming, people went back to the house and closed the windows, but the poet thought: "I don't know if the ants have received / Notice of moving / ... I don't want ants to get hurt" (Why I Only Think of Ants). Through this scene, the poet's broad love is naturally revealed.
Flies are one of the "four pests", and the poet does not like flies and hopes that there will not be a single fly in life. However, when he sees a fly glued to a cobweb under the eaves and the spider crawling toward the fly with its mouth wide open, "My only thought / is to break this cobweb / Save this fly I will never / like" ("The Fly"). The right to survive is the right given to every living being by Heaven. When the survival of a living being, though he dislikes, is threatened, it is only natural for the poet to cry out for justice.
Fireflies are insignificant, but because their tails glow, they become loved by children. When the poet was 10 years old, he caught 100 fireflies and packed them in glass canned bottles. Hopefully, after my father extinguished the kerosene lamp, he would be illuminated by fireflies in a glass bottle. However he failed: "I ignored / The firefly has wings / It lights up to illuminate its flight / But I didn't expect that these fireflies would rather die / Than glow in a closed canned bottle" (Fireflies). Through this short story, the poet wrote about the great truth that "if you are not free, you would rather die". The last words of the American Patrick Henry in his speech to the Virginia Legislature in 1775 on the eve of the founding of the United States were highlighted by the tiny image of the firefly.
As a small type of moss, moss belongs to the lower form of plants, generally growing on bare stone walls or in moist forests and swamps. When it comes to moss, people will think of Yuan Ming's "Moss": "The day is not everywhere, and youth comes just in time." Moss flowers are as small as rice, and also learn to bloom peonies." The main theme of this poem is inspirational. Lu Weiping's poem "Moss" is written about moss that grows on stones: "I bless / Those stones that have become precious jade / I favor / All the stones that have not fulfilled their dreams / I use my life / Year after year / On these stones / Make a record of time / I tell the world / Even a forgotten stone / Can find its company / There is also its spring, summer, autumn and winter" ("Moss"). The poem is narrated in a "mossy" tone, singing about the ordinary forgotten stones, conveying the love for the underclass who have not realized their dreams.
In the poem "Autumn Worries", the poet shows four autumn scenes: sparrows, geese, fallen leaves, and ripples:
A flock of sparrows flew by / I was worried about the one that flew the lowest / Twilight was coming / I wished it was dark / It would fly to its home on top of a tree / / The geese flew south / I was worried about the last one that landed on the geese array / The sky was vast / It was home / There would be no lonely geese who got lost in the clouds / / There were piles of leaves on the ground / I was worried that the tallest branch was delayed / The leaf that did not fall / It was yellow / I didn't want to see the snow flying / It has not yet returned to its roots / / I sat by the lake / Watching the wind carved in fine shape on the water / / The ripples grew deeper / I was worried about my ripples / The moment I got up and left / Became a wrinkle on my body
This poem can best represent the poetic style of Lu Weiping to middle age, there is no wild call, no youthful publicity, in the calm narrative, the feelings of great compassion and poetic wisdom are closely combined, pushing Lu Weiping's poetry to a new realm and a new height. Lu Weiping said in his Poetic Notes: "'A horse grazes in my long shadow. I changed this verse from the American poet Wright to: "A horse eats my long shadow in the grass." Who has the deeper imagery? It can be seen from this that Lu Weiping's recent works seem to be quite inspired by the representatives of the American "deep imagery" poetry genre, Robert Breey and James Wright. The "Deep Imagery" school advocates natural language, strives to return to the basics, emphasizes the musicality and "inner power" of poetry, and believes that the encounter between the listener and the reader and the poetry is the encounter between man and the world. This is the same as Lu Weiping's statement in the "Notes on Poetry" that "freedom is the most poetic expression of all things." All the efforts of the poet are to approach things infinitely through language", and indeed there are certain similarities.
From the perspective of the intergenerational division of contemporary poetry, Lu Weiping belongs to the generation of "post-60s". In my opinion, because of their unique life experiences, the hardships they experienced since childhood, the social changes they experienced when they grew up, and the relatively complete education that they had the opportunity to get later, the "post-60s" poets have a different understanding of life and art than the previous generation of poets, and also different from the future generations of poets, and the best of this generation of poets have formed the backbone that supports the sky of contemporary poetry.
Lu Weiping said in his Poetic Notes:
I never worry that the pen in my hand will dry up, and as long as the light doesn't go out, I can squeeze ink out of my shadow on the wall.
Without poetry, every tick of time would be the footsteps of death approaching us. Poetry resists death, and poetry rejects forgetting.
From it I heard the voice of a poet fighting against the passage of time, and it was in this voice that I saw a pure, noble, true poet coming towards us.
Writing with both "direction" and "strength"
Wen 丨 Luo Zhenya
Yang Ke has personally experienced many changes in genres and trends, but he has never been swayed and coerced by popular curiosities, but has always regarded poetry as the spiritual home where life lives, adhering to an independent textual position, and after more than 40 years of ups and downs, he has finally become an ageless "blue bird". Looking back at the not-so-short creative process, it seems that Yang Ke has never been plated with the aura of "quick glory" of big red and purple, nor is there the sadness of the "rapid decay" of the yellow flowers every other day. Moreover, he is deep and self-conscious, and the more he writes, the better, not only has a clear sense of direction that marks the maturity of the poet, but also has the weight and impact of shaking the soul. "I Saw My Motherland in a Pomegranate" recently published by Jiangsu Phoenix Literature and Art Publishing House once again revealed this information.
Opening the first poem with the same title as the poem collection, many readers will have a lot of aesthetic tremors, pomegranate, the motherland, these two disparate, unrelated imagery, how can they be copied together, and how can you see the motherland from a pomegranate? It is as if the ontology and metaphor of the north and south poles are juxtaposed and knotted, but if you read it carefully, you will feel that the conception of its combination is cleverly "in harmony". It is not difficult to see from this poem that for YanKe, writing poetry is a matter of mind and spirit, so his poems are "walking the heart". Whether it is the persistent contemplation of human ideals and human love in "New Peach Blossom Origin" and "Worry", or the daily gaze of urban landscapes and experiences such as "Artificial Intelligence Beautiful Girl" and "Flower City Square", or the warm touch of the environment and ecology of "Renjie Di Ling" and "Warm Poem", all of them are imprinted with the subject's ideological desire and appeal due to the integration of "the general attitude of the heart", and the possibility of communicating with the reader's heart. What makes Yang Ke superior to ordinary poets is that when many people think that the social and practical factors of "non- poetry" do not contribute to the beauty of poetry, his poetry starts from the heart, but rarely indulges in the lyricism of individual feelings, but strives to construct its own poetic aesthetics in the dimension of "and things", and makes poetic discoveries and speeches that are close to and beyond reality in the broad "dialogue" with the entire external world. In particular, the poet identity of "flesh and blood / can not be stripped of bones" in his early poem "Description of a Middle-Aged Man" gives his poems a kind of "heart for heaven and earth" as a responsibility color, and his poems often convey the sentimental intentions of the group or the times from a personal perspective, no matter how the poetic style changes, it can always achieve a strong poetic soul and full of strength. As a representative of reality and human conscience, Yang Ke's poetry aggregates and collages scattered perspectives between each other, completing the writing of China's "image heart history" in the transition period, from which it can catch the texture of history and the inner pulse.
Growing up in the south, Jank's imagination was outstanding, and his poems walked the perceptual route with ease. The most noisy and messy places in the metropolis have been sketched by him in a few strokes. The combination of contradictory factors such as crowding and loneliness, fashion and desire, health and ulcers shows the cold and cruel nature behind the prosperity of the city. What is even more remarkable is that the quality and weight of "thinking" in Yang Ke's poems are increasingly strengthened. Poetry is the concept of "the epiphany and awakening of the soul in the flesh", which meets with the rich life experience, the psychological structure of introspection, and the superb intuitive ability, so that his poems such as "Death Message", "Stonemason", "The Wind Bears All The Sins", etc., from time to time escape from the level of life, emotion and feeling, straight to the essence of things, become the crystallization of aftertaste and contemplation, breed a certain rational connotation outside the sensibility, more like the home of a piece of thought, or the "eyebrow criticism" of life. The integration of sensibility belonging to the south and rationality partial to the north in the poem undoubtedly increases the calcium, height and depth of Yang Ke's poetic connotation, and will also trigger readers to question and reflect on the traditional concept that poetry is only the expression of emotions and the expression of life.
Compared with the high-mindedness of the poetic soul, Yang Ke is even more inferior in poetry. In his works such as "Petroleum", "Green Bicycle", "High-speed Railway from Xiangtan to Changsha", etc., the material codes of commercial narratives such as squares, oil, telephones, cars, palanquins, postmen, cruise ships, stations, high-speed railways, and tunnels are used in large quantities, creating a series of images with new qualities and open-mindedness, and reaching an ideal correspondence with the complex, mysterious and disordered psychology of modern people, impacting the image pattern of traditional poetry, and the strange stimuli are unexpected. Yang Ke's poems are also convincing in terms of structure, balancing the big and the small, abstract and concrete things, such as "I saw my motherland in a pomegranate" and "Silver Bottle Mountain", or the analogy between "pomegranate" and "motherland", quorpting the love for the country and compassion for the suffering compatriots; or harmonizing the roar of the "mountain" and the factory, revealing the busy and cheerful nature of industrial civilization to bring modern people desire, busy and cheerful, can be large and small, small in the big, virtual reality, a kind of weight-lifting demeanor. In particular, Yang Ke's poetry is supported by rich cultural heritage in the irony, humorous witty style, which is even more unique.
In addition, perhaps more and more aware of the need to integrate new poetry and tradition, the composition of ancient culture and poetry in Yang Ke's poetry has increased significantly, such as "Su Dongpo", "Xianyou Temple Encountered Bai JuYi Fu Case Book Long Hate Song", "Grace Zhang Jiuling" and so on, and so on. They are not only the reproduction and restoration of the spirit and thought of the ancients, but also the imagination and retelling of poets and sages after the spiritual "dialogue" between them across time and space. It can be said that the artistic possibilities and good performances opened up by Yang Ke's poetry on the issue of "what to write" and "how to write" are not without inspiration for the poetry world.
Two choruses of praise for the age
Wen 丨 Liu Liyun
The two poems of Yang Ke's "I Saw My Motherland in a Pomegranate" and Lu Weiping's "Flame on Porcelain" were studied together, and some of them merged the flavors of the same kind. But if you think about it, there is an inevitability in chance, and the deliberate arrangement shows a logical induction and refinement. Because the life experiences of the two poets and the two collections of poems they dedicated to us many years later have a certain significance not only for Guangdong, but also for the development process of Chinese poetry as a whole.
Their survival and growth in the past few decades have benefited from the great new era of reform and opening up, and their social status and identity have determined their creative posture and mentality, which in turn determines the voice they emit in the poetry world, a high-pitched, agitated, like a river rushing, rolling forward; a soothing, deep, like mountains and rivers, winding paths. The differences between them are due to their different worldviews, outlooks on life and values, as well as differences in temperament, knowledge and hobbies. But both people are singers of the times, and their singing, in the final analysis, is used in two beautiful voices in different sound areas to praise our great era.
Yanke is a veteran campus poet and recognized as a well-known poetry activist. From university onwards, he was very fortunate to have been involved in almost all poetic movements since the New Age. His poetry is concerned with the times, close to reality, bold and grand, with considerable political passion and ideological penetration. Some great people, big words, and major events in ancient and modern China and abroad, such as "My China", "Su Dongpo", "Dadong Lake", "New Peach Blossom Origin", "Yellow River", "High-speed Railway", "Six-dimensional Space", "Gate of Time and Space", etc., frequently appear in the words and lines of his creations, and some have directly become the title of his works.
In 2006, Janker wrote "I Saw My Motherland in a Pomegranate" as the title of the book. To highlight the importance of the poem, he placed it in the title of the opening of the poem. Usually a book of poetry has a central chapter or poems written by poets with enthusiasm. There is no doubt that Janker made this poem the central chapter of his book of poems. I would like to solemnly point out that proceeding from the author's consistent people-oriented creative principle, placing this poem in the position of this collection of poems means that Yang Ke's writing of the motherland, the acura era and the people has greatly gone up a step and entered a new realm. He himself says in the poem that it is "a citizen humbly bending over/pulling out a fisted heart". What makes people happy and excited is that the people in Yang Ke's eyes at this time are the motherland like pomegranates with her "huge and full" chest like heaven and earth, "embracing the intimate people / Bare skin protecting the crystal heart / Hundreds of millions of children holding hands / Smiling sweetly and sourly on the branches." A pomegranate has a hole in the sky, and being able to see our motherland, our times and people in a pomegranate shows that the country is changing, the times are changing, the poet's mentality, mind and emotions are also changing, and the vision is broader and higher. Next, he "touched the yellowish fruit film inside the pomegranate" and immediately thought, "I am touching my fresh motherland"; when the pomegranate cracked, revealing a grain of crystalline grains of full fruit, he immediately thought that it was our "sister in a pomegranate skirt" who was standing tall and "her face was red", or "sleeping in the wind" and "dear and beloved good brother".
I believe everyone has noticed that most of the 108 poems included in Yang Ke's poetry collection were written between 2019 and 2021, and the themes of the poems written in these three years are almost all concentrated on the glorious achievements of the Acura era, the Acura people, and the acura reform and opening up. Even if it is obvious that he is invited to visit and collect poems, he can see the figure of the times moving forward from the specific scenes, and hear the sonorous sound of the wheel of history that whistles away. This uplifting quality and style is particularly prominent in the second series of "Symphony of Clouds", just by looking at the titles, such as "Meet the Future in Huaqiang North", "Artificial Intelligence Beautiful Girl", "Close to the Great Power Heavy Weapon Intelligent Fire Plains", "Looking at Lok Ma Chau on the Top Floor of SEG", "Making Clusters of New Worlds with Molds", "Taking the High-speed Railway from Xiangtan to Changsha", "Blue Whale Sculpture", "Cross-Sea Bridge, or Dedicated to Hong Kong, Zhuhai-Macao", "Yangshan Port Automation Terminal", etc., we can be deeply infected by the poet's enthusiasm and passion.
Just as "I Saw My Motherland in a Pomegranate" as the central chapter in the interpretation of Yang Ke's poetry collection of the same name, after reading Lu Weiping's poetry collection "Flames on Porcelain", I believe that "Zoo" is a key to open this poetry collection and the poet. In the poet's decades of work, I found that "The Zoo" is one of his rare poems written with a wide-angle lens. Writing about zoo animals is not new, and it is difficult to see the cleverness of evaluating these animals one by one, but it seems unique and ingenious to match the animals seen in the zoo and their dispositions with the people around them, their love and hatred, and their likes and dislikes. And, notice that the psalmist refers to the animals in his writings, tigers, pandas, wild boars, monkeys, snakes, foxes, and leopards, using "he", and the peacock and sheep, but "she". Reading this poem, the discerning person immediately knew that the zoo he wrote about was no longer a pure zoo, but the city and the people in his eyes. And this impression he obtained after arriving in the vastly open southern coastal city from the relatively poor Hong'an in Hubei Province. After reading this poem and meditating, we immediately have a general outline and can make relevant judgments about the living environment and living conditions of the poet after he came to the forefront of reform and opening up, his habits and psychology of dealing with people, as well as his circle of friends, his radius of activity, and even his emotional life. When it comes to his poetry creation, we can think of how sensitive, slender, and soft the content and style of his creations are, how sharp and introverted and wandering. I can fully imagine that he was a man who caught up with the times, who was enthusiastic enough for all new things; who indulged in the praise of the new life and hailed all the changes that turned to the good. But in specific poetry writing, he hopes to cool down and slow down, and control the distance between poetry and real life within a range that is both rational and pure. I would also like to remind my friends to compare Lu Weiping's masterpiece of poetry called "Encountering a Group of Apples in Fruit Street" with the central chapter of Yang Ke's poetry collection, "I Saw My Motherland in a Pomegranate", at which time we will be pleasantly surprised to find that the two poems are both about fruits, they are bright and dark, one big and one small, so that we can see from them that the people and things that they want to praise and praise are the people and things that have emerged in our great era; what we hear is the footsteps of the advance of this era. The two poets who have been integrated into the hot land of Guangdong can be described as the same work and sympathy for each other. What they aspire to reach, of course, is the poetry and distance that our people yearn for.