In the power of simplicity, Wang Xiaolu has a quiet courage
Text/Ichikawa
A quiet courage is better than some slogan-style, saliva-like language products. This needs to have a gentle pen edge and also needs insight beyond the daily trivialities, and this kind of concentration is the part of Wang Xiaolu's poetry that is carefully managed. "I gallop across the square world / See the archery hero on the Mongolian steppe / The woman in the Xiangxi Stilt House is grooming her long hair / The ghosts of Qiannan haunt the deep mountains and old forests / Even see Onegin's carriage" The ever-progressive imagery also shows a trend of spreading to the body, and there are two kinds of energy in the multiplicity of structure and deconstruction.
In the noisy industrial age, he tried to establish a kind of poetic glue, and the sea, sunshine, waves, sky, birds and other material parts outlined the light of language, and the poetry line tried to use layers of interlocking relationships to organize a stable bright color.
In the work "The Workshop", he opens a certain poetic revelation from the other direction, "the outside world sounds too noisy / the ear is equipped with a filter / quarrel with people always feel that the sound is not loud enough / the mouth is equipped with a megaphone / the limbs are too weak / just a few shots to stimulate" He constructs a model of dissimilarity in the form of disproof and slightly mocking, this bodylike writing looks down on the opposite style in some kind of pastoral poetry, intending to move towards a postmodern text.
While paying homage to classicism, Wang Xiaolu also explores his own path in it, and the intertextual part of the poem becomes a huge shadow for him to get out of the "anxiety of influence", and thus the pioneering expression of aesthetics is also more and more intense, "the heart lacks blood and pale / Take it out / Brush the red paint several times" In the process of grasping the daily trivialities, he tries to complete the new understanding of life with his own efforts.
In this process, it also enhances the interest of personal aesthetics, and this new aesthetic model makes the text more defamiliarizing, or the effect of separation. In the form of materialization, open up the expression of humanization.
This is the excellent quality of Wang Xiaolu's poetry writing, constantly exploring the extension of poetry in the depths of his disposition, as Bloom pointed out: all powerful literary originality is classic. Wang Xiaolu's writing is rooted in this basic point, and here dissolves the element of imitation, and the completion of this process should not be concluded in time, but should be used to affirm the value of life as a creator.
Attached: Wang Xiaolu's poetry works
workshop
Opened a workshop in the body
The mind is too cool
Heat it up with a flame gun
The brain is not straight enough
Re-weld the combing
Eyes don't look far
Install a telescope
Or radar, scanners
The outside world is too noisy
A filter is installed in the ear
Arguing with people always feels like it's loud enough
Put a loudspeaker in your mouth
The limbs are too weak
Just get a few injections to stimulate
The heart is blood-deficient and pale
Take it out
Brush the red paint several times
Night reading
Late at night
Best for talking
Especially with people who have never met before
Night falls
Black hides shyness
The giants of time and space and thought communicate with each other
The sky is clearer and more melodious
The sound of water is as beautiful as the sound of insects
There was also the wind blowing through the woods
Everything made me happy and happy
The spirit of words begins to come alive
It's like a pegasus spreading its wings and flying
I raced through the world of blocks
See the archery heroes of the Mongolian steppe
A woman in the Xiangxi Stilt House freshens her long hair
The ghosts of Qiannan haunt the deep mountains and old forests
You can even see Onegin's carriage
Run wild in the snow of Russia
Young Goethe almost jumped into the river for love
Shelley carried the weight of time in the westerly wind
Long reading
It was my practice in the middle of the night
Every epiphany
All make me more humble
Or more fearless
Forgive me, Mom
Forgive me, Mom
Like your usual tolerance and love
Forgive me for being outside this thick, cold wall
There was nothing they could do
Forgive me for not being able to walk with you
The last moments
We are all passers-by of this earthly world
fast-moving
A lot of words are too late to say
A lot of things are too late to do
But we're going to go home
Back to the one where there is no light and darkness
There is no eternity and ephemerality
No pain home
We borrowed this shell for too long
All kinds of fates in the world pass through here
They are ended in life
Do as God commands
In a more humble form
Continued in our bodies
Wang Xiaolu, whose ancestral home is Dongyuan, Qingtian, Zhejiang. Spanish Chinese poet, president of the Iberian Poetry Society of Spain, president of the European Han Hai Poetry Society, vice chairman of the Silk Road International Poets Federation, standing member of the Poetry and Distant Culture and Art Committee, founding director and secretary general of the European Chinese Pen Association, deputy secretary-general of the European Association of New Immigrant Writers, life member of the World Poets Congress, member of the Chinese Poetry Society, the Chinese Poetry Society, and the Zhejiang Writers Association. Many poems have been published in domestic and foreign periodicals and newspapers such as People's Daily and Poetry Journal, and have won many poetry awards at home and abroad. He is the author of the poetry collection "You in the Distance", and the chief editor of the Chinese and Western bilingual poetry anthology "Chinese and Western Poetry Dictionary".
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.