Attention, let poetry light up life
Shu Lechuan, whose real name is Wang Jianjun, was born in 1967, and after graduating from technical school, he was assigned to work in a machinery manufacturing factory, and after being laid off, he worked as a magazine editor and opened a small restaurant. A small workshop operator of pure handmade writing, his works have been selected for many annual selections, and he has won the 2010 Young Poet Award of poetry journal, the fourth Liu Bowen Poetry Award and other awards, and has authored poems such as "The Wind Carries a Flower Away", "Subtle Love", "I am in the world, very good". He is currently working in the Shizuishan Municipal Federation of Literature and Literature in Ningxia Hui Autonomous Region.
Blind Guagua
He hid in the darkness, and he caught a glimpse of a man
Flaws in life and death, but he
Can't say broken, he wants to give fate
Leave room for manoeuvre
A man who has been repeatedly struck by fate, he understands
Fate is temperamental, but for concrete life
He still can't meddle too much, the details are careless
Sooner or later, it will leave a handle on people
People give their fate to an invisible man
People believe that a person who has been in the dark for too long
There will be light, but the truth is
It was just darkness that ignited the darkness
The trend has been determined... People don't see it when the crowd disperses
He was alone in the shadows, in the black hole hole in his eyes
There's something
Bottomless
Wells
Mind, night and well
They are the same kind of thing
Take a stone and throw it into the well
After a while
Maybe a few seconds, maybe a lifetime
You will hear a dull sound
Like a person
Trying to endure something
Deep well water, because of the pain
And sparkling
The same is true of the heart and the night
Born
He was silent, he couldn't say
Where he was going, let's call it
Homeland, or eternity
He closed his eyes, and he saw
A lamp, carrying the night
Let's go
He's leaving too, he's going to be there
That inexplicable place was secluded, he
Never come back —
I left only the pain, for me
Guard the human world
Smoke
What kind of flower is this, and what it's open
It's like withering away when one is ready
Night, the sky and the pain, a firework, was taken in
A pair of eyes bleak and confused
I'm glad I can still look up, and I'm glad I can
Standing farther away, I was glad I could still stay out and see
Once upon a time, how to put yourself
Suddenly forced into a desperate situation -
Showers
A naughty child, a
Overkill joke: when so many people
Raise your umbrella, a rain
But the wind slipped like a slippery slope
The wet and the unhurried
They all share the same disappointment
One thought comes, one thought goes, one thought and the sky is clear
Only the infatuated man has been standing in the rain
Guard for you, a small piece of clean earth
Introduction
I was introduced and visited by the night
A light, it flickers and flickers
I can't tell where my light came from and where it came from
Somewhere to go, it stood in frustration in the darkness
The lonely figure, repeatedly comforted by the night, said—
I'm really sorry, I can't move my back all night
The so-called light, that's just me being crushed by the night
Shouted out
I was introduced by the earth and visited
An ant, when I visited it, it was positive
Rush towards the other ant, two ants
One after the other, they sped back and forth, and they looked breathless
Let the earth hide and hide, and for a moment, I felt the earth
Obviously, it deflected to their side, and I
Exhausted this life, never stabilized myself
I had the privilege of being introduced and visited by you
Myself, I witnessed myself, how to get out of pain
Love is painful, from a path of love to love
A road leads to black... And my most brilliant thing is
The moment you lost you, dear one, you have never seen it
So vast sorrow, enough to make me
Proud life ——
I once loved someone with all my life and death
Now, he has loved her again
The old man who repairs clocks
He lives with time, and he is careful
Settling the time between inches, he gave time
One specific piece of advice: Time will also be dusty and go
Over time, it will also be scarred
It has to be said that he has a deep affection for time, time
It also allowed him to have a heart as calm as water, through vicissitudes
Mixed in the middle of a large number of clocks, only he was
It is a clock made of flesh and blood, but he is the only one
Not repairable
A messy life requires a precise path
Bypassing life and death, behind time, he finally confessed —
The mystery of time is to loosen up little by little
A tight heart... It's just, a sadness for time
He had been powerless
In Luzhou, night tour at the confluence of the Tuojiang and Yangtze Rivers
I also know a little bit about the Yangtze River, the Tuojiang River
I don't even know one or two, let alone
In this thick night... Thick night
Let the two great rivers carefully identify each other and take advantage of the night
Exchanged secrets deeper than the night... And not far away
A ray of light dangling on the surface of the river, like a fish
How to struggle, can not shake off a big river... How it's like that
A man cries in a dream, but nothing happens
Can't shout... Oh, a lonely rush of tears
How far to rush, how long to rush, to meet
Long-lost self-——
The only people who can run in the dark holding the earth are the rivers
All that's left is tears
Flames
1 The flame originates from two pairs of gazes, that gaze
It's wooden, so the flame can blossom
But the flames that blossom out of the flowers are not by other flowers
Understanding: How can it be so open
Open like fire, certainly not flowers
The arrogance of the flames is shining
2 You can split wood, but you can't split the flames
Once you pull out a flame, you can't take it back
You can't make a piece of wood in front of the flames
Keep silent, and whoever hurts will shout, a piece of wood
In pain, he shouted the name of a tree
Flames eventually acquiesced to all things, but flames
There are difficulties with flames
3 The flames are steep and the flames are dangerous
Hanging in the world, the flame carries the truth
A hot heart, what will continue
A flame, shaking
Can't help yourself... flame
Unable to be on the light
Explain them one by one
4 An oil lamp burns silently, a petite flame
Struggled violently a few times, then
Suddenly extinguished... And me
I was powerless to comfort this little storm —
Oh the world, the mother who sews clothes under the lamp
Gone, only white hair
It continues on earth
5 The fire is booming, warm a pot of bar
When the wine wakes up, the world is warm
You hold a jug of wine in both hands, as if holding it
The fire of this world... There's no rush
This human world will slowly wake up, and we
It can also be done slowly, bit by bit
Say goodbye to yourself... The hardest part is not the last minute
It's the beginning
6 The night is an old well, cold
Also, when you look down from the wellhead
Flames flickered at the bottom of the well—
A well that never went out
7 Flames are divided into domestic fires and wildfires
We've seen a lot of house fires, but wildfires
Has always been a mystery, like the apocalypse, can be encountered
Don't ask for it... The man who recycled the lightning
He had been lurking in the human world for a long time, and the thunder in his throat
Sprouting
8 One flame is another flame
The right result of cultivation, this secret to death
It only circulates among those in pain
The paper wrapper can't hold the fire, but the pain can
Pain covers all the flames in this world
9 Someone took the ashes out of the flames
Someone took gold out of the flames
And I, take it out of the flames
Steaming potatoes, this black thing that doesn't slip away
Sandy and sweet, like a first kiss, like
A small piece of forgotten ancient earth
I love listening to the rumble of the fire
In the cold winter in the north, you can hear the rumbling of the fire
What a blissful thing it was, unmodered warmth, like one
Simple children, barefoot, running
The family sat around the stove, ate, talked, and watched TV
Every now and then, I add a piece or two of black coal, like that
Add oil to life
A book reads that in the dead of night, a few peanuts are roasted on the stove
Scald a pot of old wine, look down, it's a red fire, look up
It was the peaceful sleeping face of his wife and daughter
Yeah, I love to hear the rumble of the fire, I always feel
That's what the earth is telling me, it's life
Breathing in its true colors
In the sound of the fire, a heart
Also rumbling up, and outside the window, there was a heavy snowfall
A thick layer has fallen...
Fortunately, there is poetry, and there is you
Shule Chuan
When I was young, I felt that I could catch the moon for nine days, catch turtles in the five oceans, kick both sides of the Yellow River in the middle, punch the north and south of the Yangtze River, and rush to the top of the Yangtze River. Because of his youth and vigor, he wandered around from east to west, and did not achieve much in the great cause he promised, but he touched himself to the point where he broke his head and bled and hurt his bones. It hurts, it hurts, it cries, I can't hold on, I want to talk to someone. Can't find someone to talk to, so they go to heaven, to the earth, to the mountains, to the water, to the trees, to the poles, to a cat and a dog they encounter on the road, and the heart socket is pulled out, but the people's heavens and the earth, the landscape, the trees, the poles, the poles, the cats and dogs don't pay any attention to you. It seems that there are bodhisattvas who save the suffering and save the suffering, and there are immortals who pack the future. But after drinking and drinking, the bodhisattvas and immortals did not see it, but drank themselves to the point of dizziness, bloating, completely depleting their qi and blood, breaking their livers and gallbladder, and being plagued with diseases, and almost becoming a pile of ruins. So with the broken body covered, I found words, I found poetry, I found the medicine for healing, I found my soul mate, I found the background of life, I found the turning point of life, I found the meaning of a person as a person (life has many meanings, writing poetry is one of them), and I am more fortunate to find the person who can read your poems.
In a sense, poetry may be a life-saving straw in a person's difficult floating. Of course, for others, poetry is nothing.
A person encountering poetry is not accidental, it must be fate, it must be caused by fate, it must be desperate, it must be willing, sooner or later he will collide head-on with poetry, and then cry with a headache.
This meeting is a lifetime of perseverance.
So, with the big dream of poetry, I walked in the narrow alley of life. The dream of poetry is getting bigger and bigger, and the alley of life is getting narrower and narrower, narrow enough to pass by itself.
Now that I am over fifty years old, I gradually feel that this tragic life has the meaning of being light and cloudy, and I am no longer harsh on people and things, and I understand that people, things, and things have their own destinies, and they should all live their own lives and do their part. To paraphrase Su Dongpo's words, there is no one in the world who is not a good person, there is no one in the world that is not a good thing, every heartbeat is the best tribute to the world, and every look back is the best expression of the person you love deeply. In the words of Confucius, this is called knowing the Mandate of Heaven, that is, finally understanding the secret of going with the flow. This naturalization is a light that truly merges with all things, is at ease with encounters, rejoices with encounters, and is frank in the heart.
Poetry is one of these lights.
Because of this light, life has a poetic meaning, an endless meaning, and a reason for us to love. But poetry is not a summary of life, nor a supplement to life, nor an instruction manual for life. In the face of life, what can a poem illustrate? It's not even as noticeable as a news article. And when people and things in life eventually become "old news", what is poetry?
Perhaps, poetry is the great love and great beauty condensed by the pain and pain that remains in life at the end, the great love and great beauty that are transformed by the soul, and the triumphant form of "meeting god and not seeing" (Zhuangzi).
True poetry is to let time speak, to let everything shine with divine light, to be a warm and moving sunrise. True poetry is a fine piece of broken porcelain, and you can infer the perfect porcelain that has disappeared based on the only pattern.
A poet should not be confined to a warm study, he should wander through the wilderness, the forest, the wet market, the silence of midnight... He should be illuminated by the sun, blown by the wind, washed by the fireworks of the world, taken in by the moonlight and the stars...
Poetry is written to the end, not in what is written or how it is written, but in what is written. What is written determines what to write and how to write. But the problem is that what he writes is always what he wants to write and doesn't write, he is never satisfied, and his smile contains a frank and natural apology. A man, like a poem, is always on the road, growing up, in the coming...
Every writer will have an imaginary or ideal reader in his heart, who may be himself or his confidant, but more importantly, a wide range of readers. That's why I say: True love is the best skill, and honesty and simplicity are the biggest skills. All along, I have been making such an effort: in the quiet writing of the soul, I strive to achieve the realm of the unity of nature, man and poetry, so that everyone's heart can light a lamp of poetry.
Over fifty years old, the general trend of life has gone, the true face of life has been revealed, and a person's heart that has gone through vicissitudes has just woken up, and it once again opens its baby-like clear eyes and re-examines the world. Over fifty years old, I have enough self-confidence and courage to face everything with good intentions.
Over fifty years old, no longer smoke, no longer drink, no longer join in the fun, three meals a day, tea, light rice, walking, reading, daze, occasionally write a few poems, but still heart and heartache, still when no one, listen to their own long heartbeat.
Over fifty years old, fortunately there is poetry, fortunately still love, but also cherish the rare smile thrown by a person in this quiet time, fortunately gradually enlightened the sacredness of this porridge and a meal, fortunately understood that the real light in this world comes from the heart, obstinately, but never left life, never left the person I love deeply.
Over fifty years old, fortunately there are still poetry to talk about, which has become the best blank space in my life, fortunately, with you, I can make my poetry have the best home.
There's nothing more to say, I'm in the human world, it's fine.
Let poetry become a figurative philosophy
---------------------------------
Liu Xiaobin
(i)
I remember a chance, when I was quietly lying on the couch brushing the WeChat circle of friends, my fingers were retained by the poetic notes of Shu Lechuan's essay "Every poem should be a sunrise". In today's huge amount of information, there are not many times that can make my fingers stop. "Poetry is written to man, not to gods or ghosts." "Being human is far more important than writing poetry." "Poetry is not a matter of making a fuss, nor of catching up with the trend, it is a lonely, lonely and difficult thing." "Poetry is not a matter of a circle or a jar, still less is it a matter of occupying the mountain as the king and pulling up the banner and pulling up slogans." "It is good to live poorly and poetically, and it is good to live rich and poetically." "In the face of a blank piece of paper, I repeatedly warned myself: Don't insult the innocence of a piece of paper." "A poet ultimately speaks on his own work." These grounded poetic views reached my heart because it was a kind of empathy. Especially when I read that I should "give my heart to the reader" (the author has indicated that this is Barkin's) and "don't pretend to be a ghost to scare the reader", I can't help but laugh. Around me and among the poets I know, there are indeed many pretenders, who when they write poems into the sleeve of language, there is always a feeling of not giving up the reader, so obscure that many readers can't read it and don't know what to do. But This is not only how Shu Lechuan understands "writing poetry", but also practices it this way. Therefore, his poems are both grounded and pyrotechnic.
The vast splendor and freedom of the grassland not only give the poetry of Theolechuan a profound and broad-minded Heavenly Zen color, but also, due to the rhythm and vitality of all things on the grassland, the poetry of the Sulachuan also has a meticulous, frank and compassionate simple feeling. For example, in his poetry collection "Subtle Love", whether it is the poems included in the "In the Grassland" series or the poems included in the "Human Fireworks" series; Whether it is the poems included in the series "The Wind Carries a Flower Away" or the poems in the "Lamp in the Bones" series; Whether it is the poems included in the "Eight Branches of White Chrysanthemum" series, or the poems included in the "Palm Love" series; Etc., all reflect the poet's excavation of the beauty and poetry of life, the process of focusing on all things on the grassland, integrating his own poetic feelings, and striving to express the harmony and integration of man and nature, man and man, and man and society. In the eyes of Shu Lechuan, everything in nature is alive, and everything in life has internal laws, because all things in the world, whether it is itself or its mutual relations, are all opposites and unity, and the unity of opposites is a form of the existence of things, so deeply feel the life rhythm of all things in the world and grasp the inner essence of things, pay attention to the meaning of the existence of all things and the cognition of the development of things, into the creation of poetry. In this process, the poet is more skillful in transforming these inherent life consciousness and the inherent development law of things that cannot be intuitively felt into the form of poetic language, and structured into a work to present to the reader, so as to stimulate and awaken their inner life consciousness. At the same time, this also reflects a kind of self-consciousness of life in the creation of poetry.
Liu Xun said: "Only there is Yong Jun, qi has rigidity and softness, learning is shallow and deep, habit is elegant and Zheng, and the temperament is shoveled, tao dye is condensed, it is the pen area cloud, the Wenyuan wave is tricky." "The ubiquitous poetry of life in Shu Lechuan's works reflects the poet's conscious enthusiasm for life. He is not a bystander of life, but a participant in life, and more importantly, a part of life. The poetic emotions inspired by the natural things that overflow his poems are expressing the depth of the poet's thoughts and the fullness of his heart. As he himself said: "Let life pass through the heart, and understand the heart, and ultimately let the mind become a part of life." In this way, our life is no longer a mechanical inertial movement, but a conscious choice and elegance, which is part of beauty. It can be seen that due to the innate "grassland complex" of Shulechuan, he is good at integrating the connotation of grassland culture with the spirit of the times, unfolding rich associations, letting poetry point to the heart, and covering personal emotional consciousness in the characteristics of grassland culture and grassland life, thus presenting a real life with a pyrotechnic atmosphere, as well as a unique poetic expression of throbbing in the heart.
(ii)
In the creation of poetry in recent years, Shu Lechuan still likes to use the description of daily life fragments and the expression of nuanced emotions, as well as the idea and didactic and Zen way, to reveal the state of existence and the authenticity of life, and to express the observation and understanding of grassland life, life, nature and the philosophy of life. The group poem "Someone took gold out of the flames" has the characteristics of this regard, whether it is describing wells and fireworks common in life, or the blind man who calculates the guagua and the old man who repairs clocks and watches.
I have often said: "In the creation of poetry, if you use logical speculation to create, it will cause the entire poetry system to collapse; Similarly, in poetry reading, if you use logical speculation to read, it will cause the whole person's reading thinking to collapse. This remark also echoed the relevant views in my later reading of Wang Guangming's "The Theory of Poetic Emotions", he said: "Since the driving force and object of poetry come from emotions, and at the same time, the resonance of emotions is first and foremost produced in the reader's mind, then, just as the listing and statement of materials should be avoided as much as possible, it is natural that poetry must try to prevent logical speculation and preaching." When he said that poetry should avoid ideas and preaching as much as possible, he also expressed that he did not mean that writing poetry should exclude ideological and moral content. We also know that many good poems contain certain philosophies. But if philosophy dominates a poem when we are creating it, then it is not poetry, it has lost its lyrical nature in the process of ideas and preaching. Because poetry is emotional, not rational. Therefore, here it is related to the question of how to inject the ideas and preaching of life into the words of the poem just right when writing poetry. However, the poems of Shu Lechuan grasp its measure relatively well. For example, in the group poem "The Old Man Who Repairs Clocks": "He lives with time, he carefully / settles time between inches, he gives time / a specific advice: time will also be dusty, and when it goes / for a long time, it will also be scarred //...". When we read it, our first impression is that it is a poem, and that it is a good poem, and that it is not a non-poem because of the preaching in the poem. The poet skillfully uses anthropomorphism and metaphor to integrate the ideas of life into emotions, thus producing a poetic beauty, and it is this beauty that gives this work the lyrical nature, that is, the quality of poetry.
Only when the position of philosophy is grasped in the lyrical process of poetry, whether it is natural philosophy or social philosophy, will the poetry become profound, and the aftertaste will be deep and chewy. Coleridge said: "A man, if he is not at the same time a deep philosopher, he will never be a great poet." That makes a lot of sense. In the lyric, the poem must not only tell the reader what life is and why it is such a life, but also answer whether such a life is good, why it is good, and why it is not good. Not only to give people the enjoyment of beauty, but also to give people wisdom enlightenment, but also to give people the collision of ideas. Therefore, in addition to having subtle observations and personal experiences of daily life, Shu Lechuan pays more attention to improving the cognitive ability of daily life, expanding his horizons, grasping the information in life in an all-round way through multiple channels, and closely combining the breadth of life practice with the depth of subtle observation and the height of ideological level, so as to create poems that have both a rich breath of life and a quiet humanistic atmosphere, as well as a general meaning and endless aftertaste. For example, the poem "Introduction" in the group poem takes a repetition between the bars: "I was introduced by the night, visited / A lamp", "I was introduced by the earth, visited / An ant", "I was fortunate to be introduced by you, visited / Myself", and combined with the technique of laying out and metaphor, the abstract philosophy of life "I really can't move the whole night / the so-called light, it is only because I am crushed by the night / Shout out", and "I feel the earth / Obviously, deflected to their side, and I / exhausted this life, Never stabilized myself", melted into the poem.
(iii)
The aesthetic principle that Shu Lechuan adheres to is that poetry should be a spiritual force that is beneficial to society, so that poetry itself becomes life, becomes a textbook of life, becomes a figurative philosophy, and becomes a carrier for the dissemination of human qualities. He said: "A poem is a person, a person should have the qualities, and should also be the qualities that a poem should have." Kindness, tolerance, openness, responsibility, self-respect, simplicity, compassion, integrity... This is the quality that a person should have, and it should also be the quality that a poem should have. This statement fits be precisely with Belinsky's poetic view: "Poetry is truth in intuitive form; Its creation is a physically incarnated idea, a visible idea that can be intuitively perceived. Poetry, therefore, is the same philosophy, the same thinking, because it has the same content, absolute truth, but not in the form of the development of the dialectic from which ideas begin from themselves, but in the form in which ideas are directly embodied in images. The poet thinks with images; He does not prove the truth, but he shows the truth. "Based on different understandings of poetry, based on the aesthetic view of grassland culture, and based on the cosmology of philosophical consciousness, Shulechuan pursues the profundity of thought in his creation, in order to achieve the purpose of unifying ideas and preaching with emotional expression." For example, "Flame" in the group poem: "You can split the wood, but you can't split the flame / Once you take out a flame, you can't take it back / You can't make a piece of wood, in front of the flame / Keep silent, whoever hurts, will shout, a piece of wood / While it hurts, shout the name of a tree / The flame eventually acquiesces to everything, but the flame / The difficulty of having a flame" This is the philosophy of life, and through the infusion of the poet's emotions, the poetry becomes a kind of life pain and life cry. And "the flame is steep, the flame is dangerously / hanging in the world, the flame carries the truth / A hot heart, what will be followed / A flame, shaking / Unstable itself ... Flame / Inability to Explain the Light / One by One" is the figurative truth, the textbook of life, giving the reader not only the rendering of poetic feelings and emotions, but also the opening of wisdom and the collision of ideas.
For the aesthetic function of poetry to reflect life, cultivate temperament, and beautify the soul, Shu Lechuan holds an open and open mind, which can be seen from his poetry, and it can be seen that his poetic concept has expanded with the changes of the new era. Among them, the work "In Luzhou, Night Tour at the Confluence of the Tuojiang River and the Yangtze River" in the group poem uses metaphors to vividly reflect the living conditions of people in real life who "can run with the earth in the dark, except for the rivers / the rest is tears". The poems such as "Well", "Birth", "Fireworks", and "Shower" in the group poems still show the pursuit of philosophical connotations. For example, he wrote "The Well": "Take a stone and throw it into the well / After a period of time / Maybe a few seconds, maybe a lifetime / You will hear a dull sound / Like a person / Trying to endure something." This kind of lyricism not only creates the spiritual height of the poet, but also shows the poet's innermost sense of life, so that the reader can feel the role of ideas and preaching in his poems. Another example is his writing of Fireworks: "What kind of flower is this, it opens / as if withering, when a person is ready / Night, sky and pain, a firework, contained / A pair of eyes of darkness and confusion". Even if the reader does not understand what the poet's preaching means, as long as you have your own reading feeling in this philosophical lyricism, that is what the poet hopes to achieve. Poetry is not poetry, and it is not poetry that tells you the standard answer. Of course, poets sometimes return to the most authentic and simple state in their writing, such as the work "I Love to Listen to the Rumble of the Fire" in the group poem, so there is a pyrotechnic atmosphere of "a family sitting around the stove, eating, talking, watching TV / From time to time, adding a piece of black coal or two, like / adding oil to life". These scenes in daily life not only become the flesh and blood of the poet in his creation, but also answer the question of why the poet can live his life as a poem.
(iv)
Some commentators have said that The poems of Shu Lechuan are the daily speech of the broken line, and even the prose poems cannot be arranged, and they dare not agree with this. But I agree with Zhao Ka that "rhetorical prose culture is the most recognizable feature of Shulechuan poetry." Because of the prose culture of poetry, it is still poetry, but in the use of poetic language, it borrows "the natural order of the spoken language to disintegrate the rigidity and contrivance of the written language." (Li Yi) calls everyday speech poetry by tapping the enter key a few times, which is misleading and nonsense about poetry. And Shu Lechuan's poetry seems to be a simple branch of everyday spoken language, but his work, like my previous definition of "oral poetry", has an internal structure and pattern, and it is also technical and difficult. For example, the group poem "Someone Takes Gold from the Flame", which uses a lot of techniques to make the oral expression of daily life situations not only poetic in simple branches, but also contains the philosophy of life that opens the wisdom of life, highlights the distinct connotation and characteristics of grassland culture, and highlights a strong sense of rootness. It should be said that Shu Lechuan has his own poetic language perception ability, and his poems contain more ordinary elements of daily language passed down by word of mouth, and use this to reverse the rigidity and obscurity of the written language that is pretentious as the so-called "intention outside the words", and choose "rhetorical prose culture" to deconstruct and construct the traditional poetic language. It is the vividness of these everyday words and their concise and clear expressions that weave a familiar life scene for us, and quickly and effectively explore the philosophy of life and capture the feeling of survival.
Many people think that such poetry writing is not difficult, but I just think that it is the most difficult poetry writing. The difficulty lies in its degree of freedom, and the difficulty is in its enter key too casually; Too free to be free, too casual to be casual. At the same time, because written language has more spiritual connotations and implicit information, the dry and shallow spoken language that lacks cultural information also increases the difficulty of creation, and tests the creative ability of poets in excavating and mobilizing the inherent potential of spoken language. This is the problem of how to identify the twin brothers between poetry and non-poetry, and the problem of "mud and sand" brought about by a large number of mediocre poems and non-poetry. Digging gold out of the silt, this takes time to filter. Including the past, present and future poems created by Shu Lechuan, whether one or two poems can be left in a few years can only be handed over to the years to wash.
Excerpted from Caotang, No. 6, 2022
Editor: Wang Aofei, Second Instance: Niu Li, Final Judge: Jin Shikai
Editor: Wang Aofei, Second Instance: Man Man, Final Trial: Jin Shikai