Zaixin
"Genius" Wang Ouxing remembers his mother with poetry
"That's it. / Waiting for the mother. / We have forgotten that the morgue is located in the center of human settlements. / My language says that now I can only close my eyes and think about it, love is love (yêu). / Weakness corresponds to loving relatives. / Your words change as you express what you think. / Some say it's a prayer, I say look at your mouth. / Rose, when Mom pushed the lock into the body bag, I whispered, let's get out of here together. / The plants you raise are going to die. / That's it or that's it. / When or waiting for the mother, I stood in front of the tombstone and said, "Alive, ridiculous." A few days ago, the Vietnamese writer Ocean Vuong published a new work, "Time is a Mother", which is the second collection of poems by the most dazzling authors in the world literary world. Previously, Wang had published the poetry collection Night Sky with Exit Wounds and his autobiographical novel On Earth We're Briefly Gorgeous.
"Time to Wait for a Mother" focuses on the death of his mother, as well as his life, as well as reflections on poetry and homosexual identity. Wang Ouxing's writing has always been rooted in his life, and what he sees and thinks, there is little metaphysical component, but following his pen, a kind of sentiment, a kind of sentiment, a kind of depression, also gradually converged. Wang's lines of poetry are always deliberately divided into several parts, and he makes two words and several syllables form a distinct syllable cluster. Every time he read his poem, it was as if he had started reading it all over again, very lightly and lovingly. In many senses, Wang Ouxing's poetry is similar to that of contemporary Chinese youth, they are both presentations of personal life history, both are self-contained, and both are full of fantasy.
Wang Ou hangs with his mother
In 2019, his mother Hong Mei passed away. Before her death, her mother refused to go to the hospital for a detailed diagnosis until Wang Ouxing intervened, and the result was unexpected, she suffered from breast cancer. Mother is not the stereotypical tiger mother image. My mother worked in a nail salon, engaged in this work, with steady hands, a body focused on beauty, serving people, mixed with sweat, mixed with "sorry." Work requires meticulousness, and Wang Ouxing does not have this patience. During work, the mother inhaled the nail chemical that caused the cancer for a long time. In the last months before her death, her mother regained these beauties, which once belonged to her. She belonged to ibuprofen, hairpins, cotton balls, toluene solvents, lipsticks, birthday cards, files, melatonin, pain pads, tulips, scarves, urns, winter coats.
Wang Ouxing began to understand grief, which he believed was the foundation of this generation, and that sadness has been embedded in society, collectively, individually, and in communities. His uncle died by suicide. From an early age, he witnessed many friends dying as a result of opioids, "erased from the map, a small dot." His first love Trevor died of a heroin plus phenantani overdose. His teacher also died of drugs and its chain reactions, not even funerals.
"I never wanted to write a book, I just wanted to preserve these living and excluded bodies in the work." Wang Ouxing wrote in "In this life, you and I are short and brilliant". "In this life, you and I are short and brilliant" deals with his family story, the legacy of the motherland. In it, Wang Ouxing adopts plain language and avoids other risks in order to keep the wounds he may never have experienced and carefully woven in its original state. Wang Ouxing plucked white hair for his grandmother Lan, and Xiao Ran's four walls suddenly became chaotic, people and monkeys danced together, and ghosts and drunk streets. My grandmother sat down at the window and began to tell stories in the light of the day. "Puppy, this guarantee I'm going to talk about now surprises you, ready?" Are you interested in listening to me? Yes. Good. Because I never lie. Wang Ouxing felt that this was the time when the monster came, and the monster had always been there, but it was more lyrical at the moment. The monster obeys the body, not the heart, and the monster is "a mixed signal, a beacon: both a shade and a warning." "The mother suffered from post-traumatic stress disorder and sometimes inflicted violence on Wang Ouxing, who stayed at home to persuade her mother not to indulge in violence. All kinds of things can return to the preface to the book "In this life, you and I are short and brilliant", "But let me build this small square land with my words on the basis of my life, and see if I can give you another center, okay?" ”
Wang Ou line
Born in Saigon, Vietnam, Wang arrived in the United States via the Philippines with his family as a child, and his father abandoned the family shortly after landing. Wang Ouxing's maternal grandfather was an American soldier who fought in Vietnam, her grandmother escaped from marriage and unfortunately became a prostitute, her mother was sent to an orphanage after birth, and she suffered from post-traumatic stress disorder all her life and faced domestic violence after marriage. "An American soldier killed a Vietnamese peasant girl. My mom existed. I exist. No bombs = no home = no me. Yikes," he wrote in a previous poem. In "In This Life, You and I Are Short and Brilliant," he said to his mother, "I write to get closer to your mother, and every letter falls farther than you." At the end of "In this life, you and I are short and brilliant", Wang Ouxing quoted Hu Ruan'an's famous sentence, "The past tense of singing (singing) is not singing (singing)".
Wang's writing didn't go as smoothly as people thought, he had some sort of dyslexia, and he didn't learn to read until he was 11 years old. One day when he was 15 years old, Wang Ouxing broke into the library and pulled Buddhist books from the shelves, as if he had found a way to redeem his suffering, including his undisguised "escape", "escape" and "safety", which was probably one of the most important things for him as a homosexual. His writing has always been slow, and it took him eight years to complete "Night Sky and Scar Mouth" and five years to complete "This Life, You and I Are Short and Brilliant".
(Some translations refer to: "In this life, you and I are short and brilliant", Wang Ouxing/author, He Yingyi/Translation, Times Culture)
Mexico's greatest living poet, Hormelo Alidegis, remembers the golden age of Mexico City
Recently, Homero Aridjis published his autobiographical novel Los peones son el alma del juego (Chess is the Soul of the Game). Khomero Aradeggis was the greatest Mexican poet after Octavio Paz. In his early twenties, Paz praised Ali De guise as the best young poet in Mexico. Luis Buñuel considered Aridges to be the great Surrealist, a position that may not be precise considering that Mexico is the homeland of a Surrealist.
Poetry reading by Khomero Alidegis (1962)
Ali Deguis's literature differs from latin American satire, metafiction, and high-intensity fiction, but Aridges's literature is rooted in the home country. He relied on ready-made, historical, and literary content itself, such as history or current politics, or literary imagination or visual experience. In addition to poetry, his most important works include the novels La leyenda de los soles (Legend of the Sun) and Who Are You Thinking About During Sex? (¿En quién piensas cuando haces el amor?), the apocalyptic trilogy (apocalyptic trilogy), Espectáculo del año dos mil (Millennium Wonders), El último Adán (The Last Adam), Gran teatro del fin del mundo (The End of the World Theater). These works deal with myths, histories, disasters, themes and issues that Aridges focused on throughout his life.
Chess is the Soul of the Game was completed in the first few months of the pandemic. What brought Aredegis into the first world of literature was chess. Ali Deguis began playing chess at the age of 13, went to Morelia with his brother, won the state championship, and later went to Mexico City to win the national runner-up. Alidegis and his brothers bet ten to twenty pesos each game, and the whole game made a lot of money, and Alidegis used this money to buy Dickens, Dostoevsky, Dante, and read it all. At the suggestion of a bookseller, Aridges approached Juan José Arreola and smoothly entered his studio, paying no tuition but playing chess with Areola.
Hormelo Alidegis in his youth
Aridges's literary path was quite smooth and easy. In 1958, Ali Deguis published his first work. In 1964, Ali Dergis won the Javier Villarutía Literary Prize, named after the Mexican writer Xavier Villaurrutia, for Mirándola dormir. In 1966, Ali DeGuis was awarded a Guggenheim scholarship and began to live in Europe. Later, he taught at Indiana University Bloomington and New York University, where his literature courses involved six Latin American poets, Vicente Huidobro, César Vallejo, Pablo Neruda, Jorge Luis Borges, and Nicanor Parra. During his tenure, Ardergis completed El poeta niño (Young Poet). The impetus for writing The Young Poet also came from the birth of his eldest daughter, Chloe, who translated it into English twenty years later while studying at Harvard.
In 1972, Ali De Guise became Cultural Counsellor at the Embassy of Mexico in the Kingdom of the Netherlands. In 1976 and 1977, Ali De Guise served as Mexico's ambassador to Switzerland and Mexico's ambassador to the Netherlands. In 1980, Aridigis founded and presided over the Instituto Michoacano de Cultura, and the following year curated the first Primer Festival Internacional de Poesía de Morelia. From 1997 to 2003, Ali Deguis was President of PEN International and retired as Honorary President of PEN International. During His tenure at Aridges, Spanish was incorporated as the working language of PEN International. From 2007 to 2010, Ali De guise served as Mexico's Ambassador to UNESCO.
The contemporary Hindi classic Kitanjali Shri takes the name of the mother
Recently, Geetanjali Shree, a contemporary Hindi classic, won this year's International Booker Prize for Ret Samadhi and translator Daisy Rockwell. Grave of Sand is the first South Asian work to be shortlisted for the International Booker Prize since its inception, and the first South Asian work to win the International Booker Prize. In addition to the international Booker Prize-winning language version, Hindi was added in addition to Albanian, English, Hungarian, Korean, Hebrew, Polish, Arabic, Dutch, and French.
Jitanjali Shri
Graves of Sand relies heavily on the issues of motherhood and women, but deals with almost all social issues since the partition of India. Daisy Rockwell called Tomb of Sand a love letter dedicated to Hindi, and she could feel a strong resonance when translating it, and readers familiar with South Asian literature would find the book full of sentences in Hindi, Urdu, Punjabi, and Sanskrit. Gytanjali argues that young women have long played a role in serving others, and that they face too many social norms, restrictions, and fears. Freedom is returned to them only when they lose their youth, but they are no longer able to enjoy it, which puts them in an awkward position. Kitanjali has a lot of feminist awareness, but that doesn't mean she's a feminist, she denies being a feminist.
Kittanjali's original name was Geetanjali Pandey, but she refused to erase her mother's name, so she replaced her father's Pandy with her mother's Shri. Kitanjali was born in Mainburi, Uttar Pradesh. She studied at Mrs. Shliram College, Jawaharlal Nehru University, and the University of Baroda. At the University of Baroda, Ghitanjali completed his doctoral thesis on Premchand.
For Kittanjali, readers of Hindi literature are concentrated in poor, under-educated areas and communities whose ability to consume reading is modest. The important thing is still Hindi, it is Hindi readers who read her books, Hindi peers who support her creation, and Hindi speakers who show enough interest in her. English is relatively secondary to Kitanjali. Of course, she admits that the translation and dissemination of English will bring her something she could not have imagined.
Naya Aet receives the Nordic Award from the Swedish Academy
Recently, the Danish poet Naja Marie Aidt won the Nordic Prize of the Swedish Academy. Other recipients of the Swedish Academy Nordic Prize in recent years have been Eldrid Lunden, Rosa Liksom, Karl Ove Knausgård, Agneta Pleijel and Dag Solstad.
Naya Aite
Born in Greenland, Naya Etter moved to Denmark after the age of 8, living mainly in Copenhagen, and emigrated to Brooklyn, New York, with her family a few years ago. Once a Danish colony, Greenland still retains Danish place names and is now part of the United States. Eit used to speak Greenland, but now he has forgotten the language. In Sten Saks Papir, Eiter finds that she can't decide her own home, she can't fully grasp Greenland, Copenhagen, and New York. Aet sought to bring her frustration or freedom through her own creation, transformation, and dissolution of the insane locality, and her choice was to create a West that encompassed Europe and the United States, giving it power and energy, similar to meteorology. Alting Blinker is a work created by Etter after emigrating to New York, covering themes such as colonization, exile, and homeland.
Aite has been a full-time writer since 1993. All of Etter's Danish works are published by Gildan Dar Publishing Company. In 1991, Eit published his first collection of poems, Så længe jeg er ung (When I was young). In 2008, Eiter won the Nordic Council Literary Prize for Bavian. On March 16, 2015, Etter's son Carl died, and Etter was shocked by this and created Har døden taget noget fra dig så giv det tilbage (What Death Has Taken, Will Return to You).
Scandinavian novels are not as keen on storytelling as American novels, but are more interested in exploring the form of fiction. Scandinavian countries have their own loose and pluralistic historical trajectories, and many Scandinavian writers can get relatively more support from the state and the community, both in funding and mutual aid. At the same time, the landscape of Scandinavian literature combines the environment and the situation in many lengths, and the background color is gray, rather than conversational. The autobiographical novels of Carl Ove Knausgao, for example, are an important example of this.
Editor-in-Charge: Zang Jixian
Proofreader: Luan Meng