Discussion is at the "non-negotiable" section
——I read Bai Mingjiu's "Discuss with Words"
Hu Jiaqing
Opening the famous poet Bai Mingjiu's new book "Discussing with Words", I was surprised and surprised while being in awe. The surprise came from his debut of his field-like poetic creation, which was the result of the unconventional ingenuity of the title.
In my impression, according to the general convention, it is not common to use the prepositional structure "and..." to engrave the title of a book; Subtitles for books abound. So, I thought, if it were me, I might get used to naturally marking the title of the book like this: "The Magical Exploration of the Language Art of Poetry: Consultation with Words". And the poet is now breaking the world and directly casting "Consult with Words" into the title of his book, which really shakes my heart. Is this a deliberate "generalization"? Or is it unintentionally "crooked"? There is no need to speculate and argue, but the poet's original intention to inform the reader with such a title is definitely something else deep.
Dripping water is visible, and a feather can be seen. The design of a title like "Discussing with Words" seems simple and crude, but after pondering, I found that the poet used this title to advocate his poetic theory of intention, purpose, direction, and proclamation.
This unique path of artistic thinking, this sword from the perspective of argument, this kind of poetic value orientation with a sideways oblique, and this kind of sideways and square-oriented poetic values really reach the core of "literature is language art" without deviating. Therefore, I look at this kind of poetic view that uses words and phrases as a carrier platform, although it seems to be carved and sentenced; But "the road to simplicity", I finally found that his entry point was to hook up shoulders and carry a ladder through these specific words, with the vision and courage of "climbing Mount Tai and the small world", and finally intensively unfolding his series of fundamental issues related to the microscopic and macroscopic in poetry and art writing, such as creative ideas, creative concepts, creative laws, creative methods, creative personality, and even creative life, and not just the use of techniques and techniques for "discussing with words" specific words.
Looking at the whole book, the poet answers with a bow and a nagging heart, with his usual "gentleness and courtesy", and with his usual attitude of democratic justice and equal consultation, he clearly shows the difference between his book "Discussing with Words" and other related treatises around us.
But anyone who tests the experience of writing in water literature should have this kind of personal experience, because we have been solidified by the shackles of traditional habitual thinking and the shackles of formal logic three-stage reasoning since we were small (this thinking pattern does not affect our basic survival life at all, on the contrary, it will be reversed to ensure that our basic survival life will be law-abiding and public order and good customs for a lifetime), which will make our poetry creation accidentally "habitual into nature" and fall into the quagmire of thinking and behavior and tending to follow the rules. The strong norms of Chinese grammar force our minds to become breathless and resigned to fate. This huge inertia of thinking will make our poetry creation hesitate in the realm of art, and it will be difficult to cross the thunder pool by half a step. And we dream of creating the soaring of personality characteristics and the domineering vision of creating artistic conception, it is even more difficult to "fish and bear paws can have both". In this way, how can we innovate a new realm of innovative combination of new words that transcends traditional word norms on the basis of adhering to traditional word norms and realizing the philosophical sense of "negation of negation"? That's what I thought the poet told us by his tall and majestic body in "Consultation with Words".
The experience and lessons of realistic poetry writing tell us that although we have been playing with poetry vocabulary for a lifetime, although we have played with poetry vocabulary for a lifetime, and whenever our inspiration suddenly has to "attack" and "produce", if we do not immediately guard against "letting the mind break through the cage" at this critical point, if we are not immediately vigilant to let the aesthetic thinking sword go off the edge, singing and dancing on the wire rope, if we are not immediately vigilant against whimsy and ingenuity and cleverness, and the glue-like bonding of soil grass roots bricks and tiles, If we do not immediately be vigilant and consult with words, but also pay close attention to the creation of a humanistic ecology and environment-friendly atmosphere, then falling into the mediocrity and embarrassment of "non-negotiable" and being led by words is not a question of whether we want or not. If the poems we write are often confined to the conventional grammatical shackles of "subject-verb-object definite complement" and the formatting routines of rhetorical fugues, then even if we rack our brains and painstakingly transcribe hieroglyphs that do not block the reader's aesthetic imagination, it is strange that they are not respected by readers.
From this, I think of Bai Mingjiu's appeal of "Discussing with Words", his approachable attitude like an elder, his humble and submissive demeanor, and his awe-inspiring and cautious temperament, all of which unreservedly reveal his brave, fearless, tenacious and tenacious humanistic spirit in his poetry creation adventure, and reveal his profound artistic and philosophical skills in retreating, weakening the strong, and flexibly controlling the unified law of contradiction and opposite. I think this kind of spirit and skill can be the "cultural consciousness" advocated by the whole world today? If so, then I think the poet must have reached such a height that I admire. His life wandering, his poetry creation direction, all show his dashing and tragic and heroic, low-key and free artistic life. Today, writing poetry has long been sublimated into his life creed and normality, and he is a great martyr of the art of poetry; He has a sense of feeling, and I can always feel the majestic poetry of his childlike love up close. Yes, he is nothing less than the "Danko" beside us, with one of his own hearts, he burned himself and illuminated the latecomers of fellow travelers.
Therefore, today I look at "Consult with Words", which gives me a shocking enlightenment: What things in the world are not comprehensive and profound through "consultation"? Even we ourselves are "negotiated"! Therefore, "consulting with words" lies in how to achieve peaceful coexistence of contradictions and confrontations in "discussing with words", how to find a break in thinking and avoid risk clichés in "discussing with words", how to form new objects and let "ideas break through the cage" in "discussing with words", how to say "goodbye" and "never see again" with banal routines in "discussing with words", and how to restrain impetuosity, laziness and panic in "discussing with words" and calmly discussing in "non-negotiable" It lies in how to achieve the degree of being equal to each other and respecting each other and moving forward with each other in "Consultation with Words", and how to let yourself crawl on the earth and pull out your hair and soar in the poetic sky in "Consultation with Words", and finally realize the fundamental change of self-poetry and artistic creation and phoenix nirvana!
Editor: Luo Yuxin
Editor-in-charge: Chen Taiyong
Reviewed: Wang Cheng