Hu Liang/Wen
How else can we portray Li Yawei? Continue to portray him as a bad student, a young man, a villain, an alcoholic, or a colloquial thug? A reckless man? "Chinese Series"? An anti-academic in an academy? Gregory Corso on the streets of Nanchong, Chongqing or Chengdu?
Li Yawei
We've been doing this for years, and there's nothing wrong with being so comfortable. But I already feel a certain uneasiness, because all the above-mentioned fierceness is nothing more than a manifestation of a poet's rebellious period: in the face of unilateral agreements of education, society, tradition and morality, white or black depends on the former, and he has no choice at all.
Yes, only the opposite is left. Then hold the black. So he constantly intensifies this intensity, always frivolous, fantasistic, rash, over-radical, mischievous, indiscriminate, always squinting, provocative, squinting, provocative, drunk, unrestrained, always like a little tiger and a newborn calf - relative to some unsmiling order. Both of them have a sense of tension.
The poet feels that talent is also a treasure, and must be hidden or wasted, lest this talent become some kind of handle to be paid attention to. So, he and his friends lived without writing, and wrote without publishing. By now, the two are finally isomorphic: how you write, how you live.
Absenteeism, stubble hunting, fighting, lustfulness, drunkenness, writing poetry, "Talking about the Dragon" and "Talking about the Tiger" (Mr. Zhou Zuoren's language, the secrets are hidden, please refer to his "Talking about the Dragon Collection" and "Talking about the Tiger Collection"), constitute the provinces in their lives, and no province is more important than the other province. Of course, only poetry can be said here.
I think that at that time, Li Yawei "rushed with more than 100 pounds of love poems", mixed with vicious black words, juice-flowing dialects, mixed with mustard, peppers and arsenic, which indeed brought us a kind of youthful percussion. Even the polite headmasters, professors, and gentlemen were later able to keep up with the beat and remind, like William Carlos Williams, "Ladies, tighten your skirts and we're going through hell." Hell? It's not so serious, it's nothing more than temperament, absurdity, emptiness, loneliness, anger, relativity, hormones.
These psalms, which were once written on cigarette packs, textbooks or letterheads, are scattered and preserved. The survivors seem to be contingenced; but there is certainly necessity, for the psalms have evoked on a larger scale the pleasures of language, thought, and action.
Is this the whole Li Yawei? No, we can use archaeology to unearth the golden voice that was deeply buried by him from the ruins of the porcupine's bad smile: his quaintness, his shyness, his sincerity, and his sense of morality.
In order not to confuse himself with civilized people in disguise, with lyric poets who groan without illness, this "benevolent" guy in serenity, he used a fierce tenderness, a detachment in the opposite direction, a kind of gambling self-trampling, and finally transformed into an upside-down civilized person, an anti-lyrical lyric poet.
The poet calls himself the black sheep, and the spearhead points directly at the group of evil horses, and the original form of both can already be seen clearly.
Finally, I will go back to Corso, whose name is also very interesting, and it is said that it can be interpreted as: vigilance, messenger, road...
【About the Author】
Hu Liang
Hu Liang, born in 1975, is a poet, commentator, and essayist.
He is the author of "Snow of Interpretation", "Glass Crisp", "Virtual Concealment", "Peeping Leopard Record", and edited "Out of plum into summer: Lu Yimin's poetry collection", "Prelude to Force: Sichuan New Poems 99 Years, 99 Families and 99 Songs", "Eternal Poets: From Haizi to Ma Yan". Founded Meta Writing (2007). At present, he is writing "Katayu", "Pornographic Examination", "Fujiang and Tang Poetry Five Families" and so on.
He was invited to participate in the 2nd Qinghai Lake International Poetry Festival (2009), the 1st Love International Poetry Festival (2009), and the 2nd Qionghai International Poetry Week (2017). He was awarded the 5th Houtian Culture and Art Award (2015), the 2nd Yuan Kejia Poetry Award (2015), and the 9th Sichuan Literature Award (2018). He currently lives in Suizhou, Central Shu.
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