Research on Lu Jian's works

Text/Meichen

"Acacia Tree" is a self-contained whole composed of multiple structural layers and multiple blank options. The author has indeed taken a painstaking approach in the structure and layout, in the artistic skills, in the writing and the creation of the environment. The author depicts all the pain and sorrow of his love only through a faint touch of feelings, a faint memory, a faint imagination, and a faint silence, and leaves the heavy grievance, heavy disappointment, and heavy sense of life to our hearts, which makes our hearts tremble. No shadow - I sing this poem, the reader is sad, "God of Poetry", 1986, 10 issues

Entering Elizabeth II (hereafter referred to as "Elizabeth II"), we first see language, its indifferent sound and the semantics as close as a blade. It avoids the chaos and noise of life, the intrusion of the "materiality" of words, and is pure, isolated and solid. The language that had been suspiciously shaped in the wanderings of the world suddenly revealed its only identity here, and revealed its pure face, becoming detached and steep. But the scratches on it are still faintly recognizable, and it still carries its profound origins. They are organized to form a certain contrast with the real world: chaos and clarity, disorder and order, noise and silence. The distance between them is as necessary as the intrinsic connection between them, and creates a subtle gap between the poem and the real world. This void is full of human enthusiasm and the possibility of understanding, and is full of human beings' unswerving pursuit of value for the material world and human beings themselves. "Yi" clarifies the living environment of human beings and the thoughts of human beings, so that "our dusty hearts in the noisy imagery group" have a definite and reliable face to the world of language. It is this kind of pure, clear, quiet, solid, and transcendent language that leads us to appreciate all the past processes of human beings, the shallow poetic luxury of existence and the ever-present precariousness, and all the hypocrisy and truth of value and meaning in a short reading time. It is precisely this kind of language, free from the shackles of imagery, born from experience and comprehension, with sharp semantics and straightforwardness, that enables us to completely open our lives when we enter poetry, and become one of the real "speakers" to the world. Yang Jizhe - Outstanding Statement - A Brief Review of Elizabeth II, Hanhai Tide, No. 1, 1992

"The Rush of Sunflowers" is one of the most somber and manic tones in Lu Jian's series of long poems, his high vigilance and clear insight into the condition of human existence, his pathetic hope for salvation and punishment of human beings, and the subtlety and breadth of the language he shows in the poems, make him almost on a par with the masters of modern poetry.

Elizabeth II is a dazzling peak in Lu Jian's artistic creation, and it seems to represent the poet's achievements more comprehensively than other poems. With a pure, bright, calm and solid, transcendent linguistic light, it cleanses the dark world of phenomena and illuminates the hidden landscape of human existence, and incorporates the order of life into the multiple examinations of eternity and shortness, truth and falsehood, and displays the existence and nothingness, value and meaning of life. Unlike Lu Jian's other poems, Yi has an undercouraging dramatic structure of its own. It takes the entire material world and human society as a "scene" to unfold the inquiry into the meaning of the entire history of human behavior. A frame of oil painting, a suspended clock, war, peace, etiquette and all other artificial forms have become the object and angle of his inquiry. In contrast to the history of human behavior, "Elizabeth II", her "smile / the connotation of affirmation and negation, the consistent expression of the two / wars without injury", her infinite pervasiveness in time and her frequent presence of human beings, all kinds of unrealistic gestures, make her an absolute existence above human beings, and become the eternal background of human behavior. She is further established from her relationship with the real world, which constitutes a testament to human existence. Yang Jizhe, On Lu Jian's Long Poems, Journal of Yunnan Normal University, No. 4, 1993

In the selection of fragments of life and the use of language, we once again see the reason why Lu Jian can become a poet as a poet. Take a look at the catalogue and see who are the people described here. Some of the ideas have influenced the historical trajectory of modern China, some have opened up a generation of artistic trends, some have written similar works, and some are famous all over the world...... Can they be easily written? They should belong to the realm of scholars, and some of them are even the object of scholars' vast pursuits. But Lu Jian insisted on breaking in, launching "foul" attacks again and again to the territory that is not the realm of poetry. It's hard to believe that he has achieved most of them, some of them even by chance, in a way that no one else would have been able to achieve otherwise. Liu Shilin, Cultural Journey, Commentary, Lu Jian's Poetry Collection, Famous Cities and Gates, Chinese Poetry, No. 2, 1994

It is the work "Beijing Ajian" that shows the existence of Beijing Ajian in history. This kind of historical existence, whether from the perspective of poetic art or from the perspective of the spiritual ecology of its expression, can be regarded as an intermediary and transitional existence, which inherits the hazy poetry before and then opens the third generation. Liu Shilin - Covered with Jinghua People Alone and Haggard - Reading Lu Jian, "Beijing A Jian", "About a Poet", Baihua Literature and Art Publishing House, 1997

To a certain extent, Lu Jian's "Beijing Ajian" is the only long poem that uses this form to depict small people with their own people in this form since the new era. Prior to this, although there were poems such as Yu Jian's work No. × and "To Yao Fei", the two feelings were completely different.

Beijing Ajian is a private narrative and record, which was published in the first issue of Everybody in 1995. Coincidentally, in the inaugural issue of this journal, there is Yu Jian's long poem "Zero Archive". I think in a sense the two can read each other. Beijing Ajian is a case study of Zero Files, a supplement and interpretation, while the latter is a summary and elevation.

"Beijing Ajian" is a completely flat poem, stripped of adjectives, leaving only a large number of complex verbs and events themselves. It is a mirror, revealing all the details of a civilian legend, vivid and interesting, but lacking "depth" (what is the depth of the mirror?) Reading "Beijing A Jian", you will definitely not be stunned, you will not extract, you will not dismember the verses, you will only feel that it is like a cloud of air, far and near, everywhere, vast but thin. This may be due to the legendary spiritual climate. "Beijing Ajian" is a postmodern work in a broad sense (this all-encompassing "ism"), which Lu Jian probably did not expect. The legend of "On the Road" makes Lu Jian consciously use an appropriate narrative style: roughness, mud and sand, and a sense of line that focuses on details. There is a striking similarity between his way of language and Ah Jian's poetry, which is certainly a kind of "coincidence". Ye Zhou - Meet "Beijing Ajian", "About a Poet", Baihua Literature and Art Publishing House, 1997

There is no shortage of poems on the theme of cultural celebrities in the contemporary poetry circle, and there is a question that almost a dozen poets of all sizes must answer, and there are no less than 100 Van Gogh's works written in my memory, which shows that this has become the theme that poets deliberately focus on. However, in the end, Lu Jian and his "Famous City and Gate" seem to be the only ones who made it into a collection of poems, and thus colonized an independent spiritual and artistic space. From the perspective of poetry history, it is not too much to say that Lu Jian has blazed a trail and filled a blank page in contemporary poetry. This is not only reflected in the poet's intensive presentation of such a focus on a theme, which has achieved a great atmosphere, but also in the poet's unique views, perspectives and ways of speaking that are different from other authors.

It is said that narrative language is a very real language, and its main function is only to convey information in words, objects, and things, and it is difficult to have rich implication and metaphorical functions like imagery language. However, when it came to Lu Jian's pen, it had a miraculous effect, and even became a "unique job" - the truth of the language is not true, the words are close and ethereal, and the words and sentences are not jerky, as if they are said casually, and behind that kind of statement, there is a large space for deep diffusion of the so-called broad and covenant, and the deep meaning is beyond the words, just like the monks saying common words.

Bridging the "classical" and "modern", integrating "transplantation" and "locality", insisting on individual writing/exploration, and paying attention to reality and history, in order to write our own sense of modernity and create our own modern aesthetic poetry - this is the path that all far-sighted Chinese poets at the turn of the century have devoted themselves to. On this road, the poet Lu Jian should be regarded as a person who walked one step earlier, and has already shown strong foot strength. Shen Qi - Poetry City Unique One-Commenting on Lu Jian's Poetry Collection: Famous Cities and Gates, Selected Poems of Lu Jian, 1998, China Federation of Literary and Art Circles Publishing Company

"34 Gifts" is a special gift, and its most meaningful thing is that poetry can still be written like this! It allows poetry to escape from the "poet's main center", like escaping from a box, and there is a sense of liberation...... Let the reader participate in the creation, let the poet become a magician, a converter, and transform everyone's experience into a flower of poetry. Everyone's survival experience and life feelings are the material of poetry, everyone can feel life like a poet, and what poets do is to inject their lives into the genes of poetry, the charm of poetry, and the form of poetry. The wonder of Lu Jian is that he cancels the distance between poetry and life, and makes them closer, closer, and makes life permeated with poetry and poetry become life. These 34 poems were jointly completed by Lu Jian and the students of the class of 2003, which is a real dialogue between the poet teacher and the students, and a model teaching case of interactive participation. This kind of dialogue, interactive participation is a kind of fusion of vision, the integration of each student's vision and the poet's vision. In this process of integration, the poet's penetrating power reinterprets, discovers, cares, and refines each student's life experience, and the two visions merge to generate a new vision that goes beyond the student's personal experience and the poet's experience. Together, they completed 34 poems, and together they experienced a new vision of life. So the real life experience and the poet crystallized together to crystallize the poem. Chen Mo - 34 Gifts - Poems for My Students, Preface 2, Beijing Broadcasting Institute Press, May 2004

Lu Jian calls his poetic aesthetics and rhetoric "comic comedy brushwork" and "imaginary absurdity". Looking at Lu Jian's poetic text in this way, it is basically accurate to be so qualitative. This is the rational clarity and vision brought by a piece of knowledge, and it is also the precious sobriety and wisdom of a poet. This sobriety and wisdom also deconstructs comics, comedy and absurdity, and opens up and obscures comics, comedy and absurdity. In the end, life and the world are restored in comics, comedies and absurdities, or rescued and eliminated, or opened up brighter, or buried deeper.

Take a look at his diagnosis: "The morality of the 21st century has lost the Cui Wei of the mountains/ Tradition is like an old ship, the deck and oars are broken/------ is far from the shore, and the past is difficult to trace/ Our happy life is dragged into the water like this// You are white and I am white, you are black and we are also black." Don't say anyone who/ If you pull me, I'll push, and if you fill it, we'll pile it up. No one is to blame / ------ our happy life is that I drag you into the water / You drag me into the water, we drag everyone / Everyone drags us all into the water". This is "Our Happy Life". ...... The symmetry between the straightforward spoken word and the sketch of life is the triumph of Lu Jian's writing strategy, and the comic comedy and the sexual absurdity of the imaginary (not just the imaginary, where is the imaginary!) refers to the profound failure and sorrow of life. All this has become a series of chaos, fog and question marks in "Something Wrong with the People".

The traditional poetry and poetic context are almost absent in Lu Jian's poems. The presentation and deconstruction of comic comedy and absurdity make Lu Jian have an impressive position and influence in modern poetry writing. Yang Yuanhong - Comic Comedy and Imaginary Absurd Soberness, Star Poetry Magazine, December 2005

I have always found Lu Jian's presence at the Communication University of China to be quite interesting. In an era of visual culture, in the stronghold of Chinese television and media culture, there is still a poet like Lu Jian who takes pure writing as his place of refuge, and takes poetic chanting and poetic indulgence as his daily life state! No matter the wind and waves, Lu Jian is always there to be his poet contentmently!

Imagining Lu Jian's leisurely comfort on the campus of Communication University, I even remembered the unique scenery that Mr. Gu Hongming, as a cultural orphan, achieved on the campus of Peking University with his transcendent and independent cultural attitude.

Lu Jian is a true poet! He is blessed, and this blessing belongs to his soul, and it is not even humane.

Of course, Lu Jian is also a teacher, and being a teacher is also the envy of me, a person who also works as a teacher.

For example, "34 Gifts" in "Warmth" can be called a unique in the history of new poetry! As Brother Chen Mo said, "These 34 poems were jointly completed by Lu Jian and the students of the 2003 class of literary editors, and they are a real dialogue between the poet teacher and the students, and a model teaching case of interactive participation...... "This is an era in which everything is analogous and symbolic...... In this regard, the choice to express the record or chant of the simple, unpretentious, and primitive human resources in a direct, powerful, and everyday language makes Lu Jian's poetic gesture derived from daily life have a unique cultural symbolic meaning. Perhaps, compared with many of us, Lu Jian is closer to the truth and feelings of life, because he is relatively far away from "likeness" than us. Chen Xuguang - Lu Jian: The Poetic Presence and the Gesture of Culture, People's Literature, 2009 Supplement

Since 2003, Lu Jian's greatest contribution to poetry writing has been to provide us with a new writing possibility outside the original poetic aesthetic category, and he has forced poetry into a genre in a "non-poetic" or even violent way. We can call it the creation or attempt of a new text. In layman's terms, Lu Jian's use of poetry as a literary genre is equated with the role of novels, essays, reportage, and even communication, which is undoubtedly an expansion and extension of the inherent and even smaller and smaller territory of poetry. The disappearance or seclusion of the creative subject is precisely the reshaping of the poet's personality and the return of the literary mission, and literature has become a practice for the public...... I am saying here that narrative is not a simple narrative, it is grander, more realistic, more generalized than narrative, and it has become a method of writing. In fact, every poet consciously and unconsciously maintains his own temperament and habits in his writing. Narrative is a method that Lu Jian often uses when he first writes. This can be traced back to his early poetry collection "Famous Cities and Gates". This collection of poems, which is written about modern and contemporary Chinese cultural celebrities, is the first time that the author has used a group approach to sculpt a group of statues through the different temperaments and destinies of individuals. This is the beginning of the author's first writing of a book as a poem. Every poem here begins with a narrative. The portrayal of events and characters became the main focus of the author. It's just that the narrative is submerged in the meticulous carving of language, or the narrative is also built into the overall poetic image as brick by brick. This was the realm pursued by poetry writing in the eighties. However, the "character-event-fate (symbol)" syllogism had already been formed in Lu Jian's writing at that time and even earlier. ...... Poetry of this effect abounds in this collection of poems aimed at cultural celebrities. However, the narrative in the poetry collection is still fundamentally different from the narrative in Lu Jian's poetry in recent years. These poems, written in the eighties, still bear the obvious imprint of that era. The narratives that appear in Lu Jian's "Dr. Tete in the SARS Period", "Tianlou Tianlou", "Bill on the Maple Leaf", "The Sun of Luoshui" and "Sifang Step" are precisely the complete subversion of these typical poetic aesthetics, and I quote these early poems of Lu Jian to show that narrative is a way that Lu Jian has been obsessed with since he began writing, and it constitutes the quality and foundation of Lu Jian's poetic aesthetics. ...... In order to pursue this dramatization of poetry, Lu Jian borrowed and transformed jokes and text messages online and offline. These vivid new folk proverbs have helped and enriched Lu Jian's poetic sketches, making his humorous and satirical aesthetic style fuller, clearer, more positive and prominent.

From the perspective of poetry conventions, I think "The Woman Who Didn't Exist" is Lu Jian's best poetry collection. Each poem is written so softly that it seems that a single touch will shed juice, tears, and even blood...... It discarded all artificial techniques, tore down the fence of language, and poured out, poured, and poured out with the ups and downs of the heart..... He didn't need an audience at all, not even himself. Like a spiritual wanderer, he unleashed his nightmares with a fatalistic voice...... This collection of poems is different from the usual love poems that have a love object to rely on, first of all, it is a love poem that has no object to write about, only writes and reads for itself, and is a mumble immersed in a fantasy and hallucination...... Lu Jian is a poet who has contributed to the Chinese poetry scene, and every transformation of his texts has brought novelty and surprise to the poetry world. Li Li: Saving Poetry and Saving the World: The Motivation and Value of Lu Jian's Poetry, Poetry Forest, July 2012

Lu Jianzhao's documentary poetry quartet (referring to the four poetry collections of "34 Gifts", "The Sun of Luoshui", "Bill on the Maple Leaf" and "Tian Lou, Tian Lou" began in "34 Gifts", which is a unique phenomenon and harvest in the Chinese poetry scene at the turn of the two centuries. His poetry writing generally covers the categories of intensive writing, thematic poetry collections, and documentary. In his poems, Lu Jian not only explores the subject matter almost beyond the limit, but also achieves extraordinary success in paying attention to the details of the characters' actions and stories, and the possibility of interacting with the subjects they represent. Hong Zhu - Lu Jian, a poet calling for the golden age, Modern Youth, No. 4, 2013

From the level of art ontology, Lu Jian's "Song of a Beautiful Little Poet" is a long poem that looks up and repents downward, a long poem in which a poet experiences a profound psychological crisis, then rises up and makes a vigilant call to the whole society, a long poem in which the poet struggles to move forward and diligently explores after the cultural collision and language friction with the reality of life, and the most pure and decisive long poem of spiritual redemption in the Chinese poetry circle after Haizi.

In the "grand narrative" of Dante's Divine Comedy, he not only touches on all aspects of ancient social life, such as politics, economics (including finance), religion, law, education, culture, art, history, geography, natural disasters, etc. At the same time, he also included many characters from previous eras in his poems. In "The Song of a Beautiful Little Poet", Lu Jian not only serves as the title of each chapter more than 20 Chinese and foreign celebrities, but also expresses "I" and many characters in ancient and modern China and foreign countries in the poem. In terms of the content it expresses, it involves politics, economy, education, culture, art, law, medicine, love, ethics, morality, national quality, and even the Internet, supermarkets, "Panfeng Discussion Sword", Sanlu milk powder, forced demolition, naked chat, environmental protection, price issues, etc., Lu Jian almost all of the social hot issues that should be concerned about. It can be said that this long poem, which is only more than 700 lines, is almost a record of contemporary Chinese customs and humanities. The greatest success of the long poem is that it uses this unique structure to encapsulate the above complex and unrelated fields, categories, scenes and details of life in one work. Through it, we can see the broad and profound ideological context, artistic height and difficulty of a scholar-type poet, and his good intentions.

We know that the existing aesthetic tradition of poetry has formed an unwritten habit that the odd-numbered lines of poetry are unstable structures, and the even-numbered lines of poetry are stable structures. Accordingly, Chinese and foreign poems are mostly written in four lines, because it is more conducive to expressing a complete and stable emotion, and making it loop. However, Lu Jian reversed this traditional habit of poetry and beauty, and used three lines to build a paragraph (i.e., an odd number). The poet's adoption of this architectural line of poetry throughout is primarily due to the need for the unstable mood of his entire poem: a weightless and cramped state of mind. But on the whole, it resembles a very rigorous symphonic or operatic structure, or even more like an architecture that emphasizes symmetry and balances in the midst of instability with a concept similar to "counterpoint", a majestic building that combines East and West. Meridian - "Dante-style" torture and redemption in the wasteland of the soul - Lu Jian's long poem "The Song of a Beautiful Little Poet", essay "Da Kunlun", Spring 2013 issue

I was quite surprised when I first read Lu Jian's "Song of a Beautiful Little Poet", which is a rare group of poems in recent years. First of all, the structure or style of this group of poems is different from the past, or the musical counterpoint as he writes in the poem, which shows the author's meticulousness and ambition. The structure of this group of poems resembles a duplex building, and each poem resembles a chic cottage, which is both inherited as a single body and can be independently used as a private space. The multi-entry staggering layer adds to the melody of this group of poems—like polyphonic music, it produces a rich melody and variation effect of round singing and round playing. The distinctive structural characteristics of this group of poems are mainly reflected in the setting of the poems' titles, with the major titles imaginary and the small titles real. The theme quotes all ancient and modern Chinese and foreign poets and famous sayings, as the starting point for guidance, care, limitation and transformation, and the effect of dialogue, translocation and semantic pun occurs in the writing. That is to say, the poem in quotation marks, this sentence comes from somewhere else, and it opens the reader's horizons. "It's a call or a memory, and the exchange is built up in this way: all the works, the whole literary treasure trove, are simply reviewed, intertwined with my work in the reader's mind. The function of the title is to introduce other texts (other words) into the poem, take the destination of others as one's own starting point, and open one's own poetic path. It is said that this title is false because of the diffuse nature of history, which does not fully correspond to reality, and the emergence of translocation or dislocation is to introduce "a small piece of reality". This is a small piece of reality in response and a small part of reality that deviates, and the meaning of intertextuality lies in how the author contributes to this small reality. In this group of poems, this small piece of reality is the two sub-topics under the main topic, which can be divided into sub-topics, real topics, and both can be called real topics (such as A, a). Lu Jian may have adopted a musical approach in the setting of the poem title, with the major question 1 - the introduction sentence, and the two sub-questions A, , a - the line of the poem (a short piece of reality), which is really rare and easy to cause confusion, but the whole group of poems is so rigorous and unchanged. The difficulty lies in the comprehension of the two poems of the sub-topic A and a, the short lines of A, and the length of the lines of the poems of A, and the same is true under each major topic. Reading this poem carefully, A, and a are all plays on the quotation of the big topic, of course, it may not be completely so, and sometimes it is also the response and extension of A to A. That is to say, although there are limitations in writing, poetry itself requires more freedom and translocation. From the perspective of reading, you can directly sink into a small piece of reality under the guidance of the big topic, but from the perspective of criticism, to understand this group of poems, first of all, is to understand the good intentions of the poem's title, and all the freedom is obtained in this rigorous and neat form, which brings about one after another melody, multi-part changes, dialogue with the heart, dialogue with the poem, in the process of interweaving with the world, history, reality, struggle, questioning, it opens the door to understanding this beautiful little poet. Senzi - Writing where the former sages stopped: A brief analysis of the intertextuality of Lu Jian's "Song of a Beautiful Little Poet", Poetry Monthly, No. 5, 2013

Hong Zhu: This is a long poem in a very personal new style. After Sina.com recommended it, within a day, more than 10,000 people saw this poem, and NetEase and others also reprinted it simultaneously, gaining a certain network influence. He believes that Lu Jian is a great little poet. After the poetry was minimized, the Internet amplified the poetry again. Previously, under the influence of the market economy, poets have become minimized, the smallest body, and the influence of poets has been smaller. Now the Internet has come along, poetry has bottomed out and then rebounded, and it has resurrected poetry and poets. This poem is written quite wildly, although he is not crazy in words and deeds, but his madness is restrained in the work. It's a big poem for a small poet, and it's imbued with a bird's-eye view and a sense of condescension. It is a combination of Chinese and Western, so that the Eastern and Western cultures collide here, the metaphysical and the metaphysical collide, and it is full of thinking.

Zhou Suotong: Seven views on "The Song of the Little Poet": (1) This poem cannot be written without a huge, complex and extensive knowledge structure; (2) It does not have its own philosophical background. This poem cannot be written without the spiritual dimension and the realm of wisdom; (3) This poem cannot be written without the truth derived from a low place, without the sharp weapon to penetrate the truth, without the courage to stand on the precipice of truth and leap into the air; (4) Without talent, without true love, without the strength of the personality with clear warp and weft, without the ability of the mind to see what is truly seen, this poem cannot be written; (5) This poem cannot be written without doing enough homework, without positive and negative eyes, without dialectical depth of thought, without the wisdom and self-reflection of dissecting all aspects of things; (6) without a thorough humanistic spirit, without the deconstruction power of integrating Chinese and Western cultures(7) Eliot has "The Waste Land", Pound has "Poems", and Lu Jian has "Songs of Little Poets", all of which are large-scale strokes.

Tang Xiaodu: The classic consciousness of writers and the popular concept of the media, one is the perspective of creation and the other is the perspective of communication. Lu Jian makes sense to combine the two. Because his work has received an extraordinary response with the power of the Internet. A writer's sense of classics includes two aspects, one is how the writer views his relationship with the classics. The second is to try to become a classic. I believe that every poet who has a basic estimate of himself wants to become a master. If a writer does not have such ambition, it is difficult to write great work. But it's not just ambition. Lu Jian writes about Dante and says that Dante is looking down on the tip of the A, while he himself is crying for help from the bottom of the V. I don't think that's the difference between a classic writer and someone who tries to be a classic writer. It's a question of how to deal with the relationship with the classics. In terms of structure, Lu Jian's headlines are all classics, which constitute a level and a kind of teaching for the writer. On the other hand, it is a dialogue with oneself. He also appropriately capitalizes the dilemma. Lu Jian does not shy away from the hidden pain in this long poem. In the big picture, it remains to answer the question of "what is a poet in this era?" But he first turned himself into a nameless junior, and then asked, "Who are you?" No long poem has ever seriously answered the question. In terms of self-exploration, self-doubt, and self-reflection, Lu Jian has gone particularly far-reaching. From the perspective of language strategy, all kinds of possibilities of language since avant-garde poetry have been demarcated, and how to choose so many linguistic means to make the form of language itself and inner reality form an isomorphic relationship, Lu Jian's poems are also very enlightening in this regard.

Cao Gang (poet Xiwa reads on behalf of the poet) Little poet, real poetry, university questioning, such a real feeling. Poetry is the voice of the spirit, the soul, and the uncontrollable moaning of the climax of lovemaking. Lu Jian is like an ascetic, he uses poetry to construct a spiritual world, which is also his real world. He cares about the outside world, and makes philosopherical reflections and warm care for science, culture and art. Lu Jian is an observer and an introspective, and his rethinking of the poet, his past life, and who I am makes this poem a rebalance in temperament. Lu Jian is also humble, perhaps because the spiritual world constructed by his poetry is so grand, that he can be humble.

(June 15, 2013, "The Phenomenon of Literary Network Communication and the Symposium on "The Song of a Beautiful Little Poet".) Moderator: He Xiaobing)

The connotation and practical value of the text in "Song of a Beautiful Little Poet" are eye-catching for their linguistic characteristics, thematic connotations, cultural reflections and the tension of meaning generation permeated with the metaphors of poetry and literary ecology. The metaphorical world of this long poem is rich in connotation, and it is not only a discursive strategy of poetic expression, but also a sublimation and extension of cultural poetics in a sociological sense. If we examine this long poem as a whole, we will find that the ecological metaphor of "The Song of a Beautiful Little Poet" does not stand in a general sense to observe the living situation of people's current times and the current situation of postmodern society, but returns to the reflection of "the ontological relationship between art and life", and directly points to the profound observation and awakening of the creative meta-problem of the relationship between art and real life that is lacking in the contemporary poetry circle. Of course, the thinking and presentation of this ecological metaphor also shows a kind of grandeur, and the coverage of the connotation is particularly extensive, which is built on the basis of the poet's deep reflection and criticism of the social ecology and human spiritual ecology in the context of postmodern culture.

Lu Jian's treatment of "metaphorical experience" is internalized in the art of poetry that he carefully manages to express the relationship between art and life that he holds in his inner world.

"Humans are like wild weeds / Nothing that brings value to the earth / The glory of one group of people is the / poison of another". It can be said to be an in-depth perspective of people's mental state in an artistic way, and it is actually a metaphor for how to solve the barren state of mind as a level of social problems. This naturally draws the eye back to Elliot's wasteland world. Since Eliot, the "wasteland" state of the human spirit has not changed much, and problems or illnesses remain. "The Song of a Beautiful Little Poet" is similar to the same thing, and the construction site is also thinking about this issue. Eliot never gave a solution, but "The Little Poet's Song" tried to solve it. Starting from solving individual problems and then solving social problems is undoubtedly an effective way in Lu Jian's view.

The literary ecological metaphor of "The Song of a Beautiful Little Poet" is also supreme in the reflection of the "theme". An important manifestation of Lu Jian's thinking on "theme" lies in the relationship between the poet and the person being cited. Through the text of the poem, we can see that in "The Song of a Beautiful Little Poet", Chinese and foreign sages who are invited and quoted are invited to the current context of the times and the reality of poetry and literature, and participate in thinking about the problems existing in poetry. For those who are cited, since they once existed, they will never disappear, so it is only natural for them to face the present together with the author of "The Song of a Beautiful Little Poet". In fact, the person being quoted here is often the equivalent of "another 'me'". It can be seen that while the little poet is answering the reality, he imagines that those sages will also answer in the same way. Zhu Linguo: On the Literary Ecology Metaphor of Lu Jian's "Song of a Beautiful Little Poet", Poetry Forest, No. 6, 2013

The long poem is rich in content and peculiar in form, and contains profound philosophical meanings, which have a lot to do with the perspective of irony. "Irony refers to 'the apparent distortion of a statement by context', i.e. the change of meaning of a word in context, i.e. the non-referent. "What the poet wants to express is not only the appearance of things, but penetrates the surface of things and goes deep into their inner essence, which is very philosophical about life, and at the same time has a repeated playful interest in artistic communication. In general, "The Song of a Beautiful Little Poet" has three characteristics: first, the poet has repeated mockery of his own fate, so that the poem reveals his contradictory mentality between the lines; second, the poet has a strong criticism of the real society, so the poem is full of painful philosophical thoughts; third, the poet has extreme anxiety about the future world, and the words are full of a transcendent feeling. From the perspective of the self to the perspective of society, and from the perspective of society to the perspective of the future world, the structure of art rises and explains the positive and negative sides of things, and the meaning is also intriguing, and all of this is realized through the use of ironic artistic techniques. Therefore, irony is the core artistic posture adopted by the poet in this poem, which can give a glimpse of the poet's subjective spiritual construction and overall artistic characteristics.

Irony is one of the most important characteristics of modernist literary works, it is an artistic attitude of life adopted by writers and poets when they face reality, society and self-inflicted extreme pain, and under this premise, it can constitute a unique and profound artistic expression. The reason why this long poem has a high attainment in irony lies in the poet's reflection on the path of his own poetry creation, which has been tortuous, high and low, and repeated, and has never reached the level that he is satisfied with, so he laughs at himself as a "little poet"; at the same time, it is also because the poet has no faith, no morality, and no rules in the face of the painful social reality in today's China, which is far from the ideals put forward by our ancients. If there is no pain in life and poetic sensitivity, there will be no irony, especially in such a profound and unique way of expression as that exists in long poems. The poet's choice of the artistic technique of irony makes the long poem "The Song of a Beautiful Little Poet" more modern, not only with its own different artistic discoveries, but also with its own different artistic pursuits, irony and the use of postmodern techniques in the long poem complement each other, not only the inheritance of classical culture, but also the dissatisfaction with the real society. On the surface, what we see is the poet's mockery and dissection of the self, and I also see the poet expressing his dissatisfaction with the real society, but he does not really go deep into the spiritual core of the long poem, nor does he really understand the real purpose of the poet. The poet aims to realize the dissection of the individual soul in the mockery of the self, to realize the vigilance of the world in the criticism of society, to reshape the responsibility of the poet in the revelation of all things in the world, and to achieve a transcendent state in the anxiety of the future world. As an artistic technique, irony participates in such an artistic construction, allowing the poet's thoughts to be fully poetic and diverse. Du Xueqin - Irony: The Artistic Posture of "The Song of a Beautiful Little Poet", Poetry Research Dynamics, 2013 volume

From the perspective of the metalanguage of poetry, a series of paradoxes have emerged in Lu Jian's poetic language, which appear as follows: the persistence and tearing and breaking of normal grammatical relations. The tension between basic vocabulary and objective reality reflects the relationship between this relationship is deconstructed and reorganized in the process of phrase collocation and sentence structure, and the slippage of signifiers, the prominence of emotional attributes and the advancement of ideological understanding occur. This inevitably requires the overall scattering of Lu Jian's poetry and the treacherous expression techniques, but in fact, Lu Jian's poetry presents an unusually standard overall layout and format. These paradoxes are very reasonable in the special use of markers in Lu Jian's poetry, and they also show the originality of Lu Jian's poetry from the opposite perspective.

Lu Jian's poems have a good control over the meaning mechanism of contextual metalanguage: first, when selecting language objects, most of Lu Jian's poems focus on selecting language objects with a wide span of time and space, profound cultural meanings, and certain symbolic meanings. Sanlu milk powder" and so on. Second, because these verbal objects --—— imagery generally have specific characteristics such as native context, cultural evolution trajectory, symbolic symbolism, etc., Lu Jian on the one hand carries out the overall arrangement of the theme-centered system, and on the other hand, on the other hand, on the basis of more meaning-exploration of these verbal objects-images, apply divergent treatment, so that they are constructed around the theme center, but constantly dissolves the theme-centrism in the process of meaning production and movement, so as to realize the possibility of meaning slippage and diffusion. The 1st, 2nd, and 3rd stanzas of "The Song of a Beautiful Little Poet" are all concentrated and basically run through the whole poem. Thirdly, on the basis of the first two points, Lu Jian's poetic texts have gained sufficient movement activity, that is, according to the coherent use of multiple contextual metalanguages, the meaning-centric mechanism generated by them is dissolved and reconstructed in a controlled manner, forming an open, discussive, and overlapping discourse mode, so that on the basis of the possession and comprehensive application of multi-dimensional meta-contexts, it crosses time and space and directly refers to the present, and the internal and external systems of the text are closely related and constitute a germinal intertextual field, and the poetic meaning is concentrated and prominent, and it is extremely derivative and disseminated. For readers, firstly, it provides multiple perspectives for textual entry, secondly, it aims to construct equality and multi-dimensionality of dialogue with readers, and thirdly, it aims to promote the practice and reconstruction of textual meaning that inevitably occurs in readers' paraphrased linguistics. Li Zhiyan, The Art of Freedom: A Metalinguistic Study of Lu Jian's Poetry: A Case Study of A Beautiful Little Poet's Song, Poetry Research Trends, 2013

Lu Jian's poetry does not have the pigment of the official language before the 80s, nor does it have the elite monologue that is common in the hazy poetry of the 80s, nor does it have the strange noise of the third generation of poetry in the mid-to-late 80s, nor does it have the narrative inertia of poetry since the 90s. Lu Jian is very vigilant about the above language variants that have changed over time. In "Writing Poetry and the History of Poetry", he writes in a sarcastic tone: "What is a poet? Of course, you have to write poetry. Write the poem / on 'A4' paper and write it on your thighs / Follow that thigh into the history of poetry with a big grin // Chase the beautiful legs along the way, run violently / From metaphor, to reject metaphors, to / The lower body, add more narrative components // Tell the narrative to be trivial and trivial / Write culture to the extent that it has nothing to do with culture / Write the history of poetry to the extent that poetry is forgotten". This poem itself is a concise summary of the overall situation of Chinese new poetry writing since the new period until now, and it is an extremely miniature "nano" history of the development of poetry in the new period.

In the context of understanding his own history of poetry writing and the history of poetry writing in the new era, Lu Jian constantly explores, adjusts, and then writes about his own style and personality on the premise of understanding the relationship between the environment and himself. It is precisely with such a "harmonious" view of poetry that Lu Jian's writing does not belong to any group of poets and poetry genres.

Laughter and scolding are all articles. Of course, this kind of laughter and scolding is not as righteous and awe-inspiring as hazy poetry, nor is it righteous and strict like the political lyric poetry of the new period, still less is it like the spicy and sharp political satirical poetry of the new period! Lu Jian takes their strengths and removes their shortcomings, and then forms a unique three-dimensional image of Chinese. In particular, this group of poems can be said to be a grand performance of the beautiful poetic modern Chinese, and it can also be said to be a feast of new poetic discourse, reflecting the latest achievements of contemporary poetry writing. A beautiful poetic performance. Yang Siping - From the perspective of Chinese image building, "The Song of a Beautiful Little Poet", Star Poetry Magazine, No. 11, 2013

Here, the poet's understanding of human existence and himself has reached the same depth and height as that of ancient philosophers. I think that the remarks of famous people in ancient and modern China and abroad are used as the titles of the 26 poems, not out of a show of knowledge, but out of the need for unique artistic ideas and lofty artistic expressions, because the thoughts and emotions that the poets want to express are precisely the thinking about major philosophical and social issues such as the survival of China and the world, the people and the nation, and today's thinking should naturally be synchronized with the ancient philosophers, because the isomorphism of the problem and the starting point of thinking about the problem must be deepened with the help of Chinese and foreign ancient and modern thoughts. And is the question under each title of the group of poems exactly the same as the title indicates? We can only say that they have a certain correlation, and do not necessarily constitute a one-to-one correspondence. In other words, what the poet writes is not entirely a response to the remarks of the ancients, but only uses the relevant remarks of the ancients to trigger his own poetic thinking, which has a wide and free space in thought and art. This is precisely the brilliance of the poet, and it is also the main feature of the structure of the long poem. The poet has made valuable explorations on major theoretical and practical issues such as human survival, human suffering, human existence, human development, human life, national survival, and national development, but all the explorations are framed in the artistic structure formed by the capitalization of 26 letters in English, in fact, it is to express a "little poet's" observation of today's China and the world with 52 short poems, a dialogue with ancient philosophers, a dialogue with social life, and a dialogue with the national elite. Some people may think that in a long poem or group of poems, there is no need to quote such a rich remarks of ancient and modern figures, and there is a suspicion of "dropping the book bag", but in fact, it may not be. Because such remarks are only used in the title, not in the content, and they are all very refined, they only play a finishing role, so I think such remarks are necessary and important for every group of poems. The role they play and the significance they play can only be discovered and recognized by true researchers.

What we are going to discuss now is that for each quote as a heading, there are two subheadings such as A and a, B and b, C and c, D and d and so on (and so on, all the way to Z and z), and the whole poem is composed of such four headings, forming a relatively strict lyrical system. Some people may think that such an arrangement is purely superfluous, because the four levels of headings are of great significance except for the first and second levels, and the third and fourth headings themselves have no meaning of their own, because the difference between the English capitalization and the composition between them is not poetic and philosophical, but on the whole it happens to be a careful arrangement of the poet. It embodies two meanings: first, the use of such letters and numbers from the West has a defamiliarizing effect in the eyes of Chinese readers, making the reader feel very fresh and sensual, and second, it is precisely they that strengthen the connection between the part and the whole of the whole poem, from 1 to 26, organically unify the Arabic numerals and the English letters, and form a strict structure without any missing. As for why the poet structured his poems in this way, it is not known, perhaps out of a flash of inspiration, or perhaps out of a sensitivity to numbers. In any case, the order of numbers and letters, as well as the organic combination and unity between them, have become an important feature of this poem in terms of artistic structure, and we understand the composition of its thoughts and emotions, the composition of artistic forms and art forms, and the ideas of the whole group of poems and the poet's mental journey. Neither ancient nor contemporary Chinese poets are too sensitive to numbers, and they have no sense of English letters at all, let alone put them into poems. If Arabic numerals cannot be fixed, starting from 1 to infinity, they can be extended endlessly and become an open space, however, the poet's thinking and exploration are not limited to 26, and at the same time, all the poet's lyricism and narrative are limited to 26 letters, although it forms twice the space in case and lowercase, but it cannot exceed 26 English letters after all, because these are all the elements of English composition, a limited space. There may be a tension between the infinity of Arabic numerals and the finite finiteness of English letters, which can become an independent existence, the entity and ontology of his artistic structure, although it has nothing to do with the thoughts and emotions expressed by the poet.

Lu Jian's long poem "Song of a Beautiful Little Poet" is a very original and unique new poem, which can be seen from its artistic structure, its various internal and external exquisiteness, its unique and unique artistic conception and aesthetic pursuit. In my personal experience of poetry, it is quite difficult to write poetry, but it is very difficult to write a really good poem or a group of really good poems. With more than 30 years of ideological accumulation and artistic practice, Lu Jian was able to write such a group of poems (long poems) with grand ideas and artistic structure in 2012 and publish them in the third issue of Chinese Poetry in 2013, which caused a huge response in the poetry world, and it is well deserved. Zou Jianjun, "The Song of a Beautiful Little Poet", Structural Art Criticism, Star Poetry Magazine, No. 11, 2013

Lu Jian has always stood outside the popular discourse of the current aesthetic category of the poetry he created. Standing outside the trend and exploring new possibilities of poetry aesthetics has always accompanied Lu Jian's subjective consciousness and practical behavior in poetry creation. If we adopt a simplistic approach to cut Lu Jian's poems over the past 30 years into four paragraphs, we will be able to see more clearly the mental process and aesthetic mutations of Lu Jian's poetry creation, and we can also more effectively understand the characteristics and value of Lu Jian's poetry creation.

Lu Jian's poems have twice gotten rid of and transcended his early poetry creation style. The reality of the Chinese poetry scene in recent decades has proved that it is not difficult for a talented poet to get rid of and surpass the influence of the current poetry trend, but it is indeed difficult to get rid of and surpass his own existing style and be able to stick to his own poetic concepts and positions, but Lu Jian has done it. I think this may be the reason why Ye Yanbin thinks that Lu Jian is a poetic phenomenon worth studying. And more importantly, while Lu Jian got rid of and surpassed himself, his two creative mutations laid a solid foundation for him to write "The Song of a Beautiful Little Poet". When we look back and compare and study Lu Jian's poetry creation process in the course of the Chinese poetry scene in the past 30 years, we can better recognize the importance and value of Lu Jian's own creative labor according to his own poetic stance and concept.

For several long poems in the collection of poems "The Sun of Geneva", the critic Yang Jizhe has a unique and profound evaluation. He said: "Lu Jian pondered and questioned many aspects of human life, such as war, peace, religion, sexuality, art, and popular social diseases, etc., all presented and unfolded in his writings, and tended to be dignified and thorough, which contained the wisdom reached by human beings through their long physical practice and painstaking search. As far as "Famous Cities and Gates" and "The Sun of Geneva" are concerned, Shen Qi and Yang Jizhe's interpretation and evaluation of them are unique and wise. Here, the reason why I repeatedly recommend Shen Qi and Ji Zhe's evaluation of Lu Jian's poetry is that the two of them do recognize the unusual poetic elements in Lu Jian's poetry. This unusual poetic element is the poetic time and space that transcends the times presented to us in Lu Jian's poems. We should really see that Lu Jian's excursion in time and space at this time was a phenomenon unique to the Chinese poetry scene of that era. Lu Jian's spiritual excursion at this time not only established his own independent and self-sufficient poetic concept, but also injected a new atmosphere into the domestic poetry scene at that time, so that the spiritual time and space of the Chinese poetry scene at that time could be expanded on a larger scale. Since then, Lu Jian has also been able to enter the realm of creation without fetters because of this hike. Shan Zhansheng - Lu Jian's poetic journey. Appendix to the poetry collection "The Song of a Beautiful Little Poet", Tomorrow Press, December 2013

Lu Jian's "Song of a Beautiful Little Poet" is 783 lines and 10,668 words, and was praised by poet Hong Zhu as "the most shocking" and "my favorite Chinese long poem in 2012" on the Internet. I think that to examine the culture of an era, we should first examine the situation and level of the poets. Because true poets often represent the conscience of the times and the soul of the nation. Lu Jian's "Song of a Beautiful Little Poet" takes himself as a case study, analyzes the poet's situation in contemporary China, and the spiritual process from confusion, anxiety, compromise, reflection, to repentance, struggle, responsibility, and clarity. The bizarre portrait of the times, with the blade of poetry to cut into the poet's heart disease and the cancer of the times, its broad and profound ideological connotation, as well as the exploration and innovation in the form of poetry, provides a new successful example for the creation of long poems, which can be called a masterpiece of contemporary Chinese poetry. Xiong Guohua - A Masterpiece of Contemporary Chinese Poetry - A Brief Discussion on "The Song of a Beautiful Little Poet". Appendix to the poetry collection "The Song of a Beautiful Little Poet", Tomorrow Press, December 2013

In contrast to the ostentatious quotations of generalized and profound sayings, many of these sentences are obscure and rarely quoted, and are colloquial, more like casual and casual speech. But as I read, I was sometimes reflected by the beams of light. This also means that the author discovers the light of "only self-knowledge" in the deep feelings based on this era, and then achieves the transmission of light among readers who are in the common scene of this era.

In my opinion, Lu Jian has broken a major rule of life and survival: all problems in life are his own problems, and only his own wisdom can solve his own problems. The wisdom of Lu Jian to solve his own problems, as presented in his long poem, is obtained through the complex spiritual process of examining the relevant historical situations and self on the longitudinal axis of time, the scene and self of the era that have been fully developed, and the echo of the beams of classical thought of Chinese and Western sages and self-examination. Liaoyuan - Writing His Own Poems Designated by Fate - Some Interpretations of "The Song of a Beautiful Little Poet" "Psalms, Paying Tribute to the Classics" April 2014 Thread Binding Books

"Famous City and Gate", I don't know which muse gave our poet this earth-shattering and inexplicable inspiration of reverence, which made the poet think of such a combination of images.

The writing of "34 Gifts" and "Bill on the Maple Leaf" is an innovative discussion that should be affirmed. What I value more is "Tian Lou, Tian Lou" and "The Sun of Luoshui", these two poems truly realize the integration of narrative, documentary and intervention, which is a qualitative leap and a very important contribution of Lu Jian to contemporary Chinese poetry.

Based on reality, constantly discovering the potential poetry in life is a very important aspect of the ability of an excellent poet, and "Tian Lou, Tian Lou" and "The Sun of Luoshui" are powerful testimonies of the poet's extraordinary creative ability. The external appearance of these two poems is a kind of recollection and recourse to the past life and impressions, and this kind of writing is also found in the past poems, and the value of Lu Jian lies in the fact that he has set up a dual identity for himself as both a narrator and an experiencer, and arranges himself directly in the work. In this way, his stance and feelings, his ideals and pursuits, and even his body and soul all naturally melt into the work, and they are inseparable.

The poet's uniqueness or valuable innovation lies in the fact that he adopts a narrative lyrical technique similar to those peerless masters in martial arts novels, and the intervention of his own soul and emotions has been seamless, truly reflecting the kung fu of a generation of masters. The poet's emotional value orientation and philosophical thinking are integrated into the narrative language, which is either light and agile or humorous, forming a certain aesthetic conception that is both light and seductive. Li Shaoyong: Creating a World of Spiritual Autonomy for Contemporary Poetry - Lu Jian and His Poetry Creation, Chinese Poetry, No. 5, 2014

Shang Zhen: What he wants to show is the state of the poets' group, and his description of each poet is not a portrait, but a small interesting story of the poets, every word and deed, every smile and a smile, to interpret the social value of the poet and the meaning of poetry. Therefore, Lu Jian is not only a person who pays attention to society, but also pays attention to his heart.

Zeng Fanhua: As the person in charge of the publishing house, I read this book twice. I think, in the history of poetry, to say a big thing - it is epoch-making. Poets write poets, and no one has ever published such a book. As far as I've seen, no one has ever done that. So I support the publication of this poetry collection. I read the book again after it came out, and I was very pleased. I think Lu Jian is one of the few poets in the contemporary poetry world who is relatively pure.

Qiu Huadong: Most of the poets involved in this are the ones we have come into contact with. First of all, I think it has the value of literary history. Many years later, when others were studying the history of contemporary literature, they could see many vivid and vivid details of contemporary poets, and it provided a very rich content. Secondly, it is actually very difficult to write such works. For example, in painting, we know that sketching should capture the characteristics of people. Brother Lu Jian's skills are particularly exquisite, and he grasps the characteristics of the characters, such as writing about Yang Lian, saying that he is in Paris (or London), and there is a wall chart in his room, which I immediately remember; There are many, and there are poetic eyes in every poem, and there are things that capture the characteristics of the poet. It's very hard.

Xu Zhongzhi: After reading this book, I think the author's kung fu is still outside this book, showing profound skills, accurately capturing the story lines of the characters, and then presenting them very freely, some are the impression of an encounter, and some are fragments of instant feelings. I haven't read Lu Jian's poems systematically, but I know that since the 80s, no matter the south wind and the north wind, the west wind and the east wind, so many factions, he has always insisted on his independent pursuit and personalized existence. This collection of poems epitomizes his sincerity to his friends and presents them with a smile. There are various forms, and some even use the technique of lyrics repeating.

Gu Jianping: My opinion is threefold: first, although it is written in a comic, exaggerated, and somewhat satirical tone, in fact, there is a warm friendship behind it; second, it has a good entry point, so each work is different; and third, this collection of poems is also a very important material for the history of poetry. It is very precious, it is rare in our publications, in our poetry collections, it is a work of art that combines poetry, calligraphy and painting, and is full of pictures and texts.

Zhao Zhi: This book is very informative. By seeing the author, I also saw a group of poets. In that sense, this book is wonderful. Usually I receive a lot of poetry collections, but I just flip through them casually, looking at his emotions and language, maybe there is nothing to see. I read Lu Jian's poetry collection repeatedly, the first time maybe there was something I didn't see, but the second time I felt interesting, just like Lu Jian walked casually into the poet's circle, constantly looking for other people's interesting things, looking for some details. He caught these details and wrote them into poems. I especially like his book, and from the perspective of "liking", if a book of poetry can be liked by others, he is already very successful.

Hong Candle: I belong to the "painted", as the "person in the painting", I would like to make a statement. Professor Lu wrote about me in "Poetry Circle" ("Nail Hu Hong Candle"). When I read this poem, I thought, is this me? I feel like it's me. I ask someone "Is this me?" and they say it's me. I think that's who I am. Through this poem I think, I feel as if I don't know myself, I'm just the closest stranger to myself. Including his writing about others, "others" seem to be somewhat different from the poets we know. But to the reader, Oh, it turns out that the poet is like this. The reader's curiosity is piqued. I think it's a double metamorphosis. First, the poet's characters are painted in an artistic way to resemble gods, which is a distance, a gap, and a contrast with the likeness, which is the so-called "art"; second, this era also makes the poet "transformed". Our generation of poets is different from Ai Qing, and also different from the poets of Xu Zhimo and Hu Shi during the New Literature Movement, because the times are changing. The great significance of "Poetry Circle" is that it has left traces of our contemporary poets. After the marginalization of poetry, or after the poet stepped down from the altar, the poet's poetic soul was still there, and Lu Jian captured these shining points.

Li Li: I think this book is very interesting compared to "The Song of a Beautiful Little Poet". The book is also textually contributing, and it offers a new approach to writing. From the aesthetics of poetry and the character of poetry, it is called "humor", that is, humor and taste, first humor and then taste, starting from humor and ending at taste. This is from a single poem. On the whole, after you read these dozens of poems, you actually feel very heavy and sad. The position and state of contemporary poets in society are still marginalized, entertaining themselves, making fun of suffering, being ignored by society, unable to enter the mainstream, although they live very cleanly and freely, but they are dispensable in this era, and they belong to such a position - they seem too insignificant in society, and they can only ridicule and ridicule themselves. Such a group is placed in the context of the times. The significance of analyzing "Poetry N Suo" in this way is very significant, and our hearts are very heavy after laughing. One light and one heavy, one witty and one harmonious, not only provides the way the text is written, but also in terms of ideological content - you have to read it, you think carefully, you will see the power of thought.

Wood: I'll make two points. One, as far as I am concerned, I also write about people, their fate, and what happened to them in history. I emphasize the theological dimension, the metaphysical dimension. In the 80s, this dimension was strongly emphasized. Lu Jian writes about characters, dissolving mythological thinking and human divinity, and he pulls poetry into the space of people and people, and establishes a relationship with people. He left a footnote to the transformation of thinking in our time; second, this book is a connection with tradition, Li Bai's poems, seven or eight times out of ten are entertainment works, of course, he not only writes about the poetry figures of the time, he writes about people from all walks of life, from the noble concubine to the flow of pulp sellers. Can we compile a selection of Li Bai's character poems, and look at it in comparison, how did Li Bai write the characters, and how did Lu Jian write the characters?

Red Child: To write poems like portraits of poets, first, poets should have a sense of poetry, and second, they should be familiar with the object of writing. How to write poems and characters, and how to write prose and reportage, are different. Most of the things published in our newspapers to write characters are not good, there are no details, and there are not one or two details that can capture people. When I read this collection of poems, such as the poem "Lei Shuyan's Three Barbaric Rhetorics in One Day", there are a few sentences that I remember. "Do you like to blow or do you like to be blown?" Xie Mian's image and Lao Lei's sense of humor came out.

Tang Li: First of all, the details that others think are not poetic are screened out through identification. Details are memories and poetic beings. Behind the meaningful details of the characters are beauty, goodness, and truth. Present the overall image of people through one or two details; secondly, be good at turning the interest into details, the details of life and the taste into one, through the internalization of the soul, choose and wash the details left behind. These details are integrated into Mr. Lu Jian's emotions. There may be a difference between such a character and a real person, and perhaps the subject of the depiction reads the poem and says, "So I'm still such an interesting person?" Again, "Poetry Circle" shows the freedom of writing, the mind is relaxed, and the person being described is not worried about the anger of the person being depicted. The characters are restored through inner imagination.

(Seminar on Lu Jian's poetry collection "Poetry Circle", January 5, 2015, moderator: Qi Ren.) From Writers.com, January 10, 2015)

In the structure of this poem, Lu Jian skillfully uses the law of "Tao begets one, one begets two, two begets three, and three begets all things". In the opening title of each stanza of Lu Jian's poem, there is a philosophy about life, and the energy contained in these sentences may have influenced him, and the title is very much like the refinement of every two verses of poetry, and the two verses of poetry are also like its projection. This reminds us that everything has a provenance. And the three lives of all things are the readers' resonances, misreadings, and many interpretations and emotions under each verse of the poem. At the same time, if the title of each stanza is regarded as the creator, Lu Jian's poems in capital and small letters marked with the same letter are like Adam and Eve in the Garden of Eden (of course, it can also be seen as the possibility of the poet and his shadow double line), and in this structure, there are many avenues hidden in the poet's enlightenment but not easy to speak: a sense of return, a sense of derivation, seeds, double lines, "three" cast into a world, both metaphysical and metaphysical, and so on. Xiwa - Lu Jian: The State of Life and Enlightenment Presented in Poetry - A Reading Experience of a Pair of "The Song of a Beautiful Little Poet", West Lake, No. 8, 2015

Brother Lu Jian spent a year writing a fun poetry collection, which is to use poetry to paint a portrait of the poetry world. Although this is not a new thing, such a planned, premeditated and large-scale person like him is unique in contemporary poetry, and he does not express his feelings with poets, nor does he sing to them emptyly, but uses his usual witty and banter to restore the poets in the clouds and mountains to the real, lovely, vivid and interesting people among the masses on the earth. Therefore, "humor" is the goal and means to be achieved by his poems. Humor is witty and funny. It starts with humor and ends with fun, or it is humorous first and then funny. Witty in the fun, fun in the realm. This method is his unique skill in writing, and it is also quite rare in contemporary poetry writing. In order to achieve this effect, Lu Jian injected many traditionally non-poetic elements, especially the characteristics of drama and comedy (which should be said to be an expansion of the scope of poetry). There are plots and details, facial expressions, and sound and color. Similar to sketches, there are also some white drawings and close-ups of the movie. Among them, shaking the burden, joking, teasing, self-deprecating and ironic are like the climax of the Northeast two-person turn, but this is all a cross-section of life. Specifically, he grasps a characteristic of the poet himself and magnifies it, until when he expands the characteristic into a shortcoming, his pen turns, and the poet's temperament is full of joy and interest in the laughter and playfulness of the reader. The difficulty of writing such poems lies in the grasp of the scale and proportions of humor and banter. After being witty, it becomes funny, and thus leads to abuse and evil. If it is not, it will have no humorous effect, and it will be ruthless and uninteresting, and it will not be poetic. This requires the author to study the poet thoroughly, take the poet's merits as the center, but ridicule the negative effects of the merits, and the advantages are more prominent. This is what "slander without abuse" says. This is one of Brother Lu Jian's exclusive stunts. Excerpted from Li Li's "Rebuke of Lu Jian's Poetry Collection "Poetry Circle", 2015

From the 80s to the new century, Lu Jian has made many attempts at cutting-edge poetry, narrative poetry, and documentary poetry, and has written many unforgettable poems. As his contemporary, I feel that his poems record the historical process we have taken, with setbacks, joys, explorations, and detours, and he actually wrote "a man's poetic history" with his diligent pen. Cheng Guangwei - Read Lu Jian's poems "Poetry Tide" in recent years, Issue 8, 2015

"Crossing the Eastern Slope" is not to prove the present with the past and the past with the present, Lu Jian excavates the new value implied by allusions, similar to finding an old bottle of new wine. This interesting creation has a faint hint of elegance in the imagination, and there is a deep re-exploration and transformation of classical resources.

The virtual dramatic landscape in the poem makes people high-five when they read it. Dramatizing multiple characters or multiple voices in one poem, such as a multi-part symphony rich and colorful, such a poetic narrative is just as Zhu Linguo commented, "His narrative poetry writing can be said to be a benign rehearsal to promote the development of contemporary poetry." ”

Looking at it from the dramatic scene, there is no clear boundary mark in "Dongpo Crossing", which is today and yesterday, and there is no categorical judgment, but clarity and rationality. The opinions of the eastern slope and the suspicion of the western slope all have their own reasons and omissions. Lu Jian took the opportunity to think deeply about my relationship with myself - Dongpo who came through said that the joys and sorrows of life are accompanied by fate, and after the conversation, Xipo seems to have a sense of mission to live, as if he can observe the trend of the entire human race. Of course, we can also take "Crossing the Eastern Slope" as Lu Jian's self-archaeology: the eastern slope that crosses is a line from a point, indicating the series of philosophers' life thinking process, while the western slope of the current world is a line to see a point, emphasizing the life experience of each individual. Jiang Chao - "Dongpo Crossing": Different Ease and Poetic Entropy Increase, Chinese Poets, Issue 3, 2020

It can be said that writing as "transitive" writing, although it is not as concerned with psychological events as "transitive" writing. However, the normal events confronted by Lu Jian's transitive writing do not simply stay at the visual path, but obtain the sensory path from the "transitive" writing. At this juncture, things and things are supported by their own nutritional systems for Lu Jian. And the allocation of this nutritional system depends to a large extent on a very special motivation to write. In a word, the poet must have the degree of questioning himself—the degree of creating a dilemma for himself, and this dilemma requires the poet to effectively wander between the "in" and "out" of transitive writing, boldly leapfrog and ascend freely.

Lu Jian is good at wandering between here and the other side, traveling at the junction of material and spiritual, and the focus of his poetry writing is to a large extent the "entanglement", "amplification" and even "subversion" of this being, which is a bit like the "mundane form" of the poet's independent spirit. Indeed, from the perspective of literary and art history, banter, as a form of irony that activates the relationship between subject and object, can often remove many "barriers" of intonation in reading and communication. Lu Jian seems to be more interested in the disputes and intersections between intellectual forms and natural sequences, intellectual life and secular states.

Lu Jian's transitive writing has a very wonderful phenomenon of the relationship between "expression and existence", and he can always allocate the share of the two according to "meaning" in the grasp of this relational phenomenon. In Lu Jian's view, the relationship between "expression and existence" is not an inherent numerical relationship, but how the poet reasonably distributes the share of the two according to "meaning". Lu Hui - "Writing with Things": Reaching the Perspective of Daily Life and the Spiritual Frontier, Green Wind, Issue 1, 2022

In my opinion, Lu Jian's poetry creation has three "uplifts", in order: 1. From 1990 to 1991, he completed most of the works of "Famous Cities and Gates", all the works of "The Non-Existent Woman", and six long poems such as "Elizabeth II", "The Panic of the Sunflowers", "Lawrence and Frida", "Einstein's Violin", "The Sun of Geneva" and "Beijing Ajian" in the long poem "The Sun of Geneva" on the theme of foreign characters. 2. "The Song of a Beautiful Little Poet" completed in 2012. 3. In 2020, 205 long and short poems, including the poetry collection "Opening Piece" (Zhengzhou University Press, July 2021 edition), formed the third peak of Lu Jian's writing in the past 40 years.

It is a bit unbelievable that after that, Lu Jian actually had a "window period" of writing for almost ten years, and we only saw a very short article "Confide in Yourself" published in "Henan Science and Technology News" in 1989 and was selected by the "Poetry Magazine" into the book "The Essence of Chinese Poetry in a Hundred Years" [People's Literature Publishing House, 2001 edition]. It wasn't until 2003's long poem "Dr. Tete during the SARS Period" that he seemed to wake up from a long sleep, and in the next five or six years, he successively launched six or seven poetry collections such as "34 Gifts", "Bill on the Maple Leaf", "Tianlou, Tianlou", "Luoshui Yang", etc., until 2012's "Song of a Beautiful Little Poet", which once again amazed the poetry world and wrote a "masterpiece" again. This long poem, which took six years to write, can be called a unique work that distinguishes it from all Chinese and foreign poems in terms of knotted form.

What's even more unexpected is that in 2020, when the global epidemic was raging, he completed 205 poems with an incredible writing speed, ushering in the third peak of his writing in 40 years. We have seen "This Year Is Almost a Life", "I Write Like an Atonement", "I Know I Are Nothing", "Passing By", "That Fish", "Missing the Cherry Blossoms", "Going Around Next Door", "The Alley Ahead", "The Metaphysics of the Berlin Philharmoniker", "Meditate One Day", "Peter's Sunday", "Animals with Masks", "Foshan Ancestral Temple", "Dongpo Crossing" and "Bud Virus", which scholar Zhang Qinghua called a "masterpiece", and so on.

Critic Chen Zhongyi attaches great importance to this series of works by Lu Jian, believing that such works are a crater of poetry, which is very difficult. And it is the only one that has no other branches. Of course, I remember that Mr. Shao Yanxiang once wrote a long poem about Madame Stalin. Among Lu Jian's works, only "1814400 Seconds in Space" and "Earthlings Piccard Dreams of Two Other Planets" are fictional event characters, and other characters and events have survived in history.

Lu Jian's concept of poetry. 1. Many years ago, Lu Jian said, "Go around a big circle of culture and then return to people themselves" (Lu Jian's article "Constantly trying to be a poet named "Lu Jian" in the November 2004 issue of "Poetry Monthly") should be here. It turned out that the appearance of his 64-year-old (2020) works was premeditated. It can be seen that Lu Jian is quite rational and attaches great importance to the development of vision and the accumulation of knowledge, supplemented by the practice of various modern poetry skills. This is the basis for his ability to continue to write works with different faces. 2. The possibility of intensive writing and "thematic poetry collection". Although we don't know exactly when he first conceived this idea, it is clear that "The City and the Gate", "The Sun of Geneva", and "The Non-Existent Woman" are already "thematic poems". "34 Gifts", "Tian Lou, Tian Lou", "The Sun of Luoshui", "Poetry Circle", and "Mosaic Puzzle" that we didn't mention just now, etc. According to Lu Jian's requirements for thematic poetry collections, "Famous Cities and Gates", "The Sun of Geneva", "The Non-Existent Woman" and "34 Gifts" were relatively successful. The rest of the poems are flawed and flawed. It seems that this requirement is not easy to meet.

The humorous style of Lu Jian's poetry. Without addressing the issue of style, the author's writing can be said to be blind to some extent. Being aware of the importance of style as an aesthetic issue does not mean that you can complete your own stylistic characteristics. Obviously, the establishment and construction of Lu Jian's unique style has gone through a long process. For example, "Anecdotes of Philosophers" (see "Narrative Poetry Series") and "A Car as Fast as Flames" written in 1985, and "Beijing Ajian" (see "Everyone" magazine in 1995) written in 1991. Flickering from time to time. In 2003, "Dr. Tete in the SARS Period" was an opportunity for Lu Jian to blend the literati humor of intellectuals with the humor of secular life. The effect of this blending was partially reflected in the later "Song of the Little Poet". We found that the "I" in "Song of the Little Poet", as a college teacher and intellectual, is not only humorous and witty, but also mean and pretentious. And in 2020, his eruptive writing, almost completely unreliant on the classics and other people's thoughts and words, I wrote my heart by hand. His head is like a receiver of information, Chinese foreigners, people, events, sudden "strange ideas" swarm, and his humor is also blooming everywhere. Shan Zhansheng - The Three "Uplifts" of Lu Jian's Poetry Creation, "Chinese Literary and Artist", Issue 1, 2023

Gao Hui: Everyone is looking forward to great poets. out. For the great poets and great works of this era, how do you distinguish him, what to use to correspond to him, the poetic standard is lost. Yesterday afternoon, I started reading this PDF of Lu Jian, and he has a very classic poem, "The Song of a Beautiful Little Poet". In fact, I have been expecting a poet to write a poem on the theme of a poet over the years, and the text of this poem that I am looking forward to in my heart should be like this, it has to explain these several things, first of all, to explain what a poet is since human beings learned to narrate, and to present this concept. Second, the text should be very different from the Eastern and Western texts, and there should be changes in the text. Third, we must clarify the history of the poet himself. Fourth, we have to explain the cultural background of the East and West around the poet. The fifth requirement is high, it can be promoted and can be disseminated twice.

Lu Jian actually did the first four. As a summary of the poet's poem can be written like this, I think that this poem alone is enough to win any poetry award in China, it can win the Lu Xun Award, it can win the Chinese Media Award, and it can win the award in China.

In an era of millennial change, in an era when we feel a kind of disorder and confusion every day and there is no way to express it in precise language, we must pay attention to these poets who strive to express Chinese culture and Chinese system at the cognitive level, and if they are identified, they will become the trendy things of historical significance.

In this way, the meaning of the poem becomes complex and profound, his poem is still a poem written by a poet to a poet, and a poem written by a poet to a poetry critic, so it conveys that a language interface is not friendly, if the language interface is friendly, the poem can be classicized, and it is historicalized. To interpret it and locate it, it should be a classic work since the new era.

Li Yun: I think the biggest feature of Lu Jian's poetry is that it is experimental and heterogeneous. The beauty of heterogeneity is expressed in his long and short poems, for example, his short poems are like a "nail embedded in the wall", although they are short, but they have their own thoughts and lives. Like the four lines on page 33, the fate is written, and he is three lines and one paragraph. The 71-page "What Wu Zhong Sees" is only three lines, and I can write the first two lines, but I can't write the last sentence, it is high in ideology. A poet should first and foremost be a thinker. I said that another of his heterogeneous beauty is based on the exploration and experiment of the form of poetry, such as "Warm Snow", the separation of two words and two words, you can feel like a small animal, after I read it, I feel like a small animal running in the snow, one word is empty and two spaces, it is very internal, and some people can't grasp the inner part of poetry. There are also many avant-garde expressions in the experimental style of poetry. "Yao Xueyin's 1990", all use ellipsis, the first line is the ellipsis line, the second line is the ellipsis line, the whole has about 8 or 9 ellipsis, this kind of formal pursuit, we read his poems with him to complete, this kind of exploration is not too much among our Chinese poets. His long poem "Song of a Beautiful Little Poet" also has his experimentation here. There are many methods of dramatization and novelization borrowed from his long poems, such as "Beijing Ajian", I also like to write novels, and it is completely okay to take this thing out to write novels, but here I borrow novels and dramatized things, resulting in the whole tone of his poems is colorful and poetic.

As a poet in the front of China, he used his long poems and short poems to lay down his three stages, I think it is a period of "change", or his "change" is very flexible, and he has correctly moved towards a kind of vastness, towards a kind of colorful, towards a kind of atmospheric height.

Liu Chuan: I have roughly sorted out some points of Mr. Lu Jian that I think are very precious. The first is that he has a voice, and most of our poets turn to public words, public topics, and public aesthetics in their publications. Such poems repeat each other and have no personal face. Teacher Lu Jian's poems are Lu Jian's everywhere, not in the public poetry circle of Zhang San and Li Si. His independent tone, independent expression, individual aesthetics and differences, and perspectives outside the poetry arena. Although he is an irreplaceable and important coordinate in the poetry world, he is never a person tossing in the lively field of the poetry world, and he is always on the verge of self-definition.

It's like interpreting "The Song of a Beautiful Little Poet" just now, how it is interpreted, I'm afraid it has just begun, because it is too rich, its rich meaning, rich appearance, what Mr. Gao Hui said very well, it is a poem written for critics, it is a poem written for high-end readers, it rejects low-end readers.

Second, many of Mr. Lu Jian's poems have a unique narrative charm. A good poet must have the ability to transform from an individual narrative into a realistic, broad and world-class fusion of big themes through his narration, which is not possessed by most young poets who write oral poetry and realistic narratives, and this ability to compound narration makes poetry complex and vast. There are too many bits and pieces of poems we have written now, why should a poet learn this ability of compound narration, because he can go from an ordinary empirical statement to a symbol and metaphor from a poem, and this system of symbols and metaphors makes Lu Jian a complex poet, that is, such a poet who cannot be simply read or consumed.

Third, Mr. Gao Hui also talked about the unfriendliness of Mr. Lu Jian's language interface, but to some extent, I think it may be Lu Jian's body, or the characteristics of Lu Jian's language segmentation, he is not aesthetic poetry, he does not pursue poetry, he pursues the effect of contrast, that is, absurdity, or the embarrassing situation of human beings in the banter, so if you say from this point of view, his unfriendliness may be his most protracted characteristic. Although Mr. Gao Hui also said that I am afraid that there is a lack of mass reading or extensive reading to become a classic, but in fact, this lack may become the standard established by some kind of classic in the future, because you reject ordinary readers, so that your readers become a kind of advanced readers, the requirements for readers are actually building readers, not ordinary readers can get, you must jump up and stand up to the philosophical perspective to get close to Lu Jian, if you can't carry out philosophical reading, only the reading of poetics itself is not enough. This means that you are able to make the reader wait for you in the future. This is amazing, that is, you are not today's poet, you may be tomorrow's poet, tomorrow's poet is more meaningful than today's poet.

Mr. Lu Jian, a lot of poems here are between poems and not poems, this is the most difficult, write a pure poem, excellent geniuses can do it, but writing a poem that is not a poem requires the comprehensive ability of a broad cultural scholar, a large cultural perspective, this kind of big cultural perspective is not something that ordinary people can have, in addition to poetry, here is written constellations, all kinds of things in the universe, and many topics that cannot be touched have been solved by him, such as Cui Yongyuan's topic, which is in contemporary society- Whether he is called an Internet celebrity or an excellent host, or later becomes the spokesperson of some elites in the folk because of his opposition to GMO, he is a complex phenomenon, this complex phenomenon has not been taken into the poem as a scene to deal with, he is non-poetic, he may only be able to write an essay, and only Lu Jian can write it when he gets the poem, because the non-poetic theme is the entry point to solve all the problems of society, and most poets have no ability to do this, at least from my own feeling that I can't touch it, I don't know from which angle to cut into。 The poem cuts in at random from a very detailed and interesting angle. Such topics abound in this poetry collection, non-poetic themes make you a poet who is not a poet, this ability I think that in the poetry of pure poetry, you have established a personal mountain, Lu Jianti can be established, there is no problem at all. Moreover, when we study cultural history in the future, it is not simply the history of poetry, but when we study cultural history, and when we study the overall aesthetics of an era, your poem will definitely be taken out as a case. We now only select the good poems of the year, and you provide poems that are not good poems, not poems that are consumed, but poems that establish where the boundaries of poetry are. This poem will be asked if it is a poem, such a poem will greatly broaden the reader's horizons in the future, and will be read as a case. I think it's not too late for us to evaluate such a poet today, and someone will evaluate it tomorrow, the richness and complexity of this poem, and the chaos of this writing scene are exactly the poets who should appear in the process of China's complex transformation, there should be poets who can deal with the scene, and poets should be able to solve problems that other poets can't solve, that is to say, you have done an additional question in the poetry world, and many of us can't do this additional question.

Zhang Dude: What I accidentally read should be your "Passing By". In fact, Mr. Lu Jian is not a modern way of writing, but this poem is not lost to the work of any poet at the moment, it should be a standing business card in the poetry world, wiped around and finally returned to the sky, and I am very shocked that human life and all the phenomena of our society are expressed quietly through the processing of details.

Many of us have published a lot of books, and I may write a few poems by myself that look quite decent, but once they are put into a collection, it is terrible and miserable. But I don't feel tired when I read such a thick book, I don't have that sense of boredom, every poem is new, every title, every topic is colliding with new things, which is a great inspiration for me.

(Seminar on Lu Jian's poetry collection "Short and Long", February 26, 2023, Venue: Fushun, Liaoning, Moderator: Li Li)

Lu Jian's short poems, their narrative and structural forms are unique in the Chinese poetry world, or unique, with a rare inclusiveness and openness, he is not the kind of poet who has to reprocess, disassemble or even transform the raw materials in the life scene into another existence, many of his poems are still the original state of life, which is equivalent to starting directly from the "raw material", still in the original ecology, rather than cooking the mature state, but the poet relies on the drama-like structure to combine these "raw materials" Put it in a kind of fantasy and absurdity, let them tremble in a strange light, and become an extraordinary embodiment. I have been thinking about Lu Jian's approach, and one of the advantages is that each of his poems is unique, irreproducible, independent and fresh, and not coerced by his own linguistic inertia and imagery. Perhaps many poets can't write their poems to a certain extent, because they are ruled by their own "language dictionary", and thus lose the freedom of poetry. Lu Jian's poems are premised on their independent poetry, rich knowledge, world vision and transcendent vision, and their lyricism and narrative running clues are not one-dimensional straight lines, but multi-dimensional kinks and intertwined, which is more difficult "difficult writing".

The poet's short poems always have a convincing sense of humor, but they do not make the reader laugh and get a sense of ease, on the contrary, he conveys a reminder to us to think. He uses a witty mode to conceive, and easily lays out and advances, but often leads to unexpected horror, which is an important characteristic of Lu Jian's poetry.

Lu Jian is particularly fond of the theme of "door". We naturally think that the door is a very symbolic thing in society and life, and it has a great life capacity, because the door is always pushed open or closed, and it is also because of people's free movement and self-security. The door is an opening, but also a barrier, both physical and psychological. However, Lu Jian's "Door" is a mutated existence of a special door, written is by no means a door as a concrete existence in life, his "door" is abstract, naturally he wants to express the artistic conception is more profound, in his "door" poems, the poet basically disappears from the position of the protagonist, the hands that close or push the door do not exist, the "door" as an independent existence, is also invisible, or seriously deformed, the source of the poet's life to the "door" of a call, or inexplicable impulse.

"Bud Virus" is a work written by the poet in 2020 at the beginning of the new crown epidemic, and it is also a very unique poem reflecting the epidemic. The poet writes about the virus, writes about it as a group of life in the world, and finds it beautiful: bud-like. The poet also does not place it in opposition to human health, but "a guest on the planet who predates humans" and "I have my right to live", which is why the poet even gives Covid enough respect. As if the poet had not foreseen a prophet, he came to a judgment at that time: "Man and the virus / It's hard to say which equation / which equation invaded / mutation / intergenerational / Who is a beggar / Whose hat sprang out of the lizard?", I think this is not only the "common sense" of virus epidemiology, but also the refraction of the poet's comprehensive cognitive level, a kind of careful sympathy for any state of life, the comprehension of the essence of life, and the confirmation of the final compromise and harmony of all things in the world. No virus can be completely artificially destroyed, and it is impossible for viruses to wipe out human beings, and in silent negotiations, the two sides will somehow (perhaps poetry) reach an acceptable ending, and even depend on each other, advance and retreat together - this is also the law of the universe, or the law of the world.

The poem "Sick Wife" was deeply moved after reading it. The poet makes use of almost all the terms related to the treatment of his wife's illness, each of which is placed in the most appropriate place, and the verses composed of complicated and obscure terms do not affect the reading at all, but we think that these cold pathological indicators and tests are inexplicably more poetic (although they themselves are far from poetry)...... The whole poem uses a montage-like panning camera, multiple scenes are superimposed, and the treatment and surgery are as profound as a "revolution in life", realistic and touching the soul, and the narration of the disease is shocking...... Here, Lu Jian's "Sick Wife" achieves absolute "truth-seeking", he shatters the hard core of impenetrable existence, and as a "mystery", it is exposed and displayed in poetry. The hospital is always a place of disappointment and hope, where life is reinterpreted, the crowd suddenly becomes clear after an accident, and the disease is like a lost or misunderstanding, and even some "playful" elements. The passage of the "sick wife" in this poem belongs to the sick and the poet, and belongs to the sick and to the life.

In this collection of poems, the language style of Lu Jian's poetry is mainly reflected in its complexity, that is, the pluralism and "hybridization" of language, because the poet's learning is through China and the West, so his poetic language not only integrates the logic of Western poetry and philosophical rational analysis, but also conveys the modern taste and mood of multi-point projection, while maintaining the suggestive and simple style of Chinese mellow flow. Lu Jian is very good at extracting poetry from the darkness and chaos, the ephemeral and the popular modern eccentricity, extracting the eternal length from the fragments, combining his extensive knowledge to create flickering and trembling, and using a poetic aesthetic charge to collide with the rampant materialism, the rage of authoritarianism and the rust of the soul. In addition, Lu Jian's poetry is humorous and humorous, exalting a sense of vigilance, ridicule and self-confidence, turning negativity into an aesthetic subject matter and turning it into a charming text. The unique way of speaking in Lu Jian's poetry also represents his way of living, and the sharpness of speech is the sharpness of survival, and pushes the poetic expression of language and speech to the extreme, including classic modernist poetic techniques, as well as the grandeur of great personality. Of course, his poetry is not just a carnival of language, but the tempering, excavation and transformation of language do present a kind of linguistic pluralism, a kind of universal linguistic complexity and interpenetration. Chen Ani - The Alternative Language Vane of Modern Poetics--Analysis of Lu Jian's Poetry Collection "Short and Long", China Poetry Network, March 16, 2023

A mature poet or a poet in the true sense of the word will inevitably explore a self-oriented poetic model with self-intrinsic concepts or inner emotional expressions in the construction of this self-poetic modality. This model will inevitably be widely used and practiced in my own poetry creation practice. In time, it gradually acquires a certain solidified meaning and value. The precipitation and shaping of this kind of meaning and value in time has more and more a certain kind of super-historical, super-self, surreal, and even super-space-time uniqueness, and the necessity and plasticity of the ecological growth of poetry.

Everyday objects are ordinary and subtle existences. It contains a large number of cells about the "truth of things". These cells are looking forward to being discovered, tapped, and endowed. This state is a very chaotic self-contained existence. This kind of materialized illusion of reality, like the wind, requires the poet to approach, listen and touch with warmth. The poet Lu Jian has his own temperature. He approaches, is considerate, listens and touches those silent objects, communicates carefully, approaches slowly, touches gently. Then, he excavates, highlights, and endows these sleeping objects with the poet's own experience and perfect technique of expression.

Reading the poetry works of the poet Lu Jian first brings to the reading itself an experiential feeling of the expression and presentation of the predicament of modernity. There is a certain feeling of pain that is extremely tragic. The poet Lu Jian is like a clever and pure anatomist. Faced with a living body with a social character, he dismembered it with a knife, eliminated it bit by bit, and stitched it up stitch by needle, so that a more visual, spiritual, and transparent object was perfectly presented in the field of vision of the reading subject.

At the same time, we can also discover another valuable exploration and attempt by the poet Lu Jian. He is very sensitive to words, and even has a watery acuity. The sensitivity of words, to a certain extent, just confirms the poet's confusion and entanglement with modernity.

As far as I am concerned, the poet Lu Jian's confusion about the choice of words is precisely the confusion of poetry about the expression of postmodernity. Modernity and postmodernity are by no means in the same vein and complementary to each other. They are precisely a state of being that rebels and rejects each other. In time and space, there must be some deep dilemmas and contradictions in the way things are expressed in language. Or, the linguistic dilemma is precisely the transitional dilemma in time and space between the two. This dilemma has a strong metaphorical effect. According to Isser, the reading effect is the destruction of the symbolic meaning of the language that is designed, that is, there is a clear gap between the two in terms of reading experience and reception. For linguistic symbols, the value of the poet lies in more accurately portraying the hidden meaning of linguistic symbols. The poet Lu Jian has come a long way on this basis.

Reading the poetry works of the poet Lu Jian gives one a pure and tranquil aristocratic atmosphere. Moreover, this atmosphere flows like blood between the basic elements of poetry, such as connotation, language, and symbolism. On the road of poetry creation, a poet has walked for decades, and his understanding and experience of poetry must be full of diversity. As far as the poet Lu Jian is concerned, his poetry is unique and always maintains his own temperature. He was able to cut the basic elements of everyday life into the expression of modernity in poetry. At the same time, he is able to integrate these observations, reflections and rebellions of modernity into the lonely linguistic symbols without a trace. This is not only in the expression of his inner emotions, meanings and values, but also in the richness of his linguistic symbols that constantly expands loneliness. To a certain extent, this expansion of the meaning of linguistic symbols with an innovative sense of language has undoubtedly promoted the field and space of Chinese expression and presentation mode. Although this creation is full of poetic adventures, he still silently dedicates his own strength and understanding to the richness of the symbols and signifiers of Chinese characters. Wu Fang - Solemn Fiction and Realistic Absurdity, National Wenhui, Issue 4, 2023

Lu Jian's profile

Lu Jian, whose ancestral home is Fufeng, Shaanxi, was born in Cangzhou, Hebei Province in 1956, finished primary and secondary school in Luoyang, Henan, and joined the team in Nanyang for 4 and a half years, and was admitted to Beijing Broadcasting Institute in 1978. He joined the Chinese Writers Association in 1991.

Publications:

Poetry collection "Prayer Under the Red Cross", Haiyan Publishing House, May 1989

Poetry collection "The Sound of the Window", Singapore Cultural and Academic Association, November 1990

Poetry collection "Beautiful Windy Night" (co-authored with Yi Dianxuan), March 1991, Huashan Literature and Art Publishing House

Poetry collection "The Woman Who Doesn't Exist", August 1992, Hong Kong Jinling Book Publishing Company

Poetry collection "Famous City and Gate", September 1992 Culture and Art Publishing House

Poetry collection "The Sun of Geneva", October 1992, Taiwan Poetry Publishing House

Poetry collection "Selected Poems of Lu Jian", October 1998, China Federation of Literary and Art Circles Publishing Company

Poetry collection "Dr. Tete in the SARS Period", Chunfeng Literature and Art Publishing House, June 2003

Literary Criticism Collection "Appreciation of 101 Famous Foreign Short Poems in the 20th Century", Zhuhai Publishing House, July 2003

Poetry collection "34 Gifts", Beijing Broadcasting Institute Press, May 2004

Poetry collection "Seven Discourses", Shenyang Publishing House, November 2005

Poetry collection "Bill on Maple Leaves", Haitian Publishing House, Shenzhen, August 2006

Poetry collection "Mosaic Puzzle", Writers Publishing House, September 2006

Poetry collection "Tian Lou, Tian Lou", October 2006, Zhongzhou Ancient Books Publishing House

Poetry collection "The Yang of Luoshui", Henan Literature and Art Publishing House, April 2007

Literary and Art Criticism Collection "Image, Mental Image", Shaanxi People's Publishing House, November 2007

Poetry collection "Four Square Steps", Hong Kong Art Market Publishing House, March 2008

Poetry collection "Warmth", Liaoning People's Publishing House, December 2008

Poetry collection "Song of a Beautiful Little Poet", Tomorrow Publishing House, December 2013

Poetry collection "Some Fragments", China Radio and Television Publishing House, June 2014

Poetry collection "Poetry N Suo", November 2014, Thread-bound Books

Poetry collection "Thought Up", December 2017, Henan Literature and Art Publishing House

Poetry collection "The Sun of Luoshui" (revised version), Zhengzhou University Press, January 2021

Poetry collection "Opening Film - Selected Poems in 2020", July 2021, Zhengzhou University Press

Poetry collection "Short and Long", December 2022, China Poetry, Calligraphy and Painting Publishing House

Poetry collection "Selected Poems of Lu Jianchang", December 2023, China Poetry, Calligraphy and Painting Publishing House

Poetry collection "Selected Poems of Lu Jian's Extraterritorial Themes", December 2023, China Poetry, Calligraphy and Painting Publishing House

He will publish poetry collections such as "Passing By", "South of the North, North of the South", "I Call It Light", "Poetry and Form", etc

Awards:

The poem "The Yearning of the Sea" won the "First College Student Poetry Award" in 1982

The poem "In the Sky, on the Shore, in the Water" won the first "God of Poetry" magazine Outstanding Work Award in 1985

The poem "Three Soldiers and Their Beards" won the 1985 Star Poetry Award

The poem "Sunflowers in a Hurry" won the 1995 October Literary Award

The poem "Stories of the Twentieth Century" won the 1999 People's Literature Annual Award

In 2011, the group of poems "Poetry Circle" won the "First Dahe Editor-in-Chief Poetry Award" of Dahe Poetry magazine

The group of poems "Mother's Day Saved My Mother" won the first "China (Wencheng) Liu Bowen Poetry Award" of Poetry Magazine in 2013

<温暖的雪>In 2013, the group of poems "and the poems in front of it" won the third prize of the 3rd Guo Moruo Poetry Award of "Chinese Writers".

The long poem "The Song of a Beautiful Little Poet" won the first "Silver Award of Chinese Qu Yuan Poetry Award" of the Chinese Poetry Society in 2014

In 2014, the poetry collection "Song of a Beautiful Little Poet" won the first prize of the first "China Ruan Zhangjing Poetry Award" in Guangdong

The poetry collection "The Song of a Beautiful Little Poet" won the "First China (Foshan) Long Poetry Award" in 2014

The poetry collection "Song of a Beautiful Little Poet" won the second "Changyao Poetry Award" in 2018

The long poem "Sick Wife" won the "China 30 Years Excellent Long Poetry Award" by "Poetry Reference" in 2019

A collection of research papers on Lu Jian's poetry

"About a Poet", Xiaoxue, Zhang Tongwu, Lu Jian, etc., Baihua Literature and Art Publishing House, February 1997;

"Psalms, Tribute to the Classics", 2014, Thread-bound Books.