Poet Cao who close-up
A few days ago, Cao Who's poetry collection "Imperial Flower" was published by The Italian Flower Dacia Press, and the paper book and e-book were listed simultaneously, and distributed in dozens of countries around the world, such as the European Union, the United States, Japan, and the United Kingdom. This collection of poems contains 40 poems by Cao Who, who's reflections on Chinese civilization in the modern transformation. Translated by the famous Italian sinologist and writer Fiori Picco, this collection of poems is published in Italian, English and Chinese. Widely acclaimed by Chinese and foreign poets, it is currently being translated into Spanish, Turkish, Russian, French and other languages, and will be published in the near future.
Due to the outbreak of the new crown epidemic, the book recently held an online premiere ceremony, and the Italian sinologist Xuelian, the famous Italian poet Laura Belotti and the Chinese host Wan Yue recited "The Snow Leopard Prince" in Italian, English and Chinese respectively. At present, the poetry collection has been listed on Amazon, which can be purchased in dozens of countries around the world, and domestic readers can also buy through Amazon. Cao Who said at the online press conference: "At present, the Chinese poetry world is facing a terrible internal volume, and only by combining the East and the West, the integration of ancient and modern, the unity of the heavenly people, the integration of the nation and mankind, and the integration of poetry and ideals can Chinese and Chinese poetry go out of the inner volume, and can modern Chinese poetry flourish." ”
Many famous poets at home and abroad have widely commented on Cao's works, including Fernando Rendon, Colombian poet, president of the Medellín International Poetry Festival and president of the World Poetry Movement, Vadim Terekhin, a famous Russian poet and vice president of the Russian Writers' Federation, Fulvia Minetti, a famous Italian critic and founding president of the Roman Poetry and Contemporary Art Prize, and an outstanding poet in Nigeria , Niyi Osundare, a Chinese poet and secretary of the Secretariat of the Chinese Writers Association, Huang Yaya, a famous Chinese poet and former vice chairman of the Chinese Writers Association, Zhang Ning, a famous Chinese critic and director of the Center for Contemporary Chinese Literature and Culture Studies at Beijing Normal University, Tan Wuchang, a famous Chinese critic and director of the Center for The Study of Contemporary Chinese Poetry at Beijing Normal University, Tan Wuchang, an Italian sinologist Fiori Picco, and an Indian poet Rati Saxena), Chinese poet Huo Junming, Chinese critic Liu Xiaolin, Chinese critic Su Ming, Swiss poet Lucilla Trapazzo, Kenyan poet Christopher Okemwa, Turkish poet Nurduran Duman, Chilean poet Roberto Aedo, Nepalese poet Keshab A. Keshab Sigdel, French poet Alexis Bernaut, Nigerian poet Ayo Ayoola-Amale, Chinese-Australian critic Zhuang Weijie, Chinese-American poet Binghua, Chinese-Japanese poet Hua Chun, Chinese-Canadian poet Yu Snake, Chinese-New Zealand poet Carissa Meng, Chinese-Canadian poet Rosemary Yuxiu), 32 poets and critics, including the Croatian poet Dinko Teleka, the Canadian poet Francoise Roy, the Danish writer Frode Olsen, the Polish artist Jaroslaw Pijarowski, and the Mexican poet Gustavo Osorio, Now select their comments to post.
Cover of Cao Who's poetry collection "Flowers of empire"
International poet reviews Cao Who's poetry collection "Flowers of Empire"
Cao who created a magnificent and important work. His poems calmly discern human nature, watching between worlds, close to eternal boundaries. The myths of ancient and modern China and foreign countries that reality has taken away from us are once again brought together in his psalms. Birds circled in his field of vision. The living stone is always singing: "You live like light!" / There will never be sorrow! / But life is only short / Only time is eternal! ”。 The flames of love and the glaciers of hate fight each other, but the ancient flames that delight at the beginning of life always prevail. The snow and ice melt and spring returns, awakening our dream of knowing everything. The ancestors of mankind opened the bridge between heaven and earth, and Cao who today rebuilds a bridge between ancient and new Eastern and Western cultures. We are made up of our ancestors and the knowledge they passed down, as well as deep dreams of the future. In his lines, we cross two bridges at the same time. (Fernando Lund, Great Poet of Colombia, President of the Medellín International Poetry Festival, Coordinator-General of the World Poetry Movement)
Cao whose verses are synthesized in a deep sense, he follows such a path, that is, from a habitual reality, to deny rational understanding, through the feeling of love, to open the enlightenment of truth. It is a journey to the original state of mind that precedes the dichotomy of subject and object. Overcome the opposition of objectified thought in order to attain the highest mode of existence. The terrible and fascinating thing about vertigo lies in the experience of overcoming contradictions and paradoxes, which transcend the inherent position of affirmation and negation, and in personal experience, combine diversity in unity and completeness, merge opposites into harmonious synthesis, and inhabit transience in immortal meaning. (Fulvia Minetti, renowned Italian critic, professor at the University of Rome, founding chairman of the Prize for Poetry and Contemporary Art in Rome)
In Cao Who's poems, he creates the original absurd situation of human beings with a unique visual writing or surreal sensibility. His poems are like modern oil paintings, showing us grotesque biological and non-linear scenes. Dreams and reality, ancient and modern, comedy and tragedy, dramatically merge into one furnace, presenting the subconscious mind deep inside as a pure imaginary picture. Cao Who's poems remind me of many of the famous works of the modern painter Salvador Dali. Cao, who is a pioneering poet and writer who broke the mold, his ideas blew a whole new style into contemporary Chinese literature. (Xuelian, famous Italian writer, sinologist, translator and publisher)
"Descending from Europa, rising in Asia Minor", "Yellow Asia, Blue Europe and Black Africa" swirling in different shades of golden splendor, Cao who is speaking with the appeal of the voice and image of the prophet throughout the earth. In The Imperial Flower, we see the travels of a poet without borders and a citizen of the world, with a bold and elegant perspective and an admirable universal trajectory. In these poems, myth and history mingle; idealism and surrealism merge; geographical concepts reinforce an enlightening local culture; contemporary culture is contained and enlightened by ancient civilizations. The poet's compass moves east, west, south, and north, and the dial points to the intersection and the universal commonality. Cao, who appeared as a poet of thought and a poet of the fusion of hearts, was a poet who listened with sympathetic ears to "bamboo weeping in the wind"; a poet who gazed with benevolent eyes "sprinkling rice on the balcony for grazing birds"; a romantic who passionately believed that love letters might take "two million years to arrive"; a humanitarian whose eyes would not ignore the "beggar with a bowl"; a fascinating "Romeo and Zhu Yingtai" who interpreted for his audience the fascinating "Romeo and Zhu Yingtai" across Eastern and Western civilizations. The narrator of the story; a philosopher who confers the "dawn of childhood and the twilight of old age" of mortals; he is a wise man who speaks of the sad maxim: "Life is always more painful than happy." In The Flower of Empires, we see the poet as the builder of cultural bridges, a world that is currently suffering from anger at the barriers of isolation. He was a poet who was obsessed with the possibility of an "eternal universe," dreaming of a reconstruction of the parables of the Tower of Babel, a rethinking and reconfiguration of our common humanity. Cao who shows us an incredible ability to use the "past" of mankind to reveal the "future" of mankind. (Niy Osandell, Outstanding Poet of Nigeria, Norma Prize Winner)
Cao who is my friend, poet and public figure! He is famous not only in China, but also abroad! Cao who worked tirelessly on literature and devoted all his energy to the development and prosperity of literature! His work can be seen from the level of world literature as he tries to find common ground in the cultures of different countries. Cao, who belongs to the "World Without Borders" group of poets who created the World Poetry Movement, preaches the truth that poetry will save the world. So his collection of poems, Flowers of Empire, has been translated into many languages, and I think readers all over the world will be interested. A thoughtful person will find beauty and elegance in Cao Who's poetry, and there are many answers to exciting questions! Wish Cao Cao who is creative and inspired to bring interesting and rich reading to the reader! (Vadim Trikin, famous Russian poet, Vice-President of the Federation of Russian Writers)
There is a hymn in the Indian Book of Upanishads that says: "Guide us from darkness to light, lead us from ignorance to knowledge." This is what a poet does, when he creates words from a given vocabulary, and in Eastern philosophy the power of words is revered as the creator. We realize that using words wisely leads to a better world. When I read Lucila Trapazzo's interview with Cao Who, I was not surprised to find that the poet accepted the fact that he was afraid of shadow in his childhood, and that fear of shadow or darkness meant pursuing a better world. Most people are always drawn to words that are steeped in sorrow and pain, which is why such poems are so easy to draw. It is not easy to write a poem that brings universality and happiness, and to do so, a poet must be knowledgeable and open-minded. After reading Cao Who's poems, I was pleased to see the universality of his expressions and emotions. As a contemporary poet, Cao whose vision differs from other poets of the land in which he lives, and connects him to another world. The greatest attraction of Cao's book The Flower of empire is the resistance to grief, which is sometimes created by people. The world is a stage, and he wants to stand in the center and face joy and sadness.
Cao who is not rewriting history, but extracting symbols from different civilizations to show universal truths, which should be taught by philosophers. All great civilizations were born out of fear and power. But where are they? They are able to remain intact through folklore stories and love for humanity. He posed this question in the poem. Sadly, history only remembers cruelty, isn't that a way of emphasizing darkness over light? Shouldn't we give more meaning to killing than life? I quote his own words, which explains it better.
Cao who not only brought history in his poetry, but also used folktales in such a beautiful way that they relate to the contemporary world. He wants to sing the song of love, which can only face cruelty. Happiness is like a small flower that cannot move a single step, but as its fragments drift to many places, how apt the lines are in this epidemic.
I want readers to read his poems carefully, and I summarize my comments with some of his verses that convey all religions, all languages, and all leaders with only one message, and that is to read poetry. Poetry is the power of words, which can cure diseases as well as cure diseases.
The Chinese speak the Yellow Emperor in Chinese / The Greeks speak Zeus in Greek / The Indians speak Indra in Indian / The Jews speak Jehovah in Jewish / The Egyptians speak the sun god Ra in Egyptian / The Persians speak Marduk in Persian / They argue endlessly / We can't understand their language / But we know what they are talking / We recite a song from the Tower of Babel / The people of the tongue war the whole world / They are all shaken
This is a very powerful signal for the younger generation, which is eager to lead the new world. (Rati Saksena, famous Indian poet, President of the Indian Kritya International Poetry Festival)
Cao who has been pursuing the spirit of "big poetry" on the road of poetry is a process of continuous exploration. His poetry can be divided into three stages, in "Cold Lyric" can be read in the "lyrical order" that originated in youth; in "Eurasian Epic" tries to integrate multiple ancient civilizations on Eurasia to reconstruct a utopian "human community"; in the "Flower of Empire" published in Italy, we can see Cao Who's feelings about the modern transformation of Chinese civilization after coming to Beijing from the west, and he discovers the position of Chinese civilization in comparison with modern world civilization. This is a crack on Western-centrism, hoping to construct an "imperial flower" with multiple civilizations as petals, of course, the empire here is the emperor's original meaning "flower base", which can be said to be still the embodiment of the "lyrical order" he initially pursued, and it is also the embodiment of the "human community". On the road to exploring the "Great Poetry", Cao who extracts elements from various civilizations and finally deconstructs into a new order. This latest collection of poems interprets the form of the modern transformation of Chinese civilization, with the same unbridled language as always, wrapped in the wind and clouds of Kunlun, carrying the momentum of the rivers, creating a mysterious and atmospheric world. (Qiu Huadong, famous Chinese poet and writer, secretary of the Secretariat of the China Writers Association)
The poet Cao who is good at extracting representative cultural symbols from world historical myths, these cultural symbols he calls "elements", so in his poems, we can see baoding, jade seal, butterfly, lotus in Eastern culture, we can also see castles, crowns, nightingales, roses in Western culture, and we can also see the sacred lamps, robes, camels, and gold in Middle Eastern culture. In his poems, the Yellow Emperor of China, Zeus of Greece, Brahma of India, Jehovah of Judea, Marduk of Persia, and Ra of egypt all naturally appear in the same space. I think that the integration of these elements is a vivid expression of the new order of human civilization. Literature is thus ahead of real life. (Huang Yaya, famous Chinese poet and writer, former vice chairman of the Chinese Writers Association)
In Cao Who's poetry, the image of the "Tower of Babel" often appears, which embodies both an idealistic feeling and a writing ambition. The image of the "Tower of Babel" contains both heaven and lyricism, as well as collapse and narrative, which are also the two poles of Cao Who's poetic style. The natural and lyrical nature brought about by life in Qinghai in the early years, and the urban and narrative nature brought about by life in Beijing in recent years, and exist in cao who's poetry. In the new poetry collection "Flowers of Empire", we can see the huge and deformed city, we can hear the sobbing of the subway girls, we can see the prodigal son who harvests the world, and we can see the red face of the bumpy world. These modern civilized sentient beings, condensed together through the image of the "Tower of Babel", constitute the basic background of Cao Who's poetry, blending lyricism and narrative, and opening up the past and the present. At the same time, in the comparison between farming and urbanity, tradition and modernity, East and West, an important medium and bridge role of poetic language as a carrier was found. I think that the so-called cultural ideal of "the psychology of the East China Sea and the West Sea is the same, and the southern learning and the north learning Taoism has not been cracked" can also be said to be the poetic ideal of Cao Who's "big poetry" thinking. (Zhang Ming, a famous Chinese critic and writer, director of the Center for Contemporary Chinese Literature and Culture Research, Beijing Normal University)
Cao Who is a very outstanding young poet who has emerged in the Chinese poetry circle since the 21st century, his recently published poetry collection "Imperial Flower" in Italy, with a language method full of oriental aesthetic color and charm, and the organic integration of the world vision and the grand spiritual vision of human nature, has vividly artistically interpreted and presented Chinese civilization, effectively demonstrating the artistic proposition of the great poeticism that the poet consciously pursues. (Tan Wuchang, a famous Chinese critic, director of the Research Center for Contemporary Chinese New Poetry at Beijing Normal University)
Cao Who constantly sets up a large number of dramatic, allegorical, imaginative, chanting and singing scenes at the level of spiritual accumulation in the survival scene and the geographical field. This became a background or a narrow and dim passage for poets to connect history and reality, nation and era. It also reveals more powerfully the most embarrassing, painful and overlooked layers of history and reality buried deep within the folds. In fact, these scenes of "virtual" and "regeneration" through the roots of language, cultural thoughts, imaginative forces and the pain of fate are actually more enduring, shocking, real and creative spaces that can be continuously colonized than those landscape archetypes in reality. More important is the "personal historical imagination" that Cao's poetry consistently presents. "Personalized historical imagination" is a means of expanding and deepening problems not to solve problems in the times and in writing, to consciously delay the "ultimate paradox" of true identification, and to reach the historical truth, personal truth and fictional truth. This kind of imagination obviously personalizes, familializes, and realizes history, constantly using the real current to wash away the illusory dust of inertial knowledge or the false color of grand historical narratives, and restores the historical memory and life experience that are more direct with life and survival. Globalization and urbanization are premised and costd by abolishing "local" differences in regional characteristics, cultural regions and geographical landscapes, and even individual ways of thinking, which highlights the significance of Cao Who's poetry. (Huo Junming, famous Chinese critic and poet, deputy editor-in-chief of Poetry Journal)
Cao Who's poems outline a geographical background of Eurasia centered on the Pamir Plateau in western China, and the song standing on the Pamir Plateau gives his poetry a broad vision and an inner sense of grandeur. Cao Who's "Eurasia" has nothing to do with the real territory in physical geography, this is a world model constructed with the help of meditation, with a self-contained cultural order, the long poem "Eurasian Land Epic" is the historical writing of the imaginary world from the aggregation, synthesis, growth, birth of human beings to the formation of order in the imaginary world, deconstructing the knowledge about the world established by the modern scientific cognitive system, reconstructing the creation process of material origin and human generation with primitive mythological thinking, Describing the isomorphic relationship between this virtual world and the cosmic form, the poem outlines the external qualities of the chaotic world and the excavation of the inner spirit, and the resulting divinity and vast weather may be the "big poetry" realm that Cao Who likes. (Liu Xiaolin, a famous Chinese critic, vice dean of the College of Literature of Qinghai Normal University)
When we understand what Cao Who calls the lyrical order, we can tell the poet from the side what it is. The poet is to be understood. From this, it can be said that my relationship with Cao Who: Hölderlin wanted to return to the poetic divinity of ancient Greece, so it collided with Heidegger's desire to return to the ancient Greek divinity. Baudelaire mourns in the modern city and thus collides with Benjamin's thoughts in the modern city of pain and despair. Cao Who is lyrical and narrative in the holistic cosmological world history, so it collides with Su Ming's criticism of world poetics for constructing the spirit of the universe. In times of disorder, the whole world and the universe are in the midst of night (though the night is sometimes a woman with maternal love). In the Age of Disorder, being a poet meant working with the "contemporaries" of the "Axial Age" to construct the order of the destroyed gods with poetic thought. Thus, the poet who maintains the inherent order of the universe and the world preached the divine order in this dark night, and Cao Who chose the Eurasian continent alone. The night of world disorder is the night of the loss of wholeness, and in times like this, man is lowercase, fragmented, and bored. The world of foundational order means to grope in this dark night that has lost its integrity, to be a warrior who dares to confront the times, and to expose the primitiveness of the world order from the great existence hidden behind the times. In order to build this order, Cao who was unswerving, whether it was at noon or in the middle of the night of the world, he always believed that there was an order that applied to all beings. He believed that everyone was designated at the center of the Great Tragedy Dance, and that everyone could go and reach where the Great Tragedy Could Reach. (Su Ming, China's emerging critic and poet, Master of Arts, Beijing Normal University)
Cao, a Chinese poet, writer and screenwriter, was also a very brave thinker who aspired to create order for the spirit of the world. As the same author said in an interview with the Italian magazine "Simulation", he had an inexplicable fear of darkness as a child, which may be the deep reason why he wrote, pursued light, and hoped to illuminate the darkness with literature. In a world of differences and borders used as walls and fortresses, Cao's efforts are to pursue a common civilization in a pluralistic society, trying to form what Goethe defined as "world literature," a pancultural ideal state. As long as we write about unique humanity, I think readers in the civilized environment of the East and the West can feel it. In his poetry, as the contemporary Thomas More or Campanella, he envisions an ideal world, in the heart of Eurasia, where East and West are united borderlessly. By tracking recurring themes, uniting us as human beings rather than focusing on our differences, the poet built an all-encompassing spiritual Tower of Babel in different languages and cultures. It is a meticulous work of historical research based on Cao Who's utopian dream, whose message is illuminated by a profound moral dimension, becoming a monument of strong socio-political value.
(Lucila Trapazzo, Italian-Swiss poet and translator, editorial board member of MockUp magazine)
Cao who creates a shocking, textured, mysterious and distant imagery in his poetry, which, with its symbolic and indirect language, takes the reader to an isolated island, far from a lonely lake, from where he struggles to swim to the shore, trying to grasp and create the meaning of poetry. He was a talented poet who knew how to combine imagery and symbolism in an enticing way. He is a truly outstanding representative of contemporary Chinese poetry. (Christopher Okumwa, famous Kenyan poet, professor at Kessie University in Kenya, president of the Kistrech International Poetry Festival in Kenya)
Words are the power itself, which can change people's thoughts, feelings, and behaviors. The silence hidden between the words holds the most mysterious power in our universe. This means that poetry has the power to change the world, and this is also our opportunity to create world peace. We see from the name of Cao Who's poetry collection that he took on such a mission. The book is published in three different languages, which is the best proof of the creation of world peace. The poem "The Great Dance of Compassion" has so many translations in different languages, clearly demonstrating Cao Who's poetic pursuits. (Nudurran Dumen, famous Turkish poet, Turkish coordinator of the World Poetry Movement)
In the new book, Cao who tries to confront the so-called postmodern or ultramodern world, its contemporary chaos and noise, or as he puts it in poetic language, "ten thousand things." His efforts to create epic poems went beyond lyric poetry, and of course on the larger stage, at the center of Eurasia— a transcendent world he had created, in the chorus of his many different voices — the tones of thirteen central poems, expressing the same meaning in many different tones: his poetic world, which is a metaphor or a reproduction of the original language of biblical mythology, so it is an ode to a world of human communities full of differences and struggles. (Robert Edo, Chilean poet, Doctor of Literature, University of Chile)
As a writer, Cao who had a lot of "ambition". He seems to be trying his best to build his own literary empire—a universe in which black holes and white holes are "unpredictable"; as a poet, he intends to create a magical dream for himself in the time dwelling place where white and black intersect. The most real feeling is through the personal experience of travel, to open the long-term thoughts and complexes in the heart, to complete the "Song of Yin and Yang" that you pour out your inner appeal, and the "Eternal Palace and the Palace of Nothingness" of the cube in the depths of Eurasia. At this moment, Cao Who is really impressive. The image of a poet flowing with poetry, in an instant, seems to carry a poetic power and light. It is like pulling a heroic horse from the depths of secret time, stepping on the horse's back, while leading us to the dusty past, while boldly advancing along the endless distance... It can be asserted that in the contemporary post-80s writing camp, Cao who is the most special "this one"! (Zhuang Weijie, a famous critic of Chinese Australian origin, and the editor-in-chief of the Australian journal of Chinese)
Cao who is a poet who advocates the establishment of a pan-humanitarian world based on shared values and mutual respect. His poems bring imagery from Chinese mythology and global human experience. Although the poetic figures in his poems find themselves spinning in invisible wheels in inadvertent space and time, they are able to call for greater visibility once there is a stopgap change in the canvas of a human imaginary world. Cao Who's "Imperial Flower" is a masterpiece of poetry with a truly internationalist spirit. (Keshab Sigder, Outstanding Poet of Nepal, Professor at Tribhuvan University, Kathmandu)
An all-encompassing voice came from Cao who. He is such a poet, as the Wenfu says, he stands at the center of the universe, and his voice speaks to the world. After reading and absorbing the main classics of the Eastern and Western traditions, he called on astronomy, mythology, history, and geography as the axis of poetry. There is an echo of the Milky Way in his poems, and recognizing that the universe is nothing more than a web woven by the unfathomable mind, he will recognize the poet's gaze in the still eyes of the guardians of Tiananmen Square. Speaking of the Chinese Empire, he said to us, the hamster on the wheel of all empires—his vision is sometimes reminiscent of the prophetic book of the genius poet William Blake. Cao Who's verses are subtle and straightforward, uncompromising. He should be a traveler of time and space, a traveler of love, friendship and wisdom. (Alexis Bennett, famous French poet and translator)
Cao who turns every page into a violet flower, from fluent words to rhythmic beats, expresses his opinions and humanity in a language style that takes the reader's breath away. He shapes his story around the imagery, rhythm and space of the conception, allowing the reader to feel his wonderful imagery. These poems depict a trajectory of globalization, using beautiful poetry to sing, heal, and deeply integrate into the world. This is the greater kindness of Cao who has made for humanity. (Ayo Ayura-Amal, famous Poet from Ghana, Nigeria, President of the Muse foundation for peace and poetic harmony)
Cao Who's poetry has a unique vision and a novel angle. His poetic imagery is sometimes magnificent as a mountain, sometimes as delicate and fresh as a stream. His poetry is full of divine power. In his poems, you can find the singing of heroes and beauties, and you can find the fusion of Eastern and Western cultures. His poems span time, space and place, and will reverberate in the hearts of generations of people! Cao who, the warrior who fights for the holiness of poetry! (Binghua, a famous Chinese-American poet, vice president of the American Chinese Poetry Society)
Cao Who is who? I've never met this guy, but I've come across his poems on many occasions on the Internet. Poetry became the medium through which we communicated with each other. The times are unfolding a new page of history, and poetry is a very spiritual art, always with a dual concern; life care and social care. I read Cao Who's poetry collection "The Flower of empire", and suddenly found that I was taken into a magnificent world of eternity by those strange petals, and the Tower of Babel in my mind actually gave birth to a stream of consciousness giant that reconstructed mythology. The Bible says that the language of mankind was originally the same, but it was only because of the construction of the Tower of Babel that the language was disrupted by the angry God. But Cao, who argues that poetry has the potential to become a bridge for humanity to understand each other. The great poeticism's search for the integration of East and West and the unity of heaven and man embodies the human ideal of pursuing a world community. I couldn't help but find out the familiar and unfamiliar keywords from the jungle of his poetry, which was a philosophical question, a human system of thought that transcended poetry itself. Cao, who himself had a talent for language, as well as a clear advantage in poetry creation, thus enriching new Chinese poetry. (Hua Chun, a famous Japanese writer of Chinese descent, president of the Japanese Chinese Women Writers Association)
Read Mr. Cao Who's poems and love his "Iron Lion Grave" the most. The talent of a good poet is often reflected in the ability to understand and perceive things and the ability to accurately and uniquely express the truth behind things. "The great wheel of the sky is crushed in Zaza / The hordes of crows shroud the blue sky / You don't know what era they are ghosts / All shout in the sky / Two iron lions looking at each other / But where is the iron of the iron lion", what a noble metaphor. In the face of the chaos of the Chinese poetry scene, Cao Who has always maintained a unique calm in the aesthetic aspects of poetry. Some readers said that Cao's poetry is difficult to understand, and my answer: good poetry is not popular. In the field of Chinese poetry that pursues golden sentences and philosophical thoughts, Cao Who's poetry belongs to high-end writing. As the saying goes, "The top of poetry is knowledge and elegance, and the inferior product is passion." (Blue Bird, a famous Chinese-American poet, editorial board member of the Los Angeles Poetry Journal)
Cao Who, a poet who walks with strength and precipitates words with thinking, constructs a more complete and dazzling spiritual space in textured language and grand imagery, and looks out at the broader and vast world of civilization with the starlight of his own civilization. His words are vibrant, kind, full of sadness and warmth, and it feels as if he is playing a symphony of thoughts and life emotions with warm and rational hands, and singing "Prosperity is to make everyone happy", so that readers can truly feel his tapestry poetry and unique poetic tone. (Fang Zhu, famous Chinese New Zealand poet and host, vice president of the New Zealand Institute of Chinese Culture and Arts)
Cao Who's "Flowers of The Empire" is a rather ambitious collection of poems, he tries to expand the subject matter and spiritual vision of Chinese poetry, and ambitiously tries to achieve the ideal kingdom of the world through a lyrical protagonist standing in the center of the Forbidden City, flying freely in the spiritual fantasies of ancient and modern, Western and Eastern civilizations. His lines of poetry are illusory mirror scrolls interpreted by passionate ideas, bringing together distant legends, relict monuments, imaginary history and fragments of the current plot of the ancient countries of Eastern civilization into a preset mirror. He seems obsessed with trying to make people see this spring's flowers blossom in the dust of history. My gaze fell on the leftovers deliberately sprinkled on the balcony by the poet, holding the worldly hand of the man of "The Shepherd" with some children's affection, which was better than the tall back on the stage from a distance. (Yu Xiu, a famous Chinese-Canadian poet and writer)
As a representative and leading figure in writing "great poems", the famous poet Cao Who's pen has always depicted the deep distance with a huge spiritual concept. His latest book of poetry, The Flower of Empire, is somehow yet another attempt to connect Western epics to contemporary Chinese poetry. Cao Who once said: "In my poetry, I must extract elements from traditional Chinese culture and find the corresponding elements of Western culture." The fact that this book of poems was successfully published by the Italian publishing house in many Chinese is undoubtedly the best verification of his poetic pursuit. The vision of many poets is also anxious at the same time as lyrical, because too many people's poems are only written around the self, and any "self" is undoubtedly small, unable to reach the height of the "great poeticism" advocated by Cao Who. In Cao Who's works, we also see poetic feelings, he uses lyrical brushstrokes to express the past years; but his works have a more macroscopic vision, which is the so-called "fusion of ancient and modern, the integration of East and West". From the works of "Imperial Flower", we can read the author's compatibility with Chinese traditions and his impulses to Asia and Europe, his disappointment in the real world and his eternal pursuit of the ideal kingdom, the imprint left by the wind of the plateau, and his advocacy of shouting in the times. With this persistence in the soul, Cao who leads the reader through the reversal of dreams and reality, making us sometimes think, sometimes indulge in it, and finally achieve spiritual sublimation in his poetry. (Yu Snake, a famous Chinese-Canadian poet and president of the Canadian International Chinese Writers Association)
Both sides try to blend East and West in literature, but usually change the other side for the author's purposes. Cao Who's poetry doesn't stop there: he stands on the vast expanse of ancient and modern Chinese literature and reaches out to all the cultural riches of the West, enriching both cultures— one of the possible definitions of communism, I think. It is no wonder, therefore, that one of his central symbols is the Tower of Babel, which acquires a whole new meaning through the poetry of Cao Who. (Dinnik Telikon, famous Croatian poet and translator, winner of the European Poetry Prize)
Cao Who's poetry collection is a kaleidoscopic poem, as if a mirror game in multiple languages, that is, the symbol of the Tower of Babel. One of them, "The Great Dance of Compassion", with great skill, shows the story of a man standing in the center of the earth, which is a symbol of the earth and at the same time a symbol of mankind. Presented in this poem at the same time, modern and classical, it is a quest for human nature and brotherhood that is urgently needed in our world and urgently needed in all times. (Françoise Roy, famous Canadian poet and translator)
"The Great Dance of Compassion" is the most representative poem of Cao Who's poetry collection "Imperial Flowers" published this year, and you can see as if you are crying and weeping at the top of the Pamir, and then you want to know the reason strongly. "Tomb Wine", "Homeland Endowment" and "The Crown Hidden in the Depths" are other kinds of poems that evoke aesthetic illusions, and they will guide the reader into the hazy realm of beauty along the cold snake without poisonous fangs! So let's start exploring this book of poems! (Froud Olsen, famous Danish writer and diplomat)
Cao Cao, one of the outstanding poets of the new generation of Chinese people, who has his own path, an interesting path to our thoughts, hearts, souls. In his own words, it was as if he wanted to reconstruct the eternal bricks of the Tower of Babel in the ocean of literature. He shows us a special fusion, a fusion between the mysteries of the East and the West, a fusion between the sky and the earth, a fusion of the spirit and the body. I want to savor his poems and hope that they will destroy the evils of the human world and create "love and eternal peace" for all. Let's go to action with Cao who. We have the key, the hope and his vision of the future of literature. Let's be part of his literary world, like me. (Jarosław Pialovski, famous Polish artist and poet)
A magical semantic echoes in musical form in the poetry of the Chinese poet Cao Who. In Flowers of Empire, his poems bridge the bridge through sound, which becomes malleable—yes, even in three different languages, thanks to the translation of this particular sound arrangement; but behind these poems there is also a meaningful music, an illusion that is both familiar and strange, close and out of reach. Thus, Cao Who's poetry reinterprets the lyricism of modernism with a constructive desire, laying the groundwork for new poems: these poems point through lyrical resonance to an understanding of the other, to a new Tower of Babel built through poetry inside and out. (Gustavo Ossolio, famous Mexican poet, translator, Ph.D. from the University of Benemerita)
Editor-in-Charge: Ban Yuhua