Some poems by Cang Di.
? A glimpse of Cang Di
? Hu Liang
Poet and critic, two kinds of talents bloom at the same time, and it is refreshing to look at the new history of poetry. Only a handful, Cang Di should be a temporary choice. Great poets and great critics are possible. Because of pride or concentration, Cang Di seems to care only about the possibility of becoming a great poet. The quantity and quality of Cang Di's meta-poems or predicative poems are considerable, which not only expands the radius of poets, but also saves the courage of critics. When it comes to the meta-poems written by Cang Di, we can't help but mention "A Hundred Years of Solitude in New Poetry". What does "new poetry" mean? One set, or another set? Spot or futures? Cang Di's hope is still a new poem in the present continuous tense. To some extent, this new poem is supported by "loneliness" as courage and "individual" as self-confidence? In order to indirectly answer the above questions and directly cut into the theme of this article, the author draws the fourth, twelfth and twenty-fourth lines of this poem in turn. First, the fourth line is introduced: "bypassing the genetic barrier." Old poetry and classicism, from Hu Shi to Cang Di, are regarded as portals or jaws. In order to celebrate the escape of new poetry from "heredity", this language is full of obvious exultation. Today, Hu Shi's vernacular poetry movement is either too radical or unfinished. The former has been introspective, and the latter has been determined. Cang Di is undoubtedly the latter. In his view, new poetry and old poetry, modern and classical, make a clean break, there is no room for making up, discussing or communicating. Mr. Xi Du, a poetry lawyer in Cang Di, once criticized Jiang Haozhi for writing poems in ancient Chinese characters. Both Cang Di and Xi Du believe that new poetry must take itself as the starting point and take itself as the tradition. Reading the new poetry club, "in addition to its own weight, it also has an immeasurable weight." Read the new poetic series "Every Swan You Have Seen/You Never Missed Yourself". "Unbalanced weight" and "Swan" are both in the present continuous tense. New Poetry and Modernity, through Cang Di, truly responded to Octavio Paz's old saying: "Break with the recent past". Reading "The Unnamed Lake", "I guess, before me/maybe no one regarded this small lake/as a small railway station." Hu Shi and Cang Di, including Xi Du, belong to Peking University. Peking University is an important town of the vernacular poetry movement and the frontier of the Enlightenment. Just like Cang Di, the blue heart of Peking University, and the unnamed lake wrote hundreds of poems. It can be seen that north university of china is the gray line of grass snake. Now it's line 12: "It exposes the impossible." Perhaps, in Cang Di's view, the attraction of new poetry lies in the requirement of some kind of "impossibility"-not only "impossibility in sense" but also "impossibility in rhetoric". You must have a solid shield and a sharp spear, and you must be able to twist into a rope and be alive. For example, it requires not only abstraction, but also concrete abstraction, both rationality and perceptual rationality. In addition, Cang Di also wants to ask me who is not me, knowledge in ignorance, imagination and curiosity in language, things in words, which can refer to logical illusion in sliding, various small angles of re-understanding the world in strange metaphors and exegesis, almost exact hit rate in obscurity, fiction and cruising, anti-narrative in narrative, straight line in rap and complications. Seek mysticism in accuracy, collective unconsciousness in personal experience, British humor in depression, loud slap in the face in multiple voices, micro-politics in spinach and cucumber and functional pleasure, 50 tons of load in rhetorical hedonism, everything in small incision, nature in unnatural, and even prose, novels or Eugene O 'Neill's ice cubes in poetry. In the face of denial from both sides, Cang Di can always take out a hairspring. This technique is adventurous, balanced, thrilling, excellent and highly ornamental, and rarely gives poets a chance to get bad poems. It is a bit of an exaggeration to say that Cang Di has only good poems-even those that are too clever. You can look at the instructions, personal letters and historical stories, liquid springs, spinach, all stand up, lyrics, the moon, Liang Zhu and Xiao Bo, as well as the elegy series, the cucumber association and the simplest introduction of human action-this list must have missed more and more important works. There are hundreds of poems in Cang Di, namely, Associative Poems, Book Poems and Beginner Poems, which are the three young and tall mountains of authors and new poems. Without Cang Di, new poetry and Chinese, we would lose immeasurable subtlety. However, there are also many annoying words in the workshop, or that his poems have accumulated too much technical fat. For example, when writing about pressing the switch, the poet's thinking about luck is subtle: what is on the switch? Dust. What is the dust doing? Sleep soundly. What pressed the switch? Right index finger. What was the result? Dust changed the crib. What's an old cot? Switch. What is the new camp bed? Right index finger. You can read on the stairs. It can be seen that Cang Di will kill chickens or flies with many knives-he is the inventor of knives, so what can he do without knives? However, Cang Di never stopped questioning the "self". Read "Unnamed Lake", "You. You! What about you? "-it's a golden lotus step by step. "You" is "me". Affirmation, admiration, doubt, eye view, nose view, heart view and mind view. "I must invent several things to delay or decompose what is taking shape." Finally, I draw the 24th line: "It is life in life." How to understand this sentence "life of life"? Square of life? Life and a language life forced by a certain life? Reading the series "In Memory of Ai Qing", "Poetry itself is a kind of life,/but poetry is not the whole of life. Don't worry,/I mean, there is no poetry in my whole life. " In this regard, readers-including scholars-often find * * * metaphor difficult, so they dismiss it as formalism, game or linguistic determinism. Does Cang Di's "smart travel" really not strengthen the connection with "situation"? No, spinach, cucumbers, anecdotes, all can cry bitterly, and all can fulfill the so-called "personal historization"-as suggested above. Read "only the swallow quotes the constitution for us", "only the swallow quotes the constitution for us,/as if I have no other legacy,/after so many years, the street is still my legacy." You can also look at the series of Thank You, Wine Glass, The Other Side, Swallow, Turning Point and Rebellion Poetics-most of these works were completed "so many years ago". Street history is like a cloud. Where is Sima Qian except the poet? Cang Di is a legend of clouds and smoke. Where can there be a helmet except obscurity? These problems should be discussed calmly and can only be left for later. In a certain period and within a certain scope, Cang Di has become the source, center and model. His writing, rewarding and making friends have guided and consolidated a semi-open spiritual community. In the future, the writing of the history of new poetry may be manifested in the poetry groups of Cang Di and Yan Yuan. There are many related figures, such as Xi Du and Jiang Hao. Here, at least Qingping, Cai Hengping, Gomai, Sang Ke, Maimang, Wang Ao, Jiang Tao, Hu Xudong, Lengshuang, Ma Yan and Xiong Ting should be mentioned. Some characters are not from Peking University, so they can also be called Pan-Yanyuan Poetry Group.
(This article is taken from Hu Liang's new book "Peeping Leopard")
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Hu Liang, born in 1975, is a poet, essayist and essayist. Editor-in-chief of meta-writing. He has published collections of essays such as Unscramble Snow, Fragile Glazed Glass, Mask on the Left, edited Eternal Poet: From Haizi to Ma Yan, and edited Plum Blossoms into Summer. At present, I am writing a collection of poems, Pian Yu, a collection of essays and a monograph, Fujiang and Five Tang Poems. He has participated in Qinghai Lake International Poetry Festival, Love International Poetry Festival and Qionghai International Poetry Week. Won the Yuan Kejia Poetry Award. Now he lives in Suizhou, central Sichuan.
Some of Hu Liang's works.