Jiang Fei
Mom, have you seen the subway?
Mom, have you ever seen a tram?
Mom, have you seen Marilyn Monroe?
Her picture?
Mom, have you ever seen an airplane?
There is not a white bird flying in the sky.
But ten big houses that fell to the ground?
Have you seen the bank's money counter?
Printing machines in this country
Just like the river in front of the door.
The sound of counting money and printing money?
Mom, you know what?
The subway is underground.
Trams have braids
Monroe is also a woman.
Does she seldom wear pants in her life?
Mom, you have climbed the hillside twice today.
Mom, you picked up two bundles of firewood today.
It's getting dark. I'm 46 years old.
The firewood you carried for the third time.
It is always much higher than the previous two times.
Author's works
Jiang Fei is an outstanding poet among the new poets that have emerged in recent years. Like a tireless singer, he sang the quiet and helpless rural life, and his deep and hoarse voice touched countless listeners. Jiang Fei insisted on a simple writing concept. He believes that poetry is a kind of "tool", that is, "style, elegance and praise". His poems are concise and direct, reaching directly to people's hearts; He explored, but remained in awe of language and did not abuse it wantonly. From 2004 to 2005, Jiang Fei, who had never been to college, became the first resident poet in China to study and live in Capital Normal University. In May 2004, Jiang Fei won the second China Young Poet Award.
Text appreciation
There are three main images in this poem: one is the so-called modern urban civilization, the other is the mother, and the third is the poet himself.
Modern urban civilization has too many benefits and temptations-it is prosperous, convenient and efficient, and it is rich, beautiful and sexy. How many people are flocking! But my mother knows nothing about it. What my mother knows is that we need firewood at home, climb the back of the hillside and carry more firewood before the dusk sinks completely. ...
The poet walks on the edge of the city, examining the bustling noise and strangeness of the city, but from time to time he looks back at his mother's tired figure and talks with her in his heart. So, what's his feeling?
He sympathized with the hardships of his mother's life. My mother is 46 years old, but she has never been on the subway or on an airplane. She is a woman, but she has never worn a skirt; She carried a mountain of firewood and firewood, but it was not worth the paper money thrown out casually by the city people. ...
He admires his mother's diligence and tenacity. Compared with those delicate creatures whose bodies are trapped by cement and whose hands and feet are replaced by machines, mother's body is more responsible, her life is more patient and her character is more resilient.
He has deep gratitude and love for his mother. Although the poet walked in the city, he originated from the simplicity of his mother and native land, and was not trapped in temptation or lost in the complexity. He didn't forget that it was his mother who supported his life with her firewood-picking shoulders and let him see the height of the city. He only thinks of himself as a passer-by in the city. He knows that his life is rooted in the countryside and he is the eternal son of his mother.
Jiang Fei never hides his criticism of city people. He often mocks those life figures who are atrophied and weakened by material fatigue. In this poem, the rich material civilization of the city truly reflects the poverty of mother's life, and the tenacity of mother's life character also reflects the fragility of human vitality in urban life.
There is only one main expressive skill in this poem, and that is contrast. However, the contrast between poets is wonderful: it is the Lord who writes a few lines, but it is the object who exaggerates; It seems that it should be regarded as a symbol of civilization and progress, but it failed to fascinate the poet's eyes. Poets walking on the edge of the city always care about the tired figure of their mothers.