The language style of Jiangsu and Zhejiang poetry not only has the unique Shui Rou and tenacity of water town language, but also absorbs the intellectual style of the current poetry transformation period, which is more reasonable. For example, Xiao Hai's Flowers of Time:
I thought I heard your voices.
Distant and quiet
Like the light on songs and strings.
I often grope for your voice.
But now
I can't think of anyone.
Had to sit down silently.
Listen to the flowers wither over the years.
The language of this poem is concise and full of tension, and a few simple sentences show the helplessness in the face of the passage of time.
The poems about Hunan and Hubei in 1990s showed more local flavor because of their regional characteristics on Dongting Lake. As far as language style is concerned, the language style of Hunan poets is the least modern. In other words, the original local flavor of the language can be maintained best, and it has not been affected too much by urbanization. For example, Liuli, a Hunan poet, whose poetry itself is a piece of land, expresses the local customs and rural life, while his language keeps the rural life simple and clean.
Another example is Hu Jianwen's poems, though written in the heart, do not tend to be melodramatic and indulgent, and still present a quiet realm with a profound and unique language style. In the poet tribe, there is another group of poets that cannot be ignored, that is, campus poets. Campus poets have their own characteristics. First of all, campus poets live on campus and are authentic graduates. Secondly, campus poets come from different places and have different cultural and folk backgrounds, so their ability to accept language changes in traditional language and poetry transformation period is different. Third, campus poets have no obvious regional characteristics. Based on these three reasons, it is difficult to clearly divide the regional characteristics of campus poets. The language style of campus poets is inherently diverse. To discuss his language style, we must make clear the poet's origin, age, experience and other factors. However, although campus poets are a special group of poets, they still have something in common in the language style of poetry creation, that is, rationality.
Female poetry anthology
In the 1990s, due to the increasingly relaxed creative environment and the improvement of creative conditions, a large number of female writers, especially female poets, stepped onto the social stage.
1992, Shenyang publishing house published a collection of lyric poems of contemporary female poets in China, and published about 12 works of female poets. 1993 The Leopard on the Apple Tree: Poems for Women was published by Beijing Normal University Press, and Fantasy Journey: New Poems for New Women was published by Haifeng Publishing House in 2002 (95 female poets). In addition, Feng Chun Literature and Art Publishing House published "China Women's Poetry Library" around 1997, and 10 was selected. In addition, in the folk, that is, in the informal publishing circle, in 2002, Poems and People-A Scan of Female Poetry in China in 2002, edited and published by Huang Lihai and Jiang Tao, included 103 poems of contemporary China female poets, which can be described as a huge lineup.
Among the folk poetry publications, Wing, a female poetry publication founded by 1998, has published the works of nearly 40 female poets who are active in contemporary poetry. Wait a minute. In the 1990s, female poets emerged one after another, and so did their models. Among them, Ryer, Shen, Liu Xixi, Ding, Chiba, Yin Lichuan, Lu Yue, Cao Shuying, Mu Qing, Luye, Bird's Nest, Ange, etc. Yin Lichuan introduced "lower body writing" into poetry creation, which made him famous in one fell swoop.
Female poetry in this period has a common feature in language: confession discourse. But in fact, apart from the confessional style, there are also Lu Yimin's calm style of paying attention to inner examination, and the observation and narrative features in Yongming Zhai's writing style.
In the critical discourse of women's poetry, "Yongming Zhai" has become a key word, a symbol and a "safe passage sign" in a "women's rights building". This shows her position in people's minds. Yongming Zhai's language style reveals a kind of "kindness and fear, evasion and responsibility, vacillation and firmness", such as her mother;
There are too many inaccessible places.
I hurt my foot,
Mom, you didn't.
Teach me to catch the old sadness in the greedy sunrise.
My heart is the same as yours.
You are my mother, and I am even your blood.
Flowing at dawn
You were surprised to see yourself lying in a pool of blood,
You woke me up. ...
This poem is full of maternal love. It's not so much the poet's nostalgia for his mother as the poet's writing about himself. Language is a semi-confessional oral writing, a good oral language, and it escapes and fears the traditional poetic language in form. Although it contains the poet's unique ability to control language, it shows the poet's ability to observe language, which is magnificent, implicit and meaningful, and changeable. But it conforms to the linguistic characteristics of female poetry in that era.
Another distinctive poet is Xiao An, whose language is simple, quiet, accurate and concise, and has a sense of mystery as a whole. But it is also a confession. Xiao An is famous for writing short poems, which makes her poems concise and general. With these two characteristics, Xiao An's short poems have formed their own style. Style factors are more related to the material characteristics of language, such as the poet's breathing, voice, loudness, rhythm, speech speed, language sense and so on. But Xiao An's poems reveal infinite loudness and rhythm in conciseness.