China scholar Zhao Yifan began to study the "Beat Generation" in the late 1970s. At that time, he wrote two articles summarizing the Beat School, which are generally considered as the beginning of re-evaluating the Beat School in China academic circles. In addition, Mr. Zhao also translated the poem Howl. Later, Mr. Zhao went to Harvard to study, and came into contact with Ginsburg by chance, so he came up with the article "The Ginsburg I Know". The humorous style of the article vividly reproduces the huge psychological gap from watching the fire from the other side to face-to-face contact, and the confusion and estrangement of a traditional China intellectual facing the representative of American avant-garde culture who was once his research object. Mr Zhao's behavior towards Allen is "dumbfounding and helpless". At the same time, I deeply felt Allen's innocence and poet's feelings. He has lived all his life, but he just can't figure out other people's affairs and what others think of him. ”。
China culture influenced Ginsburg's creation, and Ginsburg's poetry also influenced China's poetry to some extent. Some people think that an important school of poetry directly instigated by Ginsburg is "stupid poetry". But this view may not be correct, because China's "clown" had not read Ginsburg when he started writing "clown poems". 1986, when China's short-lived "Miscanthus Poetry" began to disintegrate, Li Yawei, the chief representative of "Miscanthus Poetry", read Ginsburg's Howl for the first time. As he read it, he let out a howl in his eastern Sichuan accent: "Damn, there is an old man in America." It should be said that Ginsburg's influence on China's avant-garde poetry is elusive, and almost all famous poets are ashamed to talk about Ginsburg's influence. Ginsburg's hysterical and neurotic lyrical style may be regarded as "adolescent writing", and neither academic nor folk school mentioned him very much. /GB/paper 3/4/class 00030000 1/hwz 15588 . htm