● Knowledge, culture, tradition, poetry, lyric, philosophy, thinking, commitment, mission, master, classic, long aftertaste, endless aftertaste ... These words belonging to the upper body have nothing to do with art, and what is in these scholars' dictionaries has nothing to do with avant-garde poetry with contemporary characteristics. Let them be literati and intellectuals. We are artists, not the same thing.
Isn't it enough that you have been destroyed by knowledge and culture? When you open your mouth, all you say is what others have chewed. You live in other people's saliva, and you have lost yourself. What poems do people who have lost themselves come to talk about? Don't you feel sick without talking about knowledge and culture?
● Since 1980s, poets who pursue the pioneering spirit have been competing for knowledge and culture, from About the Wild Goose Pagoda to Cars Crossing the Yellow River, from right and wrong "anti-culture" to Sha Yi's "Hungry Poet", and this kind of competition has never stopped. Many people think that this is just a kind of poetry writing, or even an alternative expression. But this is not the case. This is the only way to the essence of poetry and the only way to find our own body. Poets who don't understand this are not qualified to talk about modern poetry at all.
For us, we are too young to bear more oppression, and we have awakened. We have drawn a clear line with knowledge and culture. We decided to be born with it, we knew it, and we said it. We use our bodies against them, and we can't even remember them at all. We won, we were in our bodies, and they were outside us. Keep those guys who try to learn from it away from us, I know they will become more and more stupid.
What is tradition? Why do you all think our writing must have something to do with it? We have our own bodies, and we have our own feelings from body to body. That's enough. This is what we need. We don't need others to give us rations anymore. It will suffocate us. We especially hate the tradition called Tang poetry and Song poetry. What does it teach us? Cultivation? We don't need this kind of cultivation. Those beautiful, elegant, so-called poetic things almost made us lose trust and confidence in our bodies from an early age, and our horizons were almost limited. We almost think that only those are beautiful and belong to poetry. Poems in the Tang and Song Dynasties, to a great extent, gave us an illusory aesthetic belief, which made each of us lose the trust in the truth. Fuck the tradition of Tang poetry and Song poetry, you have nothing to do with art.
● Is it a good thing that the tradition originated from western modern art? I'm afraid not. We have witnessed a generation of China poets, but we haven't straightened up after crawling all over. To tell the truth, it played a role in re-establishing the spirit of our national literature and in the beginning and development of China's new poetry. But now, it's time for us to look at it from a head-up perspective. Once this thing becomes a tradition, its decadent side will be more and more exposed, and more often, it will be abandoned by us as a burden. Look, Ye Zhi, Eliot, Valery, Pasternak, Rilke ... What a rotten name.
● What is poetry? This word is enough to make people start to be sour. This acid word with no modern feeling can only be regarded as a treasure by those academic Mr. Dong Bing. For modern art, the abolition of poetry will become a prerequisite. Not only do we not need the traditional poems called Tang poetry and Song poetry, but we are not satisfied with the poem itself at all. We want poetry to die ugly.
● Now is a new era. For the poetry of this era, maybe we should be indifferent or not; Cold or uncomfortable; Sexy or not. In this case, lyricism is particularly old-fashioned, particularly sour and particularly vulgar. The poet Houma said that it is as ridiculous to think that poetry is used to express feelings as that the sun is used to keep warm.
To hell with those tender things, our mood is not so reliable. Sometimes the so-called lyricism is actually just a shameful narcissism.
Only those who cannot find pleasure can find ideas. Looking for ideas in poetry? You are sick. Don't you know that metaphysical poets are liars? Similarly, only those who can't find their bodies can express their feelings, and the crying of the weak can only be boring. Lyric poet? What a weak, dark and ambiguous term this is. Unforgettable and meaningful. My God, don't you know how hypocritical this is? The so-called thinking, the so-called lyricism, in fact, are all to satisfy your low taste, and they are all touching the disgusting soft flesh of your soul.
I wrote in a poem that times have become like this, and some people are still dreaming of masters. I want to say that he is really stupid. Yes, where are the masters and the classics? You don't know what these two words are, or you don't want to know. You are either too backward or too timid. You are stupid. What you wrote is meaningless. Not only ourselves, don't fantasize about becoming masters of shit, don't fantasize about becoming classics of our works, and even we don't care about the so-called masters and classics that have become zombies.
What we need is power, instant power, and the power to prick the needle and see blood. "The power of the moment is pleasure and satisfaction, not the power to relieve paralysis after thinking." (Sheng Xing) "I hate history, so I never want to go down in history. Official history and unofficial history both smell like shit. I think it must be very uncomfortable to stay inside. I also want to persuade others not to go in, because it is not a place for people, or even a place for ghosts. " (Li Hongqi) It is enough to end our moment.
Commitment and mission, these are two silly words, so I won't bother to say them.
To hell with all these upper body things, they are as boring as fluffy caterpillars. We just need the lower body, real, concrete, sure, interesting, savage, sexy and unobtrusive. These are the basic qualities that contemporary poetry art must possess.
The so-called lower body writing refers to a resolute metaphysical state. When evaluating Li Hongqi's works, someone inexplicably said: I don't understand why he only writes about metaphysics. But for ourselves, the essence of art is unique-pioneer; The content of art is also unique-physics. From this point of view, Li Hongqi is thorough.
The so-called lower body writing refers to a fleshy state of poetry writing, that is, what kind of relationship is your poem and your body? Close or separated? Being close to the body will present a life state of primitive savage essential strength; However, separation often leads to falsehood. For example, Haizi's lyrical youth utopia is getting farther and farther away from the truth of his body, so it is becoming more and more illusory, and even he himself has been cheated; For example, some pan-college writers talk about words, alchemy, rhetoric, technology and knowledge, almost all of which are actively seeking a sheltered state and actively covering their bodies with these external things. This is a concrete cultural embodiment of their physical inferiority that they dare not face up to their real life. They can only use this petty business and elaborate packaging to satisfy their illusory psychology, but they can't find their own bodies. And what we call lower body writing is "returning to the body without reservation, paying attention to our material body, paying attention to the most direct feelings of our senses, removing the cover and shackles" (multilingual)
● The so-called lower body writing pursues the sense of existence of the body. Pay attention to the body, not the body, the lower body, not the whole body. Because our body has been alienated and polluted by external things such as tradition, culture and knowledge to a great extent, and it is no longer pure. Too many people, they have no body, only a soft cultural body, they have no lower body as an animal, only the upper body of a poor thing called "man". Returning to the body and pursuing the existence of the body is to return our experience to the essential, original and animal physical experience. To hell with the so-called mind, we will return to the tremor of the body itself. We are a body present, and the body is going on, so the poem is going on, and the body is present, so the poem is also present. That's all.
● Body writing is originally a good way of expression. Unfortunately, this word is understood by some fools as "writing with the body", and some even compare it to performance art, which is really ironic. If you think we are also engaged in "body writing", we have no problem, but the body itself is not so reliable, so we emphasize "lower body". If you think this is "writing with your lower body", that's what you think.
● In 1980s, especially after the beginning of the third generation poetry movement, the vanguard of China's poetry was mainly manifested in the awakening of language consciousness. The problem of "language" is the main problem of this era, so Han Dong said that "poetry ends with language". In the 1980s, the exploration of language was manifested as non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Fei Did poetry really stop at language in the late 1980s? No, the age of language is over, and the age of body has begun. 90' s is an era of physical awakening. Although this point germinated as early as the existence of barbarian poetry groups in the 1980s, it was not until the 1990s that the body really began to be consciously concerned and practiced by Sha Yi and Wei Jia.
And we will propose that poetry begins with the body and ends with the body. This is the only embodiment of the vanguard nature of contemporary poetry.
We will stay on the back of culture without hesitation and always be a villain.
Cui Jian commented on Jiang Wen as a director: "If Zhang Yimou and Chen Kaige are masters, Jiang Wen is an animal." . I don't know if Jiang Wen is an animal, but the evaluation itself is really exciting. One day, if someone comments on our poetry like this, it will be the highest compliment. Yu Jian said that the struggle of our life is to live like individuals. What about us? Do you have to be like an animal to mix?
Ren Hongyuan, an old poet, once put forward such a proposition: looking for the first driving force of poetry.
Power. What he means is that we should find a power to give poetry a first push, which will be a brand-new beginning and will make poetry, an ancient art, have a brand-new beginning again. So now, I think this driving force has been found. It is unique, final, forever brand-new, non-repetitive and outdated. Because it simply goes back to the essence.