index finger: <; "Tradition" and Direction of China's Poetry >:
As a landmark figure in the history of contemporary poetry, the forefinger is not only a writer who completes his practice with his life personality, but also a thinker who has a deep understanding of the development of new poetry. In a dialogue full of poetic respect and poetic rationality, Mr. Zhi Zhi combed the core concept of "taste charm" in China's traditional aesthetic category and its influence on new poetry and his own creation, taking "taste" as the core in a unique way, which provided a poetic root relationship for the positioning and prospect of China's new poetry. As a result, the dialogue has been extended-what concrete influence does China's traditional aesthetic experience, represented by "taste and charm", have on the development of new poetry? Is the future development of China's new poetry inseparable from China's traditional poetics? And what are the meaningful connections between the individual and the times, the individual and life, and the individual and the heart in forefinger's poems?
It is appropriate to use Engels' comment on Dante as "the last poet in the middle ages and the first poet in the new era" to evaluate the index finger. The forefinger is the last poet in a dark period in contemporary China, and the first poet in the new period that followed. I think no one can take this position except him. Index finger is also a poet who witnessed his poetry writing with his life personality practice, and such a poet has been repeatedly proved in the history of poetry, that is, the most important poet; On the other hand, the most important poet in the history of poetry did not use a pen to complete his writing, but must use his own life personality practice to complete his writing. I call this a matter of God. Why? It is how much fate took from him, how much suffering fate gave him, and then how many touching poems he was given.