Bai Hua's works.
Baihua manuscript
? A glimpse of Lu Bao Bai Hua
? Hu Liang
Speaking of the incomparable poet Bai Hua, four words-front, back, left and right-just come in handy. Before and after, the stage is also called. Bai Hua in the early stage was lyrical Bai Hua and charles pierre baudelaire-style Bai Hua; The later birch is a narrative poem or epic birch, which is Thomas Stearns Eliot or Nabokov's birch. Those controlling desires, temperament or attitudes are also called. On the left, the birch tree is white and hot, tapering, and rushing to the cliff in summer. This is the birch tree in Chongqing; On the right, Bai Hua is a leisurely autumn, sitting in the abyss, it is a Bai Hua. Staggered back and forth, left and right. Front left, front right, back left, back right: You can get at least four white birch, and of course one white birch. If we want to talk about the poems of Baihua, we have to study them carefully. So, let's start from the beginning. The poet's mother, whom he called "the incarnation of the girl in the afternoon", had already filled the eccentric boy with too much blood and quirks, so that he later curled up in the closed relationship between the two-the girl in the afternoon-and slipped into the inevitable lyric "bad luck". 198 1 year 10 months, and he wrote "expression". From then on, he devoted himself wholeheartedly to love, excitement and anger, just as he devoted himself to the inner revolution. His words, his cells, his poems and his body were embraced by the revolution, and tears welled up in his eyes. It took him less than ten years to complete Tremor, Summer at Sea, Goodbye, Summer, Brilliant Summer, Cliff, Victims, Summer for All, Jonestown and Summer, Ah, Summer. Because of the invisible "diving" with the girl in the afternoon, this is the lyrics that can't stop shivering. The last lyric is also the lyrics of "covered with tigers". The speed of this lyric poem is obvious. This kind of speed and acceleration does not damage the accuracy of words or even the rhythm of details. Since the beginning of new poetry, few poets have been able to have such skills and achieve such miracles. In Bai Hua's summer series, "Summer is far away" is a place for editing and changing horses aesthetically. The poet goes from his mother on the left to his father on the right, or follows his father from left to right: a small bamboo building, a white shirt and a pair of clean cloth shoes. In this way, the poet got different lyric poems: only the old times brought us happiness, autumn, the afternoon of the Republic of China, autumn, the bears, Li Houzhu, the Qing Dynasty, the past and Suzhou in a year. These works are intertwined with the above-mentioned works, showing us that the poet can occasionally return to what Ye Zhi called "the opposite self" in his own whirlpool. The poet's "negative self" has nothing to do with it, but it allows the "self"-the falling and repeated "self"-to coexist peacefully today, and makes the poet's "pleasure aesthetics" gradually appear. This is the early Bai Hua: a rare lyric poet, even the best lyric poet, even in the whole history of new poetry. Since then, the poet has stopped writing for fifteen years. In the early stage, it not only showed the aura of pleasure aesthetics, but also showed the roots of intertextuality writing, such as the influence of Empty Man on Ren's Buddhist History in China and the influence of Qing Dynasty on Fei Zhengqing's Beauty and China, which were all enlarged and completed in the later stage. In 2007, Bai Hua resumed his poetry writing and finished a long narrative poem-let me label it-a fairy couple painted in the water, plus some long notes, which became a wonderful book intertwined with poetry and prose. His latent texts include The Memories of Mei An's Shadow by pioneers and Love the World of mortals: China's City, Desire and Life by Li Xiaoxun. Beautifying Mao and Dong Xiaowan's life is not only writing, but also creating: life and writing, from here to there, and from there to here. Needless to say, Chinese characters are older and more European. After learning from Hu Lancheng, they are better than Hu Lancheng. Looking at the sense of form alone, this book has been used as a "mosaic" annotation book. The poet doesn't want to stop there. He wants to push intertextuality writing to the extreme: that is the book of quotations. The poet completed two historical records, and directly divided the historical materials since the late Qing Dynasty-unofficial history, reading notes, news and current articles-into poems, which made the hidden text become a "full" explicit text, while the poet's intention retreated into the hidden text, even turned into no words and became a joke. The final deconstruction is done by the audience. Through the audience, the poet teased the quotation without words, disturbed the presence with absence, and defeated the subjectivity of the constantly ruling other. The poet restored the real history through deconstruction, jokes and irony. We found a long-lost left image on the back of the other, but it is already an anti-lyrical left image. -It is necessary to pay attention to this. Today, Bai Hua has been immersed in "carnival-style intertextual writing" (this language comes from Zhou Dongsheng, a disciple of Bai Hua). He has brought the left and right crisscross, the heart and brain crisscross into a more open crisscross between individuals and others. Considering all kinds of talents and talents, it seems that Bai Hua had his own preferences and expertise before and after. Anyway, as a poet, an essayist and even an essayist, Bai Hua endowed him with a personalized tone, characters and style, which is even more important to him than a personalized thought. With this ability, Bai Hua is not only the best lyric poet, but also a rare visionary stylist.
(Excerpted from Hu Liang's Crispy Glass, Shaanxi People's Education Press, 20 17 edition)
Hu Liang, born in 1975, is a poet, essayist and essayist. He published a collection of essays, Snow of Interpretation, Crispy Glass, Mask on the Left, edited The Eternal Poet: From Haizi to Ma Yan, and edited The Poems of Lu Yimin. Founded a collection of poems and poetics, meta-writing. Participate in Qinghai Lake International Poetry Festival and Love International Poetry Festival. The day after tomorrow, he won the Culture and Art Award and Yuan Kejia Poetry Award. Now he lives in Suizhou, central Sichuan.
Hu Liang's collection of literary theories "Snow of Interpretation" won the second Yuan Kejia Poetry Award. It has two versions, the simplified version in Chinese mainland and the traditional version in Taiwan Province. There are only a few books at present. Welcome to buy or leave a message on WeChat.