In the arena of poetry, Tsunami is undoubtedly a special fighter. But I have been wandering on the edge of poetry all these years, but fortunately, because of the existence of beautiful things, I have kept my limited "ears" and read poetry.
-Mao
Since the new century, the name of the poet Tsunami has become an eye-catching symbol in China poetry. This poet, who combines poetry creation, poetry editing and poetry activities, has published poetry anthologies Wandering in Love, The Last Flight and Being Moved by the Heart in recent ten years, and has compiled many publications. In 2003, he also founded the poetry journal New Poetry Generation. At the same time, from the first summer of the new century to the early winter of 2005, with five years' efforts and passion, the poet created trilogy long poems, which became a towering monument in the process of tsunami personal poetry creation and a remarkable and important achievement in the process of contemporary poetry in China since the new century.
-Shen Qi
The tsunami has been struggling.
The trilogy is his mark;
With his unique persistence, he integrated poetry and thought, existence and non-existence, past and future.
He witnessed the departure of the soul;
His poems take us back to the night of life, right there.
The most secret light runs between words;
Now, a tsunami has reached our hearts.
The most inner generation and pain,
That's really a mystery that needs further investigation.
Jiaxin Wang
The tsunami trilogy is an important achievement in writing long poems (epics) since the new century. From the hands of the "post-70 s", it was a bit unexpected.
It reproduces the characteristics of ancient poetry-singing and divination, without losing the pursuit of modernity.
It gathers maternal feelings such as life, nature and home with divergent poetic thinking, turns fragmented prototypes, metaphors, proverbs and situations into colorful "apocalypses", and makes the elements of "waiting, praying, looking up and chasing the light" shuttle through the endless mysterious context, full of deep feelings of compassion, pain and comfort.
This is an "arousal" of poetic personality and quality.
This poem is magnificent.
Today, when the spirit is generally deficient in calcium, it is commendable for the author to adhere to the standard of ingenious and touching: a firm "high jump" direction will re-energize our blood; At the same time, it is also an important reminder of the current flood of saliva poems and the excessive contempt for the difficulty of writing.
-Chen
From the text of the poem, you can say that the tsunami trilogy is like a fable, because it has metaphors and symbols of fables, and it also gives people a narrative "enlightenment"; You can say it's like a fairy tale, because it has a fantastic color like a fairy tale, giving people a "soul beauty" landscape effect; You can say it is like a proverb, because it has the mystery of proverbs and gives people a clear "enlightenment". These colorful cultural landscapes further expand the "spiritual space" of his poems and endow his works with a broad cultural foundation.
It should be said that the resurgence of the spirit of tsunami poetry and exquisite insights have opened up a rich world outside popular writing. I disturbed the boundless image of the roaring sea and the tension and severity of the spiritual ecology. With abundant life energy and spiritual "explosive power", he opened the seven senses of human beings and the deep bottom of secret life experience. His poems remind me of some contemporary poets, who are also following, restoring the ancient charm of oriental culture and enriching the attribute of "celadon orphan" in poetry. However, some poets are not good at updating the basic vocabulary, discourse structure and expression in Chinese, which leads readers to look for the original meaning of words from the inertia of memory, thus emptying the expression of "personality". However, the trilogy of Tsunami can effectively combine personal spiritual background with grand ultimate concern, integrate spiritual ecology with the world's creatures, echo each other, lengthen the writing chain, expand the generosity of poetry, and give "touching writing" a real "original" text reference and spiritual landmark.
-Lu Hui
From the beginning, I had instinctive suspicion, strong resistance and even deep hostility to the writing of "cultural epic". Unexpectedly, my writing led to "Tang" twenty years later. What opened my bad feelings about "cultural epic"? What I want to say is: life-this is also an extremely valuable golden key to a "cultural epic". Therefore, when I read the tsunami trilogy, a huge system with a grand structure, I don't look at what kind of traditional cultural "behemoth" it is associated with and what kind of poetic interpretation it has made, but at all the gold content of its own life (including consciousness, feeling and expressiveness). Name an epic after yourself, yes! Not arrogance, but the existence and proof of life. In my opinion, successful epic writing must start from individual life.
Sha Yi
I have little say in long poems. I have never written long poems, and I seldom read long poems written by modern people. Interest and time are the reasons, of course, but the bigger reason is that most people think that writing long poems is the symbol of "great" poets, so many people who are interested in becoming great poets try to write long poems, even if they don't have enough feelings and materials in their hearts to write a short poem, they have to stretch and exaggerate a little as a result. Nothing is more blasphemous and offensive to readers.
The tsunami trilogy is a welcome exception. This poem is full of passion for mother, hometown, nature, art and poetry, life and life, as well as vivid images and implicit and accurate language, which makes this poem not feel lengthy at all, but have the impulse to read it at one go.
-Not a horse
I haven't seen a tsunami yet, but the charm of tsunami language has made me remember his name. I believe that a poet full of sadness is more touching than a poet with a smile; Poetry that hurts the soul is more powerful than poetry that makes people happy. I saw the sadness of the tsunami and my heart ached when I watched the tsunami trilogy.
—— Liang Ping
The "trilogy" of the tsunami is clearly marked with a profound personal life experience. From the clues revealed in the poem, we can read some of his spiritual journey. We might as well regard the seven chapters before Requiem in Prayer as fragments of the poet's spiritual history, which may have some textual research value related to social events, but they are not complete historical materials. The poet's young mind has pursuits, longings, setbacks and difficulties. But in his beautiful and elegant poems, what is always revealed is to find a real way to express himself. "I'm used to skinning, I'm used to keeping my body more direct", which is a manifesto poem and his motto.
The seventh chapter is called "Requiem" and contains nine poems, which are the most precious part of prayer. If the lyricism of poetry still has artistic charm, then these nine sad poems of tsunami are a strong evidence. These poems, full of deep attachment to maternal love, pour out the inner feelings of a contemporary youth. This kind of poetry is by no means a manifestation of promiscuity, but a painful feeling of love for relatives, even regret. "The lights in my hometown three thousand miles away are dim/the hills three thousand miles away are full of fallen leaves/there is wind blowing in the north/will you be cold/because the grave you sleep in is too wet; And there are crickets/completely ignoring this quiet night, this quiet/dark sad vegetation/so I don't want to say/too lonely ",reciting these special lines makes people cry.
The profound lyrical meaning contained in the language expression of tsunami poems greatly enhanced the aesthetic enjoyment of reading. This is its advantage and characteristic. I believe that people who have read this poem patiently will agree with this judgment.
Ye Mi
The tsunami turned its attention to history, trying to find the hint of fate and the dignity of life from the mysterious history. He warned himself in almost unquestionable "Bible" language, telling us that everything will happen, and everything will be calm and even desolate.
Sometimes you may fall into the guessing game designed by him when reading the poems of tsunami, just like reading Borges' novels and entering an irrelevant maze. However, such a difficult reading has left more room for poetry. After reading the words used to whitewash the peace, we saw that contemporary poetry was immersed in a hotbed of skills and boring hedonism. The tsunami trilogy let us see the real human atmosphere.
The poet created the cross with his own ideal, walked through the tunnel of history and time, sang the most authentic song of the soul, and expressed human dignity and dreams in the form of poetry. Tsunami is destined to be a martyr of poetry. In his tsunami trilogy, we try to find the lost soul!
—— Ma Zhiyao
The creation of "Tsunami Trilogy" lasted for five years, which is the spiritual portrayal of the poet's "conscious writing". His poems are ups and downs, and the strangeness, strangeness and verve of his imagination make our thoughts fall into his poetic "just sightseeing":
Tsunami is based on a real poet's conscience, ambition, thoughts and mission. Pay attention to people's living conditions and destiny, profound historical vicissitudes and mysterious cultural atmosphere, and pay attention to the flesh-and-blood relationship between people and their homes. , bearing the true meaning of "touching" and the social implication of metaphor, will inevitably inspire people's ideological sparks, emotional collisions and introspection and thinking in the ideological field. Because of this, as far as poetry creation is concerned, I don't need to "pray" for the poetic value and unique position of the tsunami trilogy in China's poetry!
Cai Ning
The tsunami trilogy was created by the tsunami in recent years, which not only shows the poet's extraordinary artistic ambition in poetry creation, but also highlights the poet's unique poetic concept and aesthetic pursuit. In the three long poems, Tsunami, Prayer, Song of Beating the Earth and Story of Chasing the Soul, these theme keywords not only construct a rich and open meaning field for the poem text itself, but also internally define the discourse mode and image mode of the poem text. As far as the text is concerned, the complexity, jumping, agility, density and concentration of lyricism constitute the corresponding relationship in artistic expression, which has a strong emotional and artistic infection effect on the whole text. Generally speaking, although the use of images in the three long poems is somewhat obscure, and the overall outline and development clues of thoughts and feelings are still unclear, the poet's pure spiritual realm in the text, his aesthetic transcendence of secular things, and his grand creative goal of trying to reintegrate human hearts and beliefs are in sharp contrast with the current trend of poetry eager to write, which fully shows the unique position of tsunami long poetry creation.
Tan Wuchang
I define the tsunami in the tsunami trilogy as a "swimmer" of fate and spirit. There is no doubt that this "swimmer" enjoys the pain and pleasure brought by the rush of life while swimming in the dead sea at night under the double oppression of poetic language and spirit. It is this oppression and enjoyment that enabled the poet to complete the tsunami trilogy with the title of prayer, songs of beating the ground and chasing the soul in five years, thus presenting the readers with a unique quality and charm of a poet in a cruel way. Under the background of impetuous, vain and subservient contemporary poetry, the Tsunami Trilogy excavated and led the sacredness and solemnity of China's poetry writing in the new century, and occupied an important position in the process of China's poetry writing in the new century.
When I closed the "Tsunami Trilogy" which has been explained in detail for five times, the image of the "swimmer" of the tsunami flashed in front of me very clearly. He is a "king" and a "king in pain"; He is a saint, thinking because of pain, a saint who is painful because of thinking; He is a "king" who shuttles day and night between heaven and earth, and a "swimmer" who struggles in the dark. The whole purpose and significance of his swimming is to call for a large-scale awakening of life noumenon consciousness, to tear open the curtain of a false image of an era, to reveal an era humanely and poetically, to "rename" an era-"re-endow life with faith, value, dignity, emotion and aesthetic will", and to effectively understand, infiltrate, rise and shine these basic elements of real life. And let it release the texture, luster and fragrance of fresh milk ... "(Tilted House-Postmodern and Contemporary Poetry) This undoubtedly makes the" swimming "of the tsunami have a unique character and the charm of the original spirit, and makes the poet's pain, thinking and pursuit have the ontological significance and ultimate significance of life, so that I can see that the" Tsunami Trilogy "presents the quality and charm of a spiritual epic.
-Southern Seagull
I think I can say anything about the literary form orientation of the tsunami trilogy. We can imagine it as a lyric poem with epic structure and biblical proverbs, or as a prose written by a poet with poetic soul, or even as a novel of a poet's monologue about life and soul. Therefore, I believe that Mr. Tsunami's "Tsunami Trilogy" is by no means intended to be coded in words, so that people can't understand it. Instead, I don't want people to easily understand his masterpiece, which took five years to write, because it is the swan song of his life and soul. Only by reading with life and soul can we see the poet shining with the light of divine wisdom and penetrating the long river of time and life.
Structurally, the tsunami trilogy is divided into three parts: prayer, digging songs and chasing souls; The three can be independent articles, which run through each other and form a complete system, which comes down in one continuous line, complements each other and influences each other. What is more worthy of appreciation is that each chapter of the poet's long poems is composed of many short poems, with unique images and mysterious atmosphere. It is rare to construct a "soul epic" in the form of "short poems" and still maintain the prototype significance and grand momentum of the epic, which is rare in the history of modern poetry in China and even in the history of world poetry. This also makes me have to admire the courage and courage of Mr. Tsunami's creation.
Jing Chen
Readers who are familiar with the tsunami are all moved by the life and death and loneliness in prayer, the singing of knocking on the earth and chasing the soul. When my mother died suddenly in the poet's hometown; When the soil under your feet is smooth, it sinks silently; When some dark souls give birth to white maggots ... poets who are faced with survival difficulties, tired and bloody, always insist on the most glorious part of human nature. In the section "Dedicated to Mother", he added dignity to the desolate cemetery with the "flowering river". This masterpiece is full of swan-like noble words, close to the ultimate image of luxury. Reading the tsunami trilogy is undoubtedly listening to the joys and sorrows of all things in the place closest to God. This work will surely awaken the frozen memory of poetry and create the possibility for the overall recovery of China's poetry.
-Wolf of the South
The long poem "Tsunami Trilogy" brought me a strong shock similar to the tsunami. This giant system with a grand structure should be a rare poem that can really "calm the soul" in recent years. It bears the personal pain and struggle, and shows the contemporary spiritual picture of an excellent poet. It is not only a spiritual suffering of the poet himself, but also a manifestation of the original image of the poet's soul. Under the background of excessive vulgarization of poetic language and impetuous, vain and subservient fashion, Tsunami Trilogy maintains the sacredness and solemnity of Chinese writing and poetry writing. The character and charm revealed in the poem make the poet's pain, thinking and pursuit have the ontological meaning of life and some ultimate meaning. It is also at this point that the tsunami trilogy presents the quality and luster of spiritual epic. The whole poem is rigorous in structure and restrained in meaning, which shows the poet's extraordinary talent and high self-confidence. In the tsunami trilogy named after the tsunami, we saw the real human breath.
After a lapse of five years, the written "Tsunami Trilogy" was published, which attracted wide attention in the poetry circle. Its independence and particularity, as well as its influence on China's contemporary poetry, have been affirmed and recognized by many poets and critics. In this poem, the poet completed the double tour of body and soul with an unconstrained style. And through this, his soul has been effectively purified and promoted. Compared with those obscene poems now, the quality, strength and uniqueness of Tsunami Trilogy are obvious.
-Han Zongbao
In my reading, a long poem is a spiritual history of a tsunami, and even a person's fate. His childhood, the country where he grew up, was so generous and painful in his works. Under that simple order, there is such a profound and simple truth hidden. Things that have grown up in this life are constantly flashing out, or presented in the sun, or rescued by the sun from the darkness. These things are so closely integrated with the truth that they constantly appear in the meditation and dreams of the tsunami and talk to him, just as they did in childhood. This dialogue aroused her desire to speak, and also gave things and truth eternal life: in memory, they survived tenaciously and served as proof of the origin of life of the tsunami itself.
A Xiang
In Zero Degree Writing, roland barthes created the word "writing" and defined the special relationship between "form" and "content" contained in the writing tradition. The choice of writing is to participate in the whole set of ethical and political values, and it is the social contact point between writers who give or bear personal style and language behavior as a collective intermediary. In other words, it is not only the theme, theme or ideology that loads the pursuit of the text, but "writing" itself is a gesture and a fable. I believe that "tsunami writing" under the background of the transformation of new poetry in the 2 1 century may also provide us with new enlightenment on how to persist in and develop poetry in the marginal situation. Paying attention to the tsunami is through the appearance of "touching words" in the poetry circle, and truly understanding the tsunami is through the "long poem trilogy" of the tsunami. Who says the elegant epic is Death of a Swan? In the "Tsunami Trilogy", we undoubtedly saw swans struggling in tears, singing happily and swimming confidently. I believe that after this, your lips will fly as fast as lightning; After that, there will be a fearless grand "dance" on the sharp tip!
Fang Wei
It can be said that the long poems of the tsunami can find an opportunity to re-recognize and reflect on the poetry criticism in the 1990s, especially the investigation of the narrative, lyricism and individuality of new poems. Looking back, personalization, narration and colloquialism show important poetic significance to a certain extent, but they are also being narrowed and vulgarized. Individualization excludes the exploration of poetry writing characteristics, overall consciousness, historical sense and metaphysical spirit, and even excludes local poetry and excellent classical poetry tradition (especially in the level of poetry spirit and poet experience); Narration excludes the lyrical features of poetry and ignores the narrative features of poetry, which are still based on lyricism (to varying degrees); However, parochialism and karaoke eliminated the linguistic and metaphorical features of China's poetry (at the metalinguistic level), which led to narcissism, masturbation, nagging and vulgar style in poetry writing. On the other hand, both poets and poetry critics should pay attention to the inclusiveness of poetry writing, that is, the so-called personalization, narration and colloquialism of poetry are not binary opposites with the sense of history, lyricism and metaphor, but should be inclusive and bridging.
-Huo