This collection of poems is sincere and can touch the softest part of your heart. There is a strong yearning for relatives in the poetry collection, which is very touching and emotional. Li Chengen is a real poet, and every poetic expression of her can hit the nail on the head and shock people. Reading her works, we can feel the poet's inner pain.
Bianhe and Bianhe are the milestones of China's regional poetry creation. Conscience of Spring Breeze is the second collection of personal poems by Li Chengen, a young writer and poet, after Bian He, which was published by China Drama Publishing House. This book is divided into "Conscience of Spring Breeze" and "Youth". Blue and White Porcelain, Angel's Children, Chronicle of the Moon, Rain on the University Playground, Movie Poetry, Border Harmony and Border Rouge, 200 new works by Li Chengen were selected. There is the author's preface, and the appendix contains the author's self-report of more than 20,000 words, "My Mind Image, My History Studio: Being as objective and brave as a movie".
Li Chengen paid attention to the pollution of reality to people's minds and women's mental state, and conveyed the poetic power of women. She has a soft spot for traditional culture and ancient civilization. She wrote in the preface: "What I love all my life is the part of China culture that was split by lightning, and I am fascinated by it."
Conscience in Spring Breeze is Li Chengen's spiritual orientation and value judgment, and he is concerned about what a poet is in the global economic crisis. At present, Li Chengen's conscience in the spring breeze is recovering the lack of cultural self-confidence.
Li Chengen's works are delicate, open and restrained, and have the independent spiritual position of women. The female writing concept of "Rouge" put forward by her embodies her personal exploration vitality and shows Li Chengen's avant-garde thoughts and traditional feelings. Her writing is the writing that shines with female light and spirit in this era. Li Chengen is at the forefront of Chinese. Her poems are simple, fresh, natural, calm and calm, which is a brand-new Chinese language.
Conscience of Spring Breeze is 16, with 26 editions and more than 360 pages. The binding design is concise and exquisite. The front cover is an old bicycle, and the back cover is a shovel, which symbolizes the independent spiritual realm and dull life state of the minority in this era. It is a rare anthology to study a new generation of poets.
Li Chengen's collection of poems, Gao Lou Zhen, was published by Kyushu Publishing House. This is Li Chengen's third collection of personal poems, which contains more than 200 works. It is divided into two series: Tall Buildings and Towns and Sleeping Scenery. The appendix contains comments by Zhuang, An Qi and post-80s poets Ding Cheng, Luo Cheng, Yang and Xiao Shui. The book has more than 400 pages, in folio 16, priced in 39 yuan.
Tang Xiaodu, a famous critic, commented in the preface of "Anyone who goes deep into the language must travel far away": From hometown to foreign land, from three geographical concepts to three paper buildings, Li Chengen started with "Riverside", then ended with "Rain falls on a lonely mountain camp" and went to "Tall Town", completing her in a self-confirming dimension. More accurately, this secret expedition is a continuous confrontation with silence, a sudden blow or a stalemate, silent and bloody. In this kind of stabbing, the mask is broken, the emotion surges, and the scene and its sound, color, light and shadow change rapidly, which not only embodies the charm of "endless movement", but also enables us to identify the prototypes flashing in various variations-not only the prototype of regional ecology, the prototype of local China, but also the prototype of a fatal joy, pain, anxiety and fear, and more importantly, Sharp and casual instant association, rich and dexterous rhythm changes, fleeting drama, and so on. Li Chengen tried the narrative possibility of poetry on a large scale to expand its internal structure, and at the same time adopted the strategy of dismantling at present, thus forging her promising language style, and her texture jumped between hard and flexible, urgent and calm, straightforward and vague, casual and meticulous. All these have reached new heights in Gaozhen. It once again conveys the blessing in the poem: whoever goes deep into the land inside the language will go far.
Comments on high-rise towns:
Linlin has a strange spirit, which is a woman's poem.
Lin Xianzhi
Li Chengen is a high-spirited and radical poet. Her poems have a strong sense of fighting, fast and powerful, lacking the delicacy and softness of some female poets, and adding some toughness and irrationality. It is also a new quality, with a broad vision and a large pattern.
-Shen Haobo
In an era when poetry has become a tool of self-infatuation, Li Chengen's Gao Cheng satisfactorily defended the magic of poetry itself, the ability to see through hidden corners, and the tolerance of personal discourse and public discourse at a deeper level. I think Li Chengen is struggling to practice an inclusive poetics which is of great significance to China's modern poetry.
Chao Chen
This singer from the north and south of the river, with her confident explosive power, lightning illusion in reality and unique impression, dedicated a beautiful poem "Goddess Scattered Flowers" to us. It is these poems that have changed the face of the earth and redrawn the ancient and modern scenery in eternal time.
Undoubtedly, the author's vision, charm, skills and strength are particularly prominent among post-80s poets, which often amazes me. Here, I want to use one of the author's own poems (from "High City Orange") to express the author's extraordinary poetic image; Of course, she certainly deserves this image:
This orange is like thunder that spring gives me.
Bai Hua
Li Chengen has a broad literary mind and rich creativity. His poems are distorted by positive lyricism and uncompromising attitude of violence and even violence. She described and even invented the scene of life and scenery, and promoted this scene to gain a powerful poet-herself. High-rise towns in Li Chengen are not simple local chronicles, and the images of several high-rise towns overlap here. Although the town is small, it contains everything, including history, hardships of life, passers-by and ultimate value.
give it up
The Pond, published by Sunshine Publishing House, is one of the poems of China's post-80s generation, edited by the famous poet Xichuan.
Pond is Li Chengen's fourth collection of personal poems, which is a short collection of poems with classical style that she has devoted herself to for many years.
The Pond was appraised by three famous poets: Yu Jian, Cang Di and Yu Yu. Duo Yu thinks: "Li Chengen's poems have hometown, nature and the most subtle things in daily life. What is rare is that she can always find nothingness in the world of transitivity and show a chivalry in gentleness. She often goes to the back of the world and gets lost in a distant direction. "
Cang Di commented: "Li Chengen's short poems are based on ballads and full of vitality of language, which creates a naive perspective for the world scene we are facing."
Yu Jian explained Li Chengen's creation in this way: "Spring spits out residual snow/sunshine, come to my bed and wake me up. /You can write poems after getting up. In this section, the abstract' bright and beautiful' is endowed with human posture. Li Chengen's poetry obviously comes from China's ancient aesthetic experience, but it is also very modern. Her poems have a long-lost native land, a Jiangnan mind, a small family and a beautiful family. The general trend of this era is to encourage positive and anti-tradition. But Li Chengen seems to be conservative in the old poetic style. Dress up and lean on Wangjianglou alone', this negative emotion can be described as the forerunner of this positive and enterprising era. Pioneer can be non-historical, but people may not realize that the direction of being a pioneer is getting narrower and narrower, and the tradition is becoming open and bright. Li Chengen revived the field of traditional aesthetics, but she cannot be regarded as a traditional poet.
Li Chengen commented on her poetry collection as follows: Pond is the result of my regional poetry creation based on the aesthetic standards of southern literature, and China literature has also experienced a similar road to American southern literature in the past 65,438+00 years. I won't talk about other poets. I only said myself. I am an explorer of regional poetry in female consciousness poetry. Compared with Northern Poetry or Western Literature, Intellectuals or Folk Writing, Southern Poetry is relatively prosperous. In recent years, I have written several poems that can represent my "Southern Literature" temperament, such as Bianhe, Bianhe, Tall Buildings and Towns, Conscience of Spring Breeze and Biography of Rouge. Pond is a typical product of Southern Literature. If we talk about' ponds' on the vast land in the north, we will feel embarrassed. The north presents the aesthetics of river valley, which is not as classical as' pond'. My creation is between the pioneer and the tradition, between the south and the north. If you read The Pond, you should be able to find the direct influence of regional environment, climate, history and humanity from the vanguard and tradition, and from the south and the north. But in essence, this is my personal' Southern Literature'. In the process of writing about China's social culture, history and people, I conveyed my pain, anxiety and joy as a young individual born after 1980s in China in the form of poems. I combine too much regional aesthetic consciousness with personal feelings, life and historical factors. I don't think' Southern Literature' has any limitations, and there is nothing wrong with my hometown. Southern culture' branded my poetry creation as' pond'. If The Pond is a novel, it must have borrowed works from william faulkner, Caroline Gordon, tennessee williams, Catherine Anne Porter, allen tate, Robert Pan Warren, H·L· Mencken, Thomas Wolfe and other "Southern Literature" masters. However, poetry and novels are only different in genre, and my feelings as a writer are the same. What would it be like if I wrote The Pond as a novel? I will definitely write it as a work that truly reflects my personal destiny, just like Thomas Wolfe's Angel Watching Home. From this point of view, it is a pity that it is just a poem. "
Li Chengen, who writes between pioneer and tradition and between south and north, will soon publish a more complicated collection of poems, The Biography of Rouge. In 20 13 years, she will devote her main energy to the writing field of "Northern Poetry". Her collection of poems, Oil Lamp with Butter, has just been selected as a special project of the Chinese Writers Association. She will jump from the "pond" in the moonlight to the horse's back of the grassland and write down regional poems on the snow-capped mountains and storms in the north.
The fox stole the image.
Naive perspective and the tone of ballads
Li Chengen's first illustrated collection of children's poems, Foxes Stealing Images, was published.
-Pay tribute to the Spanish poet lorca
Li Chengen's collection of poems "The Fox Steals the Elephant" was recently published by Wanjuan Publishing Company, a subsidiary of North United Publishing Media (Group) Co., Ltd., which is the first collection of children's poems in Li Chengen and has been selected as one hundred original classic books of children's literature. This classic series has been edited and published for nearly three years, with preface edited by Tan Xudong, a children's literature writer, full-color illustrations, exquisite binding design and childlike illustrations closely related to the story of the poem.
Li Chengen is the winner of "Top Ten Outstanding Contemporary Young Poets in China", "China Contemporary Poetry Award" and "Top Ten Poets in Post-80s Literature". Li Chengen has maintained a vigorous creative vitality for many years and has never stopped. Every once in a while, there will always be new works and a new tendency of artistic exploration. He is a long-distance runner in the art of poetry.
Li Chengen's 100 short poems are included in the poetry collection "The Fox Steals Images". These works have a strong musicality, showing the warm beauty of human nature, and are divided into two series: Angel Watching Home and Angel's Children. Li Chengen said, "I've always wanted to publish a collection of children's poems. Teenagers are the most active period of poetic thinking. If you meet a good poem that echoes your heart, it will affect your life. When I was a child, I often sat by the river, imagining fish swimming in the river and watching the clouds floating in the sky. It was a poetic life. I tried to write down those beautiful things, read fairy tales and poems, but I didn't read the poems that shocked my heart when I was a child, because I couldn't remember them. I hope my poems can inspire children's imagination and tell them that there are poetic images everywhere in life, but the' fox' symbolizing hypocrisy is following you. The works in my poetry collection have stories, relatives, animals, imagination of goodness and beauty, infatuation with love and hatred of evil, but what I am trying to open is the secret of human nature-where is truth and emotion? The angel is in your heart, but the angel looks pitifully at the hometown of mankind, and we all forget the angel. Everyone should actually be an angel and have a poetic heart for goodness. "
This is an interesting collection of poems, and Li Chengen's creation generally leads people from darkness to light. She said: "I pay more attention to children's readability in the writing of this collection of poems. Modern poetry is not a patent for adults, nor is it an obscure postmodern language game. It is an interpretable story and image full of China charm, such as singing folk songs and walking in the moonlight. The rhythm jumps brightly and hits your budding heart directly. " As the poet Zang Di commented, "Li Chengen's short poems are based on ballads and full of vitality of language, creating a naive perspective for the world scene we are facing."
Li Chengen also said, "I recently read Poems for Children compiled by Kitajima, and feel that a poet should really write some poems for children as soon as possible, so as not to let Chinese lose its' naive perspective' and' ballad tone' in the chaos. Innocence and Ballad are my favorite poetic elements. I like lorca's poems very much. The best poem for children is lorca's Dumb Child translated by Dai Wangshu. I am eager to write a poem as clear as he is. Please allow me to pay tribute to lorca with this collection of poems, The Fox Steals Images! "
Yellow oil lamp
Create new language and narrative sense
The publication of Butter Lamp, a collection of poems by Li Chengen, was supported by the Chinese Writers Association.
Li Chengen's collection of poems Butter Lamp was recently published by Qinghai People's Publishing House. Li Chengen, a post-80s poet, is a cutting-edge director. He has published seven books of poetry, including Bian River, Bian River, Spring Breeze Conscience, Pond, High City and The Image of Stealing Fox, with more than 654.38+00000 words of essays and comments. He has won important awards such as "Ten Outstanding Contemporary Young Poets in China" and "China Contemporary Poetry Award".
Butter Oil Lamp is a key work supported by Chinese Writers Association in 20 12, and it is also a project for writers to go deep into their lives in 20 13. His creation lasted for nearly three years, including the long poem "The oil runs out and the lamp dries up", "Notes on Yushu" and more than 100 short poems. This is a transformation work of Li Chengen. Li Chengen said, "Butter Lamp" is a new attempt of regional writing that I have adhered to for more than 10 years. I tried to explore the language and theme of poetry, extending from foggy southern waters to northern land covered with wild flowers and grasslands, moving from towns in the south to temples in the north, diving from hills in the south to snow peaks in the north. The vision of writing has left the south where I have lived for more than 20 years and moved towards the grasslands and mountains in the western regions. I am always in high spirits. It is the north that calls me. The vastness and grandeur of "Northern Literature" and the mystery and sublimity of "Northern Literature" make "Southern Literature" drift backward and give way to my creative territory. I look forward to the success of this breakthrough. I hope my "Northern Literature" is an eagle on the snowy peak, and the "butter lamp" is becoming the soul of my "Northern Literature".
According to Li Chengen, the main image of this new poetry collection is "butter lamp", and one of the images focuses on Yushu. She made a special trip to Yushu to interview and shoot this collection of poems. Altitude sickness makes her more awe of nature, the beauty of grassland makes her touch the poetry of the earth, and the Mercedes-Benz on horseback gives her a chance to see "Northern Literature". After returning to Beijing, she compiled and played back the video materials taken in Yushu. She was shocked by the beauty of Yushu. She believes that writing is guided by gods, and she said that the gods of Yushu came in her words.
Zhang Qinghua, a professor, doctoral supervisor and famous critic of Beijing Normal University, believes that Li Chengen has created a new sense of language and narrative. Among the new generation of poets, she is unique, humorous, unconventional and rich in language, which is very eye-catching. Her writing style of narration, discussion, exclamation and analysis has effectively expanded the connotation and boundary of poetry writing, especially women's writing, and contributed new possibilities to contemporary poetry.
Han Dong, a famous poet and writer, believes that Li Chengen does not belong to or participate in any school or camp of poetry, and is definitely a freeloader. Born in the wild, it seems to inherit the authentic unity. Among contemporary female poets, Li Chengen is a person with super energy. Her works are heavy and powerful, but there are also subtle delicacies and sensitivities. I especially like the connection between her early poems and her native land, origin, countryside and childhood. Her feelings are sincere but there is a necessary distance. There are landscapes in Li Chengen's poems, which are rare in contemporary poetry creation. Her whimsy and image organization are also unexpected, often reaching the core of emotional expression. In this poem related to the Qinghai-Tibet Plateau, we Li See inherited new aesthetic ideas, which is not only as simple as changing the theme, but more importantly, the form of the poem is refreshing. She has a strong desire for self-renewal and reconstruction and obvious endurance, so she will go further. She is a contradiction in poetry, a mysterious figure in women's writing and an outsider in poetry.
Yang, a famous poet and critic in Taiwan Province, believes that the general theme of the poetry collection Butter Lamp, as a unique symbol of life/culture in Tibetan areas, represents the other side of poetry aesthetics and creates a holy and quiet ethereal atmosphere. But "butter lamp" is really a lamp, with light shining and heat burning-Li Chengen's poems provide multiple and rich language possibilities. Just like the poem Thinking Immediately, The Motherland is White and Really Clean not only contains the ethereal meaning conveyed by A Dream of Red Mansions (which internally corresponds to the Buddhist background of Tibetan culture), but also depicts the ethereal and sublime of Yuan Ye and Snow Mountain in a specific time and space context, which reflects the expansion of Li Chengen's poetic aesthetics to the field of traditional language symbols-in the lyrical height beyond, he insists on transcending the mediocre reality and has infinite poetry.
Jia Zhuang, a professor at Huaqiao University and a famous critic, believes that she is a sober and conscious artistic pursuer from her years of creative practice. Among post-80s poets and writers, she is not only good at thinking, exploring and discovering, but also pays attention to the spiritual connotation of her works. We are delighted to see that her writing momentum is rapid and strong, showing her unique writing style more and more. With broad artistic vision, excellent perception, inner spirit and unique language, she has opened up a personal poetic space in contemporary poetry, which is an open and dynamic free life space. From this point of view, Butter Lamp can be said to be one of the most beautiful poetic memories created by China poets at present, and it also provides the possibility of bringing new vitality and new atmosphere to contemporary new poetry creation. Writing is my soul's photo studio ―― Li Chengen's Poetry Talk is a book about poetry concept and writing position.
This book contains 26 award-winning speeches and writing essays. In her book, she puts forward the concept of "rouge" female poetry, and she "opposes excessive cultural consumption in a patriarchal society." She believes that "Rouge Doctrine is the real feminist writing", and the book also expounds in several chapters: "There is no civilized court in the truth of poetry" and "Writing is the photo studio of my soul" and other unique opinions with distinct personal positions.
Li Chengen emphasized the important role of "childhood experience" in her works. In this book, she made a sober analysis of her poetry creation, such as Bian River, Bian River, Conscience of Spring Breeze and Tall Buildings and Towns. Her interview with Tencent is included in the book. She believes that "my childhood experience determines that my poetry writing is the same, and it is hard to move forward." In my writing, I have a feeling of being a woman like Qiu Jin. My "Rouge Doctrine" will not change and does not need any modification. I firmly believe that my ideas can stand the test of time and history. I think, compared with this fragile era, women's writing must have a revolutionary of poetry to lead me to run. I believe that my "Rouge Doctrine" is the poem "Qiu Jin", that is, the poem crossing the road with a mask. I don't care how many followers I have. I don't think a poem needs many followers. What is important is whether the author's own writing can form a certain atmosphere, testify for the times, represent a direction of progress, and leave works for history. I think I'm doing all this. "
Li Chengen said, "I just recorded the beauty of writing and reading, so that I could take photos of my writing. In the ten years that I took writing seriously, I kept this book as evidence, leaving evidence that I once thought so and wrote it to the future. " (qi zhou) Civilized Children: A Feminist Life Text is a collection of essays by Li Chengen, a female poet born in 1980s. It is an alternative text that escapes from its blog text and private notebook, which has both the free expression of blog and the frankness of private notebook. The poet stood unconscious.
From the standpoint of feminism, we deconstruct daily life and current society personally, from which we can read the friction and resistance of the generation after 1980s.
Li Chengen doesn't even stick to traditional rules, and even doodles a little about her life. Her innocent feelings in sleepwalking often choose to express them neatly like a declaration. Li Chengen emphasized in her book that this is "one's writing", and the persistence in idealized life and the forging of gold quality are the characteristics of post-80s feminists, pointing directly to people's hearts, with a sharp, frank and independent style.
"Civilized children" is an assertion of Russian-American poet Brodsky. Obviously, Li Chengen took it as an aesthetic standard and made a romantic record of his present life and youth. Poets try to write different words when they are young, and prose is a more free way. At the same time, Civilized Children: A Feminist Life Text undoubtedly reveals the living standard and moral requirements of a post-80s poetess, but it is a beautiful escape from her poetry.