I also agree with Mr. Chen Chao that this passage is a necessary chain to understand Lei Pingyang's poems and prevent the theory from slipping away.
In view of the fact that hometown is such a core concept in Lei Pingyang's poems and his self-report, and that he used the metaphor of "needle tip"-the needle tip is very small, but it still forms a definite point, which is easy to remind people of Faulkner's "seal" and other things-then it is difficult for us to stop the decline: there is a poet here whose "hometown" is in Yunnan-Zhaotong-Tucheng, geographically.
If this is a kind of bias, which leads to people's simplified understanding of Lei and his poems, then I should also bear some responsibility. He deliberately emphasized his "place" and even named his poetry collection Yunnan Book. This is a bold "counterattack", although dangerous, but sometimes effective. For example, in Qian Zhongshu's memory, Shen Congwen did just that. A poet or novelist establishes an identity and an identity in a marginal geographical-cultural-spiritual complex, which gives him a distinct image-at least it will make critics discuss it with confidence; But the problem is that it will also blur his immanence. When we measure a poet in the coordinates of the poet and the world, it is externalization or externalization, so we forget that in another more fundamental sense, he himself is the world.
There is also an illusion: we critics and people who watch newspapers and TV on the Internet every day have an instinctive vision. We measure that any place is a "small global". This "global" or "world" does not come from experience, but a conceptual framework established by media and a transcendental background.
However, the "world" is not a geographical issue at least in the spiritual sense. For people, "the world" is a realistic problem. In other words, man establishes and confirms his "world" in the territory that his body and mind can reach and perceive. Confucius, for example, traveled around the Central Plains, thinking that he had reached the "world"; But Sakyamuni's road to enlightenment is infinitely long, but now we know that it is only a small section that can be almost ignored on a large-scale map.
What I want to talk about now is this poet named Lei Pingyang. The title of Yunnan Book implies a reading strategy and an external vision. But if you read on slowly, you will feel that he is running between mountains and rivers and in the streets and villages. What really bothers him and drives him to run and write like this is not to seek a place to confront or retreat from the "world", but a question like this:
Is this my world? Is this my hometown or somewhere else?
This is an urgent and difficult identification, a doubt and a refutation-the "existence" of self. He is indeed looking for "hometown", but it is certainly not some kind of philosophical or poetic imagination or memory-Mr. Chen Chao may have overestimated the role of memory. "For him, recalling or tracing the people and things in his hometown is a sense of belonging and a proud recognition of his soul and body pedigree." Lei Pingyang really so easy to determine the "origin"? Isn't he also full of doubts about his origins? This route will also lead us to the cheap "sadness" that Mr. Chen Chao fears?
Seeing mountains is mountains, and memories are just memories, not memories of "lost years." In my opinion, Lei Pingyang's nostalgia here doesn't seem to go towards belonging and identification, but rather shows his division and loneliness more deeply and what branch he can rely on.
The thirty-three tributaries of Lancang River in Lanping County, Yunnan Province may be a suspicious poem. Mr. Luo Zhenya said, "Some people praised its sense of life and experimental nature as a positive exploration of poetics. Its peculiar form itself is the externalization of content, and its numbers, place names and river names are well-documented and tireless writing, which is not only the expression of the poet's love for Lancang River, but also the indifference revealed by his emotional zero state, and it is also a satire on the current situation of contemporary poetry. " Enumeration, identification and naming may be a kind of memory or a kind of "expression of love", but it may be alienation and strangeness on the top of the mountain, the "emptiness" of symbols and the freedom of things. Naming can show that the world is "I", but zero-degree calmness also shows that the world is "He".
Lei Pingyang's inherent richness lies between these two poles, hometown-foreign land. From this, he established the main axis of blending complex experiences and accurately rotating between reason and emotion.