Text/old tree
I am often asked, poet.
From the perspective of writing, the language of poetry is essentially a master phenomenon. In other words, the language of poetry is the language of the master. The "master" here can refer to a talented poet in a specific era or a unique literary ability.
Another example is Zhao Jiayin's The Meaning of Words: "Light a lamp in the world/burn through tears/pierce a deviated kiss/flatter the fireworks of the festival/read the meaning of everything/until love begins to sprout/kiss, climb, grow/bless, transform, evolve/love others as yourself". These words and poems, as well as Zhao Jiayin's original title of Iris (not to mention the significance of Zhao Jiayin's original title of Iris to modern poetry for the time being), give it the momentum of a master's language, and even summarizing and interpreting the meaning of words in words is a master's boldness of vision.
In my opinion, modern poetry is basically a romantic phenomenon. The core of modern poetic imagination is to resist the instrumental rationalism behind industrial civilization. From this perspective, romanticism reflects a self-contradiction of modernity. My own idea is that romanticism can still appear as the secret context of poetry today. For poetry writing, romanticism can still be embodied as a source and a context.
When poetry breaks away from the complex entanglement with a specific historical context and finds the overly general values of romanticism, it also stands out from other genres and occupies the highest position in contemporary culture.
It is a sacred language, or poetry is a language that shows the noble quality of existence. In other words, poetry is a proud language. In my opinion, other genres, such as novels, essays and plays, do not have these characteristics.
We use a new language, which means that we want to be a new person: a creative new person with enough cultural vision and cultural reflection ability. In other words, the core of new poetry involves the self-reliance of a culture.
Cang Di himself once said: "The self-development of this new aesthetic space launched by new poetry is closely linked with the irreversible modernization process of China". In recent years, the change of social structure is also entangled in the impulse of "possibility" in poetry, and the complex relationship between them may be the real vitality of poetry.
In the new period, a group of poets, represented by Zhao Jiayin, are attacking the breakthrough of "possibility". I think, perhaps, the revival of poetry is coming in this era.