Wang Jiaxin is in Heidegger's cabin
Wang Jiaxin. He used to use the pen names Beixin and Pangjia, and was a professor of literature. His "Beyond the Mountain" was included in the first volume of the seventh grade Chinese book of People's Education Publishing House. Lesson 1 for Unit 1 (21 Edition) was born in Danjiangkou, Hubei Province in 1957. In 1972, he entered Xiaochuan Middle School in danjiangkou city, Hubei. After graduating from high school in 1974, he went to the countryside to work in Xiaochuan Agrochemical Plant. In 1978, he was admitted to the Chinese Department of Wuhan University, and began to publish poems during his college years. After graduation in 1982, he was assigned to teach in Yunyang Teachers College, Hubei Province. In 1983, he participated in the youth poetry meeting organized by poetry magazine. In 1984, he wrote a group of poems, such as Chinese Painting and Poems of the Yangtze River, which attracted wide attention. In 1985, he was seconded to Beijing Poetry Magazine to engage in editing work and published a collection of poems, Farewell and Commemoration. Since 1986, the style of poetry has changed, becoming more dignified and bidding farewell to youth writing. The representative works of this period include Touch, Scenery, Foreimpression, etc., and poetic theory The Meeting of Man and the World. He went to Britain as a visiting scholar in 1992, returned to China in 1994, and was transferred to the Chinese Department of Beijing Institute of Education as an associate professor. In 26, he was appointed as a professor by the College of Literature of Renmin University of China, offering a comparative study course of Chinese and western modern poetry and a creative writing course. He is the author of poetry anthology Commemoration (Changjiang Literature and Art Publishing House, 1985), Swimming Cliff (Hunan Literature and Art Publishing House, 1997), Wang Jiaxin's Poems (People's Literature Publishing House, 21), Stairs (English version, Wellsvip Publishing House, London, 1993), and poetry anthology The Meeting of Man and the World (Culture and Art Publishing House 1997), Poems Without Heroes (China Social Sciences Publishing House, 22), Literary Essays Passion for Secrecy (Beiyue Literature and Art Publishing House, 1997), Angels Sitting on a Low Bench (China Workers Publishing House, 23), Beyond the Mountain (Changjiang Literature and Art, No.5, 1981), etc. He also edited Selected Contemporary Experimental Poems of China (Chunfeng Literature and Art Publishing House, 1987), Selected Poems of Contemporary Europe and America (Chunfeng Literature and Art Publishing House, 1988), On Poems by Important Foreign Poets in the 2th Century (Henan Literature and Art Publishing House, 1993), Collected Works of Ye Zhi (three volumes, Oriental Publishing House, 1996) and Selected Poems of Modern Poetry Schools in Europe and America. 23), China's Poetry: A Memorandum for the 199s (People's Literature Publishing House, 2), China's Contemporary Poetry Classics (Chunfeng Literature and Art Publishing House, 23) and the translated collection paul celan's Poems and Poems (co-translated with Rui Hu, Hebei Education Publishing House, 22). He once participated in the project "Chinese Vision" hosted by Professor Yan Liqin of national institute of education sciences, and served as the editor-in-chief of senior one. He has won a variety of domestic poetry awards and won the first prize of scientific research papers and works of the Institute of Education for many times. He is the director of the Chinese Writers Association "Chinese Poetry Society". Poetry works and poetic articles have been selected into a variety of important collections of domestic poems and theoretical criticism, and selected into a variety of textbooks of China's contemporary literary history by universities such as Peking University and Fudan University. The poem Beyond the Mountain was selected by People's Education Society into the Chinese textbook of Junior One and the Chinese textbook of Hubei Education Edition. At the time of writing this poem, he was a college student who just entered the university campus from a remote mountainous area and lived in five or six places with his parents' work, so he wrote this poem because his childhood was full of fantasies. The poem "Pasternak" was selected by People's Education Society as the second language reader in senior high school. From writing Pasternak in 199 to writing Lonely House by the Sea, Kafka and Awakening during his later trip to Europe, his influence in China's poetry circle gradually increased. The fate of these exiled or quasi-exiled poets is the main source of his writing. He tried to write a rare history of poetry writing through dialogue with many undead. There are often alarming monologues in his works, with painful meanings. After 1996, represented by London Essays and Elegies, a new exploration of poetry began. His published poems include The Voice of a Palm and Swimming Cliff. Wang Jiaxin seems to be such a sincere poet. In other words, his personal temperament is almost consistent with the aesthetic style presented in his poems: simple, firm and seemingly profound. I mean A Woodcutter for the Winter, Kafka or Valentino Narrative. As for those things that are embedded in a large number of foreigners' poems and euphemistically called intertextuality writing (it looks like a China inferior cement wall covered with colorful foreign glass fragments, shining and dazzling), I think this has nothing to do with a poet's sincere work; In other words, they created another style of Wang Jiaxin. In the sincere Wang Jiaxin, we fully realize the true meaning of Rilke's famous saying: Holding on means everything. Misty poetry became famous in the later period. After the third generation of poetry, and then to today's personalized writing, the situation changed and the tide rose and fell. Many of the poets who emerged at the same time as Wang Jiaxin drifted overseas, many turned to the sea, and many stood by under the pressure of the momentum and talent of the rapidly rising latecomers such as surprisingly and Haizi. Wang Jiaxin, on the other hand, has never moved, and it has lasted for a long time, and has gradually become a leading figure in today's poetry, appearing on the same stage as backward scholars such as Chen Dongdong. All this shows that Wang Jiaxin has a certain persistence and independence. This character not only contributed to his success in reality, but also contributed to the formation of some of his excellent works. There is no doubt that Wang Jiaxin is not a poetic juggler who plays with complicated techniques and enjoys it. For a long time, he devoted himself to the creation and excavation of "depth image". The concentration and depth of thinking enable him to finish this work better than others. Or on the other hand, it is the deep and single characteristics of thinking that prompted him to consciously or unconsciously choose to build his poetry kingdom from this angle. In a series of works, such as Iron, Crow and Stairs, we can generally touch the poetic characteristics of Wang: language cuts into the shell of a single image from multiple angles like a nail, trying to reach its core while exhausting the multiple connotations of this image; The frequent use of monologue makes this intention more sharp (for images) and clear (for readers); In addition, an indescribable melancholy runs between the lines-this is the most direct expression of Wang Jiaxin's personal temperament in his poems, which enhances the power of his works to impress people. These characteristics are vividly displayed in Pasternak, which won him a wide reputation. In his poems, Pa is no longer the master who insists on writing in Russia, but an image walnut in Wang Jiaxin's hand. Wang Jiaxin injected his main life feeling into it, and poured out his hidden pain and experience. In this sense, Pasternak is Wang Jiaxin. Therefore, the success of this poem is logical-there is no deeper and truer explanation than creating the image of "self", especially for Wang Jiaxin, who is good at it. The brilliance of Kafka is also related to this. Wang Jiaxin and Kafka are similar in temperament: a kind of gray firmness and destiny takes a hand's melancholy. This enabled him to approach the heart of Austrian genius to some extent, and partly express his heart. Kafka calls himself a cave animal, and Wang Jiaxin, who is in a sincere state, is like a cave animal, always digging in one direction. Perseverance finally made him achieve something, and it also distinguished him from Ouyang Jianghe, who was like a Hua Hudie showing off his skills everywhere. Needless to say, the king is not as good as Europe in terms of technical maturity. But this just fulfilled Wang Jiaxin, so that he simply didn't exert himself on the surface of words, but went deep into things. Therefore, some of his excellent works are clear in appearance and deep in connotation, and have the power of touching the soul. You know, in our time, poems directed at people's hearts are rare, such as endangered wild swans. Therefore, sincere Wang Jiaxin is precious. Unfortunately, this is not all of Wang Jiaxin, or as I said, there is another style and character of Wang Jiaxin. Character is style, and poetry is like a person. This kind of ancient proposition is particularly obvious in Wang Jiaxin (this is related to his lack of skill and willingness to "transform" like surprisingly). Although I love some of Wang's works and am inspired, I have to point out that he still shows some hypocrisy. I was aware of this when I read "Swimming Cliff". In Pasternak, Wang has a touching confession: How can I talk about myself without the tears of livestock in the north/the maple leaves burning in the wind/the darkness and hunger in people's stomachs? However, after reading through the complete works, I have to say that I have a feeling of being cheated, a feeling of being emotional and crying, only to find that the other party is acting-Wang is talking about himself without everything. Wang regards his melancholy and frustration as the only and highest pain in the world, and confides repeatedly in many poems for fear that others will not know. This reminds me of a narrow-minded, narrow-eyed, narcissistic little man, sighing for some little disappointment and full of pain. After reading his essay collection "Passion for Secrecy", I feel the same. In The Hungry Artist, he also reflected the poor situation of several foreign artists and their independent character. However, what makes people feel that what really makes Wang miserable and angry is his experience of working as a poet. In more articles, however, he pretends to be modest and reveals his impressive achievements in reading abroad, as well as the layman's view that some listeners think his works are better than milosz's. As for "the tears of livestock in the north" and "the darkness in people's stomachs", there is not even a shadow-of course, the poet Wang Jiaxin is also one of the 1.3 billion people, and expressing himself is probably speaking for the people. I really have nothing to say about it. Only in this way, those palace poets in history are more qualified than Wang Jiaxin to shout "How can I leave all this to talk about myself" in Zhuang language, because after all, they also describe the crying of a group of people. Later, I was lucky enough to read Wang's long poem "Answer", the title of which was exactly the same as the birth of North Island. Unexpectedly, I realized that some angry words with my divorced wife were in it. This poem is overweight, however, compared with the sonorous 28 lines of North Island, its boundary tolerance, vision and feelings stand high and low. Of course, the technology may be refurbished. However, if bare technology is not driven by the atmosphere, it will only bring unclear consequences, not to mention that technology is not the king's forte. Poet Wang, with rich experience, probably knows very well what will happen if he really cares about and expresses "maple leaves burning in the wind" and "darkness in people's stomachs", so he just puts on a show in his mouth and doesn't actually carry it out. This, not only makes him short in front of the North Island, but also can't compare with Yisha, whom he despised. Fortunately, Wang Jiaxin has long had a theoretical smoke bomb to cover his easy retreat. As early as in Answering Forty-four Questions, he put forward a remark: only from literature can literature be produced, and from poetry can poetry be produced. This sentence is often overlooked, but it is actually the theoretical basis of his "intertextuality writing" which is touted by some so-called critics. I just want to ask: Where did the original literature come from? Where did the original poem come from? Life can only be a ubiquitous life. Didn't Wang Jiaxin's best works benefit from the pain he had in his life? Once he not only consciously avoided the people and the earth, but also lost his own pain, he could only shrink into the quotations of the masters and weave a seemingly colorful but poor and empty "text". I don't think it's wrong to quote foreigners' names and place names in poems-it's the era of globalization, and to some extent "world literature" has gradually become possible, and the traditional images in the literature of all ethnic groups can be universally used-but when the most wonderful part of a poem is the famous sentences of foreign uncles, and the transfer, development and artistic conception of the whole poem are based on this, I really don't see any positive significance for the development of literature. Based on the eloquent and sanctimonious attitude of the advocates and practitioners of this style of writing (not only Wang), I can only call this kind of writing: hypocritical writing. In the poem Pasternak, Wang Jiaxin described the poet's situation and spirit like this: "Your mouth is more silent, which is//the secret of fate. You can't say/just bear, bear, deepen the notch in your pen/give up in order to get/live, and you ask yourself to die, completely die." Almost all the images in the poem focus on the sufferings of the times: "those exiles, sacrifices, witnesses, those souls who meet in the tremor of the mass/those shining in death, and my//own land!" Tears in the eyes of livestock in the north/maple leaves burning in the wind/darkness and hunger in people's stomachs ... "The only choice in the face of suffering is to bear it. Pasternak can only defend his Russia if he bears the crazier snowstorm, and the result he bears is no longer suffering. "This is happiness, the highest law that rises from the bottom of my heart." Poetry itself has clearly expressed these intentions, and said all that it can say, which was shocking in China in the early 199s. Therefore, once published, this poem was passed down for a while. It recognized the image of suffering in an era with personal wisdom and sadness, and then established a noble scale of existence that demanded to bear suffering and face the soul. Perhaps the latter is the more fundamental impulse that forced Wang Jiaxin to write this poem. This measure of existence was given by Pasternak: "This is you, and you found me/tested me from one disaster after another, which made my life suddenly painful"; "It's not suffering, it's what you bear at last./It's still unstoppable. Come to find us.//Explore us. It's asking for a symmetry and/or a requiem that is more exciting than the echo"; This is the sadness, inquiry and questioning in your eyes, which oppresses my soul. Obviously, the individualization tendency in this poem emphasizes not withdrawing from the times, nor escaping the responsibility for the times and the absolute rebellion against tradition, but the inevitable encounter between man and the world, which shows that the individual actively inherits the human spirit in the past and assumes all the pressures of human destiny and life in the times by virtue of his own existence. In this sense, Pasternak is actually a spiritual symbol. He is the spiritual height that Wang Jiaxin stands for himself and his contemporaries, so as to reflect on himself and cleanse the fog in his mind. It is through this commitment that individuals can truly become individuals. This means saying goodbye to the boom and noise of fashion, penetrating frivolous words and behaviors, and adhering to a principle that truly belongs to the inner conscience and to the whole of mankind. The embodiment of this principle in poetry is that although you can't live according to one's heart, you should write according to your own heart. This means that this poem reveals another revelation from Pasternak, that is, sticking to the inner writing: "From the vast smog, it reveals not only Russian inspiration, but also the poem itself is coming to me: it once again constitutes a trial for me ..." It should be said that this poem does provide a poetic scale, and writing is a concrete form of personal commitment to the times. To borrow Wang Jiaxin's own words written elsewhere, writing is ".