It should be noted that the so-called third generation does not only refer to the people who appeared in the 1986 poetry exhibition, but also a poetic process that lasted for several years. "1986 Two Newspaper Poetry Exhibition" is only a small part of the iceberg of the third generation.
The third generation is the spontaneous action of a generation, the mountain-building movement of poetry, and the greatest poetic peak of China's poetry since misty poetry. Its achievements, the depth and breadth of poetry problems and its far-reaching influence on China literature far exceeded the misty poetry movement which was a sensation at that time. There are many poets of the third generation, who are scattered all over Chinese mainland, but they all participated in the surging poetic process of that era with their youth and blood, and rose up a great poetic mountain system in the plateau of contemporary literature in China. The third generation of poetry movement is the substantial deepening of China's poetry since the misty poetry, and it is also the most striking aesthetic turning point of China's poetry. The artistic exploration of the third generation is multipolar, pointing to all kinds of possibilities of poetry, and almost all of them have produced their own representative poets in all dimensions. This eventful autumn, which lasted for more than ten years, explained many major themes of contemporary poetry. Since then, all the main phenomena of China's poetry can be found here. It was not until the end of 1990s that intellectuals and folk writing split, and the turbulent process of the third generation of poetry officially came to an end. From obscure poetry to the end of 1990s, the development of the third generation poetry movement constitutes the main content of contemporary poetry. This is an era of great division and great growth; It was an extremely rich era, but also an extremely impetuous era; This is an era of rebellion and blindness. The third generation poetry movement is a melting pot, in which a whole generation is burned into shape. Compared with the misty poetry movement, the third generation poetry movement has more substantive content, which has influenced almost all fields of contemporary literature. Any in-depth study of China's contemporary literature is unavoidable. The third generation of poetry movement is not just a flash in the pan as people always think, but has a brilliant beginning and in-depth development; Not only the poets who appeared in the 1986 poetry exhibition, but also the poets who wrote at that time but did not appear in the exhibition for various reasons, and a large number of late generation poets (including those who later created the middle generation) who were born late but were directly influenced and bound by the third generation poetry movement. From a big aesthetic point of view, all of them should belong to the pedigree of the third generation of great poets. The artistic exploration of the third generation of poetry movement is multipolar, pointing to all kinds of possibilities of poetry, and it is here that a generation parted ways. The third generation of poetry movement is a great mountain-building movement, and four writing tendencies appear and disappear from time to time, rolling and rushing, which constitutes the four mountain systems of the third generation of poetry movement. Under every mountain system, there are some small subordinate mountain systems, such as vulgar and coquettish writing, which is attributed to their writing context in the big climate. The third generation poetry movement is extremely complex, so we must look at it as a whole to see the whole picture.
Generally speaking, under the background of the third generation poetry movement, at least four completely different poetic dimensions have emerged:
Right and wrong writing: represented by Zhou Lunyou and other poets. Edited by Feifei and Feifei. This school of poetry is the earliest and longest-lasting school in the third generation, and its personnel composition and differentiation are very complicated. In terms of poetics, it began with anti-culture and anti-value, and then it was bounded by 1990. It was not Africa before, and then it was not Africa. In the course of China's magnificent contemporary poetry, whether it is anti-culture, anti-loftiness, anti-value, or "red writing" in post-Africa, non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-non-
Intellectual Writing: Take Nishikawa, Wang Jiaxin, Cang Di and Xi Du as the representatives. Generally speaking, these poets all have college backgrounds, emphasize the elegance and nobility of poetry, speak the language of translation, and like to pile up knowledge and allusions in their poems. Although they have their own achievements, their poems are more elegant than bloody because they are far from the scene of life, which is a bit like an empty poem.
Their writing: represented by poets such as Han Dong and Yu Jian, and based on folk magazine They. Due to the special circumstances during the transition from planned economy to market economy, this school of poetry has developed rapidly and has been prosperous for more than ten years. Its representative figures have long held the power of poetry, and shared most of the resources of poetry circulation with the intellectual poets who settled in Beijing. It should be said that under the situation that pseudo-value is dominant, their folk position starts from anti-sublimity, anti-value and anti-culture, and emphasizes that poetry returns to the present, to the scene and to daily life, which is also the fundamental reason for its influence. But because it opened the downward floodgate and refused to check and balance criticism, it laid the groundwork for the final collapse. These poets retreated from the spiritual heights to the lower body, and then to the garbage school. Poetry is thoroughly erotic and rubbish, and they join hands with popular culture to become the darling of capital and the jester of mass consumption. This is the largest surrender to capital and power after literary and political adultery in the decade of the Cultural Revolution, and it is also the most thorough self-denial and self-exile of avant-garde literature characterized by independence and rebellion in the new period.
Heroic writing: represented by Liu. Poetry school was originally called "arrogance", and later it was renamed as "heroic writing" after being re-summarized by critics, and it was fixed. His main works include the collection of poems Anger (edited by Liu Cheng, Shaanxi People's Publishing House, 2002), which is regarded as the masterpiece of heroic writing. Since the new period, China's poetry has always been characterized by burying outstanding poets, and the representative poet Liu Cheng began to fade out of the poetry world from 1986. This important school of poetry, which can enter the history of poetry, has been unknown for many years and can only run underground in full swing. It was not until 2002 that Liu Cheng entered the online poetry circle and re-appeared with a lot of creative practice and theoretical achievements of poetry, and the poetry genre slowly surfaced, and heroic writing had already been completed. In August, 2006, "The Roof of World Divine Writing" appeared quietly, officially ending the lonely and dreary heroic writing, thus officially opening the curtain of the direct conflict between divine writing and animal writing.
The isomorphism of the above four poetic tendencies has become the great existence of the third generation poetry movement. The intentional neglect of any one of them here will eventually weaken the third-generation poetry movement as a whole and fundamentally damage the poetic significance and literary history significance of the third-generation poetry movement. However, in China, the concept of the third generation has long been firmly occupied by some preconceived poets. Critics cling to the reading horizon, and whoever shouts loudly will be the third generation; Poetry anthologists should not only compile books, but also be afraid of responsible comprehensive combing. Finally, they knew and saw that as long as they hastily pulled up a team and assembled a book lineup, they could only be listed as the third generation. In this way, the whole picture of the third generation poetry movement is completely chaotic. Until today, every time the third generation is mentioned, some people still only think of a few familiar names, and even give people the impression that "these people are the third generation".
The resulting problem is that getting rid of the accumulation of the times and returning history to reality has become the primary difficulty in contemporary literature research.