(Yang Ke: Poet. National first-class writer, vice chairman of Guangdong Writers Association, adjunct professor of Guangdong Business School. )
If the saying of "the second generation of poetry" is true, it must be Su Xiaoyan who is sitting in the back row of 1990s! I have never met her mother, Narenki Ziggy, and I have never met Su Xiaoyan, so it is always a bit weird to imagine this scene. In an age of late marriage and late childbearing, many people I know who were born after 70 had no children and even got married. But the daughter of Na Ren, a "young poet" born in 1970s, is another elegant poet. Does this strange life phenomenon herald the birth of a rare son of poetry?
When Su Xiaoyan was 65,438+08 years old, the scope and field of her writing had gone beyond the corner of her mind. In that flamboyant and impetuous era, she calmly and soberly observed the whole world around her. She opened up a secluded place for her soul with poetry; On the one hand, it tells the story of years, cities, seasons, history and freedom. "I've seen you with your hands tilted in the sun/I've seen you open your arms in the rain and feel relieved/I've seen you happily blowing cheap soap bubbles/I've seen you dancing lightly in an empty room at dusk/of course, I've seen you wearing a windbreaker/resisting being squeezed in a cold and humid street." The images in the girl's field of vision are presented again and again, and the poems have a unique body temperature and breath, but they are gradually forced into the depths of adulthood.
There is no young and beautiful life that does not long for the comfort of love, and there is no sensitive heart that does not long for another pair of warm hands to hold itself up and run to the distant future. So even a smart woman, Xiaoyan, Su Like, is worried and afraid that her fingertips will "slowly splice your shadow in the dark". But the common tendency of complaining and tearing emotions in "female poetry" has nothing to do with her. The love she understood in ignorance is very warm, and it is a flower of happiness that blooms in the branches of dull days and quiet family life.
Season, especially autumn, is also one of Su Xiaoyan's favorite writing themes. Autumn is actually a difficult object to describe, because too many poets have expressed their feelings about autumn since ancient times, which has led to the fixation and formatting of image symbols about autumn, and has also formed a considerable mindset for readers. However, Su Xiaoyan wrote one Qiu Ge after another with his outstanding talent. In autumn scenery, in the place of "quiet, clear and direct/yellow becomes a green dot", she found from "the warmth of shaking hands and snuggling shoulder to shoulder" that "this coolness can also be smiling/smiling all autumn". This is China's poem, which belongs to Zen rather than rationality, and the spirituality of people and scenery exists.
However, in the two poems "With Youth and Memories" and "Soft September", there is not only the beauty of the picture and the depth of emotion, but also an intellectual beauty hidden in it. Su Xiaoyan used a lot of images and metaphors in the poem Green and Memory. The autumn wind took away the green color and "heavy memory" of the caterpillar. Time evaporated the fresh water of the flowers in the vase, and I "picked up my childhood" and waited for the return of my memory in the autumn wind; Like a caterpillar lying on a branch shaken by the autumn wind, waiting for the green to climb back. The seemingly chaotic image of autumn is unified in the poet's melancholy, which is mixed but not chaotic, which makes people admire.
Perhaps because of Su Xiaoyan's love of painting, she is very good at emphasizing the hidden characteristics of something or her feelings and philosophy of life in a complete and substantial background. One year, with the lights on and smelling the boiling soybean milk, she "looked at the foggy window" and saw through the warmth that "now I will be like her/stay in the years, like a frozen picture". Su Xiaoyan's intellectual examination of space from the perspective of time undoubtedly expanded the tension of poetic language, deepened the reference of poetry and promoted the generation of its reference of poetry.
The mirror of two weeds is also a masterpiece, and this poem is also very successful in the control of structure and image, reaching a considerable artistic height. Night, mirror and my seemingly unrelated three images have been completely unified. The dark night is like a mirror, and black is mapped with black. Walking in the boundless night, I merged into this piece of black and was attacked by empty loneliness. I clearly understand my inner loneliness, because I am awake and happy, and because I am lonely and painful. I am like a mirror, showing some characteristics of myself, but also hiding some real feelings. In his poems, Su Xiaoyan grasped the duality and contradiction of "I", "night" and "mirror" and used them as metaphors. Just like Si Kongtu said in "Poetry", "I am like an ordinary person". Aside from the shape of things, they are actually more similar. Comparing things with their characteristics is "unreasonable and wonderful."
If there were no poems such as "I am a Stomach Patient" and "Battery and Engine", the application of Su Xiaoyan's poetic skills and artistic value would only be reflected in one aspect, confined to the "basket". The wedge between heterogeneity and the other makes the basket of this poem "empty" and full of dimensions. Interestingly, Su Xiaoyan likes to use parallelism in her poems. This "outdated" style, which originally belonged to "romanticism", was used flexibly and skillfully by her, which did not make people feel dull. Because she controls the language rhythm of poetry in the process of using parallelism, the tone of poetry will not change rapidly, nor will it make people feel that it is strengthening the tone or emphasizing anything, but it will show a feeling of slowly spreading the picture, which makes parallelism fit with her casual and soft temperament and introspective and quiet style. The spirit of her poems is very modern, but in appearance, every paragraph of her poems is neat and tends to the formal requirements of classical poems.
The most important thing is that she has always maintained an honest and serious heart in her writing, and used this heart to interpret the beauty of life. This is the most attractive place of Su Xiaoyan's poetry, and it is also the place that poets after 1990s admire.