Zhang
My contact with Liu Cheng started with WeChat. He founded the official account of WeChat WeChat, firefly think tank Horizon Poetry Magazine, and the micro-magazine I founded. Because they often pushed some excellent poems, they were widely recognized by friends in the circle, and we began to pay attention to each other. The difference is that his official account on WeChat is relatively pure and profound, and it is mainly composed of poems, including the presentation of personal works and theme anthologies (such as poems on themes such as Train, Peach Blossom and Worldly Life, which are deeply loved by authors and readers). Because of strict manuscript selection and exquisite editing, poets are willing to give their works to him. The years in my heart are a bit complicated, with columns such as Selected Poems of Poets and Frontier Poems, as well as columns such as Aesthetic Walking, Classic Reading and Original FM, so the audience is different.
In a sense, Liu Cheng is already a very good poetry editor. I even think that the editing and publishing quality of many works of Horizon Poetry magazine is far better than that of some stable paper publications. A good poetry platform must first have sufficient and high-quality manuscripts, and then have professional and distinctive editors and editors who dare to work hard and make contributions. Behind these, we need to have extraordinary faith and love for the cause of poetry. I know that both Liu Cheng and my platform are for personal benefit. One person supports the world alone, not seeking fame and fortune, but seeking to make wedding clothes for others. Because of this, we all have high demands on ourselves, especially Liu Cheng, who is one of the most humble "poetry lovers" I know. Liu Cheng has compiled and distributed many poets' works, focusing only on quality. He firmly believes in his own vision and standards, and he is fighting alone in manuscript selection, illustration and soundtrack. His works have formed a distinctive personal style. I often see him pushing proofs in the middle of the night, and that hard work can only be understood by peers. But Liu Cheng seems to enjoy it. He is devout to every poet and every work, and regards the process of editing works as a process of learning and enjoying. This is very valuable.
In fact, Liu Cheng is not only a peaceful, low-key and humble poetry editor, but also an excellent and silent creator. Perhaps a good reader is often a good author. Liu Cheng has been writing for some years, and the number of poems is not very large. Most of them are short and pithy, with concise language and profound meaning. I always feel that there is a touching "pain" and "realism" in his short and pithy works, which are beyond the works of many professional poets at present. Liu Cheng writes slowly, purely and quietly. His poems are not exquisite works, but sentimental life works. He once said that writing is more about songs than poems. In other words, his writing is not for writing, but for his own heart, for certain beliefs and feelings.
Liu Cheng's poems can be roughly divided into three categories. The first kind of poems mostly describe the moment when people meet things and nature, in which affection, attachment and awe are forbearing and painful, such as the poem Dasigou, which is the representative work of this kind of poems.
Dasigou
In Dasigou, I just sat there.
A rock sheep, unexpectedly followed here.
Cross the stream
look at me
The world is too quiet. None of us spoke.
It is drinking water.
I was distracted.
Later, it approached a huge rock.
I got up and seemed to speak.
But it flashed and disappeared into the rock painting.
I sat down in situ and polished myself seriously.
It's like polishing the surface of a stone
"The world is too quiet. None of us talked/it was drinking/I was distracted. " This is a stroke of genius, which makes people memorable. This kind of poem does not come from the fantasy of the study, but from the free walking, from the awakening and epiphany of the soul in the sudden encounter with the rock sheep and Helan Mountain, "I sat down in the same place and polished myself seriously", and finally completed the self-observation and promotion in the mutual understanding of things and me.
I know that Liu Cheng is an outdoor enthusiast, who often packs his bags and disappears into the desolate Helan Mountain on weekends. Hobbies become habits, and habits become beliefs. Liu Cheng's reverence and love for Helan Mountain, and the enlightenment and nourishment given to him by Helan Mountain may be unimaginable to others. Poems like this are reflected in Guamagou, Binggou, Lost Road and Black Roll Horn. Although they may face different scenes, the poet's inner feelings are just as pure and sincere. French philosopher Bachelard said: "Poets speak on the threshold of existence." In the scratching encounter, Liu Cheng lived in the "threshold of existence" and realized his poetic speech.
Liu Cheng's second kind of poems are the works of travelers looking back at their hometown and homesickness, which contains endless homesickness. These poems are affectionate and gloomy. Kafka once said: "We live in an evil era, and now nothing is worthy of the name. For example, people have uprooted their roots from the land, but people are talking about their hometown. " Faced with such an "evil era", when his hometown was devastated and the people were uprooted, Liu Cheng still expressed his sadness and pain, nostalgia and compassion with poetry. "The earth is old and listless/I sit opposite it/secretly cry" (The Earth). As a "hermit in a foreign land", the poet "went astray again and again/knocked on the door again and again" (Qiu). In the entanglement and tearing of modernization, people who are far away from their homeland often encounter a dilemma: on the one hand, the alienation and alienation of urban civilization, on the other hand, the fragmentation and distant death of agricultural civilization, which makes it increasingly difficult for them to adapt. Memories and reminiscences of relatives, watch and review of hometown, and finally build a solid and sad spiritual garden. No matter with his father's heart or his mother's heart, no matter whether he is "drunk as a beach after a beach" (Houtan) or "a cow getting closer and closer to Niuying Village" (Niuying Village), the poet can't let go of his strong local complex.
Dawan
Father chased the car river.
I chased my father.
I couldn't catch up, so I shouted "big" carefully.
So the river stopped.
I saw my father and turned around slowly.
Clouds are gathering in front of us, and the bay road is vertical and horizontal.
In my opinion, The Big Bowl is the best poem written by Liu Cheng so far. It is short and clean, forbearing and affectionate, like a surreal picture scroll, but it hides an unspeakable emotional vortex. The father of "chasing Qihe" seems to be chasing his own survival and destiny; And I, who "chased dad", suffered double pain. The water in Qihe River is like an irretrievable time and life. When I couldn't catch up with my father and shouted "big", "the river stopped", and the love between parents and children was instantly reconciled and released. This kind of poem, I think, is what philosopher agamben called "real poem". It has such characteristics: "On the one hand, at the moment when the poem ends, philosophy and thought begin; On the other hand, by falling into silence and other poetic devices, philosophy and ideas can be absorbed and poetry can start again. "
Liu Cheng's third kind of poems pay attention to reality and cast their eyes on the world with a gesture of being lower than dust and full of compassion. In the poem "The Refrigerator", the fish with wide eyes in the refrigerator is described as "zero emotion", "no cry for help, no tear", which shows the depth of questioning about human nature.
refrigerator
Open the refrigerator. A fish, in the early morning
Open your eyes.
After a long night.
It's already awake.
No cry for help, no
A tear
The works such as Bird's Nest, Cold Cicada, Thread, Sculpture, Rumination, etc. all involve the people at the bottom (such as occupiers, beggars, migrant workers, etc.). ) and the cruel reality of life, and pierce the reality behind the appearance of life with a sharp pen. For example, in the poem "Cold cicada", the naked beggar in the street is compared to a cold cicada, and his old mother is compared to another cold cicada, "kneeling at the entrance of the market in late autumn and early morning, constantly groaning". At the end of the poem, the "poem" was dispelled by the pervasive "chill". "It's cold, and there are fewer and fewer similar onlookers." They don't know poetry/only cold. "This kind of introspective criticism contains deep pain, pointing to every indifferent spectator.
Of course, the above three kinds of poems are not enough to summarize all Liu Cheng's works, but they can roughly explain some of his creative characteristics. The poet Snyder once said: "Every poem comes from a field of thought full of vitality and dance, which itself contains an inner seed. Most of the poet's work is to let this seed grow and speak for itself. " "Black, deeper" is Liu Cheng's poem, which can be understood as Liu Cheng's poetic art is becoming more and more mature and perfect. Anyway, I hope Liu Cheng's poems can become the seeds of "growing up to speak for themselves", as Snyder said.
Finally, I want to end with two poems in Liu Cheng's Under the White Pagoda, because these two poems well explain Liu Cheng's personality pursuit and poetic proposition:
At the top of the mountain, things related to the wind.
There are many more. For example, this stone mountain-
They are more like the words of the wind.
Sharp, hard, rough
In the collision and tragic
Carve the scenery over and over again
Sometimes, I wish I could
This is the rock:
Inspired by the wind
Read the White Pagoda over and over again, and read it empty.
This paper is the phased achievement of scientific research project 20 18 in Ningxia universities, and the project number is NGY20 18045.