Green willow:
Can you tell me about your experience?
Dong Xiyang:
Experience is the most secret burden buried in the bottom of my heart, and everyone has his own story. In chronological order, in the summer of 1986, I was born in a small village called Erdaozuizi in Jiutai City, Jilin Province. As far as I can remember, I moved five times before I was 6 years old. Different from Meng Mu's three moves, I had to avoid some people I didn't want to meet with my mother and sister. I have been interested in history and recitation since I was a child. The complete works of Tang poetry and Song poetry and Yuan music were my favorite at that time. When many children are holding picture books, watching snow-capped mountains and flying foxes, watching the journey to the west, playing hopscotch and throwing mud, I am only immersed in the classical literature and martial arts novels of Jin Yong, Gu Long and Liu, and Fuguishan is in the middle of the year. Because my mother was born in a scholarly family, I began to recite three-character classics, hundreds of surnames and thousands of words under her example. According to spatial order, from Jiutai to Changchun, Siping, Shenyang, Shenzhen, Guangzhou and Wuhan. After graduating from college, I went to Shenzhen three times, where I found my first formal job, and at the same time I was exposed to more post-modern poetry texts and ideas. Worked as a hotel manager, travel agency planner, journalist, editor of internal magazine, editor of poetry magazine, etc. Until I went back to this province to be a newspaper reporter and assistant to the chairman of the cultural company, helping my friend run a cultural communication company. In my heart, I have the simplicity and simplicity of the countryside and the desire and desire to become the mainstream fashion crowd in the city. But I saw through the complicated interpersonal relationship and the city life addicted to money prematurely, and then I chose to calm down in the downtown area and gradually embarked on a road of poetry writing close to the bright life.
Green willow:
Is there a direct or indirect thing in your life that makes you realize that you should be a poet, or how did you enter a poetic life? Which writer influenced your poetry?
Dong Xiyang:
I embarked on the road of poetry writing with great opportunity. My first primary school Chinese teacher was my father's classmate. He thought I inherited my father's literary genes, so he deliberately trained me. Under his strict discipline, I became interested in literature, history and philosophy and formed the habit of taking notes at any time. When I was in the fourth grade of primary school, I won the prize in the township composition contest and published the article for the first time, but I don't remember what I wrote clearly. What I can remember is the article published in Hope Weekly in the first year of junior high school, that is, 1998, which is the header of the title of grandma Bing Xin, a literary master. At that time, I was a member of Qingyang Middle School reporter station, and I independently planned and interviewed a rural science and technology leader who tried to get rich. At that time, I just liked prose and essays, and I liked that style of ethereal femininity and freedom (I thought so at that time), until I read Yu's cultural prose, so I wanted to be a "poet" who traveled all over the world like him and looked for his own life coordinates. Around 2002, when online poetry emerged, it was the incubation period and enlightenment period of my poetry writing. The real poetry writing can be traced back to 2008, when I was studying in Jilin Normal University, and I came across poets Yu Yaojiang, Sun, Siping Writers Association and Changchun. The language mode and lyrical way of their poetry texts attracted me, and their grasp and balance of traditional culture was admirable. It was also under their guidance and recommendation that I stumbled into the world of poetry. Frankly speaking, Yu Yaojiang and Zhong Lei have a certain influence on my poetry creation, and I like their poetic style and way of thinking. During my work in Shenzhen, their telephone greetings and blog "verbose" messages deeply influenced my poetry creation.
Green willow:
I think a poet should be a poet when he is creating, but he should be a living person when he is alive. How do you view the poet's life and how to deal with the relationship between them?
Dong Xiyang:
I quite agree with you. No matter what position a person is in society and what role he plays, it is undeniable that he first has basic social and natural attributes. An excellent poet can always restore art to life perfectly and restore the poet to the original ecological scene. As a poet and a realistic natural person, we should be prepared and conscious of "entering the WTO" and "being born". Poetry creation is a spiritual transition from humanity to wisdom and finally to divinity. In pure poetry writing, the poet should be isolated and lonely. As Yukio Mishima mentioned in the article "Golden Pavilion Temple": "Not being understood has become my only pride, so I won't have the urge to be understood ... My sense of loneliness is expanding, just like a pig." This passage is very intriguing. I think artistic life and real life must be clearly distinguished, and material needs and spiritual needs should be as harmonious as possible, although it is difficult. I belong to the category of photosynthetic plants in real life. I am positive and optimistic, forge ahead, tout the life creed of "more work, more money, youth is my master", and I am in a state of detachment from loneliness in my writing, so as to gain a short silence.
Green willow:
A poet's writing should be related to his life experience, and even more inseparable from his life. His direct life field constitutes the spiritual poetics of his poems. What is the field that constitutes your spiritual poetics? Has your hometown ever pushed you into poetry creation?
Dong Xiyang:
My spiritual purpose is to let words speak for the soul, not to occupy the air superiority of language. If the field that constitutes my spiritual poetics is nothing more than the thinking field of the spiritual world and the width and thickness of the real life environment. It involves the excavation and care of ancient and modern Chinese and foreign traditional cultures, and the spiritual appeal and pity for the current survival picture. Everyday experience reading and touching thinking constitute the spiritual field of my poetry writing. My poetry text is a praise and criticism of these life elements and a profound description and reflection of real life.
Like other arts, poetry is a reflection of the living world. The beauty of the relationship between poetry and real life lies in its inseparability. Only it is "inseparable", so it has a sense of reality; Only it is "not", so it is fresh and interesting. "Beyond the image, get what you want" is indispensable. Si Kongtu saw it, and so did I. From Jiutai to Changchun and from Siping to Shenzhen, these four unrelated places constitute the field of my real life, maintaining the balance of my existence and restricting the freedom and bias of the spiritual level. Knowing "hometown" is the process of purifying my poetry writing. Through the editing and polishing of poetry aesthetics through writing experience and reading experience, Field makes me a believer in traditional new poetry aesthetics, and at the same time gives me an understanding of modern poetry practitioners.
Green willow:
It is said that literature is marginalized, and the marginalization of poetry is more acute. How to treat the poet's creation in today's magazine article calling for enterprise reform? How do you stick to your own creation?
Dong Xiyang:
The marginalization of literature seems to be a common thing. With the rapid development of material and the high expansion of sensuality, spiritual life has not improved simultaneously, but has fallen into the quagmire of the times and formed a deadlock. When material enjoyment is highly prosperous, spiritual life seems to enter the desert. The reason is that the false prosperity of the economy leads to the distortion of people's spiritual values and the confusion of thinking.
It is an inevitable trend of economic development for magazines to change from "eating red paper" to "starting their own business", and my newspaper office is also in the process of transformation. Poets always rely on the text to speak, adhere to the true self and adhere to the mirror image expression of real life. The changes in the poet's heart are more rapid and drastic than those in the times. Being famous for profit should not be the way out for a pure poet, but writing quietly is the way out. In the past few years, I have rarely made public appearances in newspapers and periodicals. One possibility is that the text is not good enough to meet the requirements of publication; Second, basically do not contribute, except for friends' manuscripts; The third is to insist on the writing motivation of making a scene. Except for poetry magazines, poetry anthology magazines, poetry forest, star poetry magazines, green wind and poetry tide, the last thing left is to constantly spur and alert yourself. Publishing is not the purpose, but to reflect my spiritual temperament and to review and identify the nervous spirit.
Green willow:
Any writer's writing has roots, and roots are related to his regionality. How do you understand regionality? Where is the root of your poem?
Dong Xiyang:
I understand Root's writing as homesick writing with spiritual return, and this writing tendency is essential in every poet's life and text. For Sri Lanka, where we were born and raised in Sri Lanka, we have poured sincere feelings into reality and words, which seems both reasonable and unexpected. Regional poetry writing allows you to radiate longer and further in the circle that has not run away, so that the lyric of local poetry can reach the unity of opposites. Some poets have never walked out of the regional category all their lives, but the boundaries in their hearts are vast and far away, and their spiritual wandering even goes far beyond the exploration of footprints. And most of our writing is often the repayment of the historical debts of the region. The writing of the "root" of the region makes you always introspect and check yourself.
The journey to find the root of poetry is difficult and arduous. For this land where we have lived, it is very difficult for us to have a grand narrative and a micro lyric. The weak cognition of regional culture and the distance, alienation and strangeness after geographical coordinates are close make us marginalized by local regional culture. We are like a child watching from a distance, but we are actually a painful approach to our hometown. Homesickness is the eternal spiritual torch and soul in poetry texts. It is Chengziling at dawn in Su Like, Zhaotong in Lei Pingyang, Pingdun Lake in Jiang Fei, Shandong, and Dongshan Village in Zizyphus jujuba. Yes, we first learned about these humble place names by reading. Wulian's Terrace, Homesickness, Li's My Hometown, My Hometown and Jiangxi's, they love and like Zhujiajiao Town in Shanghai as their first hometown. From these affectionate works, we read homesickness and homesickness, and also read a quality: peace away from noise and glitz.
The root of my poetry is closely connected with the local regional poetry in Jilin. The boldness, broadness, freedom and broadness of the earth culture in Northeast China have created the real momentum of coarse grains, atmosphere and backbone of regional culture. How to enter the cultural spirit pedigree of Jilin Province with a unique spiritual attitude of a cultural person, and naturally infiltrate and participate on the basis of calm, is the direction I strive for and persist in.
Green willow:
Warren, a contemporary American poet, said that the feeling of the body is the meaning of poetry. Read a poem. If you can't feel it until your toes, it's not a good poem. This of course exaggerates the role of poetry, so how to define a good poem?
Dong Xiyang:
Pound said that poetry is the highest point of life consciousness, and that's right. A good poem not only refers to the emotion, intuition or pleasure and spiritual pleasure after physical reading, but also is a panacea that goes straight to the depths of the soul, guiding you to have a deep understanding of the universe, a simple understanding of macro things and a comprehensive understanding of the spiritual world. A good poetry text has at least the following points: first, an intellectual and even divine world outlook; The second is to clarify the conscious direction of language construction; Third, the comprehensive grasp and handling ability of poetic elements; Fourth, whether there is a poetic realm of pursuing conciseness and refinement; Fifth, we must have an enlightened mind and the moral consciousness of extraditing all beings. Many well-known poems have emerged in ancient and modern China and abroad, including those of the West, Europe, America and South America. China's new poetry is a kind of imitation and catching up, but there are also many good poems that make people alert.
Green willow:
There seems to be a voice today that poets should have a sense of the times and shoulder the mission of the times. What do you think is the mission of poetry? Is it ideology or art or something else?
Dong Xiyang:
Goethe once said that an era has its own poetry, and a poet has its own era. Poetry texts and poets are, after all, the products of the times. Their appearance and rise, and even the trend of starting a prairie fire, conform to the basic principle that matter determines consciousness and simple dialectics, and are the spiritual return of all things in the universe, interlocking and natural. An art form should first have an urgent sense of the times and an exploratory spirit of advancing with the times. Poets should have a high sense of historical mission, objective and pertinent values and great artistic integrity. In a sense, the poet's promotion of cultural progress and social productivity is only "usurping the role of master", which is ultimately a far-reaching influence on the spiritual level. In the process of tempering the poet's life, the poet should learn to practice. We should settle down, concentrate on our inner life, salvage the emotional shipwreck in life, and build a spiritual "temple" of our own on the road of Xiu Yuan's poetry.
Green willow:
Evaluate your writing objectively. Do you think you have written a satisfactory work? What do you think of publishing? What is the independent spirit of your poetry?
Dong Xiyang:
The answer is yes, not yet. My poetry text has the enthusiasm and sensitivity of young people, stubbornness and persistence, as well as the openness and generosity of philosophers, which is of course the original intention of my creation. But after a poem is written, it needs long-term consideration and deliberation, and it needs research and reasoning. This is not to say that I wrote a good poem, but that my idea is good. This also reminds me of the famous poet Auden's words when summing up his poems: "If a poet's works are satisfactory, then his poetry collection will be frustrating in the end." Time is the best spiritual guide. Maybe in a few years, there will be poems that satisfy both yourself and readers.
Zhang Ailing's "Become Famous Early" really influenced me, but it doesn't seem to matter now. I don't think publishing is a bad thing. It is an affirmation and recognition of your spiritual work, but publishing is not the purpose. It is the process of poetry going to the altar to test its authenticity. Authenticity is not directly related to Excellence, just like motivation and result. Publication is only a part of the creative experience, perhaps a part of being submerged in time, or a climax of your emergence.
My poetic spirit is that poetry creation is a dignified and challenging way of life in your spiritual context, and poetry is a concern and presentation of life. You should restore poetry to life and expand the spiritual dimension of poetry in a happy life.
Green willow:
In my reading field of vision, I feel that I have experienced the glorious period of poetry in the 1980s. From the 1990s to the first few years of this century, judging from the poems published in various publications or the annual elections, although the creative group is huge and the overall poetry created is not satisfactory, there has been a warming trend since these two years, as if the spring of poetry has arrived. I wonder if you have paid attention to this problem?
Dong Xiyang:
We are similar in age and experience in poetry. I really embarked on the road of poetry creation in 2008. Before that, I just paid attention to the complicated modern poetry. I am not satisfied with the poetry ecology in the new century. In today's pluralistic and marginalized poetry, life elements are easily integrated into poetry by poets. Some people say that poetry is open to real life and public life, so many poets graft, mix and match at will, and wander across borders at will. The activity of poetry circles and the "output" of texts are staggering. The improvement of the external environment of poetry is not synchronized with the improvement of the quality of poetry itself. This gamification and fashion "sports complex" has not been completely dissolved, and the subsequent changes in poetry are not thorough, and most of them still exist. Poets should not be experts in exams, nor should they be journalists. Poetry is not judged by the old and the new, and the psychological mechanism of creation is particularly important. Restricting lyricism leads to junk narration, which is worrying. The farce of poetry and the phenomenon that poetry is full of gimmicks make people tired of the ecology of modern poetry, which is normal.
The creative base is large, the quality of works is poor, the staff is cumbersome, and it is even more tangled. Although the poetry world is full of people and noise, excellent poetry texts are few and far between. We failed the love of the Muse and desecrated the readers' spiritual desire. I don't advocate the spring of poetry, and poetry will certainly not perish. It is a dish of life, and it is not fun without it. It's all about it I can't afford to play or take it. There should be less grandiose "behaviorism" and "privatization and independent writing" in poetry circles, which corrodes the healthy spirit of poetry and leads to the poet's self-exile as the main body of poetry.
Green willow:
I think it's a pleasure for a beginner to recommend books that have had an important influence on you. Can you tell me something about your reading experience?
Dong Xiyang:
Experience and purposeful reading are enjoyable. I like martial arts novels, biographies and bibles since I was a child. Because our family is a church, our parents are full-time Christian servants, and the whole family is devout pilgrims. All the bookshelves in my small home are my father's various versions of the Bible and different kinds of books for studying and preaching. I spent my summer vacation with these books in the idle summer, and then I became fascinated with them and embarked on the road of faith. When I was in high school, I read books by Yu, Yu Jie and Lin Qingxuan, and I loved Taiwanese Dong Qiao's prose and Lin Yutang's humorous sketches, Lu Xun's prose and Xu Zhimo's poems. I like reading and collecting poems by Taiwan Province's love, Yu Guangzhong, Yaxian, Jixian, Zheng Chouyu and Xi Murong. Later, the university came into contact with jean baudrillard's Symbol Exchange and Death, Wittgenstein's Philosophical Research, Zhu Guangqian's History of Western Aesthetics, Zong Baihua's Aesthetic Walk, Li Zehou's Course of Beauty, Moore's Principles of Ethics, Nietzsche's Birth of Tragedy, Adorno's Pluralism: Cultural Criticism and Society, and Gao Xingjian's. Plato's Republic, Aristotle's Rhetoric, Rousseau's Theory of Social Contract, Socrates' Dialogue, roland barthes's Symbolic Aesthetics, etc.
Generally speaking, there are China Shi Hua, Tai Ping Guang Ji, Quan Tang Poetry, Suiyuan Shi Hua, Wai Lu Shi Hua, Canglang Shi Hua, Copy of Song Poetry and Notes on Selected Poems of Qian Zhongshu. I have read many poems, including Syrian poets adonis, Karl Firth, Auden, Eliot, Rilke, Borges, montas, Severus, Egri Tis, milosz, brodsky, Pasternak, Russian Akhmatova, Zvetayeva and иналии.
Green willow:
Do you think your writing is free?
Dong Xiyang:
I should say that my writing is free. The theme and time of writing are up to you, and your hobbies and interests in writing are up to you. It is free not to write for fame and survival, and not to create texts for technical and servile writing. Writing should be devoted to the freedom and vastness of the spiritual realm, rather than the promotion and bondage of the living space in the real world. I like the poem инналиснянская: "I want to see wider than you". Only by occupying the spiritual highland can we stretch our bodies freely. One person is willing to wait, and that person is willing to appear. I like to say that, and so does writing poetry.
Green willow:
What is the most important thing for you in a day? Is it writing?
Dong Xiyang:
Frankly speaking, no, writing poetry is only an important part, not every day. Reading and dialogue, learning and communication are also part of writing. In order to survive, I work hard every day. Working in a newspaper, interviewing at any time, running outside. I want to write articles and browse important news at home and abroad. I sit in my office and read newspapers every day. I have to manage two cultural companies. I have to think about planning copywriting and rational operation of the company at any time. Go home to cook, watch TV and read quietly. Smoking, drinking, playing cards and going to the toilet are all important links related to survival. However, writing has always been the direction and goal, and it has never stopped over the years. Writing poems, essays, poetic essays, poetry reviews and film reviews are all "drawer literature" for self-entertainment.
Green willow:
Do you have any plans to write poetry? Is your writing anytime, anywhere?
Dong Xiyang:
Judging from the current creative situation and independent writing attitude, there are some unwritten writing plans. For example, this year, a collection of poems and essays is basically ready, as well as a collection of comments and essays, hoping to have a "galloping" situation. For example, how many words to write before the age of 30, where to publish them, what direction to stick to in future writing, and so on. In my heart, I still have my own scale to measure. It is not easy to open your own flowers and bear your own fruits. With planning, we can get twice the result with half the effort. But they are all self-concepts, which have nothing to do with practice and have no reasonable collision with the outside world.
Writing is not casual. I think writing needs a high degree of respect, which is a particularly serious matter. Sudden inspiration and an epiphany may be anytime and anywhere, but constructive and constructive writing must be a rigorous process.
Green willow:
Old Pound said that artists always have to change. So have you changed yourself?
Dong Xiyang:
Philosophically speaking, thoughts should always adapt to the changed environment. Therefore, change is an inevitable trend. Change is important, but what direction is the most important. It is not only the fruit of talent and epiphany, but also the product of the opportunity and persistence to surpass oneself on the artistic road. Like many masters, Cavalfis wrote in his youth only as preparation, and only after middle age did he really find his voice. This shows that his persistence has changed himself, and he has been on the road to change. Like the love of Taiwan Province Province, he has been striving for innovation and change in his eighties. From Death of a Stone Chamber to Drift Wood, from the flood of European and American poetry trends in the forties and fifties, their imitation, grafting and overall implantation, to the later exploration, independent innovation and artistic sublimation, it is all a process of change. In the past, Yu Guangzhong had a kind of "total negation" towards western poetics, and later it turned into Lu Xun's "takenism". Only by ignoring and forgetting yourself can we be better.
I like change, and I have been changing. The job has changed, the family has changed, and in fact, poetry has also changed. From adolescent writing in student days, to romantic lyric poetry, to modernist narrative poetry after stepping into social reality, and now to post-modern "oral poetry" (not saliva poetry, but a new poetry writing with "post-"consciousness), the transition and transformation from the aspects of poetry text image shaping, structure, language control ability, architectural beauty, musical beauty and ideological content are all filtering processes of continuous self-improvement.
Green willow:
What do you think of China's contemporary literary world?
Dong Xiyang:
I really want to skip this question. Contemporary literary world is like an abyss, a quagmire and a cage. Everyone engaged in cultural writing is clamoring to find a paradise and get rid of the system, but in fact they are deeply involved and unconsciously. In order to attract people's attention, some literati muddle along, play the buffoon, create all kinds of "problems", shake out all kinds of events, create riots, stir up right and wrong, get what they want, and make a mess of the literary world. However, he shouted "self-cleaning in Qing Dynasty" in a high-profile way, always complaining for himself. They know the hearts of China people too well. You like to watch the excitement. Then I will create excitement and surround their grand view, such as street performers shouting "Look how a few people have turned China's vast literary world upside down." I'm impressed!
Most poets are sensitive and sad, and like to wander back and forth in circles, feeling helpless. In China's contemporary literary world, the poet's life background and role are often out of his control. Freelance writing outside the system will make you lose the right to speak, and sporadic writing outside the system will make you silent without a trace. The share of cultural participation in political position is isolated and helpless, and castrating several cultural deviants by administrative means is as easy as running over ants. Scholars despise each other, cheat each other, can't earn fame and fortune, but are willing to humble themselves in front of that hypocritical dignity. The domestic literature prize is full of ugliness every year, and the war of senior intellectuals is getting worse. The followers behind it are more like buzzing flies. If they can get out of the dirty toilet, they will naturally try their best to safeguard their vested interests, even if they watch the excitement. What the hell!
Cultural shielding has seriously affected the virtuous circle of excellent literary works. Scholars who break everything prematurely choose to be wise and stay away from the noisy vanity fair, and there is no peace outside the rivers and lakes. I really hope that China's literary world is not the second ancient city of Loulan.