On the other side of the mountain, Wang Jiaxin's message.

Wang Jiaxin. He used to be a literature professor under the pseudonym Bei Xin and Pang Jia. His "Beyond the Mountain" was included in the seventh-grade Chinese book of People's Education Edition. Unit 1 Lesson 1 (version 20 10) 1957 was born in Danjiangkou, Hubei. 1972 entered Ogawa Middle School in danjiangkou city, Hubei. 1974 After graduating from high school, I went to the countryside to work in Ogawa Agrochemical Plant. 65438-0978 was admitted to the Chinese Department of Wuhan University, where he began to publish poems. 1982 After graduation, he was assigned to teach in Yunyang Normal College, Hubei Province. 1983 participated in the youth poetry meeting organized by poetry magazine. 1984 wrote a series of poems, such as Chinese Painting and Poems on the Yangtze River, which attracted wide attention. 1985 seconded to Beijing Poetry Magazine to edit and publish a collection of poems "Farewell and Commemoration". Since 1986, the poetic style has changed and become more dignified, bidding farewell to youth writing. The representative works of this period include Touch, Landscape and Impression. On the Meeting between Man and the World in Poetry. 1992 went to Britain as a visiting scholar, 1994 returned to China and was transferred to the Chinese Department of Beijing Institute of Education as an associate professor. In 2006, he was hired as a professor by the College of Literature, Renmin University of China, and offered a comparative study course of Chinese and western modern poetry and a creative course. He is the author of poetry anthology Commemoration (Changjiang Literature and Art Publishing House, 1985), You Cliff (Hunan Literature and Art Publishing House, 1997), Poems of Wang Jiaxin (People's Literature Publishing House, 200 1) and Stairs (English translation, Wellsvip Publishing House, London, 60 1989), The Nightingale in its own time (Shanghai Oriental Publishing Center, 1997), Poems without Heroes (China Social Sciences Publishing House, 2002), Literary Essays' Enthusiasm for Secrecy (Beiyue Literature and Art Publishing House, 1997), etc. 1987), Selected Contemporary European and American Poems (Feng Chun Literature and Art Publishing House, 198 Hebei Education Publishing House, 2003), China's Poems: A Memorandum in the 1990s (People's Literature Publishing House, 2000), China Contemporary Poetry Classics (Feng Chun Literature and Art Publishing House, 2003), paul celan's Poems. He once participated in the project "China Vision" hosted by Professor Yan Liqin of the National Institute of Educational Sciences, and served as the editor-in-chief of Senior One. He has won many domestic poetry awards and won the first prize of scientific research papers and works of the Institute of Education for many times. He is a director of the Chinese Writers Association "Chinese Poetry Society". Poetry works and articles have been selected into many important collections of domestic poetry and theoretical criticism, and have been selected into many 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 as a Chinese textbook for Grade One and Hubei Education Edition. When writing this poem, he was a college student who had just entered the university campus from a remote mountainous area, and lived and worked with his parents in five or six places, so he wrote this poem because his childhood was full of fantasies. The poem "Pasternak" was selected as a second language reader in senior high school by PEP. From Pasternak in 1990 to 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 dead people. There are often alarming monologues in his works, which have painful meanings. After 1996, represented by London prose and elegy, he began a new exploration of poetry. His published poems include The Sound of 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 the winter woodcutter, Kafka or valentino's narrative. As for those things embedded in a large number of foreign poems, which are euphemistically called intertextual writing (it looks like a poor cement wall in China, covered with colorful foreign glass fragments, sparkling 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 sincere Wang Jiaxin, we fully realized the true meaning of Rilke's famous saying: persistence means everything. Misty poetry became famous in the later period. After the third generation of poetry, today's personalized writing, the situation changes, ebb and flow. Many poets who emerged at the same time as Wang Jiaxin crossed the ocean, many turned to the sea, and many stood aside under the pressure of the momentum and talent of the rapidly rising latecomers such as surprisingly and Haizi. Wang Jiaxin, on the other hand, remained unmoved, enduring for a long time, and gradually became a leading figure in today's poetry circles, appearing on the same stage as Chen Dongdong and other backward literati. All these show that Wang Jiaxin has 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 skills and enjoys it. For a long time, he devoted himself to the creation and excavation of "depth image". The concentration and depth of thinking enabled him to finish this work better than others. Or on the other hand, it is the profundity and oneness of thinking that prompted him to consciously or unconsciously choose to build his own poetry kingdom from this angle. In a series of works such as Iron, Crow and Stairs, we can generally touch Wang's poetic characteristics: language cuts into the shell of a single image from multiple angles like a nail, trying to touch its core while exhausting the multiple connotations of this image; The frequent use of monologues makes this intention sharper (for images) and clearer (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 strengthens the power of his works to impress people. These characteristics are vividly displayed in Pasternak, which won him a wide reputation. In his poems, Palmer is no longer the master who insists on writing in Russia, but an image walnut in his hand. Wang Jiaxin injected his main life feelings into it and poured out his hidden pains and experiences. 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. Kafka's brilliance is also related to this. Wang Jiaxin and Kafka have similar temperament: a gray firmness and destiny takes a hand's melancholy. This enabled him to get close to the heart of Austrian genius to some extent and partly express his heart. Kafka called himself a cave animal, while Wang Jiaxin, in a sincere state, was like a cave animal, always digging in one direction. Perseverance finally made him achieve something, which also made him different from Ouyang. He was like a Chinese showing off his skills everywhere. Needless to say, the king is not as mature as Europe in terms of technology. But this just fulfilled Wang Jiaxin, so that he didn't work hard on the surface of words at all, but went deep into things. Therefore, some of his excellent works are clear in appearance and profound in connotation, and have the power to touch the soul. You know, in our time, poems directed at people's hearts are rare, such as the endangered wild swan. Therefore, sincere Wang Jiaxin is precious. Unfortunately, this is not all about 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 ancient proposition is particularly obvious in Wang Jiaxin (this is related to his lack of skills and willingness to "reform" like surprisingly). Although I like some of Wang's works and am inspired, I have to point out that he still shows some hypocrisy. I realized this when I was watching Swimming Cliff. In Pasternak, Wang has a touching confession: How can I talk about myself without the tears of northern livestock/the burning maple leaves in the wind/the darkness and hunger in people's stomachs? But after reading the complete works, I have to say that there is a feeling of being cheated, a feeling of crying, only to find that the other party is acting-Wang said that he has nothing. Wang regarded his melancholy and frustration as the only and highest pain in the world, and poured it out repeatedly in many poems for fear that others would not know. This reminds me of a narrow-minded, narrow-minded, narcissistic little man, sighing for some small disappointment and full of pain. I feel the same way after reading his prose collection "The Passion of Secrecy". In The Hungry Artist, he also reflected the poverty situation of several foreign artists and their independent personalities. However, what makes people feel that what really makes Wang miserable and angry is his work experience as a poet. However, in more articles, he pretends to be modest, revealing his impressive achievements in studying abroad and 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 a member of/kloc-300 million people, so 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 behind and talk about myself" in Zhuang language, because 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 is exactly the same as the birth of North Island. Unexpectedly, I realized that some angry words from my divorced wife were in it. This poem is overweight, however, compared with the sonorous 28 lines of North Island, it stands high and low in realm, vision and feelings. Of course, technology may also be refurbished. However, naked technology will only bring uncertain consequences if it is not driven by atmosphere, not to mention that technology is not the strength of kings. Poet Wang, who has 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 makes lip service without actual implementation. This not only made him look short in front of the North Island, but also failed to compare with Sha Yi, whom he despised. Fortunately, Wang Jiaxin had a theoretical smoke bomb to cover his easy retreat. As early as in Answer to Forty-four Questions, he put forward a sentence: Only from literature can literature be produced, and from poetry can poetry be produced. This sentence is often ignored, but it is actually the theoretical basis of his "intertextuality writing" touted by some so-called critics. I just want to ask: Where did the original documents 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 in his life? Once he not only consciously avoided people and the earth, but also lost his own pain, he could only shrink into the quotations of the masters and weave a seemingly gorgeous 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 traditional images in literature of all ethnic groups can be used universally-but when the most wonderful part of a poem is a famous sentence of a foreign uncle, and the transmission, development and artistic conception of the whole poem are based on it, 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 (not just 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 endure, endure, deepen the notch/give up in your pen in order to get/live, you ask yourself to die, completely die. " Almost all the images in the poem focus on the sufferings of the times: "those exiles, victims, witnesses, those souls who met in the tremor of mass/those souls who shone in death, and my own land!" Tears in the eyes of northern livestock/maple leaves burning in the wind/darkness and hunger in people's stomachs ... "In the face of suffering, the only choice is to bear it. Pasternak can only defend his Russia if he bears a crazier snowstorm, and the result he bears is no longer painful. " This is happiness, the highest rule that rises from the bottom of my heart. "Poetry itself has clearly expressed these intentions and said everything it can, which was very shocking in China in the early 1990s. So once this poem was published, it was circulated for a period of time. It recognized the suffering image of an era with personal wisdom and sadness, and then established a noble scale of existence that requires suffering and facing the soul directly. Perhaps the latter is the more fundamental motivation for Wang Jiaxin to write this poem. The scale of this existence is given by Pasternak: "This is you, you found me from one disaster after another/tested me, and made my life suddenly miserable"; It's not bitter, it's what you finally bear. /Still unstoppable. Come to us. //Explore us. It requires a symmetry and/or a requiem that is more exciting than the echo "; This is the sadness in your eyes, asking, questioning and oppressing my soul. Obviously, the individualization tendency in this poem does not emphasize the retreat to the times, nor does it evade the responsibility of the times and the absolute rebellion against tradition, but it shows the inevitable encounter between man and the world, and shows that individuals actively inherit the human spirit of the past and bear all the pressures of the times on human destiny and life by virtue of their own existence. In this sense, Pasternak is actually a spiritual symbol. He is the spiritual height that Wang Jiaxin represents for himself and his contemporaries, so as to reflect on himself and cleanse the fog in his heart. It is through this commitment that individuals can truly become individuals. This means bidding farewell to the craze and noise of fashion, penetrating frivolous words and behaviors, and adhering to a principle that truly belongs to the inner conscience and belongs to all mankind. The embodiment of this principle in poetry is that although you can't live according to your own heart, you should write according to your own heart. This means that this poem reveals another revelation of Pasternak, that is, insisting on inner writing: "From the mist, it reveals not only the inspiration of Russia, but also the poem itself is coming to me: it once again constitutes my trial ..." 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 ". As for the internalization of writing, it means "turning lifelong loneliness into labor", which is actually a portrayal of Pasternak in his poems. He has always been praised as a poet who writes according to his inner conscience. He rejected the worldly noise with his silent mouth and entered the loneliness and sadness of the spiritual world. The affectionate singing of this image in the poem is also the poet's confirmation and internal constraint on his own individual existence. The artistic achievement of Pasternak is mainly regarded as creating a "depth image". This means that it maintains a simple and direct expression from beginning to end, with few rhetoric that needs special interpretation and no decorative images floating on the surface of the language. All words are used to create an internalized image, that is, everything mentioned above. This is fundamentally a kind of arbitrary writing: the impulse to express all comes from the poet's purest and most internalized requirements.