Back to 80: My Literary Life

Chapter 731 730 "Why so much trouble?——The debate between "folks" and "intellectuals""

Song Tangtang watched, and even tugged Fang Minghua's arm to tell him to get out of the way. He sat down in front of the computer chair and looked carefully.

"Hey, didn't you say we would go out for a walk together?" Fang Minghua asked.

"Go out by yourself and take the bean sprouts with you. By the way, don't forget to pick up the baby from the Children's Palace at 4:30." Song Tangtang said without looking back.

Fang Minghua shook his head and had no choice but to leave the study and go downstairs. As soon as he arrived in the yard, De Mudou Miao came up to him with his head wagging.

"Let's take a walk." Fang Minghua whistled and went out with his hands behind his back, followed by Dou Miao, one man and one dog, and they walked out of Chaoyang Gate and wandered along the city wall.

I had to do the work arranged by my wife. I walked around a lot to see if it was almost time. After I got home, I drove straight to the Xijing Children's Palace.

The two children learned table tennis here. After Fang Minghua took the children home, he found that the living room on the first floor was empty. The nanny Xiaoqin was busy in the kitchen, and there was no sign of his wife.

Fang Minghua went upstairs and found Song Tangtang still staring at the computer in the study.

"Hey, your neck isn't sore?" Fang Minghua asked.

"Ah?" Song Tangtang came back from the article and touched his stiff neck.

"Minghua, in the past few years, I have found that you rarely care about the poetry world. I never expected that you could write such an insightful article."

"Not caring doesn't mean not paying attention." Fang Minghua replied with a smile: "Don't look at it. Your neck is stiff. I'll massage it for you."

"No, no, no, your hand is too strong, it hurts my neck when you press it." Song Tangtang refused Fang Minghua's kindness.

"I won't watch it now. I'll watch it when I have time. Bring the two babies back? I'm going to check on the kids." After saying that, he stood up and walked out the door.

Fang Minghua sat in front of the computer and started revising it seriously.

After dinner in the evening, the couple was about to go for a walk. Before they went out, they heard someone ringing the doorbell at the door. Fang Minghua went to open the door and found that it was Bai Miao and Jia Pingwa.

"Are you two? Playing mahjong? There's still one missing, Lu Yao?" Fang Minghua greeted with a smile.

"I'm not playing mahjong tonight. Bai Miao and I wanted to see what you were writing at home, but you didn't even go fishing," Jia Pingwa said.

Fang Minghua chuckled.

"Okay, I just finished writing, please give me some comments." After saying that, he led the two of them through the door to his study room on the second floor. Xiaoqin hurriedly brought two cups of brewed tea.

Jia Pingwa sat down on the computer chair. When Fang Minghua turned on the computer, she couldn't wait to watch it with Bai Miao.

Why all this fuss? ——"The Debate between "Folks" and "Intellectuals"

"In the 1990s, especially in the past two years, many Chinese poets and critics have joined the protracted debate between "folk writing" and "intellectual writing."

"Controversy is a key, multifaceted node in the discourse of avant-garde poetry. In terms of the (self) image of avant-garde poetry, interpersonal relationships in the poetry world, and publishing models, it is different from the earlier game with the literary system."

"What are you arguing about in the first quarter?"

The debate produced a large and excessive amount of public materials, such as collections of poetry and criticism, academic monographs, folk and mainstream literary journals, articles in local dailies and weeklies, etc.

Last October, Beijing-based critic Cheng Guangwei compiled an anthology of poems called "Remaining Photos of the Years." Hong Zicheng, chief editor of the "90s Literature Book Series", pointed out to readers in the general preface to the book series that compared with the 1980s, the poetry atmosphere in the 1990s had changed.

First of all, he is an intellectual with independent opinions and positions, and secondly, he is a poet.

In contrast, Yu Jian put forward his own views in his "The Light of Poetry Across the Chinese Language" and "The Hardness and Softness of the Tongue of Poetry": folk poetry is the reproduction of daily life experience and the craftsmanship of a carpenter. , the language movement that penetrates forgetfulness and returns to the home of existence, the light reflected by wisdom and soul

"Section 2, why are you arguing?"

As China's social and cultural changes become increasingly rapid and in-depth, avant-garde art begins to thrive and flourish, eclipsing the obstructive forces, and the common obstacles of various new poetry trends in the past become irrelevant.

During this period, the identity of contemporary poets was reshaped many times. Conflicts and repositioning within avant-garde poetry began to emerge. The commercialization of society, which many people regarded as a new common resistance, failed to allow poets to do what they wanted. To help each other in the same boat.

In this way, the center of the debate between "folk" and "intellectuals" is actually the issue of the inheritance of the poet's identity!

That is to say, only we and our comrades-in-arms have the right to serve as the torchbearers of the long tradition and obtain the symbolic capital brought by the fact that Chinese poetry has regained its artistic independence!

Section 3: Where does poetry go after the controversy?

The evolution history of the two concepts from the early to mid-1990s has actually provided another possibility for the development of Chinese poetry, that is, a new trend after the conflict. Looking back on this debate from the present, we can see that it indeed had a great impact on the future direction of poetry and laid the foundation for a pluralistic pattern again.

Section 4: What "I" think is a good poem.

There are so many towers in Chinese history, but in the end there are only four famous towers that have written records. As long as there are words and poetry, the Yellow Crane Tower can be continuously burned and rebuilt. This is civilization. Where poetry is, Yellow Crane Tower is there. ”.

Chen Yinke proposed "mutual verification of poetry and history". Poetry is often more real than history. Chen Yinke said: "Although Chinese poetry is short, it includes three points: time, personnel, and geography." He said that there are many assumptions and errors in the "History of the Tang Dynasty". The relationship between time, place, and people is unclear and it is difficult to draw a conclusion. Tang poetry, however, clearly talks about time, place, and people, and talks about people's feelings and relationships, which are integrated into one. Therefore, poetry has historical significance. Du Fu's poems are praised as "poetic history".

At the end of the Ming Dynasty, Wang Fuzhi hid in the mountains when his country was undergoing great changes. He systematically sorted out and summarized the aesthetics of traditional poetry. On the basis of emphasizing "the integration of emotions and scenes", he proposed the integration of "emotions, scenes, and events". He said: "One time, one event, and one emotion, only these forty words can be as wide as thousands of miles and as long as a thousand years." This is true! Poetry is not only a personal emotional history and spiritual history, but also a life history and social history. This is also the reason why the tradition of "people and poetry verify each other" has a long history and is ever-lasting.

Foreign poetry is also a tradition of Chinese poetry; in short, it is Chinese poetry if it is expressed in Chinese. As long as it is translated into Chinese, these foreign poems can become part of Chinese and Chinese literature. After the translation and transformation of Bian Zhilin and Mu Dan, these foreign poems have been transformed and absorbed, just like the translated Buddhist classics have become part of Chinese culture.

We read and write poetry in the hope of gaining a spiritual elevation, so it is first a personal issue, and then external influences, such as gaining recognition from readers, the market, and the so-called domestic and foreign recognition. Without this, it can be said that the original intention has been lost.

Several pages of eloquence.

Jia Pingwa read for a while, shook his head, stood up, picked up the teacup and took a sip, and said. "I don't know much about poetry, so I can't comment."

Bai Miao read it very seriously. As the former editor-in-chief of "Yanhe", he worked under Fang Minghua for many years and knew the weight of this article.

"Can it be published in "Yanhe"?" he asked.

"I want to, but this is a commission from Tianya magazine." Fang Minghua said apologetically, "I have another novel that was also commissioned by Tianya, but it can be published in Yanhe."