Haizi, formerly known as Cha Haisheng, is used to being called "Haizi, a poet of Peking University". 1964, from Huaining, Anhui. 1979 15 years old was admitted to the law department of Peking University, and he began to write poems during his college years. 1983 After graduation, he was assigned to work in the philosophy teaching and research section of China University of Political Science and Law. 1989 committed suicide in Shanhaiguan on March 26th. He was not understood for a long time, but in the history of China's new literature in 1970s, he was a poet who had a comprehensive influence on literature and life. He wrote nearly 2 million words of poems, novels, plays and papers in an extremely poor and monotonous environment. Haizi's life is short, but he has made remarkable achievements. He is the representative of contemporary academic new poets. Facing the sea, spring blossoms is a masterpiece in his lyric short poems. This poem has three chapters. The first chapter fictionalizes a picture of life that is free and independent, far away from the hustle and bustle of the world, and a fresh and moist breath comes to my face. The second and third chapters express the preciousness of family friendship, and a warm and sweet breath comes to my face. This poem says "facing the sea, spring blossoms" twice, both of which are expressions of good feelings. In his outlook on life and values, he not only affirmed secular life, but also refused to degenerate into a layman. The poet's enthusiasm and openness from the beginning to the final closure. It shows that Haizi's poems contain some complicated and contradictory things behind the purity, clarity and secularization of emotions. ; "Facing the Sea" was originally faced with emptiness, but Haizi had a unique eye and saw "spring blossoms". "Spring Blossoms" is the poet's "heart painting", the gentle hometown of dreams, and the poet's infinite reverie.

Loneliness is an eternal topic for human beings, and it is also a problem that must be faced squarely. The poet Nishikawa was a good friend of Haizi before his death. He said, "For us, Haizi is a genius, but for himself, he will always be a lonely king, a short-lived lover and a rural intellectual." His loneliness is not that the society alienated him, but that he consciously closed himself after being frustrated, transferred this loneliness and loneliness to poetry creation, and opened up his own spiritual utopia, which ordinary people do not understand. You can't find a TV, a tape recorder or even a radio in his room. He writes in poverty, monotony and loneliness. He can neither dance nor swim nor ride a bike. This is a real Haizi. In his view, poetry is something that returns freedom and loneliness to mankind. In his masterpiece Facing the Sea and Blooming in Spring, it was written before his death. This is Haizi's wish to his lover when he was desperate: "Give every river and mountain a warm name/stranger, and I will bless you/wish you a bright future/wish your lover a happy ending/wish you happiness in the world/I just want to face the sea and bloom in spring", and he left you happiness. A closed self, who usually has little contact with people, is depressed in reality, and has passed by several times in love, which makes him more like a lonely child. Haizi is actually a lonely singer and an ethereal poet. On the surface, he is lonely, but he writes poems, builds poetry mansions, enjoys the beauty of loneliness alone, and is also a spiritual rich man who is always addicted to his imaginary spiritual home. Thinkers are always lonely. The deeper a person's thoughts are, the harder it is for him to find a bosom friend in life. In this sense, waking up often means pain!

Haizi's lyric short poems have great power to transcend time and space and invade people's blood and soul. The tragedy of his life experience contributed to the immortality of his short poems. It can be said that Haizi's departure on March 26th, 1989 marked the end of the era of pure singing in China's contemporary poetry. Until today, we haven't seen more pure lyrics than Haizi's.

2. Ditan and I (excerpt) (Shi Tiesheng)

Shi Tiesheng, a Beijinger, responded to the call of the "Cultural Revolution" and went to Shaanxi to farm. Paralyzed by overwork, he returned to Beijing to concentrate on literary creation. Now he is a professional writer. His works include My Distant Qingping Bay, The Story of Jumping in the Queue, Summer Rose, Albizia Tree and so on. Ditan and I (199 1) are the author's anatomy of my writing in the past ten years from the content, thought, form and writing behavior itself, in order to find reasons for writing (living). "I started thinking about writing from the day my legs were disabled. Unexpectedly, this disabled person never wants to leave me, so he always asks me a question: Why do you want to live? This may be my motivation to write. In other words, find a good reason to live. "

◆ Shi Tiesheng once explained his name like this: "Where I have devoted my efforts, I can't throw them away. I often feel that this is the symbol of my name, so that history can live like iron, so that I can keep watching. I am not constantly reading these words, but constantly using these crumbling footprints to examine the soul that has been writing and see the possibility and destination of this soul. " This passage is also the best interpretation of his works.

In this deserted garden, the author spent several years, and finally finished his thinking and interpretation of life. This process is arduous, but it is also necessary. Now, let's see what kind of physical struggle and spiritual baptism the author has experienced. Look at Shi Tiesheng's thinking about life and death. He thinks: "Death is an inevitable festival." In other words, death is the purpose and life is the process. Therefore, Shi Tiesheng changed Confucius's "I don't know life, how can I know death" to "I don't know death, but I know health." So he told others that "people sometimes pay too much attention to our return to nothingness and forget that we originally came from nothingness". Shi Tiesheng wrote in another poem: "In the afternoon, if the sun is silent/can you hear it/where did it go?" /In the face of light, or at the extreme of thinking, time is ignored in existence/life and death are the same, that is, process is the purpose, and death is a kind of regression. Death in Shi Tiesheng's eyes has the warmth of returning home.