1. Wang Jiaxin. He once used the pen name Beixin, etc., and was a professor of literature.

Born in Danjiangkou, Hubei Province in 1957. In 1972, he entered Xiaochuan Middle School in Danjiangkou City, Hubei Province. After graduating from high school in 1974, he went to the countryside to work in Xiaochuan Agricultural Chemical Factory. In 1977, he was admitted to the Chinese Department of Wuhan University and began to publish poems while studying in college. After graduation in 1982, he was assigned to teach at Hubei Yunyang Normal College. In 1983, he participated in the youth poetry meeting organized by Poetry Magazine. In 1984, he wrote the poems "Chinese Painting" and "Poems on the Yangtze River", etc., which attracted widespread attention. In 1985, he was seconded to Beijing's "Poetry Magazine" to engage in editorial work, and published the poetry collections "Farewell" and "Memorial". In 1986, the style of poetry changed and became more solemn, bidding farewell to youthful writing. The representative works of this period include "Touch", "Landscape", "Premonition", etc., and the poetic theory "The Encounter between Man and the World". He went to the UK as a visiting scholar in 1992, returned to China in 1994, and was later transferred to the Chinese Department of Beijing Institute of Education as an associate professor. In 2006, he was appointed as a professor by the School of Liberal Arts of Renmin University of China, where he offered courses on comparative studies of Chinese and Western modern poetry and creative writing courses.

Author of poetry collections "Memorial" (Changjiang Literature and Art Publishing House, 1985), "Wandering on the Cliff" (Hunan Literature and Art Publishing House, 1997), and "Wang Jiaxin's Poems" (People's Literature Publishing House, 2001) , "The Staircase" (English translation, Wellswap Publishing House, London, 1993), poetry collection "The Encounter between Man and the World" (Culture and Art Publishing House, 1989), "The Nightingale in Its Own Time" (Shanghai Oriental Publishing House Center, 1997), "Poetry without Heroes" (China Social Sciences Press, 2002), literary essay collection "Passion for Secrets" (Beiyue Literature and Art Publishing House, 1997), "Angel Sitting on a Low Bench" (China Workers Publishing House Society, 2003) etc.

He has also edited "Selected Chinese Contemporary Experimental Poems" (Chunfeng Literature and Art Publishing House, 1987), "Selected Contemporary European and American Poems" (Chunfeng Literature and Art Publishing House, 1988), "Poems of Important Foreign Poets of the 20th Century" "(Henan Literature and Art Publishing House, 1993), "Collected Works of Yeats" (three volumes, Oriental Publishing House, 1996), "Selected Poems of Modern European and American Poetry Schools" (three volumes, Hebei Education Press, 2003), "China Poetry: Memo from the Nineties" (People's Literature Publishing House, 2000), "Classics of Contemporary Chinese Poetry" (Chunfeng Literature and Art Publishing House, 2003) and the translation collection "Collected Poems of Paul Celan" (co-translated with Rui Hu, Hebei Education Publishing House, 2002) and many more.

He once participated in the "Chinese Language Broad Vision" project hosted by Professor Yan Liqin of the Central Institute of Educational Sciences and served as the editor-in-chief of the first volume of high school. He has won various domestic poetry awards, and has won first prizes for scientific research papers and scientific research books from the Institute of Education. He is a director of the "Chinese Poetry Society" of the Chinese Writers Association.

His poetic works and poetic articles have been selected into many important domestic poetry anthologies and theoretical criticism anthologies, and have been selected into many contemporary Chinese literature history textbooks by Peking University, Fudan and other universities. His poem "That Day in the Mountain" "Border" was selected by the People's Education Society as a Chinese language textbook for the first grade of junior high school. When he wrote this poem, he was still a college student who had just entered the university campus from a remote mountainous area. He had lived in five or six places with his parents' job transfers, so his childhood was full of fantasy, and he became a talented person. Write this poem. The poem "Pasternak" was selected by the People's Education Society as a Chinese textbook for high school students.

From writing "Pasternak" in 1990 to later writing "A Lonely House by the Sea", "Kafka", and "Wake Up" while traveling in Europe, his influence in the Chinese poetry circle has gradually increase. The fate of these exiled or quasi-exiled poets was the main source of his writing. He tried to write a rare history of poetry writing through conversations with numerous dead souls. There are often alarming monologues in the works, and the writing style is sad. After 1996, represented by "London Essays" and "Elegy", new explorations of poetry began. Published poetry collections include "The Voice of a Palm" and "Swimming on the Cliff".

Wang Jiaxin seems to be a very sincere poet. In other words, his personal temperament is almost consistent with the aesthetic style of his poetry: concise, firm, and seemingly profound. I mean "A Man Who Split Wood for the Winter," "Kafka" or "Varykino Ballade." As for those things that are heavily embedded in foreign poetry and euphemistically called intertextual writing (it looks like a Chinese inferior cement wall covered with colorful fragments of foreign glass, sparkling and dazzling), I think this is the same as a poet's Sincere labor has nothing to do with it; in other words, they created another style of Wangjiaxin.

In the sincere Wang Jiaxin, we fully realize the true meaning of Rilke's famous saying: Holding on means everything. Mengwu poetry became famous in the later period. After passing through the third generation poetry trend and then to the current personalized writing, the situation has changed and the tide has ebbed and flowed. Many of the poets who came into being at the same time as Wang Jiaxin drifted overseas, many changed their careers to the sea, and many others were forced to stand down due to the vigor and talent of the rapidly rising latecomers such as Xichuan and Haizi. Wang Jiaxin has remained unchanged and has remained fresh for a long time. He has gradually become a leading figure in today's poetry world, appearing on the same stage as the latecomers such as Chen Dongdong. All this cannot but show that Wang Jiaxin has a certain character of persistence and independence. This kind of character not only contributed to his success in reality, but was also an important factor in the formation of some of his outstanding works. There is no doubt that Wang Jiaxin is not a poetic juggler who enjoys playing with complicated techniques. For a long time, he has been committed to the creation and exploration of "depth images". The concentration and depth of his thinking enable him to complete this aspect of work better than others. Or, conversely, it was the deep and single nature of his thinking that prompted him to consciously or unconsciously choose to construct his poetic kingdom from this perspective. In a series of works such as "Iron", "Crow", and "Stairway", we can roughly touch the characteristics of Wang's poetry: language is like nails cutting into the shell of a single image from multiple angles, trying to reach its core and exhaust it at the same time. The multiple connotations of an image; the frequent use of monologue techniques makes this intention appear sharper (for the image) and clearer (for the readers); in addition, an unspeakable melancholy air runs through the lines - this It is the most direct expression of Wang Jiaxin's personal temperament in poetry, which enhances the power of the work to impress people. These qualities are evident in the song "Pasternak" for which he gained widespread fame. In the poem, Pa is no longer the master who continued to write in Russia, but has become an image walnut in the hands of the Wang family. Wang Jiaxin injected his most important life feelings into it and talked about his hidden pain and experience. In this sense, Pasternak is also Wang Jiaxin. Therefore, the success of this poem is natural - there is no way to create a more in-depth and true interpretation of the image of "self" at multiple levels and angles, especially for Wang Jiaxin, who is good at this. . The brilliance of "Kafka" is not unrelated to this. Wang Jiaxin's temperament is partly close to that of Kafka: a kind of gray determination and doomed melancholy. This allowed him to approach the Austrian genius's heart to a certain extent and partly express his inner voice. Kafka described himself as a burrowing animal, and Wang Jiaxin in his sincere state is also like a burrowing animal, always digging in one direction. Perseverance finally made him achieve something, and also distinguished him from Ouyang Jianghe who danced around like a butterfly showing off his skills. Needless to say, Wang is not as good as Ou in terms of technical sophistication. But this just makes Wang Jiaxin perfect, so that he simply does not work on the surface of words, but goes deep into the inside of things. Therefore, some of his outstanding works are clear in appearance but profound in content, and have the power to move people's hearts. You must know that in our era, poems that directly address people's hearts are as rare as wild swans on the verge of extinction. Therefore, the sincere Wang Jiaxin is extremely precious.

Unfortunately, this is not all Wang Jiaxin, or as I said, there is another style and character of Wang Jiaxin. Character is style, and poetry is like person. This ancient proposition is particularly obvious in Wang Jiaxin (this is related to the fact that he is not as good at and willing to "transform" as Xi Chuan). Although I love and am inspired by some of Wang's work, I have to point out that he also exhibits a degree of hypocrisy. I realized this when I read "Swimming on the Cliff". Wang has a touching confession in "Pasternak": The tears of the northern livestock/the maple leaves burning in the wind/the darkness and hunger in the people's stomachs, how can I/put aside all these to talk about myself? . However, after reading through the entire collection, I have to say that I have a feeling of being deceived, a feeling of being incited to tears and finally finding out that the other person was just putting on a show - Wang was just talking about himself, regardless of everything else. Wang regarded his melancholy and frustration as the only and highest pain in the world, and expressed it repeatedly in many poems, for fear that others would not know. This reminds me of a narrow-minded, narrow-minded, narcissistic little man who sighs with sorrow over some minor disappointments. After reading his collection of essays "Passion for the Secret", I felt the same way.

In "The Hungry Artist", he also reflects to some extent the poor situation of several foreign artists and their independent character; however, what makes Wang feel really painful and angry in the article is his experience as a poet but working for others. . In more chapters, he pretended to be modest and revealed his impressive recitation achievements abroad and the layman's opinion that a certain audience thought his works were better than Milosz's. As for the "tears of northern livestock" and the "darkness in the stomachs of the people", there is not even a shadow - of course, the poet Wang Jiaxin is also one of the 1.3 billion people, and expressing himself is probably speaking for the people. . I really have nothing to say about this. But from this point of view, those palace-style poetry writers in history are more qualified than Wang Jiaxin to shout the Zhuang language "How can I leave all this to talk about myself", because after all, they also described the laughter of a group of people. Later, I had the opportunity to read Wang's long poem "Reply", and the title was exactly the same as Bei Dao's original work. Unexpectedly, after paying homage to him, he realized that there was something in it that meant he was making angry remarks to his divorced wife. This poem is overweight in size, but compared with Bei Dao's sonorous twenty-eight lines, its state of mind, vision and feelings are very different. Of course, there may be some technical improvements. However, if bare technology is not driven by the atmosphere, it will only bring confusing consequences, not to mention that technology is not the king's strong point. Poet Wang has rich experience and probably knows very well what will happen if he really cares about and expresses "the maple leaves burning in the wind" and the "darkness in the people's stomachs" in this situation, so he is just showing off. , is not actually implemented. This not only made him dwarfed by Bei Dao, but also made him inferior to Isha, whom he despised. Fortunately, Wang Jiaxin had already had theoretical smoke bombs to cover his retreat calmly. As early as in "Answers to Forty-Four Questions", he made a lofty argument: Only literature can be produced from literature, and poetry can be produced from poetry. This sentence is often ignored, but it is actually the theoretical basis for his "intertextual writing" that is highly touted by some so-called critics. I just want to ask this: Where did the first literature come from? Where did that original poem come from? Life can only be life everywhere. Aren’t Wang Jiaxin’s best works derived from the pain he experienced in life? Once he not only consciously avoided the people and the earth, but also lost his own sense of pain, he could only shrink into the quotations of the masters and weave "texts" that seemed colorful but were actually poor and empty. I don’t think there’s anything wrong with quoting foreign names and place names in poetry – now is the era of globalization, a certain degree of “world literature” is gradually becoming possible, and traditional images in the literature of various ethnic groups can be used universally – but When the most exciting part of a poem is the famous line of a foreign uncle, and the transfer, development and even the creation of artistic conception of the whole poem are based on this, I really can't see how this kind of writing can be positive for the development of literature. significance. Based on the plausive and sanctimonious attitude of the advocates and practitioners of this style of writing (Wang is not the only one), I can only call this kind of writing: hypocritical writing.

2. Wang Jiaxin: studied at the No. 8 Middle School in Anshan, Liaoning from 1983 to 1985, graduated from the Accounting Department of Dongbei University of Finance and Economics from 1985 to 1989, worked in the Chinese Institute of Certified Public Accountants of the Ministry of Finance from 1989 to 1991, and worked in Finance from 1991 to 2001 Secretary of the Office of the Minister of the General Office of the Ministry of Finance, Director of the Department of Science, Education and Culture of the Ministry of Finance from 2001 to present

Morton Hunter, an American writer (1927-1983), was a writer who was good at writing inspirational articles and also a A professional psychologist, his representative works include: "Blow", "The Story of Psychology", etc... He is a professional writer with high reputation in the cultural festival. His "One Step, Another Step" was included in "If We Forgive God" compiled by American writer Barbara Linda, and the story was also included in middle school textbooks. In addition, "Chicken Soup for the Soul: A Sunny Growth Journey", a book that contains inspiring growth stories, also includes his related works. In his early years, he served in the Air Force and served as an Air Force pilot. During World War II, he flew a reconnaissance mission over Germany.

Morton Hunter’s childhood (One step, then another step, the origin of part of the content) American writer Morton Hunter was weak and timid since he was a child, and never dared to take risks. Once he followed his companions to climb a twenty-meter-high cliff. When he climbed to the stone shelf two-thirds of the way from the top of the cliff, his whole body was shaking out of fear and he couldn't get up or get down. Instead of helping, the other friends laughed at him and went home. Fear and fatigue made him numb all over, unable to move, and he could only cry on the stone shelf.

In the dusk, his father's flashlight illuminated Hunter. Hunter, who was in shock in the dark night, might fall at any time. Facing the danger, the father, who knew his son's nature well, did not go up to the stone shelf to carry him down, nor did he move a ladder to let him down, or use a rope to hang him down. Instead, he asked him to climb down from the stone shelf by himself. Others may think that my father is too adventurous and too hard-hearted. So how did his father help him get rid of his face? His father did not scold him, but first comforted him and stabilized his mood, "Come down, kid, dinner is ready." Hunter cried and said, "If I don't go down, I will fall, I will fall to death!" "My father enlightened me and said: "Don't think about how far the distance is. Just think that you are taking a small step. You can do it. Look at the place where my flashlight shines. You can see the place under the stone shelf. "A rock?" "See it," Hunter said. Next his father guided him to climb down the first step. "Now put your left foot on that rock, don't worry about the next step, just listen to me." Hunter stretched out his left foot and stepped on it tentatively, and suddenly gained confidence. His father encouraged him: "Very good." "Now move your right foot to a place slightly lower on the right. There is another foothold there." Hunter did so, and his confidence increased greatly, "I can do it. . ”

Hunter moved only one step at a time, slowly climbing down the cliff, and finally fell into his father’s strong arms. Although he cried for a while, he felt a great sense of accomplishment. This experience enabled Hunter to realize a philosophy of life: Whenever you feel that your future is unclear and you are discouraged, don’t think about the rocks far below, but focus on the first step. Take this step before taking the next. Until you get to where you want to be.

Hunter’s father’s art of educating his children is superb. He knew that Hunter needed to exercise his courage and increase his methods and experience in overcoming difficulties. He could go up the cliff and carry Hunter down to escape danger, but what should Hunter do if he encounters danger in the future? You can't always rely on your father, you can only rely on Hunter himself.

During the process of his son's escape from danger, Hunter's father only provided encouragement and guidance, and Hunter did everything himself. From this story we see: Let the child experience it, stimulate his own potential, eliminate dangers by himself, and achieve success.

The specific operation is: first find a foothold that Hunter can reach, then guide him to move a small step, then find a foothold that can be reached, and move another small step. The foothold should be steady and the steps should be small. Take one step and then another to reach the destination. This is the only way!!!!!!

January 1945, at Wharton Air Force Base in England. A captain pilot accepted a mission to fly a Mosquito twin-engine aircraft without any weapons, equipment and protective facilities into the German homeland to perform reconnaissance missions. He felt that it was almost impossible to complete the mission. He imagined that the cockpit of the plane was hit by a shell, and his own blood was spattered, and he did not even have the strength to parachute.

The next day, as he taxied on the runway, he told himself that now, just take off and fly. When he reached an altitude of 25,000 meters, he warned himself that what he had to do now was to maintain this course for 20 minutes under the guidance of the ground radio, and he would be able to reach Sauven Island in the Netherlands. This was not difficult to achieve.

In this way, he kept telling himself that next, he would just fly over the Netherlands, which was not difficult, and then he would fly to Germany, so there was no need to think about anything else. And, there's rear radio support.

In this way, one journey after another, the captain finally completed his mission. When he accepted the reward from the Allies, he said, The reason why I became a lone hero was entirely because of the revelation of an experience I had when I was a child.

This person is Morton Hunter. The story just now is the first half of the original text of "One Step, Another Step" (it was deleted when it was included in the textbook). The author said that the reason why he was able to overcome difficulties was due to the inspiration left by an experience when he was a child. Then, he talked about an experience of climbing a cliff in the text, which is the content of "Take One Step and Another Step" that we have studied. This cliff is like many difficulties on the road of life. When dealing with it, we should not be timid about difficulties, but should calmly break down the difficulties, step by step, step by step, and persist to the end. In this way, we can grow small victories into big victories and promote success. Difficulties turn into victories.

For us, a 65-year-old man writing about such an experience on a cliff in his youth should have richer connotations and allow us to have more experiences.

Here, you can see the impact of an experience on a person, explain the meaning of difficulties in life, learn about different people's attitudes towards setbacks and difficulties, and also analyze the different attitudes and methods adopted by different types of people when facing the same problems... ….

We should also move from books to society, from small cliffs to big life.

[Edit this paragraph] Take one step, take another step. Original text reproduced

It was a sultry July day in Philadelphia. Although it was fifty-seven years ago, the sweltering heat was still there. I can still feel it. The five little boys who were with me at the time were tired of playing marbles and wanted to find new tricks to play.

"Hey!" Ned said, "We haven't climbed the cliff in a long time."

"Let's go climb now!" one of the children shouted. They ran towards a cliff.

I couldn't make up my mind for a moment. Although I really hope that I can be as lively and brave as them, I have been sick for eight years since I was born, and I have always kept in mind my mother's advice not to take risks.

"Come on!" My best friend Jerry shouted to me, "Don't be a coward."

"I'm coming!" I responded and followed them. run.

We finally came to a clearing. The cliff stood on the other side of the clearing. It is a vertical cliff with many protruding rocks, broken earth and unkempt shrubs. It is only about twenty meters high, but in my eyes it is an unattainable and dangerous peak.

One by one, the other children climbed up toward a narrow rock shelf two-thirds of the way to the top of the cliff. I fell at the end, trembling all over and breaking out in cold sweat, and climbed up with them. My heart was pounding in my bony chest.

I finally climbed up and squatted on the stone shelf. I was terrified and tried to lean in as much as possible. The other children slowly moved towards the edge of the stone shelf. I watched and almost fainted with fear.

Then, they started climbing to the top of the cliff again. They planned to go home along a circuitous path from the top of the cliff.

"Hey, wait a minute," I begged weakly, "I can't-"

"Bye!" said one of the kids. The other children also laughed.

They climbed up to the top of the cliff, turning left and right, staring down at me. "If you want to stay there, just stay there." One child mocked, "You're welcome." Jerry seemed a little worried, but he still left with everyone.

I looked down from the stone shelf and felt dizzy; there was absolutely no way I could climb down, I would slip and fall to my death. However, the climb to the top of the cliff is more difficult because it is steeper and more dangerous. I heard someone sobbing and wondered who it was, until I realized it was me.

Time passed by minute by minute, and twilight began to close. In the silence, I lay on the rock, numb with fear and fatigue, unable to move.

It was dusk, stars appeared in the sky, and the earth under the cliff became darker and darker. At this time, a flashlight light came and went in the woods. I heard the voices of Jerry and my father! My father's flashlight shone on me. "Come down, child," he said in a comforting tone, "supper is ready."

"I can't get down!" I cried, "I will fall, I will fall Damn it!"

"Listen to me," my father said, "don't think about the distance. Just think about the small steps you can take. Looking at the place where my flashlight shines, can you see the rock under the stone shelf?"

I slowly moved my body over. "I saw it." I said.

"Okay," he said to me, "now put your left foot on that rock. Don't worry about the next step. Just listen to me."

This seems to work. get. I carefully stretched out my left foot to explore the rock and stepped on it. I suddenly felt confident. "Very good," my father shouted, "Now move your right foot and move it to a slightly lower place on the right, where there is another foothold." I did it again. My confidence soared. "I can do this," I thought.

I moved only a small step at a time, slowly climbing down the cliff. Finally, I stepped on the rock under the cliff and threw myself into my father's strong arms.

I sobbed for a while, and then I felt a huge sense of accomplishment. This is an experience I will never forget.

I have found many times that whenever I feel that my future is unclear and discouraged, I can cope with everything as long as I remember the experience I learned on that small cliff a long time ago.

I reminded myself not to think about the rocks far below, but to focus on the first small step. Take this step and then the next until I reach where I want to go. At this time, I can look back with surprise and pride at how long the journey has been.

Although it was annoying when I was a child, it was also very gratifying and enviable!

Professor Xiaosi Lu Weiluan (1939-), pen name Xiaosi, was born in Hong Kong and native of Panyu, Guangdong. He is a famous novelist and educator in modern Hong Kong. He won the second "Outstanding Educator Award" of the Hong Kong Institute of Education. 2003》. She is the director of the Center for Literary Studies at the Chinese University of Hong Kong. After coming to Hong Kong in his early years, Xiao Si taught in primary and secondary schools, so he has considerable experience in education. He is currently writing a column titled "A Glimpse of Thoughts" in the supplement of Hong Kong's Ming Pao newspaper.

He also has the pen names Mingchuan and Luluan. He graduated from the Chinese Department of New Asia College, The Chinese University of Hong Kong in 1964. The following year, he entered Luo Fuguo Normal College for further study and served as a teacher in several middle schools. In 1973, he worked as a literature researcher at the Institute of Humanities, Kyoto University, Japan for one year. From 1978, he served as a teaching assistant and lecturer at the Chinese University of Hong Kong. He also served as a consultant to the Hong Kong Young Writers Association and a columnist for many newspapers and periodicals. He was engaged in prose creation and collecting and organizing modern Hong Kong literature. historical data. In 1981, he received his master's degree with his thesis "Literary Activities of Chinese Writers in Hong Kong".

Published works include "Talk on the Road", "Notes of Cheng Jiao", "Riying Xing", "Selected Comics of Feng Zikai", "Bu Qian" and the collections "Seven Good Anthologies" and "Seven Good" "New Anthology", "Three's Company", etc. He once edited "The Melancholy of Hong Kong - Hong Kong in the Literary Portrait (1925-1941)", co-edited "Mao Dun's Hong Kong Essays", and researched in "Hong Kong Literary Zong".

Xi Murong, (1943-), female, Mongolian, famous poet, essayist, and painter. Xi Murong's full name is Mulun Xi Lianbo, which means big river. "Murong" is a homonym of "Mulun". Born in Jingangpo, a suburb of Chongqing, on October 15, 1943, his ancestral home is Ming'an Banner, Chahar League, Inner Mongolia. He moved to Hong Kong in 1949, spent his childhood in Hong Kong, and later moved to Taiwan with his family. In 1956, he entered the Art Department of Taipei Normal University, and in 1964 In 2001, he went to the Royal Academy of Arts in Brussels, Belgium, for further studies and entered the advanced oil painting class. In 1966, he graduated with first place from the Royal Academy of Arts in Brussels, Belgium. In 1970, he published works in "United Supplements" under the pseudonym Mullen. Returned to Taiwan in July and taught art in Hsinchu Normal College. In the following years, he was invited to participate in many provincial and international art exhibitions. He also contributed articles under the pen names of Xiao Rui, Mo Rong, Mulun Xi Lianbo, etc., and most of his works were prose. In September 1989, I went to the hometown of my father and late mother and saw the Mongolian Plateau for the first time.

Xi Murong has devoted herself to painting since she was fourteen years old. She has been a professor at Hsinchu Normal College in Taiwan for many years and still regards it as her main occupation. As a professional painter, Xi Murong has had many solo exhibitions at home and abroad, and has won the Belgian Royal Gold Medal, the Brussels Municipal Government Gold Medal, two bronze medals from the European Artists Association, the Golden Tripod Award for Best Lyrics, and the Zhongxing Literature and Art Medal New Poetry Award. Writing poetry is just a way to rest after a tiring day. She wrote poems to "commemorate a period of time that has passed away, and to commemorate the small world that only existed in my heart." The word "true" is cast in the poem and has a distinct personality. Her poems are full of understanding and understanding of human feelings, love and nostalgia. He has written more than 50 kinds of poetry collections, essay collections, picture albums and anthologies, with readers at home and abroad. In the past ten years, I have devoted myself to exploring Mongolian culture, taking my hometown as the theme of my creations. In 2002, he was appointed as an honorary professor of Inner Mongolia University. The new work "Xi Murong and Her Inner Mongolia" uses beautiful words and photos taken by herself to record Xi Murong's pursuit of nomadic culture in the past 17 years since her encounter with her "original hometown" in 1989