Where was Xiang born?

A Xiang

A stranger on the earth (Author: Liu Chun), as the earliest post-70s poet, A Xiang has too many reasons to be concerned, and mutual familiarity has dragged the writing date of this article to this day-A Xiang was invited by me to be the moderator of the forum for two years since he landed on Crocodile website in 200 1 early this year. It can be said that there are countless people on each other every day.

Chinese name: A Xiang.

Nationality: China.

Ethnic group: Han nationality

Place of birth: China.

Occupation: "post-70 s" poet

Representative works: China crocodile and face shadow.

brief introduction

Therefore, every time I mention a pen, I feel that I can't start. Perhaps, I have been looking for a suitable clue to expand those words.

works

In the early 1990 s, Xiang joined the Chinese alligator, even before I contacted and accepted the Chinese alligator. He is an out-and-out "old crocodile". Crocodiles in China are very important in his poems. He once said in an article: "The first contact with underground folk magazines began with the Chinese alligator in Guangxi, specifically, in the summer of last century 1990. At that time, I remembered that my writing was in some kind of depression. Wheat (Li Wenxin) first sent me many crocodiles from China, including 65430. I drifted into contact with the original ecology of poetry writing, which at least told me what' folk poetry' is. Thanks to wheat, he inadvertently gave me a guide. " Therefore, we have reason to believe that although A Xiang began to contact poetry in 1986, his real writing began with Chinese alligator. Judging from his "performance", A Xiang is indeed a standard "folk poet". For more than ten years, his works have only been published in China Crocodile, Face Shadow, Persistence, Expression, Poetry Research, Poetry and People, etc. It is difficult to see his shadow in open magazines, so it is not surprising that his writing state and survival are difficult.

We met in Nanjing in the summer of 2002.

This just witnessed the difficulty of the item-because I have acquired ear disease since I was a child, and my hearing is almost zero, which affects my oral expression ability. His voice is vague, sometimes it can be distinguished, but he communicates more through paper and pen. His short poem Long ago is the embodiment of this situation. Because of the division of sound and vision, the weakness of hearing and the difficulty of oral expression, life becomes fragmented in short sentences. In seemingly unrelated things, A Xiang launched a sad and quiet imagination. In the face of this, I feel deeply sorry and sad. How can a good man not say or hear! But the item does not need pity. In front of his friends, he is cheerful and his smile is a bit exaggerated. This makes people feel that there is no room for sadness in his heart. Therefore, I never felt that A Xiang was different from me. He is optimistic, generous and caring. From a higher perspective, only people with dark psychology are hopelessly disabled. It is precisely because of this that whenever, no matter who, no matter how correct he is, as long as he consciously shifts from arguing about poetry to attacking physical defects, I immediately begin to feel bad about such people.

Xiang is also a collector and researcher of folk magazines.

From the late 1980s to the present, he almost swept out all the poetry magazines. It is hard to imagine that he has collected folk magazines 12 years since he turned 30. Folk magazine, in a sense, is a history of China's poetry development. Since the new period, folk magazines have provided a large number of rigorous and exploratory texts. If no one collects them, they will be buried in the dust of time. A Xiang once co-edited a book "Selected Poems of China New Poetry School", which almost condensed the essence of poetry folk magazines at that time and still has important data value. My first folk magazine, Black and Blue, was also the first publication named after "the post-70s", and it was also coaxed into my hands with a ten-year essence of national poetry newspapers and periodicals that included my works. After the plot succeeded, he also wrote a letter "hypocritically" saying that he was heartbroken. I replied sourly that I should have said the word "heartache"! He may not know that I deliberately gave him a black face for collection. He is a professional collector who knows how to cherish information, but I often forget things. Things that are of special value to others but of little significance to me will be swept out of the house inadvertently one day. In fact, I have always regarded the information of the item as my own information. Once, I wrote an article about anthology, because I wanted to publish it in Southern Literature, I needed pictures. It took several days to scan the covers of more than 30 kinds of folk rare magazines and anthologies several times.

Xiang likes drifting.

He once traveled to the northwest of China, which made his poetry creation break away from the regional concept of talented people in the south of the Yangtze River, and obviously added a kind of anxiety. Due to the influence of various factors, including the body, the anxiety here is not only the dilemma in writing, but also the anger and struggle from the oppression of survival. His feet that keep walking on the earth make us feel that even in his hometown of Jiangnan, he is still a stranger on the earth, just like his signature on the Internet: "Come here, past, no base." Xiang's handling of this life experience in poetry is such a kind of introspection and whispering in wandering.

A Xiang was influenced by Yu Nu and Sha Yi.

Moreover, this effect goes deep into the bone marrow. This may explain why he would rather bear the accusation of "favoring Isa" on the Internet than turn against others. But at the same time, Xiang is also wary of this influence, and the anxiety mentioned above can also be said to be a part of vigilance. "The influence of poetry has become a principle of depression and anxiety." (harold bloom: the anxiety of influence) The appearance of anxiety is the beginning of facing oneself squarely. Judging from A Xiang's works published in some magazines recently, he tried to speak in his own voice, not others' shadows. "I present a state of life in writing, but it doesn't make any sense. In fact, language is a' Tao' to me, and it slowly grows from existence to existence in narrative. You still have to be temperate when you let go. " (Answering the coral question) This is a weak continuation of A Xiang's existing experience and his choice after re-examining himself. A Xiang has been hearing impaired since he was a child, and his feelings about language are definitely different from those of most people. In my guess, it was a feeling similar to snowflakes, weak, light and intermittent. Many of his works are arranged and listed through the superficial phenomena of life, and even deliberately break the normal structure of language to achieve the required effect. "I couldn't help myself and left the rags/sudden panic. /There's a black hole on my face/I'm in a trance, which makes no sense. /The quarrel is getting louder and louder, and my stomach is twitching. /A person is squatting in the dark, shivering,/His hands are cold, his cigarette butts are obviously extinguished, and his black hair turns white. " (Despair) Changing from one scene to another is just a transition from one punctuation mark to another. These chaotic images are superimposed together, giving people an orderly fragment of a messy life. He tried to write what his keen eyesight, weak hearing and sensitive mind perceived on paper by talking to himself, and then passed it on to people. From its speaking speed, we can feel a kind of "clumsy slowness". For the item, only by slowing down can the relatively vague sound become clear. Naturally, this way is desirable and dangerous. If you are not careful, you will slide into a dry, tasteless and empty abyss. But Xiang is working hard and slowly approaching the heights. Regardless of the outcome, this "professionalism" is admirable.

product analysis

In other poems, Xiang is almost an invisible man, looking for the woman he "loves" with sharp eyes. "She" is sometimes a general term, and sometimes it is specific to individuals. Being is a great metaphor, and behind it is disillusionment-

She decided to wash herself.

to plait one's hair

Run away with me.

-"Like a stranger"

In Tired, this disillusionment seems to be getting worse: "Some people still wear masks and their voices are ambiguous. Sometimes before dawn, a crazy woman hangs from the black skirt of the beam/shed, which is more boring than the darkness. //You saw all these things/but you couldn't say anything. " The cruelest thing in the world is that "you can't say anything when you are suffering", as the poem says: "You see/but you can't say anything." Considering the author's physical factors and life experience, this sentence really hurts. However, if we only stay in this understanding, we don't understand the soul of poetry enough. In fact, where in this world is there no conflict between good imagination and dissatisfaction with the present situation of life? Life, for different people, is lonely, scattered and scattered everywhere. Then, some people are destined to find beautiful gold, and some people will harvest ordinary gravel. This "gravel" dragged down the artist and made him. When they face the pressure of survival and fight against it for a long time, they may become Van Gogh and Poe-the harsh environment, and "people" are exposed. From this, we can find that these poems are alienated from A Xiang's early works, from the struggle against the survival dilemma to the meditation on life itself. At this time, Xiang seems to have no intention of deconstructing anything, but trying to restore a living status quo-a universal dilemma of the times based on personal experience. This is undoubtedly a small ambition. We can criticize him for not doing well enough, but we can't ignore this pursuit.

comment

The ubiquitous loneliness in life, and the unavoidable way to accept loneliness-writing, may crush a person or create a person. In this regard, A Xiang has a deeper understanding than us: "In fact, our hearts are desolate/in fact, we are very clear about it ourselves." Because A Xiang can't communicate with people by telephone, I hope these words can warm the lonely poetic road of this stranger.

(Author's Note: Thanks to A Xiang for providing some important information for this article)

Attached to a work

long time ago

A Xiang

Floating objects are difficult to move. Female asthma patients

Buzzing

Sometimes when you stand up, your face becomes

Greedy expression

Often get lost.

blue sky

The wind blew through the leaves. Break free from many insects

Things are different: needle tip or black.