Back to 80: My literary life.

Chapter 731 Chapter 730 "Why all this trouble? - The debate between "civilians" and "intellectuals"

As Song Tangtang watched, she actually tugged at Fang Minghua's arm to signal him to move aside, and then she sat down in front of the computer chair and watched seriously.

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

"You go out by yourself and take Dou Miao with you. By the way, don't forget to pick up the kids at the Children's Palace at 4:30." Song Tangtang said without turning back.

Fang Minghua shook his head and had to leave the study and go downstairs. As soon as he reached the yard, the German Shepherd Dou Miao came up to him and wagged its tail.

"Let's take a walk." Fang Minghua whistled and went out of the door with his hands behind his back. Dou Miao followed behind him. The man and the dog went out of Chaoyang Gate and strolled along the city wall.

I had to do the work my wife assigned to me. I walked around for a long time and saw that it was about time. After returning home, I drove straight to the Xijing Children's Palace.

The two children were learning table tennis here. After Fang Minghua picked up the children and went 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 daughter-in-law.

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

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

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

"Minghua, in recent years, I have noticed that you have paid little attention to the poetry world. I didn't expect that you could write such an insightful article."

"Not caring doesn't mean not paying attention." Fang Minghua smiled and replied, "Don't look at it. Your neck must be stiff. Let me give you a massage."

"No, no, no, you're pressing too hard and it hurts my neck." Song Tangtang rejected Fang Minghua's kindness.

"Don't watch it now. I'll watch it when I'm free. Do you want to bring the two kids back home? I'll go see the kids." After saying that, he stood up and walked towards the door.

Fang Minghua sat in front of the computer and began to revise it carefully.

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

"You two? Playing mahjong? Then there's one more person missing, Lu Yao?" Fang Minghua greeted with a smile.

"We're not playing mahjong tonight. Bai Miao and I want to see what you're writing at home. You didn't even go fishing." Jia Pingwa said.

Fang Minghua chuckled.

"Okay, I just finished it. Give me some advice." After saying that, he took the two of them into his study on the second floor. Xiaoqin quickly brought two cups of brewed tea. Jia Pingwa sat down on the computer chair and waited for Fang Minghua to turn on the computer before he could not wait to read it with Bai Miao.

Why is there so much trouble? ——《The debate between “civilians” and “intellectuals”》

“Since the 1990s, and especially in the past two years, many Chinese poets and critics have joined the long-running debate between “folk writing” and “intellectual writing.”

“The debate is a key, multifaceted node in the discourse of avant-garde poetry. In terms of the avant-garde poetry (self) image, 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 glut of public material, such as poetry and criticism collections, scholarly monographs, articles in folk and mainstream literary journals, local dailies and weeklies, and so on.

Last October, Beijing-based critic Cheng Guangwei compiled a collection of poetry titled "The Remains of Time". In the preface to the "10s Literature Series", Hong Zicheng, the chief editor, pointed out to readers that the atmosphere of poetry in the 80s had changed compared to the 90s.
First of all, he is an intellectual with independent views and positions, and only secondarily a poet.

In contrast, Yu Jian put forward his own view in his "The Light of Poetry Passing Through the Chinese Language" and "The Hardness and Softness of the Poetic Tongue": Folk poetry is a reproduction of daily life experience, a carpenter-like skill, a language movement that penetrates oblivion and returns to the home of existence, and the light reflected by wisdom and soul.
"Second section, why are you arguing?"

As China's social and cultural changes became increasingly rapid and profound, avant-garde art began to thrive and flourish, eclipsing the obstructive forces and making the common obstacles of various new poetry movements in the past become insignificant.

During this period, the identities of contemporary poets were reshaped many times, conflicts and repositioning within avant-garde poetry began to emerge, and the rampant social commercialization, which was seen as a new common obstacle by many people, also prevented poets from working together.

In this way, the focus of the debate between "folk" and "intellectuals" is actually the issue of the inheritance rights of the poet's identity!
In other words, only we and our comrades have the right to act as the torchbearers of the time-honored tradition and gain the symbolic capital brought about by the fact that Chinese poetry has regained its artistic independence!
Section 3: Where does poetry go after the debate?
The evolution of the two concepts from the early to mid-90s has actually provided another possibility for the development of Chinese poetry, that is, a new direction after the conflict. Looking back on this debate today, it has indeed had a great impact on the future direction of poetry and laid the foundation for a diversified pattern again.
Section 4: Poems that “I” think are good.

There are so many towers in Chinese history, but only the four famous towers are recorded in writing. As long as there are words and poetry, the Yellow Crane Tower can be burned down and rebuilt again and again. This is civilization. As long as there are poems, the Yellow Crane Tower will exist. ".
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, human affairs, 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 conclusions. However, Tang poetry 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 "fusion of emotion and scene", he proposed the fusion of "emotion, scene and event". He said: "One time, one event, 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 "mutual verification between people and poems" has a long history and is timeless.
Foreign poetry is also a tradition of Chinese poetry; in short, it is Chinese poetry when expressed in Chinese. As long as it is translated into Chinese, these foreign poems can become part of Chinese language and Chinese literature. After the translation and transformation by 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 achieving spiritual uplift, so it is first of all a personal issue, followed by external influences, such as gaining recognition from readers, the market, and so-called domestic and international recognition. Without this, it can be said that we have lost our original intention.

It's several pages long.

Jia Pingwa looked at it for a while, shook his head, stood up, took a sip of tea, and said, "I don't know much about poetry, so I can't comment on it."

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

(End of this chapter)