"The Destitution of Poetry" - Che Qianzi

serynade

车前子，男，原名顾盼。1963年春生于苏州， 1998年初在北京居住至今。二十世纪七十年代发表诗歌，二十世纪八十年代发表散文，出版有诗集《纸梯》《怀抱公鸡的素食者》《独角兽与香料》，散文随笔集《明月前身》《手艺的黄昏》《西来花选》《偏看见》《云头花朵》《江南话本》《缺一角的拼贴画》《水天堂》《鱼米书》《好吃》《中国后花园》《品园》《好花好天》等。中国作家协会会员，江苏作家协会理事。

Che Qianzi, born in 1963, belongs to the second wave of post-Maoist poets, following closely on the decisive opening created by the slightly older Menglong or Misty poets in the years around 1980. Inevitably, the Menglong poets inspired widespread imitation and dissent among younger poets. In defining his own direction, Che objected to the Menglong poets’ tendency to adopt a heroic, even vatic pose for the poet as the voice of the repressed cultural psyche and the elevated poetic language this tended to entail. Che’s stance is situated in the commonplace, even the trivial, which de-emphasizes personal style and opens into an unbounded range of language and observation. Compared with most other contemporary poets, Che seems unburdened by Chinese history, both recent traumas and the accumulated mass of past cultural achievements, while avoiding the common antithetical response of derisive cynicism. Younger poets necessarily see themselves as releasing the repressed possibilities of a language that had suffered the extremes of instrumentalization during the period of their childhood, yet few if any have been willing to go as far as Che in giving free rein to the playful possibilities of Chinese. Certainly no naïf, Che’s work is remarkably uninhibited, extending into performance, sound poetry, visual poetry, poet’s prose, as well as to the painting and calligraphy he assiduously practices in the tradition of his classical predecessors.

serynade

[ 本帖最后由 Herbsttag 于 2006-12-17 19:36 编辑 ]

mandarin

照片是在北方拍的哈哈，貌似还是道教建筑