This article is from: Guangming Daily
Yunnan Lijiang Lugu Lake Landscape Vision China/Bright Pictures
Poet Feng Na Good at writing objects and landscapes in poetry. From the frontier scenery of Tibetan areas in Yunnan to the different natural scenery in the north and the south, from the shouting and growth of plants and animals to the touch and resonance of utensils and craftsmanship. With a calm and rational, sometimes even stern style, Feng Na conducts objective lyricism in the review and observation of objects and landscapes – a percussion of life and existence with a kind of emotion that transcends the individual, private and daily. Questions and Inquiries.
Feng Na grew up in Lijiang, Yunnan, an area inhabited by ethnic minorities. Her childhood experiences and teenage growth made this magical land and her beliefs deeply engraved in her soul. , became an important nutrient for her poetic talent. The unique imagery of borderland scenery in her poems and her unique imagination of objects and landscapes benefit from the nourishment of this nutrient. The landscape of Lijiang in Yunnan gives Feng Na a poetic vision of “animity”. She faced other life forms in an equal and awe-inspiring manner, and listened carefully to the many teachings, wisdom, mysteries and revelations contained in all things in nature.
In her poems, the sky is warmed in the throats of the sea singers, and the musical instrument Mbila from Africa “knocks out the cracks of the ore” and “females” under the fingers of the players. The sound of a lion chewing on a bone”; Locke from an exotic country “gradually grew a tongue belonging to the plateau” in Lijiang, which she loves. Feng Na is good at using precise verbs such as “warm up”, “knock out” and “grow out” to connect different objects and worlds, allowing different images and words to grow naturally and wantonly like the order of nature in her writing. The boundaries of life and objects. She is better at conjuring the inner growth rings and life, the former enthusiasm and passion through the surface texture of the object image, so as to establish a private and quiet communication between the lyrical subject and the object image.
For example, she found the secret of life in the black coal and the lyrical subject in Shanxi, “In Shanxi, a lump of coal presses itself on a truck / They are like me, afraid of the strong wind in the west entrance / Careful A heart that has been tucked away will spontaneously ignite when you lose your mind.” Another example is through the life induction of a enamel wooden bowl, she rediscovered her own gender and experience, “If I suddenly become a female beast, it is a fiery kiln change / If there are cracks in my body, it is you who are on fire. Patience in / Most of the time I’m obsessed with being a silent vessel / It’s not enough that you washed me with the whole ocean”.
In her poems, we can often read the dialogue between her and nature on the level of life realization, “She demolished the temple in my prayer/In my unfinished verse Throwing down the seed/I am showing her my eyes-/The solidified statue of the dancer”, this is not a simple statement from the poet’s heart, but the mutual scrutiny and surprise of the dancer and “I” Gift is a kind of mutual enlightenment between all things and “I”. The dialogue structure established by you and me, you and her, etc. in many of Feng Na’s poems is such a two-way inspiring space for the intersection of life and understanding.
Feng Na has a certain awareness of the mission of poetry. She metaphors poetry writing as a poet “feeling the switch of the world” in the dark with a subtle light. Along with language development, technological progress and commercial development, it also brings individuals’ alienation from the existence experience of the world. In her opinion, poetry is the clarification and concealment of the world, and a reflection on human civilization and modern society. “No matter what era you are in, it is necessary for poets to stay vigilant, judge and discern the taste of the era, and understand each The real and mirror images of the times”. In “Orion”, she reflects on the “deafness and blindness” of the vision brought about by astronomy’s naming of constellations, and “Dove” writes about the damage to life consciousness caused by materialism. Facing the development of technology and cities, she has created a unique image of a person and a city being connected by sophisticated automobile instruments, “Every second of burning and consumption makes you deviate or approach/your body is a piece of The instrument / its distraction and error, its dizziness and precision / is recorded by a speed-limited avenue, this Pazhou / this city, this intersection of all traffic lights, is adjusting you…”
People are accustomed to interpret Feng Na’s poetry from the identity of a minority. However, the identity of ethnic minorities or the “original hometown” in the borderlands of Tibetan areas in Yunnan is not so much the identity of Feng Na’s poetry, but rather the achievement of Feng Na’s position as an excellent poet. This not only allowed her to gain the vision of “recognizing the plain from the mountains” in her wandering after that, but also to gain the opportunity to reinvent her hometown through the reflection of “people always want me to mention my birthplace” in other places. . This constant flow of perspective between hometown and foreign land, foreign land and hometown enables Feng Na to have a spiritual vision of entering objects and landscapes, and can start a dialogue between primitive nature and technological life, traditional experience and modern feeling.