Haoyue. Breeze. After dinner, everyone walked to the back hillside of the pine forest and sat on the ground. The wind from under the branches of the aerial seeding forest blew along the ends of my hair. A group of young poetry learners and I listened to the poets Sha Ou, Xu Xunhe, and Tian Mingshu talking about poetry. This chat lasted for a few hours, until the sky was full of stars, and we reluctantly followed the wind back to the guest house.
It was a night in the fall of 1988. Shagu’s trip was invited by Xu Xunhe, a poet from Daliangshan, Sichuan, to go from Chongqing to Mianning to see the Yihai Sea. On the way back from the Yihai Sea, the new generation of forest poet Tian Mingshu invited the sand gull to fly to the forest area to collect the wind, and there was a poetic dialogue under the moonlight that night.
The 1980s was the most active period for Chinese poetry. Headed by Tian Mingshu, the group of “new generation poets in the poetry forest” in the south holds the banner of “forest poets” and is active in the poetry world. At that time, in the northern poetry circle, forest literature was very active. The iconic flag-bearers include Guo Xiaochuan, Shagu, etc. They all wrote a lot of poems on the theme of northern forest area and Korean pine. In 2017, Guo Xiaochuan and Shaou also won the “Lifetime Achievement Award” of the “Centennial Chinese Poetry” Global Chinese Poetry Poetry Award.
Forest literature, an important branch of ecological culture, began to echo, interact, and integrate from the north to the south in the 1980s. Daxing’anling, Yichun, Yakeshi, Daliangshan, Lingnan, Xishuangbanna… The green literary flames are on fire.
Shaguo was born in Chongqing in April 1922. He published his first poem in 1939, his first collection of poems “Songs of the Countryside” in 1945, and his last collection of poems “Looking for People” in 1994. A total of 31 poetry collections have been published, and he is one of the most influential figures in Chinese poetry.
On that day, Shaou and Xu Xunhe came to the Yalong River Timber and Water Transport Bureau, and were surrounded by a large group of literary and artistic youths into the conference room on the second floor of the headquarters. In a cordial atmosphere, Shagu taught everyone the theory and skills of poetry writing. In the audience, Li Bo, Wang Konghua, Xu Ruoping, Song Guangyong, Song Gang, Pan Baohua, Deng Youhua, Pan Tingjun, and me, who are often mimeographed and bound literary publications after get off work, all cherish the arrival of Shagull. This rare lecture.
Pan Baohua, a young literary woman who has just entered the medical and health system in the forest area, was fortunate to attend the lecture that day.
The supplement of Yalongjiang News published in September 1988 published Pan Baohua’s short poem “To the Shagu”: “Time builds a ladder of poetry / 67 years of confession / embedded in A wrinkled forehead/pen is your paddle that doesn’t get tired/helps you drift around day and night”. Soon, Pan Baohua received a letter from Shagu, who encouraged her to read more and practice more writing. In “Shagull Talking Poems” (Volume 2), there are many original texts of correspondence between Shagull and Pan Baohua.
For a young literary and artistic youth who was just learning to write poetry, Shagu’s encouragement was a milestone in Pan Baohua’s life. Up to now, Pan Baohua, whose pen name is “Ying Pan”, still retains the manuscript copy of Shagull’s letters. Over the years, I have moved several times, and this manuscript is still there. This is a piece of spiritual energy that Pan Baohua has always preserved.
After the lecture was over and a group photo was taken, Shagu proposed to fly to the forest to experience Lin Tao in the south. Standing in front of the flying forest, the gull looked far into the distance, and thoughtfully, he took out a pen and notebook from the wallet he carried with him on the spot, and wrote “Go to the Woods”: “Go to the woods, then The life on the side is young / The years grow on the branches and leaves there / The sun is like a needle / Embroiders the land / The sound of the heartbeat in the silence / All consciousness shows its original process / Go to the grove, there / Every grass drips with strings of dew / You will know your own eyes”.
Living in the north all the year round, snow fields, ancient trees, and forests have left a deep imprint on the sand gull’s mind. In front of this flying forest in the south, the seagull burst out with a different kind of feeling and poetry.
Time is short. Wave goodbye. Soon, Shaou sent a group of poems, which were published in the fourth issue of “New Leaf” literary quarterly in 1988 (sichuan forestry literature selection). Among them, the poem “Ya Shui Bureau” reflects the feelings of the sand gulls towards this fertile soil of ecological literature: “The pine forest is ups and downs in memory / the wind, the drunk / throwing sand and stones / the sky is washed by the mountain spring / newly built buildings, small Courtyard/Occupied the wasteland/Nature retreats in the lost/Crossing the river valley, the old yak mountain/Still lush”.
Time is not old. The “blooming” flying forest praised by the gulls and the young poets who grew up with this flying forest are becoming more and more mature. If you go back to Songlinpo, where the gulls used to stand, you can still hear Dicui’s poems echoing in the transliteration of Lin Qingfeng.
Wang Fuxiang, member of China Natural Resources Writers Association and Sichuan Writers Association. In “Poetry”, “Stars”, “Poetry Monthly”, “Poem Selection”, “Green Wind”, “Thatched Cottage”, “Shanghai Poet”, “Earth Literature”, “Ecological Culture”, “Sichuan Literature”, “Guangxi Literature”, “Youth”, “Young Writers” “People’s Daily” (overseas edition) and other newspapers and periodicals published hundreds of poems and essays (articles).
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