In particular, the "International Symposium on Ecology and Poetry and Huahai Ecological Poetry" held in Qingyuan, Guangdong Province on May 17, 2008 had a great and far-reaching impact on all walks of life. Scott Szlovik, chairman of the Literature and Environment Research Association, an international academic organization of ecological criticism, and a professor at the University of Nevada in the United States, commented on this meeting: "It made me see a hope that the environment around us will become better because of our joint efforts." Lu Ye, a famous contemporary poetry critic in China and a professor at Yangzhou University, said: "As far as I know, Huahai advocates ecological poetry, which is the earliest topic in China. This seminar is devoted to the relationship between ecology and poetry, which is groundbreaking. "
On August 16, 2009, Huahai participated in the "International Seminar on Ecological Literature and Environmental Education" held in Peking University, and decided to form the "China Ecological Poetry Team" together with other ecological poets during the meeting. As a result, Huahai no longer "walks alone". Under the influence of Huahai, many Chinese mainland poets and writers are actively joining the team of ecological literature creation, and have a positive and significant impact on the world!
On Hua Hai's Ecological Poems
Xiong Guohua
Huahai, formerly known as Qi Huahai, 1963, was born in Yangzhou, Jiangsu. 1983 graduated from Chinese Department of Yangzhou Normal University (now Yangzhou University). From 65438 to 0993, he moved to Lingnan. He used to be a teacher and a TV man. At present, he is a member of the Standing Committee of Lianzhou Municipal Committee of Guangdong Province, Minister of Propaganda, and an adjunct professor of the ecological literature research team of Xiamen University. Started literary creation in college, 1989 published a collection of poems "Burning Eyes" (a collection of five people), and participated in the organization of "Yangzhou Poet's Corner". Later, he published poetry anthology Walking Alone (200 1), poetry anthology Copy of Huahai Ecological Poetry (2006), poetry anthology Review, Contemporary Ecological Poetry (2005) and Ecological Poetry (2008). He has published more than 3,000 works in dozens of newspapers such as Poetry Magazine, Star, People's Daily, Nanfang Daily, Yangcheng Evening News, Works, Chinese and Western Poetry and Green Wind. , and was selected into various anthologies and won more than 20 awards. In recent years, Huahai devoted herself to the writing and research of eco-literature, and set up a column of eco-poetry criticism in Qingyuan Daily, commenting on the eco-poetry of more than 100 poets. The ecological poetry he advocated and created has attracted the attention of many poets and scholars, and has had a strong response. On May 18, 2008, dozens of experts and poets from home and abroad gathered in Qingyuan City to hold the "International Symposium on Ecology and Poetry, Flower Sea Ecological Poetry" and published the conference collection "Opening the Green Door". During February 2008 1 1 Spring Festival, Hong Kong Phoenix Chinese Channel conducted a special interview on the phenomenon of ecological poetry in Huahai. On August 15, 2009, Huahai was invited to give a speech on "Ecological Poetry-Connection with Nature, Experience and Dreams" at the Asian Intercultural Forum, an international seminar on ecological literature and environmental education hosted by Peking University, and became a founding member of the World Ecological Culture Organization (WEO).
Early creation: walking alone
Up to now, Hua Hai's poetry creation can be roughly divided into two periods, from the early 1980s to the early 20th century, with the poems published in 200 1 and1as representative works. This book is a summary of Hua Hai's 20-year literary creation, showing his process of "writing independently and looking for personal words", focusing on his experience and meditation on individual life. Judging from the content of his poems, Hua Hai, like most young writers, has no lack of ideals and love, but he writes more about natural scenery, seasonal changes, animals and plants, history and culture, rural life, local conditions and customs, permeates personal life experience and philosophical thinking in daily life events, tries to avoid some popular political discourse and public discourse, tries to get rid of the influence of the existing poetry mode, and expresses his poetry experience with personal words to show his independence.
Paying attention to nature and life is the central proposition of Hua Hai's poetry creation, which has already appeared in his early poems. In the poem "Egret", "The hunter's barrel is shaking in the long grass/Egret has no premonition/walks on the surface of a small pond", because "Egret's mind/only immersed in its own reflection/long beak/combing its pure feathers" has no feeling about the hidden danger, but the shotgun finally "exploded", and the leisure and elegance of Egret are in sharp contrast to human murder. The poet quietly shows that human beings kill animals at will and worry about their survival. This kind of worry is a deep ecological worry that excludes anthropocentrism and examines the problem from the perspective of ecological holism.
In Huahai's eyes, everything in nature is alive, and so are mountains: "The mountain sometimes sleeps, sometimes wakes up/wants to talk//The sound of the mountain pours into the woodcutter's blood vessels/He stands on a steep cliff/jumps out of his throat/makes an arcuate arc//The arc gracefully/bounces back/The woodcutter leans against the old pine/wants to stay away/There is another woodcutter. This poem is very spiritual, "the voice of the mountain/pouring into the woodcutter's blood vessels", the natural voice is integrated with human life, turning into a human voice, jumping out of the throat/an arcuate arc ",and also" bouncing back "beautifully. The relationship between nature and people is very harmonious, and * * * lives * *. The same is true of "Paper Pigeon", "A pigeon hatched from scissors/painted two drops of black eyes/it came alive//an ordinary piece of paper/breathing/floating white feathers/a blue crow cooing/the sky flew/began to come alive because of imagination". The poet projected human life, emotion and soul on the paper pigeon, giving it the life to fly. Even when pigeons fly in the sky, they will think of "painfully cut waste paper/in the oven/struggling with the wings of flames/eager to fly" Paper-cut people, paper pigeons, real pigeons, the sky, and even cut waste paper are all closely related in the eyes of poets, which highlights the desire to fly and is very touching. It can be seen that the ecological holistic view provides a new vision for the poet.
Paying attention to natural ecology does not affect Huahai's thinking about history and examining reality. He has written historical and cultural themes such as Fish-patterned Pot, Taibai Moon and Eight Eccentrics in Yangzhou, as well as realistic themes such as Women Who Collect Duck Feathers and Goose Feathers and Agriculture in Spring. Among these themes, Hua Hai's most striking work is Blood of China. From the 5,000-year history of China, he realized that "the most valuable thing is blood" and "the most valuable thing is blood". From the daily Kuafu, to the suicide overlord to the territory of white bones, from Qu Yuan who threw himself into the river, the glass in the prosperous Tang Dynasty, to the rouge in the Qing Dynasty, all kinds of blood permeated it. The poet cut into the history and culture of China from "blood" with dignified brushwork, and made profound reflection in the long history of "blood" outflow. "From the upstream came many magnificent dynasties/storms, and the crown gradually collapsed/dragging the long braid of the Qing Empire/like a wet and cold snake tail/in the thunder of a strong ship and a sharp gun/retreating into the black cave of the ancient continent." In the face of the fact that there is a river of blood, some people are indifferent to "appreciating yellow flowers with teacups"; In the face of the feudal dynasty's "playing bright blood and sucking delicious blood", some people "arranged blood waves into the rules of terracotta warriors and horses/virgins leaning on loyal ministers and filial sons/silence into square Chinese characters" The poet pointed the edge of criticism at the national inferiority-numbness and servility. But the poet is looking forward to "sober blood", calling loudly "sober blood is jumping on the cliff/hunched back/is a waterfall falling straight down". Nowadays, "the blood of China has no way to go/rush to this estuary", "Dapeng Nine Wan Li turned its corner/the hurricane roared from the South Pacific/the blood of China rushed to this dangerous and opportunity/suddenly opened estuary/no way to go". The most successful part of this poem is to extract the compound image of "Chinese blood" from the historical height, which contains many elements of the opposition between history and culture, thus penetrating the essence and dross of China traditional culture, integrating the blood stream, the Yellow River stream and the historical stream, showing a strong sense of hardship and criticism, and showing deep concern for the fate of the country and the nation, and strongly calling for the arrival of a new era of reform and opening up. The whole poem is magnificent, magnificent, solemn and stirring, and has shocking artistic power.
Hua Hai's early poetry creation absorbed the nutrients of China's ancient pastoral poetry, western romanticism, modernism and post-modernism poetry, and was influenced by China's contemporary obscure poetry and oral poetry. Many of his poems are experimental and exploratory. Fortunately, he noticed the linguistic features of poetry, praised the "three-dimensional world" of poetry (that is, the real world, the fantasy world and the linguistic world), gradually explored personal discourse and personal style based on individual life feelings, pursued the aesthetic value of poetry, and created poems with ecological consciousness, such as Shoushan and Egret, which laid the foundation for later ecological poetry creation.
Recent Creation: Towards Ecological Poetry
After 2002, Huahai began to consciously turn to the creation of ecological poems. There are three main reasons for its transformation: first, the reality of ecological crisis, especially the sudden SARS from the end of 2002 to 2003, prompted him to explore the internal reasons for the increasingly tense relationship between man and nature, which led to ecological crisis and environmental disaster. The second is the transformation of personal creation. He felt that his middle-aged writing "should be involved in the current public society with his personal position, attitude and words", and he could not help but pay attention to the increasingly urgent ecological problems and should respond in the form of poems. Thirdly, the fragmentation of ecological poetry, so it is necessary to collect, popularize and comment on it, so as to form conscious ecological poetry creation and criticism, which is the internal demand and trend of the times in poetry creation. Huahai firmly believes that ecological poetry should become the most dynamic and valuable form of poetry in the new century, and began to create, collect, advocate and comment on ecological poetry.
Huahai is a pioneer of ecological poetry in China, and one of the few outstanding poets and critics who can implement their own poetry theory in their creation and guide and comment on other people's poetry creation with ecological poetry theory. The representative and influential ecological poems are published, including Pure Land (Poetry Magazine, February 2006) and Echo of Nature (Poetry Magazine, March 2007), which have appeared in Stars, Chinese and Western Poetry, Poetry Monthly, Poetry Tide and Works. In September, 2006, China's first personal ecological poetry collection, Huahai Ecological Poetry Collection, was published.
Huahai believes that ecological poetry is not the same as traditional poetry describing nature, nor is it "simple ecology plus poetry", but innovative poetry reflecting ecological thought and aesthetic pursuit. Ecological poetry can be developed from two aspects: the theme is to return to nature and reconstruct the relationship between nature and people with the help of language dreams; The opposite is the criticism of modernity and the vigilance of ecological crisis. Therefore, his ecological poems are first reflected in the reflection and criticism of the industrial civilization that exhausted resources and fished, and the warning of the global ecological crisis. In his poems, I suddenly heard the cry of a mountain, a factory sitting on the other side of the river, a strange smell coming from the window, and dust of unknown origin. The poet criticized and condemned the environmental pollution and ecological imbalance caused by human deforestation and over-exploitation and the pursuit of industrial profits. In the collapse of crazy axe saw and blasting mining, the poet "suddenly heard the mountains calling for painful/painful rocks/crying and rolling" in the middle of the night in late autumn, which is of course a surreal technique, highlighting the destruction of nature by human beings; But "sitting in the factory on the other side of the river/drinking a horse and water/spitting dust/strange smell of black smoke in the water" is a real-life scene, which finally makes the third father with lung cancer "leave this village he has lived in for 70 years but didn't know". Industrial civilization is encroaching on human's own home at the expense of ecological environment, and naturally it becomes unrecognizable in the process of human's arbitrary squeezing. "We are approaching/the mountain recedes/this dark rail rises in the air like two arrows/shoots sharply into the depths of nature//suddenly feels the cold coming/feels that it is our back that is finally shot through" (railway, crossing the scenery). If mankind continues to destroy the natural ecology unscrupulously, it will eventually lead to its own demise. In The Red Light on the Cliff, the poet gave a serious warning to the "desire" expressed by human beings through symbolic means.
Huahai's ecological poems have a state of "clarity and tranquility". This realm not only comes from the concept of "the unity of man and nature" in China's traditional philosophy, but also benefits from the ecological holism in modern western philosophy. Besides the function of criticizing and warning the anti-ecological behavior in reality, ecological poetry should also have unique spiritual value and aesthetic value. Huahai tries to return to nature through the poetic dream of language, recombine the destroyed harmonious relationship between man and nature, and "resurrect and recreate a complete poetic world". In his ecological poems, nature is no longer the object of conquest and occupation, but the home and temple on which human beings live. Man is not the center and master of nature, but only a thing in the universe, a member of the ecological whole, and has an equal relationship with other creatures. People should respect nature and all life. "Let a rising and expanding flame of desire/slowly extinguish in the lake/return to the silence of heaven and earth, but it is an eternal induction between all things" (Tianhu). He is "like an unremarkable stone/touching the breath of the vast forest and broad body temperature with the blood in his skin" (Qiu Guang), experiencing "the cycle of streams and leaves in the four seasons" in silence (evening) and "the cycle of sadness and joy of thunderstorm" (thunderstorm) at night in mountainous areas. He used his heart to communicate with all things in nature, and even heard "a drop of water walking in the secret place of the forest/walking in the lungs of cedars, spruces and countless wild flowers/a drop of water, a drop of water, another drop of water, the whispering of water/merging into a green hill, a prosperous and simple talk" (Tibi River). Here, the poet reveals that everything in the world is an ecological whole and inextricably linked, and people and everything should also have an equal dialogue. Only by staying away from worldly material desires and the hustle and bustle of the city can we feel the mystery of nature in silence and feel the realm of things being transformed: "Silence is two transparent wings/a breeze hangs down and turns up your lips/playing the strings means being cool/forgetting the moment and the past" (early winter). Man and nature should live in harmony. "Like a drunken old ranger/sinking into any tree to sleep/at that moment, there is a purple flower/blooming calmly and obstinately beside it, sending/fresh flowers to the depths of sleeping" (the smell of mountains). This is a kind of "clear realm" in which man and nature are integrated, and it is also a kind of "poetic dwelling" realm of ecological holism.
As an ecological poet, Huahai is a poet full of aura and wisdom. He found that "the mountain sometimes sleeps and sometimes wakes up/wakes up/wants to talk" (shouting for the mountain). He can also "hear the whispers of leaves in the dark", "the pounding heart in the depths of the mountains" (frost marks), feel "the ruins of mountain fires/bare-rooted black-carbon mountains/hidden great pain and emptiness" (Lindao) and experience the "cycle of sadness and joy" of everything. He used ecological thinking to communicate with all things in nature. The so-called "wind rises when the heart feels something" ("wind") is an "eternal induction between things", a "heaven-man induction" called by ancient people in China, and an innate induction of primitive human beings to communicate closely with all things in the world. It is only the gap between modern people and nature that makes this kind of induction degenerate day by day. Ecological holism holds that nature is alive, the whole earth and even the whole universe is a huge and precise organism, and everything in the world is closely related and interdependent. If something goes wrong in the biological chain, it will affect other organisms and produce a chain reaction. This may be the scientific basis of this "induction".
Huahai threw herself into the embrace of nature, opened her heart and all her sensory organs to communicate with everything, talked with everything with an equal attitude and identity, experienced the joys and sorrows of nature, imagined the thinking and living way of animals and plants, and tried to present the living state of things with an original poetic language, thus forming an "ecologically meaningful form". The life of his poems comes from the life of nature; The aura of his poems comes from the aura of everything in the world. This made him innovate in artistic conception, language, skills and form of ecological poetry, and made a contribution with exploratory and aesthetic value.