Su Liming's answer to the second half of the question in Star Poetry Magazine
Our reporter: The 1980s was the most brilliant heyday of college students' poetry. As one of the representatives of college students' poetry, have you always kept the poetic plot of the 1980s? Specifically, it is the poetic plot of idealism.
Su Liming: First of all, I want to correct your statement. At that time, in the era when college students' poems were surging, many outstanding campus poets emerged. I'm just a campus poet who is always on the scene. Is the plot of idealistic poetry not good? Idealism is the eternal hope of mankind, and poets in any period will never lose this realm, but this feature was highlighted in the 1980s. Isn't it? Even in materialistic times, idealism is always the warmest light in the poet's works.
College students' poems can't be summarized by idealism alone. In fact, college students' poetry appeared in the ebb tide of obscure poetry, and it developed and spread rapidly because it caught up with an unprecedented era of spiritual freedom. While inheriting misty poetry, it constantly supplements its shortcomings and completes the transformation from group consciousness to individual psychology. It made a unique contribution to the reconstruction of China's poetry with a pioneering attitude.
Our reporter: Not long ago, I saw an article introducing the college students' poetry movement in the 1980s, in which College Students' Poetry 1985, edited by Shang and Yan Xiaodong, was regarded as the source of college students' poetry and classified as a genre among the third generation of poets.
Su Liming: This is a very wrong statement, or he doesn't understand the actual situation of college students' poetry. The so-called third generation really surfaced around 1986 modernist poetry exhibition, and college students' poetry, or college students' poetry school, was born at the beginning of the rise of obscure poetry, that is, after 1980, and quickly became the most important new force in China poetry circles. As early as 1984, my two campus poet friends, Pan Heyang, wrote an article about college students' poetry movement in a well-known publication at that time, that is, in that year, Pan also vigorously founded a poetry magazine for college students all over the country in Harbin in the northeast, and edited the first anthology of college students' poems in the history of China's new poetry (anthology of contemporary college students' poems in China). In the same year, the first edition of Staryu, a collection of poems by Fudan University students, published by Fudan University Press, published more than 80,000 volumes. Participating in the poetry exhibition in the name of "college students' poetry school" is not a concept with what we usually call college students' poetry. He and Yan Xiaodong just used the name of the college student poetry magazine edited by them. If the so-called college students' poetry school in the 86 National Exhibition is understood as the whole of college students' poetry, it is the absurdity of time and space dislocation, and it is just a sound at the end of the vigorous college students' poetry movement.
It should be said that the "86th National Congress" is a watershed in China's poetry, ending the rapid development of college students' poetry after obscure poetry. In those days, some university poets, such as Yu Jian, Han Dong and others, became the representatives of the third generation poets under the names of their respective schools. In fact, before this, there have been various exploration trends in college students' poetry movement. The 86th Exhibition is the product of this trend. A poet who concentrated all kinds of thoughts at that time. Except for a few schools, most of the schools that came into being were established overnight. This conclusion was verified at a later time. I agree with Yu Jian: "Without the' College Poets School' in the early 1980s, there would be no later third-generation poets."
Our reporter: Definitely speaking, before the phenomenon of the third generation of poetry, or after obscure poetry, academic poetry was the most important new force in China.
Su Liming: Yes. In the current text describing the trend of China's poetry, people intentionally or unintentionally ignore the existence of college students' poetry, an important poetic phenomenon from obscure poetry to the third generation. At that time, the rapid spread of misty poetry in the poetry world was closely related to the emergence and prosperity of college students' poetry. At that time, there were vicious encirclement and suppression by conservative forces and attacks by traditional forces on the rise of misty poetry in the poetry circle, and the most powerful theoretical support for misty poetry came from academies. In addition to the new aesthetic principles in Xie Mian's Facing the New Rise and Sun Shaozhen's Rise, the rising poems written by Xu Jingya, a student at school, are more passionate and have unprecedented impact and lethality.
1980 The first "Youth Poetry Club" held by Poetry Publishing House had 17 young poets, including Shu Ting, Gu Cheng, Liang, among whom seven were college students, including Xu Jingya, Wang Xiaoni, Xu, Sun, etc. In addition, a large number of outstanding poets, such as Zhao, Zhou, Luo Xiaohe, Liuli, Wu Jiaxiang, Shen, Xiong Guangjiong and Wu Xiao, who were already active in poetry at that time, all had similar or similar life experiences to the main characters of misty poetry. They consciously or unconsciously assume the responsibility of inheritance and make up for some limitations of obscure poetry with their own characteristics. Due to the appearance and development of college poetry, misty poetry, which was criticized at that time, took root in China poetry circle, and China's poetry changed completely.
Our reporter: The college students' poetry movement began in the early 1980s, but in what year?
Su Liming: Just now, I mentioned that the early college poets supplemented and enriched the lineup of China's poems after misty poetry. The college poetry movement I referred to was completed by college poets at 198 1 to 1985. If I have to define it, I personally think that the starting year of college students' poetry movement should be 198 1.
Our reporter: In the early 1980s, the poetry movement of college students was surging, almost all over the country. It is not an exaggeration to describe the grand occasion at that time with "throwing a stone casually will hit a poet" There is no doubt that misty poetry originated in Beijing. At that time, North Island, Gucheng and Munk were all in Beijing, but the poems of college students were different. It seems that there are excellent university poets in colleges and universities all over the country.
Su Liming: As you said, college students' poetry is a national poetry movement, and there are trendsetters in colleges and universities all over the country. Shanghai is an important producer of university poetry. At that time, Summer Rain Island of East China Normal University and Poetry Cultivated Land of Fudan University were the most important and influential poetry periodicals. They are not as short-lived as other university journals, but run through the rise and fall of university poetry for a long time, which undoubtedly has symbolic power in the university poetry journals of that year.
Xu Demin, Li Binyong, Shao Pu, Zhuo Songsheng and Fu Liang from Fudan University, Yu Kuichao, Xu Fang, Lin Xiqian, Yu, Zheng Jie and Chen Minghua from East China Normal University, and Chen Dongdong, Wang Yin and Lu Yimin from Shanghai Normal University. With their unique artistic techniques, they became Yu Jian, who is known as the standard bearer of college students' poetry. From 198 1, they began to participate in college students' poetry activities in colleges and universities all over the country. With his unique poetic style, he became a banner in the poetry movement of Yunnan college students. In addition, there are Jianning, Qian, Mary, Ke Ping, Aidan, Jian Cao, Cao,,, Tang Yaping, Li Yawei, Zhou Lunyou, Baihua and so on. In the south, Fei Ke, Feng Xincheng, Lulu, Zhang, Zhou Tongxin and Shen Qi are in the west. Their works are different from misty poems and predecessors. They have further broken through the traditional style in language and form, and have the characteristics of freshness, wisdom, strangeness and exploration. These distinctive personalities have become the same characteristics of the new generation of poetry at that time.
Our reporter: At that time, college students' poets were like bright stars, and all localities had their own leading figures. I'm afraid this situation will never happen again. Remember when you were in Hong Kong, you also wrote an introduction to college students' poetry movement?
Su Liming: Yes, that was when I was in Hong Kong in June. 1986. I was asked to publish a short article on the current situation of college students' poetry in Wen Wei Po, which wrote: "No one will deny that in recent years, there has been a magnificent poetry tide in China. Every young singer with dreams and sea breeze gathered on the white coast of the East Pacific Ocean and sang a shocking multi-voice youth group song. At this time, if we focus on the hazy poets Beidao, Shu Ting and Gu Cheng, we can't fully understand the China poetry circle in the updating stage, let alone clearly and prospectively predict the trend of China's modern poetry. " "Xu Jingya, a young poetry critic who once caused a sensation in the poetry world with The Rising Poetry Group, was deeply overwhelmed in front of this group of new people. Han Niu, an old poet who is deeply welcomed by young poets, truly admits that he has a sense of dislocation and praises this group of young poets as a new generation born on the horizon. " "No matter what the internal composition of this group of newcomers is, as a whole, their most striking feature is that they seem to be always in a dynamic freshness and creativity. Everyone will be delighted to find that China's poetry is moving towards a real art refuge after experiencing many artificial obstacles and restrictions. Poetry is no longer a tool to explain politics and goals, but a poem, a group of pigeons who imagine and think about the world. ..... They not only inherited the excellent part of their traditional culture, but also extensively dabbled in various tendencies of borrowing art. This diversity and contrast enhanced their responsibility and solemn mission of bringing China culture to the world. Therefore, they bravely called the misty poetry and previous poetry creation that inspired their progress as mainstream culture, and shocked every pair of true love pupils in the poetry world and China with the attitude of anti-mainstream culture and more violent art reports. " From this emotional essay, I can still feel the excitement in my adolescent writing. It doesn't prove anything, it's just a portrayal of the status quo.
Our reporter: Some people say that the important feature of the third generation poets is underground. In other words, poets who publish their works in public newspapers are not among them.
Su Liming: No division can be too absolute. In my opinion, there is no real underground magazine in China after "Today Magazine" by Kitajima et al. On the contrary, flaunting its underground nature does not seem to have much substantive significance. When I came to Shanghai last year, it happened to be a silent birthday. On that day, Yu Yu was still saying that publishing works in Poetry magazine was tantamount to deviating from the spirit of the third generation of poets. In my opinion, poetry magazine is just a poetry magazine. It is not a fortress of poetry. It is different from ordinary folk magazines. After all, it has good communication power. Moreover, many classic works in recent years have been published in poetry magazines. In fact, obscure poems and college poems, including the outstanding works of the third generation, are mostly displayed through the carrier of public publication. It is too simple to judge their ownership from which poetry magazine they are published. Later, many people did not want to belong to the group of university poets. It seems that once traced back to the ranks of university poets, it was infected with the color of adolescent writing, which made some people instinctively taboo and reject.
Our reporter: Why did a group of college students' leading figures in poetry leave the poetry circle gradually instead of attending the modernist poetry exhibition?
Su Liming: Xu Jingya and Lv Guipin, the key figures in preparing for this 86 exhibition, are my brothers in the Chinese Department, and Zhu Lingbo, who helped me privately, is my brother. At that time, Shenzhen Youth Daily had opened a special edition and published excellent poems. In my impression, Xu Jingya sent a handwritten invitation letter before the 86 th exhibition, calling on everyone to charge in the form of a school. His original intention is obviously to show the current situation of the frontier of China's poetry through exhibitions, but the problem is that most of the so-called schools are improvisational and simply cannot stand the test of time. On the contrary, most of them have no problem with their choices. It should be said that the organizer was tendentious at that time, and made a deliberate choice according to his own value orientation and artistic level, but it was also accidental. Some excellent poets could have entered, but they missed it for simple reasons, such as delayed mailing. Some outstanding university poets, such as Xu Demin,, Qian, Jianning, Cheng, Pan and Ah Wu, left the marginalized writing actively or passively.
After the "86 Poetry Exhibition", sensibility broke through the old rational defense line, and some unprecedented poetry forms, such as the flood that burst its banks, flooded China poetry circles overnight. From then on, hundreds of thousands of young poets in China began to indulge in free and wild thoughts and feelings, venting and chaos, noise and excitement, freedom and impulse merged into chaos, creating unprecedented poetry myths. They despise the humanitarianism advocated by "obscure poetry", abandon the idealism contained in "academic poetry" and concentrate on people's inner experience. The aesthetic judgment, aesthetic standards and rational principles constructed since misty poetry have lost their functions, and China's poetry circles have tilted again. In this context, the massive college students' poetry movement in the early 1980s was replaced by their own schools. With Haizi's suicide, the aesthetic principles advocated in 1980s were completely abandoned, and China's poems entered the era of diversified personal writing.
Our reporter: University poetry has produced a large number of pure poems, which is an important stage of the development of China's poetry. However, with the college students' poetry movement benefiting from the background of the 1980s, it seems that the grand occasion will never come again.
Su Liming: I agree with this view. Nowadays, many excellent poets are still from universities, but they are no longer keen on college students' poetry movement. That era is gone forever. Now that individuals get the respect they deserve, everyone has their own artistic direction, and they are no longer like holding a group to keep warm.
As a witness of that year, there is no need to revisit the past of college students' poetry movement, and there is no so-called classic selfishness in the text of that year. Song Lin once said that China poets like to squeeze into the center, but when they look around, they are empty. Emphasizing the existence of academic poetry between obscure poetry and the third generation is of great significance to comprehensively, fairly and accurately understand the different development threads of China's poetry. I remember that as early as 1985, Mr. Wang said in a letter to the then campus poet Pan: "The fast-paced evolution of the new poetry tide shows the vitality of poetry development. As a collection of different arts, poetry extending to the campus provides the most dynamic and innovative example. The contribution of campus poetry to the development of China's poetry deserves our permanent commemoration. " The third generation of poetry is an important poetry group split and differentiated from the college students' poetry movement. It is a pity for China's poetry that he lacks due respect and systematic research on the phenomenon of academic poetry, or despises, ignores and ignores the existence of academic poetry.