Detailed introduction of Huahai

Since the 1980s, people have devoted all their enthusiasm to economic construction. The kind of industrialization construction that uses all possible resources to catch up has led to the establishment of new factories one after another, and the economy has developed, but with this At the same time, a large number of fertile fields were occupied, forests were cut down, and rivers were polluted. No one paid attention to the need to protect the ecological environment. In the 1990s, with the initial awakening of people's ecological awareness, the creation of ecological poetry began to appear, but at that time it was still basically in a sporadic and spontaneous state. It should be said that Hua Hai is the first person to truly consciously and fully engage in the creation and critical research of ecological poetry in mainland China! As early as the late 1980s, Hua Hai had begun to pay attention to major issues such as the relationship between man and nature in his poetic works. During this creative process, he successively published "Shouting to the Mountain", "Egret", "In the Heart of the Lake" Island" and other early ecological poems. After entering the 21st century, it is obvious that after a long period of accumulation, the creation and criticism of Huahai's ecological poetry has entered a peak period. Since the new century, Hua Hai has communicated with many famous poets, writers and critics at home and abroad on ecological poetry. His practice and contribution to ecological poetry are not only reflected in creation, but also in theoretical construction. Not only has he published a large number of ecological poems in provincial and national newspapers and periodicals, organized and participated in many ecological poetry activities, but also published "Contemporary Ecological Poetry", "Huahai Ecological Poetry", "Ecological Poetry" within a few years. "," and "Opening the Green Door" and several other ecological poetry works and theoretical monographs. It can be said with certainty that Hua Hai's achievements in the creation of ecological poetry and the construction of ecological poetry theory are outstanding.

In particular, the "International Academic Symposium on Ecology and Poetry and Huahai Ecological Poetry" held in Qingyuan, Guangdong on May 17, 2008, has had a significant and far-reaching impact in all walks of life. Scott Slovik, president of the "Literature and Environmental Studies Society", an international academic organization of ecocriticism and professor at the University of Nevada, commented on this conference: "It gave me a hope that the environment around us It will become more beautiful because of our joint efforts." Mr. Ye Lu, a famous contemporary Chinese poetry critic and professor at Yangzhou University, said: "As far as I know, Huahai is the first to propose this topic in China. , this seminar is dedicated to the relationship between ecology and poetry, which is pioneering."

On August 16, 2009, Hua Hai participated in the "International Seminar on Ecological Literature and Environmental Education" held at Peking University. During the meeting, he and other ecological poets decided to establish the "Chinese Ecological Poetry Team". As a result, Hua Hai no longer "walks alone". Under the influence of Hua Hai, many mainland Chinese poets and writers are actively joining the ranks of ecological literature creation and making a positive and significant impact on the world. Influence!

A brief discussion of Hua Hai’s ecological poetry

Xiong Guohua

Hua Hai, formerly known as Qi Huahai, was born in Yangzhou, Jiangsu in 1963. Graduated from the Chinese Department of Yangzhou Normal College (now Yangzhou University) in 1983. He moved to Lingnan in 1993 and has worked as a teacher and TV personality. He is currently a member of the Standing Committee of the CPC Lianzhou Municipal Committee and Minister of Propaganda, and a part-time professor of the ecological literature research team of Xiamen University. He began literary creation in college. In 1989, he published the poetry collection "Burning Eyes" (a collection of five people) and participated in organizing the "Yangzhou Poets Corner" activity; later he published the poetry collection "Walking Alone" (2001), the poetry collection "Huahai Ecology" Poetry" (2006), as well as poetry review collections "Contemporary Ecological Poetry" (2005) and "Ecological Poetry" (2008). Published more than 3,000 pieces of various works in dozens of newspapers and periodicals such as "Poetry Magazine", "Stars", "People's Daily", "Nanfang Daily", "Yangcheng Evening News", "Works", "Chinese and Western Poetry", "Green Wind", etc. , selected into various anthologies, and won more than 20 awards. In recent years, Hua Hai has devoted himself to the writing and research of ecological literature. He has opened an ecological poetry review column in Qingyuan Daily and has reviewed the ecological poetry of more than 100 poets.

The ecological poetry concept he advocated and the ecological poetry he created attracted the attention of many poets and scholars and generated strong responses. On May 18, 2008, dozens of experts and poets from home and abroad gathered in Qingyuan City to hold the "Ecological Forum" and Poetry and Huahai Ecological Poetry International Academic Symposium", and published the conference proceedings "Opening the Green Door". During the Spring Festival on February 11, 2008, Hong Kong Phoenix Chinese Channel conducted a special interview with Hua Hai on the phenomenon of ecological poetry. On August 15, 2009, Hua Hai was invited to deliver a paper speech on "Ecological Poetry - Connection, Experience and Dream of Nature" at the "International Academic Symposium on Ecological Literature and Environmental Education - Asian Cross-Cultural Forum" hosted by Peking University, and Become a founding member of the "World Ecological and Cultural Organization" (WEO).

Early Creation: Walking Alone

So far, Hua Hai’s poetry creation can be roughly divided into two periods, from the early 1980s to the beginning of the 21st century as the early period, and then as the early period. The poetry collection "Walking Alone" published in November 2001 is his representative work. This book is a summary of Hua Hai's 20 years of literary creation, showing his process of "independent writing posture and searching for personal words", focusing on the experience and contemplation of individual life. Judging from the content of the poems, Hua Hai, like most literary young people, has no shortage of expressions of ideals and love, but he writes more about natural scenery, four seasons, animals and plants, history and culture, rural life, customs, and daily life. The incident is permeated with personal life experience and philosophical thinking, trying to avoid some popular political discourse and public discourse, and strive to get rid of the influence of existing poetry models, use personal words to express poetic experience, and show an independent individual Writing posture.

Concern for nature and life is the central proposition of Hua Hai's poetry creation, which has already begun to appear in his early poems. In the poem "Egret", "The hunter's gun barrel/swayed in the long grass/the egret had no premonition/walked on the water of the small pond" because "the egret's mind/is only in its own reflection/dipping its long beak in the water/combing "Pure Feathers", without any sense of the hidden danger. However, the shotgun finally "pops", and the egret's leisurely elegance is in sharp contrast to the murderous intention of humans. The poet calmly shows how humans kill animals at will and worries about the survival of animals. This kind of worry is a deep ecological worry caused by excluding the idea of ??anthropocentrism and looking at the problem from the perspective of ecological holism.

In Hua Hai's eyes, everything in nature is alive, and the same is true for mountains: "The mountains sometimes sleep and sometimes wake up/when they wake up/want to talk//the sound of the mountains/infuses the woodcutter / He stood on the cliff / and a bow-shaped arc jumped out of his throat / / the arc was gracefully / bounced back / the woodcutter was leaning on the old pine / thinking that / there was also a woodcutter in the distance." ("Shouting the Mountain" 》). This poem is written with great spirituality. "The sound of the mountain / pours into the woodcutter's veins." The sound of nature merges with human life and turns into human voice, "jumping out of the throat / a bow-shaped arc." , and it has also been "bounced back" beautifully. The relationship between nature and people, and between people, lives in harmony, and human beings live in harmony. The same is true for "Paper Dove", "A dove hatches from the scissors/Add two drops of black eyeballs/It becomes alive//An ordinary piece of paper/It has breathing/It has floating white feathers/It has a coo The blue cry of the coo/The sky begins to come alive due to the flight of imagination.” The poet projects human life, emotion and soul into the paper dove, giving the paper dove the life of flying. Even when the dove is flying in the sky, it will remember "the waste paper that was cut out with pain/is in the stove/ struggling with the flames" The wings/are eager to fly.” Paper-cut people, paper pigeons, real pigeons, the sky, and even cut-out waste paper are all closely related and interdependent in the eyes of the poet, highlighting the desire to fly, which is very touching. It can be seen that the ecological holistic view provides a new vision for the poet.

The concern for natural ecology does not affect Huahai’s thinking about history and examination of reality. He wrote about historical and cultural themes such as "Fish Pattern Pottery Basin", "Taibai Moon", "Zhi of Yangzhou Eight Eccentrics", etc. He also wrote about realistic themes such as "Women Gathering Duck and Goose Feathers" and "Spring Agriculture". Among such themes, Hua Hai's most eye-catching work is "Chinese Blood".

He realized from China's more than 5,000 years of history that "the least valuable thing is blood" and "the most valuable thing is blood". From the glazes of the Tang Dynasty to the rouge of the Qing Dynasty, all kinds of blood are infiltrated. The poet cuts into China's history and culture from "blood" with solemn strokes, and deeply reflects on the long historical river of "blood" flowing out. "From the upper reaches, many majestic dynasties drifted down/The wind and waves blew, and the crown gradually became dilapidated and sank/That A long braid dragging the Qing Empire / like a cold and wet snake’s tail / shrinking into the black cave of the ancient continent amidst the roar of strong ships and cannons.” Faced with the fact that rivers of blood are flowing, some people are very indifferent and "hold a tea cup to admire the yellow flowers"; facing the feudal dynasty "playing with the bright blood and sucking the delicious blood", there are still people who "arrange the blood waves into the terracotta warriors and horses in a regular manner/chaste women suffer" The filial son leans on the loyal minister/the silence of each one is a square Chinese character." The poet directed his criticism directly at the bad nature of the people - numbness and servility. However, the poet is more looking forward to the "awakening blood" and shouts loudly that "the awakening blood is on the cliff/rising up the spine and leaping/is a waterfall flowing down." Nowadays, “The vast blood of China/is pouring into this mouth of the sea and there is no way out”, “the roc is ninety thousand miles away and is turning its horns/the hurricane is roaring from the South Pacific/landing/Chinese blood is pouring into this danger and opportunity/suddenly open. The entrance to the sea / has - no - way out." The most successful part of this poem is that it extracts "Chinese blood" from a historical perspective, a composite image that contains a variety of historical and cultural opposing elements, so as to see through the essence and dross of traditional Chinese culture, and describe the flow and direction of blood. The flow of the Yellow River and the flow of history are integrated, showing a strong sense of worry and critical awareness, as well as a deep concern for the fate of the country and the nation, and a strong call for the arrival of a new era of reform and opening up. The whole poem has a lofty intention, is majestic, tragic and powerful, and has shocking artistic power.

Hua Hai’s early poetry creation widely absorbed nutrients from ancient Chinese landscape and pastoral poetry, Western romanticism, modernism and postmodernism poetry, and was also influenced by contemporary Chinese hazy poetry and spoken poetry. Many poems It has a certain experimental and exploratory nature. The good news is that he noticed the language characteristics of poetry, respected the "three-dimensional world" of poetry (i.e., the real world, the fantasy world, and the language world), gradually explored personal discourse and personal style based on individual life emotions, and at the same time pursued the aesthetics of poetry. value, and created ecologically conscious poems such as "Shouting the Mountain" and "Egret", which laid the foundation for later turning to ecological poetry in terms of ideological concepts and artistic skills.

Recent Creation: Toward Ecological Poetry

After 2002, Hua Hai began to consciously turn to the creation of ecological poetry. There are three main reasons for his transformation: First, the reality of ecological crisis, especially the sudden "SARS" from late 2002 to 2003, prompted him to delve more deeply into the increasingly tense relationship between man and nature, which led to ecological crisis and The inner source of environmental disasters. The second is the transformation of personal creation. He feels that his middle-aged writing "should intervene in the current public society from a personal standpoint, a personal posture, and a personal discourse." He must pay attention to the increasingly urgent ecological issues and should use poetry to express his views. form to respond. The third is the fragmented status of ecological poetry. It is very necessary to collect, promote and comment on it, so as to form conscious ecological poetry writing and criticism. This is the inherent need and trend of the times in poetry creation. Hua Hai firmly believed that ecological poetry should become the most dynamic and valuable form of poetry in the new century, and began to devote all his efforts to creating, collecting, advocating and commenting on ecological poetry.

Hua Hai is a pioneer of ecological poetry in my country, and one of the very few outstanding poets and poetry critics who can implement his own poetry theory in creation, and use the theory of ecological poetry to guide and comment on the poetry creation of others. The representative and influential ecological poems he published mainly include the poems "Clear Land" (February 2006 issue of "Poetry Magazine"), "Echo of Nature" (March 2007 issue of "Poetry Magazine"), He has published more than 200 ecological poems in publications such as "Stars", "Chinese and Western Poetry", "Poetry Monthly", "Poetry Trend", "Works", and Hong Kong's "Wen Wei Po".

In September 2006, he published "Huahai Ecological Poems", which is "China's first collection of personal ecological poems".

Hua Hai believes that ecological poetry is not the same as traditional poetry describing nature, nor is it "simple ecology plus poetry", but an innovative poetry that embodies ecological thinking and aesthetic pursuits. Ecological poetry can be developed from two aspects: thesis and antithesis. "The thesis is to return to nature and reconstruct the relationship between nature and man with the help of the dream of language; the antithesis is the criticism of modernity and the warning of ecological crisis." Therefore, his ecological poetry is first of all reflected in his reflection and criticism of the industrial civilization that uses all the water to catch fish, as well as his warning of the global ecological crisis. In poems such as "Suddenly Hearing the Mountains Crying in Pain", "The Factory Sitting on the Other Bank of the River", "Strange Smell Coming from the Window", "Dust of Unknown Origin", etc., the poet expresses his views on human beings' deforestation and over-exploitation. , as well as the environmental pollution and ecological imbalance caused by the pursuit of industrial profits. Amidst the madness of ax sawing and illegal logging, and the collapse of mining by blasting, the poet "suddenly heard the mountains shouting in pain/the stones all over the hills/crying and rolling in pain" in the middle of the late autumn night. This is of course a kind of surrealism. The technique highlights the destruction of nature by humans; while "Sitting in the factory on the other side of the river/taking a sip of horse water/spitting out dust and smoke/black, strange-smelling smoke permeating the water" is actually a real-life story The scene finally made the third father, who was suffering from lung cancer, regretfully "leave this village/that he had lived in for seventy years but no longer recognized." Industrial civilization, at the expense of the ecological environment, is increasingly encroaching on mankind's own homeland, and nature has also become unrecognizable under the arbitrary exploitation of mankind. "We are approaching/the mountains are retreating/this black and shiny railway track/rises up in the sky like two arrows/shoots sharply into the depths of nature//suddenly feels the cold air coming/feels like it is finally shot through / But it is our back" ("Railway Crossing the Landscape"). If humans continue to destroy the natural ecology unscrupulously, they will eventually lead to their own destruction. In "Red Light on the Cliff", the poet used symbolic techniques to issue a serious warning to mankind's "Desire" express train.

Hua Hai's ecological poetry has a "clear and tranquil" realm. This realm not only originates from the concept of "unity of nature and man" in traditional Chinese philosophy, but also derives from the ecological holism of modern Western philosophy. In addition to its function of criticizing and warning against anti-ecological behaviors in reality, ecological poetry should also have unique spiritual and aesthetic values. Hua Hai attempts to return to nature through the dream of poetic language, reorganize the harmonious relationship between man and nature that has been destroyed, and "resurrect and recreate a holistic poetic world." In his ecological poetry, nature is no longer an object to be conquered and possessed, but the home and holy temple where human beings rely for survival. Human beings are not the center and master of nature, but only one thing among all things in the world, a member of the ecological whole, and have an equal relationship with other living things. People should revere nature and all life, "let a rising and expanding flame of desire/slowly extinguish in the lake water and return to the tranquility of heaven and earth/this tranquility is the eternal and pervasive feeling between things" ("Tianhu"). He is "like a humble stone/touching the breath and broad body temperature of the vast forest with the blood in his skin" ("Autumn Light"), experiencing "the circulation of streams and the reincarnation of wooden leaves in the four seasons" ("Xiang Wan") in silence. Experience “the cycle of joy and sorrow of a thunderstorm” at night in the mountains (“Thunderstorm”). He used his soul to communicate with all things in nature, and even heard "a drop of water walking in the hidden part of the mountain forest/walking in the lungs of cedar, spruce and countless wild flowers/grass/a drop of water, a drop of water, another drop of water, the whispering of water/ Confessions that merge into a / green mountain, prosperous and simple conversations" ("Lifting the Pen from the Beacon River"). The poet here reveals that the world and all things are an ecological whole, with inextricable interdependence, and that humans and all things should also have an equal dialogue relationship. Only by staying away from worldly material desires and the hustle and bustle of the city, can one feel the mystery of nature in silence, and feel the state of forgetfulness of things and myself: "Quietness is two transparent wings/The falling breeze purses the lips/The sound of playing strings means Desolate and cool/ completely forgetting the present and the past" ("Early Winter").

Man and nature should live in harmony, "Like the drunken old forest guard / falling asleep under any tree / at that moment, there will be a purple-red flower / calmly and stubbornly blooming next to it / The fresh floral fragrance reaches the depths of sleep" ("Mountain Qi"). This is a "clear state" of the unity of nature and man, and it is also a state of "poetic dwelling" of ecological holism.

As an ecological poet, Hua Hai is a poet full of aura and wisdom. He discovered that "the mountain sometimes sleeps and sometimes wakes up/when it wakes up/wants to talk" ("Shouting the Mountain"). He can also "hear the whispers of leaves in the dark", "the beating heartbeat deep in the mountains" ("Frost Trail"), and feel "the ruins of a mountain fire/the exposed tree roots and the charcoal black mountain/pervading Huge dull pain and emptiness" ("The Road in the Forest"), experiencing the "cycle of sorrow and joy" of all things. He uses an ecological mind to communicate with all things in nature. The so-called "strong wind rises when the heart feels it" ("The Wind Rises"). This is the "eternal and pervasive feeling between things" and what the ancient Chinese people called "the heaven and man". "Induction" is also the innate induction of primitive human beings that is closely connected with the world and all things. It is only the alienation and isolation between modern humans and nature that makes this induction increasingly degraded. Ecological holism believes that nature is alive. The entire earth and even the entire universe are a huge and sophisticated organism. Everything in the world is closely related and interdependent. Any link in the biological chain cannot Problems will affect other organisms and cause chain reactions. This may be the scientific basis for this "induction".

Hua Hai devotes himself wholeheartedly to the embrace of nature, opens his mind and all sense organs to communicate with all things, talks with all things with an equal mentality and identity, experiences the joys, anger, sorrows and joys of nature, and imagines the thoughts and feelings of animals and plants. way of survival, and strives to use an original poetic language to present the living status of things, thereby forming an "ecological form". The life of his poetry comes from the life of nature; the aura of his poetry comes from the aura of all things in the world. This enabled him to innovate in the artistic conception, language, technique and form of ecological poetry, making contributions with exploratory and aesthetic value.