Yang Weisong
Abstract: Contemporary local poetry is confronted with the creative dilemmas of homogenization and spiritual aphasia. Regional writing has become an important path for its breakthrough. Taking Chen Chen’s long poem Writing Hezhou with Dry Brush as the research object and Jianghuai culture as the research horizon, this paper analyzes three dimensions: the dimensional construction of local narrative, the innovative breakthrough of artistic expression, and the multi-dimensional manifestation of literary value. It explores how the work integrates the ancient civilization, historical allusions, red memories and contemporary reality of Hezhou to complete a three-dimensional local narrative and shape the humanistic spirit of Hezhou featuring perseverance, humility and endeavor. Meanwhile, it dissects the artistic characteristics of the work with “dry brush” as the core image, the integration of line drawing and lyricism, and the narrative of scattered perspective. It points out that this poem not only provides a new model for regional writing in contemporary local poetry, but also opens up a new path for the poetic expression and contemporary communication of Jianghuai regional culture. Its creative practice has realized the unity of locality and contemporaneity of local poetry, highlighting the literary value and spiritual significance beyond the region.
Keywords: Jianghuai culture; Writing Hezhou with Dry Brush; local narrative; spiritual construction; regional writing
In the territory of contemporary poetry creation, local poetry has always been an important vein inheriting the tradition of Chinese literature, yet it also faces the “homogenization dilemma” and “spiritual aphasia” in the context of the times. As the famous literary critic Chen Sihe remarked, if contemporary local writing is divorced from realistic texture and cultural roots, it can easily be reduced to a “nostalgic imaginary construction”, or fall into the idyllic aesthetic writing disconnected from the realistic changes of contemporary local areas; or flow into fragmented expression of nostalgia, lacking in-depth excavation of regional culture and effective connection of historical dimensions; or fall into the routinization of language expression, failing to find a unique narrative mode in the collision between tradition and modernity. With the earlier proposal of “regional writing” and the in-depth research on regional culture, regional writing with poetry as the carrier has gradually become a hot spot in literary research. Professor Tong Qingbing also put forward the theory of “regional cultural nature of literature”, pointing out that the core value of regional writing lies in “integrating the natural endowment, cultural accumulation and spirit of the times of a region, making the region a literary symbol with spiritual connotation”. This proposition points out the direction for the creation of contemporary local poetry—only by taking root in the soil of regional culture, connecting history with reality, and integrating the individual with the collective, can local poetry possess lasting artistic vitality.
He County in Anhui Province, located on the north bank of the Yangtze River, combines the cultural heritage of Jianghuai and the gentle temperament of the Jiangnan water town. It is an important node of Jianghuai regional culture. It boasts the ancient civilization of the Longtan Cave Ape Man Site, historical allusions such as the Overlord Ancestral Hall and the Humble Chamber, red memories during the War of Resistance against Japanese Aggression, and the development picture of port construction in the new era. It is a small Jianghuai city with both historical depth and realistic vitality. Born and raised here, poet Chen Chen, a member of Yunnan Writers Association and a contracted writer of China Poetry Network, writes poems with both local simplicity and literati delicacy. He has won many poetry awards with solid creative skills. In the long poem Writing Hezhou with Dry Brush, taking Hezhou as the core of writing, he breaks away from the lyric stereotype of traditional local poetry. With “dry brush” as his writing attitude, he integrates personal life experience with the historical changes, cultural allusions and realistic development of the region, constructing a three-dimensional and vivid spiritual map of Hezhou. His creative practice is precisely in line with the research propositions of contemporary regional poetics, providing a new creative model for regional writing in contemporary local poetry and opening up a new path for the poetic expression of Jianghuai regional culture.
Consisting of 27 sections, Writing Hezhou with Dry Brush takes time as the context, space as the node, and “dry brush” as the main line of emotion and writing. It melts the ancient civilization, historical allusions, red memories, cultural sages, contemporary reality and local nostalgia of Hezhou into one furnace, completing an in-depth spiritual retrospect of his hometown Hezhou. Its core creative kernel lies in taking poetry as the carrier, breaking the space-time barrier between history and reality, integrating multiple dimensions of physical geography, human history, individual life and era development. In the local narrative, it not only keeps the cultural roots of Hezhou, but also shows the changes and rebirth of the local area in the tide of the times, and finally shapes the humanistic spirit of Hezhou featuring perseverance, humility, endeavor and warmth. This is highly consistent with the proposition of “local writing of locality” put forward by poet Lei Pingyang—“Locality is not only geographical presence, but also cultural presence, historical presence and life presence”. With self-modesty in “dry brush”, Chen Chen actually uses a brush dipped in deep affection and thinking to turn Hezhou from a geographical concept into a cultural symbol with spiritual connotation, making local writing a spiritual bond connecting the past and the present, the individual and the collective, the region and the times, and truly realizing the unity of “locality” and “contemporaneity” of local poetry.
Time and space in literary works are not independent, but intermingled and shaped by each other. Its essence is to integrate the depth of history with the breadth of reality, so that literary images can obtain abundant connotations in the interweaving of time and space. The opening of WritingHezhou with Dry Brush stands at the source of human civilization, laying a historical tone for the writing of Hezhou: “At that time, they made fire by drilling wood, cut stones into sickles / Stones and dead leaves were all symbols / They stood in the wilderness / Every boulder under their feet, every dead wood / Were the endless marks of human history”. The ancient civilization of the Longtan Cave Ape Man became the starting point of Hezhou’s history. The skulls, fossils and coins in the museum echo the Wenchang Pagoda and Wanshou Pagoda outside the museum. “The echo of history flutters / Sunshine shines on the land of Hezhou in the 21st century”. The opening completes the space-time dialogue between ancient times and contemporary times, endowing the writing of Hezhou with a profound historical sense from the very beginning.
In the subsequent writing, the poet takes the geographical space of Hezhou as a clue to connect the historical memories of different dynasties: the loyalty and filial piety culture of Wanshou Pagoda is related to Sun Zhongmou of the Three Kingdoms who “bent down to serve his mother, washing away the dust of thousands of battles”; the literary style rectification of Wenchang Pagoda traces back to the original intention of Governor Guo to build the pagoda, echoing the “upright and clean atmosphere” of Liu Yuxi’s Humble Chamber in the Tang Dynasty; the peach forest in Taohuawu has become a symbol of millennial literary heritage due to a poem by Zhang Ji. “At the celebration banquet of Taihe Palace in Emperor Xianzong’s reign / A poem made a peach forest thousands of miles away”; by the Wujiang River at the Overlord Ancestral Hall, the hero’s loneliness of Xiang Yu “entrusting such a heavy country to a sword” is frozen, and the chessboard of Chuhe-Hanjie becomes an eternal footnote of history; the reed marshes of Qiuqiu Ferry hide the spring and autumn past of Wu Zixu crossing the river, and the mark of Zhaoguan is full of 300 years of killing and planning. These historical allusions and cultural relics are not isolated writings, but integrated with contemporary Hezhou: the renovated Wanshou Pagoda “will stand on that land again in a completely changed posture”, but the core of loyalty and filial piety “will never be modified or deleted”; under the restored Wenchang Pagoda, “the lake ring road leads to the exhibition hall in the distance / The showcase is empty, and those ancient books are still on the way / A path connects ancient and modern times”. Taking poetry as a brush, the poet interweaves the ancient civilization, the Three Kingdoms’ turmoil, the poetic charm of the Tang and Song Dynasties, the spring and autumn history and contemporary reality of Hezhou, making Hezhou of different periods meet in poetry, constructing a three-dimensional historical picture spanning thousands of years, and turning the regional history from cold historical materials into vivid cultural memories integrated into the local texture.
1.2 Shaping the Spiritual Group Portrait of Hezhou
The soul of a region lies in the people living on this land. The famous writer Jia Pingwa once said: “The charm of regional literature does not lie in writing the landscapes of the region, but in writing the people among the landscapes, writing the spirit of the people, and writing the unique temperament endowed by this land to the people”. Writing Hezhou with Dry Brush is not a mere writing of geography and history, but shapes the humanistic group portrait of Hezhou with a lot of ink. These figures include sages, ordinary people, heroes and common people. Their spiritual characteristics converge to become the core connotation of Hezhou’s humanistic spirit, endowing regional writing with soul and temperature.
Among the numerous character writings, the 97-year-old rural teacher in Bu Chen, who still stands on the three-foot platform, is the spiritual representative of ordinary Hezhou people. The poet records his deeds with affectionate strokes: “At the age of 90, he slept under a bridge for his students / That year, he rode a bicycle 80 kilometers / Just to make a home visit to a dropout student” “At the age of 92, he asked to be discharged from the hospital on the third day after major surgery / For his students, he said to the doctor: ‘Discharge me today; if not, I’ll jump off the eighth floor’”. The poet says “I dare not mention his name”. This restraint is just as the literary critic Li Jingze remarked, “The most touching writing about ordinary heroes is restrained affection; no gorgeous praise is needed, and real details are enough to strike the heart directly”. This rural teacher is “humble, but has a noble soul”. He wears a piece of clothing for sixty years, funds more than 2,000 poor students, and gives free tutoring to left-behind children. His kindness and perseverance become the spiritual background of humility and profundity of Hezhou people, and Wenchang Pagoda “annotates” this spirit, integrating the good deeds of ordinary people with the regional literary heritage.
In addition to ordinary perseverers, there are unyielding heroes on the land of Hezhou: Chen Benhua outside the West Gate, with “contempt, perseverance and faint calmness” in her smile on the statue. Her life frozen in 1938, in the black-and-white photos of the Japanese and in the few lines of historical materials, becomes a red monument of Hezhou. “This tiny land / Contains huge shocking power”; Gu Hong, Ma Changyan, Tan Xilin in the Anti-Japanese Era, and countless “named and unnamed names” whose blood makes the land of Hezhou “seep with crimson blood”. The statue in front of the Hehan Independent Regiment Memorial Hall “seems to grow out of the red land”. There are also sages who have left a name in history: Du Mo, the “great song hero” who retired to the countryside, planted plum trees in Fengshan Du, leaving his character in Meiting and stone tablets; Liu Yuxi, the governor of the Tang Dynasty, kept integrity while living in a humble chamber, becoming a symbol of Hezhou’s literary style and character; Zhang Ji made Taohuawu famous with his poems, continuing the millennial literary heritage in Hezhou. These sages, heroes and ordinary people interweave to form the humanistic group portrait of Hezhou. Their humility, perseverance, kindness, unyielding and elegance become the core of Hezhou’s spirit, endowing regional writing with soul and temperature, and making Hezhou’s humanistic spirit an important part of Jianghuai regional culture.
The vitality of contemporary local poetry lies in the accurate observation of reality. Literary critic Meng Fanhua pointed out: “The local writing in the new era cannot avoid the changes of the local area. It should not only see the pain of local development, but also the vitality of local rebirth. This is the era responsibility of local poetry”. Writing Hezhou with Dry Brush does not stop at the nostalgic writing of history and humanity, but focuses on the contemporary reality of Hezhou, writing the changes, pain and rebirth of the local area in the tide of the times, endowing regional writing with distinct era texture and fulfilling the creative mission of local poetry in the new era.
The poet writes about the wandering of Hezhou people in other places. Those young people who walk out of Hezhou “stand like a screw at the connection of the city on the assembly line / He, hanging outside the building, becomes a scenery in the glass curtain wall”. They struggle in the corners of the city. “The high-heeled shoes on the 15th floor ring like piano keys / That building is a work collided by his trowel and bricks / He also knows that he can’t live in it”. This bitterness and helplessness in other places is a true portrayal of the contemporary local population flow. However, the poet does not stop at sadness, but sees their value: “Some of them carry black briefcases / Shuttle through the streets and alleys of this city / They become beautiful business cards of their hometown”. Turning the struggle in other places into the glory of the hometown, it writes about the enterprising spiritual characteristics of Hezhou people, and truly reflects the dual reality of contemporary local areas “going out” and “standing up”.
More epochally significant is the modernization of Hezhou: the former countryside has become Zhengpu Port. “Now it is a port here / Beside the plank road of the deep-water wharf, facing the river / I want to send all my accumulated things / From here to the next port”. The tonnage of cargo ships on the river rises steadily. “Not far from the bridge, another bridge is built / Further up are more bridges”; Haifeng Building becomes the heart of Hezhou’s construction industry. “A bid in the bidding hall on the third floor / Raises the new Hezhou city to a higher height”; government buildings, people’s hospitals, exhibition centers have sprung up. In the factories of the development zone, “goods sent to Europe and North America / Are being loaded onto logistics trucks one by one / Those English labels / Like tickets pasted at the entrance of the 21st century / Are carrying the new Hezhou, flying close to the ground”; the Olympic champion from Gongqiao Town “holds a slingshot / Fights all the way to the Olympic Games”. The light of the gold medal “hits the hope and heart of Hezhou people”. The poet writes about the pain of local changes: “I try to learn to forget / Those fragments are the history of a village’s changes / White clouds float on the river / I still can’t gather them one by one”, but also gladly accepts the rebirth of the local area. The rise of Zhengpu Port, the development of industrial parks, and the glory of the Olympic champion have turned Hezhou from a traditional small Jianghuai city into a new local area full of vitality facing the world. The historical profundity and the vitality of the times are perfectly integrated on the land of Hezhou, making local writing have distinct era marks.
As a poet born and raised here, Chen Chen’s writing is always accompanied by personal life experience, and nostalgia becomes the emotional clue running through the whole poem. However, this nostalgia is not a mere personal sentiment, but rises from individual nostalgic experience to collective cultural memory, making nostalgia a spiritual bond connecting the individual and the collective, the region and the times. Chen Chen integrates personal nostalgia into the collective memory of all Hezhou people, and integrates individual life experience with regional development, making nostalgia a bond connecting the past and the present, the individual and the collective, and turning the local area not only into a geographical hometown, but also a spiritual home.
The poet writes about the throbbing of returning home: “The nostalgic high-speed train takes me past the Yangtze River Estuary / On the bridge, my sight is higher than the wharf, higher than the factory buildings / Higher than the 26-story high-rise”. He writes about the recognition of his hometown: “Later I recognized her from the side of a high-rise building / That shallow water is still like the former swamp / At that time, I often walked along the river / In the distance, there are rice fields, old houses, smoke from kitchen chimneys”. These fragmented local memories are the common experience of every person leaving their hometown, making personal nostalgia have collective resonance. The poet writes about the fireworks of Hezhou, making nostalgia have a specific appearance: the small street beside Baidu Bridge, “the cries are full of fireworks of nostalgia / Scallion pancakes, small steamed buns, Hezhou stew / The satisfaction of the elderly hangs on their faces”; the old street of Xiangquan, “eating a bowl of mutton noodles in the alley / Barefoot, walking into the fields of the 21st century countryside”; Wangdian Village by Banyue Lake, the lively lobster festival, the lights of the villa on rainy nights, and occasional dog barks are all the warmest appearances of the local area.
This nostalgia is not a regret for the lost idyll, but an acceptance of the changes and constancy of the hometown: what changes is the appearance of the city, the rise of the port, and the standing of high-rise buildings; what remains unchanged is the fireworks of the local area, the simplicity of Hezhou people, and the local feelings rooted in the bones. As the poet writes in the poem: “I am not a person who can go far / I stay here / For my hometown, keep the thin words / As the title page of Hezhou”. This perseverance is the poet’s personal choice and the common emotion of all Hezhou people towards their hometown, raising individual nostalgia to collective local feelings, and making the local area a common spiritual home for all Hezhou people.
Writing Hezhou with Dry Brush not only realizes the multi-integration of regional writing in content, but also breaks the creative mode of traditional local poetry in artistic expression. With a unique writing attitude, flexible language expression and diverse narrative techniques, it makes local poetry possess historical texture, humanistic temperature and artistic beauty, showing the poet’s solid creative skills and unique artistic pursuit. Its artistic innovation is precisely in line with the proposition of “aesthetic construction of contemporary poetry” put forward by poetry critic Tang Xiaodu—“Excellent poetic works should realize the unity of content and form, make artistic expression serve content, and let language be the carrier of emotion and thought”.
Taking “dry brush” as the core image, it runs through the writing and emotion of the whole poem, forming a unique image system. “Dry brush” is the poet’s self-modesty and also the writing attitude of the whole poem. It seems plain, but actually full of deep affection. The application of this core image conforms to the creative proposition of imagist poetry. The poet writes history with “dry brush”, avoiding the piling up of historical materials, outlining the outline of history with simple strokes, and making history vivid; writes characters with “dry brush”, avoiding excessive lyricism, recording characters’ deeds with line drawing, and making characters’ spirit more profound; writes reality with “dry brush”, avoiding flashy praise, writing local changes with an objective perspective, and making reality more realistic. The image of “dry brush” makes the poetic expression restrained and introverted, while the emotion under restraint is more profound. For example, “the brush is too heavy, the words are too light” when writing about rural teachers, “cannot help myself” when writing about Chen Benhua, and “still can’t gather them one by one” when writing about nostalgia. This restrained emotional expression makes the poem more tense and allows readers to feel more real emotional resonance in the words.
Integration of line drawing and lyricism, simple yet powerful language, practicing the creative concept of “unity of life and poeticization of poetic language”. Poetry critic Xie Mian once said: “The language of local poetry should avoid gorgeous words and obscure expressions. Only simple language can be close to the essence of the local area and let readers feel the temperature of the local area”. Chen Chen’s poetic language combines local simplicity and literati delicacy, without gorgeous words or obscure expressions, yet contains rich emotions and implications in simple words. Writing about the deeds of rural teachers with pure line drawing, “the 97-year-old him still stands on the three-foot platform / At the age of 90, he slept under a bridge for his students”. The straightforward narration has the power to strike the heart directly; writing about Xiang Yu by the Wujiang River, “At that moment, the overlord was lonely / He put Yu Ji’s hand in his arms / Entrusted such a heavy country to a sword”. The simple words outline the hero’s loneliness and solemnity; writing about the lakes and mountains of Hezhou, “Hezhou Lake hangs its skirt low / Fish look at their shadows through the water / Water birds chirp low, once in a while”. The simple description fills the picture with vivid beauty. The poet perfectly integrates line drawing and lyricism, making simple language produce poetry and simple words full of tension, forming a unique poetic language style.
Flexible space-time narrative, constructing a three-dimensional picture of Hezhou from point to area, adopting the scattered perspective narrative technique. The scattered perspective narrative technique enables literary works to break through the limitations of a single perspective, show the connotation of the writing object from multiple dimensions, and make the work more hierarchical and rich. Consisting of 27 sections, Writing Hezhou with Dry Brush adopts the scattered perspective narrative technique, taking the geographical space of Hezhou as the point and historical time as the line, connecting the ancient, historical and contemporary Hezhou. From Longtan Cave to Zhengpu Port, from Wanshou Pagoda to Wenchang Pagoda, from Overlord Ancestral Hall to Baidu Bridge, from Fengshan Du to Banyue Lake, each spatial node bears unique historical memory and realistic connotation. From point to area, the picture of Hezhou becomes three-dimensional and vivid. Meanwhile, the poet’s narrative perspective is flexible and changeable: sometimes overlooking the millennial changes of Hezhou from the height of history, sometimes feeling the fireworks of the local area from an individual perspective, sometimes writing about the era development of Hezhou from an onlooker’s perspective, sometimes expressing nostalgia from a returnee’s perspective. The switching of multiple perspectives makes the poetic narrative more hierarchical, and allows readers to feel the charm of Hezhou from different dimensions.
As a long local poem with both historical depth, humanistic temperature and era texture, Writing Hezhou with Dry Brush has important academic contributions and literary value in contemporary literary creation and research. Its creative practice not only responds to the creative dilemmas of contemporary local poetry and provides new ideas for the contemporary breakthrough of local poetry, but also opens up a new path for the poetic expression and research of Jianghuai regional culture, and provides a new carrier for the contemporary communication of regional culture. As literary critic Nan Fan remarked, “Excellent regional literary works are not only in-depth excavation of regional culture, but also enrichment and expansion of contemporary literary creation. Their value transcends the region and has universal literary significance”.
From the perspective of local poetry creation, this poem breaks the creative stereotype of traditional local poetry and realizes three breakthroughs, providing a new model for the creation of contemporary local poetry. Firstly, it breaks through the nostalgic idyllic writing, integrating the history and reality of the local area, making local poetry no longer a regret for the lost idyll, but a writing of local changes and rebirth, endowing local poetry with era vitality and responding to Chen Sihe’s proposition that “local writing needs to take root in reality”. Secondly, it breaks through the fragmented expression of nostalgia, integrating personal nostalgia with collective memory and regional development, making nostalgia a spiritual bond connecting the individual and the collective, the past and the present, endowing local poetry with deeper emotional connotation and broader pattern, practicing Wang Dewei’s theory of “collectivization of contemporary nostalgia”. Thirdly, it breaks through the single lyric mode, integrating narration, description, lyricism and argumentation, making local poetry not only have emotional expression, but also historical records, realistic observation and humanistic shaping, enriching the expression forms of local poetry and improving its artistic value, conforming to Tang Xiaodu’s proposition of “poetic aesthetic construction”. This poem proves that local poetry can have both regional roots and era texture, both personal emotion and collective memory.
From the perspective of regional writing, this poem provides a new sample for the poetic expression and research of Jianghuai regional culture. As an important node of Jianghuai culture, He County’s previous literary writings were mostly concentrated in prose, novels and other genres, with relatively scattered poetic writings. Writing Hezhou with Dry Brush, in the form of a long poem, conducts a comprehensive and in-depth poetic writing of Hezhou’s history, humanity, geography and reality for the first time, integrating the core connotations of Jianghuai regional culture such as Longtan Cave culture, loyalty and filial piety culture, academy culture, red culture and water town culture into the poetic texture, turning Hezhou from a geographical concept into a cultural symbol with spiritual connotation, and making the poetic expression of Jianghuai regional culture more systematic and in-depth. Meanwhile, the creation of this poem also provides a new text for the research of Jianghuai regional culture and an important reference for the study of contemporary literary expression of Jianghuai regional culture, promoting the in-depth integration of Jianghuai regional culture and contemporary literary creation, practicing Tong Qingbing’s theory of “regional cultural nature of literature”.
From the perspective of regional cultural communication, this poem takes poetry as a carrier to make Hezhou’s regional culture more vivid and widely spread. Different from the serious writing of historical materials and documents, poetry makes Hezhou’s history, humanity and reality more acceptable and spreadable with its flexible language, sincere emotion and vivid images, allowing more people to know and understand Hezhou through poetry and feel the charm of Jianghuai regional culture. Meanwhile, this poem integrates regional culture with era development, making regional culture no longer a dusty history, but a living and constantly regenerating culture in the contemporary era, providing new ideas and carriers for the contemporary communication of regional culture. In addition, from the perspective of long poem creation, Writing Hezhou with Dry Brush also provides a new reference for the creation of contemporary long poems. Contemporary long poem creation often faces problems such as loose structure, empty content and disconnected emotions. However, this poem takes “dry brush” as the core image, Hezhou as the writing core, and time and space as the context, with rigorous structure, substantial content and coherent emotions. From the 27 sections, it always maintains the original intention of writing and the main line of emotion, making long poems have both grand narration and delicate emotions, both historical depth and individual temperature, providing a structural and narrative experience for the creation of contemporary long poems.
Chen Chen biographs his hometown Hezhou with Writing Hezhou with Dry Brush, condenses history with “dry brush” and writes about the local area with poetry. He melts the millennial history, humanistic spirit and era development of Hezhou into one furnace, constructing a three-dimensional and vivid spiritual map of Hezhou. This long poem is not only an in-depth spiritual retrospect of the poet’s hometown, but also a successful breakthrough in regional writing of contemporary local poetry. Its creative practice perfectly interprets the core propositions of contemporary literary theories such as “local writing”, “spatio-temporal body” and “collective memory”, responds to the creative dilemmas of contemporary local poetry, and provides new ideas for the contemporary development of local poetry. It shows us that local poetry can not only immerse in the sadness of nostalgia, but also become an important carrier for recording regional history, shaping regional spirit and showing era development; regional writing can not only be superficial geographical description, but also go deep into the cultural roots of the region, excavate the humanistic spirit of the region, and make regional culture eternally inherited in literature. In the territory of contemporary literary creation, such local poetry has both regional roots and era commonness, both personal emotion and collective memory. It makes the local area a spiritual bond connecting the past and the present, the individual and the collective, the region and the times, and also makes literature an important carrier for the inheritance and development of regional culture.
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Yang Weisong, a poet, critic and postgraduate supervisor, is a member of Shandong WritersAssociation and vice chairman of Linying Youth Writers Association. He is the author of poetry collections You Are the Swallow Perching on My Writing, Wind Ferry, Yi River at the Turn, and review collection Weiyan Songsong Listening.
Email: fdkwxtg@163.com