Zhou Daqiang

Zhou Daqiang

Zhou Daqiang was born in Wuhe, Anhui Province in 1980s. Member of Anhui Writers Association. A large number of literary works have been published in people's literature, poetry magazine, star poetry magazine, Shanhua, Yalu River, mangzhong, Anhui literature, etc. the works have been reprinted by new century literature anthology, poetry anthology, etc., and have been selected into more than 10 anthologies, such as Chinese poetry Yearbook, Chinese contemporary poetry guide, etc. He has won the first prize in the Chinese poetry competition of poetry monthly for many times. He is the author of his poetry collection Xiao Zhou Village under the night.

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Zhou Daqiang's Poetry: Xiaozhou Village is still very small, Dazhou village is still very big

Brief introduction to Xue Mei

There is an important theme in Western Romantic Literature: back to the middle ages.

To return to the middle ages is to return to the ideal spiritual home of mankind, and to return to the dreamlike "past". Returning to the middle ages is not only a kind of religious call and identity, but also a kind of natural yearning and natural return. It is also a wonderful imagination about the future and a deep memory of the past.

The "consciousness of returning home" in Chinese literature is just like "returning to the Middle Ages" in western literature. "Consciousness of returning home" comes from the womb complex of human beings. It is a deep sense of life and emotional inheritance. From the day of leaving the mother, human beings have been trying to return to the starting point - the initial home of warmth and love.

Zhou Daqiang's poems reflect this primitive romantic temperament. When Zhou Daqiang left Xiaozhou Village, a new market town in Wuhe County, Anhui Province, he wandered around. After several times of fate migration, such as reporter, salesman, Secretary of the general office of a hotel, and resigning to start his own business, the "consciousness of returning home" naturally became his spiritual fulcrum and soul refuge. Only in this way could Zhou Daqiang write home in moonlight and catch a handful of mud "Earth, shout a mother", "return the soul to hometown", "in the farmland, a wheat ear swaying with the wind" and other full and true local love songs.

Zhou Daqiang's poems are permeated with the warm and sentimental atmosphere between the lines, the vivid description of the local affairs, and even the quiet and dim color, natural and pure language, which constitute a complete picture of the countryside: the river, the village, the earth road, the cattle and sheep, as well as the old house, the wheat farm, the apricot blossom, the peach blossom, the pear blossom, the willow leaf, the calamus, all of which are cordial, honest, affectionate and beautiful Intoxication:

The river is still very small, and the running water is cut off

The village I know is still alive

I know only old people and children

——Homecoming

Homecoming hit us with the emptiness and sentimentality of the night. The "small" of the "river cutting off" is "still very small" in the endless life of all things. The appearance and outline of the hometown set off among them: dilapidated, old, desolate and barren. "The robust men and women I know / now live in rental houses / next door to them are piled up with sorted garbage". The huge contrast between urban and rural areas has changed the direction of life. Such a "change" has a chilling and sad effect on the countryside

It's on the country dirt road at the junction of the two villages

I saw the familiar old cattle

For so many years, its muddy eyes

Together with the old house behind the village

By the village night, like an antique treasure collection

——Homecoming

The strong nostalgia in xiaozhoucun leads us to deeply understand the rootless fullness and rootless loss, the choices, love and hate, the bones and muscles of life

Holy dusk

Slowly opening the sleeping willow leaves and Acorus calamus.

I also learned that a word is quietly pregnant,

The sun in the belly spits out pear flowers,

Higher than a reed.

——Xiaozhoucun

"I guess the green is rushing into the tunnel and turning into the east wind". In the spirit and color of returning to simplicity, the flexibility and magic of the word "jump" is not only small and meticulous, but also vast and broad, which is the breeding of the poet's Soul: "I also learned that a word is quietly pregnant, / the sunlight in my belly spits out pear flowers, / higher than a reed.".

"The village, west of the village" is full of bitterness in love, "beautiful sadness, can only be / the lost wife and daughter, before a storm comes / open the Scriptures and read them enthusiastically", warmth flows out slowly in the bitterness, the entrance is sweet, the heart is chanting: "go further, the village / will have the strength of calligraphy".

Zhou Daqiang describes his xiaozhoucun with all his passion, and his strong infatuation with idealism is embodied in his poems. There is no doubt that in Zhou Daqiang's poems, "xiaozhoucun" has evolved into a mood, a sustenance and a symbol.

Brilliant and elegant from dandelion

——Thoughts on reading Zhou Daqiang's local poem "rural freehand brushwork"

Qi Hongsheng

Reading Zhou Daqiang's poems reminds us of the two styles of "dilution" and "nature" summarized in Sikong Tu's "poetry of the Tang Dynasty." every season is a kind of happiness / spring for me. Planting a sapling / house is new, red brick and green tile, The poetry of Zhou Daqiang is the breath of crops. It's deep and profound. It's just like Huifeng's clothes. Of course, without people's life experience, we can't write that kind of comfort. Zhou Daqiang grasped the farmer's experience and thought, and then he had his own delicate and true local style.

The title of "rural freehand brushwork" has different results in different writing styles. Some people passed on their gods and wrote the countryside as a cultural symbol; others drew their tables and made a photographic report for the countryside. These are not poems. Zhou Daqiang is between the two. The scenery of the countryside is the first representation he wants to explain. The poet wrote it, had a carrier, and then reposed in his inner feelings and orientation. Everyone knows that the poets who "view things with their hearts" have a process of emotional infiltration of lyric objects. "The students who come back late are stepping on the bones of spring / singing happy songs. The tree is so big / the leaf is a bright green mirror. The mother is talking about autumn with her father under the light. In my memory, autumn is another life of spring / poems are hidden in the Yellow schoolbag. The young / 15-year-old boy who is the same as spring is carrying a schoolbag, smelling the smell of rape flowers / moving tears, Will this / spring believe it? "There is a solemn and silent gaze in the eyes of people and things. This kind of quiet feeling shows the poet's efforts to express his inner potential. A good poet will not be satisfied to be a journalist. He should learn to find poetry in the common things. About "green leaves" and "autumn", the poet has a new understanding, and this understanding is not separated from the lyric context. That is to say, the poet highlights the movement height of image thinking in the process of representation in the countryside. This kind of situation is also reflected in the snow night, "this winter, the first contact with cold fingers / stop hibernating aerobic breathing / children's footprints after school gradually blurred / only large poplar trees / staring at the sky in the snow night", no matter how the scene desalinates, we can feel the author's lyrical proportion and ideological significance increase, here the author has his own outstanding sense of life The emotional description has a strong impact on the image of winter snow and yearning. This is a realistic thinking, derived from a specific atmosphere and artistic tension, I do not even rule out the author can hide the symbolic meaning of the abstract outside. It is not known whether it is the author's confession or not. However, like singing youth, the respectable rural old man in the poem sings about his old life with the countryside. "Old, I belong to the earth / don't need too warm flowers", the poet's footnotes are as plain as water, readers can taste them all at once, but they are sincere and straightforward, omitting the process of thinking, reflecting the poet's sincere attitude of writing poems. The poet's life has come to an end. He is so indifferent that he doesn't care about life or death. "On any day, you can sleep soundly / but you have to have running water and jungle, to be exact / some birds around your ears / no young breath, tears are sad". This is a ballad that hovers low in the face of the local. The poet will not pull out the roots of the local even if he dies. Only in this way can he get his place in old age. Poet Zhou Daqiang is the never withering corn or Red Sorghum in the countryside. Once he leaves the soil and praises the rural life, he will lose himself. The poet finally concluded that "in the soil, I and some flowers / happy opening" have their own ideals and determination. This sentence reminds us of two poems in Lu You's "Ode to plum blossom" written by Lu You: "scattered into mud and ground into dust, only fragrance is as good as ever". This kind of dedication and sincerity born in and died in this land has its own touching power.

When I read Zhou Daqiang's poems, I feel cordial. In the face of the countryside, the poet has no sense of confusion and loss. His language is simple and white, and he is full of emotion, just like a mountain village stream, murmuring like a string, and like a wild dandelion, brilliant and elegant, full of the taste of sunshine in the soil. Goethe said: "every tourist should have a clear idea of what he should see on the journey and what his gist is." a local poet, however, can only hear or send out the sound of frogs from the moonlight with the fragrance of rice and flowers by sticking to the roots of crops.

Main works

In 2006:

This is how the night comes (Foshan literature and art, November 2006 (the second half of the month))

Magnolia in the moonlight

In 2007:

Farmland on the back of the sea

There are 4 poems in the countryside（