Tan Xudong

· Since the entry of literature into the contemporary era, the relationship between producers and consumers of literature has changed. The producers of literature in the past are high-ranking social elites or cultural people. They and the general public belong to different classes, and now the producers of literature and Consumers are not traditional social classes that are opposite or separate from each other, but are composed of mutually transforming and infiltrating classes. That is to say, the production subject and the consumer subject of literature are overlapping and fuzzy. The important reason for this phenomenon is the rapid improvement of production efficiency in contemporary society, the popularization of education and science and technology, and the rapid circulation of electronic media information, which has led to the general improvement of the viability of all classes, the general improvement of cultural quality, and the cultural knowledge. The difference is increasingly blurred or disappeared. Therefore, literature and culture are no longer patents of a certain class, but become the spiritual wealth shared by the public.

· Entering the new century, the whole literature is surging with the trend of fashion and entertainment. This has a lot to do with changes in the structure of literary communication and acceptance. From a specific perspective, many children's literature writers today have consciously adjusted their writing style and value pursuit, and they have won the reader's first place in an entertaining way.

· I look forward to a rational review of entertaining children's literature in society. I believe that writers will explore art in the form of entertainment and build the human heart. I believe that in any era, writers cannot be a fallen group. If the past generations of children's literature writers are acting as guides or teachers for children, then today's new generation of children's literature writers are friends of children, they have discovered children, and they have discovered the position of children's literature in this era.

· The reconstruction of theoretical criticism of children's literature is indeed a day's work. It not only relies on the unity of the colleagues in the theoretical critics, but also works together to form a synergy. It also depends on the support and understanding of the creative community, and on the society as a whole. The emphasis of literature, such that the creation of children's literature and the theoretical criticism form a benign interaction, the children's literary world and its external environment also form a benign interaction.

· Although literary creation and acceptance is a unified whole, according to the viewpoint of accepting aesthetics, literary creation is truly completed as long as the work reaches the reader's hand and is affirmed by the reader. But this does not deny the independence of the writer's subject in the process of creation. In a big sense, the merits and demerits of the works depend on the creativity, innovation, perception, literary accomplishment and knowledge structure of the writer's subject, but have little to do with the reader.

· The purpose and motivation of both children's literature creation and adult literature creation cannot be unique. I personally think that there are at least four kinds of literary creations: one is for oneself, some writers of literary works have never considered readers in writing, such as the reminiscent articles written by many writers in childhood, which is basically the writer's childhood complex. The reflection of the writer's writing is to satisfy a returning psychology, a love complex. ——Tan Xudong's famous sentence

· From the perspective of the history of literary development, some literary works are written for a few people. There is no need to be widely loved by the public. It does not belong to the square art, but belongs to the art of a few people. This point is already a literary common sense, no need to exemplify.

· The commercialization of children's literature itself needs to be supported by aesthetics or aesthetic quality. Without the power of aesthetics, without a high aesthetic character, it is impossible to obtain long-term recognition by following the trend of children's pursuit of fashion.

· If our children's writers screamed back to children, returned to literature, followed eternality, and on the other hand tried their best to pursue the code and firmly follow the path of commercialization, isn't this a subjective confusion? Perhaps children's literature is already a paradox! ? Or is child literature always standing at a crossroads? !

· Since the May Fourth period of the last century, Chinese children's literature has undergone several important artistic transformations. The "children's standard" of children's literature in the May Fourth period to the revolutionary theme of the 1930s and 1940s, to the 1950s and 1960s. The convergence of realism and childlikeism, and the return of the "children's standard" in the new era, children's literature has basically got rid of the control of political consciousness and become an artistic creation.

· In recent years, most writers have adhered to a serious humanistic writing posture. Their creations are based on the healthy growth of children's spiritual life. They construct their own with classicalism, romantic language and modern children's perspective. The literary world strives to publicize the writer's idealism and individualism, returning the imaginary, aesthetic, and pure children's essence to children, and letting children find happiness in a space that fits their own thinking and imagination. ——Tan Xudong's Quotations

· “Fashion writing”, which is the popular route of urban youth, is a trend worthy of attention in the current creation of children's literature. The fashion writing of children's literature is not surprising. Its appearance is related to the emergence of a group of writers with middle-class economic status. It coincides with the petty bourgeoisie and closely combines with the romantic reading needs of urban teenagers. It seems to have no value judgment. It seems that there is a lack of traditional "educational" children's literary creation, and there is no elegant spiritual gesture of humanist writers. In fact, "it struggles between refusal of stale value and finding new value."

· Business writing is a kind of writing that places great emphasis on market profitability. It is often preceded by the market, and then there is “creation”. Generally speaking, commercial writing is a work that has not yet been born, and advertising has been applied first and has already appeared.

· "Lower age writing" has not only become a new topic in children's literature creation in recent years, but also caused a lot of controversy in the whole society. The so-called "low-age writing", to put it bluntly, is the book of juveniles. It mainly has several situations: First, it is influenced by the family.

· “Regional writing” is also a noteworthy phenomenon in the field of children's literature. Regional writing is closely related to the writer's regional cultural psychological quality. From the perspective of the history of literary development, regional culture has always been a complex that writers can't get rid of. The natural customs of hometowns and hometowns, folk characters, historical sites, and cultural traditions have infected writers since the childhood and youth of writers. Over time, this gradually formed the writer's "local attachment." This "local attachment" complex is the emotional source of children's literature creation and naturally forms an important motif for children's literature.

· The popularity of online writing has become an important phenomenon in the adult literary world, which has attracted the attention of many critics. Internet writing relies on online media—the Internet as the media. The biggest difference between it and traditional mass media is its Interconnected, it allows people around the world to share the same information around the world with computer connectivity. ——Tan Xudong's Quotations

· In fact, as the diversification of cultural values ​​becomes more and more obvious and the writer's positioning of writing purposes is more and more differentiated, there may be more paths and directions in children's literature writing. However, diversified writing has made people see the prosperity of children's literature writing. There is no reason to suspect that China Children's Literature will achieve even more impressive achievements in the new century.

· In the past 100 years, Chinese children's literature has achieved brilliant achievements. From creation to publishing to theoretical criticism, a generation of generations have emerged, and a batch of good works have been approved. However, the criticism of children's literature theory is weak in the present, and it seems to be somewhat lonely compared with the lively creation and publication.

· It is difficult to rule a history, which is almost the opinion of all scholars. To do literary studies, especially to do theoretical criticism, we must first make historical data. However, it is necessary to spend a lot of effort and energy on the systematic study of writers' works, literary thoughts and literary movements in the development stage of literature. In particular, researchers need to have patience and resilience, be patient and lonely, and be willing to sit on the bench. . Among the contemporary scholars, all those who have a solid knowledge and deep insights begin with the combing of history. They are the first to possess the first-hand literary materials, only to obtain the right to speak in literature, and to dare to each part of the literary system. Make accurate artistic judgments.

· The current theoretical criticism of children's literature is indeed lagging behind. The older generation of theoretical workers are eager to call for a new generation of theoretical criticism. Young critics and enthusiasts lack the theoretical foundation and critical talents, not to mention the influence of business culture and consumer culture. Young writers can't concentrate on quality products. Critics can't help but even have some enthusiasm. The embarrassing situation of "no rice can be smashed".

· It is also the poets who have adapted the creative mindset and direction in the cultural transition period of the new century. Therefore, a major achievement in the creation of Chinese children's literature in the past two or three years is the realization of an international dialogue with the world's children's literature. Writers and poets embrace the organic factors of realism, classicism, romanticism and modernism with an open mind, combining their creations with global literary topics and focus, and combining the essence of children with the essence of children's literature. Get up, break through the national, regional, and private issues, and establish a public literary aesthetic space for children from different countries and different nationalities. ——Tan Xudong famous sayings

· The achievements of Chinese children's literature creation in the century are obvious to all. Whether it is children's novels, fairy tales, children's poems, and children's literature, the creation of children's poems and children's literature has shown a good momentum. Especially the children's novels and fairy tales are more neat and tidy. To be strong, and children's poetry began to emerge from the downturn of the 1990s and began new explorations. It can be said that the creation of children's literature in the new century shows a unique landscape of Chinese culture in the new century.

· The Chinese children's literature in the new century is full of vigor and vitality. The writers and poets are unwilling to take the attitude of advancing and the dedication of the deeper aesthetic world, which makes people see the possibility of the prosperity of Chinese children's literature in the new century. We have reason to believe that Chinese children's literature will surely achieve better results in the new century and usher in new glory.

· The contradiction between artistic consciousness and commercial desire. That is to say, writers can't maintain their artistic consciousness in the context of commercial writing and publishing, and fall into the predicament of the lost of the subject, which makes the works lack the value scale and spiritual realm that art works should have.

· The contradiction between language exploration and closed knowledge systems. That is to say, some young writers try to form their own language styles, but because of their lack of basic knowledge accumulation and cultural literacy, especially the lack of reading experience of Chinese and foreign literary classics and the indigestion of art theory, and the model of their creation is basically A few works in the children's literature circle lack understanding of the essence of Eastern and Western cultures, so their creations are actually deliberately imitated, and some even use rough.

· The new generation of children's literature should not be a popular book for children, nor should it be a script written by the writer for the sake of fame and fortune. Children's literature is not a language game that anyone can manipulate. It is a "difficult writing" and a dance of the soul. It is a noble spiritual construction! I sincerely hope that the 21st century children's novels are the art movements that are constantly moving toward the top of the pyramid! ——Tan Xudong famous sayings

· As a younger generation of children's literature creation and theoretical criticism workers, I feel that it is necessary to give Yang Peng's "17 questions" a one-on-one response. One is to affirm and agree with Yang Peng's enthusiasm for building a second. I can express my views on the future construction of Chinese children's literature. At the same time, I hope to use this answer to appeal to more people to participate in the modern construction of Chinese children's literature.

· The entry of Chinese book publishing into the WTO is an opportunity and a challenge. To say that it is an opportunity is because the integration with the world is a necessity of development, and it is conducive to the Chinese book publishing out of the nest of the old system, which is conducive to stimulate the originality of Chinese books. It is a challenge because it will inevitably lead to the inevitable entry of Western cultural waste, which will not only hurt China's existing publishing environment, but also eliminate the excellent cultural publishing function of excellent book publishing. As far as the introduction of children's literature is concerned, it has obviously warmed up in recent years, and it has almost become the basic strategy for children's publishing.

· All literary works face the test of time and face the constant elimination of generations of readers. The so-called classic is the work that shines in the panning of time, rejuvenating the machine and charm. But the classics may not belong to the public in a period of time, it is difficult to enter the mainstream reading horizon. For such a work, we can't deny it because it is not popular at the moment. Readers like it is not the only standard, because the reader's reading taste and appreciation level can be cultivated. However, I agree that children's literature writers are constantly charging and learning constantly.

· I feel that in the face of marketization and commercialization, children's literature writers and even every writer should insist on “difficult writing”. "Difficult writing" is a vocabulary I used in the criticism of new poetry a few years ago. I will reuse it here. The so-called difficulty is actually to adhere to an artistic standard. It is a certain culture under the creative language. It contains a certain spirit, even a spirit with eternal truth, and is the power to convey human basic humanity and morality.

· I think writers should have "historical feelings." The "historical sentiment" I am talking about here does not refer to the writer's memory of history and his fascination with the past, but the writer should have a historical vision and a historical consciousness. It is necessary to use historical vision and historical consciousness to examine past creations, present creations, and guide future creations. It is necessary to be good at seeing the superiors of the predecessors, persisting in inheriting the artistic ethics of the writers of the predecessors, and rejecting those who do not conform to the children's minds. Need, time and style writing that deviates from art. ——Tan Xudong's famous sentence

· Children's literature is not only an important resource for language teaching, but also an important resource for cartoons, online art, games, film and television. The media age is also the era of reading pictures. The marriage of literature and images is an inevitable trend. Although the marriage of literature and film and television is considered to be the compilation of literature and literature, it is the light of literature borrowing from film and television. I think this is only a conclusion drawn from the side.

· I am very optimistic about the prospects of children's literature. Children's literature has a non-negligible role in the healthy growth of children's spiritual life and the formation of good personality and national literacy. Children's literature is concerned with the future of the nation. The pioneers of the New Culture Movement during the May Fourth Movement actively engaged in the foundation and construction of modern children's literature while issuing the call for “helping children”.

· Create a good ecological environment for children's literature, so that the government attaches importance to children's literature, the society attaches importance to children's literature, the education sector attaches importance to children's literature, and the publishing and media circles attach importance to children's literature. Under such circumstances, children's literature writers and theoretical critics are persistently working hard. , strive to create. In short, the simultaneous development of creation, publishing, theory, criticism and teaching is the sustainable development of children's literature.

· From the time of the May Fourth Movement to the present, the development of Chinese children's poetry has been nearly a hundred years. This century's roads have been tumultuous, and children's poems have written their own glory in the difficult trek of society. As far as contemporary children's poetry is concerned, although the rapid changes in social form and the rapid turn of culture have made it once confused and confused, its rich accumulation and poetry's sincere attitude cannot be obliterated by the history of literature and poetry.

· Children's poetry cannot directly bring economic benefits to the society, but it can play an energetic spirit and inspire the role of fighting spirit. It is an indispensable spiritual wealth for contemporary children and children. It can be said that children's poetry is not only poetry, it belongs to the masses, belongs to the people, and belongs to the future generation of the motherland. I sincerely call for more outstanding children's poems in the new century, calling for more young poets who are obsessed with children's poetry creation. ——Tan Xudong famous sayings

· Children's poetry is not an embarrassing term. Although children's poetry is not as lively as children's novels and fairy tales, editors of various publishers and magazines do not enthusiastically publish children's poems like juvenile novels and fairy tales. Publishing laborious expenses, but this did not reduce the enthusiasm of the majority of children poetry and poetry. In the field of children's poetry, there are still many outstanding defenders and cultivators, and there are still many surprises.

· The new aesthetic space for the construction of children's poetry is a major artistic subject that Chinese children's poetry and poetes face today. It is related to the development and prosperity of Chinese children's poetry in the new century, and it is also related to the healthy growth of the spiritual life of a new generation of children. The solution to this artistic subject needs to be carried out in two steps: first, to realize the artistic transformation of children's poetry from traditional to modern, and then to realize the international dialogue of children's poetry and to the world.

· The times are changing, and children's poetry should change with the times. This is the understanding that children's poets must possess. Wang Yizhen is a poet who has already entered the realm of artistic self-consciousness. It can be seen from his previous creations of children's poems that he has been constantly exploring art, and has made multidimensional reflections on the creation and development of children's poems and the nature of children's poems. .

· It should be said that in the process of realizing the transformation of children's poetry from traditional to modern art, Wang Yizhen's creation of children's poems has taken a solid step. As can be seen from his recent children's lyrics, he tries to use his poetry to build an aesthetic bridge that spans children and adults.

· For a long time, the creation of children's poems in China has not only a narrow subject matter, but also a lack of perspective, lack of lyrical personality, and lack of diversity in expression techniques. In particular, some poets lack the consciousness to go to the world, and they have almost no consciously pursuing art wash. They rely entirely on childhood experience and a little artistic intuition to write, which leads to the poetic language tradition and lack of ethereal artistic charm, so it is inevitable to give children a kind of art. A sense of narrowness. ——Tan Xudong's famous sentence

· As we all know, in recent years, business culture, electronic media culture, popular culture and other various social subcultures have impacted on literary and artistic creation, and children's literature has also been deeply affected. The writer's mentality is impetuous, and some people simply regard serious creation as a child speed. The production of food, or simply taking the market code and commercial interests as the first benchmark, thus creating a cultural kitsch that has fallen into the commercial era, the writer has fallen into the cultural labor of the commercial society.

· How to integrate modern, scientific and humanistic educational concepts into beautiful fairy tales, I am afraid that every fairy creator should pay attention to it. For writers with a sense of responsibility, fairy tales in the beautiful words, subtle imagination and rich love, invisibly complete the subtle educational function of the reader. Children's literature is a literature of minors, a growth literature, a spiritual dialogue between the adult world and the children's world. Therefore, children's literature cannot avoid adult education for children.

· Every child will be exposed to fairy tales in the process of growing up. How can the children still remember the fairy tales they have read when they grow up, understand the humanistic care of the fairy tale authors, instead of doubting the value of fairy tales and denying the fairy tales? Meaning, I think, this is my feeling of reading the white ice fairy tale, and this point, I thought it is also worthy of every responsible writer to ponder.

· The “animism” in child consciousness corresponds to the “all things animism” in the original consciousness. As children in the dawn of life, their thinking in the physical world is in the same chaotic state as the primitive people. They can't distinguish between the physical world and the psychological world, and can't distinguish the subject of thinking and the object of thinking. Clearing the reality and imagination, this leads to the child's concept of pan-spirit.

· We must not speculate on fairy tales by subjective judgment. The children's life philosophy is isomorphic to the world of fairy tales. From the children, we see the mystery and ethereal world of fairy tales, from fairy tales. In the world we have seen the mystery and ethereality of the children's world. ——Tan Xudong's famous sentence

In short, for Andersen's evaluation, I think it is still rational, neither exaggerating the deification, nor deliberately demeaning, nor can it be malicious. Instead, we should reread Andersen from a new perspective, a new way, fully understand Andersen, learn the essence of Andersen's fairy tales, and work hard to build a children's literature with local spirit!

· Children's literature is concerned with the future of the nation. The pioneers of the New Culture Movement during the May Fourth Movement actively engaged in the foundation and construction of modern children's literature while issuing the call for “helping children”. In the new era, children's literature writers have linked children's literature with shaping the future national character.

· The concept of "contemporary literature" and the writing practice of contemporary literary history began in the mid-1950s. At that time, with the concept of "modern literature" and replacing the "new literature" concept that was proposed and used in the early 1950s, the writing practice of modern literary history and the writing practice of contemporary literature were almost at the same time. .

· The writing of contemporary literary history is closely related to the establishment of the legitimacy of "contemporary literature." It is in the "new literature" concept, and "modern literature" and "contemporary literature" appear together and "contemporary literature" needs to form its own subject discourse, and enter the field of intellectuals of literary history research. Investigating the progress of contemporary literature and analyzing the internal and external factors of the development of contemporary literature, it is not difficult to see that contemporary literature writing is very meaningful, and its rewriting is very necessary.

· In addition to being responsible for the “history” of literature, literary history is also responsible for the function of literary knowledge education. Rewriting the history of contemporary literature, especially the “history of contemporary literature” that rewrites a textbook for contemporary college students, requires new Vision, perspective and strategy or method. ——Tan Xudong's famous sentence

· The writing and rewriting of the history of contemporary literature is an arduous task. It expects a more open and free mindset, an objective and fair position, expects a more detailed analysis and review, and a judgment of the three-pointer; it needs a rewriter to stand. The height of discipline construction, in order to summarize and clean up the historical logic, we need to sum up experience and lessons, and give readers an broad perspective.

· Literary criticism is indeed facing the embarrassing situation in the present. On the one hand, literary criticism loses the recognition of academic circles. On the other hand, literary criticism also faces the doubts of writers and readers, that is, the literary critics themselves also have the social function and value of literary criticism. There was suspicion.

· Literary criticism should be impetuous, truth-seeking and pragmatic. Only by seeking truth and being pragmatic, literary criticism can be beneficial to promote the development of literature in a healthy and beneficial direction. Literary criticism can emerge from the current predicament and play an important role in the spiritual construction of the whole society.

· I think it is related to the closed pattern of sci-fi literary creation. In recent years, although the ranks of science fiction literature is expanding, the creative landscape of science fiction literature is still quite closed, and has not yet formed an open ecological environment.

· If readers not only fail to get this from sci-fi literature, but also fall into a logically chaotic, confused, anxious living space, then I think this "sci-fi literature" works are pseudo-science fiction literature, at least should also be called For the failure of science fiction literature. ——Tan Xudong famous sayings

· I believe that science fiction literature creation will come out of a closed territory, believing that science fiction literature creation will establish its own discourse space and form its own critical pattern. I also believe that the literary world will give science fiction literature a place to accept science fiction literature.

· The natural writing of literature is not a new phenomenon. From ancient times to the present, poet writers have long been familiar with the descriptions of nature's landscapes and landscapes, especially the writing and singing of nature by romantic literature, leaving many touching chapters.

· The emergence of modern ecological literature emerged with human criticism of industrial civilization and business culture. At the beginning of the twentieth century, with the expansion of modern civilization, the acceleration of industrialization and post-industrialization, and the deterioration of natural extraction, people began to think about the relationship between man and nature, and the ecological problems of the human mind.

· Under the impact of the market economy, Chinese campus literature, like an unwilling bronze, has protected their pure voice in materialistic and urban voices under the influence of a large number of campus “singers”. The authors of the campus wrote a childlike innocent poem with a vibrant and passionate attitude, showing the world their hearts of seeking truth, being kind, and loving beauty.

· Campus literature is called “campus literature”. First, because its authors are mainly students on the campus of Dazhong, although teachers are also participants, they are not the main components, and the second is because the content of their performance is campus life. . ——Tan Xudong's Quotations

· It is worth mentioning that in recent years of campus literature, many authors are trying to overcome the shortcomings of campus. They dare to look to the changing external world and dare to extend the soul's tentacles to socially sensitive nerves. Significantly broadened. For example, some campus writers began to pay attention to environmental protection. In their works, they think about how people and nature can survive and develop harmoniously. Some campus literature works also touch on corruption and world peace. Some of them also extend the writing to the depths of history and explore. Historical experience and lessons.

· The reason why prose is widely welcomed is that people are no longer enthusiastic about political events and enter a state of calm thinking or scientific speculation, and because prose creation has become more and more interesting, temperament and art in the moment. She is neither "lower Liba" nor "sunny white snow".

· The so-called talent writing means that the author writes with the enthusiasm of youth and talent. This kind of writing should be the unconscious choice of most writers in colleges and universities. It is hard to say that these authors have artistic consciousness. It is difficult to say how high their artistic accomplishment and literary accumulation, but their prose is full of vitality and aura, so that you have to convince them of their talents.

· Art writing is a relatively advanced form of writing in college writing. It has a premise that the author has the artistic consciousness, so he will consciously and actively improve his artistic quality and strengthen his artistic accumulation. In writing, he not only pays attention to digging into life experience, but also fully mobilizes it. I have my own artistic talents and use artistic skills to create. College art writing is often full of exploration spirit and risk-taking consciousness. Looking at the development of new literature, especially the development of literature in the new era, it is not difficult to find that the literary experiment and exploration of college art writers has always been the main factor of the pioneering and exploratory nature of Chinese literature.

· The reason why college writers often give people a kind of exploration posture, there are several reasons: First, because young, young means to dare to dare to do, it means to dare to break through the old literature, dare to do art Adventurers; second, because of the higher level of culture, which makes them more likely to be in the world of art; the third is the temperament of youthful romanticism, the intertwined emotional worlds of love, ideals, hopes and sorrows, loss, etc., making them acquainted Or very eager to talk. The comprehensive effects of the above aspects naturally form the driving force behind the exploration and adventure of college writers. ——Tan Xudong's famous sentence

· I like the two series of “Urban Calendar” and “Life Sensation”. The former reveals the inner cultural conflicts of students in urban life. The latter reveals the philosophical thinking of students on life, life, the world and even the universe. People have confirmed that contemporary college students are a generation of thoughts. They are definitely not admirers of sensory and perceptual culture. They have their own judgment and have their own ability to distinguish. They are a generation of newcomers who are proud of their prosperity. . Perhaps in the eyes of many weather-beaten people who have been in the society for many years, they are still a little naive, but their wisdom is gratifying.

· College prose writing can be expressed in two words, one is “passion writing” and the other is “cultural narrative”. The authors of colleges and universities are trying to express their passion for the inner world, express their own feelings of warmth or sadness or joy, while trying to express their views on the century, life, youth, nature, affection, friendship, love, etc. A cultural perspective of universal propositions, showing their unique cultural thinking and a sense of humanistic care and responsibility maintained during the cultural transition period.

· Of course, there are still many places worthy of recognition in this novel. For example, it also absorbs the structure of fantasy space in fantasy novels, and also draws on the importance of fairy tales to poetic language and the expression of original thinking, and this novel It also has mythological colors and scientific novels to publicize scientific thinking, and so on.

· From the May Fourth to the present, the development of new poetry has been nearly a hundred years. From the original cultural elite to today's civilians, from the social megaphone, the drummers of the era to the personal voice and personal monologue, the identity of the new poetry has undergone a major transformation. The status of new poetry in the minds of the public has also plummeted. Some people say that this is the normal state of poetry. It is the poetry that has returned to its original position and is a normal social and cultural choice.

· Obviously, the new poem is a language art, and we can see the development of new poetry. We find the fact that although the new poem is Chinese art, it can suffer from the congenital deficiency of art from the beginning. - Breaking with the tradition of Chinese classical poetry. ——Tan Xudong's famous sentence

· Poets should have the courage to introspect, and new poetry can no longer make those ridiculous mistakes. Returning to the fine tradition of poetry, returning to the poetic nature of poetry, and returning to the essence of poetry's language art, new poetry may regain many readers and regain the reputation as poetry.

· Poetry experiments in the mid-1980s are inevitable for contemporary new poetry. The heroic writing and divine writing of the idealism and the understanding of the relationship between society and people and the attention to human nature are worthy of Affirmative, but their intentional and unintentional collusion with political power discourse is also obvious to all.

· As a reader, I sincerely hope to read poems with “difficulty”. Poems with “difficulty” are not poems that refuse to read. Poems with “difficulty” are poets who have established themselves and embrace art and the public. Poetry of love, poetry only has "difficulty" to make us feel the joy of spiritual improvement.

· In a country with a profound poetry tradition in China, new poetry will not die, but only if a true modern open system of poetics is established, new poetry may leap again, and Chinese poetry will win the world's affinity and humanity. Love.

· Perhaps the disagreement in the exploration process for Chinese new poetry is the normal expression. ——Tan Xudong's Quotations

· Why is the “spoken”, “everyday” and “pretentive” in the current poetry writing so rampant? I do not at all exclude the poet's emphasis on and description of everyday life experience. It does not exclude poets from using emotional language and colloquial language to express life experiences. The key is, how do we write and write? This seems to have brought us back to the old-fashioned question. In fact, no matter how "write" and "write", no one can avoid it. "Difficult writing" is to tell everyone: what to write and how to write is not easy! We must consider a poem as the "degree" of poetry!

· I think that a true critic should be speaking in accordance with the conscience of art and the standard of art. The reason why art is called art is that it has its standard, or that the reason why any thing maintains its inherent "quality" is because of another "degree" problem. Without this "degree", it Unable to maintain the "quality" of this thing.

· I can't explain too much about the works of these poetry writers, because this work is best done by the reader first. However, in which I appreciate them most, they are obsessively pursuing the spirit of the goddess of poetry. In the context of commercialization, it is well known that many people regard writing as a negative habit, not as an unstoppable burst of inner passion, not from a strong desire to change life. In the end, it is a time to cater to the times. Interesting writing is a strategy that seeks to take advantage of the commercial value of the business era to replace everything else to gain maximum business value and benefits.

· Although the smoke of "civil writing" and "intellectual writing" has spread, the thinking about new poetry caused by this debate is far-reaching. When the poets who held the "folk writing" position recently had internal disputes on the Internet, people should not only doubt whether the new poetry might find a third road. Perhaps the differences in the exploration process for Chinese new poetry are the normal expression.

· Scientific poetry is one of the most modern poetry in the new poetry. It is developed with the spread of modern scientific thought and the importance of science education for young children. Scientific poetry, as its name implies, combine poetry and science, depicting the scientific world with beautiful poetic language and imagery, spreading scientific knowledge, expressing the spirit of science, and enlightening the poetry of scientific thinking. ——Tan Xudong's famous sentence

· Modern Chinese literature research faces an unavoidable problem: the huge research team and the historical research period of only “Thirty Years” have made many young participants doubt the possibility of innovation. Many young scholars and postgraduates who are engaged in the study of modern and contemporary literature have doubts and thoughts about the space of modern literature research. This is an era of resource shortages. This is not the case in general academic research and literary studies, but it seems to be particularly important in the field of modern Chinese literature.