Who can introduce the poetess Shiva and her masterpiece in detail ~

The author introduces Xiwa: female, a poet and writer born in Tibet after 1970s, who has lived in Sichuan, Shanghai and Beijing successively. I have studied Chinese, philosophy, religion and music. Find my dream girl and write a brilliant chapter. Take dreams as horses and wander around. He has published a collection of poems "Before Returning", a novel "After Heaven is Shanghai" and "Before Lovers" in major poetry publications, which is the author's first novel.

Siva's first novel, Former Lovers, is a dizzying abyss. I just read the beginning and found that my heart and thoughts were deeply sucked in by it. Many novels in recent years have made me feel that "Qian Fan is nothing", which is not to my taste. I am like a "lascivious" young man from other provinces in the Tang Dynasty, proudly galloping on the densely populated streets in the spring breeze and seeing all the flowers and plants in Chang 'an, but only this novel makes me feel amazing when I suddenly look back.

I almost finished it at one breath, because I couldn't bear to leave for a long time. In the process of reading, all my senses are opened, excited and pushed forward. Shiva is full of talent and language explosion. Her pen is a match, but she regards herself as a bullet of literature just to share the feeling of "explosion" with others.

Shiva's writing is a kind of nirvana and an accelerated self-immolation. The words she threw at us at will came from the extreme experience in her life and were a concentrated explosion after a long period of repression. It was blood and tears flowing down in a state of self-control, including all her painful experiences, fanatical dreams, passionate memories and tearing desires. Her language is not ashes after burning, but flaming flames, fiery red steel that slowly softens in the flames-anyone can predict that it will become harder.

The impulse of destruction and the instinct of death intensified her enthusiasm, making her every word in an extreme state, and making readers enter the deepest part of human nature at once. There, neither her ego nor superego can stay or remain. Shiva, like a queen in hell, collected all this-along with people who became ghosts and gods who were willing to fall with others.

If Shiva just let the pen slide under the pressure of passion, then the word "genius" I used for her is too cheap. In her works, there are not only horrible and true emotional experiences and extremely accurate life descriptions, but also profound feelings and heavy backgrounds.

Shiva's thought has touched the essence of human nature. Everyone's soul in her works was brutally tortured by events and relationships. Shiva loves to force them to hand over their inner truth at the last moment of life and death. In the novel, the hero's sister clay doll is happy in pain, and her sister Du Meng suffers in happiness. The clay doll is a pure girl, and the romantic imagination of love has replaced the concern for her body. However, when she was ignorant and quickly gave her body to Jiang Bo, the first boy she liked, she found that the boy was far from her imagined image. So she reluctantly closed her body with her own consciousness and planned to continue to look for the prince charming in her heart. Jumbo's mistake is that he defiled the clay doll's imagination of pure love and even fooled around with the prostitute's sister Du Meng. In the eyes of clay dolls, this is simply incest! So she was desperate, angry, quiet and finally committed suicide. ...

Shiva showed us the particularity and complexity of human nature in this way. In fact, from the perspective of psychoanalysis, many factors in the character of clay dolls are distorted, inverted and covered, and "sleepwalking" is a concentrated pathological manifestation. Shiva's profundity and originality lie in her exploration of the causes of clay dolls' personality. First, she grew up in a remote and backward country, and the feudal consciousness of preferring sons to daughters made her suffer from the supercilious look and abuse from her elders in her childhood. Second, when she grows up, she grew up under the supervision of the doorman of the madhouse. Her mother is already a madman in the madhouse, and the guardian is her mother's only lover in her life. The guardian named "Men in Black" wrongly pinned his infatuation with his mother on her-since 10, the clay doll has grown up under his dual care of combining sex and affection.

Shiva's sharp brushwork extends to the personal experience of human nature formation. Sister Du Mengzhi became a prostitute obsessed with money, playing with men and being played by men. She is still looking for love, but she doesn't believe in love and even abuses it. This is because when she was a girl, in order to get money to treat her dying father, she gave her first sex as a gift to a greedy official. Later, she really fell in love with the boss of the company, but was cheated, abandoned and fired by a treacherous businessman. How can such a society create sound human nature and rational choices?

So Shiva's pen, like a cannon, launched a fierce bombardment on various ugly phenomena in society, with great lethality. She also delved into history. Mother's madness, sister's depravity and abnormal suicide of clay dolls can all be traced back to the evil of that crazy era. My mother was sent to a poor mountain village as an educated youth when she was young and beautiful, just because she was poor and sick or afraid of being poor and sick. She was weak and accepted the sympathy and assistance of the village party secretary, but she could not grasp the relationship with Du, the son of the secretary, and was finally married by Du, which led to a lifetime tragedy and two "evil seeds". It is the addition of historical content that makes Shiva's sex story far beyond the stories of countless little women in street stalls, and has a solemn, solemn and heavy character.

What makes me sit up and take notice is that Siva's novels are also very skillful in narrative mode. The intersection of time and space, the exchange of order and flashback, the shift of different people and the discrepancy of different styles are all handy and colorful, which greatly enhances the reading pleasure and internal tension of the novels.

Judging from the depth of experience, the talent of language, the art of structure, the metaphor of history and the symbol of human nature, the fledgling Siwa can shake hands with Zhang Ailing by pulling away many people who are swaying and stuck in the golden light of literature. My alcoholic's original intention is not to compare Shiva to Zhang Ailing, but to compare Zhang Ailing to Shiva. Because I believe in Shiva's talent and kung fu, if society and life can help her create freely, she will surpass Zhang Ailing.

In the dining room, Siva seldom talks except drinking and smoking, and there are few other gestures to express it. What she said most was two words: "crazy" and "dead". I have always believed that great works are born in a state of madness. Text/North Tower

Siva interview:

Xiang: Then tell me about poetry and your writing process.

Shiva: Don't like or deliberately avoid talking about poetry? I hope my potential readers can read it through Shiva's Poems? Imagine what poetry looks like in Shiva's eyes. My poem carries what I want to say and what I don't say. I never dare to underestimate readers? In my opinion, it is a deprivation of readers' reading space for a poet to speak with his own poems as much as possible and then talk about poems other than "poetry"?

1992 I started writing poetry, and I wrote a lot, which almost ruined it? I don't want to leave a poem I'm not satisfied with (I didn't say I was satisfied with the poem I left, just a little passable). 1998, I wrote it in Before I Return, knowing that I had written something that I was slightly satisfied with during this period, and I couldn't surpass it for a while, so I rewrote the novel? Want to seek change through "pause"? I wrote a series in 2002, and then stopped to learn Buddhism? This not only brings another layer of life to my poetry? At the end of 2005, I wrote again, and I was very satisfied with Call for the Soul?

A Xiang: Do you think that more and more people are recognized now, which will lead to restrictions?

Shiva: Actually, I am a lonely walker everywhere? I stay away from poetry and literature.

As a woman, I don't expect to monopolize anyone.

But never share a man with several women.

-"Love You for Nine Days"

This is a poem by Shiva.

This is the motto of women facing love directly.

Even in an age of promiscuity, reading such words, any man or woman who longs for love and is frustrated by love can't be tempted by such confession.

Shiva writes that love is naive and grand, painful and docile and overbearing. She wrote a series of poems full of feminine flavor with feminine words and rhythm. Her poems, which are faithful to the perception and fantasy of "self", are always filled with the intentions and clues of a woman's body, eyes and heart.

I once left a message in Siva's column: Poetry that can surprise me is good!

I deliberately used the word "surprise" because of Shiva's courage in narration as a poetess-she always put "I" (the incarnation of Shiva? At the scene of the speech, it seems that everything is her own experience-at the expense of "I", but she is asking about the helplessness of love and deliberately constructing a utopia of love-her euphemistic call for love seems to be full of rebellion against morality, and she sticks to the essence of human nature and runs left and right.

Shiva's poems reproduce the value of love under Shiva's personal judgment-she describes the "reality" of love and the non-daily fantasy of love. She touches the general world of people's treatment of love, and also highlights the hidden dangers in personal confusion. Even if she is extremely disappointed in love, she should be true to love.

This is why love is expensive.

The use of singular first person makes Shiva's poems have a strong autobiographical color. She reveals her inner secret entanglements (love and sex, love and hate) to you in a glance, making you sad or happy, or rising or falling, tearing or repairing with her words. She even intends to improve the endurance of writing, and use it for self-abuse, self-abuse and self-destruction.

She finished the poem and consumed herself.

You're too late. I have no intention of turning around and staying here.

I just want my tortured body and lonely soul.

That's it: wrapped in a long black dress, dying indefinitely.

-"Before Return"

Is Shiva's poem the author's inner geography?

I'd rather believe that her poems should at least be evidence that she believes in love. Her free and affectionate talk is a kind of slow release of body and mind, and also a kind of repeated self-determination of body and mind. Her writing looks arrogant and willful, but in fact, Shiva is not dealing with words with her hands, but with "I". This is indeed written by a woman. This woman, with her estimation of love, pity for love, inhibition of love and healthy desire for love, is presented through the roundabout way of "I": frank, mature and willful, with you in me, with her in me, with me in me.

A struggle of chaos. A maze with messy light.

It was created by Shiva.

I told you: my sexuality and filth-

Naked, covered with honey and fantasy.

……

Trying to pretend to sleepwalk into another man's bed one night

Humiliate my lover for life.

-"Love You for Nine Days"

In fact, Shiva is more like a "victim of love" at a loss in her poems. On the one hand, she "dreams collide with all things", and on the other hand, she gives a precise definition of "dreams" in the universal scale of the secular-after all, love must get along with the secular after all. Such love can't escape the repeated inversion and subversion of the value conflict formed by the external world and the inner world. Therefore, when this conflict leads to the loss of the original meaning of love, the poet can only bear the damage of self-determination again and again through "I"-he has to move from depression to fiction and from concreteness to metaphysics.

How much sincerity and enthusiasm does a woman lose from "I prayed and dreamed for a long time, but you never showed up" to "being a loyal little wife for a while"? Just "be a loyal little wife for a while"-almost the most chilling plea. I understand a woman who is full of longing for love, but at the same time I look at the confusion and fragility of love with distrust. Although this may destroy a person's faith in love, it does not affect her luck in finding love.

So, Shiva's poem.

And Shiva's constant trust in writing.

It must be emphasized that the love that Shiva demands and describes through poetry is beyond ordinary people's expectation-what she demands is a kind of "love just leaving God" (clean, pure and sacred)-of course, if there are no exceptions, it is almost equivalent to a dream! Because, in fact, the material scene where love is located has seriously alienated love-therefore, the "I" in Shiva's poems always hopes to find "divinity" from a man who can love-it is a natural and unspoiled purity.

Perhaps it can be said that the "I" in Shiva's poems is a reflection of Shiva's sense of powerlessness in reality. She takes love too seriously, so she admits: "I have run counter to it countless times/entered the fictional and fictional light body." The reason for this is that the current love has been destroyed by secular, false and artificial, which is not worthy of attention. She is afraid-not of love itself, but that it is not love. Thus, the fictional "dream building" became a hidden line for Shiva to write poems.

Walking around in reality, God, with a sigh.

Blocked all roads and news.

I can't use artificial power to complete any ceremony I imagined.

-"Before Return"

I would like to ask men and women all over the world, who doesn't want to have a love that "will not be transferred if you fall in love with someone"? This is no longer an era of "higher price of love"! Love is really implanted with impurities by interventions other than love-the tragedy is that people's patience with love is losing little by little.

As a poet, Shiva also despises the generally eclipsed view of love and is deeply desperate about it. She believes and despises that such love already exists-not from love to love, but stealing the name of love and sacrificing the beauty and purity of human nature-betrayal, deception, playing, games ... on the altar of love, who will take who seriously! So Shiva wrote: I would rather "destroy my claws and save myself" like a mother beast.

In 1998 and "Love You for Nine Days" in 2000, Shiva's poems written before her return are full of her painful "scratches" on love, unwilling determination and hopeless despair, and even a strong impulse of "fighting poison with poison"-tearing and sewing again and again.

I'm tired of being a good woman who is a fake model.

I don't care about falling into a blind love again.

Become a life in the void and your jokes after vicissitudes.

I don't care if I can be admitted.

-"Call for the Soul"

In her poems, Shiva constantly shows how primitive I need love. However, I doubt the reliability of this primitive. Shiva can only do this. She wants to warn herself through "me" and others that she has been disappointed in love for a long time. She is not seeking sympathy, but excluding the sympathy of the unknown truth. She wants to caress and unfold her robe. She wants to flatten her lonely long hair. She sighed and wept with herself, rolling in the deep with her heart again and again, and then tried to find the rope to climb.

At this point, I don't want to treat Shiva and the "I" in Shiva's poems differently. Although I am opposed to completely "matching" the author with the characters in the text, I am still willing to go against my insistence-because Shiva's poems need Shiva, not another person.

Let me throw myself into worldly happiness as a woman.

Let me give up all my pursuits and enjoy the wanton decay of happiness.

These are two sentences from the poem "Calling for the Soul" written by Shiva just now (June 5438+October 2006/KLOC-0). In this love poem, which is also extended from eight fragments, Shiva still retains her consistent gentle nature (which contains a woman's tenacity and vicissitudes). When reading this poem, I commented on her like this: "... I am convinced that this writing respects a woman's body and mind, not only her talent, but also her body and mind full of secrets." With impudent and pure courage, you avoided common lies and told such a crazy story:' Let me give up all my pursuits and enjoy impudent and degenerate happiness'. This poem made me read the poet's clean ethics of self-salvation. "

Shiva's poetry is a dream controlled by Shiva. Her final exhaustion, unconvinced peace and harmony with prayer doomed her poetic temperament to be melancholy.

I want all women.

I dare not approach you because of my light.

Let all the people

Because of you, stay away from me

-"Dedicated to a Sadness"

If we simply regard Shiva's personal expression as a demonstration of her personal emotional experience, it is our misunderstanding. While "venting herself", she regarded herself as a "specimen", like a wounded butterfly secretly giving advice to her companion. She did it. She let "I" expose the wound in emotional tempering again and again, and also glow with brilliance (although this brilliance soon becomes dim, which seems to be a mission)-she wants to awaken people's clean attitude towards love through words, she wants men to learn love and women to know love, and she wants "love to return to love"-primitive love, simple love and "sacred will" Her seemingly unruly "rebellious" words are only a rebellion against "that's not love", but in her bones she is loyal to the primitive, loyal and one-on-one hegemony in traditional love. She wants to take her love-"make you more like you, purify me more like me".

Finally, I want to end with a poem by Shiva: I need a man (pure, simple and straightforward, just like a child asking his mother for milk)-this is more cruel than "I need love".