There is sunshine, but shadow appears
Only because of the darkness, I know I have seen it before
Those people in the sea and mountains
Can't say love
sometimes hate sometimes hate
more often indifferent
We wave with shadows
Quietly stirring the undercurrent of the water
Let the next high tide be a little different
Goodbye sea, goodbye mountains, goodbye people
Not love after parting
It's for love that we say goodbye
——〈Waving〉
I flipped through the book and read the corollary to the Weiji hexagram, which says, "The little fox wets its tail when it wets its tail." It uses the embarrassed appearance of a little fox crossing the river to wet its tail as a metaphor, which is really vivid. The water is short of thigh, so it is dangerous to cross it reluctantly. Wait a moment. Still being able to wait means that the time is ahead. The river is not always turbulent, and the little fox will grow up day by day, so be patient and wait.
——〈Postscript: Not enough, not enough, not enough〉
Why write poetry?
Fan Shanbiao used two and a half collections of poems to try to answer this question, and tentatively came up with the following answer:
"To write poetry or not to write, why to write, how to write, these questions here and now inevitably have the meaning of questioning or reflection on the position. However, recalling the process of approaching poetry, how I scrutinized it, grasped it, and experienced it Feeling it, it can never be summarized into "one" irrefutable statement.
Frankly speaking, I write poetry purely out of curiosity, hoping to understand more of other people’s strange scenery through practice. As for how different my own scenery can be, that is another matter for me. "
——"Public and Private in Poetry"
Since retiring as a university professor, Fan Shanbiao has not been idle. Following the publication of the collection of essays "Truth and Illusion" last year, he published a collection of poems. This book is also the author's second collection of poems. The previous works were " Mechanics" (1999) and "Dark Flight" (2006), it has been nearly twenty years since the last collection of poems was published. Those that have not been collected and published in the past twenty years are included in this book at once.
"Weiji" is divided into five series, including four series of new poems and one series of old-style poems. It is a continuation of the style of the author's first two works, and at the same time shows various possibilities of writing poetry.
About the author
Fan Shanbiao
Honorary Researcher of the Hong Kong Literature Research Center of the Chinese University of Hong Kong and retired professor of the Department of Chinese Language and Literature. Research interests include Hong Kong literature, modern prose and Jian'an literature. He is the author of academic essay collections "Truth and Illusion - An Analysis of Prose and Non-fiction Writing in Hong Kong", "Listening to the Noise: Newspaper Supplements and Hong Kong Literary Production (1930s-1960s)", "Variety and Character - Reflections on Jian'an Literature Research" , creative collections "Launching Rockets", "Dark Flight", and "Mechanics", and editor-in-chief of "Hong Kong Literature Department 1919-1949." Prose Volume 1", "Hong Kong Literature Department 1950-1969. Prose Volume 1" etc.
Only because of the darkness, I know I have seen it before
Those people in the sea and mountains
Can't say love
sometimes hate sometimes hate
more often indifferent
We wave with shadows
Quietly stirring the undercurrent of the water
Let the next high tide be a little different
Goodbye sea, goodbye mountains, goodbye people
Not love after parting
It's for love that we say goodbye
——〈Waving〉
I flipped through the book and read the corollary to the Weiji hexagram, which says, "The little fox wets its tail when it wets its tail." It uses the embarrassed appearance of a little fox crossing the river to wet its tail as a metaphor, which is really vivid. The water is short of thigh, so it is dangerous to cross it reluctantly. Wait a moment. Still being able to wait means that the time is ahead. The river is not always turbulent, and the little fox will grow up day by day, so be patient and wait.
——〈Postscript: Not enough, not enough, not enough〉
Why write poetry?
Fan Shanbiao used two and a half collections of poems to try to answer this question, and tentatively came up with the following answer:
"To write poetry or not to write, why to write, how to write, these questions here and now inevitably have the meaning of questioning or reflection on the position. However, recalling the process of approaching poetry, how I scrutinized it, grasped it, and experienced it Feeling it, it can never be summarized into "one" irrefutable statement.
Frankly speaking, I write poetry purely out of curiosity, hoping to understand more of other people’s strange scenery through practice. As for how different my own scenery can be, that is another matter for me. "
——"Public and Private in Poetry"
Since retiring as a university professor, Fan Shanbiao has not been idle. Following the publication of the collection of essays "Truth and Illusion" last year, he published a collection of poems. This book is also the author's second collection of poems. The previous works were " Mechanics" (1999) and "Dark Flight" (2006), it has been nearly twenty years since the last collection of poems was published. Those that have not been collected and published in the past twenty years are included in this book at once.
"Weiji" is divided into five series, including four series of new poems and one series of old-style poems. It is a continuation of the style of the author's first two works, and at the same time shows various possibilities of writing poetry.
About the author
Fan Shanbiao
Honorary Researcher of the Hong Kong Literature Research Center of the Chinese University of Hong Kong and retired professor of the Department of Chinese Language and Literature. Research interests include Hong Kong literature, modern prose and Jian'an literature. He is the author of academic essay collections "Truth and Illusion - An Analysis of Prose and Non-fiction Writing in Hong Kong", "Listening to the Noise: Newspaper Supplements and Hong Kong Literary Production (1930s-1960s)", "Variety and Character - Reflections on Jian'an Literature Research" , creative collections "Launching Rockets", "Dark Flight", and "Mechanics", and editor-in-chief of "Hong Kong Literature Department 1919-1949." Prose Volume 1", "Hong Kong Literature Department 1950-1969. Prose Volume 1" etc.