In late september 2010, xinhua’s website, beijing’s news service (journalist wang zhi-young) announced that it would not be possible for the government to take action on the issueSamuelHe was invited to speak at the people's university of china on " the memory of communities " . One of the 19-year-old male students in the audience remembered the speech and later read her two essays, “tracing dreamland”, “montland lessons”, which he very much liked, when he felt that the native experience could be side by side with anyone。
Eight years later, the male classmate completed his studies and became a publisher editor. The memory of that speech in the university era has been so restless that it has come to call and made a sincere invitation. Not much has been done, more than a year of preparation, and recently, this book, i named me memory, has been successful。
Ximuroon, who was 67 years old, would not have expected a speech of his own to plant a literary seed in the heart of a young man from the continent after 90. Since the 1980s, the “blaming effect” created by shimon's works has not receded in the passage of time, and those deeply ingrained poetry have become the literary memory of two or even three generations of youth。
"i named memorities," by xiu yong
September 2019, people's literature press
"i don't have to destroy me. I just want to keep me."
"maybe when i'm old, turn these two journals over, how's that funny?" perhaps it touched the past, perhaps the poet's kindness, to read the words written in the 1959 diary, and the man who sat in front of a journalist couldn't resist tears。
Shimon yong, born in the war of the 1940s, was born in mongolia, under the full name “mulen zilombo” (meaning “a huge river”), a translation of “mulen”, all of whose parents were mongolian. As a result, “the diary became my friend” and became a habit of writing about life and even life。
The book, entitled " i named the memory " , opened with nine journals that began in 1959, which recorded her confusion and struggle in the drawing industry, her obsession with poetry and faith, and her attachment to her homeland. Sixty years ago, the diary was kept intact, and samuel said to thank his mother, “she helped me keep the diary in a small box because she regretted that she couldn't leave anything behind”
Samuel
Despite her multiple identities and achievements, such as painters, proficients and art professors, her most well-known role is that of a “poet”. The first edition of the first poem, the first edition of the quixiang, was published in 1981 and the second edition of the first edition of the book, the youth without grievance, was published in 1983 and, over the following decade, it was republished thirty and forty times。
In particular, the famous qin, which was widely recited. If the poets of shuting, the index finger, were the founders of the return of the nations of the 1980s to the poetic world, it is clear that the poems of the curtains, unlike those of haiko and north island, have played a broader obscurantistic role across age, intellectual structure and geography. " a flower tree " , " homelessness " , etc., has increased the latitude of its life due to the chorus of mongolians in the bone marrow。
There was also controversy, and after the third poem, time nine, 12 years after ximuyong had been writing but had not published the poems, explaining the “gaps” of those 12 years, “the outside world can give you a name or take them away at any time, and i don't take them seriously, so let myself be quiet and do what i have to do. I like teaching, so i'm serious."
It wasn't until 2010, when she published the fourth poem, edge shadow, that she found out, "for 12 years, i was writing myself, and it was me. I suddenly understood that i couldn't stop writing, whether it's best or not. I don't have to "exterminate" me. I just want to keep me."
"after all these years, i'm still a homeboy."
In the late 1980s, after returning to the mongolian plateau for the first time, where she met the “father's steppe, the mother's river”, she wrote “audiences”: in this classroom in her hometown/i have no schooling and no textbooks / it's just a late sightseeing/sitting in the remotest place。
Some figures seem to have been deliberately arranged for the publication of memories, 30 years after she first set foot on the land of the plateau. Thirty years of time is short and long, "i named the memory only because, my heart." as in the past, shimurong himself designed the cover and printed it on the cover。
Chiang's assessment, in the initial writing of shimon, has been to convey the insistence on “settling” “happiness” and “merit”. Perhaps, because the fear of almost separation in war still exists in the subconscious, she continues to emphasize the warmth and tranquillity in life that seem ordinary but profoundly meaningful。
The search for “home” is considered to be a watershed in the creation of shimuron. After nearly three decades, she passed between taiwan and inner mongolia, visiting and searching, and the emotional expression of the individual turned into a search for culture, and successively published a collection of essays such as " my home in the highlands " , " searching for dream earth " , " 21 letters to hae-il khan " , writing about observations and ideas about the highlands of inner mongolia, mongolian culture and nomadic culture。
In 1959, 16-year-old shimon wrote in her diary about “life-long worries”; 60 years later, she said, “life-long worries” would have gone back home. In the view of ximuron, the “nature” is rooted in the blood of the bones, “real nature is the original, and all we write is the “translation”, and you have to stand on this land before you can see it.”
During the conversation, shimulomo was on his knees and laughed, saying, "i have a joint that's already artificial, and my friends are making fun of me, and you can run on the prairie for a few more years. I'm not tired at this age, but i'm tired at a crossroads.”
She regretted, however, that she could no longer read it and that she could speak it and sing it before she was five years old. "it's really me, after all these years, that i'm still a `stander' from my hometown, just a little bit more than anyone else, and it's a long way from really understanding mongolian culture, so i've been asked to speak, and i have to add `mongol culture as i know it' to the title."
"i can't write about it."
In recent years, shimuron has become a regular visitor to the university of nankai. A few days earlier, she had just attended the commemoration of the fortieth anniversary of professor yegahoo's “repatriation”. She claims to be a fan of yekjiang's iron bar, and she says, "i followed her lectures before. She does not have to say in her poems, but more importantly she brings people to the poems and places them in our hearts.”
As for writing poetry, ximulon considers it to be an instinctive expression that is beyond his control. “many people ask me what poetry is, and i'm hard to answer. Mr. Ye has a famous phrase: "to read and write poetry is the instinct of life." they always say poetry has to be technical. I don't know. I just feel like it's going around me
The longest part of "i named the memory" was to talk about "poetry," in which shimoon and yedgarin read movingly about a narrative poem。
In 2010, shimuron published a long narrative poem on the subject of history, heroes gardan, to express her mongolian cultural history. A few days later, i got a phone call from yegab, and i was anxious to ask her, “why do you write such a poem?” and to put it simply, “it's too sudden without your poetry.”
Shimon explained that it was both an attempt and a “must write”: “if you've always wanted to do so in your heart, it's up to you to write. It's worth it, for good or for bad." the words of yegab made it clear that, at the suggestion of yegab, there were three “heroes” of narrative poems, which were recorded in the 7th episode in the name of poems。
Timuron sent the poems to yek-hoon, who had never heard back, and then called for instruction, and said to her, “you are a man of love and a direct expression. It's different to think rationally, unlike a poem about history." looking back at the lessons of the year, shimoon lamented how good teachers could be found。
She is often worried that the presence of “poetry” in modern social and cultural cultures is getting lower, while shimoon is optimistic, “it is often said that, without poetry, poetry is on the edge, but, as mr. Ye said, reading and writing is the instinct of life, and it will not fade”
