鳳凰
  • PublisherMccm Creations
  • Language繁體中文, English
  • Publication Date2014/09
  • Size229mm(W) x 178mm(H)
  • Page68Page
  • BindingPaperback
  • Weight(kg)0.24kg
  • ISBN9789881311412
Regular PriceHK$120

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鳳凰

Phoenix

Book Information

“Phoenix” is a mini-epic ekphrastic poem written by poet Ouyang Jianghe as a companion piece to Xu Bing’s sculpture of the same name. The poem multiplies the complexity of his earlier poems, it is, by his own account, his magnum opus. Synthesizing his earlier concerns of the materiality of language, the Chinese literary legacy, and the role of art in society into a sustained meditation on the theme of f light, it reflects two and a half decades of work refining the “obscure” language of Misty poetry into a vessel for sophisticated philosophical inquiry. The poem, written by Ouyang in 2010 after a silence of almost two decades, is in a sense, the culmination of his experiment where in the eighties and nineties he produced a body of poems distinguished by their length, technical intricacy, and high degree of abstraction. He has, in his recent work, taken this project to a new level, writing booklength poems of densely interlinked stanzas rife with wordplay, a fugue-like development of motifs, and the technique of argument by paradox — known in Chinese as beilun (悖論) — employed by the philosopher Zhuangzi (莊子) to capture the illogical logic of Daoism (from the Preface to Phoenix by Austin Woerner). Ouyang Jianghe’s poem ”Phoenix” has been translated into English by Austin Woerner and published into a book with the same title by MCCM Creations & Zephyr Press, with support of SOMA Project at City University of Hong Kong.

Author Description

Ouyang Jianghe belongs to the generation of Chinese poets known as the “post-Misty” school, the second wave of poets to emerge in the 1980s in the warming political climate after the end of the Cultural Revolution. His poetry is noted for its “difficulty” — the same word that in English we sometimes apply to poets like Wallace Stevens, Hart Crane, Fanny Howe, and Michael Palmer. Like these poets, he strives toward a sense beyond sense, inventing an idiosyncratic language that reveals its own logic only gradually after reading many of his poems.