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GaoHongBo Interview

Article source:Poetry Monthly

Release time:Jan 09, 2016Page view:106

Q: Xu Hua, Hongbo children's poetry researcher, is now a publishing house editor
A: Hongbo, vice chairman of Chinese writers, children's literature writer, poet, essayist


Jiu Xuhua: Why did you take the form of "children's poetry" When you first started to do it? In particular, the "Elephant Judge" and the "Crocodile eating stone," the two poems, the content of which are interesting animal stories and fables, can be used in fairy tales and fables of the way to convey.
Hongbo: The literary style that a writer engages in, the first choice is to decide the form of creation for quite a long period of time. I prefer poetry, because many of the material, the observation and description of many scenes, I will subconsciously in the way of poetry to convey and describe.
Jiu Xuhua: Is it possible to say that when you are creating children's literature, you choose yourself as the most familiar form?
Hongbo. Yes, poetry was once one of the most familiar and creative forms of my feelings.
Jiu Xuhua: Reading "The Elephant Judge" and "the Crocodile eating the stone" in these two fairy tales of poetry, there is a reading feeling is: in those humorous stories behind the often hidden moral lessons and rich knowledge. The feeling is listening to a father telling a story. I think at this stage, you are writing in the father's perspective, do you agree with this statement.
Hongbo: This stage is really the father's perspective and role of the creation. In fact, my children's literature creation and my daughter have a close relationship. When I knew I was going to be a father, I started to do children's literature when I was going to have a daughter. It is from the mind of a little girl (child), sometimes also my childhood memory, I thought of is a girl, but childhood memory also plays a role. The two are transforming and penetrating each other. When I turned to writing a child's life poem, I wrote it purely as a boy's mind, which came from my childhood memories and my life, and from my observation of the little boy around me, an exchange of roles between myself and others.
Jiu Xuhua: The classification of your work seems to be particularly clear and you can see the trail of stylistic transformations.
Hongbo: My early children's poems focused on interest and knowledge, and later in the 80 's, 1983 and 1984, I consciously shifted my theme to children's lives, and I wanted to incorporate social life into my subject matter, even those major social events. For example, "Grandpa Lost" is the problem of retired veteran cadres, as well as counterfeit drugs, snake-playing girl's miserable situation, as well as "flips's son". I am consciously going to enlarge the subject matter. At that time, many people called Children's literature "pediatrics", I want to make this "pediatrics" things can also show major themes. For example, "Black Seagull" is the performance of the Iran-Iraq war, when I saw from the television because of the pollution of the war, an oily Black Sea gull standing on the rock, this sad picture aroused my creative impulse. These are my attempts at a series of big themes. Of course some of the good writing may not be good.
At that time, my creation is often poured out, in a "fountain-style" writing status. Wrote a lot of poems, and these poems are written at once, even one night. such as about blind children's poems "My Sun", is I attend a blind children summer camp feeling. The blind child was organized to attend a Tiananmen Square event. Now it may be said that the topic of love for the disabled, but did not think so much, is to write with the blind children of this experience to bring me feelings. I sympathize with these handicapped children and try to figure out how to perceive things, shapes, colours, music, and how children are perceived by their invisible eyes. That poems was written in the evening. and poems "The Palace of Literature" is actually my literary view, I use the way of poetry and children to communicate and explore what is poetry, what is fable, what is a fairy tale, what is a novel.
Jiu Xuhua: That is, when you are writing children's life poems and lyrics, you start from life.
Hongbo: Many of my children's poems are about observing their children's experiences and watching their lives. "A penny sigh" is my child a real experience, at that time a penny is not how to use, the kind of narrow and long yellow penny notes, many people are used to fold into small pieces of pineapple or something, in fact, is not necessary. At that time people's life has made great progress, all rich, no one attaches importance to the penny. But "I found a penny on the side of the road ..." The song is still circulating, so the daughter to pick up a penny, mother too dirty, to scold the child. I have this thing processed into poetry, is a penny no longer have the meaning of the moral symbol of a feeling. "Lucky Money", "Clivia" are also from the time of life.
I have been a soldier, have ten years Frontier army life. In "The Secret of shouting spring" I was the 1975 to visit the frontier in Yunnan province more than 100 days of travel are all expressed. The frontier of plants, animals, customs and so on, to a Beijing boy's strange perspective of the show out. This kind of writing about the relationship between children and the frontier, the relationship between children and the PLA few people involved, because it is peacetime, few people pay attention to. But I think the subject matter of this frontier is still very meaningful, at least can cultivate the child's national defense consciousness and masculine atmosphere.
Jiu Xuhua: Are there any writers in China and abroad who have influenced you?
Hongbo: That's too much. I have systematically studied some excellent writers of children's literature, trying to write a "History of contemporary children's literature," about a hundred thousand of words of manuscript. But no publisher interested, one pressure is more than 20 years. It was not until 2010 that the publication of the 21st Century publishing house, I claimed to be "personal history of Literature", the book called "Literature on the manuscript." I have studied the poets and written monographs of Jinbo, Keyan, yuanying, Ranzhang, Hunsai, fields and so on. I have studied Yan, Jin near, He Yi and so on. I benefited a lot from the study of the writers. For example, Jinbo's pursuit of pure art, Keyan's extraordinary grasp of children's interests, and its poetic movement and dramatic effects of stretching. These studies are the things that I do not write poetry Kung Fu, become the nutrition of my creation, not specific which writer or which article played a role, but a kind of imperceptible influence is revealed in my lines.
In the creation of children's literature, I was studying, creating, two-pronged approach, walking on both legs rather than writing all day with a stuffy head. The research on the outstanding children's literature writers also lays the idea of my child's view and the creation of childrens literature.
Jiu Xuhua: You said Jinbo also has the influence to your creation, but your poem reads and Jinbo's poem feels different.
Hongbo: Jinbo is more elegant in art, this kind of polishing of the art of poetry, the pursuit of the beauty of writing, language and rhyme, is a banner of children's poems. My poems are joyful and humorous, and this style is different from the writer's temperament. If you let Jinbo write "I think" maybe he wrote better than me, but "lazy defense" This mischievous humor is my style.
Jiu Xuhua: Why do you turn from the creation of fairy tales to the creation of children's poems that reflect the feelings of contemporary children?
Hongbo: In the 80 's, China's reform and opening-up has just begun, advocating emancipating the mind. At that time all walks of life are emancipating the mind, adult literature is also talking about emancipating the mind. At that time I was a "literary newspaper" an editor, "literary newspaper" is in the forefront of such a media, is the ideological liberation of the important position, then published a lot of Feng Mu and other articles and controversy, brought me a great shock. Children's literature is also faced with ideological emancipation, break through the original pure education of children's literary concept, put forward more open children's literature view, embodied in the practical aspects such as the novel Wenxuan, Dong Hongyu, Zhang Zhilu, fairy tale Yuanjie, I also made some attempts in poetry. No one wants to turn children's literature into a tool for educating children.
Jiu Xuhua: So what was your child's view at that time? I hear you have a book called "Discovering children." Is that a summary of your children's view?
Hongbo: The book "Discovering Children" is actually a series of articles that I have serialized in the press. In the summer of 1989, because of the special political background, "China Women's Daily" manuscript is not too many, the Yunnan Army veteran, responsible for the supplement Sheliwa on my writing, I put some of the children's views, prospects, and some of the children's interesting small story in the form of a serialized in the "Chinese Women's newspaper" published, Unexpectedly received a very big welcome, straight serial for six months, a total of more than 30, but has not been a book. Later, the editor of Hunan Children's publishing house found these articles very interesting, with comics, become such a very interesting book.
90 's because of working reasons I basically divorced from children's literature, 5, 6 years with children's literature divorced, until 1995 in the Chinese writers Registry in charge of children's literature, organization awards, seminars, and then back to the field of children's literature, I was "found the child" after the children out (laughter).
I now rarely create children's literature because the daughter is big, lack of observation objects, there are children around to have a lot to write things. But I still like to look at information about children. I read a very interesting baby experiment in the newspaper this morning, which was made by the Americans. Put the wooden doll in the middle, see the performance of children, some children to push it, some children to help it. Then let these children find friends with each other, the result of children are willing to find a baby doll as a friend, pushed down, we do not like. The conclusion is that young children are naturally sociable, and Americans study these details, which I find interesting. Children's Literature I write less now, these years mainly for the "Children's pictorial" writing, the new period if I did not continue to write to children, is to write works for small children. Foreign low young books do very well, this to the Chinese children's book market is a shock, we give "children's pictorial" to write something to support is also hope that Chinese children's literature has also been a greater development, as soon as possible with international standards, but also the Chinese cultural rights of the kind of self recognition.
Jiu Xuhua: From the 80 's "fountain" of the creation to the present less write, it seems you are a sincere poet, no feeling of time will not be hard to write.

Hongbo: I have an adult poetry book "Heart Sail", which embodies my poetic view, the first is "if I am a poet", the meaning of expression is as you say, do not write hard. Children's poetry and adult poetry are interlinked, are poetry, should not be hard to write. Poetry must have a certain artistic, musical beauty, melody of the United States, children's poetry to add some perspective, children's perspective. The good child poem adult also should be fond of, good adult poem Child also can accept, should be young and old salty, the good work of all ages.

Jiu Xuhua: A fairy tale poem from the early main creations of animals, later, the main transfer to children's life poems and lyrics, 89 when you also created with the folk color of the "Dragon and God Pigeon" long fairy tales of poetry, and not the same as before, you create a long fairy tale narrative motives?
Hongbo: Fable poetry has very normative characteristics, so I later in some of the children's poems to the fable poem to re-examine, to create some "anti-traditional" image. China straight lacks narrative long poem, children's literature Ruan Zhang "golden Conch" and Cunces "horse Lotus" after no one to create this kind of fairy tale narrative long poem. I want to try the possibility of this long poem in the national subject matter and the historical subject matter, therefore this anthology is I consciously makes the fairy tale long poem The attempt. I think this kind of subject will be matched with exquisite illustrations. But I was too ahead of the idea at that time, there is no such exquisite illustrations, no one painting, the second is that people do not know the historical and cultural traditions enough. So I want to look for the material of the expression from the literary classics such as "Liao Zhai", and create a fairy poem with modern meaning. I value these three poems very much.
My idea is always ahead of the 80 's I noticed the animal novel, animal fiction is really hot later. 1985 I advocated humor, then the children's Literature board face teaching too much, are puppy love ah what the subject matter, is not fun, children's literature should be humorous.
Jiu Xuhua: You said three fairy poems, that is, "dragon", "Pigeon Tree Legends" and "Pipa beetle." According to my information, the first two was published in 1989, "Pipa Beetle" published in 1995, the same genre, why the interval between so many years?
Hongbo: "Pipa beetle" is also about 1989 years of Creation, published late. These three fairy tales are created in the same period, that is, about 1989, the writing time is similar, but six months. is not manuscripts, is oneself spontaneous consciously produced the creation desire.
Jiu Xuhua: From the time of Creation, the fairy tales of the Long Poems, "The Dragon and The Pigeon" published in the "Elephant Judge", "Eat stone crocodile" and other fairy Tales, "Goose Goose", "The Secret of shouting spring" and other children's lyrics, showing a different artistic style, this is not your intentional art exploration? Why did you write a genre like a fairy poem?
Hongbo: At that time, there are two factors, external causes for one is that I was writing fairy poem before and after the Chinese Department of Peking University to study, teaching classical literature tutor Mr. Ma Zhenfang let us to "Liao Zhai" in the classical Chinese comment, choose 25, I have a "Liao Zhai" conducted a read-through, In classical Chinese to 25 I like the work of the comments, including the "Pigeon", which is a pigeon legend. This is a cultural background. At that time, I and two or three friends originally wanted to write a Chinese contemporary literature history, I divided a batch of my favorite writer poet to conduct this book review, each person about 5,000 to eight dry words. One of the subjects I studied was Ranzhang, Cunces and horse rustling. Three of them have tried the writing of fairy poems in the creation of children's literature since the founding of the PRC. For example, the horse rustling "stone archway Legend", is a folktale as a prototype of a narrative poetry. Cunces wrote "Malan". Ranzhang wrote "Golden Conch", "the story of the horse Monkey ancestors." I've studied them all. Then these two reasons, on the one hand, I have made some comments on the predecessors, absorbing nutrients. On the other hand, in my own studies, through the classical literary works of criticism, deepen this aspect of learning and support. The third reason comes from an editor of Anhui Children's Society, the pen name Baby grass (that is, money leaves). He also wrote a lot of good children's poems, and I wrote his commentary on the refraction of human consciousness. He proposed to run a poetry, PLA children's narrative long poem, is the fairy tale narrative long poem. These three factors have prompted me to decide to try the writing of the fairy narrative poem, this time there is no more restrictions on the subject matter, nor a broader background, mainly the poetry of this fairy poem is a very important opportunity. Later I wrote two, and several comrades wrote, it is said that the poetry came out, but later I did not see how, may also lose money later, the issue of how not too clear. This is Anhui children's publishing house at the time of the attempt. Later, when he was the editor-in-chief of a press in Beijing, he had not written children's poems for years. He wrote a number of very good children's poems, he also had this aspect of the desire to explore, he wrote about two, and then later wrote a third, the last song called "Pipa Beetle." "The Dragon and The Pigeon" out earlier, in fact, the third first late, but the basic three poems similar, in a year or two. In the writing of these three fairy tales, I tried to add some elements of Chinese folktales, myths and legends to some factors, to join my understanding of long narrative poetry. For example, Guo's "General trilogy" has its own theoretical ideas, framework. Also has the character also has the plot, the poem also has the artistic conception the construction, the language and so on. I think the more important long narrative is to have the plot, the character shape. There is also the progress of the plot, can not be pure lyrical. In this context, I combined with my previous writing of those animal fables, in fact, every capital can be regarded as a small narrative poem, with this training, the fifty or sixty lines of small narrative to expand to a longer three hundred or four hundred lines of fairy tales, it is not much difficulty. So before that, I had a fairytale poem called "Little Mouse Learning to fly", this is also relatively long, more than the general animal poetry, nearly eighty or ninety lines, there are also stories of characters, and finally write a small mouse to learn to fly after the wings become flying mice, in many of the same ridicule, even under the ridicule of Owls, Finally got the ability to fly. When I wrote this poem, it was unconscious writing, written and written long. So to this three is consciously, as a fairy poem, based on folklore stories as the basis of the fairy poem to create, to write, to structure, this is intentional. And at that time everybody is want to do a kind of artistic exploration in the fairy poem aspect, we invariably wrote a few, but finally did not form the big social influence, this kind of art exploration finally belonged to the dead end, was gone. There is no like the 50 's Ranzhang unexpectedly "golden Conch", Cunces "Malan" That kind of fairy tales after a wide range of praise. Because the times are different, so you wrote and wrote, and published. But personally I still cherish my three works. I put a lot of emotion into writing, the artistic preparation is also quite full, at that time also had 7, 8 years of writing the basic training of children's poetry, in the refinement of language, the creation of artistic conception, in the shape of long poem characters and the progress of the story I have made some discussion. I personally still cherish these three poems. Because it is a relatively long thing in my personal work. Finally out of the booklet is two poems, in fact, finally wrote a song, in fact, the real completion is three. So that when I arrived in Fuzhou this year, a editor of the Fuzhou Children's Club find me a script to draw this script, I said I did not, but I have these three fairy poems can give you a look, if you put it in a picture of the way to show, it should be very interesting for children. Because I have seen the story of a bear in Russia or a country, is also a fairy poem performance, a bear from the forest back to the city wandering, back after the forest no longer exist, it sits on a lone hill overlooking the city sadly, behind this is actually a big cultural vision, a kind of environmental awareness. In fact, children's poetry can be more important subject matter.
Jiu Xuhua: Just as you mentioned in the preface to the Dragon and the pigeon, the attempt to make a fairy poem is due to the lack of such poems, on the other hand, the fairy tales you wrote earlier can become a long fairy tale poem, so it is quite handy to write. Is there any other consideration? When you mentioned the re-reading of classical literature during the study of the writers ' class, what do you think of Chinese traditional culture or folk tales?
Hongbo: If it comes to this topic, you can combine my other work. I was in the "literature" is the deputy Director of the Department of Journalism, is responsible for the "literary newspaper," the front page of some news reports on the major themes of choice. At that time, I remember the Chinese cartoons in the Annecy Animation Film Festival defeat, for this reason, then the defense Minister Zhang also wrote a letter to the central. The old general was worried about the defeat of Chinese cartoons in the international competition and gave me a great shock. Later, I interviewed a group of people engaged in children's art films, including the current big artist Meilin, including CCTV's animation director, CCTV children's department director of these industry. They provide me with good news material from the aspects of money, people and treatment. At that time I wrote a story on the front page of the literature newspaper called "after the defeat in Annecy," because in the past Chinese cartoons should be said to be among the top of the world's art films. "Nezha", "Noisy Sea", "three Monks", as well as the former "small carp jump Longmen", "Pig Eat Watermelon", "No brains and not happy", we all think that China has been leading in this area, suddenly found out, behind, was what "Astro Boy", "The Smurfs", "The Story of the Mole" And so on. Even the then defence Secretary, General Zhang, was in a hurry. This thing to me stimulation is bigger, this is the 80 middle and late period thing. More than 10 years later, the General secretary Jiang Zemin proposed to grasp the work in this area, he found a lot of young children from his grandson's literature crisis. He proposed to catch piece, of which there are children's literature, this is more than 10 years later. At that time, this interview, and the Messenger of General Zhang, I felt that Chinese children's literature, including child poetry, should be developed, the local cultural resources should be excavated, and the resources in China are very very rich, it depends on how you did not dig. I have repeatedly stated this truth at several subsequent meetings. Is the Chinese native culture has rich myths, legends, folktales, they themselves have the kind of oriental charm rich color, fantasy, humor, witty and so on, have a congenital animation quality. We must look at it with modern ideas, to regroup it, let us contemporary, contemporary children realize that there is a rich cultural nutrition in the heritage of our ancestors, this is a huge cultural heritage, which requires an input from the artist, a solution to the cultural heritage of Nutrition, In order to transform the classics into a fresh artistic image. In this motivation, I think in my three fairy tales in the creation of the subconscious have this factor, so from the old woman's legend, from the story of the lonely, I saw the desert beetle inside I found three long poem nuclear, dig them out.


Jiu Xuhua: From Reading, I can also feel your attention to Chinese folk tradition, will form such a long length, more heavy works. But I feel that the spirit of these three long poems is different from folktales, including the 50 's "Golden Conch" and "Horse Lotus". In the 50 's fairy tales, the rewriting of the folk tales is still adhering to a kind of folk simple spirit, such as the faithful, the pursuit of a happy life, lovers finally become a family and so on folk simple feelings have a heritage. But you are different from them, "Pipa beetle" is a kind of ideal for the pursuit of the cost of life; "Dragon's Mind" expresses the young man's impulse to make the mistake of the loss of friendship, which is a modern feeling, you are not in the ancient story of a modern spirit?
Hongbo: Right. I am consciously manifesting this, is the old bottled new bar, because at that time in the late 80, we have gone through the ideological liberation movement, and the traditional I have from my point of view has carried out some theoretical comb, to some famous masterpiece I also carried out nutrition absorption, I also have my opinion, His gain and loss in fact, I already have my own judgment in mind, so when I write, I'm certainly not writing in the manner of the older writers of the 50 's, that they might be more faithful to the ideology of that era, and I might be richer in the late 80, Also more in line with my personal creative personality, when I write, even if I want to follow the original story, but write it will not automatically fork to the road it should go. For example, "The Legend of the Pigeon tree" inside the pigeon girl, in fact, the story is basically faithful to the "pigeon of the Strange", but finally there is my personal treatment methods, pigeon is actually the pigeon God fly Away, the final protagonist into a wandering river chivalrous, it is my personal romantic writing, I also like martial arts, Hope the hero can finally achieve his revenge. This is not in the studio. In the end, he gave the pigeon to the elder, the pigeon is a different kind of pigeon, two eyes are transparent, to the elders after two days after the Ask how? The elders said that the taste is good, gave it to eat, this person is particularly disappointed. That's a very simple detail. But one of the things I've noticed is that the two eyes of a pigeon can be looked through, the image of a special taste, it is enough to constitute a very characteristic of the fairy poem, and I was the kind of natural plant like, and grafted a tong of the legend of the Dove, add in to become the son of the dove, it appears more and more branches and leaves, Even more interesting, although it's a story of a lonely studio, but with a lot of detail, looks more like poetry, and sketch story or there is a huge difference, at the same time, some of the pursuit of human beings, some of the desire to fly up in my lines, so that it has a variety of points for people to imagine, maybe this is a special art form of poetry , unlike any other novel, it imagines a larger space, you can imagine that this dove and white girls may be some kind of mysterious emotional connection, can also imagine the white girl is the pigeon God, and finally with all the pigeons fly away, and finally the end of a strange, then I want him to finally revenge, add a lot of this, This is in line with the children's mentality, or in line with Chinese tradition, hope to have a happy and pleasant.
Jiu Xuhua: But I think your three long poem is quite tragic, folklore is often a happy ending, but your little beetle finally leaps to the Yellow River, with life to do a lightning bolt. "Dragon in Mind" also lost the friendship, no longer find it back; "The Legend of the Pigeon Tree" Finally, although there is a bright tail, symbolic meaning, but it is a tragedy.
Hongbo: Yes, "pigeon tree" inside because of Hong Tung's careless, credulous finally make him lose his precious pigeon species, actually also lost the pigeon God to his trust. Or fate was not sure of his providence. Many of the weaknesses of human beings in fact I want to be here, this may be different from the 50 generation of old-timers writers. I want to give people more space to think and imagine, to provide small readers a sense of discretion, not to say everything through, is my conscious artistic attempt. If you say it in a very clear sense, it's not interesting, poetry is to leave blank, leaving a melancholy, a aftertaste, there is a kind of buzzing flavor, I think this is a kind of art realm. You want to make the finishing touches everyone knows the story, you put it into a new kind of connotation, it may be different, you think it is fun at least. The children are looking at a circle, the old Monk tells the story, the old monk can not finish the story, the last look the old monk is that Ma Ziteng, in fact completely is also true also the character of the illusion, then you think to go, the poem is also true also in the illusion in a chant three sigh to complete. After the completion, as to what I want to express as your readers as young teenage friends can be the same.
Jiu Xuhua: Your fairy Poem creation embodies a unique style, breaking the relatively narrow circle of children's poetry, giving people a more open vision. is to open up the tradition and the modern, the ancient legends with modern emotion to activate. This can be said to be and adult poetry "cultural roots" of the ideal of poetry is consistent. You mentioned in the literary newspaper work, then the trend of thought is very sharp, whether it is also affected by adult poetry?
Hongbo: I was very involved in the new trend of literature, because of the work of literary criticism, a lot of thoughts are involved. What you said makes sense. In addition, why do I say that animation is very exciting to me, including General Zhang's letter, in fact, when the creation of the brain is a picture. Why after more than 20 years I hope some people make it into a picture book, want to find the right painter to draw it out. This is a thought in my mind, I think there is a natural relationship between poetry and painting, especially if the folk fairy poem rooted in the folk soil, with Chinese traditional painting material to show it, should be particularly good-looking. When I write, every one of my brain has a picture, and the sentence tries to keep a rhythm of music, and there are no particularly long sentences. Relatively short, this place I was affected by Guo "General Trilogy", I also study Ogawa narrative long poem, he used short sentences, but very taste, very Chinese ancient poetry charm.
Jiu Xuhua: That is to say that you are not intentionally influenced by this adult poetry.
Hongbo: That's not much of an impact, I just think that the mind is the folk story of Chinese folklore, at that time because I read Chinese classics read very much, feel that there is a lot of good things, especially the lack of excavation, the lack of modern consciousness to our ancient classics of a view and reappearance.
Jiu Xuhua: Through the whole reading of your children's poems, I think you have made a lot of attempts and explorations in the form of children's poems, from fairy tales to express contemporary children's feelings to the rich folk fairy tales, what causes you to make different attempts to children's poems instead of limiting in a certain field of creation?
Hongbo: I have a lot of things to do with my personality, my preferences, or the kind of focus of that period. Not entirely by some fashion, in fact, the creation of children's literature at that time we all pay attention to some problems in literature, such as Puppy love, such as "The Moon Tonight," I was also involved in a lot of discussion, I personally more or effortless by the reins bar. I think that time to write children's poetry because my first entry into the literature of the weapon is poetry, then I have not written prose, no reportage, no comment. It is natural to turn some things into poetry, and some of the material is quickly expressed in the form of poetry as my first choice. Then the poem becomes my first choice, also chooses the child poem creation, then after Dan chooses, all feels the emotion transforms to the first kind of art form is the poem. Finally, by the end of the 80, I write essays, reportage, some ideas will no longer use the form of poetry better, may be more profound and free, poetry after all, there are artistic provisions. So you say that these three kinds of changes to me in fact no change, I seem to think that should be so written, want to write how to write, no one limited me, and no one to remind me how to write. But like you said the fairy poem that is a few people about the good, we have this art category, we collectively do a writing test, it is conscious, just write to the fairy poem. In this previous genre, is entirely based on their own perception of society, judgment. For example, early fairy fable poetry, because I particularly like fables, especially like fairy tales, study Zheng, study Aesop's fable, study Kresov fable, study Feng Xuefeng fable. After the study, I think the child should also like very much, then I use the way of poetry into the children, I think the children should like, I will write. Write the batch. The second, my daughter was born, she is the only child, in her growing up, through her perspective I found a lot of life a lot of interesting things. If I'm not something I might not feel through my child's perspective, then I can feel it with her. For example, take her to the park, such as writing "small", "Birthday", "I think", including "our building in the little guy" that is the real name, our building a bunch of children, ya ya ah, right ah, are a bunch of real children, But I made up their stories, and the poems in Beijing Daily was particularly strong, our building's little guy, has the shoes-has sleeps, has the wet bed, has the meal and so on a batch of, all is the real name child, the piano, all is the real child, when I wrote, they are four or five years old, Didn't know they had become the hero of my poem. That's how children's life poems are written. So, in essence, I may not be the kind of poet who has a special artistic conception of the building blocks of some kind of creation beforehand. Most of the time is following their daily feelings of the torrent, it vented to which Fork junction, he went to that flow, finished on the write, finished and then write another.