Posted in. Without legal custody of Sam, she chose to remain on the island. Gu refused to learn English in case it interfered with his ability to write in Chinese. “Even with these dark eyes, a gift of the dark night It had been considered an accurate representation of the younger generation during the Chinese Cultural Revolution seeking knowledge and future. Gu would go on to write more surreal modernist verse, dramatically departing from traditional forms of Chinese poetry. Next Stop, Forbidden City.

Gu Cheng was born in Beijing on 24 September 1956. At the age of twelve, his family was sent to rural Shandong because of the Cultural Revolution (as means of re-education) where they bred pigs. If the writing is good enough it tends to be a reminder that people, and the world around them, are complex. —Gu Cheng, “The Art of Pulling Strings“. Vicious or stupid beliefs can be swept away into the broad category of social fault, while cruelty, on its own, is individual. He encountered the couple when they were living in Berlin on Gu’s DAAD (a German academic exchange service) fellowship, writing: “Xie Ye gazed at him adoringly the whole time, and both of them radiated an innocent sweetness. For the, Learn how and when to remove this template message, "Reflections of the West in Gu Cheng's Life and Poems", Dead in Exile: The Life and Death of Gu Cheng and Xie Ye, https://en.wikipedia.org/w/index.php?title=Gu_Cheng&oldid=979769576, Articles needing additional references from May 2008, All articles needing additional references, Articles containing simplified Chinese-language text, Articles containing traditional Chinese-language text, Articles containing Chinese-language text, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 22 September 2020, at 17:59. ‘The poet,’ Gu Cheng wrote in 1987, ‘is just like the fabled hunter who naps beside a tree, waiting for hares to break their skulls by running headlong into the tree trunk. The reasoning was Gu’s jealousy, which extended even to their young son, Sam. Anne-Marie Brady. Li, she claimed, had shared Gu’s dream of a “kingdom of girls” from the beginning. Subject of the libretto is the poetry of Chinese lyric poet Gu Cheng, one of the most outstanding Chinese poets of his generation. Our home, as readers, may be in the ambiguous division between life and art. Attractions Near Waiheke Island Stony Batter historic reserve

Xie is listed as a co-author, but in reality contributed only a small portion of the text. After the couple’s return to Waiheke, Gu refused to let Xie go anywhere on her own. In the late 1970s, Cheng became associated with the journal Today (Jintian) which began a movement in poetry known as "menglong" meaning "hazy", "obscure". Texts aren’t impersonal objects, and this is readily apparent in Gu’s own work. William Burroughs and Louis Althusser both killed their wives, though in circumstances suggesting diminished responsibility. 黑夜给了我黑色的眼睛 While remaining relatively obscure in the West, Gu Cheng is remembered in China as a prominent member of the so-called Misty Poets.

Their name, Gu would go on to write more surreal modernist verse, dramatically departing from traditional forms of Chinese poetry. 我却用它寻找光明, From Infogalactic: the planetary knowledge core, "Reflections of the West in Gu Cheng's Life and Poems", http://www.nzherald.co.nz/human-rights/news/article.cfm?c_id=500838&objectid=10765417, Dead in Exile: The Life and Death of Gu Cheng and Xie Ye, https://infogalactic.com/w/index.php?title=Gu_Cheng&oldid=716835231, Articles containing simplified Chinese-language text, Articles containing traditional Chinese-language text, Creative Commons Attribution-ShareAlike License, About Infogalactic: the planetary knowledge core. Althusser was mentally ill and Burroughs shot Joan Vollmer only after the unfortunate decision to combine generous amounts of alcohol with a game of William Tell. (translated by Juan Yuchi) [1] At the age of twelve, his family was sent to rural Shandong because of the Cultural Revolution (as means of re-education) where they bred pigs. The Misty Poets’ work was an obvious departure from pro-CCP rhetoric of previous decades, and the poets risked their personal safety by publishing. Unsurprisingly, the accounts of how and why Li Ying came to live with the couple are contradictory. There, he claimed to have learned poetry directly from nature. In October 1993, Gu Cheng attacked his wife with an axe before hanging himself. There is an abundance of natural and rural imagery, his family having been “sent down” to the countryside during the Cultural Revolution. Though Xie had begun an affair in Berlin and seemed to have been considering leaving Gu, her hope of regaining custody of Sam kept Xie from escaping Waiheke. The attention Gu and Xie’s deaths attracted in China was bolstered by the recent publication of their book, Ying’er: the Kingdom of Girls. Gu Cheng, Xie Ye and their young son were even more impoverished, living in an old bach on Waiheke Island in the Hauraki Gulf off the Auckland coast. Eliot argues that, “When you forget about Gu Cheng, you can begin to read him.” And it is true that poems like the sardonic “A Banner” are best read without considering Gu’s personal history. Trying to assess the significance of a violent action in relation to art is far more difficult. Gu Cheng was born in Beijing on 24 September 1956. The Chinese modernist poet Gu Cheng, whose violent end is frequently placed at the centre of his work, is a case in point. His childhood was determined by the Mao Cultural Revolution, his adolescence by the short thaw period following Mao’s death, his later life by exile and alienation. There is no straightforward response to the problem of biography. Despite his own history, Gu Cheng was unable to tolerate Xie’s new partner. It’s also partly because of the closer-to-the bone relationship we have with art: it is a commodity that affects us more deeply than most others. Next. By then, Gu’s history of brutal domestic abuse makes appreciating his poetry uncomfortable.



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