笛声悠悠

        太阳强烈，水波温柔，麦香在空中飘，村头挥手的父母，还有脚下乡村的路。农村的土路，晴天坎坷，雨天泥泞，远不如城市的柏油水泥路，但是却多了份真实。安庆一个叫怀宁的小城，走出了一个真实生活的歌者，他的笔记录的永远是他最真实的感受，没有一丝的矫揉，一如怀宁的那条土路。
　　
　　太阳、麦子、四季、家园、黑夜，以及其他简单元素构成了他的诗，而这一切全都来自拥有土路的真实而简单的农村。他的诗执着、深情和流畅，如冰排的冲击、烈焰的呼啸。透过他的诗，感受到的海子是质朴、简单而自然的。他有很多的称号，特别是在已经故去十多年后的今天头衔更是不计其数，但是我最喜欢的还是“麦地诗人”这个称谓。
　　
　　真实而简单的农村给了他无限的灵感，也留下了人性上无法改变的东西。浮躁城市中的钢筋混凝土下隐藏的是一个个虚伪浮华的灵魂。只有踩在青草上，才能感觉到珍贵的人间中和植物一样的幸福，注定不存在于他所在的城市。昨夜风中的“四姐妹” 仍在远处爱着这个迷失的少年，但远方的他却不能感知。于是，他选择远走，除了四本深爱的书什么也不带，山海关寂寞的铁路边一定也有一条麦香扑鼻的乡野小路，他再也没有回来。
　　
　　秋天深了，麦子成熟，但是那个写诗的王者却已经不在，该丧失的早已丧失，该得到呢？那座面朝大海，可以守望春暖花开的房子，他一直没能拥有，于是茫然追问“你所说的曙光究竟是什么意思”。曙光是什么呢？或许就是光着脚踏在青草上如“彻底干净的黑土块”的孩子天真快乐的笑。

　　说实话的流氓还是流氓。
　　说谎话的君子还是君子。
　　王朔所谓“君子”、“小知识分子”的标准是他自己制订的。
　　他用神的标准来要求君子，用君子的标准来要求所有人；然后他用罪犯的标准来衡量流氓，用流氓的标准来衡量他自己。
　　于是，他升华了，他高尚了，他成了偶像了。
　　哇，整个世界清静了。

Modern Chinese poetry, which is written in vernacular Chinese rather than classical Chinese, became a literary genre only after the May Fourth Movement in 1919. Almost 80 years later, this genre has now matured in the sense that it has an agreed form of free form, and rules of no rules. Just like contemporary poetry in all societies, modern Chinese poetry is only appreciated by a handful of genuine literature aficionados. Yet, despite of the limited audience, there is never a shortage of poets on either side of the Taiwan Strait.

In fact, poets in mainland China, just as avant-garde artists there, often pose political problems for the authorities. The free spirit and iconoclastic vision that one finds in the works of a true poet inevitably clash with the intolerant and dogmatic control of the Chinese Communists. Some poets' works were banned, their movement closely watched. For example, in October 1990, poets from Beijing, Nanjing, Shanghai, and Hangzhou traveled to Mt. Huang (in Anhui province) for an independent literary journey. Even though there was nothing political about this gathering, the authorities still kept an eye on it, and termed it "the Mt. Huang Incident." (The source of this information is a Chinese literary journal published in Cambridge, MA., called Qingxiang [Tendency]. At the back of every issue, "Tendency" includes a list of underground literary journals in China, as well as a chronology of recent happenings in the artistic world there – both of which are not to be found elsewhere. The magazine is supposedly a quarterly; however, due to the shortage of funding, it now has a very precarious existence. The editor is Bei Ling.)