# Lin Huiyin Poetry and Prose Collection

Author: Lin Huiyin
Publisher:
Publish Date: 2006-08-01
Features: It is precisely because we are fragile and lively that in this highly stimulating era, I dare to take a breath and say I believe that many people are moved by what they observe and hear every day. These emotions accumulate from the throbbing, blood-pulsing hearts, surge up to the throat, and force themselves into words on the tongue. This natural accumulation sometimes overflows from the lips of a few, pouring into the pen and taking on a new form as words that gallop across the white paper. Such words are the product of our time, and everyone should cherish them immensely! Now, wherever we are, if we have one or more opportunities to present these naturally triggered words to the public of our time, we might be able to stir up more diverse and complex emotions, and through these emotions, create more forms of writing. This could gradually cultivate a vast, rich, and powerful field of creative endeavors, forests, and landscapes, giving rise to the unique expressions and writings of our era. Should we not sincerely recognize this opportunity and the potential it holds, each contributing a little of our own effort?
If there is another chance to gather many people to introduce various forms of writing and further discuss the quality of literature—whether by examining the history of past writings or by comparing different types of literature, and even by addressing the intangible issues of standards and levels—I dare to believe that in such circumstances, a stronger impetus to encourage writing will emerge. It may even add more challenges to the creative world. Precisely because it adds challenges, it will benefit the vitality and health of the creative field. Literature is not an untamed wild grass that sprouts abundantly. Can we candidly admit one thing? The motivation to create is often dependent on publications to disseminate its achievements, to let it breathe in the wind, bask in the sun, and meet the readers of the times. It is common for it to be chilled by the wind or withered by the sun. Being welcomed, ignored, misunderstood, or sympathized with by readers—all these are, in the end, medicines that stir the creative spirit!
As for authors who become arrogant at first and then discouraged, each era inevitably has its share of such fluctuations. These are merely side issues in relation to the broader movement of the creative world. Which era of creative prosperity could do without publications to introduce and spread works, and without readers who may understand or fail to comprehend them? Creative works cannot avoid meeting the times, though the names of the authors need not necessarily be tied to them. Great works may indeed go unnoticed in their own time but be discovered and cherished by later generations—though this is merely an exception. Greek tragedies were performed before thousands of people; Shakespeare’s plays were accessible even to the common folk in the streets. In the era of publications in Europe, a poem or verse would be eagerly bought and read. Even in China, during times of printing difficulties, creations were still widely circulated and cherished—what was once "preached and praised in its time" or "copied by everyone." The driving force of such creations was always present in the hearts, but it was often publications like these that encouraged and facilitated their preservation in the realm of space.
Today, publications are the main force that can stimulate creativity. Especially in China, in these times, what does the eye see, and what does the tongue immediately urge to speak, to sing, or to weep! If the creative world still remains somewhat depressed and lonely—few efforts, rare attempts—perhaps there are other reasons for this. We ask: What encourages the vitality of the creative world? Can publications help alleviate this depression? Those who have strived to bring publications into existence must surely know that publications often fail due to complex reasons. They are often like fragile children, with creative pens and diligent arms working to establish them. Why not join forces once more and compel the creative world to sprout a fresh bud? Whether it becomes a field, a forest, or a landscape in the future, one bud is still a bud. Fragile? Precisely because it is fragile, we must all cherish it even more.
This era is ours, and yet we have emotions but no art to express them. Are we not afraid that future generations will laugh at us as the mute fools of a dark age, lacking art, lacking literature, and even doubting whether we had emotions? Looking back at the legacy of our ancestors, how can we not feel ashamed? When it comes to chaos, what kind of life did Du Fu, the old man, lead! The indignation of Xin Jiaguan in his time should evoke our sympathy! It is unnecessary to speak—it is endless. But does our time lack the diverse figures, the comedies and tragedies of life for themes? Does our time lack beauty, elegance, ugliness, panic, regret, or hope?! Even after enduring these disasters and wars, can we not describe them, can we not feel the piercing humiliation and pain, can we not sing with indignation, pouring out a stream of boiling blood?! Are we truly numb? Are the words of our time truly so impoverished that they cannot convey meaning? Are we truly without learning, without literature in our time?! Friends, strive to bring forth a living bud, remembering that this era is ours. P89-90