Poet Dang Huy Giang believes that nowadays, publishing poetry in newspapers or printing books is easy, causing everyone to rush into writing poetry.
The author spoke at the discussion From courage to poet's identity , within the framework of Vietnam Poetry Day, on the morning of February 24 in Hanoi.
Poet Dang Huy Giang compares the publishing of poetry in the past and today. According to him, there was a time when poetry was very difficult to publish in newspapers, the whole country only had Van Nghe Newspaper, Van Nghe Magazine, and Tac Pham Magazine to publish poetry. As for newspapers that were not specialized in literature and art, they published only one article per week (usually on Sunday). It was very difficult to publish a collection of two or more poems in the above newspapers and magazines. And the number of people who had their collection of poems published was not many. Anyone who had five or seven poems published at a time was considered famous.
Publishers related to ancient literature usually only published about 20 books a year. It was not easy for an author to publish his own poetry, he often had to combine it with others. For young poets at that time, having one or two poems published in anthologies was considered lucky.
He commented that it was a time when literature was sacred, had status, was loved by many people, and had readers. Dang Huy Giang talked about the current situation: "Publishing poetry is too easy. Anyone can publish poetry collections in newspapers and magazines. Anyone can publish books. During his lifetime, poet Quang Huy once said: 'There is one thing that is most worth opposing, but we don't oppose it. That is opposing poor artistic quality'. Self-publishing poetry via Facebook is much easier and freer. Every household, every person can just write and publish poetry."
Poet Dang Huy Giang. Photo: Vietnam Writers Association
Because of the proliferation of products, even writers do not read each other's. Dang Huy Giang believes that this is an alarming sign. In addition, publishing poetry so easily is also a challenge for writers. "Remember: The courage of writers is only truly honored if they are truly talented," he said.
Dang Huy Giang, 69 years old, is from Hanoi. He joined the army and fought in the Southern battlefield since 1973. After being discharged from the army, he worked as a journalist in the field of culture and literature. In addition to writing poetry, he also wrote literary criticism. He was a member of the Poetry Council of the Vietnam Writers Association, term 8. He won many awards, including the A Prize in the 1998-2000 poetry contest of the weekly Van Nghe . Dang Huy Giang has published a number of poetry collections such as Hai ban tay sao, Tren mat dat, Qua cua, Doi song, Trat to khong to.
Poet Nguyen Binh Phuong (right) chaired the discussion "From courage to poet identity".
The speakers in the discussion analyzed the styles and artistic views of many great names in poetry, to demonstrate the courage of poets. Dang Huy Giang admired Tran Dan because he always pursued his artistic views, way of thinking, and writing style to the end. Che Lan Vien demonstrated his courage by "digging deep and strongly" about a real phenomenon in the poetry world. He criticized poets who did not dare to be themselves, losing their pens. Che Lan Vien wrote:
"Tiger Poets
Think of yourself as a cat
Licking the fish in the plate
Meowing meow"
Critic Pham Xuan Nguyen talked about Luu Quang Vu's poetic voice in the 1970s. According to Mr. Nguyen, towards the end of the anti-American resistance war, Luu Quang Vu's poetry became sharper, more painful, more tormented, and more troubled with thoughts about the fate of the people and the fate of the country. His tragic inspiration about the country and the people was expressed in The Country of the Dan Bau, Oh Vietnam, Who is with me, Wind and love blows on my country, Red River, The year 1954, Kham Thien, Summer file 1972 .
According to poet Nguyen Quang Hung, courage helps each writer define his own path and personality, not to be confused with anyone else. He gives the example of poet Nguyen Quang Thieu, who, when publishing The House of 17 in 1990, was criticized for making it difficult for readers, confusing and far from Vietnamese language and culture. However, he himself later became deeply rooted in village culture and knew how to differentiate so that the images from there became attractive and mysterious.
Ha Thu
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