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《哭庙》展示了死亡世界的幽灵之旅,是一朵历经炼狱而涅槃重生的奇葩。在重现“庙”的黑暗、罪恶的图像时,幽灵的主体克服恐惧、疑虑、彷徨而发掘个人与集体的历史记忆,旨在唤醒良知与人性面向未来。诗人拒绝泄愤煽情的语言,与揽镜自恋或象牙塔中的技巧游戏绝缘,更非本质主义地要求回到过去,为表现“破裂的痛苦超过所有时代”的人间悲剧,从本土人文精神汲取资源,结合当代艺术的实验成果,创造出一种“通灵”诗学,成功建构了以个体生命为基础的哭的共同体场域,风格多样地运用复调、定格、轮回、并置等手法,遂造成介乎史诗和诗史之间的细密而严谨的文本。其中碎片、杂交、离散、有机的多重主体表现合乎历史真实,也是全球化以来人类生存状况的镜像投射,由是赋予诗以一种新的身份形塑,昂然迎受二十一世纪的挑战。
“Crying Temple” shows the ghost tour of the world of death, is a wonderful work after purgatory and nirvana rebirth. In reproducing the dark and sinful images of the Temple, the ghost’s main body overcomes fear, doubts and misunderstandings to discover individual and collective historical memories, aiming to awaken the conscience and humanity for the future. The poet rejects the language of provoking indignation, insulates himself with the narcissism or the skill game in the ivory tower, and even more intrinsically demands that he return to the past, in order to show the human tragedy of “the pain of rupture exceeding all the times” The spirit draws resources and combines the experimental results of contemporary art to create a kind of “psychic” poetics. Successfully constructed a community field of crying based on individual life, the style uses pluralism, freeze-frame, reincarnation, Juxtaposition and other techniques, then caused between the epic poetic history and the meticulous and rigorous text. The fragmentation, hybridization, discreteness and organic performance of multiple subjects conform to historical reality. It is also a mirror image of the living conditions of human beings since the globalization. This is because the poem is given a new identity and the challenges of the 21st century are met.