Who knows the writing background and intention of Yang Xiaomin's Half Face?

Writing background: He linked his impoverished hometown of Wu Liangsi village with his soul, and his poetic concern for Wu Liangsi village showed us a more bizarre and unbearable way to return home. In Half a Face, One Man and Wu Liangsi Village and Escape in 2003, almost all the love for hometown was carried by hate words, but the lyrical and beautiful rural novels were dealt with at present. Some detailed personal life history shows irony and anxiety in his poems in an extremely secretive tone, and everything is deformed by his unfamiliar attitude towards the countryside. However, in Yang Xiaomin's restrained and passionate lyrical desire, this strangeness was gradually eased poetically.

Intention: Yang Xiaomin tried to complete a complete name for his own village in Wu Liangsi. It was poor, desolate, cruel and embarrassing. At the same time, it is as vague and dialectical as all other villages. "This is Wu Liangsi, an ugly and happy face, a mystery of a village", which marks an unspeakable infinite extension. The misery and desolation of Wu Liangsi Village became Yang Xiaomin's spiritual patent, and there was no quantity. Aware of this, Yang Xiaomin pays more attention to the village he can reach and Wu Liangsi village in One Man, a village that can penetrate both the eyes and the mind. A tragic story with precise steps in the focus plane constitutes an introverted poem. In this poem, Yang Xiaomin suppresses the common feelings of pity, but focuses on the role of narrative power in poetry creation, and the whole poem reveals a dream. In Escape, the dreamy temperament is transformed into the interweaving of nostalgia and daily reason. Ever since the novelist Mo Yan's Red Sorghum, escaping from the countryside has been a dangerous theme. Yang Xiaomin just wants to show the helplessness, pity and anxiety of fleeing again. "The rain hits my face, and the rain hits your face." It is difficult to tell whether it is the blood of the country or the tears of homesickness in the narrative.