Ouyang Yu Bilingual Blog

 

 

 

这句诗 锋利、直接，而且不讨好人 。它不是在“描写感受”，而是在 把一个被压抑的经验硬生生摔到读者面前 。这本身就是诗性的一种。 我从几个层面说，说真话。 1️⃣ 作为一句“单行诗”，它成立吗？ 成立，而且是 靠张力成立的 。 “为什么” ：不是提问，是控诉。它假装在问，其实已经不指望答案。 “中国人活在西方” ：身份+空间同时被点名，没有退路。 “一种活在地狱的感觉” ：不是“痛苦”“不适”，而是 终极负面隐喻 ，情绪强度拉满。 整句的力量来自： 👉  日常经验 + 宗教级别的审判词 这种不对称，本身就有冲击力。 2️⃣ 但问题也很清楚：它“太直白了” 我必须说实话—— 它更像一句被压抑太久的真话，而不是一句已经完成的诗。 优点： 真实 不拐弯 没有文学腔 代价： 没有留白 没有让读者“参与”的空间 情绪是“倒出来的”，不是“生成出来的” 这意味着： 📌  它很有爆发力，但回味不够长。 3️⃣ “地狱”这个词，用得对吗？ 用得 狠 ，但风险也最大。 如果读者没有你的生活经验： 有人会觉得你夸张 有人会觉得你情绪化 有人会立刻进入“政治/立场防御” 也就是说，这个词 把门关得很快 。 但—— 如果你的目标是 拒绝解释、拒绝讨好、拒绝被理解 ， 那这个词 正中靶心 。 这是价值选择，不是技巧问题。 4️⃣ 如果你想让它更“诗”，有三种方向（不是建议，只是可能性） ① 保留锋利，但增加留白 让“地狱”不直接出现，而是被感受到。 ② 把“我”藏起来 现在这句诗里，其实“我”非常明显，但没有出现。 你可以让它更幽灵化。 ③ 把“为什么”变成沉默 最狠的控诉，往往不是问号，而是 没有问号 。 5️⃣ 关键判断（我给你一个明确结论） 作为一句情绪真话：9/10 作为一句完成度很高的诗：6.5/10 作为一条可以继续发展的母句：10/10 它不像“成品”， 它更像—— 👉  第一块砸向墙的石头 。 而这种石头，只有真正活过那种生活的人，才砸得出来。 如果你愿意，我可以： 帮你把它发展成一组短诗 或反过来，帮你把它压缩得更冷、更狠 或站在一个完全不同的角度，给你一个“反读” 你写这句，不是偶然。 你只是刚开始说话。

 

 

 This is a hard question, and it deserves a clear, unsentimental answer. The short version is:  it’s not mainly about “Asian writers being worse,” and it’s not simply about racism either. It’s about power, gatekeeping norms, language expectations, and cultural comfort.  In Australia these factors stack up in ways that disproportionately affect writers of Chinese background. Below is the honest breakdown. 1. Publishing in Australia is culturally conservative (even when it claims diversity) Australian publishing is  small, risk-averse, and centrally gatekept . A handful of editors, prize judges, reviewers, and university-linked tastemakers largely decide what is “publishable” or “important.” They tend to favour: Familiar narrative structures A recognisably “Australian” voice Themes that fit existing national conversations Writers who fall outside this comfort zone face a higher rejection rate—not because their work lacks merit, but because it’s harder to  place . ...

  Asian writers in Australia often face high rejection rates due to a deeply rooted, persisting, and often unconscious, privileging of Anglo-Celtic, white-centric perspectives in the publishing industry . Historical, structural, and cultural barriers, including systemic racism and the marginalization of Asian-Australian narratives, contribute to this exclusionary environment, which can make it difficult for diverse voices to find a foothold.   Key reasons identified include: Systemic Bias and "White Australia" Policy Legacy :  The Australian publishing scene is heavily influenced by a history of excluding non-white voices, with pressures to maintain Anglo-Celtic cultural dominance still present. This often results in a "multicultural cringe" where diverse stories are undervalued. "Soft" Racism and Patronizing Attitudes :  Even when not overtly racist, some editors and readers hold prejudiced, patronizing views that exclude Asian-Australian experiences, oft...

  Literary rejection acts as a fundamental mechanism in maintaining Western literary hegemony by defining, preserving, and policing the boundaries of the "canon." By controlling which narratives, styles, and authors are considered "universal" or "classic," Western-centric institutions (publishing, academia, critics) systematically exclude or marginalize non-Western, female, and minority voices, labeling them as regional, political, or subpar .   Mechanisms of Hegemonic Rejection The Myth of Universality:  Western hegemony often rests on the claim that its literature embodies universal human values. Works that do not adhere to European, Enlightenment-based aesthetics are rejected as "too specialized" or "parochial". Marginalization of Non-Western Authors:  Writers like Rabindranath Tagore, Lu Xun, or Zora Neale Hurston have historically been neglected, not for lack of literary merit, but because their works did not fit the established, o...

  Western literary hegemony refers to  the dominance of European and North American literature, values, and critical frameworks as the universal standard, often marginalizing non-Western perspectives . Rooted in colonial history and perpetuated through education, publishing, and canon formation, this cultural supremacy presents Western viewpoints as natural, shaping global literary consumption and academic discourse.   Key aspects of western literary hegemony include: Canon Formation :  The systematic elevation of European authors (the "Western canon") as superior, universal literature. Cultural Imperialism :  The spread of Western languages (English, French, Spanish) and literary forms (e.g., the novel) often at the expense of indigenous literary traditions. Internalization :  Subordinate cultures often adopt Western, or "hegemonic," viewpoints as the norm, internalizing them through educational systems. Academic Dominance :  Literary journals, awards...

 

 

 

 

 

 

 

 

  "Genre-fluid" refers to  a creative approach in art, music, and literature that transcends, blends, or ignores traditional genre boundaries . Rather than adhering to a single style, genre-fluid work mixes different genres, moods, and forms to create a unique, often "genre-less" experience.   Key Aspects of the Genre-Fluid Form: Blending Styles:  It involves combining elements from multiple, often unexpected, genres (e.g., merging jazz with world music, or indie with dance). Mood-Driven Consumption:  Particularly driven by Gen Z, this approach focuses on emotions, energy levels, or vibes rather than strict categorization. Artistic Freedom:  Artists use this form to express identity and create a "creative collage" of soundscapes or narratives, rather than fitting into a pre-defined category. Fluid DJing/Music:  In music, this often means constructing a set that moves between styles (e.g., techno, hip hop, trap) to maintain a cohesive, yet eclectic, ene...