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　　"In the last class before graduation, you can read books again, and I will look at you again." On June 8, an ink-and-wash cartoon in the composition of the college entrance examination attracted network attention and touched the hearts of many netizens. The reporter of Beiqing Daily learned that the author of the cartoon is a teacher of Sun Yat-sen University in Guangdong Province. The cartoon is based on his English teacher in high school and is intended to express the deep friendship between teachers and students in high school for three years. Li Guangning, the prototype teacher in the cartoon, is still working in the front line of the college entrance examination. He told the reporter of Beiqing Daily that he was very touched that his casual words could be remembered by students.

　　Hot event

　　Reproduce the last class of senior three.

　　Comics become college entrance examination questions, causing concern.

　　On June 7, 2019, the composition of the college entrance examination was announced. Among the three volumes of Chinese composition questions in the country, a vivid ink cartoon attracted the attention of netizens. The cartoon shows that in the last class before graduating from senior three, students are sitting at desks with a pile of books on them. In front of the desk, a teacher with round glasses and a white shirt was holding a roll of paper with his hand behind his back and said, "Last class before graduation, you can read again, and I’ll see you again."

　　After the title of the composition was published, this cartoon immediately became popular on the Internet, and its simple picture and language touched the hearts of many netizens. "I cried when I read the cartoon. This kind of composition proposition is very warm, and what I wrote is true feelings," commented some netizens. Some students commented, "I am really touched, and I am afraid that I will cry." At the same time, some students found Weibo, the cartoonist, and sent a private letter to ask the cartoonist about his cartoon idea.

　　On June 8, the reporter of Beiqing Daily learned that the cartoon originated from "Kobayashi Comics" and was first published on June 8, 2017. The writer is Lin Dihuan, a teacher of Sun Yat-sen University and vice chairman of Guangzhou Animation Artists Association. "I didn’t expect my cartoons to become college entrance examination questions," Lin Dihuan told the reporter of Beiqing Daily.

　　Comic writer

　　Strict teachers encourage students to make up for English.

　　Painting to recall the friendship between teachers and students

　　On the morning of June 8, Lin Dihuan told the reporter of Beiqing Daily that the prototype of the teacher in the painting was Li Guangning, his English teacher and head teacher when he was studying in Zhanjiang No.4 Middle School. "This painting is based on him. At that time, Teacher Li was very kind to me. Although she was very strict with our study, she was also very concerned about our life and life growth. "

　　Before the college entrance examination in 2016, Lin Dihuan drew this cartoon when he remembered his previous college entrance examination experience and the words of Teacher Li’s "last lesson". "What Teacher Li said in those days was probably, ‘ You study hard to prepare for the college entrance examination. After the college entrance examination, you graduated and left the campus. The teacher wants to see you again. ’ I summed up what Mr. Li said in those years and drew it on a cartoon. "

　　As for the idea of this cartoon, Lin Dihuan said that it has no special meaning and wants to express the deep friendship between teachers and students in high school for three years. "In high school, I was seriously biased, and I was very good at Chinese and mathematics. I won several national mathematics league awards, but my English was terrible and almost terrible. Unfortunately, our head teacher is Miss Li, who teaches English. His mantra is God damn you (meaning ‘ Ghosts hit you ’ ), later this sentence became the mantra among our classmates. "

　　Lin Dihuan still remembers that once, when Mr. Li was commenting on the examination paper, he held up a piece of paper and said, "This classmate is wonderful. He scored 18 points out of 100, and I can get 25 points blindfolded. I am deeply disappointed with his English study and luck." And this classmate who scored 18 points is Lin Dihuan. "I was ashamed at the time." After this incident, Lin Dihuan worked hard to make up for English, and got the highest score in English in the six-year history of middle school in the college entrance examination, which was above the provincial average.

　　Teacher prototype

　　Still working in the front line of the college entrance examination

　　The students’ achievements are gratifying to them.

　　On the morning of June 8, Lin Dihuan posted his newly written "College Entrance Examination Composition" on the Internet. "Thousands of messages in the circle of friends are all for Kobayashi to write one by himself. This task is too difficult. In desperation, I can only hand over Kobayashi’s previous composition about teachers. Will it be a 0-point composition? Let’s evaluate it. " Lin Dihuan wrote in the article.

　　In the article, Lin Dihuan wrote about the art enlightenment teacher in junior high school, and also wrote about Teacher Li who taught English. In his article, Lin Dihuan expressed his gratitude to Mr. Li, saying that all the sources of motivation for learning English came from gratitude to Mr. Li, and finally he was admitted to an ideal university as he wished.

　　At noon on June 8, the reporter of Beiqing Daily contacted Mr. Li Guangning. At present, Li Guangning has become the Party branch secretary of Zhanjiang No.4 Middle School, and is responsible for the safety management of test sites in this year’s college entrance examination.

　　Li Guangning told the reporter of Beiqing Daily that at noon on June 7, he received a phone call from his colleague, only to know that the cartoon prototype of this year’s national college entrance examination was him. When talking about the cartoonist Lin Dihuan, Li Guangning said that Lin Dihuan had excellent grades in high school, worked hard and had perseverance. Although Lin Dihuan works in Guangzhou, he will call him every time he returns to Zhanjiang.

　　According to Li Guangning’s recollection, his students were about to take the college entrance examination during the review class that year. Thinking that students will enter the society in the future, he encouraged them to study hard, and at the same time, he missed the time spent with the students. "With the ninth graduating class, I communicate with them like friends, play basketball and eat. They are graduating soon, and I feel very nostalgic. "

　　"We use a national volume in Zhanjiang City, Guangdong Province, so we didn’t know that the cartoon prototype of the composition topic was me until noon yesterday. I feel very gratified that students can achieve such achievements through their own efforts. I am very touched that my own casual words can be remembered by students. " Li Guangning said.

　　Text/reporter Li Tao Zhang Xi

Which domestic garbage is suitable for recycling and which is not? This problem has troubled many citizens. Yesterday, the reporter learned from the Office of the Joint Conference on the Promotion of Domestic Waste Classification and Reduction in Shanghai that the "Shanghai Recyclable Recycling Guidance Catalogue (2019 Edition)" was released, which contains general recyclables, low-value recyclables and three lists of garbage varieties that should not be included in recyclables, making it clear at a glance.

Formulate subsidy policies for low-value recyclables.

Check the garbage varieties that are not suitable for recycling. Many domestic garbage belonging to the category of "glass, metal, plastic, paper and fabric" are included in the list. For example, soiled paper, napkins, toilet paper, wet wipes, disposable paper cups, kitchen paper, etc.; Contaminated plastic bags, disposable gloves, disposable plastic lunch boxes stained with oil, etc. in plastics; Glass fiber reinforced plastic products, etc.; Sewing needles, paper clips, etc. in metals; Underwear, stockings, etc. in fabrics. In addition, composite wastes such as mirrors, pens, glasses, lighters and plasticine, as well as ceramic products (broken ceramic bowls and basins), bamboo products (bamboo baskets, chopsticks and toothpicks), disposable chopsticks, contact lenses (Cosmetic Contact Lenses) and cotton swabs are also unsuitable for recycling.

As for why the above-mentioned garbage is not suitable for recycling, the greening and city appearance department explained that it is mainly because they are defiled, or the use of special scenes has lost the value of recycling, and some garbage cannot be disposed of even if it is recycled because of the lack of a supporting disposal chain downstream, so recycling these garbage is not encouraged at the source.

In fact, there is still a lot of garbage "swinging" between the suitable recycling and the unsuitable recycling. These wastes are usually called low-value recyclables, which refer to solid wastes with certain recycling value in life, but it is difficult to recycle them effectively only by relying on market regulation, and they need large-scale recycling and centralized treatment to regain the recycling value. Once the cost of collection, transportation and disposal is upside down, these low-value recyclables will not be recycled and will be thrown into the dry trash can as dry garbage.

According to the catalogue, low-value recyclables include paper-plastic aluminum composite packaging (tetra pak), food outer packaging boxes, shopping bags, leather shoes boxes, etc. Plastic packaging boxes, foam plastics, plastic toys (plastic building blocks, plastic models), etc.; Broken glass, food and daily necessities glass bottles (seasoning bottles, wine bottles, cosmetic bottles), glasses, glass products (magnifying glasses, glass ornaments), etc.; Clothing (outer wear), trousers (outer wear), bedding (sheets, pillows), shoes, plush toys (puppets), etc. in fabrics; Small wooden products (building blocks, chopping boards) in wood, etc.

For low-value recyclables, each district can give special fund subsidies according to the actual situation of the district, so that they can return to the recyclable bucket from the dry trash can. At present, eight districts of Jing ‘an, Changning, Xuhui, Hongkou, Putuo, Songjiang, Jiading and Fengxian have formulated subsidy policies for low-value recyclables, and the policies of other districts are accelerating.

Incorporate the construction of points, stations and fields into performance appraisal.

There are also many residents who report that the hardware and channel facilities for putting recyclable materials in Shanghai are still not perfect. Even if it is clear which ones are recyclable, there is often no place to throw them. To solve this problem, the "Implementation Plan of Shanghai Recyclable Material System" has been issued, which proposes to accelerate the "two-network integration" of the domestic garbage sorting and removal system and the recycling system of domestic renewable resources. By the end of next year, Shanghai will build a "two-network integration" system consisting of recycling points, transfer stations and distribution yards.

According to the principle of setting up one recycling point for every 1,000 households in urban areas and one recycling point for every 1,500 households in towns and villages, at least 8,000 "two-network integration" recycling service points, a number of transfer stations with reasonable layout (strive to build 170), 10 regional and three "two-network integration" distribution yards with guaranteed bottom will be built in the city to meet the demand of domestic garbage recycling. According to the relevant standards, the standard recycling service point is generally 8 square meters to 10 square meters, which can basically meet the needs of the surrounding citizens for trading and temporarily storing recyclables. However, in many communities, especially in the central city, there is no space condition or redundant space in the garbage bins. The greening and city appearance department suggests that self-service recycling bins, fixed-point mobile recycling vehicles should be set up, or special bags for recyclable materials should be distributed to the public and regular or scheduled services should be provided to build recycling service points according to local conditions.

It is reported that the above-mentioned recycling service points and transfer stations should be fully constructed by the end of this year. In order to encourage all districts to effectively promote the construction of recycling point, station and field systems, the Municipal Development and Reform Commission, the Municipal Finance Bureau, the Municipal Bureau of Greening and City Appearance and other departments are studying and formulating the municipal-level policy of "substituting awards for subsidies". Eligible distribution stations should be supported by circular economy policies to fully guarantee the healthy operation of the recycling system.

Compared with service points and transfer stations, the recycling yard is larger in scale and occupies more land. According to the implementation plan of the recycling system, Shanghai will build at least one recycling yard ("integration of two networks") in each suburb according to the principle of adapting measures to local conditions and coordinating suburbs; The central city adopts the form of entrusting market-oriented enterprises, co-constructing with neighboring suburbs as a whole, or entrusting Shanghai Chengtou (Group) Corporation to realize functional guarantee. At present, the distribution centers in Songjiang and Changning have been built, and the construction of distribution centers in Jiading, Baoshan, Fengxian and Chongming is progressing. Shanghai will regularly carry out inspection and assessment on the system construction and operation of relevant responsible subjects in each district, and the inspection and assessment results will be included in the annual performance evaluation scope of the leading bodies of the governments in each district. This move will force all districts to promote the construction of "two networks integration" facilities according to the time node, and solve the trouble of residents "no place to put it" as soon as possible.

Chinese Poetry Conference

The Chinese Poetry Conference, which just ended during the Qingming holiday, has attracted the attention of many friends.

Watching players from all walks of life answer questions, listening to teachers’ poems and allusions, and the exciting "flying flower order" have made many viewers not only raise their posture, but also summon their inner "poetic feelings" and begin to pay attention to classical poetry.

Art is often interlinked. Poetry is written, but it can also be music, painting or images.

Perhaps it is the lonely fishing in the empty silence of "a little boat, a bamboo cloak, an old man fishing in the cold river-snow", perhaps it is the hard persuasion under the euphemistic tone of "flowers can be folded straight, so don’t wait for no flowers to be folded", or perhaps it is "clouds want clothes and flowers to make them look beautiful, and spring breeze blows the sill to show exuberance" that Li Bai praised Yang Guifei in a half-drunk and half-awake state.

The implication and gracefulness of "poetry" or "the shadow carries feelings" in the film, or a reproduction of China’s classical picture scroll-like charm scene, or a logical narrative of poetry, which is vague, hazy and has a unique charm.

A poetic screen picture

"There are paintings in poetry and poems in paintings" is a realm of poetry. Poetic movies are the natural fusion of poetry and pictures.

Mr. Zong Baihua mentioned in Aesthetic Walking that "the positive function of the form of beauty is organization, assembly and configuration, in a word, composition. So that the solitude of the scene can be woven into a realm of internal self-sufficiency, and there is no need to stay outside and become a small universe with full meaning, which reveals the deeper truth of the universe life. "

Based on the composition of China’s paintings as an aesthetic foundation, we can see that in the poetic films, the long scrolls of images that are shaken and unfolded by the long lens dissolve the subjective cutting of montage, which makes the films have a vivid and distant artistic conception.

Just like the bamboo sea in Crouching Tiger, Hidden Dragon, it is different from Hu Jinquan’s backbone and Tsui Hark’s romance. What Ang Lee brings us is a poetic interpretation of oriental aesthetics.

In the dense and rich bamboo forest, the camera moves with the figure of two elegant chivalrous men. Sometimes it’s their feet that step on the tender bamboo branches and display their posture at will, and sometimes it’s their swords that are in a calm position when they fly, and sometimes the shadow of bamboo leaves and long hair with the wind float on the hero’s close-up face, as if they are perfectly integrated with this huge bamboo forest, which is natural and unrestrained and free.

We got great audio-visual pleasure in the process of enjoying Crouching Tiger, Hidden Dragon, and at the same time we seem to be able to touch the true texture of oriental culture.

The use of the long lens recorded the real Yellow Land, Yellow Land and Yellow River, which appeared on the screen with a strong posture and acted as the protagonist of the narrative. And the shaping of their plump images is accomplished by panoramic lens.

Under this kind of lens, the image of the yellow land is desolate and heavy, the sky only occupies a small proportion, and the characters appear in a smaller posture. What people see from this static state is an ancient tradition of a nation, and it is also an unchangeable strength and solemnity.

This solidified visual feeling has become the lens language of the logo of Yellow Land. What the audience feels is a breath, an atmosphere, a concern and examination of ancient land and ancient culture.

At that time, Xiaogang Feng, who studied fine arts, wanted to restore the aristocratic style of ancient China with a classical attitude. He believes that "the real aristocratic style is not the kind of luxury, but rather restrained and restrained, because the nobility is not unassuming", so there is the "Night Banquet".

The fifth-generation directors seem to like to speak with colors, such as red in The Red Lantern Hanging High, white in The Promise, yellow in The Golden Flower in The City, and colorful in The Legend of the Demon Cat. Xiaogang Feng is no exception, "The Banquet" can be described as a great effort in audio and video.

The main color of the film is black, which also implies that the tone of the main theme of the film is as turbulent as the dark tide.

At the same time, the film is mixed with white, dark red and black contrast. It depresses the atmosphere of the whole film and reflects the melancholy of the characters.

Each character also has a different color theme. Zhang Ziyi’s red is power and desire, Ge You’s black is authority and loneliness, and Zhou Xun’s green is like a clear water, conveying her persistence in love.

The decoration in the film is also very humane and elegant, and the scene of Zhou Xun’s dancing is very smart by using traditional ink painting.

Poetic and warm humanistic romance

The fourth generation directors in China are called "poetic realism" generation. They focus on writing the beautiful feelings of all ordinary people with simple relationships and subtle and graceful film styles.

Moreover, their films are like prose poems, giving people a sense of eloquence.

Just like "Old Things in the South of the City" directed by Wu Yigong, several pieces of scattered past events make up a reminiscence of lost childhood. Whether it is the quaint city walls or narrow hutongs, the cicada singing in the afternoon or the peddler’s hawking, it shows the beautiful childhood in Eiko’s memory in the dull, detailed and unforgettable trivial life.

Not only the fourth-generation directors, but also other films full of humanistic poetry, mostly express all sentient beings from a small perspective and paint the reality with poetic meaning.

Just like in My Father and Mother, Zhao Di, an 18-year-old, fell in love with the teacher at first sight. Every time Zhao Di went near to fetch water, she just wanted to see him more. After school, she always watched him on the hill and looked forward to cooking for him. Finally, their relationship seemed to break through the window paper, but he was taken away. Her bowl full of jiaozi broke on the chasing mountain road.

The simple story, Zhang Yimou also conveyed to the audience in a plain way.

Another example is the narrative clue of Spring in a Small Town, which is completely dominated by the mood and the emotional ups and downs of the heroine Zhou Yuwen.

For example, in Warm, the reality and the past intersect, and the narrative originates from Jinghe’s memory and the director’s expression of the work.

You don’t have to follow the mode of drama story, but take emotion as the leading factor. With the narrative needs of the director, you can tell the beautiful fables of ancient China by prose poetry.

Vague and vague poetic narrative

Soviet director andrei tarkovsky said: "The reasoning process of poetry is closer to the development law of thought and life itself than traditional drama." What he is talking about is the way of thinking of poetry. Traditional drama reasoning is going to be stable and solidified, while poetry is just the opposite.

In movies, it is to break the habitual structure of signifier and signified of language symbols and image symbols, as well as the continuous and holistic space-time structure. "Beyond the limitations of coherent logic, it conveys the high complexity and truth of the deep phenomenon and intangible connection of life."

Professor Yang Li of Peking University said: "Bi Gan pulled China’s film from Italian neo-realism to French film Last Year in Marion Bade." It refers to the breakthrough made by director Bi Gan in China’s film space and time consciousness.

In "Picnic by the Road", the past is recalled by the present as the fulcrum, and there is no pure present, only the ups and downs different from the past time.

At the beginning of the film, Bobby Chen, the hero, went to Xiao Weiwei. At the moment when he was about to close the door, the scene of him and his ex-wife in the ballroom appeared in the depths of the room that used to be his wedding room. After Bobby Chen decided to go to Zhenyuan to find Xiao Weiwei and the old doctor’s lover, Bobby Chen was released from prison. He missed his ex-wife in the pump mine pool and Bobby Chen’s conversation with his brother on his way home. After that, it is "now".

That famous long shot is a Tarkovsky-style "time synthesis" paragraph — — Every moment is the coexistence of past, present and future. In those more than forty minutes, Bobby Chen met his wife in the past and Wei Wei in the future. This documentary physical feature film contains Bi Gan’s creation and fiction of time.

As the protagonist Bobby Chen said when he left Zhenyuan, "It’s like a dream."

In the Mood for Love, on the other hand, is a narrative text with a "double structure" and is considered as an "anti-narrative" film.

The film tells the story of two victims of extramarital love. In his text, narration is only a verbal action, and it is no longer a simple representation of history and reality. The ingenious narrative of the film lies in the fact that the stories of four people are only interpreted by two people, and their respective partners are hidden and absent.

This highly simplified "double-layer structure" actually expands the plot capacity and enhances the tension of the emotional conflict of the people in the play, which is embodied in three unique "plays in the play", and these three plays just constitute the narrative structure of traditional films on extramarital affairs.

The film omits some transitional plots as much as possible, and only uses these three "plays in the play" to perfectly show an extramarital love story. This simplification of the plot makes the effect of "blank space" appear again, leaving the audience with unlimited imagination.

There is also a long shot in the Yangtze River Map, which is also the creation and fiction of time under real physical conditions.

In the film, the hero falls in love with a girl who is in the "reverse current" with him while sailing against the current. In the physical journey against the current, there are two parallel but opposite time tracks: in the same space, there are two times, namely, the man’s present and the woman’s "past present".

They have different time and space, but they have a common memory, which is about last year’s meeting and agreement.

Excellent film works come not only from skillful film skills, but also from the inner poetry of the creators. Because a poetic filmmaker is a poet who records his life with light and shadow. But no matter who you are and where you are, you can be at home in the distance if you have poetry in your heart.

Then tonight, let the movie read poems for you.

　　In June, in Shayuan, western Liaoning, mulberry trees more than one meter high spread out green leaves and scattered small flowers spit out their pistils; The wind in early summer blew Chinese pine green all over, and the buds of pine flowers gave off a little fragrance.

　　This is the southern edge of Horqin Sandy Land where liu village, Sihe Town, Zhangwu County, Fuxin City, Liaoning Province. 74-year-old Hou Gui is standing in his own forest. There is a shade at the height, green grass at the foot, and the sand in the sand is firmly covered.

　　At 9 o’clock in the morning, Hou Gui has completed more than three hours of mountain patrol every day, and the next job is watering. In April this year, Hou Guixin planted 20,000 seedlings. Now is the critical period for Chinese pine to stabilize seedlings, and only by pouring water can they take root.

　　It is not easy to water the saplings on the mountain. To carry more than a dozen buckets more than one meter high and 50 meters long connecting pipes, Hou Gui’s tool is a small four-wheeled tram. There is no smooth road on the mountain. If you are not careful, the car will sink into the sand. Finally arrived at the destination, more than 300 meters of water pipes were divided into eight sections, and Hou Gui connected the connecting pipes section by section. Screw three or five thick iron wires on each interface to fix it. Only then can he walk for ten minutes and open the gate by the well.

　　A day is only 24 hours, and this trip will take four or five hours. Compared with more than 20 years, four or five hours is nothing. It is the 24th year since Hou Gui cut and cultivated the first poplar seedling. Twenty-four years ago, Hou Gui and his fellow villagers laughed at themselves for living in "Fengkou" and "Shawozi", and there was a wind every year, blowing from spring to winter.

　　"Our area is deeply affected by sandstorms. The wind brings all the sand to our yard and crops. The output of farming can’t go up. Sometimes the roads in villages are blocked by sand, and some gardens have been scraped into sand, so they have to be pulled out by car and sent far away. " Hou Gui remembers it clearly.

　　In 1951, a nursery settled in Zhanggutai, west of Sihe Town, and Hou Gui was born in that year. At that time, the desertification area of Zhangwu had reached 96%. The story of the first generation of sand control people, Hou Gui heard from childhood.

　　Sometimes, a row of trees can grow into a forest; Sometimes, the barren hills turn green easily and are covered with yellow sand a little bit. In 1983, Hou Gui became a tree planter for the first time: "There was a news in the newspaper that if farmers planted trees in wasteland and barren hills, the forest land would be free of charge and allowed to be inherited by future generations. At first glance, this is a good thing. " Hou Gui understands that the policy is to mobilize everyone to plant trees on their own borders and improve the living environment and production conditions.

　　He went into battle with a spade. How powerful can a person be in front of the yellow sand? That year, Hou Gui planted 71 acres of trees by himself — — This woodland, which he has used to this day.

　　After more than ten years, Hou Gui was busy farming and worked as a village cadre. The planted trees plunged into the soil and grew into his heart. By 2001, the tree in my heart met with spring rain.

　　"The party’s policy is consistent," Hou Gui said. This time, in order to control the sandy land as soon as possible, social forces can also participate in afforestation. Hou Gui went up the mountain conveniently. At the age of 50, he took out all his savings and contracted the Sihecheng Forest Farm.

　　Hou Gui contracted more than 2,000 mu of land to plant trees at once, and everyone thought that he was going to make a fortune. Hou Gui wants to make money? Of course I want to. But he soon found that planting trees not only didn’t make money, but also had to pay money. At that time, poplar seedlings cost more than 10 cents a tree, and Hou Gui could not afford it, so he had to raise them in the field himself. He carried a sickle all over the hills near the village, looking for new branches on young poplars and "sticking" them everywhere. This is how the seedlings are bred.

　　From branch selection and seedling raising to cutting, in a few days, the seedlings were "swallowed" by the sand, and sometimes it took three or four times to plant a seedling to take root. In the first year, Hou Gui planted 300 acres of poplars. The villagers laughed at Hou Gui, and his wife Li Shuyuan was angry: "I said what’s the use of planting that tree?" Next to scold, brown talks. He said that our country’s call for afforestation is sand fixation, and others can think about it if they like, but what should we do or do? "

　　Saying "I can’t make money" is still light. Hou Gui said that afforestation not only cost him more than 500,000 yuan in savings, but also brought him "debts". His house is the worst in the neighborhood. In summer, it needs plastic sheets to keep out the rain, and in winter, it needs to burn more fires and paste an extra layer of windows to keep warm. Hou Gui half jokingly, "I don’t want to live in a good room? Do you have to live in a broken house? " He not only told his family, but also told the villagers that he would build the best house as soon as the forest at hand was finished.

　　Planting trees to control desertification is more difficult than expected. In the first two years, he overcame the difficulty of "planting", and Hou Gui had a headache for "managing". The trees are growing and the grass is dense. Cattle and shepherds all want to come to Hougui to graze in this forest. At first, I heard that "my cattle and sheep don’t eat trees, but only eat grass", and Hou Gui was not easy to stop. Seeing that the cattle and sheep ate the saplings, Hou Gui was anxious. At last, he and his wife nailed wooden poles to build a fence, and with two hands, they nailed a 7-kilometer protective net.

　　"Grazing up early, and greedy. If you don’t want to go because of the heavy rain, one or two hundred cows will come in and eat all the thick poplar trees. Niu Guan sees that you are coming, and he is rushing out. If you’re not watching, just leave it there, eat and go. If we don’t hurry in time, the loss will be great. " Hou GUI said.

　　For more than 20 years, covering an area of 2,400 mu, Hou Gui planted more than 260,000 trees, of which 200,000 survived. For him, every tree is a painstaking effort.

　　In the tenth year of planting trees, Hou Gui began to think about what kind of tree is a better sand-fixing tree because of poplar diseases.

　　"I designed a plan for the transformation of forest land. Each tree species is planted in ten rows to form a forest belt, with Acer truncatum as the interval in the middle, so that it will be more spectacular after forming in the future. The tree species used are all long-lived tree species with strong drought resistance, which are suitable for growing in our region and creating a fine project with wind-proof and sand-fixing ability for more than 100 years. "

　　— — This is the answer that a farmer in China fumbled with his hands.

　　A shovel, a drive, a belief, and a tough battle. Hou Gui never thought about the past twenty years. He looked forward: "I will not be 84 years old in 10 years, but I will not go down the mountain. I can’t do it. I am also here. This is where I really want to support the elderly. " He even thought that a hundred years later, "I will go empty-handed, and the tree is still growing here."

　　In the June wind, the white wind car rotates slowly, bringing clean energy.

　　This is the hometown where 74-year-old Hou Gui never says "love". It is still windy in Zhangwu, but the sand has stopped.

Producer Gao Yan

　　Planning Shen Jingwen Zhang Chengxia Feng Huiling

　　Coordinating Du Ximeng

　　Reporter Yan Jiang Jiyuan Chao Xiangrong

　　Video director Sun Huan

　　Video shooting, Zhu Chenghui

　　Video editing, Zhou Bin

　　Video packaging Wang Haihan Liu Pufei

　　New Media Editor Lian Jinliang