Maple Leaves Collection
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Summary
Set against the backdrop of fiery red maple leaves, the collection seeks the flame of love, traces the marks of time, listens to the song of life, and celebrates sacred love and an undaunted life.
Each poem is a maple leaf in the author's heart—green as jasper, crimson as flame, golden as the blazing sun—burning with passion. The poems weave in reflections on life and a love for the world, offering the author's praise of life and exploration of human nature.
Through poetry, the author expresses gratitude to parents, to life, and to all that is beautiful, and dedicates the collection to everyone who loves life, hoping the poems will bring readers inspiration and encouragement, making life richer and more colorful, love more beautiful and romantic, and existence more radiant and glorious.
Editor's review
In literary terms, Maple Leaves does not pursue avant-garde experiment or deep philosophical inquiry; its charm lies in its truthfulness. The author transforms personal life experiences—nostalgia for hometown, sensitivity to the changing seasons, cherishing of everyday trifles—into writing that invites empathy. In an age of information overload and restless emotion, such writing offers the possibility of reading at a slower pace. It is more like a private spiritual notebook, inviting readers to pause and appreciate the subtle beauties overlooked in a hurried life.
It should be noted that, as the author is not a well-known writer, the book has limited discussion and influence in literary circles, with few ratings and long reviews on platforms such as Douban—something that may affect its appeal to readers seeking classics or popular bestsellers. Yet for readers looking for quiet reading and longing for solace and resonance in words, this small collection is precious precisely for its niche status and sincerity. Its value lies not in instructing or shocking, but in accompanying and healing.
Who it's for
A good fit for
- Readers who enjoy light literary forms such as essays and sketches
- Urban dwellers seeking inner calm and healing amid a fast-paced life
- Literature lovers who appreciate descriptions of natural imagery (seasons, plants)
- Beginners trying their hand at literary creation, hoping to draw inspiration from plain writing
Not a good fit for
- Readers of fiction seeking strong plot, fast pacing, or deep philosophical exploration
- Researchers who prefer time-tested literary classics or academic texts
Reading tips
- Best read in fragments on a quiet afternoon or before sleep, without rushing to finish
- Try connecting the text with your own similar memories and feelings, engaging in a 'spiritual dialogue' with the author
- Pay attention to how everyday details are described, and how the ordinary is transformed into literary expression
About the publisher
Huashan Literature and Art Publishing House is a local literature and art publisher whose main publishing focus is literary and artistic works, covering categories such as classic works, philosophical readings, social sciences, foreign literature, Eastern philosophy, and applied psychology. Judging from the books in the database, the house publishes modern literary classics such as Xiao Hong's The Story of Hulan River, as well as Aisin Gioro Yu Yun's "Yu Laoshi Speaks" series and titles from the "People and Classics" series, including The Great Learning and The Commentary on the Xici of the I Ching, with an emphasis on interpreting traditional classics. In foreign literature, it offers Michael Cunningham's The Hours, Hemingway's The Snows of Kilimanjaro, and Dave Pilkey's Dog Man series. Its authors include Xiao Hong, Aisin Gioro Yu Yun, Chen Jiong, Dave Pilkey, Michael Cunningham, and Wang Jiaxiang. Its publishing character lies in balancing literary classics, interpretations of traditional culture, and translations of foreign literature, forming a diverse reading structure for general readers. Public information is limited, and the above focuses on the publishing directions reflected by the books in the database.
Contents
- 版权信息
- 序
- 第一辑 枫叶正红
- 枫叶正红
- 阑珊处再见温柔
- 给我一个吻
- 牵着你的手
- 最美的镜头
- 白发新娘
- 你就这样匆匆离我而去
- 一串乱码
- 一片枫叶
- 我们约会去吧
- 定格我们的爱
- 爱你，永不变
- 雪是爱人的亲吻
- 初恋
- 只愿你幸福
- 一片风干的枫叶
- 第二辑 让爱成为信仰
- 让爱成为信仰
- 爸，女儿来接您回家
- 想家了
- 寻找月亮
- 我只说再见
- 一盒小蛋糕
- 回家真好
- 今晚的月亮
- 我要回故乡
- 第三辑 我的诗行在流淌
- 独步小径，真好
- 我的诗行在流淌
- 我就是英雄
- 秋风微凉擦身过
- 高山流水两相知
- 我爱冬日的暖阳
- 我们常常深情凝望
- 贺文友小聚
- 文友相聚，欢乐时光
- 请慢慢品尝
- 虹口公园红歌大合唱
- 种下一抹青绿
- 诗是高贵灵魂的归宿
- 说缘
- 第四辑 我打碎了夕阳
- 我是一朵雪花
- 我打碎了夕阳
- 一叶残荷
- 高山流水遇知音
- 我爱春天
- 我爱秋天
- 我和诗歌
- 闲语
- 枯荷的独白
- 啊，玫瑰
- 桂花， 花中第一流
- 温暖馨香萱草花
- 秋已深
- 叹菊花
- 知否，知否
- 银发美居幸福里
- 蔷薇花开了
- 缘的碎语
- 第五辑 杜甫草堂
- 杜甫草堂
- 叹王羲之
- 说陶渊明
- 吊屈原
- 悼屈原（一）
- 悼屈原（二）
- 写给白居易
- 咏杜甫
- 叹陆游
- 题王昭君
- 赞李香君
- 叹李清照
- 赞女侠秋瑾
- 第六辑 一粒神奇的种子
- 一粒神奇的种子
- 赞杂交水稻之父袁隆平
- 悼念画家黄永玉
- 赞吴教授《诉衷情·海棠》
- 赞吴教授“栾树”美词
- 赞诗文阅读群成立五周年
- 袁靓，生日快乐
- 华夏满庭芳
- 不平凡，很伟大
- 第七辑 笑度春秋
- 我们风华正茂
- 心有阳光，温暖永在
- 我们留下了什么
- 归去来兮
- 挥挥手， 不带一缕云烟
- 过客
- 悟
- 风光依旧
- 爱和恨都是痛
- 优雅地老去
- 下雪了
- 喝茶
- 看戏
- 笑度春秋
- 笑着迎接阳光
- 我就是飘飞的白云
- 爱与诗
- 最美的诗意
- 识时务者为俊杰
- 宁静致远心自在
- 我的墓志铭
- 第八辑 节日感怀
- 贺新年
- 小年
- 除夕
- 初二回娘家
- 立春吟
- 浅吟雨水
- 惊蛰
- 清明
- 谷雨
- 趣说立夏
- 江南初夏
- 小满
- 西湖夏至
- 中秋
- 白露有感
- 重阳有感
- 话重阳
- 重阳新歌
- 霜降
- 寒衣节寄怀
- 冬至
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About the author
Li Yuancheng: publicly available information is limited, and at present it is known only that this author's works are classified as classical poetry. Judging from the two works held in the collection, Collection of Maple Leaves and Collection of Xinyi Flowers, the writing is mainly in the traditional poetic form. The titles take two plant images, maple leaves and xinyi flowers, as their subjects, giving them a distinct natural and seasonal coloring and suggesting a lyrical tendency to express feeling through objects. This manner of naming is relatively common in the classical poetry tradition and is often associated with poems on objects, reflections on feeling, and laments over the passage of time, which indicates that the author has some self-awareness in handling traditional poetic vocabulary and in creating atmosphere. Because information such as biography, native place, and period cannot be confirmed, the author's identity and creative background are difficult to describe in detail; the available material can present only the thematic category and basic appearance of the two collections. Readers may place these works within the reading context of classical poetry and appreciate the sentiments and resonances evoked by the imagery of plants and trees.
