Archive-11

Archive

Number 11

2025-03-16

Edited by: LEE KA-SING AND HOLLY LEE ARCHIVE

kasingholly.com kasingholly@gmail.com

JUNGLE LINE

秋螢詩刊 QIU YÍNG SHI KAN (Autumn Firefly Poetry Journal)

A Life in Publication

written by Holly Lee (1953-2024), reprinted from DOUBLE DOUBLE 0101 2021

Dancing flames

Among the earliest publications Ka-sing made was a poetry journal called the Fire Blade 火鍔 ,

a primitive hand-stencil-printed tabloid (195mm x 270mm, 8 pages, published monthly in 1969,

with 6 issues published). Soon after he would join force with another poetry publication QIU YÍNG

SHI KAN《秋螢詩刊》. Based in Hong Kong, this monthly periodical is literally translated as

Autumn Firefly Poetry Journal. It was first published in 1970 as a four-page newspaper size stencil

print publication, head speared by Kwan Muk Nam 關夢南 , a young poet in his mid-twenties with

two like-minded friends, Nam Lau 藍流 ( 容沅林 ) and Ka-sing 家昇 . Ka-sing was about sixteen

when he became a part of QIU YÍNG, without foreseeing the fireflies would follow him, weaving

more fire nets, igniting and enriching his life then, and even more so now.

Hot and Cold

QIU YÍNG, in its various transformations,

has lived several lives. I’d taken part in some

of the production during the eighties. My

impression, and the most remembered and

reverent thing in my mind is the logo, the

Chinese character of QIU YÍNG 秋螢 , drawn

from the wood-cuts made by Ka-sing. It has, in

fact become an icon of the poetry publication.

It has been used as a type face for the journal

since it was created in 1979, and continues

to represent the publication through 2010. To

further arouse curiosity, I would like to offer a

little help for those who do not know what the

Chinese characters 秋螢 QIU YÍNG (Autumn

Firefly) stand for. Let’s begin by deciphering

the roots in the ideogram and pictogram of the

characters.

秋 : Autumn (made up of 禾 and 火 ). 禾 :

seedings of cereal crops; 火 : fire.

螢 Firefly (made up of 火火 and 虫 ). 火火 :

two fires; 虫 : insect.

The dry weather in Autumn would likely draw

fires, but fireflies dancing in the cool Autumn

night makes an enchanting scene. And youth

is, and always will be, burning fire. As the

idea of the name gives energy (though meek),

it is also vivid and poetic, releasing a hypnotic

embodiment of image, music and movement.

The Chinese typeface for the masthead of QIU YÍNG 秋螢 was derived from a series of

woodcuts created by Ka-sing in 1976 for a book featuring poetry by 管管 . This masthead

first appeared during the Postcard Period (1986–88) and remained in use throughout the

final phase of the publication.

QIU YÍNG, the second issue, 1970 (Stencil Period). 275mm x 304mm, 4 pages, stencil printing.

QIU YÍNG the thirteenth issue, 1971 (Letter-press Period). 275mm x 307mm, 4 pages, letter-press printing.

The Five Petal Flower

Intermittently QIU YÍNG had gone through four periods. The initial tabloid format was stencil

printed in 120 copies, lasted from 1970 to 71 with 11 issues. It then changed into a bi-monthly,

with better quality letter-press printing from 1971 to 1972, producing a total number of 6 issues,

each printed in 500 copies.

The next transformation took place in 1978, when Ka-sing and I had just secured a place to

establish our photo studio. Though we used our eyes more often now than with words, poetry

was always on our minds. Ka-sing suggested to Kwan Muk Nam to restore QIU YÍNG, with

new perspective and a fresh concept. For each issue, QIU YÍNG would feature one visual artist

along with poems. The tabloid, still retained the size of 11 x 17 inch, would be printed by offset

printing on semi-mat paper. The revive issue, which by this time was Number 18, received a

lot of compliments. It had also encouraged our friend Tommy Li, who we invited to handle the

publication’s design, to experiment more boldly. Starting from Number 20, the publication had

grown to the poster size of 20 x 24 inch. This did not happen by chance. The beginning of the

eighties was also the heyday of posters, where art, design, commercial and life-style posters

were everywhere to meet the consumerist boom. Thus QIU YÍNG adopted this format and we

encouraged people to put them on wall. This was wishful thinking, considering that we had

neglected the tiny spaces most Hong Kong people were living in. The poster format lasted for a

year with seven issues survived.

QIU YÍNG issue 21 (front and back), 1978 (Poster Period). Designed by Tommy Li Kam Fai,

Photography by Leong Ka Tai. 507mm x 355mm, one page, double sides, offset printing, print-run: 500.

There is truth in the Chinese saying: The lotus roots may break, but the threads cling on. Indeed

these threads led us back to QIU YÍNG, for a fourth time. When we started off our career, design

and photography was very much in demand. Our city, as a commercial magnet of the East, was

full of work opportunities. Naturally, income from our work would become the backbone for the

resurgence of the publication. And in early 1986, QIU YÍNG Number 25 was born. While Kwan

Muk Nam, joined by another editor Yip Fai 葉輝 were responsible for the editorial content,

Ka-sing and I took care of the selection of artists, and Tommy Li acted as the design chief. We

agreed that the new QIU YÍNG would be designed in an accordion format, linking up eight

4 x 6 inch postcards. Each issue would feature the work of an artist and seven poems. The cover

postcard would serve as the editorial page, while the remaining seven would be: one postcard, one

poem. The publication would be printed in colours (most times a mix of spot colours), perforated,

so each ‘page’ could be torn out and sent flying as a postcard. As a matter of fact, not too many

readers wanted to use it as individual postcards, instead they wanted to keep the publication as a

complete set, fully intact. There were also those who did not mind to get two copies and set free a

few poems. Henceforth we had liberated poetry in its usual form, and incorporated it into our daily

lives.

QIU YÍNG Issue 28 (front and back), 1986 (Postcard Period). Special issue on the poetry of Leung Ping-

Kwan with visual works by seven artists. Publication format: 34x6 inches, accordion folded into 8 pages

of 4”x6” postcard.

QIU YÍNG Issue 29, 1986. (Postcard Period). Photography by Michael Chen.

Poets in this issue: 關夢南 , 廖希 , 羅寄一 , 胡燕青 , 羅貴祥 , 古蒼梧 , 淮遠

QIU YÍNG Issue 31, 1986. (Postcard Period). Wood-cut prints by Chinese artist Gu Yuan

Poets in this issue: 周禮賢 , 黃燦然 , 俞風 , 辛笛 , 蔡炎培 , 石斟蘭 , 葉輝

This Postcard Period (13 issues,

from 25 to 37, 1986-88) continued

for two years. In reexamining

these issues, it appears clear

to us in hindsight, that the

publication had unintentionally

chronicled that period of art and

its concurrent activities. Pivotal

art exhibitions such as Out of

Context 外圍 , Journey 游詩 , and

works by distinguished artists

like Antonio Mak 麥顯揚 (1951-

94), Yank Wong 黃仁逵 and

Choy Yan Chi 蔡仞姿 . It is not

an overstatement to say that most

of the poets and artists featured

in the QIU YÍNG Postcard period

are now major cultural figures,

occupying an integral part of

Hong Kong history. Though the

publication ceased production

in 1988, the experience of this

Postcard Period was far-reaching,

it lay down root and strengthened

the idea for another publication:

Dislocation NNHD (1992-99),

which in the nineties, influenced

and triggered off the practice of

contemporary photography in

Hong Kong.

Promotion and Subscription card for the Postcard Period QIU YÍNG,

1986. 202mm x102mm, offset printing. On verso of the card printed

an introduction to the new format, on which Ka-sing wrote, “Let those

who don’t read poems read, who don’t look at art look, and those who

don’t do either, do both.”

Exhibition Catalogue for Poetry and Perception

QIU YÍNG SHI KAN 86. An exhibition presented by

the Hong Kong Institute for Promotion of Chinese

Cultural for QIU YÍNG SHI KAN, featuring a

selection of poems and artworks from the first ten

issues of the Postcard Period.

In 2003, the launch of QIU YÍNG Resurrection ( 秋螢復活刊 ) began with this matchbox, which

was designed by the new committee for the publicity purpose, with the idea of passing down the

torch.

After the discontinuance of publication in 1988, QIU YÍNG came back after an absence of fifteen

years. The fifth attempt, also known as QIU YÍNG Resurrection Period ( 秋螢復活刊 ) had the

longest life span. It lasted seven years, from 2003 to 2010, and a total of 84 issues were published.

The year when the magazine was relaunched we were already living in Toronto, as new immigrants

busily meeting our challenges and readjusting our lives. We were also not advised of the relaunch

and missed the chance to get involved. This regenerated periodical was principally managed by

Kwan Muk Nam, with five other committee members, including Yip Fai. It was designed as a book

format, 8.25 x 5.75 inch, published as a monthly with 56 inside pages. The editorial shifted to

focus on heavier literary contents, featuring more poems in each issue, design and artwork would

just take a minor, and subordinate role. The renewed QIU YÍNG had shed its flashy appearance, to

be replaced by a modest and practical demeanor.

(opposite page) Promotion poster for the launching (Postcard Period), 1986.

Hand-made, photographic paper 16x20 inches (damaged).

A Road that forks in two

Kwan Muk Nam is eight years Ka-sing’s senior. They both love poetry and literature, but poetry

is not the only thing that fortifies their friendship, the sharing of indelible memories of living

in GuangZhou in their childhood, between the 50’s and 60’s has created a much deeper bond.

GuangZhou, the most populous city of Southern China, is merely a two-hour train ride from

Hong Kong, but this 130 kilometres distance had created two totally different habitats, one

monotonously grey and orderly, the other, somewhat chaotic but colourful. Before the mid-nineties,

anyone who rode the train across the two borders would not fail to notice the shift of mood and

colour, which extended to even the smell in the air. The departure of QIU YÍNG from a genuine,

well-crafted appearance to a demure, down-to-earth look showed different ideas and choices; the

former focused on elevating art and creativity, the circle of influence never went too far beyond

the elites and the well-educated group, the latter claimed poetry belonged to the masses, viewing

it especially an important tool to educate a new generation of young writers, and the more it

expanded its outreach, the more influential the publication would be. Kwan and his peers worked

hard towards their conviction, their tireless commitment had produced a staggering 84 issues of

QIU YÍNG in seven years. This achievement had surpassed many expectations, yet not without

regret, as it was a poetry magazine designed and produced mostly to meet local demands and

standard, it did not have the capability nor resource, and more importantly, the sophistication to

raise Hong Kong poetry to a level on par with the world. It became just another poetry journal

among the few that were published around that same time.

Front covers of QIU YÍNG issue 25 to 37

(below and following pages)

In retrospect, a third option had always existed. If the journal, without over-stretching on layout,

art and design, could put more emphasis on the balancing act, to respect and pay more attention

to the written words, it would’ve become a more proficient and professional publication. In 2011,

a new bi-monthly publication Sound & Rhyme 聲韻詩刊 (later renamed Voice & Verse) emerged.

It gathered strengths from Hong Kong, Taiwan and Inland China, and after churning out two

years of publication, it obtained funding from the government. Economically stable and still in

production, Voice & Verse has done it, attaining a level of accomplishment what both Kwan and

Ka-sing was unable to fully achieve in QIU YÍNG. Shortcomings of young age, inexperience

and overconfidence had taken its toll on us, and only in reassessing the pros and cons of each

production period do we come to recognize that blind spot.

Another ten years have passed since the cessation of QIU YÍNG in 2010, we still speak fondly

of and reminisce about the publication. But when talking about it, people seem to recollect QIU

YÍNG hazily as poems with wings, words perching on the postcards. This deep and enduring

impression, with the power of image preceding the power of words, is unfortunately, proved to be

too relevant today.

QIU YÍNG issue 25, 1986 (front cover)

Photography by Holly Lee. Editorial on inside cover

by 關夢南

Poets in this issue: 羅貴祥 , 顧城 , 何福仁 ,

禾迪 , 康夫 , 李國威 , 馬若


Etchings by Donna Lok. Editorial on inside cover by

李家昇

Poets in this issue: 梁秉鈞 , 秀實 , 韓牧 ,

柳木下 , 古蒼梧 , 納西 , 蔡炎培

QIU YÍNG issue 28, 1986. (front cover)

A special issue on the poems by Leung Ping-Kwan

梁秉鈞 .

Cover art by Donna Lok. Inside art: Tommy Li, Choy

Yan-Chi, Lok Yin-Ping, Joe So, Ku Chiu-Ping, Lee

Ka-sing.

Editorial on inside cover by Leung Ping-Kwan 梁秉鈞


Drawings by Yank Wong. Editorial on inside cover

by 葉輝

Poets in this issue: 辛笛 , 迅清 , 飲江 , 顧工 ,

陳德錦 , 銅土 , 秦天南


Photography by Michael Chen. Editorial on inside

cover by 李家昇

Poets in this issue: 關夢南 , 廖希 , 羅寄一 ,

胡燕青 , 羅貴祥 , 古蒼梧 , 淮遠


Sculptures by Antonio Mak. Editorial on inside

cover by 戴天

Poets in this issue: 鍾國強 , 鍾玲 , 何福仁 ,

蔡其矯 , 韓牧 , 黃襄 , 顧工


Special issue on woman poets, organized by Donna

Lok 駱笑平 Etching by Donna Lok. Editorial on

inside cover by Donna Lok

Poets in this issue: 禾迪 , 吳煦斌 , 適然 ,

石斟蘭 , 郭坤敏 , 銅土 , 舒婷


Wood-cut prints by Gu Yuan 古元 . Editorial on

inside cover by 王仁芸

Poets in this issue: 周禮賢 , 黃燦然 , 俞風 ,

辛笛 , 蔡炎培 , 石斟蘭 , 葉輝


Documentation of an installation of Choy Yan-Chi,

photography by Holly Lee.

Editorial on inside cover by 羅貴祥

Poets in this issue: 關夢南 , 葉維廉 , 王寅 ,

葉輝 , 梁秉鈞


Photography by Alfred Ko. Editorial on inside cover

by 葉輝

Poets in this issue: 何福仁 , 葉維廉 , 胡燕青 ,

飲江 , 馬若 , 黃燦然 , 羅貴祥


Drawings by Lau Chun. Editorial on inside cover by

張超羣

Poets in this issue: 柏樺 , 胡燕青 , 關夢南 ,

飲江 , 韓牧 , 黃燦然 , 馮晏


Out of Context exhibition, photography by Holly Lee

Editorial on inside cover by 黃繼持

Poets in this issue: 納西 , 葉輝 , 梁秉鈞 ,

歐陽江河 , 葉辭 , 鄧阿藍 , 李英杰


Photography by Lau Ching-Ping. Editorial on inside

cover by Lau Ching-Ping 劉清平

Poets in this issue: 毛文羽 , 羅貴祥 , 王良和 ,

秀實 , 孫文波 , 陸憶敏 , 康夫

QIU YÍNG SHI KAN 《秋螢詩刊》(1970-2010)

Archive-11

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