Interview with Wang Fangwen: “The Magic Lamp Hidden in My Heart Has Been Lit” — A Chinese Poet’s UAE Journey

Wang Fangwen in Dubai

When was the first time you visited the United Arab Emirates? What was your first impression of Dubai?

The first time I went to Dubai, UAE, was on May 24, 2025. Since I was a child, I have heard the story of Aladdin's magic lamp from my teachers, and I have long been fascinated by this place. Finally, the place in my dreams has become real. The magic lamp hidden in my heart, symbolizing miracles, has been lit for many years.

That day, as soon as we stepped out of Dubai Airport, the sky was so blue that it didn't have any tint of color. The golden bay was sparkling, the coconut trees on the neighboring Palm Island swayed in the wind, the Burj Khalifa towered into the sky, and the Burj Al Arab Jumeirah Hotel looked as if it was about to sail away from the bay. The lines of those modern high-rises were as smooth and poetic as in a child's drawing. As we walked, we felt as if we had stumbled into a future city. Every sight was fresh and shocking. When wandering around Dubai city, the Arabs wearing white “Kandura” robes were particularly humble and polite, especially Mr. Adel, who came to pick us up as a representative delegation of Chinese poets. His black eyes were sparkling, and he smiled gently like a spring breeze. When chatting, he was particularly poetic, and it felt like I had known him as an old poetry friend for many years. Dubai has both the magic of modernity and the flavor of old traditions. The people are enthusiastic, and the scenery is like a dream. I fell in love at first sight and still can't forget it now.

As a poet who often writes about the Silk Road, how does Dubai, the crossroads of modern culture, influence your creation?

As a poet who has been writing about the Silk Road for many years, Dubai, as a modern cultural crossroads, is like a beam of light that transcends time and space, injecting a new dimension of inspiration into my creation and revitalizing the imagery of the ancient Silk Road in the contemporary context.

In my pen, the Silk Road was once a long trail of camel bells, sunset over the river, smoke rising from the desert, silk arches on the trade route, tea fragrance on horseback, and the slow integration of Eastern and Western civilizations. Dubai, on the other hand, has redefined the connotation of “crossroads” with its ultimate modernity - there is no dusty ancient road here, but there are people of different skin colors hurrying under the Burj Khalifa; there are no camel caravans, but there is global trade flowing endlessly here. Standing on the jetty of Palm Island, watching the waves of the Persian Gulf lapping against the modern dock, I suddenly feel as if the sails of Arab merchants from a thousand years ago overlap with today's giant ships. The “interconnected” gene of the ancient Silk Road continues to thrive on this land with a more rapid pace.

The diverse coexistence in Dubai has endowed my poems with a more vibrant texture. In the gold market, the fragrance of spices collides with the neon lights of modern shopping malls; the call to prayer from the mosque intertwines with the laughter of street cafes; the traditional etiquette of the elderly in white robes contrasts with the trendy clothing of young people. This seamless connection between tradition and modernity, East and West, has shattered my inherent imagination of Silk Road civilization - the ancient spirit of exchange can be presented in such a fashionable and inclusive way. I began to write in my poems about “the resonance of camel bells and engines” and "the shared fragrance of spices and coffee", allowing the historical depth of the Silk Road to form a wonderful dialogue with the modern vitality of Dubai.

The enthusiastic exchanges between Adel Khozam and other Arab poets made me feel the warmth of cultural resonance. Using poetry as a medium, we explored the past and present of the Silk Road, discovering the eternal pursuit of “encounter” and “tolerance” by different civilizations. This made my creation no longer limited to tracing history, but more focused on the coexistence of civilizations in the present: every building, every smile, and every handshake in Dubai are contemporary footnotes to the Silk Road spirit.

Dubai, as a modern hub on the Silk Road, has made me realize that the Silk Road has never been far away; it has merely extended and grown in a new form. Consequently, my pen has shifted from reminiscing about the past to portraying the present, allowing the poetic essence of the ancient Silk Road to bloom with a more contemporary luster at this crossroads of cultural fusion.

Your poems “Dubai Engagement”, “The Distant Camel Bells”, and “Palm Island Ballad" perfectly intertwine history, nature, and emotions. What inspired these special images and symbols?

These three poems are among the ten poems in the Dubai series. The unique imagery intertwined with history, nature, and emotion stems from the dual temperament of Dubai, a land that is not only an important node on the ancient Silk Road but also a marvel of modern civilization. It is also a poetic field where nature and humanities collide. The birth of each image originates from the deep fusion of real-life scenes and inner empathy.

The lingering warmth of the ancient Silk Road's history serves as the source of the core imagery in “The Distant Camel Bells”. Upon setting foot on the land of Dubai, the rich aroma of spices in the gold market and the remnants of ancient trading ports along the Persian Gulf instantly transport the poet, who has been writing about the Silk Road for years, back through the millennia. The Arab caravans and the camel bells of East-West connectivity, recorded in historical documents, are no longer distant written symbols. Instead, they engage in a timeless dialogue with the cars weaving through the streets and the giant ships moored at the docks. This “overlapping of history and the present” transforms the “camel bell” from a mere historical symbol into an emotional carrier that embodies the inheritance of civilization. It echoes the memories of past exchanges while also resonating with the symbiotic pulse of the present.

Dubai's unique symbiosis of nature and humanity has given birth to the vivid symbols of “The Ballad of Palm Island”. As a masterpiece of man and nature, Palm Island presents a wonderful picture with its swaying coconut palms on the coast, the waves of the azure Persian Gulf, and the scattered modern buildings. As the poet strolls along the boardwalk, he sees the sea embracing the sand, greenery reflecting the buildings, where the natural beauty and human wisdom perfectly converge. This “blending of natural texture and modern aesthetics” endows images such as “palm”, "waves”, and “coconut breeze" with emotional warmth, transcending mere natural descriptions. They are the gentle undertones of Dubai and the poet's poetic interpretation of “harmonious coexistence between man and nature”. The lines are filled with admiration for the creativity of this land.

The imagery inspiration for “Dubai Engagement” stems from the sincere emotions of cross-cultural exchanges. The encounter with Arab poet Adel Khozam, the Gawa coffee handed over by a friend in white robes, and the friendly smile of a stranger on the street have made “engagement” an emotional bond connecting history and the present, the East and the West. The “engagement of encounters” on the ancient Silk Road overlaps with today's “engagement of poetry friends”, making images such as “gulf”, “lights”, and “handshakes” carry the weight of cultural resonance.

Ultimately, the birth of these images is the result of the mutual achievement of Dubai's “historical depth, natural elegance, and humanistic warmth" and the poet's “Silk Road sentiment, keen perception, and empathetic heart”. Every scenery and every encounter on this land become the kindling that ignites poetic inspiration, ultimately condensing into unique symbols that embody historical depth, natural beauty, and emotional warmth.

Do you think there is a connection between the ancient Silk Road and Dubai, which serves as a meeting point between the East and the West today?

The ancient Silk Road and today's Dubai share deep-seated connections. Despite spanning thousands of years and different geographical coordinates, the ancient Silk Road and Dubai, as the current convergence point of the East and West, maintain a core connection that runs through generations. Essentially, both serve as hubs for cultural exchange and trade integration.

In terms of core functions, both are key nodes for material circulation between the East and the West. The ancient Silk Road, starting from Xi'an, used camel caravans as a link to transport Chinese silk, porcelain, Indian spices, jewelry, Central Asian horses, and fabrics to the Mediterranean coast, while bringing back products from the Western Regions, thereby establishing a transcontinental trade network. Today, Dubai, with its strategic location at the throat of the Persian Gulf and world-class ports and airports, has become a global logistics hub, where commodities such as oil, luxury goods, and electronic products are distributed, continuing its core function of “transit and distribution”, albeit with transportation tools having shifted from caravans to cargo ships and flights.

From the perspective of cultural exchange, both are platforms for the blending of diverse cultures. The Silk Road is not only a trade route, but also a channel for the dissemination of religion, art, and technology. Buddhism spread eastward along this route, and the Four Great Inventions of China spread westward, forming a diverse and coexistent civilization ecosystem. Dubai attracts residents from more than 200 countries around the world with its open policies. Arab culture collides and integrates with South Asian, Southeast Asian, European, and American cultures here. The tax-free policy and diverse communities make it a “living fossil" of cultural exchange, continuing the spirit of inclusiveness inherent in the Silk Road.

From a development logic perspective, both rely on their locational advantages to achieve value enhancement. The prosperity of the ancient Silk Road was inseparable from the Central Asian city-states' control over vital transportation routes and their emphasis on trade and commerce. Dubai, on the other hand, has transcended resource dependence, leveraging free port policies, tourism, and financial services as pillars to transform its locational advantages into global influence, echoing the development wisdom of the Silk Road in “leveraging connectivity".

Over the millennia, the commercial and trade genes of the Silk Road, coupled with its spirit of inclusiveness, have found a modern interpretation in Dubai, jointly crafting the eternal theme of connectivity between the East and the West.

What message or feeling do you hope readers around the world will gain from your Dubai-inspired poetry?

I hope readers from all over the world can comprehend the dual forces of “inclusiveness and breakthrough” from this set of Dubai-inspired poems, and feel the warmth of civilized coexistence and the grandeur of human aspirations.

First and foremost, we wish readers to feel the warmth of “Boundless Civilization”. The poetry paints a picture of people of different skin colors and speaking different languages walking side by side on the streets of Dubai, akin to the caravans of the ancient Silk Road meeting across mountains and seas, conveying the belief that “difference is not a barrier, but a scenery”. As Sheikh Mohammed, the ruler of Dubai, stated in “The Desert City”: “It is easier to rule with fear, harder to govern with love, and great connections must stem from respect." This is precisely the core of Dubai's spirit of inclusiveness. Whether from the East or the West, readers can discern between the lines that different cultures here are not opposed but intertwined, and different beliefs here are not in conflict but respected, thereby evoking a sense of inclusiveness and love for a diverse world.

Secondly, I wish readers would gain the courage to “break through limitations". The journey of Dubai rising from a small desert city to a global hub is itself an epic tale of “growing against the tide". Poetry would praise its ability to break free from the constraints of geographical environment and overcome the dilemma of limited resources, and Mohammed's famous quote, “Dreams have no limits, keep moving forward", is the best footnote to this strength. He once said, “Looking at the desolate desert, I am filled with the imagination to fill this space." This belief in pursuing dreams in the face of adversity can inspire every reader - no matter what situation they are in, they can break through their own “desert dilemma", pursue their dreams with courage and persistence, and believe that ordinary places can also shine with extraordinary brilliance.

Finally, I wish readers to regain their original aspiration of “connectivity". As a contemporary intersection of the East and the West, Dubai carries on the gene of integration from the Silk Road. The poetry will convey the concept that “the world is one", echoing Mohammed's vision of "we not only create cities, but also build bridges connecting the world", calling on people to put aside barriers, embrace connectivity, and jointly safeguard the beautiful vision of a community with a shared future for mankind through the interconnection of trade, culture, and emotions.

May this collection of my poems serve as a bridge, allowing readers from different regions to forge a consensus through resonance: to embrace the world with an inclusive heart and create the future with the power of breakthrough.

Could you share whether you plan to write more poems or even novels inspired by the UAE or the Arabian Gulf region in the future?

I do plan to create more poems inspired by the UAE and the Arabian Gulf region in the future. My goal this year is to complete the series of 50 poems titled “Distant Camel Bells" and promote its translation into Arabic for publication, so that this resonance across civilizations can echo across the Gulf region.

Every landscape in the United Arab Emirates (UAE) hides the cultural codes of the Silk Road: the light and shadow of the Burj Khalifa in Dubai are superimposed with the afterglow of ancient caravan campfires; beneath the dome of the Abu Dhabi Grand Mosque, flows the inclusiveness of diverse beliefs along the Silk Road; the waves of the Arabian Gulf lapping against the coast seem to echo the whispers of silk and spices on the thousand-year-old merchant ships; even every hot grain of sand in the desert is engraved with the perseverance of camel caravans traversing the Gobi.

These landscapes and humanities will become the core material for creation. The series of poems will not only depict the magnificence of coconut groves and sand dunes, but also portray the blending of different languages in the marketplaces and the craftsmanship passed down through handicrafts. Translating it into Arabic and publishing it is not only a tribute to this land, but also allows the spirit of the Silk Road to transcend language barriers, deepening the connection between Chinese and Arab civilizations through words.

Are there any places in Dubai that remind you of China or your birth city, Xi'an?

Although Dubai is renowned for its modern prosperity, as I wander through it, there are always a few corners that instantly evoke my deep connection with China and my birthplace, Xi'an, making the memories of the Silk Road, which spans thousands of miles, overlap before my eyes.

What touched me the most was the ancient neighborhood in Dubai. The low walls, built with rammed yellow mud, bore the mottled texture of years, rough yet warm, resembling the earthen houses in the rural areas of Xi'an suburbs decades ago. The memories of running around in the countryside as a child suddenly came alive, as if I could hear the greetings of neighbors the next second. In a trance, I couldn't tell whether I was in the Gulf or the Guanzhong Plain. The camels lying under the trees in the corner, with their eyelashes drooping and serene demeanor, always reminded me of the caravans that set out from the west gate of Xi'an thousands of years ago. On those heavy-laden humps, they carried silk, porcelain, and tea from Chang'an（ancient name of Xi’an. The jingling bells of the camels traversed the sandstorms of Yumen Pass and Yanguan, swept across the ice and snow of the Tianshan Corridor, and after months of trekking, finally reached the coast of the Gulf. The camels in front of me seemed like the descendants of those caravans, quietly continuing the bond of the Silk Road.

Strolling through the Dubai souk, which boasts a history of over 600 years, this sense of intimacy becomes even stronger. The silk hanging in the shops, with its golden and colorful hues resembling the rosy clouds and its soft and smooth texture resembling the clouds, always brings to mind the sound of looms echoing incessantly in the workshops of Chang'an. It seems as if I can see the Tang Dynasty ladies dressed in splendid brocade, their skirts trailing on the ground and their embroidered patterns flowing, just like the graceful figures dancing in the “Neon-Clothed Feather-Dressed Dance" depicted in the Dunhuang murals. The cries of vendors in different languages, the intermingling of spices and tea fragrances in the souk, and the prosperity of the “Hu merchants gathering and goods displayed in abundance" in the western market of Chang'an echo with each other, all vividly portraying the cultural fusion along the Silk Road.(end)

Interview by Ana Stjelja

Translated into English by Cao Shui

Photos: Private archive

Wang Fangwen

Wang Fangwen, female writer, came from Xi’an, China, she is a renowned contemporary poet known for her poetic travels along the Silk Road. She is a member of the China Writers Association and a distinguished professor at the Modern College of Northwest University. She serves as the President of the Silk Road International Poets Association, Chairperson of the International Poetry Committee of the United Nations World Silk Road Forum, Director of the Silk Road International Poetry Research Centre at Northwest University, Editor-in-Chief of World Poets magazine, and Deputy Director of the Reportage Literature Committee of the Shanxi Province Writers Association.

She has received numerous awards, including the 6th Bing Xin Prose Prize of China, First Prize from the Chinese Society of Documentary Literature, the 2017 Top Ten Contemporary Chinese Poets Award, the 2018 Iberian Poetry Gold Award (Spain), the 2019 Pushkin Poetry Award (Russia), the Annual Poet Award of the 2nd Boao International Poetry Festival, an Honorary Doctorate in Literature at the 42nd World Congress of Poets, and several accolades from the Chinese Poetry Spring Festival Gala—including the Top Ten Itinerant Poets Award, Top Ten Poetry Collections Award, and Top Ten Poetry Event Organizers Award. She also received the Ancient Style and New Trend Award at the inaugural Chang’an Du Mu Poetry Prize, the Laureate Poet Award from the World Chinese Literature Association in Hong Kong, a Top Ten Poetry Film Award at the Beijing International Poetry Film Festival, and the Writing Gold Award from the Australia Aohua Poetry Society, among dozens of other national and international honours.

Her published works include twelve literary books, such as the novels Anwu Businesswoman and Longjuzhai; prose collections Confused Love, Millennium Snow, and A Waterbird in Heaven; the nonfiction work A Chronicle of Poverty Alleviation; reportage collection Epic of the Loess; theoretical essays in The Tree of Thought; and poetry collections including Sun Rain, Silk Road Wild Geese, Silk Road Rainbow Shadow, and The Earth's Ear.

Her poetry and prose have appeared in more than 50 domestic and international newspapers and journals, including the People's Daily Overseas Edition. Her poetry has been translated into over a dozen languages and introduced globally. Wang Fangwen is a promoter, organizer, and disseminator of Silk Road poetry culture. In 2016, she initiated the founding of the Silk Road International Poets Association and World Poets magazine with poets from countries along the Silk Road. Her efforts have been documented in contemporary Chinese poetry history (People’s Daily Overseas Edition & Compact News, New York, USA).