詩歌朗誦 時間:晚上六時三十分至八時 地點:香港大學美術博物館馮平山樓 安娜.里斯托維奇(塞爾維亞),塔明.阿爾巴霍迪(巴勒斯坦),余幼幼(中國大陸),塞爾希奧. 萊蒙迪(阿根廷),恩尼斯特.維茨納(德國) 音樂:李勁松(香港),陳志剛(香港)
IPNHK 電車上的詩歌朗誦會 從屈地街車廠到銅鑼灣總站 下午二時至四時 2019 年 11 月 20 日(星期三)
詩歌朗誦 時間:晚上六時三十分至八時 地點:香港大學美術博物館馮平山樓 安娜.露易莎.阿瑪拉爾(葡萄牙),馬杜拉(愛沙尼亞),楊佳嫻(台灣),薩奇達南丹(印度), 揚.瓦格納(德國) 音樂:高櫻(中國大陸),李勁松(香港) 音樂會 時間:晚上八時三十分至十時 地點:香港大學莊月明文化中心 303 劇院 高小棠(中國大陸)- 箜篌,劉希彥(中國大陸)- 古琴,克里斯托福.卓別林(英國)- 電子音樂, 李勁松(香港)- 電子音樂,達里烏斯.馬卡魯克(波蘭)- 映像
座談:邏輯之鏈以外的言說與沉默(1) 時間:上午十時三十分至中午十二時 地點:香港科技大學佳兆業集團演講廳(高研院演講廳) 主持:吳盛青 弗羅斯特.甘德(美國),路易絲.杜普蕾(加拿大),雷納托.桑多瓦.巴希加盧波(秘魯),揚. 瓦格納(德國)
詩歌朗誦 時間:晚上六時三十分至八時 地點:香港大學美術博物館馮平山樓 馬克西姆.阿梅林(俄羅斯),簡.博文(美國),鍾國強(香港),馬丁.索羅楚克(斯洛伐克), 安納斯塔西斯.威斯托尼迪斯(希臘) 音樂:高小棠(中國大陸),李勁松(香港)
2019 年 11 月 22 日(星期五) 座談:言說與沉默 —— 文體與性別 時間:上午九時三十分至上午十一時 地點:香港中文大學利黃瑤璧樓利希慎音樂廳 主持:郭婷 安娜.露易莎.阿瑪拉爾(葡萄牙),苡若瑪.恩梅彬憂(尼日利亞), 余幼幼(中國大陸),簡. 博文(美國),安娜.布蘭迪亞娜(羅馬尼亞)
世紀對話:言說與沉默 時間:下午二時至三時三十分 地點:香港中文大學利黃瑤璧樓利希慎音樂廳 主持:唐小兵 安娜.布蘭迪亞娜(羅馬尼亞)、弗羅斯特.甘德(美國) 詩歌朗誦 時間:晚上六時三十分至八時 地點:香港大學美術博物館馮平山樓 安娜.布蘭迪亞娜(羅馬尼亞),雷納托.桑多瓦.巴希加盧波(秘魯),毛子(中國大陸),黃有源(南 韓),瑪麗亞.斯捷潘諾娃(俄羅斯) 音樂:Adam Leung(香港)、陳志剛(香港),李勁松(香港) 音樂會 時間:晚上八時三十分至十時 地點:香港大學莊月明文化中心 303 劇院 深圳卓越兒童舞蹈藝術團(中國大陸),曾景輝(香港)- 舞蹈,蕭呈泳(香港)- 舞蹈,李勁松(香 港)- 電子音樂,達里烏斯.馬卡魯克(波蘭)- 映像
特別節目:IPNHK 詩人訪問中學校園(1) 日期:2019 年 11 月 18 日(星期一) 時間:下午四時三十分至六時 地點:九龍深水埗海麗街一號聖公會聖馬利亞堂莫慶堯中學禮堂 主持:阮文略 楊佳嫻(台灣),簡.博文(美國),飲江(香港)
50
特別節目:周雲蓬的詩歌與音樂 日期:2019 年 11 月 21 日(星期四) 時間:下午四時至六時 地點:香港科技大學佳兆業集團演講廳(高研院演講廳) 主持:閻連科 周雲蓬(中國大陸) 特別節目:IPNHK 詩人訪問中學校園(2) 日期:2019 年 11 月 23 日(星期六) 時間:上午十時三十分至中午十二時三十分 地點:九龍深水埗海麗街 1 號聖公會聖馬利亞堂莫慶堯中學禮堂 主持:阮文略 苡若瑪.恩梅彬憂(尼日利亞),揚.瓦格納(德國),馬丁.索羅楚克(斯洛伐克) 特別節目:言說與沉默 —— 詩歌,翻譯,香港 日期:2019 年 11 月 23 日(星期六) 時間:上午十一時至下午三時三十分 地點:香港中文大學圖書館進學園進台階 主持:柯夏智 安敏軒(美國)、雅拉.艾爾密蘇里(埃及)、費正華(美國)、顧愛玲(美國)、約翰內斯.歌連臣(美 國)、何麗明(香港)、凌靜怡(美國)、維奧利卡.巴特雅(西班牙)、喬丹.史密斯(美國)、 趙四(中國大陸) 特別節目:人工智能 – 詩歌母語的翻譯 日期:2019 年 11 月 24 日(星期日) 時間:上午十一時至下午三時三十分 地點:香港中文大學崇基學院牟路思怡圖書館謝昭杰室 主持:郭婷 艾什.古沙(伊朗 / 英國)、伊莎貝拉.溫索普(英國)、若娜(人工智能)、約翰.克利(加拿大)、 大衛.嘉維.莊士敦(加拿大)、烏利齊.施雷伯(德國) 所有座談和詩歌朗誦均免費入場,敬請報名。音樂會須憑票入場。 請瀏覽網頁 http://www.ipnhk.org/ 查詢,報名和獲取票務訊息。
二 〇 一 九 年 十一月
座談:言說與沉默——抗拒的狀態(2) 時間:上午十一時十五分至下午十二時四十五分 地點:香港中文大學利黃瑤璧樓利希慎音樂廳 主持:何麗明 塞爾希奧.萊蒙迪(阿根廷),阿列斯.斯特格(斯洛維尼亞),毛子(中國大陸),薩奇達南丹(印 度),四元康祐(日本)
特別節目:簡.博文(美國)- 絲詩展覽 日期:2019 年 11 月 15 日(星期五)至 2020 年 1 月 12 日(星期六) 開幕詩歌朗誦:2019 年 11 月 14 日(星期四)晚上六時三十分 – 簡.博文、北島 地點:香港大學美術博物館馮平山樓
2019 年 11 月
Issue 50 November 2019
Special Feature: International Poetry Nights in Hong Kong — 10th Anniversary Celebration
音樂會 時間:晚上八時三十分至十時 地點:香港大學美術博物館徐展堂樓 李勁松(香港)- 電影音樂《三元里》(歐寧、曹斐導演);df (dj dee + fish.the) - 電影音樂《尋我存 在》(張楚導演) 特別節目
總第 50 期
「香港國際詩歌之夜十週年」專輯
November 2019
音樂會 時間:晚上八時三十分至十時 地點:香港大學莊月明文化中心 303 劇院 高櫻(中國大陸)- 聲音及吉他,湯姆.蒂爾(德國)- 電子音樂,TRANSFIGURATE(香港): 張貝芝 - 大提琴及鋼琴、朱芸編 – 二胡、葉冬賢 – 聲音,達里烏斯.馬卡魯克(波蘭)- 映像
詩歌朗誦 時間:晚上六時三十分至八時 地點:香港大學美術博物館馮平山樓 苡若瑪.恩梅彬憂(尼日利亞),米若什.別德日茨基(波蘭),周雲蓬(中國大陸),托絲.克 里斯蒂娜(匈牙利),四元康祐(日本) 音樂:陳志剛(香港),高櫻(中國大陸),李勁松(香港)
期
座談:邏輯之鏈以外的言說與沉默(2) 時間:下午二時至三時三十分 地點:香港科技大學佳兆業集團演講廳(高研院演講廳) 主持:吳盛青 托絲.克里斯蒂娜(匈牙利),安納斯塔西斯.威斯托尼迪斯(希臘),瑪麗亞.斯捷潘諾娃(俄 羅斯),恩尼斯特.維茨納(德國),安娜.里斯托維奇(塞爾維亞)
詩歌朗誦 時間:下午四時至五時三十分 地點:香港大學美術博物館馮平山樓 路易絲.杜普蕾(加拿大),阿巴斯.貝多恩(黎巴嫩),鄭小瓊(中國大陸),阿列斯.斯特格(斯 洛維尼亞),弗羅斯特.甘德(美國) 音樂:陳志剛(香港),高櫻(中國大陸),李勁松(香港)
總第
2019 年 11 月 21 日(星期四)
2019 年 11 月 24 日(星期日)
詩刊
座談:言說與沉默 —— 文化翻譯 時間:下午三時十五分至四時三十分 地點:香港恆生大學何善教學大樓馮堯敬堂 A401 主持:陳嘉恩 馬克西姆.阿梅林(俄羅斯),米若什.別德日茨基(波蘭),馬丁.索羅楚克(斯洛伐克),鍾國強(香 港),黃有源(南韓)
音樂會 時間:晚上八時三十分至十時 地點:香港大學莊月明文化中心 303 劇院 蔡雅藝(中國大陸)- 聲音、洞簫及南音琵琶,李鳳雲(中國大陸)- 古琴,一才鑼鼓(香港):陳 志江 - 聲音及洞簫、李勁持 – 古箏、龍樂欣 – 敲擊,李勁松(香港)- 電子音樂,達里烏斯.馬卡 魯克(波蘭)- 映像,艾什.古沙(伊朗 / 英國)- 電子音樂 + 若娜(人工智能)
聲韻
座談:言說與沉默 —— 抗拒的狀態(1) 時間:下午一時四十五分至三時 地點:香港恆生大學何善教學大樓馮堯敬堂 A401 主持:陳嘉恩 塔明.阿爾巴霍迪 (巴勒斯坦),阿巴斯.貝多恩(黎巴嫩),鄭小瓊(中國大陸),馬杜拉(愛 沙尼亞),楊佳嫻(台灣)
Poetry Magazine
2019 年 11 月 23 日(星期六)
2019 年 11 月 19 日(星期二)
Voice & Verse
香港國際詩歌之夜十週年 —— 言說與沉默| 2019 年 11 月 19-24 日
卷首語
不可言說的言說 文 鄭政恆
11
月,又是兩年一度的詩壇盛會。 「香港國際詩歌之夜」自 2009 年開始 舉辦,本屆正好是十週年,今年的「香港國際詩歌 之夜」在 11 月 19 至 24 日於香港舉行。這一屆的 主題名為「言說與沉默」(Speech and Silence), 語出自維特根斯坦(Ludwig Wittgenstein)《邏輯 哲學論》(Tractatus Logico-Philosophicus)的結尾:「對 不可言說的東西,必須保持沉默。」 維特根斯坦的名言,引來許多詮釋,已故巴塞 爾大學教授奧特(Heinrich Ott)的著作《不可言 說的言說》(Das Reden vom Unsagbaren),也談 及這句名言。奧特說,言說意味著清晰明白地言說 特定事情和真實,「恰好這些真實與我們如此密切 相關,如此直接地在我們之間和我們身上,以致於 我們實在不能對它們沉默,他們突入我們人與人之 間的理解。」我們理解,才可交流。 我們憑經驗了解真實,奧特指出的初始經驗有 這些:「周圍世界與共在世界的恩寵與貶抑、自己 的喜好與厭惡、恐懼與希望、歡樂與痛苦、對合理 和善良的洪亮或暗啞的始終當下現時的詢問,以及 與相關的對生與死的意義的詢問。」 如何言說呢?奧特提出象徵,包括語言、藝 術、詩、宗教等等的象徵,「對象徵的體驗,使我 們獲得對不可說的真實的體驗。」這是臨界經驗, 突破了界限與沉默無言,其中詩是具體的例子,詩 本有象徵性,詩就是象徵,詩人別具一格地運用字 詞,引發不可說的真實。奧特認為松尾芭蕉的俳句, 作為象徵語言,引發了畫面,令人感受到荒涼與孤 寂: 此道や行人なしに秋の暮 漫漫此大道, 前行寥寥人甚少, 暮秋時節到。 (陸堅譯)
This road: with no man traveling on it, autumn darkness falls. (Translated by Harold Gould Henderson) 芭蕉的著名俳句,總令人想到閑寂、枯寂、靜 寂。而對於奧特,「詩所表達的東西比每種單一的、 即或感觸甚深的解釋更多。每種解釋、每種沉思都 是個別人作為人的領會。與此相反,作為象徵的詩 本身表達的是與許多人、也起無限多的人相關的真 實。」 我們一起面對象徵表達的真實。 今年的「香港國際詩歌之夜」,一共邀請了 來自二十四個國家或地區的三十位國際詩人來香 港,參加詩歌朗誦會、音樂會和討論會,參與詩 人包括香港的鍾國強、中國大陸的周雲蓬、鄭小 瓊、余幼幼、毛子、台灣的楊佳嫻、日本的四元 康𧙗、南韓的黃有元、羅馬尼亞的安娜.布蘭迪亞娜 (Ana Blandiana)、美國的弗羅斯特.甘德(Forrest Gander)、簡.博文(Jen Bervin)、巴勒斯坦的塔 明.阿爾巴霍迪(Tamim Al-Barghouti)、黎巴嫩 的阿巴斯.貝多恩(Abbas Beydoun)、愛沙尼亞 的馬圖拉(Mathura),以及葡萄牙、俄羅斯、秘魯、 波蘭、加拿大、阿根廷、塞爾維亞、印度、斯洛伐 克、斯洛文尼亞、匈牙利、尼日利亞、希臘、德國 的著名詩人。這一期的《聲韻詩刊》,率先推出作 品專輯,我們一起先睹為快,閱讀和回味他們的詩 作。 另外,本期《聲韻詩刊》中,Steven Schroeder 兩首關於劉曉波的詩,以及阿三的組詩〈通往光的 七道紅〉,都有政治的反思,不妨與詩人一起思考。 好了,11 月 19 至 24 日,「香港國際詩歌之夜」 的朗誦會,到時見。 V
Voice & Verse | 聲 韻 | 1
印刷 藍馬柯式印務有限公司 ALICE WOO 小姐 awoo@lammar.com.hk 電話 2597 6800
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ISSN 2308-2216 第 50 期 ISSUE 50 2019 年 11 月
NOVEMBER 2019
出版
PUBLISHER
石磬文化有限公司
MUSICAL STONE
社長
DIRECTOR
廖建中
主編
何麗明
編委
發行 ( 香港 ) DISTRIBUTOR (HONG KONG) 香港中文大學出版社 香港新界沙田 香港中文大學 何東夫人堂 cup-bus@cuhk.edu.hk 電話 3943 9800
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EDITOR-IN-CHIEF
• 來稿一經刊登,將寄奉詩刊乙冊以表謝忱。為鼓勵本地詩歌創作,香港地區之詩作(以 聯絡地址為準),凡獲採用,將致薄酬。
ACTING EDITOR-IN-CHIEF REVIEWS EDITOR ENGLISH EDITOR
TAMMY HO LAI-MING
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鄭政恆 MATTHEW CHENG
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周鉑陶 PACO CHOW 何麗明
TAMMY HO LAI-MING
雷暐樂 PETER LUI
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助理編輯
ASSISTANT EDITOR
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• 惟篇幅所限,每位詩人每期刊登篇數隨行數而定:五十行內詩作最多二首、超過五十行 者最多刊登一首,組詩則作一首計算。
鄭政恆 MATTHEW CHENG
英文編輯
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LIU KIN CHUNG
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PRINTER
CURATORS
江祈穎 KONG KEI WING
譚嘉慧 TAM KA WAI
顧問 陳國球
ADVISORY BOARD CHAN KWOK KOU
鍾國強 DEREK CHUNG 廖偉棠 LIU WAI TONG
王良和 WONG LEUNG WO
香港藝術發展局邀約計劃 This project is commissioned by the ADC. 香港藝術發展局全力支持藝術表達自由,本計劃內容並不反映本局意見。
Contents 目錄 卷首語 1
不可言說的言說 文/鄭政恆
香港國際詩歌之夜十週年詩人巡禮 International Poetry Nights in Hong Kong - 10th Anniversary Celebration 8
In Jerusalem (Excerpt) | 在耶路撒冷(節選)
Tamim AL-BARGHOUTI (Palestine) | 塔明.阿爾巴霍迪 (巴勒斯坦) 10
Nude: A Study in Poignancy | 裸體 : 激情研究
Ana Luísa AMARAL (Portugal) | 安娜.露易莎.阿瑪拉爾(葡萄牙) 12
“Let’s hurry” | 「快來裝點這樸素的桌子」 Maxim AMELIN (Russia) | 馬克西姆.阿梅林(俄羅斯)
14
To Be Word | 成為詞語
Renato Sandoval BACIGALUPO (Peru) | 雷納托.桑多瓦爾.巴希加盧波(秘魯) 16
Silk Poems (Excerpt) | 絲詩(節選)
Jen BERVIN (USA) | 簡.博文(美國) 18
Murderers | 殺人者
Abbas BEYDOUN (Lebanon) | 阿巴斯.貝多恩(黎巴嫩) 20
It Was So Cold | 霜
Miłosz BIEDRZYCKI (Poland) | 米若什.別德日茨基(波蘭) 22
North | 北方
Ana BLANDIANA (Romania) | 安娜.布蘭迪亞娜(羅馬尼亞) 24
Umbrellas Open on the Roads | 開在馬路上的雨傘 Derek CHUNG (Hong Kong) | 鍾國強(香港)
26
Beyond the Flames (Excerpts) | 高於火焰(節選)
Louise DUPRÉ (Canada) | 路易.杜普蕾(加拿大) 28
Son | 兒子
Forrest GANDER (USA) | 弗羅斯特.甘德(美國) 30
Everything Soaked by the Rays of the Sun (Excerpt) | 一切皆在傾灑的陽光中 ( 節選 ) HWANG Yu-Won (South Korea) | 黃有源(南韓)
32
Chance | 偶然性
MAOZI (PRC) | 毛子(中國大陸) 34
Rothko | 羅斯科
MATHURA (Estonia) | 馬圖拉(愛沙尼亞) 36
Today Matsuo Basho Cooks | 今天松尾芭蕉掌勺
Sergio RAIMONDI (Argentina) | 塞爾希奧.萊蒙迪(阿根廷)
38
History | 歷史
Ana RISTOVIĆ (Serbia) | 安娜.里斯托維奇(塞爾維亞) 40
Then Suddenly | 然後突然間
K. SATCHIDANANDAN (India) | K. 薩奇達南丹(印度) 42
Improbable Balance of Roots | 根之間不大可能的平衡
Martin SOLOTRUK (Slovakia) | 馬丁.索羅楚克(斯洛伐克) 44
Egg | 蛋
Aleš ŠTEGER (Slovenia) | 阿列斯.斯特格(斯洛文尼亞) 46
the human body | 人的身體
Maria STEPANOVA (Russia) | 瑪麗亞.斯捷潘諾娃(俄羅斯) 48
After a Mouse | 老鼠
TÓTH Krisztina (Hungary) | 托絲.克里斯蒂娜(匈牙利) 50
Survival | 生存
Ijeoma UMEBINYUO (Nigeria) | 苡若瑪.恩梅彬憂(尼日利亞) 52
Ars Poetica | 詩藝
Anastassis VISTONITIS (Greece) | 安納斯塔西斯.威斯托尼迪斯(希臘) 54
tea bag | 袋泡茶
Jan WAGNER (Germany) | 揚.瓦格納(德國) 56
Matthiola | 紫羅蘭
Ernest WICHNER (Germany) | 恩尼斯特.維茨納(德國) 58
Waiting for a Postcard from Hong Kong | 守候一張香港來的明信片 YANG Chia-Hsien (Taiwan) | 楊佳嫻(台灣)
60
Mineral Dad | 父親礦石
Yasuhiro YOTSUMOTO (Japan) | 四元康祐(日本) 62
night walk | 夜行
YU Youyou (PRC) | 余幼幼(中國大陸) 64
Sounds | 聲音
ZHENG Xiaoqiong (PRC) | 鄭小瓊(中國大陸) 66
Turn Around | 轉身
ZZHOU Yunpeng (PRC) | 周雲蓬(中國大陸)
譯介天地 68
Steven Schroeder 詩九首
詩 / 畫 Steven Schroeder 譯 梁慧春
專欄 78
角落羅卡 Júlio Dantas 詩十四首 譯 夏簷 畫 洋小漫
詩與藝術 90
通往光的七道紅 | Seven Reds towards Lights 詩 / 攝影 阿三 譯 Chan Lai Kuen
Voice & Verse Special Feature “Estrangement” 82 82 83 83 84 84 85 86 87 87 88 88 89 89
Anes Ahmed / A Ghazal For Burying My Father
Rayji de Guia / A Portrait of Decomposing Girls Julienne Maui Castelo Mangawang / Aftermath
Julienne Maui Castelo Mangawang / Love Birds Sithuraj Ponraj / Cold Play Sithuraj Ponraj / Catharsis
Clare Chai / 30% Off (Childhood Friends) Papa Osmubal / Caliban Cries Papa Osmubal / Existential
Angeli Lacson / Sandmermaid
Quenntis Vernonn Ashby / I Never Sang a Hymn for my Mother Cheng Tim Tim / Filial Duties Cheng Tim Tim / Measurement of Moving On Paul Lobo Portugés / Divorce
本地創作 108
鄭潔明/果皮
108
鄭潔明/腸粉
108
盧卓倫/黑與白
108
吳予文/寧靜的午睡
109
鄭詠詩/密林
109
鄭詠詩/斑馬
109
千雲/夜深
109
吳耀宗/ Plan B
110
今文/阿伯的炮子
110
今文/走鬼阿婆
110
彭顯舜/家保
111
莊元生/重讀默溫
111
莊元生/佔領現場
111
莊元生/冷熱之間
112
區聞海/就是
112
冬莉/黑色膠卷
113
曾繁裕/女友的桃
113
曾繁裕/如初
113
水盈/日落
113
水盈/茶漬
114
吳見英/污染
114
吳見英/夕照
115
劉安廉/沒有飲管的日子
115
村正/極北
116
黃凱怡/雪人
116
黃凱怡/親愛的
117
邱嘉榮/下午在中環某處
117
邱嘉榮/耳鳴
117
曾魂/閪
118
麥敬暉/於漫長的夜裏行走
119
麥敬暉/四季以外的常綠季節
120
洛楓/抗爭色譜
120
蕭欣浩/脆皮西多士
121
嚴瀚欽/九月
121
賴泓豪/勇
122
伍慧儀/浮板的奇異旅程
122
張朴/一個向後的鏡頭
123
夏簷/交錯
123
周漢輝/洋梨 —— 致 Mary Nazareth
124
黃毛/迷路時沒有分叉口
125
李顥謙/裹屍布
125
李顥謙/鬼火
125
鄭政恆/八一八維園集會 (擬宮澤賢治〈不輸給雨〉)
126
施勁超/水馬之外
127
熒惑/我有時夢想
128
梁文鋒/讚頌
128
白水/回家
言說與沉默 香港國際詩歌之夜十週年
19-24.11.2019 - Hong Kong 香港 25-27.11.2019 - Shanghai 上海, Macao 澳門, Haikou 海口, Hangzhou 杭州, Shenzhen 深圳 28-30.11.2019 - Yangzhou 揚州, Xiamen 廈門, Wuhan 武漢, Nanjing 南京, Chengdu 成都
SPEECH AND SILENCE INTERNATIONAL POETRY NIGHTS IN HONG KONG 10TH ANNIVERSARY CELEBRATION
主辦 - 香港詩歌節基金會 | 協辦 (香港) - 香港中文大學文學院、香港科技大學人文學部、香港科技大學賽馬會高等研究院、 亞洲傳聲、香港恆生大學翻譯學院、香港中文大學出版社、香港大學美術博物館 | 協辦 (澳門及內地) - 澳門別有天詩社、
資助 - 李威女士
詳情
杭州舒羽咖啡、黃炳餘藝創中心、紅帆詩社、南京先鋒書店、飛地人文美學生活空間、上海廿一文化發展有限公司、 廈門紙的時代書店、卓爾書店 | 合作夥伴 -《茶:亞洲文學期刊》、鳳凰網文化、柏林國際文學節、詩歌島、 《今天》文學雜誌、《聲韻詩刊》| 特別鳴謝 - 斑馬谷(北京)文化、季琦先生、曹興誠先生、李卓霏女士、傳骏先生、 何群先生、 文理書院 (九龍)、聖公會聖馬利亞堂莫慶堯中學、新會商會陳白沙紀念中學、田家炳基金會、 荃灣公立何傳耀紀念中學
Voice & Verse | 聲 韻 | 7
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Tamim AL-BARGHOUTI (Palestine) is a poet widely read throughout the Arab world through new and old media. His poetry readings are attended by thousands in stadiums and amphitheaters. He received his Ph.D. in Political Science from Boston University in 2004. Since 2007, Tamim’s work “Fil Quds” became a household poem in Jerusalem. Palestinian newspapers dubbed him “The Poet of Jerusalem”. During the Egyptian uprising of January 2011, a television recording of Tamim’s lyrical poem “Hanet” was projected in Cairo’s Tahrir Square every couple of hours on makeshift screens, despite the ban on the Internet and regional news channels. Born in Cairo in 1977, Tamim published seven poetry collections in both colloquial and classical Arabic and two academic books on Arab politics and history.
8 | 聲 韻 | Voice & Verse
In Jerusalem (Excerpt)
在耶路撒冷(節選)
We passed by the home of the beloved But were turned back by the enemy’s law and the enemy’s wall
我們途經愛人的家, 卻被敵人的法律和高牆阻擋。
I said to myself Perhaps it’s a blessing What will you see in Jerusalem when you visit? You’ll see everything you cannot bear When her houses start appearing at the side of the road On meeting her beloved, not every soul rejoices Nor does every absence harm If the joy of meeting ends in parting How dangerous then is that very joy For once your eyes have seen Jerusalem You’ll see only her, wherever you look
我自言自語這或是一種恩典, 當你來到耶路撒冷,會看到什麼? 你會見到一切忍無可忍之事, 當路旁顯現愛人的家。 見面不一定令人喜悅, 別離不一定是傷害。 若相見的喜悅以別離告終, 這番喜悅便並不牢靠。 你只需見過一次古老的耶路撒冷, 從此無論你在何處,滿眼皆是她。 (翻譯:唐珺)
(Translated from Arabic by Radwa Ashour and Ahdaf Soueif )
塔明.阿爾巴霍迪(巴勒斯坦)的詩歌在阿拉伯語世界通過新舊媒體得到廣泛傳播和誦讀。他多次在體育 館和露天劇場舉辦詩歌朗誦會,入場觀眾數以千計。在 2004 年,巴霍迪獲得波斯頓大學政治學博士學位。 在 2007 年,巴霍迪的詩作〈在耶路撒冷〉成為當地家喻戶曉的作品,他因此獲巴勒斯坦報紙譽為「耶路撒
冷詩人」。在 2011 年 1 月埃及革命期間,網路截斷,地區電視遭禁播,他用視頻錄製的詩作〈在望〉每隔 兩個小時就投射到開羅解放廣場。阿爾巴霍迪生於埃及開羅,著有七本通俗及古典阿拉伯語詩集,以及兩 本關於阿拉伯世界政治和歷史的學術類書籍。
Voice & Verse | 聲 韻 | 9
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Ana Luísa AMARAL (Portugal) has published over thirty books of poetry, a play, a novel, essays and several books for children. Her works are translated into over twenty languages (Chinese included) and published in several countries, such as Brazil, Colombia, France, Germany, Italy, Mexico, the Netherlands, Spain, Sweden, United Kingdom, the United States and Venezuela. She was awarded national and international prizes and distinctions, among which the Medal for Services to Literature from the cities of Paris and Porto, the Correntes d’Escritas/Casino da Póvoa Prize, the Giuseppe Acerbi Prize for Poetry, the Great Prize of the Portuguese Association of Writers, the Prize PEN for Fiction, the Fondazione Roma International Prize as well as the Prize of Essay Jacinto Prado Coelho. Amaral teaches at the University of Porto and her academic research fields are Feminist and Queer Studies.
10 | 聲 韻 | Voice & Verse
Nude: A Study in Poignancy
裸體 : 激情研究
What are you thinking about When you look at me like that, as you lie on the sofa, diagonal to the place I sit, with me pretending not to look at you?
你躺在沙發上 與我坐的地方形成 對角線 你這樣凝視著我,而佯裝不看你 此時你在想些什麼?
What is your body thinking about, your long, elastic body, ready to come to me if I call?
如果我呼喚你 你富有彈性而修長的身體 會跑向我 此刻你的身體會想些什麼?
Ears slightly pricked. paws furled, what can you see now in the whites of your eyes: a crescent moon, a pale meadow?
耳朵隱縮 毛茸茸的爪子收斂 正在穿過你眼白的是﹕ 一輪新月 還是青青的草地 ?
And when you sleep, at other times, what dreams travel through you: your mother, a mouse, a soft hand, a leap so perfect and high, so lithe?
當你睡去,正如在其他時候, 你在經歷怎樣的夢; 母親,狩獵,一隻柔軟的手,抑或一個完美的 跳躍 很有高度,而且瀟灑的跳躍?
Where: the uncold night that will one day shelter us and that will (as it must) be the same for both?
地點:有一天 不冷的夜晚 會庇護我們 它必須 (只能這樣) 與其他的夜晚
(Translated by Margaret Jull Costa)
一樣嗎? (翻譯:姚風)
安娜.露易莎.阿瑪拉爾(葡萄牙),著有超過三十本詩集、一本話劇劇本、一本長篇小說,以及數本兒 童讀物。其作品已經獲翻譯成廿多種語言在世界各地出版,包括巴西、哥倫比亞、法國、德國、意大利、 墨西哥、荷蘭、西班牙、瑞典、英國、美國和委內瑞拉。她贏得多個國家與國際獎項和名銜,曾獲巴黎和 波爾圖等城市頒發文學獎章、Premio Correntes d` Escritas 文學獎、Giuseppe Acerbi 詩歌獎、葡文作家協會
大獎、筆會虛構類書籍獎、羅馬基金會國際文學獎,以及 Jacinto Prado Coelho 散文獎。阿瑪拉爾現於波爾 圖大學任教,主要從事女性主義研究及酷兒研究。
Voice & Verse | 聲 韻 | 11
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Maxim AMELIN (Russia) is a poet, scholar of poetry, essayist, translator and publisher. He graduated from the Commercial College in Kursk, served in the Soviet Army and studied at the Gorky Literary Institute in Moscow. He has published four books of poetry and a collection of poems, articles and essays. He has translated Greek and Latin classics (Pindar, Catullus and Carmina Priapea) and contemporary Georgian, Italian and Ukrainian poets. Amelin edited and annotated editions of Russian poets from the eighteenth to the twentieth centuries, as well as numerous poetry anthologies of Russian and Georgian poetry. He was the initiator and curator of the Anthology of Contemporary Poetry of the Peoples of Russia in 57 languages. Amelin is a member of the Russian PEN-Club and the Guild of Literary Translators. He serves as editor-in-chief of OGI Publishing House.
12 | 聲 韻 | Voice & Verse
“Let’s hurry”
「快來裝點這樸素的桌子」
Let’s hurry to grace this meager table with red tomatoes and stacks of melon wedges,
快來 裝點這樸素的桌子 , 用鮮紅的番茄, 用茴香和捲曲的西芹,
with onions and dill, with parsley and peppers, with garlic and goose-pimpled cucumbers. Let the oil,
用蒜, 用芳香的花椒和洋蔥, 用長著小毛刺的黃瓜 和一塊塊西瓜。—— 讓黃油,
resplendent as sunlit amber, glimmer. It’s time to slice black bread, to strew salt
如琥珀般 的太陽在眼前,閃現 耀眼的光芒。—— 是時候了 切幾塊黑色的麵包,再撒滿白色的鹽,
lavishly. Let’s offer bottles full of wine and tipple till they’re gone. How pleasant
千萬別吝嗇, 請拿出整整一瓶兒。—— 滿瓶的葡萄酒 也不會礙事兒。—— 多麼愉快
to placate our palates and sup with taste! We won’t give up, we won’t give in to autumn,
如果能 消飢解渴,又能咀嚼品味! 那將至的秋天 無論如何我們絕不向你祈求,絕不祈求
not a bit. For God, the Creator of All, likes naughty lovers far more than dreary doubters.
你的恩典。—— 創造萬物的上帝啊 淘氣的情人 比陰鬱的懷疑者更得你寵愛。
(Translated by Derek Mong and Anne O. Fisher)
(翻譯:徐曼琳)
馬克西姆.阿梅林(俄羅斯),詩人,隨筆作家、翻譯家、詩歌研究者與出版人,著有四本詩集及一部收 錄詩歌、論文、隨筆的合集。畢業於庫爾斯克商學院,曾於軍隊服役,在莫斯科高爾基文學院學習。譯有 古希臘與拉丁詩歌(品達、卡圖盧斯和《普里阿普斯之書》)及當代格魯吉亞、意大利、烏克蘭詩人的作品。 他選編了十八至二十世紀俄國詩人的作品集及當代俄羅斯和格魯吉亞詩歌選集,並加上註釋。他是《當代 俄羅斯各民族詩選》的發起人和編者,該詩選被譯為五十七種語言。阿梅林是俄羅斯筆會及「文學翻譯大師」 協會會員,身兼「人文聯合出版社」(OGI)總編。
Voice & Verse | 聲 韻 | 13
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Renato Sandoval BACIGALUPO (Peru) has published ten collections of poetry which has been translated into Danish, English, French, Finnish, German, Italian and Portuguese. He runs the Nido de Cuervos (Crows’ Nest) Publishing House as well as international literary magazines Evohé and Fórnix. He has been the director of the International Poetry Festival in Lima (FIPLIMA) and the director of the Editorial Fund of the Ministry of Culture of Peru. In 2016 won Copé Bronze National Prize for Poetry. He studied Hispanic Literatures and Linguistics (Master of Arts) at the Pontifical Catholic University of Peru and completed his doctoral studies in Romanic Philology at the University of Helsinki, Finland. Sandoval has taught at the Pontifical Catholic University of Peru and Ricardo Palma University.
14 | 聲 韻 | Voice & Verse
To Be Word
成為詞語
So, in the word I have no age, no more nor less, neither skin nor open bone, no folds or wrinkles, no height or smallness, no depth or surface, nothing of vastness or narrowness, even less wound or marrow that resent the firmament. I am just a glimpse, a gasp, a breath, hardly a hint about what will never be said nor thought.
那時, 我在詞語中沒有年齡, 不會多也不會少, 沒皮膚也沒有裂開的骨頭, 沒褶皺也沒皺紋, 不高也不矮, 不深也不淺, 不寬也不窄, 更沒有使天空 不舒服的傷病和頭疼。 我只是一個苗頭,一絲氣息, 一口氣,不過是 從未說出且從未想過之事 初露的端倪。
(Translated by Roxana Peramás)
(翻譯:趙振江)
雷納托.桑多瓦爾.巴希加盧波(秘魯),著有十本詩集,其作品獲翻譯成七國語言,包括丹麥語、英語、 芬蘭語、法語、德語、意大利語及葡語。曾主持 Nido de Cuervos (Crow’s Nest) 出版社,主編國際文學雜 誌 Evohé 和 Fórnix。曾任利馬國際詩歌節主席及秘魯文化部編輯資助委員會主席。巴希加盧波於 2016 年獲 Copé Bronze 國家詩歌獎。他在秘魯宗鐸天主教大學取得西班牙語文學及語言學碩士學位,繼而在芬蘭赫爾 辛基大學獲得羅曼語系文獻學博士學位,曾於秘魯宗鐸天主教大學和里卡多帕爾馬大學任教。
Voice & Verse | 聲 韻 | 15
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Jen BERVIN (USA) is a poet and visual artist. Her publications include ten books, including Gorgeous Nothings: Emily Dickinson’s Envelope Poems with Marta Werner (Christine Burgin / New Directions), Nets (UDP) and Silk Poems (Nightboat)—a long-form poem presented both as a book and as an implantable biosensor made from liquefied silk developed in collaboration with Tufts University’s Silk Lab. Bervin’s work has been exhibited internationally and can be found in more than thirty international collections. She has earned numerous awards, fellowships and grants including the Foundation for Contemporary Art, Rauschenberg Residency, Asian Cultural Council and Creative Capital.
16 | 聲 韻 | Voice & Verse
Silk Poems (Excerpt)
絲詩(節選)
IFWEMATE WEAREALL
如果我們交配 我們全都
CALLED QUEENS
稱為 皇后
ANEW MOTHER
一位新手 媽媽
DOESNOTHING HALFWAY SHESWELLS FLUFFYBELLIED
做事不會 只做一半
GREATWITHEGGS THREETOFIVEHUNDRED THESIZEOF SESAMESEEDS
她腫起來 肚皮呼呼脹 充滿卵子 三到五百顆 每顆 芝蔴般大 (翻譯:陳嘉恩)
簡.博文(美國),詩人和視覺藝術家,著有十本著作,包括她合編的《華麗無物:狄金森與維爾納詩歌 信箋》(Christine Burgin/ New Directions) 、 《網》(UDP),以及長詩《絲詩》(Nightboat)。《絲詩》既 是一本書,又是用液態絲綢製造而成的植入式生物傳感器,後者是博文跟塔夫茲大學絲綢研究所共同製作。 博文的詩歌藝術作品曾在三十多個國際展覽中展出,她所獲獎項與獎助學金多不勝數,包括當代藝術基金、 羅申伯格駐團藝術家、亞洲文化協會基金及創意資本。
Voice & Verse | 聲 韻 | 17
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Abbas BEYDOUN (Lebanon) is a poet, novelist and journalist. He studied at the Lebanese University in Beirut and the Sorbonne in Paris. He was involved in left-wing politics and spent time in jail as a young man. Since becoming a full-time writer, he has published numerous volumes of poetry. His works have been translated into all the major European languages. Since 1997, Beydoun has been cultural editor of the Beiruti newspaper As-Safir. In 2017, his book Khareef al Bara’a (The Autumn of Innocence) won the Sheik Zayed Book Award.
18 | 聲 韻 | Voice & Verse
Murderers
殺人者
The murderers here do nothing except be murderers. And we say: the angels have left and they have done nothing. And we say: the wellbred are few now, and the teachers have fled.
殺人者們不做什麼,他們只是殺人者。我們說: 天使們什麼也沒做就走了,還說:樹根減少了, 教師們逃走了。
Precise pain need no instrument, the way poison acts without volition. But a thought without speech, we do not know when it will be murdered.
有 意 的 侵 害 無 須 工 具, 如 同 毒 藥 無 須 惡 意。 而 那不知如何言語的思想,則不知將於何時被殺。 當 傲 慢 傷 人 時, 流 出 的 不 是 血, 而 是 殘 酷, 但 痛苦大量地產生,傾瀉在所有人頭上。
Pride, when it wounds, spills no blood; it spills cruelty. Yet pain is made in abundance and is poured on everyone.
殺 人 者 們 不 做 什 麼, 但 你 知 道, 他 們 正 在 他 們 的沉默中埋藏著什麼,而在一種秘密的語言中, 一個詞語的失去,就意味著一座墳墓。
The murderers here do nothing. But you know they bury something in their silence. In a secret language the loss of a word means a tomb.
(翻譯:韓譽)
(Translated by Khaled Mattawa)
阿巴斯.貝多恩(黎巴嫩),詩人、小說家與記者,曾就讀於貝魯特黎巴嫩大學及巴黎索邦大學。他曾從 事當地的左翼政治運動,年輕時曾因而身陷囹圄。自從成為全職作家以來,貝多恩著有多本詩集,作品獲 翻譯成各種主要的歐洲語言。從 1997 年開始擔任貝魯特報紙 As-Safir 的文化版編輯。2017 年,他的著作《純 真的秋天》獲謝赫.扎耶德圖書大獎。
Voice & Verse | 聲 韻 | 19
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Miłosz BIEDRZYCKI (Poland), often publishing under the pen name MLB, is a Polish poet, translator and geophysical engineer. One of the best known authors of the “bruLion generation”. His most recent Polish–English bilingual book of poems is 69 (Zephyr Press). His poems have been translated into Catalan, Czech, English, German, Italian, Russian, Slovenian and Spanish. He translated poetry of Tomaž Šalamun into Polish. He is the winner of the Grand Prix of bruLion Poetry Award, the Best First Book of Poetry from Czas Kultury, the Nowy Nurt Poetry Award, the City of Krakow Arts Fellowship.
20 | 聲 韻 | Voice & Verse
It Was So Cold
霜
that trees were screaming stars were falling in regular intervals, slipping down with a gentle squeak of a knife on glass
就這樣,樹木在尖叫 星辰有規律地 落下,隨著 刀尖划過玻璃的 輕微吱吱聲 滑落
I too seek quiet but am not sure if silence alone will be enough.
我也在尋找寂靜 但只是沉默 可能還不夠?
(Translated by Frank L. Vigoda) (翻譯:茅銀輝)
米若什.別德日茨基(波蘭),詩人、翻譯家與地球物理學工程師,常以筆名 MLB 出版,是波蘭 bruLion 一代最著名的詩人。他著有十多本詩集,最近一本是波蘭語和英語雙語詩集《69》(美國西風出版社)。 他的詩作獲翻譯成加泰羅尼亞語、捷克語、英語、德語、意大利語、斯洛文尼亞語、西班牙語和俄語,他 亦將斯洛文尼亞詩人托馬斯.薩拉蒙的作品翻譯成波蘭語。別德日茨基曾獲 bruLion 格蘭披治詩歌獎、《文 化時機》最佳首本詩集獎、Nowy Nurt 詩歌獎,以及克拉科夫城市藝術獎金。
Voice & Verse | 聲 韻 | 21
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Ana BLANDIANA (Romania) is a poet, essayist and prose writer, civic right activist and legendary figure in Romanian culture. She has authored eighteen books of poetry, two books of short stories, seven books of essays and one novel that have been translated into twenty-six languages and grouped into eighty books of poetry and prose to date. Blandiana was the co-founder and president of the Civic Alliance from 1990. She also re-founded and became the president of the Romanian PEN Club in 1990. Under the aegis of the European Community, she created the Memorial to the Victims of Communism (1993), distinguished with the European Heritage Label. Her numerous international literary prizes include the Herder Prize, the European Poet of Freedom Prize and the Griffin Trust for Excellence in Poetry. In recognition of her contribution to European culture and her valiant fight for human rights, Blandiana was awarded the highest distinction of the French Republic the Légion d’Honneur (2009) while the State Department of the United States distinguished her with the Romanian Women of Courage Award (2014). 22 | 聲 韻 | Voice & Verse
North
北方
The power of the sun Rejects the balance between night and day, Unquiet light Like the absolute good, Proof that mankind Has not condemned its criminals To death, But its saints.
太陽之力 拒絕晝與夜的平衡, 不安的光 猶如純粹的善構成威脅, 這證明人類 不僅將罪犯 也將聖者, 判處了死刑。
(Translated by Viorica Patea)
(翻譯:高興)
安娜.布蘭迪亞娜(羅馬尼亞),詩人、散文家、人權鬥士,亦是羅馬尼亞文化界的傳奇人物。著有十八 本詩集、兩本短篇小說集、七本散文和一本長篇小說,她的作品曾獲翻譯成二十六種語言出版,至今選編 入八十本詩歌與散文集。在 1990 年,布蘭迪亞娜成為公民聯盟的聯合創辦人兼主席;同年她與一眾作家成 立羅馬尼亞筆會,並當選主席。在歐盟的支持下,布蘭迪亞娜創製了「共產主義受害人紀念碑」,並獲嘉 許「歐洲文化遺產標籤」。她獲獎無數,包括赫德獎、歐洲自由詩人獎及格里芬詩歌基金會終身成就獎。 布蘭迪亞娜為歐洲文化作出了偉大貢獻,並英勇爭取人權,於 2009 年獲法國頒發最高榮譽軍團勛章,並於 2014 年獲美國國務院頒發英勇女性大獎。
Voice & Verse | 聲 韻 | 23
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Derek CHUNG (Hong Kong) graduated from the Faculty of Arts of the University of Hong Kong. His numerous accolades include Hong Kong Biennial Awards for Chinese Literature, Youth Literary Awards, Awards for Creative Writing in Chinese as well as Artist of the Year (Literary Arts) of Hong Kong Arts Development Awards. He has published many poetry collections, including Delineation, Scenery on the Road, Doors and Windows and Wind and Rain, Urban Plankton, A Growing House, Nothing Unusual, An Umbrella Opened on the Road and A Bright House in Residual Rain; essay collections Two Cities, Trees in Memory, Words at First Sight; novel collection Sometimes One May Forget; as well as literary critique Floating Thoughts, Unrestrained Reading.
24 | 聲 韻 | Voice & Verse
Umbrellas Open on the Roads
開在馬路上的雨傘
—A poem in support of the Umbrella Movement
—— 詩援雨傘運動
Umbrellas open on the roads Waiting neither for rain nor wind Bearing footsteps for so many days Only asphalt can move them back
開在馬路上的雨傘 不等雨也不等風 承著腳步那麼多天了 只有瀝青可退
Umbrellas open on the roads Two leaves bloom on the kerb Cold nights, ankles retreating into tents A bean-like light at day’s end, still yellow
開在馬路上的雨傘 綻開了石壆邊的兩片葉 夜涼了腳踝縮回營帳 天末一燈如豆仍黃
Umbrellas open on the roads An empty bus’s final stop Give what has been forgotten Darkness in the corner, without a sound of shouting
開在馬路上的雨傘 是尾站的空巴士 給遺忘了的一些什麼 角落的黑,沒有一聲呼喊
Umbrellas open on the roads Not closing up like umbrellas To forge a road on open umbrellas Is not as easy as walking down the road
開在馬路上的雨傘 沒有像傘一樣合上 開在雨傘上的馬路 也沒有像路一樣好走
18 November, 2014
2014 年 11 月 18 日
(Translated by Tammy Lai-Ming Ho)
鍾國強(香港),香港大學文學院畢業。曾獲多屆香港中文文學雙年獎、青年文學獎、中文文學創作獎、 香港藝術發展獎藝術家年獎(文學藝術)等獎項。著有詩集《圈定》、《路上風景》、《門窗風雨》、《城 市浮游》、《生長的房子》、《只道尋常》、《開在馬路上的雨傘》、《雨餘中一座明亮的房子》,散文集《兩 個城市》、《記憶有樹》、《字如初見》,小說集《有時或忘》,文學評論集《浮想漫讀》等。
Voice & Verse | 聲 韻 | 25
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Louise DUPRÉ (Canada) is writer and literary critic who was born in the province of Quebec and lives in Montreal. She has published more than twenty books, including twelve collections of poetry, which received many awards. Both Plus haut que les flammes (Beyond the Flames) and La main hantée (The Haunted Hand) won the prestigious Governor General’s Award for poetry. Dupré is member of the Academy of Letters of Quebec and of the Royal Society of Canada. In December 2014, she was appointed to the Order of Canada for her contributions to Quebec literature as a poet, novelist, playwright, essayist and professor.
26 | 聲 韻 | Voice & Verse
Beyond the Flames (Excerpts)
高於火焰(節選)
in your arms there is a child looking into your eyes
你疲憊的手臂 孩子正瞧著你
even if you are not brave you become a woman of courage
即使不英勇 你也成了 一位有勇氣的女性
a woman of open windows
一位敞開窗口的女性
who lets the day boil over
有能力突破 白晝
you have bones stronger than you imagined
你的骨頭比你想象的 更結實
that have not betrayed you
它們還沒有背叛你
like you will never betray the small universe hanging from your neck
而你也沒有背叛 懸掛在你脖子上的 微形世界
for here is mystery laughing begging you
像一種神秘 它笑著 挖掘你
never to stop the dance
並繼續 跳舞
(Translated by Antonio D’Alfonso)
(翻譯:樹才)
路易.杜普蕾(加拿大),作家和文學評論家,生於魁北克省,現居蒙特利爾,著有超過二十本書籍,其 中十二本為詩集,獲獎無數。其詩集《火焰之外》和《鬼纏之手》圴獲得加拿大文學界的重要榮譽「總督獎」。 杜普蕾是魁北克文學院院士和加拿大皇家協會院士。在 2014 年 12 月,杜普蕾獲頒發加拿大最高榮譽勛章, 表彰她作為詩人、小說家、劇作家、散文家與教授,為魁北克文學作出的偉大貢獻。
Voice & Verse | 聲 韻 | 27
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Forrest GANDER (USA) is a writer and translator with degrees in geology and English literature. He taught at Harvard University and is now the AK Seaver Professor Emeritus of Literary Arts & Comparative Literature at Brown University. Gander’s book Core Samples from the World, a meditation on the ways we are revised and translated in encounters with the foreign, was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. His collection Be With won 2019 Pulitzer Prize. Gander has translated many books by writers from Latin America and Spain; co-translated books by Japanese poets Nomura Kiwao and Yoshimasu Gozo; and promoted English translations of books by Duo Duo, Ouyang Jianghe, Zhai Yongming and others.
28 | 聲 韻 | Voice & Verse
Son
兒子
It’s not the mirror that is draped but what remains unspoken between us. Why
並不是因為被遮起的鏡子,而是 因為我們之間仍有話未說。為何
say anything about death, inevitability, how the body comes to deploy the myriad worm
要說死亡,此定然之事?為何 要說身體如何驅使無數蠕蟲
as if it were a manageable concept not searing exquisite singularity? To serve it up like
彷彿它是一個能夠把握的概念,而不是 令人燒心斷腸的實質?將之奉上,猶如
a eulogy or a tale of my or your own suffering. Some kind of self-abasement.
一篇悼詞或一個故事,關於我或你的 煎熬。這是某種自我貶抑。
And so we continue waking to a decapitated sun and trees continue to irk me. The heart of charity
如是我們繼續醒來面對被斬首的太陽和樹叢 繼續令我惱火。慈善的心臟
bears its own set of genomes. You lug a bacterial swarm in the crook of your knee, and through my guts
承受自己那組基因。你膝蓋的彎曲處 拖著洶湧的菌群,寄生蟲蠕動翻滾
writhe helminth parasites. Who was ever only themselves? At Leptis Magna, when your mother and I were young, we came across
穿過我的腸胃。有誰曾全然活出自我? 在大 莱 普 提斯,你母親和我年輕時,看到
statues of gods with their faces and feet cracked away by vandals. But for the row of guardian Medusa heads. No one so brave to deface those.
眾神的雕像,臉和腳都被破壞了。但是 那列美杜莎護衛的頭則無人膽敢抹污。 當她說話,當你的母親說話,就連拴著繩的 灰狗也會受驚呆立。我也會受驚呆立。
When she spoke, when your mother spoke, even the leashed greyhound stood transfixed. I stood transfixed.
我把生命交給陌生人;不讓它接近所愛。 兒子,她唯一的血脈。只有在你身上,她的 血才流淌。
I gave my life to strangers; I kept it from the ones I love. Her one arterial child. It is just in you her blood runs.
(翻譯:宋子江)
弗羅斯特.甘德(美國),作家與翻譯家,擁有地質學和英語文學學位,曾於哈佛大學任教,現為布朗大 學 A.K. Seaver 文學藝術與比較文學榮休教授。他的著作《來自世界的核心樣本》反思了我們跟外國接觸時 如何被修繕和翻譯,這本書入選普利策獎的最終名單及全美書評界大獎。他的詩集《陪伴》贏得 2019 年普
立茲獎。甘德翻譯了大量拉丁美洲和西班牙作家的著作,合作翻譯過日本詩人野村喜和夫和吉增剛造的詩 集,並致力於推廣多多、歐陽江河和翟永明等當代中國詩人的英譯本。
Voice & Verse | 聲 韻 | 29
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
HWANG Yu-Won (South Korea) is a poet and translator. He made his debut as a poet, winning the Munhakdongne New Artist award in 2013. His book of poetry Everything in the World, Maximized (2015) won the Kim Soo-young Prize which is considered one of the most important poetry awards in South Korea. In 2019, Hwang published his latest collection You Should See Me in a Crown (2019). Among his works of translations are Bob Dylan’s The Lyrics: 1961–2012, Herman Melville’s Moby Dick, as well as the works of Max Porter, David Szalay, John Gardner, Kahlil Gibran and Walt Whitman. Hwang is now completing his Ph.D. in Philosophy at Dongguk.
30 | 聲 韻 | Voice & Verse
Everything Soaked by the Rays of the Sun (Excerpt) sometimes I also grow banyan trees between Angkor Wat and Siem Reap or I grow a Banyan Tree Hotel in Seoul. Although it is true everyone is in the middle of growing themselves on this earth, a foreigner who checks in late at night at the hotel temporarily plants herself in a foreign country and goes to sleep. That loneliness the foreigner feels is a loneliness that I grew too, and so did you, but after you did you set it next to the window and it was taken out, taken away by the wind. The hair grown long whipped in the wind and settled down, and the long, flared skirt you grew also flapped in the wind and settled down. If the wind dies, the things the wind grows also, together with the wind, calmly die, and
一切皆在傾灑的陽光中 ( 節選 ) 有時,我也在吳哥窟和暹粒之間種下榕樹 或者種在首爾悅榕度假酒店裏 誰人不是在地球上將自身種植 在深夜裏入住酒店的外國人 將自身暫時地種植在異國之後安然入睡 那樣的孤單我也曾種下過 你也曾種下過,然後你任清風從窗外將之帶走 蓄長的頭髮在風中飄揚 而後下沉 留長的喇叭裙亦在風中飛揚 而後下沉 若是清風死去,它養育的一切 也將與清風一起 沉靜地 死去 我們現在,在各自的路上行走 你正走著的路,為我所造 我正走著的路,為你所造 (翻譯:陳佳琳)
we now walk our own two separate paths. Your walking path is something I paved and the road I walk on is something you mapped. (Translated by Jake Levine)
黃有源(南韓),以詩人身份出道,並為翻譯家,於 2013 年獲得文學村出版社新藝術家獎。2015 年出版的 詩集《世間萬物最大化》獲得韓國最重要詩歌獎金洙暎詩歌獎;2019 年出版最新詩作《你應該看見我戴皇 冠》。翻譯著作包括鮑伯.迪倫的《歌詞集:1961– 2012》、美國作家赫爾曼.梅爾維爾的《白鯨記》,以 及麥斯.波特、大衛.邵洛依、約翰.加德納、卡理爾.紀伯倫和沃爾特.惠特曼的詩歌。黃裕元現於東 國大學攻讀哲學博士學位。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
MAOZI (PRC) the pen name of the poet Yu Qing, was born in the city of Yidu in Hubei Province in the 1960s. He currently resides in Yichang. He used to be a worker, a salesman, a freelancer and an editor. His numerous accolades include Yangtze River Artist of the Year, Wen Yiduo Poetry Prize and Li Du Poetry Awards. His published poetry collections include The Difficulties of Time and My Homesickness Is Different from Yours.
32 | 聲 韻 | Voice & Verse
Chance
偶然性
Three hundred endangered species go extinct every year Hundreds of stars burn out every day Every minute, people die unnatural deaths…
每年有三百種瀕危的物種滅絕 每天有數百顆恆星在衰亡 每分鐘都有人死於非命……
In every year, every day, every second A mouse is still in the gutter, gorging, some old ladies Are still dancing in the square, a satellite still Arriving at the designated location
卡在這每年、每天、每秒裏 一隻老鼠依然順著下水管覓食,一群大媽 依然在跳廣場舞,一顆人造衛星 也抵達預定的位置
Lying in her bed, I’m anxious for not counting myself in We’re close, like as if for survival Having sex like dividing up loot
躺在她的床上,我為沒有 把自己統計進去,而感不安 我們靠攏,像求生 做愛,像分贓
(Translated by Matt Turner & Haiying Weng)
毛子(中國大陸),本名余慶,湖北宜都人,現居宜昌。出生於六〇年代,當過工人、推銷員、個體戶、 編輯。曾獲得揚子江詩刊年度詩人獎、聞一多詩歌獎、李杜詩歌獎等獎項。出版詩集《時間的難處》及《我 的鄉愁和你們不同》。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
MATHURA (Estonia) is the pen name of writer and translator Magnus Lattik, who is among the most talented contemporary Estonian writers. He is the winner of the Gustav Suits Poetry Award and Virumaa Literary Award. His own work has been translated into a dozen languages, including book-length selections in English, Finnish, Hebrew and Spanish. He is also the translator of Derek Walcott’s poetry. Mathura contributes regularly to the Estonian National Broadcasting service and is a member of the Estonian Writers Union.
34 | 聲 韻 | Voice & Verse
Rothko
羅斯科
In that silence of unease
在那片 不安
startled thirsty
驚慄的 乾渴
space or mist
空間 或濛霧的沉默中
a glance beyond all emptiness
觀照空無以外 的一瞥
a movement near to that
一種 趨近那
immensity where one can be
廣袤無量之流動 於該處你可化為
a cup be empty
一隻 空杯
and thereupon still emptier
繼而 更空
(Translated by MMathura and Ilmar Lehtpere)
(翻譯﹕劉安廉)
馬圖拉(愛沙尼亞),原名為馬格斯.拉提克,是愛沙尼亞年輕一代最有才華的當代詩人。曾榮獲古斯塔夫. 蘇儀德斯詩歌獎及 Virumaa 文學獎。馬圖拉的文選經翻譯成多種語言,包括英語、芬蘭語、希伯萊語和西 班牙語;他本人亦致力翻譯德里克.沃爾科特的詩作。馬圖拉經常為愛沙尼亞國家廣播公司撰稿,並為愛 沙尼亞作家聯盟成員。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Sergio RAIMONDI (Argentina) is the author of Poesía civil, which is considered the apex of Argentinian objectivist poetry in the end of the 20th century and has exerted significant influence on the poetry writing in the 21st century in Argentina. His book of poems Para un diccionario crítico de la lengua received the Guggenheim Fellowship and also DAAD Fellowship. In 2002, Raimondi became a professor of contemporary literature at the National University of the South in Argentina. From 2011 to 2014, he served as the Secretary of Culture in Bahía Blanca.
36 | 聲 韻 | Voice & Verse
Today Matsuo Basho Cooks
今天松尾芭蕉掌勺
The Master said ‘pepper plus wings equal dragonfly’ not the reverse, it’s not about plucking its wings to leave in mid-air an aromatic grain that on its own would fall. No, the trick is to give flight to the fruit so it rises from the table! But at times something spicy is needed to give taste to the sauce that’s boiling on the hob and there’s nothing but that dragonfly or conceit flying around and even bothering a little bit. The master, now with his apron, should give up the elegance of the anecdote to keep in mind as much his own appetite as that of those dining; poetic judgment may condemn—or not—the act, but the stomach will appreciate it in the dinner. And it’s no surprise that, if the cooking is right, digestion takes place among plates, pans and steam with a pleasant sense of grace and lightness.
大師說「辣椒加翅膀等於蜻蜓」 而不是相反,這並不意味著從蜻蜓身上拔下翅膀 以在半空中留下如若順其自然必會墜地的 一顆芳香的穀粒,而是為了讓水果 飛翔,讓它從桌子上高高升起。 但有時候需要任意一種辣椒,來給 在火爐上沸騰的湯汁添加味道 只有這隻蜻蜓或語言形象 在周圍飛來飛去,甚至有些討嫌。 大師已繫上圍裙,他將拋棄 軼聞中的優雅,一心惦記 他自己和食客們的胃口; 詩歌的判斷力會或者不會譴責這一行為, 但是晚餐時胃將懂得感激。 不要感到驚訝,只要烹飪得當, 消化會在鍋、碗和蒸汽之間完成 帶著彌足珍惜的優雅和輕盈感。
(Translated by Ben Bollig)
(翻譯:胡續冬)
塞爾希奧.萊蒙迪(阿根廷),其詩集《公民詩歌》標誌著二十世紀末阿根廷客觀主義詩歌的高峰,更深 深影響了廿一世紀阿根廷詩歌寫作。他的詩集《批評性辭典》獲古根漢基金獎及德意志學術交流中心獎。 萊蒙迪於 2002 年榮任阿根廷國立南方大學當代文學教授,2011 至 2014 年擔任布蘭卡港市政府文化部長。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Ana RISTOVIĆ (Serbia), born in Belgrade, has published nine books of poetry and is the recipient of numerous poetry awards including Hubert Burda Preis (an award for young European poets in Germany), and two of the most important poetry prizes in Serbia: Disova nagrada (2014) and Desanka Maksimović Prize (2018). Ristović was the 2018–2019 writer-in-residence at the DAAD in Berlin. Her poetry books have been translated and published in English, German, Hungarian, Macedonian, Slovenian and Slovak.
38 | 聲 韻 | Voice & Verse
History
歷史
Sits in the lap of a sculpture for a century pees on itself morphs into a fountain for a decade drinks from it Claims it is no good And then erects a new sculpture and a new fountain The poor collect coins of entrusted wishes at the bottom as if mad
在一座雕塑的膝蓋上坐了整個世紀 小便於其上 化身一座噴泉 十年以來都從中飲水 說它味道不好 然後 竪立起一座新雕塑和新噴泉 窮人收集那些 用來許願的硬幣 在噴泉底 彷彿癲狂
(Translated by Maja and Steven Teref )
(翻譯:黃峪、Marija Todorova、馬文康)
安娜.里斯托維奇(塞爾維亞),生於貝爾格萊德,著有九本詩集,獲獎無數。2005 年獲 Hubert Burda 詩 歌獎(頒給德國的年青歐洲詩人),其後獲頒塞爾維亞兩項重要的詩歌大獎,分別為 Disova nagrada 詩歌獎
(2014)及 Desanka Maksimović 詩歌獎(2018)。里斯托維奇於 2018 至 2019 年在德意志學術交流中心任 駐留作家。她的詩集翻譯為英語、德語、匈牙利語、馬其頓語、斯洛文尼亞語及斯洛伐克語,並在世界各 地出版。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
K. SATCHIDANANDAN (India) is perhaps the most translated of contemporary Indian poets, having thirty-one collections of translation in nineteen languages including Arabic, Chinese, English, French, German, Irish and Italian besides all the major Indian languages like Tamil, Bengali, and Hindi. He was a professor of English in Kerala and later became the Secretary (Chief Executive) of the Sahitya Akademi (Indian National Academy of Literature), the Director of the School of Translation Studies, Indira Gandhi Open University, a National Fellow of Indian Institute of Advanced Study, Shimla, a Fellow of the Kerala Sahitya Akademi. Satchidanandan has won forty-seven literary awards from different countries around the world.
40 | 聲 韻 | Voice & Verse
Then Suddenly
然後突然間
I saw myself among the dead hiding my face in an umbrella in the rain, in a black cloak, like an evening shadow.
我看到了自己在死者之中 雨中把臉藏在雨傘裏 穿著黑色斗篷, 猶如夜晚的影子。
I wanted to sing a song, a strange song about horses, cranes and ships, just a song that has neither flowers nor birds, neither sunrises nor love-affairs.
我想唱一首歌,一首古怪的歌 關於馬、起重機和船, 只是一首既無花也無鳥的歌, 既無日出,也無愛情。
But my lips had been sewn together; my ears, filled with earth.
但我的嘴唇已被縫起; 我的耳朵,充塞泥土。
Then suddenly the sun rose.
然後突然間太陽升起。 (翻譯:鄭政恆)
K. 薩奇達南丹(印度),是當代印度獲翻譯得最多的詩人,發表過三十一本翻譯詩集,共十九種語言, 包括阿拉伯語、漢語、英語、法語、德語、愛爾蘭語、意大利語,以及印度的主要語言如坦米爾語、孟加 拉文和印度語。他曾為英語教授、印度國家文學院院長、英迪拉甘地公開大學翻譯學院總監、印度高級研 究所國家研究員,亦是喀拉拉邦文學院成員,曾多次代表印度參加國際文學節及書展,並於不同國家贏得 四十七項文學獎。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Martin SOLOTRUK (Slovakia), born in Bratislava, obtained his Ph.D. in American poetry from Comenius University, Bratislava, where he currently teaches. Solotruk’s first book of poetry Silent Wars (1997) won the Slovak Literary Fund Best Debut Award. It was followed by Grinding (2001), Plankton of Gravity (2006) and Lovestory: Agent and Patient (2007). Solotruk has also translated the works of Samuel Beckett, Seamus Heaney, Charles Simic, John Ashbery, Ted Hughes and David Antin. He is also a Director of Ars Poetica International, a poetry festival and publishing house.
42 | 聲 韻 | Voice & Verse
Improbable Balance of Roots
根之間不大可能的平衡
waiting for a bit of emptiness in the pool to swim in creates the lapse in time of push and pull that we have happily tried avoiding by rooting for the balance of roots that have been waiting for our immersion by deepening choirs which have offered us the shade of the improbable deep to the soil
等待一點池中空 以便泳游其間,創造了 在推拉時光中的時間流逝 我們愉快地植根於為了保持根之間的平衡 而試圖躲開的時間流逝 我們一直以來通過沉鬱唱詩班的聲調 想要等來的浸禮其中 提供給我們下到未知 之國土那不大可能的深處
of the unknown
之蔭蔽 (翻譯:趙四)
馬丁.索羅楚克(斯洛伐克),生於布拉第斯拉瓦,在斯洛伐克柯美紐斯大學研究美國詩歌而取得博士學位, 目前在此任教。首部詩集《沉默的戰爭》(1997)獲得斯洛伐克文化基金首發獎,隨後著有《磨》(2001)、 《萬有引力的浮游生物》(2006)及《愛情故事:代理人與病人》(2007)。索羅楚克譯作等身,翻譯了泰德. 休斯、謝默斯.希尼、查爾斯.西米奇、約翰.阿什貝利與大衛.安提的作品。索羅楚克現為 Ars Poetica International 詩歌節和出版社的總監。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Aleš ŠTEGER (Slovenia) is a poet and prose writer who has published seven books of poems, three novels and two collections of essays. He has received the title Chevalier des Artes et Lettres from France and is a member of the German Academy for Language and Literature. He has earned the International Bienek Prize for Poetry, the Petrarch Prize for Young European Authors, the Veronika Award and the Rožanc Award. His works have been translated into fifteen languages, such as Chinese, Czech, Croatian, German, Hungarian, Spanish, etc. Šteger is also a visual artist; his installations have appeared at the International Kochi-Muziris Arts Biennale in India. He has collaborated with musicians and film directors.
44 | 聲 韻 | Voice & Verse
Egg
蛋
When you kill it at the edge of the pan, you don’t notice That the egg grows an eye in death.
當你在平底鍋一側殺死它,你不會注意到, 死後,雞蛋長出一隻眼。
It is so small, it doesn’t satisfy Even the most modest morning appetite.
它太小,滿足不了 早餐時哪怕最節制的胃口。
But it already watches, already stares at your world. What are its horizons, whose glassy-eyed perspectives?
可它已在看,已盯住你的世界。 它的視野裏有什麼,從沒有表情的視角?
Does it see time, which moves carelessly through space? Eyeballs, eyeballs, cracked shells, chaos or order?
它見證時間嗎,冷淡地穿過空間的時間? 眼球,眼球,裂開的蛋殼,渾沌還是秩序?
Big questions for such a little eye at such an early hour. And you—do you really want an answer?
時辰這麼早,對一隻小眼睛來說大大的問題。 而你——你真想要一個答案?
When you sit down, eye to eye, behind a table, You blind it soon enough with a crust of bread.
當你坐下,眼對眼,從桌旁, 取一塊麵包皮,你迅速讓它什麼也看不見。
(Translated by Brian Henry)
(翻譯:梁儷真)
阿列斯.斯特格(斯洛文尼亞),詩人、小說家和散文家,著有七本詩集、三本長篇小說及兩本散文集。 曾獲法國藝術與文學勳章,並為德國文學院成員,彼涅克國際詩歌獎、皮特拉克詩歌獎(歐洲青年作家)、 維羅尼卡詩歌獎及 Rožanc 獎。他的作品獲翻譯成十五國語言在世界各地出版,例如漢語、捷克語、克羅地 亞語、德語、匈牙利語及西班牙語。他亦是視覺藝術家,最近在印度科茨慕茲里斯國際藝術雙年展展出大 型裝置藝術作品。他也曾與多位音樂家和電影導演合作。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Maria STEPANOVA (Russia) is a poet, essayist and journalist. She is the author of ten poetry collections and three books of essays, and a recipient of several Russian and international literary awards, including the Bolshaya Kniga Prize, the Russia’s main literary award, as well as the NOS Prize and Andrey Bely Prize. Her poems have been translated into many languages, including English, French, German, Hebrew and Italian. Her novel Pamiati pamiati (In Memory of Memory), which blends memoir, documents and essays into an epic narrative, came out in Russian in November 2017 and received the Big Book Prize in December 2018. Stepanova is the founder and editor-in-chief of COLTA.RU, a crowdfunded online daily covering the cultural, social, and political life in Russia and in the world; it attracts an audience of 600,000 unique visitors per month.
46 | 聲 韻 | Voice & Verse
the human body
人的身體
the human body is not soap wearing thin to a hole in the scented water bowl nor is it ever wholly of the past, always of the here and now
人的身體 不會像肥皂 在塗了油膏的水中消失 它從沒有過「曾經」 它總是「現在」和「在哪裏」
glows through the deadwood not easy to dispatch it creeps up like a snowdrop through the carbon patch
穿過枯樹枝它被照亮 要將它摧毀很困難 它像雪花蓮一樣 衝破碳灰開始生長
and what was pining, barely alive shut away within its bony cage now floods into the dark recesses to happen again
它體內的一切勉強存在 卻在囚禁中疲憊不堪 它將衝出黑色的塌陷 為了再次的重生
new life emerges when hope is no more and you stand there, empty-handed and unsure
新生活將會出現當你不再抱著期待 你無法知道,你將會拿什麼來迎接它
(Translated by Sasha Dugdale)
(翻譯:張猛)
瑪麗亞.斯捷潘諾娃(俄羅斯),詩人、散文家與記者,著有十本詩集和三本散文集。曾獲多項俄羅斯與 國際文學獎,包括俄羅斯 Bolshaya Kniga 大獎、NOS 大獎及安德雷.貝利獎。她的詩作獲翻譯成多種語 言,包括英語、法語、德語、希伯來語和意大利語。她的小說《悼念記憶》糅合回憶錄、檔案和散文,滙 成史詩式敍述,2017 年 11 月以俄語出版,於 2018 年 12 月榮獲大書獎。斯蒂潘諾娃創辦並主編眾籌網上日誌 COLTA.RU,報導俄羅斯與世界各地的文化、社會和政治生活,每個月的瀏覽量達到六十萬人次。
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香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
TÓTH Krisztina (Hungary) is one of the most popular and best known Hungarian authors and the recipient of the Graves Prize, the Déry Tibor Prize and the Attila József Prize. She has also been awarded the Laureate Prize, one of the highest recognitions in Hungarian literature. She has published ten volumes of poetry and seven volumes of prose to date. Her works have been translated into fifteen languages: her novels, short stories and poems can be read in Czech, English, Finnish, French, German, Polish, Finnish, Spanish and Swedish, among others.
48 | 聲 韻 | Voice & Verse
After a Mouse
老鼠
In a book by a long-dead poet, by the poem in which he fixes a woman long-dead, is a flowerhead of mud pressed flat; the foot-stamp of my cat.
在詩人的書裏,她已不再活著, 詩外的文字裏,寫了一個女人, 她已經死了,就像一朵蒲公英 守護我的貓的足印:
Forever sniffing round, she was transfixed by lurking-space between the pages, and froze there, once, for the out-race of a mouse (and now my cat, my pet, is long-gone, too).
牠總是悄然湊近,因為 紙頁間的縫隙使牠興奮, 等待,突然從裏面鑽出一隻老鼠, (這隻貓也已丟了很久),
And true enough, in the spine-dark deep of the paper hidey-holes there’s something trapped: we’re forever slipping this or that between the sheets to keep a hold on all, our every accident.
果真,在那紙隧洞的 深處有什麼東西一直晃動: 我們在紙頁間放這放那, 為了壓扁偶然。
(Translated by Antony Dunn)
(翻譯:余澤民)
托絲.克里斯蒂娜(匈牙利),匈牙利最受歡迎及最著名的詩人之一,曾獲葛雷夫斯獎、德里.提波爾獎 及約瑟夫.阿提拉獎,更榮獲匈牙利文學最高榮譽的桂冠獎等。托絲至今著有十本詩集、七本散文集,包 括長短篇小說與詩歌,經翻譯成十五國語言出版,包括捷克語、英語、芬蘭語、法語、德語、波蘭語、芬 蘭語、西班牙語及瑞典語等。
Voice & Verse | 聲 韻 | 49
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Ijeoma UMEBINYUO (Nigeria), born in Lagos, is the author of Questions for Ada. In 2016, Ijeoma was named one of the top contemporary poets emerging from Africa by the Writivism, which is one of the most important literary festivals in Africa. Her works have been translated into French, Portuguese, Russian, Spanish and Turkish. Widely disseminated in print, her poetry also enjoys popularity on international social media. Ijeoma was invited to give TEDx talks in the Cooper Union and her talk seeks to understand and dismantle the tradition of silence.
50 | 聲 韻 | Voice & Verse
Survival
生存
I have always wondered how women who carry war inside their bones still grow flowers between their teeth.
我一直疑惑 怎麼有些女人 骨子裏 有著戰鬥的決心 齒縫間 卻開滿了花。 (翻譯:吳詠彤)
苡若瑪.恩梅彬憂(尼日利亞),生於拉各斯,《給艾達的問題》作者,2016 年非洲最重要的文學節 Writivism 稱她為當代非洲頂尖新晉詩人之一。她的詩作獲翻譯為法語、葡萄牙語、俄語、西班牙語和土耳 其語。此外,她的詩歌印刷本遍佈世界各地,在國際社交媒體上也具有極高的人氣。恩梅彬憂應邀於庫伯 聯盟學會作 TEDx 演講,試圖理解與拆解沉默的傳統。
Voice & Verse | 聲 韻 | 51
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Anastassis VISTONITIS (Greece) was born in Komotini, Northern Greece. He studied Political Sciences and Economics in Athens and Philosophy in Thessaloniki. From 1996 to 2001, he was a member of the board of the E.W.C. (The Federation of European Writers). From 2003 to 2007, he was the Vice-president of the E.W.C. Vistonitis has published twelve books of poetry, four volumes of essays, five travelogues, a book of short stories and a book of translations of the Chinese poet Li He. Vistonitis was the General Editor of the candidature file of Athens for the Olympic Games of 2004. His writings have been translated into 20 languages. He writes for the leading Greek newspaper To Vima and lives in Athens.
52 | 聲 韻 | Voice & Verse
Ars Poetica
詩藝
Not like the leaves windswept through the streets. Nor still in the sea, a tethered boat. A poem is not the sky’s azure, its lucid air.
詩歌不像樹葉 可以由風吹落至地面。 也不像靜止的海面, 可以停靠船隻。 詩歌不是蔚藍的天空 和清新的空氣。
A poem is a stake through the world’s heart, a glinting blade driven through the towns. A poem is pain, a bright splinter of steel, ice, a blackened wound. A poem is obdurate, its facets diamond. Graved stone. A surging Asian river.
詩歌是刺透世界心臟的 那根木樁。 是筆直穿透城市的 那把亮刀。 詩歌是精神的傷痛, 是反光的金屬碎片, 是冰塊,是發黑的傷口。 詩歌是堅硬的 多面鑽石體。 是純色的 —— 雕琢完好的大理石。 是洶湧澎湃的 —— 亞洲河流。
A poem is neither voice nor winged passage. It’s a rifle shot at history, the skyline. A poem is no withering bloom. It is anguish, embalmed.
詩歌不是聲音, 是飛鳥的痕跡。 詩歌是海平線和歷史上的 運行軌跡。 詩歌不是枯萎的花朵。 是不腐的傷痛。
(Translated by Anastassis Vistonitis and George O’Connell)
(翻譯:錢穎超)
安納斯塔西斯.威斯托尼迪斯(希臘),生於雅典北部科莫迪尼,曾於雅典研究政治經濟學,並於特撒隆 尼基研究哲學。從 1996 至 2001 年,他是歐洲作家聯盟之一員;從 2003 至 2007 年,他擔任歐洲作家協會 的副主席。威斯托尼迪斯著有十二本詩集、四本散文集、五本遊記、一本短篇小說,獲翻譯成二十種語言 出版。他亦翻譯中國詩人李賀的作品。威斯托尼迪斯曾獲任雅典奧運會申辦材料的主筆。現為希臘最重要 的報紙《論壇日報》撰稿,居於雅典。
Voice & Verse | 聲 韻 | 53
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Jan WAGNER (Germany) was born in Hamburg and has been living in Berlin since 1995. Poet, essayist, translator of Anglo-American poetry (Charles Simic, James Tate, Simon Armitage, Matthew Sweeney, Robin Robertson and many others), Wagner has published seven collections of poetry and his works have been translated into more than thirty languages. Wagner is the recipient of the Award of the Leipzig Bookfair, the Anna-Seghers-Award, the Friedrich Hölderlin Award, the Georg Büchner Prize, etc. He is a member of the German Academy of Language and Literature.
54 | 聲 韻 | Voice & Verse
tea bag
袋泡茶
I
I
draped only in a sackcloth mantle. the little hermit in his cave.
僅僅一小袋 裏面包著。小隱士 在他的洞中。
II
II
a single thread leads to the upper world. we shall give him five minutes.
僅僅一絲線 向上牽著。我們將 給它五分鐘。
(Translated by Iain Galbraith)
(翻譯:姚月)
揚.瓦格納(德國),生於漢堡,1995 年至今定居柏林。集詩人、散文家與翻譯家於一身,著有七本詩集, 詩作獲翻譯為超過三十種語言,他亦把查爾斯.西米奇、詹姆斯.泰德、西門.阿米塔齊、馬修.斯維尼、 羅賓.羅伯臣等英語詩人的作品翻譯成德語。曾獲獎項包括萊比錫書展大獎、安娜.色格赫獎、弗里德里希. 霍爾德林獎、格奧爾格.布茨納獎等。現為德國語言文學學院院士。
Voice & Verse | 聲 韻 | 55
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Ernest WICHNER (Germany) was born in Romania in 1952. He studied German and Romanian literature at the West University of Timișoara. In 1975 he emigrated to West Berlin, where he continued his studies of German literature and political science at the Freie Universität. After many years of working for the Literaturhaus Berlin, he served as its director from 2003 to 2017. Wichner’s literary works include poetry and essay collections as well as numerous adaptations and translations of Romanian. In 2005, Wichner was awarded the city of Münster’s International Poetry Prize. His translation of Cătălin Mihuleacs has been nominated for the Leipzig Book Fair Prize.
56 | 聲 韻 | Voice & Verse
Matthiola
紫羅蘭
you hang up the phone and now don’t want to live any more, it’s the last straw and every path’s been tread. where once was a god, now a gaping hole in the wall, yet your flowers stand in the garden closely framed by walls and bloom at the
你放下聽筒,不想活了, 忍無可忍,無路可走。神存在過的 地方,現在卻是牆上一個裂開的洞,而你的花朵 卻密密地矗立於圍牆內的花園中,在黃昏
evening, today they’ll still bloom at night and exude their heavy fragrance as if you had tried to push back the night into that summer of sixty-five when my naked legs landed with pinking shears in the flower bed
盛開,今天晚上依舊綻放, 瀰漫著濃郁的芳香,彷彿你曾努力 把晚上拖回從前的六十五個夏天 我赤裸雙腳,如鋸齒的剪刀
near the matthiola. their fragrance lay like spilled perfume in the garden, the whole summer long straddling each night and only falling silent when storms raged, yet when lightening glimmered in the distance, it was the first to reawaken.
落在紫羅蘭附近的花床上。花的芳香就像是 打翻的香水,每天晚上整個夏天遍地 四散,只有在雷暴怒吼時,沉默不語,卻當閃電 在遠處閃爍時,搶先一步再次甦醒。
another decade passed, we moved westward. now you don’t want to live any more and hang up the phone, leave me behind, the small garden still in view, and from the corner of the room i know i’m being watched by your empty shoes.
另一個十年過去,我們移居西部,但我 仍獨自找尋可以形容你悲傷的文字。現在 你不想活了,並放下聽筒,等著我 回來,小小的花園重現眼前,而在房間一角 我意識到,你空著的鞋子在凝視著我。
(Translated by Laurie Schwartz)
(翻譯:歐建梆)
恩尼斯特.維茨納(德國),1952 年生於羅馬尼亞,曾於蒂米什瓦拉西方大學學習德語文學和羅馬尼亞語 文學,1975 年移居柏林,並於柏林自由大學進修德語文學和政治學。多年來一直在柏林文學館工作,2003 至 2017 年間擔任館長。維茨納的文學作品包括詩歌集和散文集,以及眾多羅馬尼亞語的改編與翻譯。2005 年獲頒明斯特國際詩歌獎,譯著 Cătălin Mihuleacs 獲提名萊比錫書展大獎。
Voice & Verse | 聲 韻 | 57
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
YANG Chia-Hsien (Taiwan) was born in Kaohsiung. She obtained her doctorate from Department of Chinese Literature of National Taiwan University. She is currently Assistant Professor at the Department of Chinese Literature of National Tsing Hua University as well as the associate curator of Taipei Poetry Festival. Her oeuvre includes poetry collections Breathtaking Civilisation, Your Voice is Full of Time, Werther the Young Lady, Golden Crow; prose collection Flame Tree in Sea Breeze, Yunhe, Magdalene, Rolling Small Volcanoes; as well several literary digests and academic publications.
58 | 聲 韻 | Voice & Verse
Waiting for a Postcard from Hong Kong
守候一張香港來的明信片
An era in which homecomings and departures can’t be determined right away Tropical vegetation still thrives gnat-like whispers fly into the air You say, amid the fireworks that suddenly burst open, you saw: angels crashing joyous shouts drowning everything out
一個回歸與出走 均無法被立即決定的年代 熱帶草木依舊蓬勃 耳語如蚊蚋飛翔於大氣 你說,曾在驀然迸開的 煙花中看見:天使墜毀 而歡愉的喊聲剛好蓋過一切
Whether or not constellations still circle around an ancient orbit consciousness is a bit cool, when a rainstorm strikes the bookstore’s windowpane without warning the neon tube is a slowly dissolving rouge After the festivities, you may feel even more blue like a half-smoked cigarette butt placed on the edge of a dreamland, flickering
星座是否依舊 沿太古的軌道繞行 意識微涼,當暴雨毫無預警 擊打著書店的窗玻璃 霓虹管是胭脂慢慢溶解 節慶之後,你也許更蕭索了 像半截吸過的煙頭 擱在夢境邊緣,閃爍
Time keeps on fermenting, in the mirror I make out the slight surge of star frost in my hair Sourness wafts through summer streets ridges in the glass undulate We each occupy a corner of the sea, only learning the outlines of each other’s cities from news headlines the winds so hesitant…
時光持續發酵,從鏡中 辨認髮上微微湧出的星霜 夏天街道浮道著酸意 玻璃的稜線起伏 我們各據海角,僅僅能夠得知 新聞標題上彼此城市的輪廓 風向如此猶疑……
The postcard you promised has yet to arrive. It’s like a seagull contemplating the color of the water on the pier at dusk What will your handwriting say to me? Thick fog obscures the route, as though in resistance a ship’s engine faintly rumbles as it plows through the silence
你曾許諾的那張明信片 仍未到達。彷彿傍晚的碼頭 一隻鷗鳥凝視水色 你的字跡將對我說些什麼呢 濃霧掩蓋航線,如抵抗一般地 隱約有船引擎隆隆犁開寂靜
(Translated by Jennifer Feeley)
楊佳嫻(台灣),台灣高雄人。台灣大學中文所博士,台灣清華大學中文系助理教授,台北詩歌節協同策 展人。著有詩集《屏息的文明》、《你的聲音充滿時間》、《少女維特》、《金烏》,散文集《海風野火花》、 《雲和》、《瑪德蓮》、《小火山群》,以及文學選集、學術著作若干種。
Voice & Verse | 聲 韻 | 59
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
Yasuhiro YOTSUMOTO ( Japan) is a poet, essayist, literary critic and translator, living in Munich, Germany. His debut A Laughing Bug was published in 1991, followed by eight collections of poetry. His Afternoon of Forbidden Words (2003) won the Yamamoto Kenichi Award and Prisoner of Japanese the Ayukawa Nobuo Award. His works have been translated into various languages. He is the Japanese editor of Poetry International Web and is on the editorial board of the poetry magazine Beagle in Japan.
60 | 聲 韻 | Voice & Verse
Mineral Dad
父親礦石
One morning, Dad turned to stone. He just lay there on the bed, no larger than a soccer ball, but so damn heavy, even with the whole family pushing, we couldn’t budge him. The stone’s surface with its smooth, black radiance, looking closer: we found all these metallic flecks mixed in.
父親變成了石頭 滾落在早晨的被子上 雖只有足球那麼大,分量卻很重 全家人都推不動 石頭表面光滑,散發黑光 仔細一看,還混雜著一些金屬顆粒
The next week, my stalwart Mom began to look for a job, and on the eve of the forty-ninth day, in the bath, she turned into Mariana Trench.
剛強的母親從第二週開始找工作 但在迎來七七四十九天的前一晚,她在浴室 變成了馬里亞納海溝
And today, today a forklift is tossing Dad into Mom.
然後今天一輛鏟車把父親扔給了母親
(Translated by Jordan Smith)
(翻譯:田原、劉沐暘)
四元康祐(日本),詩人、隨筆作家、文學批評家和翻譯家,現居德國慕尼黑。首部詩集《大笑的臭蟲》 出版於 1991 年,其後八本詩集相繼出版,其中《午後禁語》(2003)獲狄原朔太郎獎,《日本囚徒》獲鮎
川信夫獎。四元康祐的作品經翻譯成多種語言。他是 Poetry International Web 的日語編輯,也是詩歌雜誌 Beagle 的編輯。
Voice & Verse | 聲 韻 | 61
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
YU Youyou (PRC) was born in Sichuan in 1990. She started writing poetry in 2004. She has published poetry collections 7 Years and Me As Bait. She was awarded Pioneer Poet of the Year by Poem Selection Magazine and University Student Poet of the Year by Stars Poetry Awards 2012. Her poems are published in Poetry Magazine, Stars, Today and Chutzpah!.
62 | 聲 韻 | Voice & Verse
night walk
夜行
the sky won’t brighten everything luminous is pressed down under skin, flesh so go for a night walk why say the sky is sawtooth because once time jams, it breaks once eyes meet it feels skewed
天不會亮了 發光的東西都壓在皮肉之下 去換來一次夜行 為什麼說天空是鋸齒狀的 因為時間一碰就斷 眼睛一相對就感覺到了偏離
why walk these dubious streets when you’re a different person by the time you reach the end – always losing sight of the old you no matter how you saunter if it’s love you need now love is resurrected if it’s god you need god must die the sky won’t brighten only night walking will bring him back
為什麼要走到孤僻的路上 到了盡頭就 徹底變成另外一個人 即便走得很慢 也無法跟蹤剛才的自己 如果現在需要愛 愛就復活 如果現在需要上帝 上帝就必死 但是天不會亮了 唯有夜行 才能復活上帝
(Translated by A. K. Blakemore and Dave Haysom)
余幼幼(中國大陸),1990 年生於中國四川,2004 年開始寫詩,現出版詩集《7 年》、《我為誘餌》。曾獲《詩 選刊》年度先鋒詩人獎、2012 星星詩歌獎年度大學生詩人。作品曾發表於《詩刊》、《星星》、《今天》、 《天南》等刊物。
Voice & Verse | 聲 韻 | 63
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
ZHENG Xiaoqiong (PRC) was born in Nanchong, Sichuan. She went south to Guangdong for work in the year 2001. To date, she has published twelve books, including Notes of a Woman Worker, Rose Manor, Huang Maling, Poetry Collection by Zheng Xiaoqiong, Pure-Species Plant and Footbridge. Notes of a Woman Worker was hailed as “the first symphony-poem about the female gender, work and capitalism in the history of Chinese poetry”. Her works have been translated into various languages, such as Bahasa Indonesia, English, French, German, Japanese, Korean, Turkish and Vietnamese. Her numerous accolades include Chuang Chong Wen Literature Awards, October Literature Awards and People’s Literature Awards. She was invited to recite poems in various cities in France at the 20th Le Printemps des Poetes, and to hold solo poetry recitals in Vienna and Graz upon the invitation of the University of Vienna and University of Applied Arts Vienna. Her poems have been adapted into songs and stage plays and performed in Germany and the United States. 64 | 聲 韻 | Voice & Verse
Sounds
聲音
These sounds I hear, stiff, vertical, like an enormous iron hammer on an anvil, clank, clank these low sobs, sorrowful, bloated, oppressive we walk, run slowly, our captive fate! The sounds I hear when I turn around are like pieces of cut iron circular, square, in strips… iron I cannot speak of it is silent as we sob, life’s iron hammer pounds in the flames of the furnace or the light of daytime I see myself looking like this cast iron one little spot, another little spot, burnished, cut out, slowly becoming a component without language, a tool, an apparatus turning into this voiceless, this silent, this mute life!
這些我聽見的聲音,僵硬,垂直, 像巨大的鐵錘落在鐵砧板,「咚、咚」 這些低聲的啜泣,悲傷,臃腫,沉悶 啊,我們走著,奔跑著 緩慢地,不自由主的命運! 我轉身聽見的聲音,像一塊塊被切割的鐵 圓形、方形、條狀……我無法說的鐵 它們沉默,我們哭泣,生活的鐵錘敲著 在爐火的光焰與明亮的白晝間 我看見自己正像這些鑄鐵一樣 一小點,一小點的,被打磨,被裁剪,慢慢地 變成一塊無法言語的零件,工具,器械 變成這無聲的,沉默的,黯啞的生活!
(Translated by Eleanor Goodman)
鄭小瓊(中國大陸),四川南充人,2001 年南下廣東打工,迄今出版詩集《女工記》、《玫瑰莊園》、《黃 麻嶺》、《鄭小瓊詩選》、《純種植物》、《人行天橋》等十二部,其中《女工記》被喻為「中國詩歌史 上第一部關於女性、勞動與資本的交響詩」,有作品譯成印尼語、英語、法語、德語、日語、韓語、土耳 其語及越南語等語種。曾獲莊重文文學獎、十月文學獎、人民文學獎等。曾應第二十屆法國「詩人之春」 邀請往法國多個城市朗誦,應維也納大學、維也納藝術大學邀請,在維也納及格拉茨等城市舉辦其個人朗 誦會,其詩歌在被多次被國外藝術家譜成不同形式的音樂、戲劇在美國、德國等國家上演。
Voice & Verse | 聲 韻 | 65
香港國際詩歌之夜十週年 International Poetry Nights in Hong Kong - 10th Anniversarh Celebration
ZHOU Yunpeng (PRC), born in the city of Shenyang in Liaoning Province, is an independent folk singer and poet. At the age of nine, he has lost his eyesight to an eye disease and then studied at the school for the visually impaired. With perseverance, he graduated as a Chinese major from Changchun University in 1994. Afterwards, he was assigned to work at a factory and received social security payments. In 1995, he started busking in the Old Summer Palace in Beijing and then continued to write as he wandered the country. In 2007, he produced the album Children of China at his own expense, the music of which is beautifully melancholic and reminiscent of social reality. The album earned him the Best Folk Artist and the Best Lyricist at the 8th Chinese Music Media Awards. In 2011, his poetry collection The Love That Cannot Speak won the Poetry Prize at the People’s Literature Awards.
66 | 聲 韻 | Voice & Verse
Turn Around
轉身
Gray night sits at my bedside, shoulders hunched Please don’t turn around I’m scared of wave upon wave of nightmare creatures Pouring down Blue-black water weeds fill my eye sockets The disappointed sky retreats further and further away Leaving behind the land that betrayed him Please don’t turn around I’m afraid of shame I tear out my own hair Pulling out my past life by the roots
灰色的夜駝著背坐在床頭 請別轉身 我害怕重重疊疊的夢魘 滑下去 眼眶中生滿黯藍的水草 失望的天空越走越遠 離棄了背叛他的土地 請別轉身 我害怕愧疚 自己撕扯自己的頭髮 將前半生連根拔起
A god cloaked in black fire backs up into me Please don’t turn around I’m scared of suddenly reclaiming my vision Dying wellspring, illumined by moonlight I cannot see a single loved one from the past
披黑火的神倒退著壓向我 請別轉身 我害怕突然的復明 彌留的深淵,月光朗照 看不到一個往昔的親人
(Translated by Canaan Morse)
周雲蓬(中國大陸),出生於中國遼寧瀋陽,中國獨立民謠歌手、詩人。幼年因患眼疾而導致九歲時失明。 後入盲人學校學習,個人努力至 1994 年長春大學中文專業畢業。大學畢業後分配至一家工廠領取保障金, 1995 年到北京圓明園開始了賣唱生涯,其後四處遊蕩並進行創作。2007 年自費錄制唱片《中國孩子》,音
樂風格優美傷感而反映社會現實,並一舉拿下第八屆華語音樂傳媒大獎最佳民謠藝人和最佳作詞人兩項大 獎。2011 年詩集《不會說話的愛情》獲人民文學獎詩歌獎。
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譯介天地
Steven Schroeder 詩九首 文 Steven Schroeder
譯
梁慧春
in memoriam: 劉曉波
紀念劉曉波
They say it’s always darkest before dawn, and I say this sheds light on memory and time. The difference between dawn and what was before is greater than the difference between dawn and what follows.
人們說破曉前夜最黑暗 , 而我卻要說這會把光灑在記憶和時間上。 在破曉和那之前的不同 比破曉和破曉後之間的不同要大。
Time ripples like water, and every wave circles back from shore to shore. What was is present with what will be now and then. Light seems blinding when it is nothing but a new day, and every dawn traces an epiphany in that moment between night and night. They say men loved darkness rather than light, and I say power is as fragile as the grip of a survivor clinging to whatever is afloat when a wave rises after a shipwreck, fragile as perfect fear throwing love overboard as though the sacrifice would soothe whatever angry god has made this storm. Tom was right. Fearful men clinging to the remnants of a ship that sunk some time ago will find a daughter or a son to kill in the name of order. Men of reason will say this is the cost of doing business, war by other means. Engineers may kill a wave for now and push an ocean back a while. But they are nothing without the water rising beneath them, sure as dawn.
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時間像水泛起漣漪一樣,而每道波紋 從此岸蕩漾到彼岸。彼在的 就是此在的,而此在的也會是將來的。 當什麼也不是,除了是新的一天, 光顯得刺眼,而每一陣破曉 都刻下一陣真神的靈顯 在夜與夜之間的時光。他們 說人們愛黑暗更甚于光亮。而我卻說 權利就像一個抓住救命的稻草的求生者 一樣脆弱,當一陣波浪在一次挫敗後上升, 脆弱就像絕對的恐懼,把愛扔上甲板 好像那種犧牲會緩和 不管是什麼憤怒的神制造出的這種風暴。 湯姆是對的。恐懼的人執著於 一條船的破船板, 而這條船以前的某時沉沒了 這個人會以秩序的名義找一個女兒或兒子來殺害 理性的人們會說這是做事要付出的價錢, 也就是一種戰爭。工程師現在可能殺害 一陣波濤,並把海洋 推回 囘 去 一陣子。但是沒有 下面上升的水,他們什麼也不是,破曉也一樣。
dark radiance, watercolor on paper, 8 × 10 inches [2009] Steven Schroeder
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binary, acrylic on canvas, 20 × 16 inches [2018] Steven Schroeder
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sestina: 劉曉波
沙斯庭那詩:劉曉波
They say what does not kill you makes you stronger. Every dawn, they say, is a new day. Morning is a wave that circles back from the other shore. The willow, they say, that bends to be small is strong like a seed you sow
他們說沒有被殺害的 你使得你更強大。每個破曉 他們說,都是新的一天。早晨是一道波 從彼岸折回蕩漾。那柳樹, 他們說,屈折而成為柔弱的 就像你播種的種子一樣強壯
to grow what will survive. I say sow something that is hard to kill, like a dandelion. Think small. Think how the first glimmer of dawn simmers. It bends the way a willow bends – just a wave,
生長要生存的東西。 我說播種難以被殺戮的東西吧, 就像蒲公英一樣。 略略地思考吧。思考第一道曙光如何沸騰。 它就像柳樹一樣有彈性地曲彎 —— 就是一道波,
not the water. But with every wave you sow another willow rises, hard to kill, like a dandelion, like dawn, so small
不是那水,而是你激起的 每一道波浪 另一棵柳樹 升起了,難以被絞殺, 像蒲公英,像破曉, 如此柔軟
powers that be see but take no notice, a small wave a dawn glimmer. Sow what power cannot kill. Bend like a willow
強權能看到卻注意不到,一道 柔弱的波 一次破曉 閃光。播種 強權不能殺戮的 柔韌如同柳樹一樣
to be small, a willow that lies low like a river, so small no one thinks to kill it, just a wave not the water. Sow and sow again and dawn
成為微小的,一棵柳樹 低低地躺著如同一條河流,如此的柔軟 沒有人會想到要砍殺它, 只是波浪,不是水。 激起 和再次激起,然後曙光
blazes. Dawn burns slow in a slumbering world and a willow rises like a city that bends but does not break. Sow and sow again, with the patience of a small thing like grass, like water, wave upon wave power cannot kill,
照耀。破曉 慢慢燃燒,在一個微睡的世界中 一棵柳樹 如同一座城市那樣,柔韌而不脆弱地上升 播種 和再播種,帶著耐心,如小草般的小事物一樣, 如水,一波又一波,強權殺不死。
power of no power, like a prairie, small as the ribbon of river a thousand feet below, wave upon wave rolling, an ocean no power can kill.
無權的權力,如同大平原,如同小河 在千尺之下的絲帶一樣,一波一波 地翻卷,一個強權殺不絕的海洋。 Voice & Verse | 聲 韻 | 71
On the Road to Taos
在通往道思 * 的路上
Ten thousand white butterflies cascade over green pines, gather in a stream that tumbles down around scattered rocks, flutter off in clouds of dust above a thirsty village, disappointed at the bottom of the mountain.
成千上萬的白蝴蝶,傾瀉 在綠色的松樹上 , 集合 在一條繞著 乱 散 石翻騰 的小溪中,翩飛 在一條飢渴的村莊 上的塵霧中,落空 於一座山的腳下。 * 譯自《道思之東》/ East of Taos and Other Poems。「道思」 是新墨西哥的一個小鎮 . 通往此地路上有東方的寺廟和修行 者。
Moon Cakes
月餅
harvest dreams too sweet for your own good, but that will not stop you from eating them all before you drift off to sleep full as the moon in the middle of Autumn
豐收的夢 太甜 對你的健康 卻不會 終止你將其吃完 在你飄離,而進入如 滿月般圓滿的夢鄉前 在秋季的中央
Yevtushenko in Chicago
葉夫圖申克在芝加哥
Tears rise in a dialect of the eyes, correspondence with the world, love letters to everyone everywhere, spoken here in the presence of a lover. Still, listeners scarcely breathe, surrender breath to the words between them. Tears rise before every sad song in a world exposed. Exposed, no world can ever finally catch its breath.
淚水在一雙眼的方言中湧起 與世界通訊,情信 與任何人,任何地方,言說於此地 , 於一位情人的面前。聽者仍然是 幾乎無法喘息,折服於他們之間的字 词 的 氣息, 在每一首悲傷的歌前,淚水升起 在一個被暴露的世界中。被暴露, 甚至沒有世界最終能捕捉其呼吸。
* 譯自《貓的理論》/ Theory of Cats。
* 譯自《向下》/ Down。
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via crucis, oil on canvas, 24 × 36 inches [2016] Steven Schroeder
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danse macabre, acrylic on paper, 14 × 20 inches [2018] Steven Schroeder
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Still Hunger
仍然饑餓
Poor children in Lhasa ask for money. They send the children out like an army, says my Tibetan friend who has been cheerfully handing out jiao to the crowds of tiny suppliants, bantering with them all the while. Here, they cling close to the edge of a monastery, where pilgrims are likely to offer alms as acts of devotion. In Shenzhen, at a European coffee house, middle class children beg for attention while their parents drink and talk business on cell phones. They cling close to the edge of a bank and a line of European cafes on the ground floor of a luxury hotel: more armies, another invasion, a different devotion, still hunger.
貧窮的孩子在拉薩討錢。「他們 把孩子送出去如同軍旅」, 我的西藏朋友,那個開心地把「角」 遞給那群渺小的哀求者的人 说 , 他又總是逗 他們。在此,他們緊緊地粘住 一個寺廟的邊緣,那個朝聖者們 像是把施舍而供給,作為一種虔誠行動的地域。 深圳,一個歐式咖啡館裏, 中 産 階 級們的孩子乞求家長們的關注 當家長們喝著酒和用手機談著生意時 他們緊緊攀著 一個銀行和歐洲咖啡館的邊緣, 在一個豪華旅館的一樓的地板上 更多的軍隊,另一種侵略, 一種不同的虔誠,仍然飢餓。
Which State
哪一個國家
I don’t suppose it matters who is in charge when the charge is sharing secrets with the enemy. The question is who is enemy to a poet where and what secret of interest to which State poetry contains.
我並不覺得這有什麼 誰主事並且何時 主事的和敵人一起 分享秘密。 發問的是 對一位詩人來說,誰是頑敵 對何國何地 詩歌包含 何利益的秘密
* 譯自《貓的理論》/ Theory of Cats。
* 譯自《我僅對無政府工團主義者唱詩班布道》/ I Only Preach to Anarcho-syndicalist Choirs。
Acknowledgement: Translations “在通往道思的路上” and “水的緘默” appeared on 《四川文學》 2005,第12期,第44到45頁。 Voice & Verse | 聲 韻 | 75
water’s silence
水的緘默
is not soundless is an embrace
不是 無聲 是 一種擁抱
vast enough to enfold a universe
廣闊得足以擁抱一個宇宙 * 譯自《貓的理論》/ Theory of Cats。
City Shore
城市的堤岸
So much is hidden in the sound of water. The city is submerged in waves washing over limestone shore where red letters painted on white squares warn against diving into unseen hazards, city excesses deeper than containment.
水聲中隱藏的 如此豐沛。城市 被掩進波浪中 波浪浣洗著 石灰石的堤岸 石灰石的堤岸,紅字漆 在白方格中,警告 跳水進看不見的危險中,城市 遠深於可容納的量。 * 譯自《貓的理論》/ Theory of Cats。
Steven Schroeder is a visual artist and poet who lives and works in Chicago.
Amy Liang is a translator and writer who lives in Columbia, Missouri, the United States.
斯蒂文.施羅德,是一位視覺藝術家和詩人,在芝 加哥生活和工作。
梁慧春,筆名梁子,是一位譯者和作者,現居美國 密蘇里州哥倫比亞市。
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heosophoros, acrylic on canvas, 30 × 30 inches [2018] Steven Schroeder
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專欄
角落羅卡
Júlio Dantas 詩十四首 譯 夏簷
畫
洋小漫
朱力歐‧丹塔斯(Júlio Dantas,1876-1962)是葡萄牙著名劇作家,同時亦為外科醫 生、政治家,並曾擔任葡萄牙駐巴西外交大使。丹塔斯為葡萄牙文學中較多產的作 家之一,其作品涉獵詩歌、戲劇、短篇小說等多種體裁。是次翻譯的作品為丹塔斯 撰寫的短句,以簡單和直接的文字反映其對兩性感情的獨特見解。
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懦弱使愛情變得厭煩 四目交投 十指緊扣 換來猜度 嫉妒 爭恨 指責 破壞一切本該美好 快樂無憂的時光
在老房子裏 過去的璀璨時光依然 在那裏 我們感受到 家庭留下的永恆 鮮豔的記憶
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女人的智慧和活潑 在平庸男人的生活裏消逝 男人以佔有的心為傲 更喜歡楚楚可憐 被動 順從 沈默的女人 而不是具生命力和理性的美麗
年老純粹是數學的偏見 若我們不計算年數 可活得更年輕
青春是令人目眩的賽跑 我們收割生命的花朵 但時間流逝於工作 我們來不及細聞花香
自由僅僅給予我們 在生活中擺脫它的樂趣 幸福取決於我們 而不是生活的 環境和遭遇 少男與美女之間 沒有純潔的精神友誼 本來天生敵對 要麼相愛 要麼互相蠶食
吻過 卻得不到 了解到 又不曾擁有的女人 是痴迷 病態的憂慮
或許女人不懂男人 但女人之間卻了解甚深
若要取得成就 先要讓別人明白自己 在深愛一人之前 我們不曾活著 在深愛一人之後 我們步向死亡 藝術滲透所有 活現於一切 能體現它的地方 恰恰是最不顯眼的地方 女人不會費心 辯解和分析 自己的情感
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Voice & Verse Special Feature: Estrangement A Ghazal For Burying My Father by Anes Ahmed
A Portrait of Decomposing Girls by Rayji de Guia
i only write of the dead, of my father, how i now wrap him with an egyptian flag. when i was five, he prepared me to bear his weight down sugar street. he gave
me a shovel and taught me dirt, his grave. he’d wake me before fajr prayer with crust still in my eyes. anes, he said. let’s go. i washed my face and he gave me bread and goat cheese. we ate in silence. father had panic attacks (allah, he said, gave him ghosts). his father drowned journeying to our well. his back gave in when pulling the metal bucket. my father was fifteen when he found the water red. he is now fifty, and he still talks to his father instead of sleeping. i saw him, anes. i gave him that. he took me to the farm and taught me digging. taught me smoke too. played it around his mouth like a dragon, a fire eating every building angle, filling his lungs. it gave him himself again. it gave me the rest of him now. i wonder if he knew the ghost he was nursing with every smoke? it doesn’t matter. i got a shovel, dirt and pen. i can give.
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—After Hozier
It begins here: My scalp tears, hairs fall; in wounds festering, maggots. Am I still pretty? Is there a point in asking? In the end, we have come to depart, a prayer withheld—how we decayed. But we will not be rotting in a coffin, flesh melding; the church will not bury us. As worms wrestle in my mouth down to my throat, does it matter when I have no use for kissing? Not when my body has bloated, bearing your loss, before caving in. I sink among molds, feces, piss, reeking wastes in the heat. My stench exposes me here and you —us, decomposing at the same time.
Voice & Verse Special Feature: Estrangement Aftermath by Julienne Maui Castelo Mangawang
Love Birds by Julienne Maui Castelo Mangawang
The scraping of grandma’s slippers is dead leaves swept in the morning curling into a small space, she catches me behind the bedroom door covering orchids blooming purple on my limbs.
The pair of love birds died overnight they bled wine red from cat paws that bent open the bars of their cage.
She pulls me out slow, wipes my face, dirt invades her hanky edged with lace turning the sampaguita embroidery into a beehive of motes. With an oil, fervent on the nose, she rubs my tired legs, then arms, stretching them like stems wilting in pots. Is mother still there? my words are trees dropping amidst the silence. I picture mother, her size large and hands heavy as logs falling down. Grandma shakes her head and pulls the door open, we saunter into the hallway. I follow her cracking steps through the place and out the front door, subtle twigs snapping under the balding trees that meet us outside, the leaves fall and our slippers touch the afternoon embers burning low.
I take the birds’ half-feathered bodies, light and stiff like used knives found at the scene of a crime and lay them down in a carton casket. When I pass by the hallway, your picture is a ghost in my periphery. I take it and, like the dead birds, lay it with them to rest. The whole day is for driving out traces of your spirit. I burn the brittle letters, toss away flowers preserved, then fold your clothes into charity boxes. The love birds sleep together with your picture, decaying under carcass and feathers. I bury this last memory while the cats stare from the porch barely lit by the moonlight. Their meows lament and echo throughout the house you left open when you ran towards a car to join a silhouette, a ghost still haunting me today. I murmur a prayer as I dig the spade, parting the dirt to create space for the coffin with birds. Once done, I return inside, prepare the bath then scrub the filth off my body. The water turns to mud and finally, I am clean. Voice & Verse | 聲 韻 | 83
Voice & Verse Special Feature: Estrangement Cold Play by Sithuraj Ponraj
Catharsis by Sithuraj Ponraj
Your Cold War killed many people.
Coughed up like a blood red moon, or a collection of public apartments,
They died, prone on the ground: hands arranged most carefully into coded self-congratulatory messages With faces turned away from each other, Like fat pigeons in the snow. The difficulty started when we tried to rehearse the scene for a Festival play, (broadly based on Titus Andronicus and A Streetcar Named Desire) The faces that were turned away refused to turn back again and Stage Left was filled with actors dressed in ridiculously warm winter clothes, sweaty necks bulging protesting the lack of dialogue.
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a playground punched into the middle. Set among the doldrums, a playground is at the same time a sad and profound thing: full of joggers going nowhere and gently sagging swings. Used to tragedies, stern domestic helpers watch over lonely children waiting for their turn on the slide. Perhaps one will kill his father and marry his mother. Yet: no release will be possible, no redemptive blindness. Here, among the frowning public apartments, holding lifts for each other and common corridors We have misplaced the grand scale.
Voice & Verse Special Feature: Estrangement 30% Off (Childhood Friends) by Clare Chai It is the end of season sale Up to 30% off on limited items The clothes heaped on the table Lipstick smears and loose buttons So too My love for them is slightly off, and limited Why is there nothing more I can say to them? Unlike the words that gush out unheeded When facing you Spinning labouriously around the same few topics Work / dating / health / school Hoping the pointer lands on something new Only to repeat the same tedious game in a year or two I await it But the swell of love does not rise in me I look at their sideways glances and their quick low murmurs Interspersed amongst the Official Conversation A reflex Out of concern for the other Or some amusement out of my understanding And at their easiness and familiarity I feel a funny turn of envy
We're all grown up now Beautiful, mature, handsome and clever they say And making money too But though we yearned for this successful day Tonight I can't help but feel a bit blue How are we now As unused as strangers But worse We lack the curiousity One often has towards new acquaintance Oh, you have to leave A parting hug - an act of courage Taking the place of sincerity I still remember back when You used to carry me When I pulled hard enough at your sleeve I love you, I suppose It's somewhere in there But what's heartbreaking is I can't find where
We don't do things together any more Our journeys have become separate And we only skim the surface When we are recollecting them to one another Is intimacy a privilege of childhood? At the age when following, whining and tickling came before thinking Stubborn skinny nudges during sleepovers Hiding streaming tears in vain Then forgetting them While laughing at you stumbling in dad's loafers Patterings of feet across the floor The scrapes of our slippers Shouts as we win or lose While waiting for the adults outside the front door Acting affronted because you had a crush on him Then unable to sleep because he was also your thing Kicking the youngest out because it was "girls only" But not too hard (we let him in afterwards), as Secretly we knew how it felt to be lonely
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Voice & Verse Special Feature: Estrangement Caliban Cries by Papa Osmubal —After Shakespeare Could I have been fathered by a tree? I relate quite well to the agony of wilting leaves, of dry leaves dripping, falling, severed off their stems. But I don’t bear flowers— nothing beautiful grows out of me, grows on me. Walking in twos, said Prospero, doesn’t make me any different from a limbless snake, from a beast walking on all fours. When waves and winds viciously wreak chills, freezing the bones, trees don’t shiver, whimper, moan, cry, long for the warmth of the womb, like I do when Prospero shoos me away from his log fire. Trees speak the tongue of the wind— the wind is like one of their own. Trees speak the tongue of the bees, of birds— they are sung, never alone, never abandoned. I don’t possess the tongue of the living, nor of those that make and keep the living alive. I know but the scolding tongue of Prospero’s whip, the nagging whip of Prospero’s tongue. None but me is fluent in the lingo of pain. None but me can sing and versify pain— I breathe pain, I know pain. Pain is the reflection of myself in the water, staring at me in the face with its sharp eyes, with its gleaming savage fangs and claws. In the dead of night when the sun is all in the sea, when nothing can be heard but the mute slither and impossible voices of shadows, I feel myself, for myself, the purulent wounds of my soul. In the deafening silence of the dark where fear takes one’s very own image, where fear becomes concrete as the self, where even a Prospero discreetly cries for help, I see myself, the truest me, the pulsating me, the bleeding me, equal to Prospero, no lesser than Prospero, brother to every man, to any man,
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brother to the wind, to the trees, to all, to everything, even to the bees— sired by the unknown, by the arcane. The unknown is the fertile father of us all whose sacred name we inherited. We are all unnamed, nameless, faceless. In the dark, when a voice calls us, when sheen beckons at us, we are all confused, frightened, not knowing what to do, not knowing where to turn, hopeless, helpless, hopelessly helpless, helplessly hopeless.
Voice & Verse Special Feature: Estrangement Existential by Papa Osmubal
Sandmermaid by Angeli Lacson
—After Camus
If I had known the last time my feet could feel sand, I would have buried myself in it: twelve years old again beneath yellow rice grains tinted blue through the water, each one every impossible color under the magnifying heat of the sun, sunbaked creatures ignorant of beauty or loss. I only knew my legs became fins, scaled silver like fish born knowing how to swim. I knew how to swim. And sand covered all of me, specks swirling away with every lap of seafoam, my head peeking through this hill of sand, my hill to never cross but I didn’t dream of that—no, I wanted to sink into saltwater, push against the tide, reflect every ray of light, in love with being—free, I would have asked for more. I would have asked for the whole sea.
His children were still sleepy rowdily complaining why they had to eat oatmeal and go to school His wife brewing the coffee her ears were all on the ticks and tocks of the clock on kitchen wall Putting his hands in his pockets one hand in each he searched for something He pulled his hands out one was with keys the other with questions He looked at his hands murmured to himself then shook his head
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Voice & Verse Special Feature: Estrangement I Never Sang a Hymn for my Mother by Quenntis Vernonn Ashby
Filial Duties by Cheng Tim Tim
At 28, when her back breaks, Your mother is broken From her breasts down to her toes.
The sick bed, a tourist spot: That’s a lot of effort to make wefies, in which daughters, mother under the weather share the same infant-smooth skin tone, hazy blush but the eyes can’t hide the bedridden non-focus.
Numb. Numb. Numbness. Your father becomes broken in stages: Kissing and suckling on unfiltered cigarettes; Hot camels washed down with cold cans of coke. Numb. Nimble-fingered. Nicotine-stained. Your brother isn’t broken— He’s stealing booze from the kitchen, And all your best marbles from a cake tin toy box. Numb. Dumb. Thumb-sucker. Punch Drunk. And you? You bury yourself in books, Where words outnumber the stars And your poems can cover your scars. Numb. Minimal. Liminal. Broken, Your family is paralyzed— A nuclear unit of strangers coping with loss; Resigned to the normalcy of paraplegics. Numb. Become numb. Amen, Praise be to the almighty god of accidents: A burst tyre on a dirt road and a safety belt Snapped her back, but not her spirits. Numb. Hell yeah! Hallefuckinglujah! Your mother dies at 48 to cancer’s insistent kisses. She goes up in smoke, and falls into ashes. She’s gone, and you’re all polite smiles: Numb. Numb. Numbness.
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All these filial reports, including the ones of hands held, sent faster on Whatsapp than factual logistics for other family members to visit: Communication would end when her number’s up.
Voice & Verse Special Feature: Estrangement Measurement of Moving On by Cheng Tim Tim
Divorce by Paul Lobo Portugés
Sporadic threads embroidered such unbreakable silence, out of which I made a dress. It was too tight on the chest, too loose round the feet, so I dropped it at the next address that I couldn’t be bothered. At the door a siren rang: You dictated my design when a new love came to mind.
our bed of sorrows ached with waking dreams as she combed her terrible hair in hope’s darkness the animal of our desires died in the throat of song the troubadour’s romance with the inconstant moon while the dirt in our mouths buried years and regrets and the bird of love that once flowered on our lips and sighs roared from the mountain of solitude in our wine soaked eyes as we day by day yearned in the unborn sleeping hospital of well-meant tidings now I’m a prisoner in the never look back kissed by shame suffering the crime of love’s divorce from promises for tomorrow in the court of contracts where we divide the things we are not as fruit rots on holidays trees planted when I was hope and you a psalm of roses dancing the spheres’ music now we’re a biblical myth of words like to have and to hold ‘til life not death do our bodies part
Voice & Verse | 聲 韻 | 89
詩與藝術 | Poetry and Art
通往光的七道紅 | Seven Reds towards Lights 詩阿三 poems by Chan Sai Lok
translated from Chinese by Chan Lai Kuen
Notes from the artist/author: The design of the ARoS Aarhus Art Museum originated from Dante’s imagination of paradise and hell in his Divine Comedy. Artist Olafur Eliason’s Your Rainbow Panorama on top of the building completes the architectural concept of the museum. Chan Sai Lok continued his exploration of the colour red and Asian identity during his residency in the museum in August 2019. He responded to the architectural design of the museum with his poetry installation The Red Rainbow. Meanwhile, as the anti-extradition bill movement in Hong Kong has gained momentum, this work is also Chan’s contribution from afar. While it was difficult to express one’s political views in a piece of art made in a peaceful and safe place, the artist’s idea is that everybody wishes to breakthrough purgatory into paradise. The Red Rainbow is composed of seven parts. They are inscribed onto a horizontal strip that surrounds the Salon public space at ARos Public on the 3rd floor of the museum. Its English version was seared onto the surface, while the Chinese version was handwritten.
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作者按:丹麥 ARoS Aarhus Art Museum 設計源自但丁《神曲》中地獄與樂土之想像。2011 年,藝術家 Olafur Eliasson 於頂樓加建《Your Rainbow Panorama》,是為圓滿該館建築概念之作品。阿三於 2019 年 8
月中駐留該館,繼續其紅色的亞洲文化身份探索,遂以「紅色彩虹」詩歌裝置回應整幢建築。另一邊廂, 香港反送中示威引發之革命運動火紅熾熱,該創作亦是在遠方為我城點許的一份念力。創作在太平安逸的 他方難成為政治宣言,惟衝破煉獄,通往樂土,乃所有人之期願。詩歌共分七部分,環狀包圍 ARoS Public 的 Salon 公共空間;英文以火灼製成,中文則為手寫文字。
Voice & Verse | 聲 韻 | 91
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一
世上並沒有絕對的謊言 正如不一定有事實 只有死在房間,或生活在他方
I There is no absolute lie nor is there absolute truth There is only death in the room, or life elsewhere
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二
嬌陽耀眼。我直視膽怯 他們說:「全因眼框淌溢滿紅。」 給我引刀向目,直刺未來。以及 他們內心的狂喜,與權慾 專家跟盲目說:「失心慌也。」 於我腕上動刀,把紅放乾為止 那我與生俱來無以選擇之軀殼 潔白無瑕
II Blazing sunlight. I look cowardice straight in the eye They say, “Just because your inner eyelids are brimming with red.” Plunge your knife into my eyes, right into the future, and the rapture in their hearts, and desire for power “It’s panic”, the expert tells blindness So my wrists are cut, until all red is drained That body of mine that I was born with, choiceless Immaculately white
Voice & Verse | 聲 韻 | 95
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三
天下起言語。不知從誰醒來之時 黑白丟到高樓,嘩啦嘩啦 嘩啦,死卡於路肩渠口。 又叩不進門。市巷灰飛煙滅 越洗越髒 傘給砸陷 言語終歸有個像樣的形狀 你雙眼通紅木訥觀雨 說不出半句話別。就一直 一直佇站客廳中央遙望 遙望我的剪影在他方
III It starts to rain language. I don’t know since who wakes up Black and white are thrown up the high-rise buildings. Splashing, crackling and gurgling. Language is tightly stuck on the drainage, refuses to be washed away nor can it enter the door. Streets disappear they get dirtier as they are being washed Umbrellas are crushed as language has finally found a proper shape Your eyes become bloodshot while staring at the rain as you become speechless when you have to say goodbye. So you keep staring into the distance as you stand still in the center of the living room Staring at my silhouette, far, far away from home
Voice & Verse | 聲 韻 | 97
98 | 聲 韻 | Voice & Verse
四
IV
他方 —— 浮城有其如晨霧的憧憬 卻對生活不存幻想。代代 相傳,我們並沒有故土
Elsewhere – the floating city has wishes like mist at dawn but it has no illusion about life. It passes on generation after generation, the fact that We have no homeland
Voice & Verse | 聲 韻 | 99
五
他們彼此摘下肩上的火 如在摩天大廈築巢的鷹失去了迷城 同往艷陽投擲。火很低調 陽光窩進玻璃幕牆,其倒影 一泛泛如湖面映照紅霞 鷹早忘記落腳之地 他們彼此摘下另一邊 肩上的火 女童在後花園嘗試撥開木板上的蟻群 牠們結隊轉至家的背面,哪管倒錯。火如常低調 烈焰,於夜幕漸垂 他們 尚餘溫度
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V They take off the fire on each other’s shoulders It is like when black-eared kites, which nest on skyscrapers, lose their labyrinth city like when they throw the fire into the blazing sun. The fire is subtle The sun’s rays nestle onto glass curtain walls, their reflection forms ripples of sunset clouds that look like the surface of a lake The black-eared kites have long forgotten the land where they had settled They take off, from each other’s shoulders the fire A young girl tries to move a colony of ants on a wooden plank from the fire The ants turn towards the back side of home, no matter what. The fire is as subtle as usual It blazes on, when dusk falls With them, warmth remains
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六
我們未知將來,我們亦未知 過去。像神台燈火塞滿了橫蠻,也塞滿了 彼此剝奪辨證的童年 現在於時間邏輯角力中瓦解 哪管他們 怎樣奮力嗚乎 將來是崖岸塌下左右的缺口 不由得修補,或介懷 形同我們的過去
VI We have yet to know the future, and we have yet to know the past. Just like flames of red candles in the Chinese shrines are stuffed with barbarity and childhoods that have stripped each other of dialectics The presence is dissolved in struggles of the logic of time despite how they strain to scream The future is a crack formed when both the left and right sides of the cliff collapse There is no way to mend or to mind just like our past
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七
開始記得造夢 及造過的夢。心不禁交顫 閃現斷裂的細節,例如 腥臭。此樂土之美譽 之於蘋果、蟠桃,還是蜃樓? 一環建築精美的彩虹
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VII We start to remember to dream and remember the dreams we dreamed. We are trembling with fear Broken fragments flash in our mind, such as a fishy stench. On what is the reputation of this paradise based? Apples, Saturn peaches, or a mirage A rainbow of beautiful architecture
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2019 年 8 月寫於丹麥 Aarhus 特此鳴謝 ARos Aarhus Art Museum 及紐約 Flux Factory Written in Aarhus, Denmark in August 2019 Special thanks to ARoS Aarhus Art Museum, and Flux Factory, New York Voice & Verse | 聲 韻 | 107
果皮 鄭潔明 我沿著一圈一圈 凹凸與乾皺 懷想 你飽滿豐潤的時候 你乘風盪向艷陽 在半空輾碎光芒 濃香捕獵蜂鳥的嘴爪 枝葉拋出忐忑的魚竿 而你只把柔軟 深藏 直至掌心的溫度 令你脫去橫梗 往下墮 容讓指尖的鋒利 挖破高傲的皮囊 任烈日烤烘 蒼白的恐惶 你終於嗅到 淡淡幽香 當你高掛在 霉爛的木門後
腸粉 鄭潔明 你總是把蒼白 捲起 無人問你 如何被磨碎灌水再拌成漿 如何在淚光中變了模樣 他們只關心鐵蓋下 是鮮蝦腸牛肉腸還是炸兩 你仍舊抱緊託付 像守護胎兒一樣 更廉價的 是街邊的齋腸 十元八塊 足以把你剪碎 散落黏膩的油紙裏 圈圈年輪 無人細賞 你默然背起殘肢 在竹箭下 吐納香甜和油亮
黑與白 盧卓倫 這個世界裏 原沒有黑與白之分 只有真實 然而 在許多人眼中 這份真實 又是一份黑暗 如此 在眾人面前 他們便可以成為 不折不扣的白 108 | 聲 韻 | Voice & Verse
寧靜的午睡 吳予文 山是沉穩內斂的 海是放任不羈的 風吹過,窗簾在飄動 擾亂了空氣的節奏 (你翻過身來,重新調整了熟睡的鼻息。) 淅瀝的雨下著,天更灰了 雲霧聚散, 商討著吞噬山頭的計劃 但不要緊, 房間裏亮著小黃燈
密林 鄭詠詩
斑馬 鄭詠詩
一把扣針扣住整座森林的樹冠 蟬翼的語言徹夜關乎痛癢 過於喧囂;但「過於喧囂」 睡前故事壓縮成靜音 孩子疲倦,失眠的孩子勉強入睡 夢裏徒步而遠,而迷途 只有霧,細細揣摩後來的企圖 目的地不詳 你沒有來,後來也沒有守候 孩子只有沿途聽異地故事 解讀蟬鳴;誤鳴,哭泣 「我們並沒情節, 只有自己的醒來」,總是 掌心攤開空洞 假裝吐煙,裝作不在乎 其時還不清楚有多麼期待被故事拋棄 一轉身,便是荒原,繞路而返 —— 從前,林間密合 並沒過多吵鬧和繁華 繁花未命名,你尚未誕生 季風趨向自由
日子持續,我們循規蹈矩 年之將盡,我們充滿盼待 且不誠實地許願 —— 日子規矩地重來,折斷的 重新銳利且尖銳地 努力描模 曾經的魯鈍 可能嗎,要是尋回 當初丟失的輪廓;我們沿街 點指熟悉光景以喚回 然而你閃爍目光,彷彿說 忘掉,在最初, 或此刻,就好。 —— 我只是擁有拿起筆桿的天分 塗畫一隻黑色的馬 與一隻白色的,偶遇如陌路 在各自霧裏踅摸 度日如日。
夜深
Plan B
千雲 穿梭,星空不停站 靈感於尼古丁之間針灸 就一剎那,塗鴉亂世 生活已碎,在膠囊 震動,震動 聽,風是不會說話的 流浪,流浪在說話 夢幻如佈景 在尋找來源的眼睛
吳耀宗 她說服自己 天堂給她預留了個金盆 盛滿朵朵白雲,可以把生前遭受的 罵名穢語搓浣乾淨 她也說服自己 要兩手準備,比魔鬼殘暴 先擊碎所有的膝蓋 下到地獄時只有她可以站著喊痛求饒 Voice & Verse | 聲 韻 | 109
阿伯的炮子 今文 無論先手或後手 阿伯都會炮架中路鎮或守 對於那些半桶水的老人棋手 阿伯是一個象棋高手 在晚年的棋盤上 阿伯的炮子亂射 直至滴不出炮彈 一盤棋後棋手和旁人 都會如炮聲般哄哄大笑 當夜幕漸漸降臨 阿伯站在垃圾桶旁 等待阿婆在垃圾桶挖出汽水罐 然後站在垃圾桶旁 拉開褲鏈挖出自己的炮子 炮子如一條水蛇吐出如炮彈的水後 阿伯縮了縮他的炮子 用手用力搖了搖蛇頭 阿伯的炮子終於滴出 最後幾滴的炮彈
家保 彭顯舜 藤條 燙印在 皮膚時, 維多利亞港 的海水 慢慢 往兩邊泛起。 地殼的震動迎來拍岸的一刻,翻天巨浪 湧入了軟弱的頭顱。肺裏積存的火山 響起了廚房裏水煲憤怒的抗議。 在床上嘗試閉上眼睛 滿腦子都是腹中嬰兒的哭聲 與老人、路人的瑟縮一角。 大開眼界, 迴蕩的是再不能平靜的風火山林。 110 | 聲 韻 | Voice & Verse
走鬼阿婆 今文 天剛亮,將口罩拉落下巴的阿婆 站在商場門口吃一個菠蘿包 她放一張凳子佔據一個攤位 佔據一朝天光墟的走鬼檔 每次一百幾十元不願過伸手的綜援 我上班急匆匆路過攤位 看見一堆鮮艷平整的童裝 是阿婆從衣物回收箱弄出來的舊衣服 那一對對半新舊的名牌運動鞋 阿婆不嫌棄撿拾過氣的潮流 透明電飯煲蓋看見煲膽有厚厚的飯焦 彷彿都市人隨處見到的都是焦慮 我每次路過走鬼阿婆的攤位 必瞟一眼那些令眼球發光的裸體光碟 裸體光碟二十年前是好價錢 現在智能手機看身體任何部位全都免費 就如每天陽光瀟瀟脫脫全都免費 戴半個口罩的走鬼阿婆 半個菠蘿包還咬在口,一眼關七 食環處人員在馬路轉彎處急速下車 食環造世界,走鬼走得快 阿婆趕緊戴好半個口罩 飛快跑回自己的攤位 一口咀嚼半個菠蘿包 一手拖起躺在地下的膠布 像拖著遺留在社會底層的 一個爛攤子
重讀默溫 莊元生 剛逝去的美國詩人 老年時寫信給千年前 蘇東坡永遠不解的提問 人生最後落腳在何處? 最終也許只是飛鴻夢中 不辨方向的東西 雪地上指爪瞬間無痕 黑夜漸漸來臨 再古老的問題 也許只是 沉默中乍聽驚雷 冷眼裏凝視宇宙 脈脈星河的溫暖 註: 默 溫〈 給 蘇 東 坡 的 信 〉, 鍾 國 強 先 生 譯, 刊 於 第 47 期《聲韻詩刊》。詩中寫道:「差不多千年以後/我問著 相同的問題」,但是默溫詩中沒有註明是蘇東坡哪首作品 的提問,詩裏面寫到「什麼也不曾改變除了它們」等句, 譯者鍾先生以為跟《前赤壁賦》變與不變的答問有關,最 初我也是這樣想,但細想《前赤壁賦》中提問是蘇東坡朋 友,而他是解答者。再者詩中又寫到「老去的事情」以及 「水鳥」,我猜想可能這一首詩的關係最密切。 「人生到處知何似?恰似飛鴻踏雪泥,泥上偶然留指 爪,鴻飛那復計東西。老僧已死成新塔,壞壁無由見舊題, 往日崎嶇還記否,路長人困蹇驢嘶。」 這 首 詩 是 蘇 東 坡 早 年 的 作 品, 當 時 他 初 入 官 場, 已 對人生前路充滿疑問,寫過這首詩之後,他在官場上不斷 被貶謫,最遠貶到海南島,世態炎涼,人生虛幻,及身體 驗,因而持續寫出「世事一場大夢,人生幾度秋涼?夜來 風 葉 已 鳴 廊 。 看 取 眉 頭 鬢 上。」、「 人 生 如 夢, 一 樽 還 酹江月。」等等句子,也許正是默溫的詩句「你曾問過的 你持續發現/自己不斷回返就好像/什麼也不曾改變除了 它們」,也許世事一場大夢,只是默溫的詩句「你在你的 河川上那是/水鳥夢中的一片明亮」。究竟莊周夢蝶?還 是蝶夢莊周?千年不解的提問。夢中解夢,沉默而溫暖, 默溫給千年前的蘇東坡寫信,給千年後備嚐人生如夢的人 們,而他與蘇東坡都已經不在了。
佔領現場 莊元生 坐在橋上,直至 黃昏完全沒入,薄暗 從最遠的明星在東方亮起 我們才開始動身離開 你問我那年炎夏佔領舊事 我沒有仰天苦笑,只有 低頭,望著腳踏實地 滾燙的柏油路 面前一條軟化的舌頭 互相言語傷害 官員們說話句句如刺,荊棘叢裏 激起油鑊裏的眾生,皆苦 在畜牲道裏,翻滾 在警棍與謊言之間 無限輪迴
冷熱之間 莊元生 昨晚新聞,茶餐廳 電視熱播著 少年聚眾圍堵,警察總部 吃午飯的中年人 吐出魚骨的殘渣,之後 高呼,無法無天 今日圖書館,炎熱下午 一個又一個老年人 在空的報架前忍耐,再忍耐 輪候焦躁,不安等待 接力,搶讀別人手上的報紙 急不及待要知道 充滿虛假的新聞 外面世界,烈日 當空,公立圖書館裏面 有讓人背上一涼 小確幸的冷氣 Voice & Verse | 聲 韻 | 111
就是 區聞海 暴力就是暴力 譴責就是譴責 這有些道理 錯就是錯 把暴力說成其他事情就是美化 社論就是社論 教條就是教條 把其他事情說成暴力就是醜化 這也有些道理 是就是是 非就是非 是其是不是完全支持 非其非不是全不支持 可是他們說,支持就是支持 不是完全支持就不是支持 理解怎能不是完全理解 原諒怎能不是完全原諒 是,是 世界不能黑白不分 可是,可是 世界常是黑白不分 大人問,世界成了什麼世界 小人說,世界就是我們的世界 我說,病就是病 有病就是有病 痛就是痛 不痛就是不痛 不痛不癢就是不痛不癢 如是就是如是
112 | 聲 韻 | Voice & Verse
黑色膠卷 冬莉 橘色的山柳蘭掛滿了心房 芭蕾舞者的圓裙覆蓋一片草地 花長得又日漸囂張 想起你專注的眼光 用鉛筆測試足尖方向 一身裹了柔軟的唇色 循環著情景肆意旋轉 金色畫框展示深蔚藍的牆 眼前風景也染成了白 讓文字蒸發成雨落入特納莉芙海 轉身時,海豚發出音域外的哀傷 可惜你不在,卻一直存在 等到白雪覆蓋青苔 街燈也放低姿態 夏日裏摸索鷹之草 多少語言埋於盆栽 理想國浮起不同顏色的雨傘 世界只剩下你的肩膀 紅寶石已壓在我心上 風為慈悲引路 年少如雨 淅瀝不肯去 那夜我把黑色膠卷投入深海 希望水給予庇護抱它入懷
女友的桃 曾繁裕 妳的桃不是妳的 桃夫種的妳買的 在我口中的 溫室噴湧 水與蜜蒸騰 如螢火蟲閃逝 無法帶妳嚐的風景 已在妳的過去 眼前無核 掛念妳的手指 像軟豆 透明甲油是掉色的 寧願無桃只有空枝 無鳥有巢 粉紅的隱喻有愛 無過分玩笑 帕魯海堤日落了 遠方的妳有湖 煤石有迴聲 牛津街無聊踱步了 葉展有時 擁抱暫時的副作用 如那些萎謝的繡球與菊 妳有時落葉 萬物下沉
日落 水盈 沒落的太陽 觀照著周而復始地犯罪的人 晚霞洗劫天空 好像人們一錯再錯 是為了夥同晚霞進行洗劫 和見證日復日 沒落的太陽
如初 曾繁裕 時間如玉 黑煙霧 黑色的懶惰 威權的黑 綻放綠光的鳥 滲紅的椏枝 削肢者寫日記 以黑筆夾飯 顆粒上的大國 崛起 方言和歧見和憤怒 烤煉與重鑄 曾經無事 然後藏於枕底 掙開牙齒也是 紅的 牙齒是白的 白謊言 從來不是白的 革命的畫板 混色如屎 風雲間 鳥不為五彩所感 牠飛過的藍天不傷 記得和平時代 灰色安好綠色安好
茶漬 水盈 茶漬的停留 要是沒有給厭惡 便一直耽擱 在杯底以殘念存在 等待下輪茶葉的嬝繞 勾起那苦澀的記憶
Voice & Verse | 聲 韻 | 113
污染 吳見英 空氣漂上一層白霧,途人 戴上防毒口罩遮擋塵埃 與笑容,你們沒能在颱風前夕 地盤轟出點點沙塵時,察看 彼此臉上的弧度。學會 把抒情的必要埋藏急速步履 踏上機艙踏上高鐵便往他鄉 吸一口清新空氣,適應水土 用鏡頭攝下一巒山丘,留待明天 冬晨掙脫被窩的動力,作記憶 掃閱品嚐旅遊的餘味。旅遊巴上 你習慣打盹於漫長公路,導遊 喋喋哼出了悶響,生活像頭顱 似墜未墜,然後撞上車窗 便離開假日的夢。並肩的 OL 橫睨你要檢點睡相,微張的嘴縫 吸入過多的怨語,你拔出耳機 威利的陽光空氣完了又播 其實陽光空氣原是平均給你 —— 你 緊握扶手回到陸上,對面豪宅 地基還未打好,白霧籠罩地產廣告 顯得像仙境,縹緲。你掏出口罩遮擋 揚起的塵埃,你的倦容
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夕照 吳見英 夕照穿過大廈的夾縫 對街的路人都染了光,綠燈閃爍 便停下來,或跺著碎步急急走過 駐足迴旋樓梯時,便想起童年 黃昏,消耗在迴旋梯深邃的洞 仰望,幻想何時踏足天國 的階梯。卻未曾想過要 踏足大廈的平台,課後總有 孩子奔跑,笑聲沿梯迴旋而下 躍進水池,蕩起輕快的餘波 而池已然枯萎,池底 石卵乾燥起沙,彷彿等候雨 和風濕起繭的腳掌將其 踐踏,刺激遲鈍的經絡 水管便昂然勃起,擎立乾涸的池 顯得更高了,但泉水還未噴湧 向晚的公共屋邨最適合寫詩 只當蚊子沒有吹漲指骨的縫 惠康職員沒有從收銀處推出 一隊購物車,蠕動入口睡眠 輪子在起伏的地磚擊出碰響 樓上更多的鐵閘關上,鐵片鏗鏘 裏面的老人又沉默了一天,終究 願意開燈,疑慮驅散 如冷氣把一室溫熱排泄窗外,窗外 夕照也朝迴旋梯向下走,火光虛弱 蚊香始終蜿蜒,大廈外牆的方格 逐一點亮,偶有黑暗的漏孔 哀悼脫落的牙齒,螢火蟲 潛入信箱,褪色的樓層編號 放光,照亮 許多個廉價的故事
沒有飲管的日子 劉安廉 已經開始習慣 沒有飲管的日子 近乎完全牢閉的封蓋 恍如某項重大議題 必須長期置頂 但若要把它挪開 亦只屬舉手之勞 杯中盛載什麼 可樂凍啡或是果茶 還可以有更多選擇 首先觸碰上唇 一塊始終清冷的浮冰 傲勝寒霜並且永不沉落 由指掌溫暖杯沿的水滴 則比額上汗珠晶瑩純淨 你逐漸體會到冰層下 水域淵厚與否 跟呼吸吐吮不再相關 確是欠了一根飲管 供你隨心攪拌 自淺而深的滋味 反而直接易嚐 搖搖晃晃在路上擺渡 深刻過後即將歸於淺淡 半冰的凍飲或半稀的冰水 烈日在等待最後的仰首
極北 村正 我們背著自己的棺木 在優悒的平原上行走 只有影子壓彎了腰 其他事物,只分為親近泥土 與厭惡礫石兩類 我們正在硬化的心房 為此害怕悲喜交集的瞬間 小島上空閃現了雷霆 一種靜謐的爆炸離我們那麼遠 以致綿長的跨海大橋 排斥所有退化的組織 還有長歎 巨大鯨魚骨在博物館裏崩裂之前 一直嘗試連接過往悲傷的記憶 而我們的神經 似乎早已奔向脊骨的尾椎 聽北方 雪花遙遙地飄落 我們默讀心跳 彷彿要倒數自己 將在千里之外 被棺木壓倒在雪地上
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雪人 黃凱怡 請告訴我, 一個我從未聽過的故事, 除了那些只為了兒童出生的童話, 它,誕生於這個願望, 並且有一個神秘的名字, 雪人,對大人來說, 是一個不尋常的術語。 我不必問你,是否知道它, 我應該問,如何在家裏堆雪人? 或者,雪人如何游泳? 兩團白色衣服,疊在一起, 它學會了站立, 卻不會像孩子一樣上學, 或者,和父母一起上班。 每一個晴天,我們在廚房翻炒 一碟藥丸,顏色堆積得很厚, 色彩斑斕的齟齬和摩擦, 對於陽光,我失去了應有的警惕, 這個習慣會讓我失去它, 似乎是毫無疑問。 雪人收集了多餘的藥瓶, 栽種在陽台,等待冬天的屍體發芽, 想象它,被無意中聽到, 隔著公屋密密匝匝的縫隙,追逐 孩子似的呼喊,在自己以外尋找 音高的一躍。 雪人去了哪裏? 當它離開,並走得當之無愧的時候, 我們有一個生命,難以管理, 雪人,就像它不復存在那樣, 當你把病態的生活灌溉在自己身上時, 便無法弄清楚你是如何控制 已長大成人的存在,從醫學的角度, 失去控制並不意味著結束。 於是,我們遇到了麻煩, 到底雪人在哪裏離開冬天? 至今它還是無法說清的完整, 除此以外,我知道的並不比你多。
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親愛的 黃凱怡 背著你 我懷抱一個秘密, 當上帝剛好坐在我身旁 邊晃邊聽,我準備好 以更為放鬆的姿態, 用比安撫情人更輕的口吻, 坦白它的模樣。 親愛的 詩就是被男人強吻過的 每一個詞,圍著所有帶刺的記憶 繞圈,反覆,跳躍, 直到聽見,睡在它的深處 燃燒得 噼 啪 作響的 那個瞬間。 我點煙 來自走在薄荷漩渦中的少年 借火的名義,遞到我手中 讓人眉眼低垂的霧,一種緩慢 你來我往的節奏,像跪在菩薩跟前 貪得無厭的香客 以煙續命。 時間在 蘭桂坊凌晨三點 用數字說話,這不眠的夜 突然被放大,你的名字 已靜音,旋轉起來的我和我們 在微苦的氣泡裏 竭澤而漁。
下午在中環某處 邱嘉榮 今天還沒有下雨 天氣依舊很燜焗 群鳥飛過裸露發黃的水管 陷在現代裏的玻璃 逐面 逐面反映著 與天氣絕緣的金屬體大廈 有個人跑出來 有時 不只一個 立在坐在升沉不斷的水柱旁 忘了為吸入 還是吐出煙霧而用力 在呼吸 不遠處發出了鋼材和石屎地的碰撞 這裏就散落一地人聲 談話很吵雜但 總是有氣無力 自人學懂了生活 從此香煙 便充當成夢的義肢
耳鳴 邱嘉榮 一段不知是重複 抑或是連續的聲音 有時左耳先播放 有時是右耳 經過改良的火車 依舊裝滿浮躁 你有沒有買煙 只買了一包萬寶路 倘若不夠 就買大陸煙什麼芙蓉王 像討論日夜 來自喉嚨發出 的清濁 沒有雨的山谷 遠近中煙霧籠罩 是一種倉猝嗎 沒有預備的冷靜讓人逐個 逐個 跑進耳蝸爆出陣陣聲和影 還是側身睡眠的傾斜 耳室 注滿忘了分泌的淚水 迴盪著 不分輕重的敲鑿 你沒有再往下說 我說 我知道 你在耳邊親了一個 模糊的吻 沒有重複 沒有連續 我不辨左右 火車響著 如蟬鳴般的脫口而出 我知道 從左至右 一聲 緊接著一聲
閪 曾魂 兵分多路,披上星夜的人 示威過後和誤進月台 門徒舉臂恫嚇 來襲城籍的恐慌症 天文學家、醫生和詩人觀測不出來 這場正義的精神病,這趟不歸路 血只能是地圖 只能是你們的膚色 「這迷路園怎麼這麼難出去?」 「祂忘了回覆我出口在哪。」 —— 這裏,未被兌現的天問。 肥壯的直升機旋轉禿頭的十字架 聚焦長髮飛散的肩骨 一灘消瘦地拒絕露臉和背上發紫的陰影 很多鏡頭像喪鐘敲碎 「那個上帝⋯⋯ 到 底犯了什麼病,」 周而復始的呼告,是你彌留的眼睛: 「衪瞎了吧!」 正義逃著,夜捕著。一拳懷傘, 一掌掩護眼睛 沒有諭示牧領你們的路 你們合眾同時是「一」 孤立而依,熠熠泣泣的一道誓願 四小時、五十年,比朝代更久 關乎維護那胚胎出生的 亡命之旅 園外諸國圍觀如聯結的星系 頻頻湊合聲明逼近 隱約地數不盡的戰艦 為了拯救或,重建 是否洗牌再重新發出讓政權棒打的牌 活著唯一的辦法 是否尋找葬身之處 如炬的隱喻來自恐懼 恐懼來自光芒萬丈 來自逃脫的入口 蔓生的圍牆愈來愈緊 煙尚未散,火花像標本 畢竟在尋找解讀的來源
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於漫長的夜裏行走 麥敬暉
迷霧
在陌生的城市上觀星
凌晨的斜坡道上 正傾流著石硤尾邨民的夢 記憶如散爛的河流 流水止於一瞬片段無法提取 經過一整夜 它們將被發酵成浮霧 然後散失。
仰望上高從不是驚喜的景象 我們都居在牛仔褲裏頭的暗鄉 穿開的褲洞從不引入一點星光 走進的反而是不明的煙霧
畢業習作 疲倦長出爪子勾扯後背 在無故的夜裏我們努力 行走,鉛筆在原稿紙上斜晃地行走 字粒在眼睛裏溶解 在初晨時為樹皮塗上一層甘露 當鉛墨沉浸在久遠的淚水時 紙上生澀的符號竟突然讀懂 在比我跑得還要快的終點前 遠眺日子已揮發成熟唸的歌謠 在空白的森林裏繼續播種 一邊蒸發一邊行寫 在殘缺的小說裏 掌紋或可帶走一點鉛灰
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兒時在他鄉看過燦爛的星空 在那風居住的草原上 在那頂角破洞的灶房裏 星光沿著裂縫流入眼簾 漫不經意的,填滿我的童年 當時我悄悄撿拾星屑 欲把它們吞下 暗自祈禱,一天我終將成為星光 我內心地觀望 撥開雲霧的一刻 深藍還是依舊的深藍 但我發現點點星光冒起 就在陌生的城市裏 有一萬顆和我發著一樣的光 原來星空早就瀉落大地 讓我們撿拾 然後吞下
四季以外的常綠季節 麥敬暉
鉛雪在六月悲壯的雨內穿梭 它們有些被強風壓扁、吹乾 有些被頻急的雨腳踩死 大部分都活不過一場順利的跳傘 所以天空才顯得灰濛 所以氣溫才有點濕冷
後來,葉開始長出支幹 在爬不出外的巨壁上長出一棵大樹 樹一直延伸,長出千百附肢 按著牆的脊髓延伸 一棵假裝不倒的梧桐樹 以巨壁的高度遮蔽城
罡風似乎早已與雪花協定 將離散化滅的身體凝固於半空 織成眼前灰白的高幕 然後悄悄地 把這座城市淹沒
巨壁上太陽的邊陲 以下墜的幻覺沉浸我們於陰影中 正當知覺續漸被麻痺時 雨又帶著雪哀來了 循環不息 彷彿踏進不明的島鄉 經歷不曾出現的四季以外的常綠季節
失時的我坐落在牆壁沿落的木椅上 與浮泛的日光一起徘徊 牆紋之間 零餘的雨絲降落在我的頭上 以踮足的力,滑進毛囊 把悲哀的絮語以結束的方式 傳遞 我說,葉子與牆 本應有著無數的隔閡 何以在這季雨綿延的日子裏 持續地照耀 牆下的人 看牆似是一處遙遠的他方。 葉子把人們的夢想都黏在牆上 以作夢的力氣攀爬 牆仍是如此高聳 牆頂與黑目的距離 仍然一致 世界可曾被隔在牆壁的後方?
Voice & Verse | 聲 韻 | 119
抗爭色譜 洛楓 1 - 黑影 當我無法穿越牆壁 便用自己的黑影鑿出 城市被消失的輪廓 時間被出賣的邊界 無懼怕走入微塵 當我移動 without a shadow of doubt 影子就是本體 不撤不散 2 - 白光 惡夢被閃電鞭打一個黑洞 城市儲夠傾盆的催淚 清洗呼吸道過期的毒素 沒有人亮起失眠的燈 我們的眼窩是自己的深淵 以眼還眼 一眼凝視 一眼痛擊 3 - 藍絲 看著直播你突然哈哈大笑 說遊行的雨傘像大媽的救生圈 Full Gear 裝束不適合肥胖 想將那啃著屍蟲和菠蘿包的嘴巴 打成一抹蚊子血 才發現原來 你是藍血人 4 - 透視 這個炎夏的肚腹 用腳踩出許多鞋印 身體的通風系統 搧開城市閉塞的心肺血管 有人躲在 TVB 的妖蔽空間 吃掉自己的內臟 有人用頭顱和皮膚的碎裂 吞下警棍和橡膠子彈 我們已經不是原來的那副容貌了
120 | 聲 韻 | Voice & Verse
脆皮西多士 蕭欣浩 一刀切下去就能明白 聲音循耳蝸告訴你 決斷與分明的特徵 與別不同並不只是一句口號 麵糰溫潤發福了體態 外表厚韌在烘烤中催生 成長帶來風霜不斷 乾燥是無從規避的事實 誰羨慕瓦片般完整 何不灑落麵包碎屑 下一代繼承老舊的麵種 模具中逐漸造就不同模樣 粉身在外包裹家族核心 秘辛終歸累積出滋味 香港賦予親子的新定義 滾油以熱情加持表裏不一 糖漿泛濫成流川 融化牛油堆擠的雪山 四位兄弟已經準備就緒 奶茶還在冒出縷縷輕煙
九月 嚴瀚欽 還是九月,我們從熾熱的街上歸來 乘坐如常僵硬的鐵廂如是升降 偶爾定格,如棺 如朽木將生命刻意封起 昨夜折斷的骨架已經傴僂 懸置高空,像雨 吐納輕如自己的雲霧 另一隻手不時介入夢中 玩轉火車行走的軌跡 然後在大門開啟的瞬間轉換臉色 倉皇應對索然的面孔 我們終究走不出昨夜的那滴血 歲月無法恆久溫柔 桌上的水杯也有突然傾瀉的可能 我們總在某些停電的晚上 想起房間如何定義睡眠的形狀 持續生長的藤蔓如何捆綁夜色 那一年我們把睡眠丟失 遇鬼的故事在耳蝸不斷生長 曾也戲謔,鬼火不過是駭人的表象,在北方 以為沉澱多年的粉末不會再度揚起 直至你我撕下面罩,看到泣血的彼此 窗外,許多人從高樓墜落 落地之前紛紛折斷雙腳 我們也將在空氣耗盡前把夢拾起 或者閉眼,就此老去
勇 賴泓豪 在子彈間腳步蹣跚地 提起雨傘 穿過硝煙 撿起正散發權力的彈頭 往還飄著白煙的槍口 徒手回擲過去 以棍傷的極痛 用化學品的灼辣 激憤更多的力量,用手 朝一道用盾築成的高牆 掉回去 試圖撞起一聲微響 卻激起更多報復的炮響 浮城正被毒霧升起 街道渠隙排不走陣陣血腥 街燈配合牠們紛紛熄滅 有更多的淚水 被迫藏到混凝土底下 在黎明到來前,務必要 抹乾、抹淨、抹走 要把自己完全蒙罩在光明外 要尋找黑色的庇護 而導致黑眼睛滲淚的源頭 卻還在瘋狂燃點 於是便擊碎鏡頭和玻璃 讓自由散滿一地 於是便點一把火 享受一剎和暖的光 於是便掘起了磚 把前途與將來 通通拋棄過去
Voice & Verse | 聲 韻 | 121
浮板的奇異旅程 伍慧儀 今年盛夏 我以為會像以往的熱暑一樣 承載你兒女的重量 浮沉於泳池和海灘 孩子們踢腳濺起水花的聲音 他們銀鈴似的歡呼 喧鬧著的人群笑語 空氣中有熟悉的氯氣 天空偶或蕩著雲朵 今年盛夏 七月的某個黑夜 我從瀝源邨家中飛墜 曾有那麼一剎那 我以為自己在滑翔 從十四樓到地面的距離 原來這樣近 一點痛也沒有 瞬間 一個年輕人抱緊我奔跑 無數人奔跑 我可以承載他們嗎? 我聽不懂喧鬧的人群在呼喊著什麼 空氣中有陌生的味道 孩子們戴著泳鏡 卻不是在泅泳 他們後退 他們前進 他們四散 他們匯聚 成川 成河 成湖泊 成汪洋 突然 我升起 迎來的不是太陽 是一下一下連環的重擊 鹽花震裂出紅色的葉脈 一點痛也沒有 我可以承載著他們 浮起 這正下沉的島嶼嗎?
122 | 聲 韻 | Voice & Verse
一個向後的鏡頭 張朴 一顆兩顆淚向著大地在爆 尖叫和吶喊同時淹沒鏡頭 鎂光燈撥不開那些冒起的巨人 它們灰黑色的胃口 吞吃著馬路上的呼吸和窗口 鐵馬和盾牌的距離 迅速收窄,或者擴大 好像一排潮水壓過另一排 雙雙推向岸邊擱淺 白燈如流星,織不出屏障 至多能快如消失的槍響 卻誰也沒能瞄準橫飛的彈殼 那個高像素的鏡頭 雖然舉起了一張記者證 還是沿著這段歷史不斷向後
交錯 夏簷 你為何回來? 在尋找什麼? 這裏已沒有墨綠色的長椅 假菩提樹已被颱風吹倒 湖邊的圍欄已斑駁掉色 分為西南兩湖 城區是吸引遊客 人工的石板路 我沿岸邊走著 風隨皺褶的湖面 搖晃高聳的假菩提枝葉 為人煙稀少的沙石道路 奏起鈴聲 對外偶然滑過搖曳的舢舨 光著身子的船家撒開漁網 在空中劃出一道弧線 陽光照得水點閃亮 你身邊不時駛過 巴士 跑車 電單車 在拐彎處飛馳又消失 地盤打樁聲此起彼落 背包客三三兩兩 在歐陸式情懷的背景 自拍留影 我坐在墨綠的長椅 耹聽風的聲音 在寧靜的下午 於身後建築出入的葡萄牙人 投下奇怪的目光 卻禮貌地點頭示好 叫停挑著扁擔的婦人 目光所向的遠處 穿透時間 倒映我獨走的身影
洋梨 —— 致 Mary Nazareth 周漢輝 宇宙當中有一袋子 洋梨,梨身多有瘀痕 像釘子拔出處,傷口 發黑 —— 大使命成了 基督倒在馬利亞的 衣襟上,匆匆二千餘年 現在我們自以為充當 一個個微小的神,各自 把玩股掌上的小世界 像那些洋梨,由馬利 在上週的週末市集帶來 我們進出旅館的交誼廳 閱讀寫作聊天喝酒發獃 皆像時間的釘痕,刺透 果肉,而馬利推移刀鋒 削皮與去腐間,也分發 我們的郵件與網購貨箱 替我們清洗匙叉碗碟 包紮、丟棄廚餘垃圾 採摘新鮮菊花送予我們 端來一片片梨肉,我 咀嚼著,馬利應答著: 她生於坦桑尼亞,丈夫 教授文學而現已退休 孫兒在維珍尼亞上大學 她服務國際寫作計劃 二十多年,駐留於 二十多幀年度合照中 活像宇宙當中有一棵樹 結有二十多枚,不 更多的洋梨,梨核裏 緊裹著她為我削梨的早上
Voice & Verse | 聲 韻 | 123
迷路時沒有分叉口 黃毛 第一間房/
第二間房/
黃色牆紙 彈簧牀 土色棉袒露 手太粗糙 摸不出軟硬 站起來 頭撞天花板 又倒下了 可能是脖子太長 伸不直
unfold their tongues and follow the pattern of galaxy, it does become the milk river while the two old men cradling them in blindness, so tenderly had the air moved as the oil painting is framed into the wall
廚房/
廁所/ 水槽不見底 紅色吊燈 滑板車 在櫥櫃門前 木百葉窗 蹲下窺視 沒有用的鐵碗 姥姥買的 但沒有人煮飯 魚已劏 熟了米粒 以為 按鈕忘往下 原來我們一直存於保溫 走廊/ 出門 為什麼要戴胸罩 不想穿鞋 但外地髒 不想笑 但外人涼 還是不出門 不能拒絕出門 不然 通道沒有意義
124 | 聲 韻 | Voice & Verse
我向自己鞠躬 頭浸大海 1624 /電梯編號 此詩落筆時 表示已收到求救訊息 請耐心等待救援 IT INDICATES YOUR EMERGENCY CALL HAS ALREADY BEEN RECEIVED PLEASE BE PATIENT AND WAIT FOR THE RESCUE 一路易死 遊戲開始
裹屍布 李顥謙 我把皮肉像被鋪一樣拉扯出來,涼涼地 蓋在一輛準備流亡的靈車之上。 都靈的老音從樹梢傳來 你牽著一隻老馬,滑過沙漏裏的光線。 點祭視線的人,緩緩地睡醒 枯萎的精油,被冷冷怔住。 荒原由你開出 停止流動的廢河,再度被羅盤絞壞。 躡起一把聖火吧 揚手以後,我保證你翻出的 不會是自己淚裏的泥沙。
鬼火 李顥謙 星屑落在火海裏的一角 滿城荒暗,都如野草恣意地燃燒 我把臉烘往夜中心的你 愈往內看 愈肯定你的眼睛 扭曲如陀螺 死神在腳下,抽搐如弧形 一雙手將我們拉下去 —— 在鉛一般的宇宙裏 你咬著冰塊 模仿鐮刀的霍霍隆聲
八一八維園集會 (擬宮澤賢治〈不輸給雨〉) 鄭政恆 有雨 有風 但我們不會輸 從來沒有雪 時而有夏天的酷熱 我們以強健的身軀站立 只有民主的訴求 怒氣藏在手指縫 淡然微笑 關心前線有沒有錢吃飯 喝足夠的水 暫且不考慮自己 看網上言論聽時事評論嘗試了解 然後埋頭深思 在暴雨下的 維多利亞公園 若東邊有生病的人 就舉手示意 若西邊有疲累的人 就讓開空間一起坐下 若南邊有顫抖的人 就去告訴他不必害怕 若北邊有人挑釁 就告訴他們沒意義 算吧啦 對著手機流淚 街頭上年輕人四散奔走 被大家稱作勇武的抗爭者 不畏強權 也不顧自己的性命 我就是想成為 這樣的香港人
擁有了咒語 慾望也奔跑成野貂 整夜避雨的人,捧起了一個森林
Voice & Verse | 聲 韻 | 125
水馬之外 施勁超 一片被遮蔽的天空 天空之下 遍佈急欲被踩死的螻蟻 路邊的水馬被灌注充足的養分 有云:水能載舟 亦能覆舟 笨重的身軀立在一旁 —— 招財擋煞 地上的剪影映出刻意的任性 藍白相間的屏風 隔絕人類的本性 受辱的顏色 想起救護車的燈號在閃爍 擺風水局的陰謀, 請不要拆穿 就用水馬的數量判斷建築物的重要性 再不需要什麼評級制度 塑料袋豁免了昨日的徵費 用以包裹城市、徽號、電燈柱 於是我知道:今日的法規在明日 也會過期、生鏽和化灰 水炮車進駐 清洗街道的血跡(濕黏的清潔劑) 一圈圈水馬圍城 在鏡頭面前粉飾太平 舔食更豐富的狗糧(狗都曉得的道理) 一群沒有標記的犬隻被勞役 在另一片更遼闊的天空 奏起流浪者之歌
126 | 聲 韻 | Voice & Verse
街道上還是同樣喧囂 海綿彈嵌入 在貼近皮膚處 一層層倒下 影子散落在混凝土 成 爲 昨 日的碎片 刺鼻的煙霧在殘陽下高歌 地上一個個凹洞無法修補 建築工人在悲痛表面髹上油漆 磚塊被鑲在畫框 被命名為:暴動者 退化的犬隻 在夕陽之下 溫柔地強暴 每一個靈魂
我有時夢想 熒惑 我有時夢想 跟我走同一方向的人 永遠不會分岔 不會脫隊 直至最後 我們就算不知道對方的名字 也認得彼此的嗓音 我有時夢想 城市會還原到本來的樣子 那些磚瓦,牆壁和欄杆 記憶也是 傷口也是 死去的人也
我有時夢想 愈來愈多人走過來 一起歡呼,喊著口號前行 行走而忘掉時間 忘掉路途崎嶇 直至天色漸暗 身旁的人聲漸細 後來已經沒有人在路上了 我孑然走在星光下 喊著口號 夢想著走在佈滿回聲的夢裏 與死去的人一起等待黎明
最少忘記掉自己的死 就算他們不回來 決定了那邊的風景更好 有山,有海,有陽光和浪聲 就算他們不回來了 讓我們記住就好 不是名字是他們的夢 也就是── 我有時夢想 記憶與未來都一塵不染 我與沿路上的人逐一握手 與敵人和解 不寒暄也點一下頭 收拾散落一地的物品 抹乾淨直至還原地板的潔白 拆掉繃帶 裏面仍然是人的形狀 讓他們重新呼吸 重新笑
Voice & Verse | 聲 韻 | 127
讚頌 梁文鋒 時間梳擦去淡漠老留影 年代裏一頭烏黑有型的髮式 帶雙悅眉疏淺無痕 左拉唇上傾角 村落裏笑來無聲 歪斜的衣衫 側彎的樑脊 連串樂於撐起生計的骨節屈就成卑微 大大小小生長不良 毫不掩飾地舉步行走 高更樓旁震止池的風水 今浮棄剩默綠面 俶褪逝年彩金鱗 穿梭窄巷內呼吸混和糞溺的懨然 凝煉日常歡笑 每人健康 過瀝青路 嫰 條 躍試鑽探的氣味 依貼靜謐的一圈張力 平伏的水面下懷孕根源的泥土 妳的簡單淳樸 總把鋤犁把握在炙烤下的親力親為 不僅是象徵的慈善和藹 木頭尾巴是編織眾人聯袂的引線 那頂織帽延續上輩輕叩囪門的囑咐
回家 白水 像每個風暴前夜 總念回家 而聚攏路邊 成笨拙的貪食蛇 偷吃禁果 偷渡方舟 偷偷 揭開潘多拉的盒 祂縱未曾作態 但偷生 亦成共孽 颱颶捲至 潮湧遲遲未退 命裏起伏 曲線 終夷為同一水平 歸家的線索已蕩然無存 只能流水 地打圈 划水 並先蛻皮 瓦解的街道上 我等車 頹垣遍野 車何時到來
128 | 聲 韻 | Voice & Verse