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团体化写作与外来文化影响

10月21日上午,2016凤凰·鼓浪屿诗歌节第二天,主题为“团体化写作与外来文化影响”的诗歌国际论坛在鼓浪屿举行。诗人赵野,赵四,李少君,树才,博马娱乐城,李元胜,默默,韩庆成,廖伟棠,林于弘、黄冈、加拿大诗人洛尔娜·克罗奇(Lorna Crozier),英国诗人李道(Richard Bruns),印度汉学学者、诗人普利亚达西·,博马娱乐城;墨普德教学、韩国翻译家金泰成等人在论坛做出出色又有看法的讲话。论坛由诗人、翻译家、评论家汪剑?和诗人北塔掌管。

鼓浪屿领有“万国建造博览”佳誉,西方文化与东方文化交会于此,闽南文化与外来文化共融于此。“鼓浪屿女婿”林语堂自评“两脚踏货色文化,二心评宇宙文章”。于诗人而言,外来文化将若何影响团体写作?作为“世界人”的诗人,一方面不知疲倦地从本身文化中吸取营养,另一方面又无时不刻不领会着寰球化带来的“文化震动”,从而构成观点的抵触、抵触、变形、融会、增进,进而可能造成写作的自我改革。

黄冈

黄冈是祖父给我的名字,意在留念1949年以前的家乡。我诞生的故乡台湾,则是祖父硬在喉中的一口脓痰,既黏稠,又像吐不出来的满口乡愁。我带着这个充斥符旨的名字满山游走,迎接着我的年月、运气和宝岛台湾血浓于水。

我的山海在当代经济建立里的掉衡,在台风土石流里嗫嚅着苦楚;看到了绮丽原乡文明在公部分的挽救和疲软中喘成一条干涸的砂婆?溪。我也遇到了一些流落的人:猎人、吟游诗人、艺术家、亡命作家、甚至我自己的家人,他们的故事动听可以写成好多少本小说。

猎人阿鹏是我的好友人。阿鹏时常忘我地与我分享他的山林教训。25岁的他破志当猎人,住在先人的山中猎寮。可是阿鹏告知我,他要去台北开公车。「赚比拟多啦!」还有一个孩子要养的他,不能够无私地留在猎寮。我不由想像多年当前,我再度碰到他会是在台北的公车上,眼神不再焕发着光明,我可能只认得他眼角的疤。于是我发明,在今世社会立志成为一位猎人,跟成为一个诗人异样都是件难以开口的事,彷佛是个心中的小机密,因为一说出口便要面临「猎人/诗人能当饭吃吗」如许的成绩。

谢默斯.希尼(Seamus Heaney)说,诗是「雅致、哀伤和微乎其微的」。每一个深夜踅来的诗的跫音都让我如是感到。但诗人、作家的文字份量,是足以以撼动世界的。长年夜后才发现,每一个诗人的焦急都是他本人的,然而实质上,「诗人要对世界作出答复、对世界作出反映,这会使他成为一个负义务的诗人」。希尼为我作了最好的解释:咱们不必想像着转变世界,但是却可以做一个对自己、对社会担任任的诗人。

写作的这段时光,陌头活动、青年、中产阶层的郁闷都在岛屿中闷烧,与水柱激射成更袄热的亚寒带。我连续关注,并持续书写,越写越烧,并逐步感触这世界上不所谓「文学」这件事。文字成其为学识,是因为生涯,是因为饥饿,是由于渴。肚子里的渴,灵魂的渴。就犹如阿尔代什峡谷中的壁画,是上前人类歌唱饥饿的佳构,于是一只手涂驯鹿便成为了艺术;而存眷乡野间的灭亡,把祭辞谱成九歌就成为了经典。对于诗的价值,希尼举罗伯特.弗斯特(Robert Frost)对于诗的诠释为例:「有那么一刻,诗止住了凌乱」。希尼说,「止住」意谓着某种阻碍物,它只是半晌的,但毫不逊于留下一个地位,且为那一刻供给了某种次序。

我不克不及止住某种成见轻视,或一桩开辟案。但要成为一位走在?线上的猎人,和成为一位优良的诗人是等同艰苦。写作和打猎像把双面刃,对内讧神、麻烦、旷日费时;对外缺少经济效益、市场与商机。不外,两者的共通点,就是能止住人类世界某个时辰的混乱。猎人的瓮中鳖无法喂饱全部部落,但却抢救了千百万年人类的饥饿。我无奈藉由写作止住新自在主义的舒展,却能留住一个民族的精蕴。

游走部落,素来不无私所从何来。不管哪个平易近族,都在台湾行舟,都行舟到台湾。写作豢养了我的精力。渴望以文字的分量安慰一些魂灵,对生者,是祝愿跟祈愿;对于逝者,大约就是悼念与祭辞。

——节录自《是谁把部落切成两半?》后序

Writingon the Island——Lecture on Forum of the Kulangsu Poetry Festival 2016  

Huang Gang

I was namedby my grandfather after my hometown before my family went to Taiwan in 1949. Iwas born in Taiwan, a place like a bit of phlegm in the throat of my nostalgicgrandfather, viscous and sticky. The name loaded with implications follows meeverywhere, embraces my era, destiny, and merge with my new hometown, Taiwan.

My hometownhas become imbalanced in today’s economic development and suffered from thedisasters of typhoon and mudslide. At the same time, I witnessed that themagnificent culture of my hometown was turned into an inanimate misery underthe so-called rescue of the public sector. I have also come across some roverssuch as hunters, bards, artists, exiled writers as well as my relatives whoseexperiences can support several novels.

Peng is myfriend who used to be a hunter. He generously shared his hunting experience inmountains with me. Peng determined to be a hunter at 25 and lived in hisancestors’ hut in mountains. However, he told me that he was going to be abus-driver in Taipei (to make more money). The reason was that he needed toraise his child and could not be so selfish to stay in the hut. I can’t helpimagining that the place where I met him many years later would be in the busin Taipei, and his eyes were no longer sparkling. And the scar in the corner ofhis eyes was the only feature that I could recognize him. Then, I found thatbeing a hunter is something embarrassing to tell others, just like being apoet. It is a secret in mind because once you utter it, you are bluntly facedwith the question whether it is possible to earn a living as a hunter, or poet.

As SeamusHeaney has put, poetry is elegant, dolorous and insignificant. And I believethat every poem written in the night will be just like that. However, the powerof poets’ and writers’ writing is great enough to vibrate the world. Only in mylater life did I find that the anxiety of every poet is caused by himself.However, in their essence, a poet must answer and react to the world, so as tobe a conscientious being. Heaney has given me the most appropriate explanation:we don’t need to imagine to change the world and what we can do is to be a poetwho is responsible for himself and the society.

When I amengaged in writing, the depression of the street youths, the middle class isboiling on the island. This depression, together with spout contributes to thehot semi-tropical land. I continuously pay attention to this emotion and carryon with my writing. However, the more I write, the more terrible the situationis, and I increasingly feel that there isn’t the so called literature in theworld. Writing is regarded as literature because of life, hunger and thirst.Just as the frescos in the Gorges de l’Ardeche, they are the masterpieces toextol hunger by ancient people. As a result, a reindeer painted by human handsis art and the Chu-ci poem Nine Songs derivedfrom the author’s concern of death and sacrifice ceremonies is a literalclassic. In light of the value of poems, Heaney once quoted the Robert Frost’sexplanation: there is a moment when poems rein up the chaos. Heaney said thatreining up is just like a barrier that only stays for a moment and offers acertain order but does not leave a mark behind.

I can’tprevent prejudice and discrimination, or a new development, but to be a hunterstanding on the ridge is as hard as to be an excellent poet. Writing andhunting are just like double-edged swords which will not only consume youspirit and time, but bring little economic benefits, or marketable, commercialopportunities. Nevertheless, the common thing between poet and hunter is thatit can keep back the chaos in humans at some time. Although the game cannotkeep all the tribe away from hunger, it fed human beings for millions of years.I cannot block the spread of neoliberalism by writing, but I can preserve theethos of a nationality.

I alwaysremember where I came from roving around tribes. Every nation sails in andsails to Taiwan. Writing breads up my spirit and I hope that writing can solacesome souls. For the living, it is blessing and invocation; for the dead, it ismourning and oration.

——Extracted from the epilogue of WhoCut the Tribe into Haves