了得網文學_慢光

編輯推薦

美國國家圖書獎獲獎作家為中國讀者特別甄選！

內容簡介

本雙語版詩集是“當代國際詩人典譯叢書”（一套五冊）其中的一本，由當代華裔美國詩人、劇作家白萱華（Mei-Mei Berssenbrugge）精心甄選的11首詩組成，主要選自《我愛藝術家》（2006）和《你好，玫瑰》（2013）兩本詩集。該詩集題材涵蓋了人、自然界與自然現像及科學與哲學之間的關繫等，體現了詩人對人與自然、人與人及人與世界的思考。詩人將感知透明化、過程化、具體化，並力圖打破事物兩極之間的差別和界限，將抽像與具體、主體與客體、時間與空間融為一體，在形式和內容上打破了傳統詩歌的理念，與後現代主義“流動性、片斷性、瞬間性和不確定性”的哲學理念殊途同歸。

作者簡介

詩人簡介
白萱華（Mei-Mei Berssenbrugge，1947— ），華裔美國詩人。1947年生於北京，母親為中國人，父親為荷蘭裔美國人，一歲隨父母移居美國，在馬薩諸塞州的波士頓長大。1969年畢業於裡德大學獲文學學士，1973年從哥倫比亞大學獲得詩歌文學碩士學位。畢業後她移居新墨西哥州，在美國印度藝術學院任教。共出版詩集14部，包括《魚魂》（1971）、《隨心擁有》（1979）、《鳥巢》（2003）、《我愛藝術家》（2006）等。其中，《隨心擁有》《熱鳥》分別獲1980年和1984年美國圖書獎，《內分泌學》《鳥巢》分別獲1998年和2004年亞裔美國文學獎。曾獲得美國圖書獎兩次、亞裔美國文學獎兩次、美國國家藝術基金會獎三次、美國西部圖書獎和筆西獎各一次。她的詩歌受到了紐約的抽像藝術家、紐約詩派以及語言詩派的影響，既抽像、晦澀、極富哲理性，又具體、感性，訴諸於感知，兩者之間的張力形成了她獨樹一幟的風格。

譯者簡介詩人簡介
白萱華（Mei-Mei Berssenbrugge，1947— ），華裔美國詩人。1947年生於北京，母親為中國人，父親為荷蘭裔美國人，一歲隨父母移居美國，在馬薩諸塞州的波士頓長大。1969年畢業於裡德大學獲文學學士，1973年從哥倫比亞大學獲得詩歌文學碩士學位。畢業後她移居新墨西哥州，在美國印度藝術學院任教。共出版詩集14部，包括《魚魂》（1971）、《隨心擁有》（1979）、《鳥巢》（2003）、《我愛藝術家》（2006）等。其中，《隨心擁有》《熱鳥》分別獲1980年和1984年美國圖書獎，《內分泌學》《鳥巢》分別獲1998年和2004年亞裔美國文學獎。曾獲得美國圖書獎兩次、亞裔美國文學獎兩次、美國國家藝術基金會獎三次、美國西部圖書獎和筆西獎各一次。她的詩歌受到了紐約的抽像藝術家、紐約詩派以及語言詩派的影響，既抽像、晦澀、極富哲理性，又具體、感性，訴諸於感知，兩者之間的張力形成了她獨樹一幟的風格。

譯者簡介
陸薇，博士、教授、研究生導師，現任北京語言大學應用外語學院院長。曾以訪問學者的身份去美國哥倫比亞大學深造，擔任過聯合國教科文組織大會的翻譯，另任北京外國語大學客座研究員等社會兼職。主要研究方向為亞裔美國文學、比較文學、英語教育等。發表論文多篇，出版專著、編著、譯著和教材多部。出版的譯著主要有：《哈代的〈原離塵囂〉》《春夢之結》《骨》《穩如蜂鳥》（亨利•米勒）、《彼岸天堂》（F.S.菲茲傑拉德）、《望岩》（伍慧明）、《美國人究竟相信什麼》（羅德尼•斯塔克）等。曾獲“北京市優秀青年骨干教師”稱號、北京市優秀教學成果一等獎等。

Preface / Ⅰ
To Readers / Ⅵ

From I Love Artists
Tan Tien / 002
Fog / 008
Empathy / 032
Nest / 042
I Love Artists / 054

From Hello, the Roses
A Placebo / 066
Pure Immanence / 078
Green / 090

Preface / Ⅰ

To Readers / Ⅵ

From I Love Artists

Tan Tien / 002

Fog / 008

Empathy / 032

Nest / 042

I Love Artists / 054

From Hello, the Roses

A Placebo / 066

Pure Immanence / 078

Green / 090

Hello, the Roses / 102

Immortals Having a Party / 110

Slow Down, Now / 124

Mei-mei Berssenbrugge / 134

Mei-mei Berssenbrugge’s Work List / 138

譯者序 / Ⅰ

致讀者 / Ⅶ

選自《我愛藝術家》

天壇 / 003

霧 / 009

移情 / 033

巢 / 043

我愛藝術家 / 055

選自《你好，玫瑰》

安慰劑 / 067

純粹的內在 / 079

綠色 / 091

你好，玫瑰 / 103

神仙的聚會 / 111

慢下來，就現在 / 125

白萱華 / 135

白萱華作品列表 / 138

前言

To Readers

These poems were written from the 1980’s to the present. They involve my experiences with perception—in landscape, in interpersonal relationship, in art, in nature. In each poem, I try to make a continuum out of polarities. Later, perception becomes more vibratory than physical. There is the apprehension of energy fields, of the beingness of all things even of thought, and the sensation of these energies or frequencies. There is interest in the quantum. Perception dynamically interacts with what is perceived. There is exchange, for example with the color of roses. Time has a beingness; time’s plasticity becomes part of the exchange. Cyclical time exchanges with slowness.
Mei-mei BerssenbruggeJune, 2015 in U.S.
To Readers

These poems were written from the 1980’s to the present. They involve my experiences with perception—in landscape, in interpersonal relationship, in art, in nature. In each poem, I try to make a continuum out of polarities. Later, perception becomes more vibratory than physical. There is the apprehension of energy fields, of the beingness of all things even of thought, and the sensation of these energies or frequencies. There is interest in the quantum. Perception dynamically interacts with what is perceived. There is exchange, for example with the color of roses. Time has a beingness; time’s plasticity becomes part of the exchange. Cyclical time exchanges with slowness.
Mei-mei BerssenbruggeJune, 2015 in U.S.

致讀者

本書中所選的詩歌篇目是20世紀80年代至今創作完成的。詩中涵蓋了本人對風景風光、人際關繫、藝術自然的感受與經歷。每首詩中我都試圖在事物的兩極之間建立起一個統一體。後來，身體的認知變成了振動的認知。這是對能量場的感悟，是對所有事物，甚至是對思想的感悟，是對這些能量或頻率存在感的領悟。這裡邊有我對量子的興趣。認知與認知對像之間有著頻繁的交互。比如，認知與玫瑰的顏色之間會產生相互轉換。時間也有存在的形式。柔性的時間成為交互的一部分，那是循環往復的時間與緩慢流動的速度之間的交互。

白萱華2015年6 月於美國

在線試讀

Nest

1
My mother tongue, Chinese, has an immemorial history before me.
I was inserted into it, a motive for my language.
I learned it naturally, filling it with intentions, and will leave it without intent for other children.
My mother and I speak local language and sometimes our mother tongue, as in my dream, with its intent.
What to intend in changing the mother tongue of my daughter, compassion, not being ill, sleep in which a daughter resonates depth, like a bell.
“Loving the wind” is equivalent to intention as rhetorical surface, like writing my diary on her skin.
Non-comprehension tips ambivalent matter, as if there were two of us, here: one is Kuan Yin, one is mother tongue.
Her matter inserted, a motive, is always somewhere else, exiting one language, another without intent, translated as heart.
2
I want to tell you what’s difficult to admit, that I left home.
Change of mother tongue between us activates an immunity, margin where dwelling and travel are not distinct.
Artifacts throw themselves toward light without becoming signification.
Telling you is not an edge of the light.
There’s no margin of a shadow to imply interior.
In my childhood house was a deep porch covered with vines.
Look past our silhouette to silhouettes (like shadows) of guests arriving in a bright yard.Nest

1
My mother tongue, Chinese, has an immemorial history before me.
I was inserted into it, a motive for my language.
I learned it naturally, filling it with intentions, and will leave it without intent for other children.
My mother and I speak local language and sometimes our mother tongue, as in my dream, with its intent.
What to intend in changing the mother tongue of my daughter, compassion, not being ill, sleep in which a daughter resonates depth, like a bell.
“Loving the wind” is equivalent to intention as rhetorical surface, like writing my diary on her skin.
Non-comprehension tips ambivalent matter, as if there were two of us, here: one is Kuan Yin, one is mother tongue.
Her matter inserted, a motive, is always somewhere else, exiting one language, another without intent, translated as heart.
2
I want to tell you what’s difficult to admit, that I left home.
Change of mother tongue between us activates an immunity, margin where dwelling and travel are not distinct.
Artifacts throw themselves toward light without becoming signification.
Telling you is not an edge of the light.
There’s no margin of a shadow to imply interior.
In my childhood house was a deep porch covered with vines.
Look past our silhouette to silhouettes (like shadows) of guests arriving in a bright yard.
Light in the next room falls on her, as she bends to kiss you.
Skylight pours down, then covers the mud wall, like cloth.
I observe a lighted field seem to hang in space in front of me.
Speaking, not filling in, surface intent, is a cabinet of artifacts, comparisons, incongruity.
3
My origin is a linguistic surface like a decorated wall, no little houses at dusk, yellow lights coming on, physical, mute.
Its significance is received outside hearing, decorating simply by opening the view.
Wherever I look is prior absence, no figure, ruin escaping an aesthetic: hammock, electric fan, ghost don’t qualify as guards.
The comfortable interior my guest inhabits is a moving base, states of dwelling undetermined, walls cross-hatched like mother tongue.
The foreign woman occupies a home that’s impersonal, like the nest of a parasite.
Its value is contentless but photographable, in the context of an indigenous population, tipping between physical ease and the freedom of animals accumulating risk.
When the scene is complex, I turn to the audience and comment aloud, then return to room and language at hand, weakened by whoever didn’t hear me, as if I don’t recognize the room, because my family moved in, while I was away.
Text imbricated with outside, a wall is waves.
So, I decorate in new mother tongue, plasticity of fragment, cool music.
There’s a lock in it, of the surface.
It still lights apricots in bloom, leaves, skins of organisms, horizon, borders that represent places.
4
A margin can’t rot, no bloated outline around memories of witnesses, the way origin in the present is riddled with holes.
Pick one and slip through it, like a girl whose body is changing.
Domestic space oozes light through a loophole, mother to mother, so close I can’t catch it through myself.
My family is vulnerable at the margin, child, line of a cheek diffusing energy, line of her eye extending an inner look.
Don’t let her ooze through loopholes we inhabit like migrants, light drifting across five windows on the river, drifting functioning as imagination so intimate our space seems anonymous.
Furnishings, colors are sumptuous in relation to anonymity, textiles like money.
5
I feel the right to have my invitation accepted, an open house.
Guests appear in other places for other occasions with my invitation, pleading for the secular, the empathic.
Speaking, an artifact, creates a loophole for no rapport, no kinship, no education, on a frontier where wild is a margin of style, and rhetoric’s outside that.
In this case, she’d immigrated long ago, so they tried to stay with her as a family.
Speech opens onto a lost plain, then contracts to a diffuse margin between metaphor for space and concept of drunk, ill, running away.
Her story begins aesthetically, but hysterical acts withdraw it to a floating space of frustration, unself, and a paranoid husband is produced.
Her words are high-handed, awkward, formal.
He hears them as expressions of personal pique and self-indulgence, but won’t say she uses power unfairly in the pose of unhappy mother.
Such topics are prohibited except at the kitchen table, in the car, etc.
It’s said, illustrious persons lead parallel lives, which join in eternity, but some lives veer off the straight path to community.
So, I speak with care, but prove authority won’t take me far, because the area’s too large.
In this, daughter, you see more than I did at your age, because you see me.
巢

1
我的母語，漢語，在我出生之前就是一門歷史悠久的語言。
我出生在這門語言當中，成為了語言的目的。
我自然地掌握了它，在裡邊注入了我的思想，不帶任何目的地將它留給其他孩子。
我和母親都講方言，有時也講母語，就像在夢中。夢也有它的目的。
想改變女兒的母語、情感和健康，改變女兒深睡時如洪鐘聲般回響的鼾聲，其目的究竟為何？
“愛上風”與任何一種目的相同的修辭表面一樣，就像在她的皮膚上寫我的日記。
不理解帶來的是含混，就像人人都有兩個自我，一個是觀音，一個是母語。
她的事情，或者說是被插入的意圖，總在別處，一個脫離了語言，另一個沒有意圖，被譯成了“心”。
2
告訴你一件我難以承認的事情：我離開了家。
我們之間的母語改變激活了一種免疫繫統、一個邊緣地帶。在那兒，定居與漂泊沒有什麼差別。
手工藝品放到光下沒有產生意義。
告訴你本身並不是光的邊緣。
影子沒有邊緣，無法告訴你哪裡是它的地盤。
童年時代，房子就是一個深深的門廊，上面爬滿了葡萄籐。
越過我們的側影，能看到走進明亮院子裡的客人們的側影（就像陰影一般）。
她彎下腰來親吻你時，隔壁房間的光灑在了她的身上。
天光傾瀉下來，像布一樣包裹了泥牆。
我看到自己眼前有一塊被照亮的地方懸在空中。
言說，不是填入的表層意圖，是一櫃子的手工藝品。是相互比較，是互不協調。
3
我來自一面被裝飾了的語言之牆，黃昏時分，見不到這處亮起黃色燈光的小房子。身處其中，一片寂靜。
它的意義遠在聲音之外，裝飾的作用在於打開了一個視野。
目及之處原本一無所有，沒有人，是毫無審美可言的廢墟：弔床和電扇，鬼都不配做看門人。
我的客人住的舒適內室是一個活動房屋，房屋的根基已被損壞，牆與牆之間相互交錯，一如我的母語。
那外國女人住的是非私產，如寄生蟲巢穴一般。
它沒有實質價值，但可以隨意拍照，就像土著人一樣，在身體的舒適和充滿危險的動物自由之間左右搖擺。
場面變得過於復雜時，我轉向觀眾，大聲評價，然後回到屋內，轉向熟悉的語言，被無法聽到自己聲音的人消耗得筋疲力盡，就像我認不出這個屋子一樣：家人是在我不在的時候搬進去的。
文本被裝飾上了瓦片，層層疊覆，看似一片海浪。
於是，我用新的母語裝扮了自己，一堆柔軟的碎片、一些好聽的音樂。
表層上掛著一把鎖。
它依然照亮盛開的杏樹、葉子、生物的表皮、地平線，還有標志著方位的邊界。
4
邊緣不會潰爛，見證記憶的輪廓不會腫脹，就像起源在今天看來是謎一般的漏洞。
撿起一片，穿越過去，感覺就像女孩子的身體，不斷地變化。
家中的燈光透過牆洞滲出來，母親對著母語，她們之間如此相近，我卻無法抓住。
家，已處在懸崖的邊緣，搖搖欲墜；孩子，臉上洋溢著青春的氣息，眼神中透露出其內心的想法。
不要讓她從我們移民住所的漏洞中向外流淌，像河面上掠過五個窗口的光那樣流淌。掠過的光猶如想像力，它和我們如此親密，讓我們的空間變得隱秘。
於隱蔽者而言，任何裝飾和顏色都顯得多餘，質感猶如金錢。
5
我有權要求被邀請者接受邀請，一座開放的房子。
客人們用我的邀請函在別的地方、別的場合，向人索要世俗、讓人看重的禮物。
和手工藝品一樣，言語在沒有和睦、沒有親友、沒有教育的邊界制造著漏洞。在那裡，狂野幾乎不是什麼風格，修辭也被排除在外。
如此，她很久之前就移民至此，他們盡量待她猶如親人。
言語將自己開放，馳騁到一片荒原，收縮成一片彌漫的邊界，變成一個空間的隱喻和迷醉、疾病、逃逸概念間的邊界。
她的故事開始很美，但歇斯底裡的行為將它逼至一片沮喪、沒有自我的漂浮空間。丈夫也變成了一個偏執狂。
她的言語專橫、笨拙、裝腔作勢。
在他聽來，她的話是慍怒、自我欣賞的表達，但他不想明說她是在濫用一個不快樂的母親的權力。
這樣的話題一般是禁忌，除非在餐桌上或車裡等這樣的地方。
據說，名人一般都過著兩種平行的生活，兩種生活在永恆處交彙，但有些人會偏離它直行的軌道，走向別處。
於是，我小心翼翼地說話，但要保證權威們不會過度理解，因為這個領域太大。
在這一點上，女兒，你比我像你這麼大時看到的多，因為你看到了我。

商品搜索

商品分类

【醫學】

【各大出版社】