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伊沙YISHA的blog

诗人、作家

 
 
 

日志

 
 
关于我

伊沙,诗人、作家。1966年生于中国四川省成都市。1989年毕业于北京师范大学中文系。现居陕西省西安市,在某大学任教。已经出版的主要著作有:诗集《饿死诗人》《伊沙这个鬼》《野种之歌》《我终于理解了你的拒绝》《伊沙诗选》《我的英雄》《车过黄河》《灵魂出窍》,长诗《唐》,散文随笔集《一个都不放过》《被迫过着花天酒地的生活》《无知者无耻》《晨钟暮鼓》,中短篇小说集《俗人理解不了的幸福》《谁痛谁知道》,长篇小说《江山美人》《狂欢》《中国往事》等。

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荷兰“国际诗歌网”对伊沙的评介(后附中译文)  

2008-03-13 01:30:20|  分类: 默认分类 |  标签: |举报 |字号 订阅

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There are no hints in Yi Sha’s poetry, noover-reliance on the imagination of his readers to make somethingout of next to nothing. He writes what he has to say with minimallinguistic fuss, with economy. “My language is naked”, he claims,and perhaps it is—if we take “dressing” to mean a form ofartificial ornamentation.
Yi Sha’s poetry can be thought of an “objective correction” tothe subjective excesses of Chinese poetry in the first half of the1980s, when language and individual psychology were energeticallyexplored by many writers. Poetry in Yi Sha’s mind becomes a placefor bare facts, not nuances. He outlines his approach to poetry inthe preface to his most recent collection of poetry:

 

While the speciousness of language and the relocation (ordislocation) of the emotions can create a kind of free-floating[fapiao] poetic quality, what I demand (demand of every poem ofmine) is a complete and utter factual poetic quality. On thispoint, I do not resemble a poet at all—I am more like anengineer.

Why an engineer? Perhaps because Yi Sha insists onsolid structure (if such a thing is possible in language) ratherthan emotional drift. In many of his poems, a teasing, poetic dramais played out. A poetic topic is raised, inviting a predictableemotional response. Yi Sha then dextrously subverts this responseand, in doing so, tries to lead his reader towards something lessstereotypically “lyrical”, something grounded in everyday,ordinary reality. A good example of this strategy can be found inthe poem “Suicide Kid”:

later
we saw him again
at dusk
alone in the glow of the setting sun
sitting on the grass
pointing the pistol at himself
he put it in his mouth
with total concentration
no longer interested in us

there’s something strange about that kid
you said I knew
what you meant

but since he lived next-door to me
I knew what was really going on:
every time he went out to play
his mother would fill his water-pistol
with milk

however
I kept
this fact from you
in case you were disappointed

The poet protects the “you” in this poem from theless emotive but highly idiosyncratic explanation of the eventsthey have witnessed. The reader, however, is let into the secret.The message is a simple one: don’t jump to (romantic),preconceived ideas about the world; get to the truth—a truth thatcan have an unsuspected force all of its own.

Another feature of Yi Sha’s work is its ability toexpress the response of the poet to events through a seeminglybanal or irrelevant detail. In “The One Face I Remembered”, apoem about the death of his mother, he focusses on the ugly face ofa man who worked at the place (in the Chinese, it is actuallyreferred to as a “factory”) where the remains of his mother werecremated. By concentrating on this fact, Yi Sha is able to keep allsentimentality at a distance. At the same time, this detail is ableto convey something of what the poet was feeling at the time, butwithout any explicit statement.

Another example of the “banal detail” at workappears in the short poem on Vincent van Gogh:

in an art book
I came across
two paintings by Van Gogh
they hadn’t been mounted on bank notes
these two celebrated works
were unremarkable paintings
one was called
Gaugin’s Chair
the other
was called
Van Gogh’s Chair
although I didn’t go so far
as to buy the book
I was
so moved by what I saw
that I was like
“a chariot driven south
to get north”
and I caught the wrong trolley bus
home

Rather than try and explain his feelings withafter-thoughts inspired by a desire to appear “sensitive”, thepoet allows his feelings to speak for themselves in the fact thathis familiar routine was completely upset by whatever it was heexperienced.

In 2003, I was fortunate to spend two weeks with YiSha, travelling to various cities in the west of China . I’venever met anyone who lived poetry so constantly: he talked about italmost the whole time! On his name card, it says: Yi Sha (Poet).His commitment to the art is incredible. This commitment alsoapplies to his reading of other poet’s work. In conclusion, I’dlike to finish off this brief introduction with his advice on howto read:

How does one determine a poet’s “ranking”. Imyself follow these three steps: (step 1) I read three of thepoet’s most representative poems; (step 2) for those poets thatmake it through the first stage, I go and read an entire collectionof theirs; (step 3) for those who make it past this stage, I go andread all the poetry they’ve ever written. Following thisprocedure, it becomes obvious what their ranking is. I should addwhile we’re on the subject, that I appraise my own work in thesame way, and make identical demands on myself.

Simon Patton

 

 

伊沙不会在诗行间隐藏暗示,无须读者赋予过多的想象力,他的诗句总能流畅自如,引领读者跟随着诗句的意境。他只需要少少地用上一些微妙的语言技巧,就可以清楚地表达出他想要表达的东西。他说:“我的语言是裸体的”如果我们用“衣装”来形容浮夸的词汇的话,或许他的形容是再恰当不过的了。

1980年代上半期的中国诗歌充满主观色彩,当时的语言与个体心理被作家们乐此不疲地挖掘运用着。伊沙的诗则是对这种主观意味过重的中国诗体的“客观修正”。在他的内心深处,诗歌是赤裸裸的事实,而不是细枝末节。在最近的一本作品集的序言中,伊沙阐述了他写诗的方法:

“语言的似是而非和感觉的移位(或错位)会造成一种发飘的诗意,我要求(要求自己的每首诗)的是完全事实的诗意。在这一点上,我一点都不像个诗人,而像一名工程师。”

 

为什么说是工程师呢?或许正是因为伊沙所坚持的,始终是将坚固的结构运用于他的作品之中(如果在文字中进行建筑工程是可行的话),而非仅仅满足于平庸的情绪宣泄。他的很多诗作上演一部部嘲讽的、诗化的戏剧。题目往往能使人预设诗歌的情感基调。然而伊沙则巧妙转移读者的这种情绪反应,试图引导读者关注非典型抒情的日常生活中平凡真实的事物。这种技巧在诗歌《自杀的小孩》中可窥见一斑:

 

后来

我们又见到他

在当天的黄昏

他独对夕阳

坐在草坪上

把水枪对准自己

含在嘴里

神情专注

再也不理我们了

 

这孩子不凡

你说  你的

意思我懂

可真实的情况是

他是我邻居

每次离家时

他的母亲都要在其枪中

灌满牛奶

 

最终

我还是对你

隐瞒了实情

怕你扫兴

诗人为保护“你”,在诗句中不动声色,只对他们目击事件中的事物做解释说明。然而,读者已经了解了秘密所在。诗歌要传达的意思是:不要直接地先入为主地看待世界;去扑捉事实——实情可能是事件本身由意外造成的。

伊沙诗歌的另一个特点是通过一些看似平凡或毫不相关的细节表现诗人对事件的反应。《一年记住一张脸》是首关于他母亲去世的诗,他关注的是在火化母亲遗体的地方(在中国被称为“火葬场”)工作的一个男人的丑陋面孔。通过关注这张面孔,伊沙摈弃了所有多愁善感的东西。同时,细节又能够传达出诗人当时的感受。

  这种“平凡的细节”也出现在这首关于梵高的短诗中:

 

我在一本画册上

看了

梵高的两幅画

不是用钞票裱过的

那些个名作

是两张不起眼的画

一幅叫《高更的椅子》

另一幅

叫《梵高的椅子》

尽管我没舍得

买这本画册

可我

已被感动得

南辕北辙

顺势坐反了

回家的电车

诗人没有试图去故作“敏感”地描述观后感,而是通过叙述熟悉的日常活动被打乱的事实,使情感自然流露。

2003年,我有幸与伊沙共度两周的时光,游历了中国西部的一些城市。我从未遇到过对诗歌如此坚持不懈的人,在整个过程中,他一句话都没有离开过诗歌。他的名片上印着:伊沙(诗人)。他令人难以置信地执着地践行于艺术。他也用这种态度诵读其他诗人的作品。因此,我想借他对如何阅读的建议来结束这段介绍:

“怎样鉴定一个诗人的‘段位’?我分以下几个步骤进行:(1)看其代表作3首;(2)过了第一关的诗人我会去看他的一部诗集;(3)过了第二关的诗人我会去看他的所有诗集。如此下来,他属几段也就一目了然。顺带说明,我也是这么鉴定并要求自己的。”

 

——西敏(澳大利亚翻译家)

 

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