Editor-in-Chief:
  Yidan Han

  Contributing Editor:
  Kyle David Anderson


胡弦
Hu Xian

胡弦,1966年生,现居南京,《扬子江诗刊》执行主编。出版诗集《阵雨》(2010)、《寻墨记》(2015)、《沙漏》(2016),散文集《菜蔬小语》(2008)、《永远无法返乡的人》(2016)等。曾获诗刊社“新世纪十佳青年诗人”称号(2009)、闻一多诗歌奖(2011 )、《作品》年度长诗金奖(2011)、徐志摩诗歌奖(2012)、《十月》年度诗歌奖(2012)、《诗刊》年度诗歌奖(2014)、中国诗歌排行榜2014-2015年度奖(2015)、花地文学榜年度诗人(2017)、鲁迅文学奖(2018)等。

Hu, Xian, born in 1966 and live in Nanjing, executive editor-in-chief of Yangtze River Poetry. He has published the following books of poetry: Rain (2010), Ink (2015), Hourglass (2016); as well as the complete work of prose Words of Vegetables. He was awarded “Ten Best Young Poets of the New Century” (2009), The Wen Yiduo Poetry Award (2011), The Xu Zhimo Poetry Award (2012), The October Literature Magazine Annual Poetry Award (2012), Poetry Magazine Poetry Award (2014), China Poetry Ranking 2014-2015 Annual Poetry Award (2015), Flower Garden Annual Poetry Award Poet of the Year (2017), and more.



译者
Translator


谢炯
Joan Xie

谢炯, 诗名炯, 出生在上海。八十年代就读于上海交通大学管理系,1988年留学美国,取得企业管理硕士和法律博士学位。出版诗集《半世纪的旅途》(2015),散文集《蓦然回首》(2016),中文诗集《幸福是,突然找回这样一些东西》(2018),英文翻译诗集《十三片叶子》(2018)。2017年荣获首届德清莫干山国际诗歌节银奖。中文诗作发表在国内《诗刊》《扬子江诗刊》等文学诗刊。英文诗作和翻译作品发表在美国《诗天空》《唇》,《文学交流》等文学诗刊。

Joan Xie was born in Shanghai where she attended Shanghai Jiaotong University. She came to the United States in 1988 to study business and law. Xie's Chinese poetry and essay collections include Half-Century Journey (2015), Looking Back (2016), Nothing Made Me Happier than Finding These Objects (2018) and she is the editor of Thirteen Leaves (2018). In 2017, she received a Silver award at First Moganshan International Poetry Festival in China. Her poems in Chinese appeared in well-known poetry magazines in China, such as Poetry Journal and The Yangtze River Poetry Journal. Her translations appeared in Exchanges Literature Journal, LIPS and Poetry Sky.

剧情

Plot

戏台老旧。留住某些结局, 必须使用吊过的嗓子。 ——抛出的水袖无声翻卷,其中 藏着世间最深的沉寂。 ——有兰花指,未必有春天; 有小丑,则必有欢乐。 有念白,天,也许真的就白了。年月 长过一代又一代观众,却短于 半个夜晚。万水千山仍只是 一圈小碎步,使苦难看上去 比欢乐更准确。 ——愤怒是你的,也是我的。 悲伤,所有人来分它,就会越分越多…… 最后,散尽的繁华都交给 一声叹息来收拾。 那在后台调油彩的人最懂得:脸, 要变成脸谱, 才不会在锣鼓的催促中消失。

 

The stage is old. You must use a trained voice to preserve some endings. — the flowing sleeves are silently rolled to hoard the deepest solitude in the world. — Orchid-figure gesture calls no spring but clown surely brings joy. After blank verses, the sky maybe be bright. Time is longer than generations of audiencesbut shorter thanhalf a night. By a small step circling the stage, you experience all mountains and rivers, so the misery is more real than jubilance. — Animosity belongs to you and me. Sadness is multiplied if more people want to share ... At the end, all prosperousness must be concluded by a simple sign. Only backstage makeup master knows better: face must be covered by a face mask for not to disappear in the urging of drums.

裂隙

The Crack

从完整的事物,它开始, 让一颗没有准备的心, 突然有了此岸与彼岸。 于是,有人学习造桥, 有人学习造船…… 一个未知的幽灵在掌控这一切,并为远航 培养出了出色的水手。直到 它彻底裂开, 互不相干的两半被一段 空白隔开。 看上去,各自完整; 看上去,裂隙仿佛已不在场。

 

It starts from the completion and let an unprepared heart suddenly has this shore and the other shore. Then, someone learns to build a bridge, someone learns to build a ship … An unknown ghost controlsall and trains good sailors for a faraway voyage, until it's completely fractured, two halves that are not related to each other split apart. It looks like that each half is a completion And no crack appears.

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