愛爾蘭詩人勞倫·奧德懷爾保留了古代吟游詩人的珍稀特質，跟隨他幽靈般的漫游和囈語，我們得以窺見一位詩人私己性的精神地理與肉身感性經驗相疊合的“纏繞地帶”（twisted place）。——秦三澍
勞倫斯·奧德懷爾的詩依興 譯
埃斯孔迪多港
我們進到山里，多米尼加那一側
一片奇異的熱帶森林，幽深僻遠
一個腐葉和樂鼓并存的怪誕之地
黃昏時偶遇在冷澗中
洗浴的海地勞工
那脫節般疲憊不堪的肌肉油光閃閃
引誘我們用躲閃的眼光
去窺視。在幽谷深處，
一本地人說，這兒的海地人，好。
那兒的（向山上擺擺手），糟！
意思是，彎刀橋深處的
是幽靈般出沒的匪徒。那兒，天堂和地獄
同在，像打碎的雞蛋。但這兒的
是移民勞工，他們甚至可能
是我們的朋友。那一夜，從下邊
村子里的高音喇叭傳來甜蜜
妙曼的巴恰塔舞曲。我們在山中
被樹枝和月光包裹著
入睡。破曉時分，我們的鄰居
一前一后沿小徑下山，如同一個
每個孩子都該知道的民間故事：不論
我們留下多少碎屑，海地人，
多米尼加人，武裝匪徒，還是鬼魂，
只要還有一粒相異
之處，我們將永遠尋不到故土。
Puerto Escondido
We went into the hills – the Dominican side.
Rare forest there, tropical and deep,
a twisted place of leaf rot and drums.
At dusk we came upon Haitian labourers,
soaping their bodies in a cold stream.
A glow of muscles threshed and torn
that our eyes found a way to acknowledge
and ignore. Down in the valley,
a local said: Haitians here, bueno.
Up there (waving to the hills) – malo!
Meaning; deep inside the machete ridges
were chimères. In there, heaven and hell
are cracked like an egg. But here
are migrant workers, they might even
be our friends. That night, sugary
sweet bachata blared from speakers
in the village below. We fell asleep
in the hills, wrapped in branch
and moon. At dawn, our neighbours
filed down the track like a folktale
every child should know: no matter
how many crumbs we leave, Haitian,
Dominican, chimère or ghost,
so long as a grain of dissimilarity
remains, we will never find home.
Heller Altarpiece (detail) · Matthias Grünewald
峽谷
我沒有想起你
因為我還未遇見你
一定是我夢見了
那些我喜歡在下午
看默片的日子，那些我獨自旅行
希望在下一個城鎮找到你的日子
有一次，我偶然走進亞利桑那州弗拉格斯塔夫
的一家酒吧，是午后兩點
我很孤獨，需要喝一杯
我仍記得從酒吧打的那個電話
還有里面剛剛失業的鋸木工人
和因工作清閑而微笑的女招待
她沖著我笑，因為我最年輕
我當時一定非常年輕
因為我還未遇見你
你被我兩度遺忘
我也絲毫不擔心醉酒
我那時天馬行空，浪跡天涯皆開心
在那個距峽谷僅幾英里的
弗拉格斯塔夫的酒吧尤其開懷
但我心里根本沒有什么峽谷
我在盡情地
口出臟話，忘記了
那些漢子中僅我未成年
忘記了我們都還未看到峽谷
而且沖我們那樣子
那天也不太可能看到
但那真的無所謂
因為我還未遇見你
我也絲毫不擔心醉酒
Canyon
I am not thinking about you
because I have not met you yet.
This must mean that I am dreaming
of the days when I loved silent movies
in the afternoon, the days when I travelled alone
hoping to find you in the next town.
Once, I wandered into a bar in Flagstaff,
Arizona, at two o'clock in the afternoon
because I was lonely and needed a drink.
I remember the phone call I made from the bar
and the sawmill workers who had just been laid off
and the barmaid who smiled because it was an easy job.
And she smiled at me because I was the youngest,
I must have been very young
because I had not met you yet.
You were forgotten and forgotten twice
and I was not worried about getting drunk.
I was ready to be anywhere
especially here in this bar in Flagstaff
just a few miles from the canyon.
But I didn't care for canyons
I was having fun
swearing and forgetting
that I was underage among these men
and none of us had seen the canyon
and weren't likely to see it today
given the state we were in.
That didn't matter much
I had not met you yet
and I wasn't worried about getting drunk
Workers with a barrel (diptych) · Niko Pirosmani
比利時
春天以每小時兩英里的速度向北推進,
我南下旅行，在沿途的小旅店駐留。
在沙勒羅瓦，一位老者問我要去哪里,
我告訴他我在追趕春天 。“我希望
在琉森稍南處追上她，”我說。
他點點頭, 又繼續發呆。
接小來的數日我騎單車穿越比利時
的罌粟花田。
Belgium
Spring moves north at two miles an hour,
and I travel south, stopping at inns along the way.
In Charleroi an old man asked me where I was going,
and I told him I was chasing the spring: “I hope
to catch her a little south of Luzern,” I said.
He nodded and went back to his all-day stare.
I spent days cycling down through the poppy fields
of Belgium.
弗倫特恩公墓
漸淡的光影在外
微弱的脈搏在內
六朵火焰懸浮在薄霧中
兩個身影手拉手
走在鵝卵石小巷里
墓旁
那座雕像靜寂了原本可能
會有的說話聲
并在聽到威士忌酒瓶
密封圈撕開的
聲音時微笑
不知不覺
我想起了一塊紫色圍巾
仿佛那從未發生過
又或許總在發生著
Fluntern Cemetery
The fading light outside,
the weak pulse within.
Six flames hang in the mist
and two figures walk hand in hand
down a cobbled lane.
At the graveside
the statue stills the voice
that might speak
and smiles at the sound
of the seal breaking
on the bottle of whiskey.
Without knowing
I recall a purple scarf,
as if it never happened
or else is always happening
Bethlehem · Banksy
巴塞羅那市雷納新卡大街34-36號
1.
曾經有為數不多的人為我吟唱，但
他們卻不知我在聆聽 –
在雅典地鐵沿線
窗口邊的那個女孩
在蘭布拉大道旁校園內的孩子們
(那后面的那條街)
還有在華沙跪在祭臺旁
那位帶面罩的婦人–
他們使我得以在城市的中央
安然小憩片刻
2.
醒來時，天還早，我端了
一杯水到后院
亞莉珊卓已在那兒
她正坐在地上畫畫
那是我在這個城市逗留的最后一天,
綠色熱浪沿著街道升騰而起
你長大后想做什么? 我問她
我不知道，她答道，我只是個孩子
然后又繼續畫畫
我好希望那是我的答案
越過她的肩膀，我看到
兩匹馬正從晾衣繩邊
孱弱的櫻桃樹旁騰空躍起
在無垠的黃色平原上揚起一片煙塵
34-36 Renaixenca, Barcelona
I
There are not so many, but those that sang
without knowing that I was listening –
The girl by the window behind
the metro line in Athens,
The children in the school yard off the Ramblas
(the street behind that one),
The veiled woman kneeling
at the altar in Warsaw –
They let me sleep for a moment
in the centre of the city.
II
When I woke it was early and I brought
a glass of water with me to the backyard.
Alexandra was already there,
sitting on the ground, drawing.
It was my last day in the city and the green
heat was rising through the streets.
What do you want to be, I asked her.
I don’t know, she said, I am just a child,
and went back to drawing.
I wished it was my answer
and looking over her shoulder
I saw two horses, galloping away from
the sickly cherry tree by the washing line,
kicking up dust on an endless yellow plain.
Harlequin and Death · Konstantin Somov 1907
在瑯多
我不知道南烏江是否流入湄公河
熱浪肆意地蔓延，九曲河彎
消失在炙烈的陽光里。小竹樓的陽臺
隨著我們飄濺，搖曳的身影酣然入睡
黑色的大拱洞在我們頭頂上方撐起
那座橋面，其上的燈火為過路的鬼魂引路
我們一路奔跑到河岸，全身被月光浸透
明天我會更精確；我將告訴你
南烏江究竟在何處流入湄公河
At Nong Khiaw
I don't know if the Nam Ou flows into the Mekong.
Heat wanders as far as it pleases and nine bends
disappear into the sun. Little balconies of bamboo
fall asleep as our shadows splash and float.
Great black-boned arches support the bridge
above us with lamps for passing ghosts.
We race up the river bank dripping with moonlight.
Tomorrow I will be more precise; I will tell you
where exactly the Nam Ou flows into the Mekong.
馬
旗幟或軍隊都無須伴隨勝利
真正的勝利是沒有失敗
當失敗一詞變得陳舊失效
勝利便也跟著湮沒無聞
勝利的最可靠標志
即是它的缺席。那是一種類似于馬的狀態
正如一匹全速飛奔的馬
四蹄離地，凌空御風
The Horse
Neither flags nor armies accompany victory.
True victory is the absence of defeat.
Where the word defeat is archaic, defunct;
victory then follows it into oblivion
and the surest sign of its presence
is its absence. Such a state is equine;
like a horse in full gallop,
with all four feet off the ground.
——詩作見《飛地·人的光》，張爾主編，2018年。
/點擊原文跳轉購買21輯/
注：《飛地·人的光》已郵寄，未收到樣刊的作者及訂閱者，請及時與后臺聯系。
丨勞倫斯·奧德懷爾(Laurence O’Dwyer) ，愛爾蘭詩人和神經科學家，于都柏林圣三一學院獲得記憶形成范式領域的博士學位。他的首本詩集《纖維束成像》（‘Tractography’ ）(Templar Poetry, 2018) 榮獲斯瑞德詩集獎（Straid Collection Award）。2018年任劍橋大學史考特極地研究中心（Scott Polar Research Institute at the University of Cambridge）的訪問學者。2017年獲得獎助金入麥道爾藝術村（The MacDowell Colony）進行駐地創作。2016年獲帕特里克·卡瓦納詩歌獎（Patrick Kavanagh Award for Poetry）。另外他還曾獲軒尼詩愛爾蘭文學新人獎（Hennessy New Irish Writing Award）。
依興, 出生于中國北方, 自幼喜歡詩文。于美國西北大學(Northwestern University)傳播學院獲得博士學位, 現工作生活于美國華盛頓。她英譯的作家蘇童和臺灣詩人陳黎的作品在《犁頭》（Ploughshares)，《愛荷華評論》（Iowa Review）等多家美國文學期刊上發表。
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