Post by xhu;2759230
遥祝爱人 Merry Lover’s grace
爱人你好吗 Lover, how are you?
我想你了 I have been missing you.
点起一支烟 Light up a cigarette,
任由淡淡的思念 Let the thin memory,
随着那缕缕的清烟 Supplementing the floating smoke, 缓缓升起 Rise up slow.
想起了你 Missing you,
你的双眸 Your beautiful eyes,
和你的浅浅微笑 and your thin little smile, 还有你的红色外套 and the red coat you wore.
一束玫瑰 One single rose,
送给你的 Yours to present.
让这美丽红艳的玫瑰 Beautiful as the red rose,
带着我的思念 Accompany my memory of you,
和爱情 and love.
遥祝远方的你 Love grace as you further apart, 快乐平安 Merry and well.
看看这首诗得评论，嘿嘿，出钱买的。
Chinese Incarnation
Sha Yan
Lulu
978-0-557-16996-2
One Star (out of Five)
Sha Yan shares more closely in a tradition more recent than this book’s title would suggest. His attention to sound and love of consonance speaks to the language poets—although it is unclear as to whether that kinship is intentional or not.
Yan is the author of two previous volumes, Yuan’s Place and Imminent Ferns, and he writes in both Chinese and English. In this collection, the poet, currently a resident of Canada, takes a number of everyday places and situations and strives to wring from them a greater resonance. He sees children playing, enjoys a cup of coffee, witnesses autumn. Unfortunately, the majority of the poems add up to little more than their situations and an urge for the reader to be attentive and to enjoy life. These messages are worthy enough, but offer little that is new.
Yan does use words in new ways: swash, sleigh, dough, and other words repeat throughout the book, but the way that readers are meant to understand the words is unclear. For instance, in “Key, key in the ray,” Yan writes, “Key, key in the ray / Sleigh, in the adjacent desert spirit / Key is not a lie / And ray is written, may.” Meaning eludes, but what is clear is the enjoyment of sound—the assonance of the long a sound in contrast to the hard k. Unfortunately, without meaning, the sound ultimately becomes a pleasurable pattern but little more. “Sleigh” is reused repeatedly and sometimes with great potential. In “Sleigh in the Ash” the very title creates a provocative image and one need not work hard to imagine blades sluicing through ash and ember, but the poet never arrives at the image. He never actually explores or broadens the idea.
Often, the poems suffer from that lack of curiosity and depth. Poems remain one dimensional and explanatory if they have meaning at all.
The poet also largely disdains punctuation, and his lines lack intention. They break without attention to meaning or nuance, and the book lacks a cohesive idea or practice to connect it. Still, Yan does show occasional moments of loveliness. In “Merry Lover’s Grace,” for example, he writes, “Light up a cigarette, / Let the thin memory, / Supplementing the floating smoke / Rise up slow.” In this brief moment, the metaphor of the diaphanous smoke works well with the idea of a reluctant memory rising to the surface. In moments like these, Yan achieves his self-proclaimed status as a poet.
Camille-Yvette Welsch at Clarion Foreword Review |
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