Author’s Biography
陈先发（1967年10月― ），安徽桐城人。1989年毕业于复旦大学。著有诗集《春天的死亡之书》（1994年）、《前世》（2005年）、长篇小说《拉魂腔》（2006年）、诗集《写碑之心》（2011年）、随笔集《黑池坝笔记》（2014年）、诗集《养鹤问题》（2015年台湾版）、《裂隙与巨眼》（2016年）等。
曾获奖项有“十月诗歌奖”、“十月文学奖”、“1986年―2006年中国十大新锐诗人”、“2008年中国年度诗人”、“1998年至2008年中国十大影响力诗人”、“首届中国海南诗歌双年奖”、首届袁可嘉诗歌奖、天问诗歌奖、中国桂冠诗歌奖、2015年桃花潭国际诗会中国杰出诗人奖、陈子昂诗歌奖、安徽文学奖、2017年华语文学传媒大奖等数十种。2015年与北岛等十诗人一起获得中华书局等单位联合评选的“新诗贡献奖”。作品被译成英、法、俄、西班牙、希腊等多种文字传播。
Chen Xianfa was born in Tongcheng, Anhui Province, China in October 1967. He graduated from Fudan University in 1989.He has published several anthologies of poetry, including Death inSpringtime (1994), A Past Life (2005),Engraved Monument of the Heart (2011), On Raising Cranes(Taiwan Edition, 2015), andFissures andGiant Eyes (2016). His novelSoul-Stealing Operawas published in2006 and a collection of essays,Notes atHeichiba,in 2014.
He has been the recipient of dozens of literary awards including: the October Poetry Prize; the October Literature Prize; China's Ten Pioneering Poets,1986-2006; China's Poets of the Year, 2008; China's Top Ten Influential Poets,1998-2008; the inaugural China Hainan Poetry Biennial Award; the inaugural YuanKejia Poetry Prize; Tian Wen Poetry Prize; Chinese Laureate Poets Award;China’s Outstanding Poet Award at Taohuatan International Poetry Festival,2015; Chen Zi’ang Poetry Prize; Anhui Literature Award; Chinese LiteratureMedia Award, 2017, etc. He was one of the ten recipients, including Bei Dao, ofNew Poetry Contribution Award by Zhonghua Book Company and other institutionsin 2015. His works have been translatedinto English, French, Russian, Spanish, Greek, and other languages.
Translator’s Biography
梁枫，美籍华人，哈佛商学院MBA，世界500强企业高管。居美国马萨诸塞州及北卡罗莱纳州。译著梭罗遗作《野果》将于2018年出版。
Nancy Feng Liang is a Chinese American and Fortune 500 executive who graduated fromHarvard Business School with a MBA degree in 2004. Her translation of Henry David Thoreau’s Wild Fruitswill be published in2018. She lives in greater Boston area,MA and Cary, NC, USA.
目 录
孤岛的蔚蓝
Lonely Island of Sapphire
箜篌颂
Ode to Kong Hou
《秋兴九章》之（五）
Nine Poems on Autumn Inspirations（V）
堂口观燕
Swallow Watching at the Hall Entrance
以病为师
Illness as Teacher
古老的信封
Ancient Envelope
群树婆娑
Whirling Trees
深夜驾车自番禺去珠海
Night Drive Alone from Panyu to Zhuhai
远天无鹤
No Crane in the Remote Sky
黄钟入室
Solemn Chimes Entering My Chamber
孤岛的蔚蓝
卡尔维诺说，重负之下人们
会奋不顾身扑向某种轻
成为碎片。在把自己撕成更小
碎片的快慰中认识自我
我们的力量只够在一块
碎片上固定自己
折枝。写作。频繁做梦——
围绕不幸构成短暂的暖流
感觉自己在孤岛上。
岛的四周是
很深的拒绝或很深的厌倦
才能形成的那种蔚蓝
——选自《横琴岛九章》
2016年11月作。2017年1月改
Lonely Island of Sapphire
According to Italo Calvino, people underheavy loads
would ignore all dangers just to go forlightness
to become fragments. In the joy of tearing themselves into smaller
debris they will get to know themselves
We only have enough strength to
fix ourselves on the pieces of debris
Snapping a twig. Writing. Dreaming frequently―
to gather tentative warm currents aroundmisfortunes
I feel myself on a lonely island
surrounded by
a color of sapphire only shaped by
deep rejection or deep boredom
（Nine Poems on the Reclining-Zither Island[1]
横琴岛九章
First written in November 2016, and revised in January 2017
2016年11月写，2017年1月改
[1] Reclining-ZitherIsland, an island in Zhuhai, Guangdong Province, China.
箜篌颂
在旋转的光束上，在他们的舞步里
从我脑中一闪而去的是些什么
是我们久居的语言的宫殿？还是
别的什么，我记得一些断断续续的句子
我记得旧时的箜篌。年轻时
也曾以邀舞之名获得一两次仓促的性爱
而我至今不会跳舞，不会唱歌
我知道她们多么需要这样的瞬间
她们的美貌需要恒定的读者，她们的舞步
需要与之契合的缄默――
而此刻。除了记忆
除了勃拉姆斯像扎入眼球的粗大砂粒
还有一些别的什么？
不，不。什么都没有了
在这个唱和听已经割裂的时代
只有听，还依然需要一颗仁心
我多么喜欢这听的缄默
香樟树下，我远古的舌头只用来告别
——选自《颂九章》
2010年7月
Ode to Kong Hou [i]
On the spinning beams of light, in their dance moves
what was it that flashed through my mind
Was it the palace of language that we long resided in? Or
something else, and I remember a few broken lines of verse
I remember Kong Hou of old times. When Iwas young
in the name of dance invitation I obtained hasty love once or twice
But even today I am still not a dancer or singer
I know how girls need that sort of moments
Their beauty needs permanent readers, and their steps
need the silence that suits their rhythm―
But now. Besides memories
besides Johannes Brahms like a big grain of coarse sand stabbed into the eyeball
what else is out there?
No,no. Nothing more
In this era when singing and listening are separated
only listening, still takes a benevolent heart
How I like this silence of listening
Under the camphor tree, my ancient tongue is only used for farewell
July 2010
[1] Kong Hou isan ancient Chinese musical instrument. It was lost in approximately the 14thcentury and failed topass on to future generations.
（Nine Odes
颂九章
June–December 2010
2010年6月―12月）
《秋兴九章》之（五）
每时每刻。镜中那个我完好
无损。只是退得远远的——
人终须勘破假我之境
譬如夜半窗前听雨
总觉得万千雨滴中，有那一滴
在分开众水，独自游向湖心亭
汹涌而去的人流中，有
那么一张脸在逆风回头
人终须埋掉这些
生动的假我。走得远远的
当灰烬重新成为玫瑰
还有几双眼睛认得？
秋风中，那么深刻的
隐身衣和隐形人……
2014年10月作，2016年11月改
Nine Poems on AutumnInspirations
V
Every moment. In the mirror I am intact
an undamaged whole piece. Only retreatingfarther away―
Man has to ultimately break away from a fake self-identity
When listening to the rain at my night window
I always feel among tens of thousands of raindrops, there is that singular drop
leaving all others, swimming alone to the lake-center pavilion
In the roaring crowd, there is
always that singular face turning around against the wind
Man has to ultimately bury these
vivid yet fake self-identities. Walk fartheraway
When ash turns into rose again
how few pairs of eyes will still recognize it?
In the autumn wind, there are such profound
invisible cloaks, invisible men…
First written in October 2014, and revised in November 2016
2014年10月写，2016年11月改
堂口观燕
自古的燕子仿佛是
同一只。在自身划下的
线条中她们转瞬即逝
那些线条消失
却并不涣散
正如我们所失去的
在杳不可知的某处
也依然滚烫而完整
檐下她搬来的春泥
闪着失传金属光泽
当燕子在
凌乱的线条中诉说
我们也在诉说，但彼此都
无力将这诉说
送入对方心里
我想起深夜书架上那无尽的
名字。一个个
正因孤立无援
才又如此密集
在那些书中，燕子哭过吗
多年前我也曾
这样问过你
而哭声，曾塑造了我们
——选自《遂宁九章》
2016年4月作，2016年10月改
Swallow Watching at the Hall Entrance
All swallows since ancient times seem to be
the same one. In the lines they draw ontheir own
swallows disappear instantaneously
Those lines will fleet
but won’t lose their shapes
like what we’ve lost
remains broiling and intact
in an unknown, faraway place
The spring soil they brought to my eaves
glosses like a metal lost in history
When the swallows are
trying to tell something with chaotic lines
so are we, but neither of us
can send any word
into the other’s heart
I recall on my night bookshelf are countless
names. One next to the other
each lonely and helpless
therefore clustered together
In those books, have the swallows cried
Years ago I asked you
the same question
The cries used to shape us
（Nine Poems on Sui Ning[ii]
遂宁九章
First written in May 2016, and revised in October 2016
2016年5月写，2016年10月改
[1] In April 2016, I, along with poets JidiMajia, Shang Zhen, Li Qi, Lei Pingyang, Na Ye,Liang Ping, Hu Liang, Gong Xuemin, Pu Xiaolin, Zhang Ergun, Shen Yu, PangXuejun, Wang Dandan, Lv Li and others toured Sui Ning Mountain in SichuanProvince of China.）
以病为师
经常地，我觉得自己的语言病了
有些是来历不明的病
凝视但不必急于治愈
因为语言的善，最终有赖它的驱动
那么，什么是语言的善呢
它是刚剖开、香未尽的柠檬
也可能并不存在这只柠檬
但我必须追踪她的不存在
Illness as Teacher
Very often, I feel my own language is ill
An illness of sometimes unclear origin
Give it a deep stare, but I am in no rush to heal it
for the kindness of language would ultimately derive from it
But then, what is the kindness of language
A lemon just cut open, whose fragrance hasn’t dissipated
Or perhaps there is not such a lemon
Then I would have to trace her non-existence
[1] Reclining-ZitherIsland, an island in Zhuhai, Guangdong Province, China.）
古老的信封
星光在干灰中呈锯齿状
而台灯被拧得接近消失
我对深夜写在废纸上又
旋即烧去的
那几句话入迷
有些声音终是难以入耳
夜间石榴悄悄爆裂
从未被树下屏息相拥的
两个人听见
堤坝上熬过了一个夏季的
芦苇枯去之声如白光衰减
接近干竭的河水磨着卵石
而我喜欢沿滩涂走得更远
在较为陡峭之处听听
最后一缕河水跌下时
那微微撕裂的声音
我深夜写下几句总源于
不知寄给谁的古老冲动
在余烬的唇上翕动的词语
正是让我陷于永默的帮凶
——选自《杂咏九章》
2015年9月
Ancient Envelope
The starlight looks serrated in dry ashes
while the lamp is nearly turned off
I am obsessed with the few lines
which I wrote on wastepaper at midnight
but then burned right away
Some sounds will just never get heard
A pomegranate bursts quietly at midnight
never heard by the two people
hugging and holding their breaths under the tree
After enduring a long summer, the withering reeds on the dam
sound like fading white light
The river, almost dried up, is wearing away the pebbles
But I like to walk farther on the shore
to the steeper area to hear
the delicate sound of being torn apart
when the last thread of water falls
I wrote a few lines at midnight always out of
an ancient impulse of mailing them to someone unknown
Words on the twitching lips in the ashes
are exactly the accomplice to make me fall into perpetual silence
First written in September 2015, and revised in September 2016
2015年9月写，2016年9月改
群树婆娑
最美的旋律是雨点击打
正在枯萎的事物
一切浓淡恰到好处
时间流速得以观测
秋天风大
幻听让我筋疲力尽
而树影，仍在湖面涂抹
胜过所有丹青妙手
还有暮云低垂
令淤泥和寺顶融为一体
万事万物体内戒律如此沁凉
不容我们滚烫的泪水涌出
世间伟大的艺术早已完成
写作的耻辱为何仍循环不息……
Whirling Trees
The most beautiful rhythm is when raindrops strike
withering things
Shadeor light, all just right
the elapse of time gets observed and measured
Autumn wind so strong
phonism makes me exhausted
Still, trees are painting their shadows on the lake
more skilled than any artist
Clouds drooping in twilight
Mud and temple top are blended into each other
The disciplines inside of all things are refreshingly cool
Our burning-hot tears are not allowed to burst out
All great art in this world has long been completed
Why the humiliation of writing repeats itself infinitely…
（Nine Poems on Various Subjects
杂咏九章
First written in September 2015, and revised in September 2016
2015年9月写，2016年9月改）
深夜驾车自番禺去珠海
车灯创造了旷野的黑暗
我被埋伏在
那里的一切眼睛所看见
我
孤立
被看见
黑暗只是掩体。但黑暗令人着迷
我在另一种语言中长大
在一个个冰冷的词连接
而成的隧洞中
寂静何其悠长
我保持着两个身体的均衡
和四个黑色轮毂的匀速
飞蠓不断扑灭在车玻璃上
他们是一个个而非
一群。只有孤立的事物才值得记下
但多少黑暗中的起舞
哭泣
并未被我们记下
车载音乐被拧到最低
接近消失——
我因衰老而丢掉的身体在
旷野
那些我描述过的年轻桦树上
在小河水中
正站起身来
看着另一个我坐在
亮如白昼的驾驶舱里
渐行渐远
成为雨水尽头更深黑暗的一部分
——选自《横琴岛九章》
2016年11月
Night Drive Alone from Panyu to Zhuhai
It’s the headlights that created this dark wilderness
I am seen by
all the eyes in ambush out there
I am
alone
and seen
Darkness is just the bunker. But darkness isenchanting
I grew up in another language
In a tunnel connected by
a chain of chilly words
what a long and lasting silence
I try to keep a balance of two bodies
and a consistent speed of four black wheels
Flying midges keep hitting my windshield
as individuals, one after another, rather than
a crowd. Only isolated things are worthremembering
But how many dances in darkness
and weeps
were not remembered
The music volume was turned down
to almost silence―
My body, aged and therefore abandoned
is now standing up
from the young birch I depicted
in wilderness
from a brook
Seeing another me sitting
in the driver’s compartment as bright as in daylight
farther and farther away
to blend into an even deeper darkness at the far edge of the rain
远天无鹤
我总被街头那些清凉的脸吸附
每天的市井像
火球途经蚁穴
有时会来一场雷雨
众人逃散——
总有那么几张清凉的
脸，从人群浮现出来
这些脸，不是晴空无鹤的状态
不是苏轼讲的死灰吹不起
也远非寡言
这么简单
有时在网络的黑暗空间
就那么一、两句话
让我捕捉到它们
仿佛从千百年中淬取的清凉
流转到了这些脸上
我想——这如同饥荒之年
即便是饿殍遍地的
饥荒之年，也总有
那么几粒种子在
远行人至死不渝的口袋里
——选自《叶落满坡九章》
2017年2月写，2017年4月改
No Crane in the Remote Sky
I am always absorbed by those fresh, cool faces on the street
In everyday marketplace, townsmen’s life
is like a fireball passing ants’ nests
Sometimes a thunderstorm
would make everyone flee―
but there are always a few fresh and cool
faces,emerging from the crowd
These faces are not like a clear sky of no cranes
or dead ash impossible to blow as Su Shi[iii]wrote
They are far more profound than
sparse words
Sometimes in the dark space of internet
just one or two sentences
would help me recognize them
It seems the fresh and cool feel extracted over a thousand years
has roamed to these faces
I think―this is almost a year of famine
Although dead bodies of the starved lie everywhere
in a year of famine, there are always
a few seeds
in the pockets of the wayfarers who remain faithful until death
（Nine Poems on Fallen Leaves Strewing the Slope
叶落满坡九章
First written in February 2017, and revised in April 2017
2017年2月写，2017年4月改）
黄钟入室
钟声抚摸了室内每一
物体后才会缓缓离开
我低埋如墙角之蚁蝼
翅膀的震颤咬合着黄铜的震颤
偶尔到达同一的节律
有时我看着八大画下的
那些枯枝，那些鸟
我愿意被这些鸟抓住的愈少愈好
我愿意钟声的治疗愈少愈好
钟声不知从何处来也不知
往何处去
它的单一和震颤，让我忘不掉
我对这个世界阴鸷般的爱为何
总是难以趋于平静——
——选自《黄钟入室九章》
2017年4月
Solemn Chimes Entering My Chamber
The chimes would have caressed every object
in my chamber before they slowly recede
I am deeply buried like an ant at the corner of wall
The trembles of my wings interlock with the trembles of the brass
occasionally achieving an identical rhythm
Sometimes I gaze at the dead branches and birds
painted by Bada Shanren
I hope the less the birds catch, the better
The less the chimes heal, the better
I don’t know where the chimes came from
or where they are going
The irmonotone and trembles are impossible to forget
Why is my insidious love to this world
always so hard to appease―
（Nine Poems on Solemn Chimes Entering My Chamber
黄钟入室九章
April2017
2017年4月）
[i] Kong Hou was an ancient Chinese musical instrument. It was lost in the 14thcenturyand never passed on to future generations.
[iii] Su Shi (1037-1101), also known as Su Dongpo, a Chinese poet, artistand calligrapher in Song Dynasty.
一百年来，汉语新诗的发展与外国诗歌及其翻译的影响密不可分，但双方的互动也始终存在不对等的问题。随着中国当代文学的崛起，当代汉语诗歌期待在更广阔的语境中发声，同世界文学达成愈加丰富的交流与对话。
为进一步繁荣新时代诗歌，推动汉语诗歌走向世界，激励本土诗人们创作出具有世界影响力的优秀作品，中国诗歌网与美国华盛顿PATHSHARERS BOOKS（出版有季刊21st Century Chinese Poetry）合作开展汉诗英译活动。《诗刊》每期刊登的诗作及中国诗歌网“每日好诗”中的佳作，将有机会被译成英语，刊于21st Century Chinese Poetry，并在中国诗歌网做专题展示。
“汉诗英译”栏目编委会
主编：金石开、朱涛
责编：王美富、王家铭、罗曼、丁鹏
