2026年3月12日 星期四

Carson McCullers, The Heart Is a Lonely Hunter 讀後

 Carson McCullers, The Heart Is a Lonely Hunter (1940)讀後
 
自大學以來,斷斷續續讀外國文學也算有數年;從未遇過一位作者,是能像她那樣將「孤獨」寫得如此用心、透徹的。若單論書的頭兩章,恐怕是我暫時在英語文學裏讀過最完美的文字(是的,哪怕是James Joyce或海明威,大抵亦無過於此)。或如《紐時》某位評者謂:「She dignifed the individual, especially life's losers... She reflected the lonely heart with a golden hand.」「授予尊嚴」(dignified),不是指要演繹某種理想的人性假定;而是在於對人性缺陷一筆一捺的如實勾勒,以及對其一次又一次的扶正。而若說我在John Steinbeck的文字處仍時會感受到一點昔日的、左翼精神的餘痕,則McCullers在此書中顯現的,無疑已是種超越了純粹政治界限,且更為寬諒、平等和慈悲的目光了。
 
補:中譯來說,劉勇軍的譯文明顯臻屬上乘,不少言文細節亦翻得忠實,故值得破例推薦。
 
2/8/2024
 
書摘:
 
//He stood before the mirror and rubbed his cheek meditatively. He was sorry he had talked to Alice. With her, silence was better. Being around that woman always made him different from his real self. It made him tough and small and common as she was... Alice was almost asleep again, and through the mirror he watched her with detachment. There was no distinctive point about her on which he could fasten his attention, and his gaze glided from her pale brown hair to the stumpy outline of her feet beneath the cover.//
 
//The black night sky was beginning to lighten and turn a deep blue with the new morning. There were but a few weak, silvery stars. The street was empty, silent, almost cool. Singer carried the suitcase with his left hand, and with his free hand he supported Blount. He nodded good-bye to Biff and they started off together down the sidewalk. Biff stood watching them. After they had gone half a block away only their black forms showed in the blue darkness — the mute straight and firm and the broad-shouldered, stumbling Blount holding on to him. When he could see them no longer, Biff waited for a moment and examined the sky. The vast depth of it fascinated and oppressed him. He rubbed his forehead and went back into the sharply lighted restaurant. He stood behind the cash register, and his face contracted and hardened as he tried to recall the things that had happened during the night. He had the feeling that he wanted to explain something to himself... The door opened and closed several times as a sudden spurt of customers began to come in. The night was over. Willie stacked some of the chairs up on the tables and mopped at the floor... The place was still not crowded—it was the hour when men who have been up all night meet those who are freshly wakened and ready to start a new day. The sleepy waitress was serving both beer and coffee. There was no noise or conversation, for each person seemed to be alone... The bank building across the street was very pale in the dawn. Then gradually its white brick walls grew more distinct. When at last the first shafts of the rising sun began to brighten the street, Biff gave the place one last survey and went upstairs.//
 
//He had wanted to talk to somebody about it, because maybe if he told all the facts out loud he could put his finger on the thing that puzzled him. The poor son-of-a-bitch talking and talking and not ever getting anybody to understand what he meant. Not knowing himself, most likely. And the way he gravitated around the deafmute and picked him out and tried to make him a free present of everything in him.
 
Why?
 
Because in some men it is in them to give up everything personal at some time, before it ferments and poisons — throw it to some human being or some human idea.//

2026年2月20日 星期五

蛇王詩抄(選四) 飲江

〈蛇王詩抄(選四)〉 飲江

一、讀詩

我們的詩是押在褲頭讀的
掏出來和塞回去
都得左顧右盼

二、趕巴士

趕搭冇蓋巴士
它載我們
到遠方避雨

三、安全守則

安全守則貼在牆上
對照着我們檢查自己
檢查守則,然後
檢查各自的運氣

四、仰望

艙底究竟多深
大伙兒都不知道
累極了我們便仰望
但從不丈量 天堂

摘自飲江詩集《於是你沿街看節日的燈飾》,頁43-46。

2026年2月10日 星期二

拉牛上樹 飲江

〈拉牛上樹〉 飲江

童年每天早上
大概雞鳴三遍
我便開始
拉牛上樹
童年每天早上
晨光熹微
母親在門庭灑水
而我

告別夢鄉
告別夢伴
睡眼惺忪
拉牛上樹
父親硬要我騎在牛背上念書而我
天天如是
拉……牛……上樹
天地玄黃
拉牛
  上樹

如今
日月盈昃
牛在樹上
樹在
父親
頭上
而父親
徘徊於斗牛之間
又間或
降臨
坐在
他兒子
的兒子
哞哞拉動
又拉不動
一隻牛
的牛
尖尖

原刊《香港文學》第126期,1995年6月1日。
摘自飲江詩集《於是你沿街看節日的燈飾》,頁191-192。

植物人 飲江

〈植物人〉 飲江

作為植物人
他寧願
作一株植物

作為植物人
他對我說
我何曾這樣說過

原刊《香港文學》第74期,1991年2月5日。
摘自飲江詩集《於是你沿街看節日的燈飾》,頁238。

一沙一世界 飲江

〈一沙一世界〉 飲江

從一粒沙
看一個世界

我習慣
從一粒沙
看一個世界

我習慣
長久以來
從一粒沙
看一個世界

長久以來
我習慣
從一粒沙
看一個世界

長久以來從一粒沙我習慣
看一個世界

從一粒沙
我看到

我的習慣

原刊《香港文學》第82期,1991年10月5日。
摘自飲江詩集《於是你沿街看節日的燈飾》,頁159。

鹹魚店(十四行) 飲江

〈鹹魚店(十四行)〉 飲江

吊在那裡很久了那鹹魚
上工頭一天我用叉
把它掛起來我便想
這鹹魚肉質彬彬的
任誰都會揀去它吧
但它一天天吊在那裏直挺挺的
一丁點兒鹽也沒見掉下來
今天該有人揀去它了
每天早上看着它每天我都這樣想
我每天都這樣想這樣想
漸漸變成了我每天的希望直到
今天老板過來跟我說
你呆頭呆腦像條鹹魚似的
明天不用上工了

摘自飲江詩集《於是你沿街看節日的燈飾》,頁20。

2026年2月7日 星期六

灣仔老街 陳滅

〈灣仔老街〉(之一) 陳滅

一、

一陣風教我們看見樹
窸窣生聲,不是雨
是仍然嫰綠的葉
當腳步帶動視線挪移

下一陣風吹落了葉
教我們說話斷續
撿拾的葉片堆積成
慘綠地碎散的故事

就這樣完結了嗎?你說
風靜,樹也枯竭殘留在
大片混濁初生的工地上

輕搖落一段窸窣舊事
不是雨,是再生的風
教我們逐漸看見了樹

二、

看見了咖啡色的足跡
店舖和它依附的幽靈
撫摸麵包做成的牆壁
有布幔也有門鈴

無法投遞,退回原處
記憶像標注無此人的信簡
城市擴張成孩子的積木

苦苦堆砌到頂尖的高峰
有起動的唱機播放音樂
但轉念隨手一揮就推倒

看見了藍色的肖像
我們邊走邊繪畫
包紮着耳朵的街道
一步一步自畫出狷狂

原刊《明報》,2005年。

〈灣仔老街〉(之二)

一、

斑駁牆壁油漆剝落了一片
眾多舊有不知年代的字跡
共畫像之間僅餘一點空白
我們刻上這舊樓房的名字

伴隨世代固執剩餘的形狀
眾人在此生活作息又歌唱
總不離爭執陽光隱退便安睡
朝陽照入眾人的影子便搬遷

窗框上防風膠貼還在
每個玻璃方格打着交叉
喧囂間唯有它洞悉了我們

不自主每每弄錯的記憶
微動牆影變易舊有字跡
自行增添上更殘破畫像

二、

風雨夜用指頭在窗邊
塗劃彎曲虛弱的符號
幾代人苦苦積累的文字
同樣在瞬間便要被抹去

總有不欲談起的故事
塵濁鏡子更無從映照
自行刪減的幢幢魑魅
唯樓房保存幽隱一角

最後一戶遷出之先
唯有它凝固了自身
混凝土時代的記憶

斷絕水電和剩餘人面
無礙窗格與牆壁的縫隙
蔓生處處點點的綠色

原刊《秋螢》,2005年。

〈灣仔老街〉(之三)

走過語言與人面彎曲流淌的路

摘自陳滅詩集《市場,去死吧》,頁31-。