爱尔兰诗人劳伦·奥德怀尔保留了古代吟游诗人的珍稀特质，跟随他幽灵般的漫游和呓语，我们得以窥见一位诗人私己性的精神地理与肉身感性经验相叠合的“缠绕地带”（twisted place）。——秦三澍
劳伦斯·奥德怀尔的诗依兴 译
埃斯孔迪多港
我们进到山里，多米尼加那一侧
一片奇异的热带森林，幽深僻远
一个腐叶和乐鼓并存的怪誕之地
黄昏时偶遇在冷涧中
洗浴的海地劳工
那脱节般疲惫不堪的肌肉油光闪闪
引诱我们用躲闪的眼光
去窥视。在幽谷深处，
一本地人说，这儿的海地人，好。
那儿的（向山上摆摆手），糟！
意思是，弯刀桥深处的
是幽灵般出没的匪徒。那儿，天堂和地狱
同在，像打碎的鸡蛋。但这儿的
是移民劳工，他们甚至可能
是我们的朋友。那一夜，从下边
村子里的高音喇叭传来甜蜜
妙曼的巴恰塔舞曲。我们在山中
被树枝和月光包裹着
入睡。破晓时分，我们的邻居
一前一后沿小径下山，如同一个
每个孩子都该知道的民间故事：不论
我们留下多少碎屑，海地人，
多米尼加人，武装匪徒，还是鬼魂，
只要还有一粒相异
之处，我们将永远寻不到故土。
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
峡谷
我没有想起你
因为我还未遇见你
一定是我梦见了
那些我喜欢在下午
看默片的日子，那些我独自旅行
希望在下一个城镇找到你的日子
有一次，我偶然走进亚利桑那州弗拉格斯塔夫
的一家酒吧，是午后两点
我很孤独，需要喝一杯
我仍记得从酒吧打的那个电话
还有里面刚刚失业的锯木工人
和因工作清闲而微笑的女招待
她冲着我笑，因为我最年轻
我当时一定非常年轻
因为我还未遇见你
你被我两度遗忘
我也丝毫不担心醉酒
我那时天马行空，浪迹天涯皆开心
在那个距峡谷仅几英里的
弗拉格斯塔夫的酒吧尤其开怀
但我心里根本没有什么峡谷
我在尽情地
口出脏话，忘记了
那些汉子中仅我未成年
忘记了我们都还未看到峡谷
而且冲我们那样子
那天也不太可能看到
但那真的无所谓
因为我还未遇见你
我也丝毫不担心醉酒
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
比利时
春天以每小时两英里的速度向北推进,
我南下旅行，在沿途的小旅店驻留。
在沙勒罗瓦，一位老者问我要去哪里,
我告诉他我在追赶春天 。“我希望
在琉森稍南处追上她，”我说。
他点点头, 又继续发呆。
接小来的数日我骑单车穿越比利时
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.
弗伦特恩公墓
渐淡的光影在外
微弱的脉搏在内
六朵火焰悬浮在薄雾中
两个身影手拉手
走在鹅卵石小巷里
墓旁
那座雕像静寂了原本可能
会有的说话声
并在听到威士忌酒瓶
密封圈撕开的
声音时微笑
不知不觉
我想起了一块紫色围巾
仿佛那从未发生过
又或许总在发生着
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
巴塞罗那市雷纳新卡大街34-36号
1.
曾经有为数不多的人为我吟唱，但
他们却不知我在聆听 –
在雅典地铁沿线
窗口边的那个女孩
在兰布拉大道旁校园内的孩子们
(那后面的那条街)
还有在华沙跪在祭台旁
那位带面罩的妇人–
他们使我得以在城市的中央
安然小憩片刻
2.
醒来时，天还早，我端了
一杯水到后院
亚莉珊卓已在那儿
她正坐在地上画画
那是我在这个城市逗留的最后一天,
绿色热浪沿着街道升腾而起
你长大后想做什么? 我问她
我不知道，她答道，我只是个孩子
然后又继续画画
我好希望那是我的答案
越过她的肩膀，我看到
两匹马正从晾衣绳边
孱弱的樱桃树旁腾空跃起
在无垠的黄色平原上扬起一片烟尘
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
在琅多
我不知道南乌江是否流入湄公河
热浪肆意地蔓延，九曲河弯
消失在炙烈的阳光里。小竹楼的阳台
随着我们飘溅，摇曳的身影酣然入睡
黑色的大拱洞在我们头顶上方撑起
那座桥面，其上的灯火为过路的鬼魂引路
我们一路奔跑到河岸，全身被月光浸透
明天我会更精确；我将告诉你
南乌江究竟在何处流入湄公河
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.
马
旗帜或军队都无须伴随胜利
真正的胜利是没有失败
当失败一词变得陈旧失效
胜利便也跟着湮没无闻
胜利的最可靠标志
即是它的缺席。那是一种类似于马的状态
正如一匹全速飞奔的马
四蹄离地，凌空御风
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.
——诗作见《飞地·人的光》，张尔主编，2018年。
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注：《飞地·人的光》已邮寄，未收到样刊的作者及订阅者，请及时与后台联系。
丨劳伦斯·奥德怀尔(Laurence O’Dwyer) ，爱尔兰诗人和神经科学家，于都柏林圣三一学院获得记忆形成范式领域的博士学位。他的首本诗集《纤维束成像》（‘Tractography’ ）(Templar Poetry, 2018) 荣获斯瑞德诗集奖（Straid Collection Award）。2018年任剑桥大学史考特极地研究中心（Scott Polar Research Institute at the University of Cambridge）的访问学者。2017年获得奖助金入麦道尔艺术村（The MacDowell Colony）进行驻地创作。2016年获帕特里克·卡瓦纳诗歌奖（Patrick Kavanagh Award for Poetry）。另外他还曾获轩尼诗爱尔兰文学新人奖（Hennessy New Irish Writing Award）。
依兴, 出生于中国北方, 自幼喜欢诗文。于美国西北大学(Northwestern University)传播学院获得博士学位, 现工作生活于美国华盛顿。她英译的作家苏童和台湾诗人陈黎的作品在《犁头》（Ploughshares)，《爱荷华评论》（Iowa Review）等多家美国文学期刊上发表。
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