廖伟棠：我接受的外来文学影响

李明利

廖伟棠：我接受的外来文学影响


                                                                       个人化写作与外来文化影响

据凤凰文化 2016年10月22日消息 10月21日上午，2016凤凰·鼓浪屿诗歌节第二天，主题为“个人化写作与外来文化影响”的诗歌国际论坛在鼓浪屿举办。诗人赵野，赵四，李少君，树才，李元胜，默默，韩庆成，廖伟棠，林于弘、黄冈、加拿大诗人洛尔娜·克罗奇（Lorna Crozier），英国诗人李道（Richard Bruns），印度汉学学者、诗人普利亚达西·墨普德教授、韩国翻译家金泰成等人在论坛做出精彩又有见地的发言。论坛由诗人、翻译家、评论家汪剑釗和诗人北塔主持。

鼓浪屿拥有“万国建筑博览”美誉，东方文化与西方文化交会于此，闽南文化与外来文化共融于此。“鼓浪屿女婿”林语堂自评“两脚踏东西文化，一心评宇宙文章”。于诗人而言，外来文化将如何影响个人写作？作为“世界人”的诗人，一方面孜孜不倦地从自身文化中汲取养分，另一方面又无时不刻不体会着全球化带来的“文化震撼”，从而形成观念的冲突、矛盾、变形、融合、促进，进而可能形成写作的自我革新。


                                                                                    廖伟棠

我接受的外来文学影响至少要包括如下名字：卡夫卡丶曼德尔斯塔姆、里尔克、庞德、惠特曼、宫泽贤治，他们教导我诗人和世界的关系，演示在虚无中建立秩序的伟力，最终他们告诉我的不止是诗歌问题，更是人之为人的意义问题。

曼德尔斯塔姆的魅力最难以言表，他孩子气地诉说生死攸关的事情丶教我庄重与幽默并行的技巧；他在现实中对自由的执着进入文字，采取的是魔术师一般试探语言极致可能性的方法；他不但向身边的灵魂说话，还向俄罗斯及人类文明上过去的丶未来的灵魂说话，他教我始终把自己置身在整个世界文明的共同体中间，履行自己作为信使与证人的职责。

庞德告知我怎样果断地处理现代世界的混乱，同时还保持着古人的优雅气度；具体的诗歌理念上，庞德对我影响最大的是：他告诉我写诗应该百无禁忌，一如杜甫，庞德最终是一个悲观主义者——或起码说是一个不可知论者，这也和晚年杜甫有相似之处。

里尔克让我知道爱与诗都是困难的事情，因为困难便更需要去做；要说一本影响我一生的书，那绝对是里尔克的《给一个青年诗人的十封信》。在未知自己的选择是否正确的青年时代，一个成熟深沉的兄长的告诫是非常重要的。他的信和诗中完美、磅礴的神秘主义世界观，在我面向广阔世界迈出第一步的时候，引领乃至庇佑了我。

卡夫卡则比里尔克加深一层给予我这样的要求：一，坚决看清社会的假象和世界应有的真实；二，坚决写出这些假象和真实；三，与孤独保持亲密。卡夫卡是个羞涩的魔术师，我永远也猜不到我将要从他那里得到什么礼物，他曾教给我离题丶移情丶朴素和绝望的技巧，但我知道还有十倍以上的秘密等着我。

惠特曼教我如何作为世界的一份子去赞美世界。和一般读者相反，我最注意的不是惠特曼的“自我”（也不是他的种种化身），我关注的是惠特曼诗歌中那个世界，他自身以外的世界丶属于他所歌唱的他人的世界。他对自己的歌唱实际上也是对世界的歌唱的一部分，而且给我带来同样的营养：那就是如何健康地看待自己和外在的因素。

我高兴地发现，我的心理状态和惠特曼一样的健康，我能够公正地对待那些涌向我的诗歌的事物：无论那是美食还是毒素。惠特曼和庞德一样，给我培养了一个好胃口，庞德有句诗写给惠特曼，也是我想说的：“是你砍开了新的木头，如今已是雕刻的时候。”其后的艾伦.金斯堡、盖瑞.斯奈德、鲍勃.迪伦、乃至我辈，都是接手雕刻的人。

早在三十年前接触，但到这两年才对我影响极大的，是日本诗人宫泽贤治，宫泽贤治自比阿修罗，兼有荷尔德林与尼采晚年的神性／魔性。他的诗中包含着生机勃勃的宇宙和来自人性的灵魂试炼，我相信这也是我未来想要深入的，且容后再说了。

The Influenceof Foreign Literature on Me

Liao Weitang

Whenit comes to the influence of foreign literature on me, such names should beincluded: Franz Kafka, Osip Mandelshtam, R. M. Rilke, Ezra Pound,Walt Whitman as well as MiyazawaKenji. They tell me the relationship between poets and the world, as well asdemonstrate the power of establishing order in nihility. What they ultimatelytell me goes beyond poems themselves, but the meaning of human existence.

Words are beyond expression when it comesto the charm of Osip Mandelshtam who childishly recounted the life-and-deathmatter by a mixture of solemnness and humor, transferred his commitment tofreedom in reality into the words through a way to explore the perfection oflanguage like a magician, and conversed with the souls around him and those ofRussia and human civilization in the past or in the future. He taught me toposit myself among the global civilization, shouldering my responsibility as amessenger and witness.

EzraPound instructed me how I should decisively address the chaos of themodern world with classical elegance. In terms of philosophy of poetry, themost influential thing he taught me  isthat there is no place for taboos in writing a poem. Similar to Du Fu, a Chinesepoet, Pound is a pessimist ultimately or at leastan agnostic, which resembles Du Fu in his later years.

R. M. Rilke imparted me that both love andpoem are difficult, and that’s exactly why they are worthwhile. What’s more, ifI have to name a book that has a lifelong influence on me, it must be Letters to a Young Poet by Rilke wherewe know it is critically important for us to accept an admonition from a maturebrother when we are not sure about whether we have a correct choice in youth.The perfect, majestic mystical world view of his letters and poems guides andeven blesses me when I set my first step to confront the vast world.

Such requirements Franz Kafka gave me whichwere in a higher level than R. M. Rilke did are as follows: First, unhesitatinglylook through the illusion of society and see the real world as it should be;second, firmly write down such illusion and truth; third, establish a closerelationship with loneliness. I'll never guess what I am going to get fromKafka, for he is a shy magician. By the way, he imparted me with the knowledgeof rhetorical devices such as digress, empathy, briefness and despair, but Iknow there is more than ten times the secret awaiting me.

WaltWhitman taught me how to admire the world as one member of it. Contrary to thegeneral reader, what I care about most is not Whitman as a person (nor hisincarnations), but the world in the poetry of Whitman, theworld beyond himself, the world of others that he praised. The idea in thematter of fact that he praises himself is also a part of his appreciation ofthe world, nurturing me all the same, and telling me how to treat myself andexternals in a sound way.

I am happy to know that I am in the samehealthy state of mind with Whitman where I can fairly treat those which rushinto my poetry whether they are benevolent or poisonous. Both Whitman and Pound give me a bon appetite.What Pound wrote to Whitman is also what Iwant to express. That is to say that you have cut off new woods, and it is timeto carve now. People like Allen Ginsberg, Gary Snyder, Dylan and us all havetaken over this mission.

Miyazawa Kenji, a Japanese poet, has a greatinfluence on me in recent years though I knew him thirty years ago. He comparedhimself to Asura, who have the characteristics of divinity / devil of Holderlinand Nietzsche in his twilight years. Kenji’s poems contains the vigorous universeand the trial from the human soul, which I believe I will make a deep study inthe future and we can take about it later.