Image credit: Frida Maureen Hultberg

View Artwork Credits
View full size

The Components of Fine Rain

 

1.

Fleeting spring light, the quiet dark

Corner peeks out its eyes, lips, ears

Fine rain slowly crosses the water

Like writing, voicing, hearing a text

For which the world wakes.

 

2.

Ferns living atop the roof

Furl the whispers of rain, exhaust

Pipes whimper at the sky, bent mouths

As though the horn were playing a soaking

Black cat. Dark clouds depart, silently

 

3.

Fine rain wanders the cracks of a brick wall

A blade of grass points the way

The glass window in the wall

Is a message board for the rain

Each word a mark of imagery passing

 

4.

A city mists in the distance

A traffic lane runs through my heart

Arriving in silence, a pilgrimage

Some feelings sail between my brows, headed

For the bridge of my nose, in unending rain

 

5.

In fine rain, every word is

An island, several islands form

A verse. The verse floats on the water’s

Surface, words drifting now together, now

Apart, an unstable chapter

 

6.

South winds caress, the wall

Sweats, the sky rains tears,

The paper words I smudge

Mistakenly erasing my own

Image, leave only a shadow

 

7.

The book damp, the moss

More ravenous than silverfish

From my feet, hands, face

Executing fine rain’s pouring warrant

Until the dust jacket is dyed with moss

 

8.

Umbrellas undiscover people, people undiscover fire

The city curfews the sky in the rainy night

We cannot trace the stars, in the dark

We trim our nails, lashes

And freedom for the dolls.

 

9.

Cherry blossoms and faces fall, peacefully

Draped over the ground, beauty sleeps

Butterflies trail after even a wasteland

Seeking the footprints of mourners in fine rain

The remnants beautiful even in trance

 

10.

Reality forces me, I can

Dream. Civilization invades, permitting

My desolation. Fine rain pelts

And I can be drenched

My language, too, has come down with bird flu

 

11.

Tonight’s unfallen, the sky is dark

Fine rain is starlight scattered

Before it goes out, I go to the door

Open my umbrella, read starlight’s

Messages rippling the streets

 

12.

Disassembled parts still long to return

To life’s architecture, link the wings of birds

Keep the clouds turning, fashion the sky

Into a vast book. When the page turns

The fine rain in the book no longer falls.

 

 

 

 

 

Sympathy

 

1.

two eyes that haven’t written any

letters in a long time, having been dry for a long time

a white shirt turned yellow

reaches out its left sleeve

swings hard at my right cheek

the slap has me fainting in the envelope

don’t know who put on the stamp

tossed it into my eyes

a thousand miles away

a tree finally receives my

tears

 

2.

two eyes

that haven’t shed leaves

in a long time spread a row of lashes

to shelter a crow

from a thousand miles away

a letter reaches over with its hand

furiously shaking

a tree

finally sheds a plenty of tears

 

 

 

 

Across the Ocean in My Heart

 

my hand strokes from my right breast to my left

there’s a pain in my chest

my hand, trying to fly across the ocean in my heart…

 

a white seagull

gently flicks open a row of buttons on my lapel

swooping into that naked

chest, that unending vastness

those surging torrents of

my flesh

 

between shore and shore

a seagull glides the air

ahead, opened eyes stare

ahead, dampened wings dive

beyond the silhouette leaving the distant shore

ahead is lost

 

the right bank my right chest

the left bank my left chest

in between is a wound

blood like an ocean

the seagull flies desperately

it must fly up, only the sky

the sky’s forever emptied

there are no crags to write down its footprints

shores of blood

deliver it ahead

 

but ahead is lost

I call out over high-frequency radio

there’s a tower over there!

a wound of seven thousand miles

forming an ocean of blood

seagull, try your best to get across

like a white ball of cotton

gently wiping over the wound

yet the wound grows and grows

suddenly, it sees

 

my heart’s an island in the wound

the habitat of its destination

it flies closer

amidst a chain of orange navigation lights

slowly it lands

細雨的零件 

 

1、

春光一現的瞬間,幽暗的

角落探出眼睛、嘴唇、耳朵

細雨緩緩過了岸

像一篇文字的書寫、發音、傾聽

世界為之清醒。

 

2、

住在屋頂上的蕨

捲曲著細雨的話語

排氣管彎著口,對著天空嗚咽

像喇叭釋放了一隻濕透的黑貓

烏雲悄悄靜默去

 

3、

細雨沿著磚牆的縫隙迷走

一株草葉指點了方向

磚牆上的玻璃窗

是細雨書寫的留言板

字字是意象經過的印痕

 

4、

遠方的城市迷濛

我心中有一條車道

仍朝聖般,靜默抵達

有一些情感,在眉間緩緩行駛

前往細雨連綿的鼻樑

 

5、

細雨中,每一個字都是

島嶼,幾個島嶼組成一個

詩句。詩句在水面漂蕩

字與字若即若離

像不能安定的篇章

 

6、

南風吹拂,牆壁

流著汗,天空流著雨

稿紙上流著字。我在擦拭

一不小心擦去自己的

形象,只留下影子

 

7、

書本潮濕,青苔

比起蠹蟲更具吞噬力

從我的腳、我的手、我的臉

執行細雨淋身的搜捕令

直至書衣全被青苔上色

 

8、

傘隱形了人,人隱形了燈火

城市在雨夜宵禁了天空

我們望不到星星,暗自

把指甲、睫毛和自由

剪給了洋娃娃。

 

9、

櫻花與臉都靜靜飄落

平躺滿地,美如此睡著

縱使是廢墟也有蝴蝶來追蹤

尋覓細雨中悼念者的腳印

縱使惚恍,殘物也美

 

10、

現實所逼,我得以如此

夢幻。文明入侵,我得以

如此荒蕪。細雨驟降

我得以如此淋漓

我的語言,亦患了禽流感

 

11、

今夜未至,天已黯然

細雨是灑下來的星光

熄滅之前,我走到門口

撐開了傘,讀星光

在馬路上點點滴滴的留言

 

12、

拆解的零件仍然想回到

生命的結構裡,鏈接鳥翼

繼續轉動雲層,讓天空

像一本龐然大書,翻頁時

書中的細雨不再掉落。

 

 

 

 

同情 

 

長久沒有寫信的

兩顆眼睛,長久都是乾燥的

一件變黃的白襯衫

伸出左袖子

狠狠地揮向我的右頰

拍地一聲,使我昏倒於信封裡

不知被誰貼上郵票

向眼睛裡投入

千里外

有一株樹,終於接到我的

眼淚

 

長久

沒有落葉的

兩顆眼睛,用一排睫毛

來棲一隻烏鴉

從千里外

伸過來一張有手的信

猛搖

一株樹

終於落下不少眼淚

 

 

 

 

 

飛越心中的海洋

 

我的手從右胸撫慰到左胸

胸口一陣痛楚

手,要飛越心中的海洋……

 

一隻白色的海鷗

輕輕撥開衣襟上的一排鈕扣

俯衝進入那裸露的

胸懷,那浩瀚無垠

澎湃洶湧的

我的肉體

 

岸和岸之間

正飛行著一隻海鷗

前方,睜的眼凝睇

前方,潮濕的翅膀飛撲

在遠離彼岸的背影後

前方遺失了

 

右岸是我的右胸

左岸是我的左胸

中間是一個傷口

血像海洋

海鷗拼命的飛

牠要往上飛起,只有天空

天空永遠空洞了

沒有岩壁可為牠寫下腳印

血的海岸

為牠送往前方

 

而前方遺失了

我用高頻率無線電機呼叫

那裡有塔台啊

傷口七千餘英里

造成血液的海洋

海鷗,你努力渡過吧

像白色的一團棉花

輕輕的擦拭著傷口

而傷口愈來愈大

忽然,牠看見

 

我的心臟是傷口中的一個島

正是牠棲息的終點

牠往前飛近了

在一串橘紅色的導航燈中

徐徐降落

 

 

Translator's Note

Su Shao-Lien plays with form and structure in his poetry, experimenting with interfaces such as audio and photography, the mixing of Mandarin and Taiwanese, and interactive hypertext poetry. His poetic medium ranges from the paper to the internet, combining elements of text, image, and the spoken word. His poems craft interesting narrative perspectives through techniques such as the splitting of the self and the interchanging of the self with elements of the external world. Su’s poetry plays upon the "shackles" of the established conventions of language, taking advantage of the paucity of inflectional morphology in Mandarin to stretch the boundaries between noun and verb, transitive and intransitive, subject and object, adding a sense of novelty to his already vivid language.

No two languages offer the exact same mechanisms and opportunities for linguistic ingenuity. As a translator, I find Su’s language to be an endlessly engaging puzzle, both semantic and syntactic. The properties of specific lexical items in Chinese and English must be examined and exploited. Considerations of the ways in which the prosodies of the two languages differ also played a significant role in my choices in the placement of line breaks. In these translations, my primary aim is to capture and convey two aspects of Su’s poetry: his use of unexpected metaphorical language to create images that one cannot help but tilt around in the mind, and his almost dizzying—but skillfully restrained—command of perspective.

Droplets of Language. "The Components of Fine Rain" is a poem very densely packed with images; reading it feels like thumbing through a stack of photographs, sometimes of things that in reality are not photographable. The extensive use of imagery and personification has a kaleidoscopic effect: it takes us into the crevices of our world, encourages us to step into the shoes of inanimate objects  and even abstract concepts, like language and beauty. We are invited to look through the lenses of fine rain, to look at our world and lives reflected in the tiny droplets of fine rain: shadows, the traffic, stars, the history of the universe, ourselves. Su’s familiar-yet-unexpected imagery and metaphorical language grant us a weightless, fantastical perspective. The images recall one another across stanzas, like the interlocking cogs and bolts of a machine. We are fine rain. We are cloaked in fine rain. We are words in a book, we are islands in a poem.

Perspective. The second and third poems, "Sympathy" and "Across the Ocean in My Heart," both juxtapose the self and the external world. Su crafts a sense of paradoxical “nestedness” in these poems, making us feel as though we’re opening Russian dolls one after another only to find that, somehow, we keep coming back to the same doll . In "Sympathy," Su winds us into a journey of almost chaotic perspective shifts—the narrator is in an envelope, but a few lines later the envelope is tossed into his eyes. We are driving along a Mobius strip, inside then suddenly outside. Seeing, unseeing. Here, then a thousand miles away. Meanwhile, in "Across the Ocean in My Heart," an entity from the external world—a seagull—takes us diving into the internal. The narrator peers into himself through the eyes of the seagull, and again we discover ourselves in a strange loop (this time a Klein bottle, perhaps): there’s an ocean in his heart, but the seagull finds his heart as an island in the ocean. This layered, nested structure propels us not forwards, but inwards. It forces us to probe into the text, into the landscape of the language.


Pinyu Hwang

×

In the Classroom

×