銜尾蛇

　　《銜尾蛇 Ouroboros》是收藏於《島嶼或大陸 ISLANDS OR CONTINENTS》盒裝叢書裡，此叢書由十八本袖珍版詩選組成，分別收錄來自十八位國際著名詩人的精選作品。

作者簡介

沃瑟．拜麗耶

　　生於1967 年，瑞典女詩人、文學批評家，曾獲瑞典與德國文學獎項。其詩作已被翻譯成多種語言，在美國已出版四部英譯詩集。其早期散文體詩集《與鹿同在》( 1997) 和《暗物》( 1999) 明顯受超現實主義影響，晦暗而充滿幻覺，怪誕滑稽而具末日氣象。之後她開始創作高密度的短詩，語言則具有實驗性，還出版有根據個人經驗而創作的《母親三部曲》，描寫懷孕、害怕流產及新生兒嬉戲的快樂。儘管她的詩集多少具有政治意味，比方說，她通過某種市場化詞彙來揭示現代經濟及其日常生活結果之間的關聯，但其最新作品將政治性推至極致，她將全球政治的詞彙置於一種古怪地暈頭轉向而五音不全的母雞的合唱之中。書中有些詩作則出自一種「自然的壓倒一切之冷漠」的想法，因為自然對立於自戀的社會與宗教而做出客觀的反應。拜麗耶的作品帶有強烈的自然觀，而她對動物的超乎人類體驗的看法也極有興趣。目前，她正在根據其飼養馬的日常生活經驗而創作一部新詩集。拜麗耶居住在瑞典北方森林中的一個小農場裡。

　　Aase Berg was born in Sweden in 1967. She is a poet and a literary critic, and has received literary awards in Sweden and Germany. Her works have been translated into several languages. In USA she has four books published. Her early books, With Deer (1997) and Dark Matter (1999),are surrealist-influenced collections of dark, hallucinatory, apocalyptic, grotesque and gurlesque prose poetry. Later, she started writing dense, short poems with experimental language, and published The Mommy Trilogy, based on her experience of being a mother—pregnancy, the fear of loss and the happiness of kids playing. Her latest book is the most political one, even though all of her poetry collections are political in certain ways; for example, she tries to reveal the lies of the modern economy and its consequenses in everyday life through a kind of marketing vocabulary. In her latest book, she puts the words of global politics in a choir of weirdly confused and dyslectic chickens. The book also contains poems inspired by an idea of “the overwhelming indifference of nature,” as nature acts objectively against narrcissistic society and religion. Through all her poetry collections there is also a strong notion of nature, and she is very interested in the perception of animals beyond the human experience. At the moment she is working on a poetry collection based on her everyday life with horses.

　　Aase Berg is based in the north of Sweden. She lives on a small farm in the woods.
 

伊沃的面孔

在一個鋼鐵中經歷數個畫夜扭曲的大教堂中面對伊沃的面孔。

朝這些維度上伊沃可以攀登到最高摩天塔軌道中的深藍色──沿那些幾何方向的指路棒朝著那個沉重的自我。

這塊大陸沿著地基的絕壁緩慢地傾倒。會有人類出走的更多空間嗎？大教堂在板塊這裏落錨，圆柱栽入海中。二十世紀九十年代這裏有過石油。遣棄的廳堂咆哮著澄清透明的空蕩，這裏甚至缺少海市蜃樓現象。石油鎮塔的巨大鑭頭在深處碎成齏粉。在滑空的海洋動脈裏己經沒有任何東西可以獲取。

在較高大氣層各層次的風之間玩弄。夜晚發光的虹霓中雲彩有著在光譜中對立的秩序。

龐大距離的眩暈之下這些維度彎曲起來。
在我雙手死亡般平靜的水乳下面對著伊沃的面孔玩弄。

(陳邁平譯)

譯註：
標題中的「伊沃」(lvo)，據詩人自己介紹，只是自己創造的名字，聽起來如古代 神話人物，能馳聘宇宙，這種顯然非瑞典化的名字也是希望給讀者一種超民族
的感覺，進入符合詩歌內容的更大空間的想像。「水乳」(vattenmjölk)一詞在瑞
典語中本不存在，為詩人自己創造，用「水」(vatten)和「奶」或「乳汁」(mjölk)
這兩個詞拼成。沃瑟．拜麗耶作為超現實主義詩人，其詩歌特點之一就是創造自己的詞彙，表現超越現實的意象，讀者應予特別注意。

The Face of Ivo

Against the face of Ivo in a cathedral of writhing through days and nights in the steel.

Ivo can climb gloom-blue up through the dimensions in the girders of the highest Ferris Tower—along the beams of geometric direction toward the heavy self.

The continent tips slowly into the base chasm. Is there any outer space where people can go? Here by the platform, the cathedrals are anchored with pillars in the ocean. There was oil here in the 1990s. Abandoned halls howl bell-clean empty, there is even a lack of mirage phenomena. The oil tower’s coarse drills grind in the depth. There is nothing to collect from the emptied ocean-pulse vein.

Flutter of strata between the winds of the higher skies. The spectrum of the night-glowing bow has the opposite order.
Dimensions bent from incredible distance-vertigo.
Flutter against the face of Ivo beneath my hands’deadly calm water milk.

(Translated byiohannes Goransson)