台灣文學英譯叢刊(No. 46):台灣當代詩專輯

Kuo-ch'ing Tu (杜國清) and Terence Russell(羅德仁) 編

This issue contains the verse of twenty-four poets.
From 1924, when Hsieh Chun-mu first published four “Poems in Imitation,” the development of new poetry in Taiwan has a history of almost one hundred years. The roots of new poetry in Taiwan with its “twin flower bulbs,” to use the phrase coined by Chen Chien-wu, has now bloomed and borne fruit. It manifests diversified themes, and places great stress on both artistic expression and social concern. It recognizes globalization as the major trend of the times, and maintains a dynamic balance between nativist consciousness and the ensibilities of the Chinese cultural diaspora. Taiwan literature and its new poetry written in Chinese should have a place in the Chinese world community,as well as in the history of world literature. Limited by the space allowed for the journal, we could only select works related to “local” and “quotidian” writing. Yet we hope to observe through these works the manner in which the unique charm and gracefulness of contemporary poetry from Taiwan has blossomed in the garden of world literature.


【About the Editors】

Kuo-ch'ing Tu, born in Taichung, Taiwan. His research interests include Chinese literature, Chinese poetics and literary theories, comparative literature East and West, and world literatures of Chinese (Shi-Hua wenxue). He is the author of numerous books of poetry in Chinese, as well as translator of English, Japanese, and French works into Chinese.

Terence Russell is Senior Scholar in the Asian Studies Center at the University of Manitoba. He has an interest in contemporary literature in Chinese, especially the literature of Taiwan's Indigenous people. Dr. Russell has been a regular contributor to Taiwan Literature: English Translation Series, and was the guest editor of Issue 24 on Taiwan Indigenous myths and oral literature.

Horng Shuling was born in 1962 in Taipei City. She has a Ph.D. from the Graduate School of Chinese Literature of National Taiwan University (NTU) and is currently a professor in the Chinese Literature Department of NTU.

【About the Translators】

John Balcom teaches at the Middlebury Institute of International Studies at Monterey. His most recent translation is My Village: Selected Poems, 1972–2014 by Wu Sheng, published by Zephyr Press.

Chang Fen-ling received her B.A. in English from National Taiwan Normal University. A prolific literary critic and award-winning translator, she has translated into Chinese over thirty volumes of poetry with her husband Chen Li. She has also translated two books of Chen Li's poems into English, Intimate Letters: Selected Poems of Chen Li and The Edge of the Island.

Yingtsih Hwang is an independent scholar and translator based in Monterey.

Brian Skerratt is an assistant professor at the Graduate Institute of Taiwan Literature and International Cultural Studies at National Chung Hsing University, Taiwan. His research and teaching focus on modern and contemporary poetry in Chinese, comparative poetics, and ecopoetics. Before joining Chung Hsing, he taught at the Centre for China Studies at Chinese University of Hong Kong. He was a Fulbright Senior Scholar at National Chengchi University and a postdoctoral researcher at the Institute of Chinese Literature and Philosophy at Academia Sinica. He received his Ph.D. from Harvard University with a specialization in modern and contemporary poetry in Chinese. His publications include articles such as “Born Orphans of the Earth: Pastoral Utopia in Contemporary Taiwanese Poetry,”“Hsia Yü Buys a Computer” and “Zhu Guangqian and the Rhythm of New Poetry.” His translations of Macanese writer Un Sio San's poetry, Naked Picnic, are published by CUHK Press.

Terence Russell is Senior Scholar in the Asian Studies Center at the University of Manitoba. His research interest is in contemporary literature in Chinese, especially the literature of Taiwan’s Indigenous people. His publications include studies of Adaw Palaf, Auvini Kadresengan, and Syaman Rapongan. Dr. Russell has a strong interest in translation and translation theory, and has been a regular contributor to Taiwan Literature: English Translation Series. He was the guest editor of Issue 24 on Taiwan Indigenous myths and oral literature, and now serves as co-editor for the journal. His literary translations include novels by award-winning Chinese author Zhang Wei: September’s Fable (2007) and Seven Kinds of Mushrooms (2009); and most recently, The Spirit of Jade Mountain, by Husluman Vava (forthcoming).

Foreword to the Special Issue on Contemporary Poetry from Taiwan/Kuo-ch’ing Tu
Selections of Contemporary Poetry from Taiwan: The Local and the Quotidian—Introduction to the Special Issue on Contemporary Poetry from Taiwan/Horng Shuling


I. The Convergence of Life Experience and Historical Memory 生命經驗與歷史記憶的結合

Chen Chien-wu 陳千武(1922–2012)

 Poem of Childhood 童年的詩
 Carrier Pigeon 信鴿
 Mazu’s Birthday 媽祖生
 An Old Two-Story House 古屋小樓
 Fingernails 指甲
 The Drummer’s Song 鼓手之歌

Lin Hengtai 林亨泰(1924–)
 Subtropics No.1 亞熱帶(1)
 Subtropics No.2 亞熱帶(2)
 Village 鄉村
 Rest at Sunset 日入而息
 Village Opera 村戲
 Life 生活
 Landscape No.1 風景(1)
 Landscape No.2 風景(2)

Xiang Ming 向明 (1928–)
 Tumor 瘤
 Hide-and-Seek 捉迷藏
 Lesson One 第一課
 Plant in a Hanging Basket 吊籃植物
 Tattered Army Blanket 破軍氈
 A Kite Brought from Across the Sea 隔海捎來一隻風箏

Cheng Chiung-ming 鄭炯明(1948–)
 I’m a Bird of Thought 我是一隻思想的鳥
 Drum 鼓
 A Musical Note Reborn—On the Kaohsiung 228 Memorial 重生的音符――記高雄市二二八紀念碑
 Immortal Soul—For the Writer Yeh Shih-t’ao 不朽的魂――向文學家葉石濤致敬
 The Boat—For Shihong 船――焚寄拾虹
 The Screen of the Sky 天空的布幕
 Prayer to Death 死亡的祈禱

Bai Ling 白靈(1951–)
 Kite 風箏
 Mountain Temple 山寺
 Childhood I: The Forties 童年之一――四十年代
 Childhood II: The Fifties 童年之二――五十年代
 Springtime Comes to Taipei 春天來臺北小住
 The Evening Paper 晚報
 Kinmen Kaoliang 金門高粱

Chen Ichih 陳義芝(1953–)
 Rainy Taiwan 雨水台灣
 Invisible Rash 隱形疹子
 Private Room in a Cafe, the 1970s 雅座七○年代
 Pseudonyms for Hualien 花蓮的筆名
 Jade Mountain in Winter 冬日玉山

Lu Han-hsiu 路寒袖 (1958–)
 Solitary Standing Flower 孤挺花
 My Father Was a Train Engineer 我的父親是火車司機
 Half-Gauge Train 五分車
 Needle 針
 The Wardrobe 衣櫃
 Gazing at the Rain in April 四月望雨
 Seventh Lord and Eighth Lord 七爺八爺

Walis Nokan 瓦歷斯.諾幹 (1961–)
 Cherry Blossoms 櫻花
 Down the Mountain 下山
 About the Atayal 關於泰雅
 Education in One’s Mother Tongue 母語教學
 ID 身分
 Grandfather’s Title Deed 祖父的地契

Chan Tah Wei 陳大為(1969–)
 A Kingdom Full of Phantoms 盡是魅影的城國
 In East District 在東區
 Younger Days 前半輩子
 In the South Seas (excerpts) 在南洋(選五)
  In the South Seas 在南洋
  All Summer, On the River Bank 整個夏季,在河濱
  Took Hold of His Palm 接下了掌紋
  “Chan Tah Wei” in Simplified Characters 簡寫的陳大為
  In Taipei 在台北

II. Taiwan’s Town and Country from the Perspective of“Place”「地方」視角下的台灣鄉土與都市

Tu Kuo-ch’ing 杜國清 (1941–)

 At Guanwu Gazing Afar to the Shei-pa Sacred Ridgeline 觀霧遠眺雪霸聖稜線
 Forest Bathing 森林浴
 Gazing Up at Jade Mountain 玉山仰眺
 Confessions of Island and Well 島與井的告白
 Climbing the Elephant Mountain Path 登象山步道
 Passing Through Da’an Forest Park 進出大安森林公園

Wu Sheng 吳晟 (1944–)
 Daybreak Scene 晨景
 Soil 泥土
 Map of Yams 蕃藷地圖
 The Poems Father Sometimes Writes 阿爸偶爾寫的詩
 The Burden 負荷
 I Will Not Discuss With You 我不和你談論
 He is Still Young 他還年輕

Lee Min Yung 李敏勇 (1947–)
 This City 這城市
 Sunday Afternoon at the Museum of Fine Arts 星期天下午在美術館
 City Phenomena 城市現象
 Street Scene 街景
 Underground Radio Station 地下電台
 Sunday Blues 星期天的Blues
 A Summer Afternoon in the Post-Cold-War Age 後冷戰年代一個夏日午後

Su Shao-Lian 蘇紹連 (1949–)
 Seven Feet of Cloth 七尺布
 Hanger 衣架
 The Razor 刮鬍刀
 Sketches of the Gaomei Wetlands in Bygone Days (selections) 高美濕地舊日掠影(十選二)
  Oyster Racks 海邊的棚架
  Intertidal Zone 潮間帶
 Walking the Gray Street―Recollections of a Town in Hard Times 在灰色的街道上步行―記蕭條的鄉鎮
 Retirement Psychology 退休心理學
 Laolao Pavilion—For Taiwan’s Immigrant Laborers 勞勞亭――寫外籍勞工
 Into the Creases of the City 進入城市的摺痕裡
 In the Unreal City 在不真實的城市

Li Yu-Fang 利玉芳 (1952–)
 Primeval Love—Sent to the Gaoping River 原始之愛――寄給高屏溪
 The Southernmost Point in Taiwan 台灣最南點
 Inside and Outside the Portiere 簾裡簾外
 Daughter of the Han People 漢人的女兒
 The Tropic of Cancer Slowly Passes through the Wetlands 北回歸線緩緩地穿越濕地
 We’re on a Badlands Journey 我們在惡地形的旅途上
 The Smell of Rain 雨的氣味

Ling Yu 零雨 (1952–)
 Thau-siann— In Memory of F 頭城――悼F
 What I like 我喜歡
 Train 1 火車(1)
 Train 2 火車(2)
 Train 3 火車(3)
 Train 4 火車(4)
 My Pastorale 田園
 Distant Places 遠處

Du Ye 渡也 (1953–)
 The Vermillion Cupboard 朱紅櫥櫃
 The Incense Burner of the Xuande Era 宣德香爐
 Images Carved from Wood 木刻神像
 The Tin Candlestick 錫燭臺
 Sketches of Chiayi—The Red-Hairs’ Well 嘉義速記――紅毛井
 Sketches of Chiayi—Fire-Chicken Rice 嘉義速記――雞肉飯

Chen Li 陳黎 (1954–)
 Imitations of an Atayal Folk Song (2 selections) 擬泰雅族民歌(選二)
  History 歷史
  The Moonbeam in the Valley 峽谷的月光
 Green Onions 蔥
 Microcosmos (6 selections) 小宇宙(選六)
 The Edge of the Island 島嶼邊緣
 Formosa, 1661 福爾摩莎.一六六一

Xiang Yang 向陽 (1955–)
 Water Song 水歌
 Fog Descended 霧落
 Small Station 小站
 Dad’s Bento Box 阿爹的飯包
 My Brother-in-law the Hand Puppeteer 搬布袋戲的姐夫.
 Beyond the Streets of Chiayi—For Chen Cheng-po 嘉義街外――寫給陳澄波

Chang Fang Ci 張芳慈 (1964–)
 We Are Here 我們在這裡
 Baby Sling 揹帶
 Life 生活
 National Southern Link Highway 南迴國境
 Winter in Shuanghsi 雙溪冬日
 Voice of the Conch—A Message for Lukang Elementary School 螺聲――寄語鹿港國小

Yan Ai-Lin 顏艾琳 (1968–)
 Parking Spot 車位
 Super Vending Machine 超級販賣機
 The Surrealism of Love 戀愛的超現實主義
 Monodrama 獨角戲
 Berry Kid 漿果小孩

III. Awareness of Reality and Poetic Imagination in the Quotidian 日常生活中的現實意識與詩意想像

Li Kuei-shien 李魁賢(1937–)

 Parrot 鸚鵡
 Sparrows 麻雀
 Blood Transfusion 輸血
 Stone Tablet 碑

Hsiao Hsiao 蕭蕭(1947–)
 Four Breaths of a Flower’s Scent 花香四息
 The Wind Enters the Pines 風入松
 What’s on the Mind of Tea 茶葉的心事
 One Tea Leaf 一葉茶
 Sun Moon Red Tea 日月紅茶

 Horng Shuling 洪淑苓(1962–)

 Earthquake Diary 地震日記
 Sparrows 麻雀二題
 Written in Lukang for My Daughter 在鹿港寫給女兒
 On the Breakfast Table 早餐桌上
 The Rocks of Time ― On the Basalt Columns of Penghu 時間之岩――詠澎湖玄武岩

Lee Chin-Wen 李進文 (1965–)
 The Independent Travels of a Spanish Coin 一枚西班牙錢幣的自助旅行
 Like the Light in a Chagall 長得像夏卡爾的光
 Sun Yat-sen and I: October Tenth, the One Hundredth Year of Our Republic 國父與我――中華民國一○○年十月十日
 The Little Joys 小美好
 Song of the Puyuma 普悠瑪之歌

About the Translators
About the Editors
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1) 就歷史發展而言,借用陳千武「兩個球根」的說法,台灣新詩具有兩個源頭和線索,其一是延續日治時期新文學發展而來的根苗,另一個是戰後從大陸遷台的詩人所帶來的中國白話新詩的火種。
2) 就台灣新詩創作路線而言,從日治時期1920年代到1945年戰後,基本上是反映本土意識和社會現實的寫實主義和追求現代性和藝術表現的現代主義,這兩大思潮互相消長、彼此抗衡的局面。
3) 就詩壇現象和演變而言,最大的特色是志同道合的詩人結群、成立詩社,出版同人雜誌,藉以發表作品和詩觀,而各種主義一時盛行,展現出台灣當代詩多彩多姿的創作風格。
. 生命經驗與歷史記憶的結合
. 「地方」視角下的台灣鄉土與都市
. 日常生活中的現實意識與詩意想像