马克·卓狄尼诗3首

Australian poet, essayist, and teacher Mark Tredinnick was born in Epping, New South Wales. He is a former lawyer and book editor and earned both an MBA and a PhD from the University of Western Sydney’s School of Social Ecology. His work focuses on the Australian landscape and ecological concerns, and his collections of poetry include The Lyrebird (2011), the CD The Road South (2008), and Fire Diary (2010).

Like his poetry, Tredinnick’s nonfiction explores the attachment to place as well as the intrinsic qualities of landscape. His nonfiction works include The Blue Plateau: A Landscape Memoir (2009), which is about the Blue Mountains of Australia, and The Land’s Wild Music (2005), an account of his travels in the United States and meetings with fellow writers such as Barry Lopez, Peter Matthiessen, Terry Tempest Williams, and the poet James Galvin. He has edited an anthology of nature writing from the United States and Australia, A Place on Earth (2003).

Tredinnick is also the author of a number of handbooks on writing: The Little Red Writing Book (2006), Writing Well: The Essential Guide (2008), The Little Green Grammar Book (2008), and, with Geoff Whyte, The Little Black Book of Business Writing (2010).

Tredinnick has received the Newcastle Poetry Prize, the Blake Poetry Prize, the Gwen Harwood Poetry Prize, the Calibre Essay Prize, and the Wildcare Nature Writing Prize. He is a founder of ASLE-ANZ, the Association for the Study of Literature and the Environment—Australia and New Zealand, and the Kangaloon Group, a federation of writers and artists in the eco-humanities. He lives near the Wingecarribee River, southwest of Sydney.

现 代 性 与 城 市 诗 歌

这样一种文本展现了兰波对现代性的态度。波德莱尔对现代性的态度是矛盾的：当现代性指的是物质上的进步和科学式的启蒙时，他反感现代性；如果现代性带来的是新的经验，这些经验的坚硬和暗夜性质要求一种坚硬的、“黑色”的诗歌，那他就会为现代性着迷。兰波的城市诗歌也来源于此。这类诗歌在《彩图集》中可以找到。它具有宏丽的力量，将波德莱尔的梦想之城推向了无从量度的奇观。其中最杰出的作品之一是以“城市”为标题的组诗（第180页等）。这些诗歌以并无内在关联而堆积于一处的图像编造了幻想之城或者未来之城，跨越了所有的时代，颠倒了所有的空间秩序；巨量之物在运动、鸣响、咆哮；实物与非实物彼此交错；在水晶的高山牧屋和铜质棕榈树之间，在悬崖和峡谷之上，上演着“庄严神圣者的崩溃”；人造的花园，人造的海洋，一个教堂的铁质穹顶，直径一万五千米，巨大的枝形烛台；城市上部造得如此之高，城市下部已无法看到……；此外还有如此的语句（第180页）：这样的城市摒弃了一切熟悉之物，不存在任何妄想的标记，数百万的人群彼此互不相识，然而一个人的生活却与所有其他人一样是千篇一律的藩篱；这些人是幽灵，煤烟是他们的森林树影和夏夜；死去而没有眼泪，相爱却不抱希望，而“在街道的泥浆里，一桩诱人的罪行发出刺耳的尖叫”。

这些图像的错杂让人无法理出头绪，一种予人安宁的意义在这里无迹可寻。因为它们的意义就在它们的图像混杂本身。作为一种激越幻想的产物，它们那无可量度的巨大混沌成为了无法以概念来解释，却可从感官上感受的观看符号，标示出大城市现代性的物质和灵魂元素，以及这现代性的恐怖之处，因其恐怖而具魅惑。

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