美国跨界杂志《Pinyon Review》刊发百科诗派作品并于刊首语推介

美国跨界文学/艺术杂志《Pinyon Review》11月刊集中刊发百科诗派作品并于刊首语中大篇幅做了推介，作品包括：

殷晓媛《同素异形体》《隐秘或喧哗的交流电》、王自亮《穿越罗布泊》、浪激天涯《钙质》、山水如歌《作为练习的登山》。

该杂志位于科罗拉多州西南部蒙特罗斯，风景壮阔的落基山脉，主编为Gary Entsminger与Susan Entsminger，是一部诗歌、小说、艺术和摄影跨界艺术为特色的高品质全彩印刷的杂志，迄今已创办十周年，在亚马逊等各大网站均有销售。其宗旨在于集中展示来自美国及海外的不同艺术家群体的成就。本期聚焦东方诗人，将读者带进神秘古老国度，去探索缪斯所激发的中国诗人的“细微与神秘之处”。

Susan Entsminger在本期刊首语中写道：

在中国诗人王自亮的长诗《穿越罗布泊》（阿九翻译）中，诗人将这首诗分为“落日”、“土地”、“天空”、“耳朵”和“太阳墓”，一切在关于耳朵的诙谐隐喻中淡出：“据说罗布泊的形状/像一只耳朵/但它从未用于倾听。//也不曾用于增添大地的/官能之美……这耳朵/表现神祗们如何借助于巨大的沉默，抵达坚忍。”这首诗有着典型东方风格中一样, 大自然通过土地的感官之美赋予世界精妙的的哲学注脚。

浪激天涯的诗《钙质》写道：“以山的形状端坐/冥想在斜坡上滑过 重量呈曲线升起/落叶覆盖 杂草归家/乱石堆里活着的脚印自会寻得出路”为读者提供了一种和稳如钙质的冥想。

在不易进入语境这一点上，本期刊发的当代中国诗人与日本俳句存在某种意义的相似。正如艾达·利蒙在PBS电台节目中所讲：“对于诗歌，我们承认有诸多未知。”

往期封面：

编辑团队：

GARY ENTSMINGER，主编

作家、博物学家、IT工程师。著有九部编程书籍，发表100余篇科技论文，及设计多款面向科学家进行生物多样性及生物地理学教学的计算机软件。

SUSAN ENTSMINGER，执行主编

作家、艺术家、生态学家。美国加州洪堡州立大学（Humboldt State University）毕业，专攻植物学及法语，并取得达特茅斯学院（Dartmouth College）生物学博士学位。

附原文全文：

Cover of Pinyon Review #14 by Susan Entsminger

A few nights ago as I watched the PBS News Hour, I was pleasantly surprised to see a female poet appear in the last segment of the news. Ada Limon spoke passionately about the radical hope of poetry as an effective way of communicating and touted that people today are reading

more and more poetry, exploring the nuance and mystery of it, as well as using it as a way to express rage. Limon also pointed out that poetry was a place where we admit to the unknown and sometimes practice beauty, make music from specificity and empathy. I was inwardly applauding her comments during the entire segment.

Gary and Susan Entsminger, editors and publishers of Pinyon Review, a magazine that features poetry, fiction, art, and photography, have been doing their share of touting the effectiveness of poetry for almost a decade in the pages of a literary journal that showcases the talents of a diverse group of artists from throughout the U.S. and abroad. In the latest issue showing the cover art of “Limes and Leaves” rendered by Susan Entsminger, the editors have chosen to include the translated work of several Chinese poets and a deceased Dutch poet, M. Vasalis, billed in her country as the “Dutch Elizabeth Bishop.”

Although the work of other poets: Stuart Friebert, Neil Harrison, Gary Entsminger, Scott Davidson, to name a few, contributed highly notable work, I chose to showcase the Oriental poets who take readers farther afield to explore the “nuance and mystery” of Chinese poets the Muse inspires. Also impressive: “To A Tree,” a poem by the deceased Dutch poet, M. Vasalis, translated by Fred Lessing and David Young, which quickly sets the tone of international sharing on the opening pages of this issue of Pinyon Review.

As I’m a tree hugger, I appreciated the poet’s plea for trees not to move, “… for who could bear it if a tree pulled up its roots/and danced away?…” Vasalis muses on the eternal qualities of trees that [are not] “made to move,/in lengthy lines, like steady music, simple,/and then again stand still, a slender temple…I stood there in the wet and heavy grass/and felt that I had drifted into paradise…” Gary and Susan plan to publish a career-spanning selection of Vasalis’s poems in 2019. Interestingly, she was a Dutch psychiatrist who specialized in the treatment of children and was recognized as the most widely read and admired poet of her country.

In a long poem entitled “Crossing Lop Nor,” the Chinese poet Wang Ziliang, translated from the Chinese by Ajiu X. LI, divides the poem into sunset, land, sky wind, high wind, and ear into a medley that ends with a humorous musing about the ear; e.g., “It is said that Lop Nor/has the shape of an ear,/though never used to listen… Lop Nor, a metaphor about listening./A metaphor about sound and its fading… This ear/emblems how the gods achieved immortality/through enormous silence.” In this poem, as in many Oriental writings, nature offers specific philosophical commentary through “the sensual beauty of the land.”

A self-translated poem by Langji Tianya, another Chinese poet featured in this issue, offers readers a meditation entitled “Like Calcium,” in which he “settles in a mountain pasture,/His meditation slides on a slope, the mass rises in a curved manner./The dead leaves cover themselves, the weeds go home/The fresh footprints on the piles of rocks

will find the way of release.” Like Haiku, the featured poems by Chinese poets in this issue, aren’t understood quickly and include lines for the process of meditation. As Limon said in her broadcast, in poetry “we admit to the unknown.”

In this 14th edition, an intriguing article, “The Studio of The Three Arrows,” by Robert Elliott and Susan Entsminger features photography by 20th century photographer Harold A. Taylor who in his early 20’s hiked through Yosemite National Park to photograph its valley — “massive rocks, waterfalls, sequoias…” partnering with Eugene Hallett to open the Studio of the Three Arrows, so named for the Yosemite Miwok Indians and the English-born Taylor’s family crest. The photographs, as explained by Susan Entsminger and Robert Elliott, were created by using dry glass plates that produced sharp images and beautiful contrast. Susan’s father, Robert Elliott, acquired the glass plate negatives when Taylor retired as he and Taylor had been in a photography business together. Elliott gave his son, R. Elliott, the Yosemite and California Missions Collection, which he is digitizing and archiving. The arresting photograph of “Wawona With Coach,” is a digital scan of one of Taylor’s beautiful glass plates. Photographs in this article by father and daughter make this 14th edition a real collector’s piece.

Along with the Oriental poems, I couldn’t resist including the haiku of award-winning Gary Hotham who lives in Maryland; e.g., “outside the lines/our grandson includes more/with one crayon”… and “mixing with the afternoon sky/a lifetime of clouds/disappear.” Hotham has won first

place in the Harold G. Henderson Memorial Haiku Awards and second place in the San Francisco International Haiku Competition. Pinyon published his Stone’s Throw, described as a book echoing the Japanese masters.

Pinyon Publishing just celebrated its tenth year as a publisher of quality literature and art in book form. Pinyon Review, a journal of the arts and sciences, is one of the few journals that has kept its mission of featuring emerging and well-known poets, fiction writers, translators, artists, and photographers. The magazine is produced in a log cabin on a plateau in southern Colorado where Gary and Susan share a life devoted to the cause of sustainability and quality publishing. On a personal note, they have consistently featured and supported my writing and reviewing of other writers’ work. Thank you, Pinyon, from all of your writers, photographers, and artists.

Available from Pinyon Publishing, 23847 V66 Trail, Montrose, CO 81403.

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