他山之石 | MARTIANS 火星人：用陌生的视角看熟悉的世界
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嗨，小号的朋友们！全新改版的［他山之石］栏目上线啦！在［是光的小号］这片聊天的自留地里，我们也一直在想还可以给大家分享哪些好玩有用的东西💡
琢磨了一大阵子，决定推出升级版［他山之石］。简单来说，就是通过定期翻译国外有趣的诗歌教学和实验相关文献，看看别人都是怎么做的！与志愿者、诗歌老师和月捐人一起，分享更广阔可爱的🌏世界。
写在前面
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本期内容依旧选自爱尔兰教育家、编辑、作家佛雷德·塞奇威克的著作《读我心意：儿童、诗歌与学习》。在此书中，弗雷德结合其二十余年诗歌教学经验，分享了儿童诗歌教学方法、探讨了诗歌的重要性。
这一节中，作者用《火星人寄回的明信片》(A Martian Sends a Postcard Home) 一诗帮助我们转换视角，以火星人的身份观察地球上的场景。而小诗人们同样会用独特的眼光看世界：“爸爸，你为什么要把‘黑暗’打开”“妈妈，你收婴儿车是在因为我会再变成小宝宝吗”等等，那么我们听到孩子们的这些声音了吗？
诗歌可以让那些我们习以为常的事物再次变得独特，甚至陌生。在孩子们创作诗歌的过程中，我们应该有意识地保护孩子们那些不可思议的视角，鼓励他们表达“奇怪”的想法，并尝试感受，试着做一名“火星人”。
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MARTIANS
火星人：用陌生的视角看熟悉的世界
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01
孩子眼中的世界
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In 1979 a collection of poems appeared called A Martian Sends a Postcard Home. The poet, Craig Raine, was the most prominent writer in a loose group whose style was called 'Martian' by James Fenton. The title poem of the book (Raine 1979:1–2) is composed of a series of observations of the world and various objects in it—books, mist, rain, cars, watches, telephones, lavatories—not looked at by someone whose vision is jaded by much casual, unfocused looking, for whom 'the vision splendid…[has faded] into the light of common day', but seen as though the observer had never seen them before; as though s/he were a Martian; as though, we might say, s/he had an innocent eye, or what Neil Corcoran (1993:235) calls a 'cleansed perception', an 'unprejudiced observation'.
1979年，诗集《火星人寄回的明信片》悄然问世，其作者克雷格·雷恩（Craig Raine）是这一松散诗歌团体中最突出的代表人物，他们的风格被詹姆斯·冯特（James Fenton）称为“火星人”风。与诗集同名的《火星人寄回的明信片》一诗中展现了对于世界上各种事物的观察——书、雾、雨、汽车、手表、电话，卫生间。这些观察，不是来自厌倦了生活、疲于观察的人，他们“眼中的绚丽已经消逝在日常的光晕之中”。而是来自仿佛从未见过这些东西的人，彷佛他们来自火星，又或者我们可以说，观察者有一双纯真的眼睛，如尼尔·科兰（Neil Corcoran）（1993:235）所说的，是一种 “纯净的感知”，一种“绝无偏见的观察”。
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There are potent possibilities in this for children’s poetry writing. Young writers, to a greater or lesser extent, already have this way of seeing things: they come, as Wordsworth says, in the poem quoted in the last paragraph, trailing clouds of glory, and part of this glory is an enthusiasm for simply everything. A three-year-old in his harassed mother’s arms says 'Look! The dustbin lorry!' He has seen this fascinating object so few times that each time it arrives in his street, it draws from him a passionate cry of attention. A child lies in bed, and her father, having read the story, kisses her and goes to the light switch. 'Daddy—why do you always turn the darkness on?' Of course, to the accustomed vision, the father is turning the light off. But to the Martian, he might just as well be turning the darkness on. A three-year-old boy asks his mother, as she puts away his pram, 'Are you saving that for when I’m a baby again?'
这也极有可能存在于儿童诗歌的创作中。年幼的创作者们或多或少有着这样一种看待事物的方式：正如威廉·华兹华斯[1]（Wordsworth）在诗中所写：他们前来，“曳着荣耀之云”，而这种荣耀的一部分其实就是对一切事物的热情。一个三岁的孩子会在他疲惫的母亲怀里大喊：“看！垃圾车！” 他几乎没怎么看到过这个神奇的东西，所以每次当它出现在街道时，都会引起他热情的关注。一个孩子躺在床上，她的父亲已经读完了睡前故事，给了她一个吻就准备去关灯。“爸爸，你为什么总是把黑暗打开？”当然，在人们习以为常的眼中，父亲是要把灯关掉。但对火星人来说，他可能是把黑暗打开了。一个三岁的男孩看到妈妈收起了婴儿车，问道：“你留着这个是因为我会再变成小宝宝吗？”这都证明了儿童与生俱来的“纯净的感知”。
[1]英国18世纪浪漫主义诗人。
插画师：Tulla.Z
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Are we listening? What does that child know? He has come to us according to Wordsworth 'Not in entire forgetfulness/And not in utter nakedness'.
Can we help children capture these perceptions before adolescence makes them self-conscious and more conventional in their
perceptions? Picasso has similar insights. He says that he could draw like Raphael at eighteen, and had spent the rest of his life trying to draw like a child. If we are attentive to these ways of seeing things, we will hear little raw pieces of poetry in our children’s mouths.
我们在聆听吗？孩子们都知道些什么？他已经来到我们身边，就像华兹华斯说的，“不是完全遗忘，也不是完全赤裸”。在孩子们青春期之前，也就是他们形成自我意识、受到更多传统观念影响之前，我们能否帮助孩子们抓住这些感知？毕加索[1]（Picasso）也有类似的洞察力，他说他在18岁时就能画出和拉斐尔[2]（Raphael）一样的作品，却在余生中努力像孩童一样创作。如果我们注意到了这些不同视角，就能从孩子的口中听到一些小小的原始诗篇。
[1]西班牙画家。毕加索在青少年阶段便已经掌握了精湛的绘画技巧，画面惟妙惟肖，可以与历史上的艺术大师相媲美，但风格趋于传统，还没有形成个人风格。而在其创作后期毕加索突破传统，开创立体主义。因此，他像“孩子”一样，找到了不受任何约束的最初的灵感。
[2]意大利文艺复兴三杰之一，《雅典学院》作者。
02
诗歌：让习以为常的事物变得独特
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William Blake, Grigson tells us (1982:152), 'once advised Samuel Palmer to stare at a knot in a piece of wood until it frightened him'. Children look harder at things than the rest of us, because their looking is fresher. This exercise, based on Craig Raine’s poem, makes children look at everyday things very hard. It also makes them, indeed forces them, into using new metaphors, because they are not permitted to name the thing they are observing (the newly-arrived Martian doesn’t seem to know the names of things, only what they are like).
I have said before that poetry depends on 'defamiliarisation'—a process of making the familiar
unfamiliar, if only for the moment. This technique helps that process. It is an extreme form of metaphor.
诗人威廉·布莱克（William Blake）和格里格森（Geoffrey Grigson）告诉我们（1982:152），“有人建议塞缪尔·帕尔默（Samuel Palmer）去盯着木头上的结节，直到他盯到害怕”。和其他人相比，孩子们会更深入地观察事物，因为他们有更纯真的眼光。受克雷格·雷恩诗作的启发，我们让孩子们做火星人练习，让他们用心观察日常事物，并帮助他们——更准确地说，“迫使”他们使用新的比喻。因为我们不允许孩子们直接写出所观察事物的名称（刚来到地球的火星人还不知道这些事物叫什么，只知道它们长什么样子）。我曾经提到过，诗歌的美在于 “陌生化”——一个使熟悉的事物变得陌生的过程，哪怕只是暂时的。转换观察视角这一技巧有助于加快“陌生化”的过程，孩子们会最大程度上发挥想象力来运用比喻的手法。
本文作者塞奇威克也和我们分享了一次诗歌教学经历。在向11岁的夏洛特介绍了《火星人寄回的明信片》这首诗后，他引导孩子转换观察视角，以火星人的身份描述地球，这是当时的创作情景：
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I remember watching her eyes as she examined the landscape under the pressure of our inquisition: 'What else on earth that you’ve seen does that remind you of, Martian? What is that like—exactly?' And later: 'Can you think of a metaphor for that? Or a simile? A very precise one?' The writing has had another advantage. It has made her mix the registers of her language. She is able to refer to the hills in the language of bedtime ( 'blanket' ), football fields in terms of temples, and postboxes in terms of medicine. This enriches her language as she writes, but it also teaches her through direct experiences much about the potential for her language in the future. It also forces her away from the domain of the cliché.
我还记得当时她在我们不断提问的压力下观察景物的眼神。“火星人，你在地球上还见过什么？让你联想到了什么？那是什么东西，具体是什么样子？” 之后我们又问：“你能把那个东西比喻成什么吗？或者它和什么相似呢？如果更具体的话可以怎么说呢？”这种写作还有一个好处，那就是帮助她学会交替使用不同的词汇以及表达方式。夏洛特能够运用和睡觉相关的词汇（“毯子”）来指代山丘，用神庙来指代足球场，用药盒指代邮筒。这不仅丰富了她在写作中的语言，也通过切身经验教会她挖掘出更多运用语言的潜力，这还避免了陈词滥调。
同时，作者分析了一位老师对于11岁的夏洛特写的一首诗的改动，可以理解老师有想让作品变得“更好”的冲动。原诗是这样的：
There is some sort of animal that never
moves but humans are scared of it.
They feed it on paper that has an approval
stamp on.
Sometimes a daring human doctor
mends their stomach aches.
On great big spacecraft landing-fields…
（Charlotte,11）
有一种动物，它从来不
移动，但人类却很害怕它
他们用纸来饲养，上面有着被批准
的印章。
有时，一位勇敢的人类医生
会治疗他们的胃痛。
在巨大的航天器着陆场上...
（夏洛特，11岁）
老师将这首诗改为：
There is some sort of animal that never moves
but humans are scared of it.
They feed it on paper that has an approval stamp on.
Sometimes a daring human doctor
mends their stomach aches.
On spacecraft landing-fields…
有一种动物，它从不移动
但人类却很害怕它
他们用纸来饲养，上面印着批准章
有时，一位勇敢的人类医生
治疗他们的胃痛
在航天器的着陆场上...
but note that if we fall to this temptation, we will have to decide what to do with the perfect line breaks in the section about the dog:
They put something in one end and when you
least expect it plop out it
comes again
但是如果我们跟着这样的思路走，在下面关于狗的诗句中我们就必须决定如何处理这些完美断句：
他们把什么东西系在一端，当你
以为它要脱落，它
又回来了！
Now that Charlotte is in my past, and I in hers, such alteration would be a pointless cosmetic finish on the face of her learning; much like pretty margins are on the edges of children’s writing.
现在，还是个孩子的夏洛特处在我过去（学诗写诗）的阶段，而我处在她现在的阶段（我想努力找回孩子的观察视角）。我给她诗歌做的改动，只是在学习上做了表面功夫，是毫无意义的装饰，就像儿童写作中漂亮的修饰语和花样。
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As Shklovsky puts it: ‘…the essential function of poetic art is to counteract the process of habituation encouraged by routine everyday modes of perception’ (Hawkes 1977). In other words, poetic devices like rhyme, assonance, alliteration, stanza form all serve to make the world strange, so that we can look at the world again, and examine it, rather than merely see it. As Hawkes says, we have become ‘anaesthetised’ to our environment, and the poetic function of ostrananie (Shklovsky’s Russian word meaning ‘making strange’) serves to make our environment new again, so that we can get some kind of grip on it. So that we can feel it. So that we can be Martians.
正如什克洛夫斯基[1]（Shklovsky）所说的那样：“…诗歌艺术的基本功能是帮助我们挣脱出常规感知模式，抵抗逐渐产生习惯感的过程”（Hawkes 1977）。换句话说，诗歌的手段，如押韵、谐音、拟人、句子形式，都是为了让世界变得不同寻常，这样我们就可以重新看待世界，审视世界，而不仅仅是视觉上看到它而已。正如霍克斯所说，我们已经被环境 “麻醉”了，而诗歌的功能，“ostrananie”（什克洛夫斯基所创的俄语单词，意为 “制造奇怪”），就是使我们的世界焕然一新，这样我们就能对生活有新的认识，才能真正感受生活，才能做一位火星人。
[1]俄罗斯、前苏联文学评论家、作家。什克洛夫斯基在文学领域发展了陌生化概念，他强调，艺术是传递我们对事物的感知，无论感知是什么样的，而不是传递我们已知的。换句话说，艺术的功能在于让我们脱离出日常的、固定的、自动的感受，而去赋予这些习以为常的事物新的意义。
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▲译者补充：
《火星人寄回的明信片》原诗及译文：
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A Martian Sends a Postcard Home
Caxtons are mechanical birds with many wings
and some are treasured for their markings –
they cause the eyes to melt
or the body to shriek without pain.
I have never seen one fly, but
sometimes they perch on the hand.
Mist is when the sky is tired of flight
and rests its soft machine on ground:
then the world is dim and bookish
like engravings under tissue paper.
Rain is when the earth is television.
It has the property of making colours darker.
Model T is a room with the lock inside –
a key is turned to free the world
for movement, so quick there is a film
to watch for anything missed.
But time is tied to the wrist
or kept in a box, ticking with impatience.
In homes, a haunted apparatus sleeps,
that snores when you pick it up.
If the ghost cries, they carry it
to their lips and soothe it to sleep
with sounds. And yet, they wake it up
deliberately, by tickling with a finger.
Only the young are allowed to suffer
openly. Adults go to a punishment room
with water but nothing to eat.
They lock the door and suffer the noises
alone. No one is exempt
and everyone’s pain has a different smell.
At night, when all the colours die,
they hide in pairs
and read about themselves –
in colour, with their eyelids shut.
《火星人寄回家的明信片》
卡克斯顿牌印刷品是生着很多双翅膀的机械鸟
因为身上的记号，有些被视作珍宝——
它们融化人的眼睛
刺激身体发出无痛尖叫
我从未见它们飞翔，但
有时却栖息于人类手上
雾是天空厌倦了航行
将柔软的器械轻放在地上
此时充斥着书卷味道的世界暗淡无光
彷佛蒙着纸巾的版画
雨是地球变成电视机
它有让屏幕里一切颜色变得更深的特性
T型机车是房间里上了锁
转动一把钥匙，便可释放全世界
疾速转动，于是诞生了一部电影
来查看遗漏的地方
但时间却被绑在手腕上
或被放进盒子，不耐烦地滴答作响
家里，一个被幽灵缠上的仪器睡得正香，
当你拿起它时，它便开始打鼾
若是鬼魂苦恼，他们就把它抱在唇边，
哄它入眠
轻声地，他们又用一根手指给它挠痒
将它故意吵醒
只有孩子允许公然受罚
大人要去在禁闭室里反省
里面有水，但没东西可吃
他们锁上门，独自忍受噪音
无一例外，
每个人的痛苦都散发着不同的味道
夜幕降临，当颜色全部死去
他们成双成对地躲藏起来
开始品味自己的故事--
多姿多彩，双眼紧闭
插画：水草
译者介绍
Lust for life |
编辑 | 晶晶
校对 | 柳丝
插画 | Tulla.Z、水草
他山之石，可以攻玉。
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