诗人曰：变成一块石头伫立海边，面朝天空

海外文苑

<h5><div align="center">美国纽约【综合新闻】</div><div align="center">主编：佩英</div><div align="center">总编:程朗</div><div align="center">总顾问：马华胜 </div></h5> 中英双语翻译:佩英（Translated by Christine Chen） <h5>塞尔吉奥·科恩（Sergio Cohn）巴西诗人和编辑。他曾组织编辑多位作者的书籍，包括维尼修斯·德·莫赖斯（Vinicius de Moraes）、艾尔顿·克雷纳克（Ailton Krenak）、汤姆·泽（Tom Zé）、玛丽埃尔·佛朗哥（Marielle Franco）和埃利奥·奥伊蒂西卡（Hélio Oiticica）。现任巴西国家图书馆出版的杂志《永恒诗歌》（Poesia Sempre）和《金砖国家诗歌评论》（BRICS Poetry Review）的主编。</h5> 给当下的诗 （取自霍多罗夫斯基的一句诗） A POEM FOR THESE TIMES (FROM A VERSE BY JODOROWSKY) 若迷失 请莫走得太快 以免被自己脚步绊倒 请保持沉默，观察 那些已熟悉路径的 生物的策略： 美洲虎、飞鸟，还有其他物类 他们斜睨的目光 知道漂流的岸边 等待我们的是什么——食物还是毒药 不再有*维吉尔 来指引我们 看哪：这里没有什么是新的 连迷宫也不例外， 而我们从未真正孤单 <div>*译者注：“virgil” 暗指《神曲》（The Divine Comedy）中但丁的引路人维吉尔。他象征智慧、理性和指引者的角色。</div> A POEM FOR THESE TIMES (FROM A VERSE BY JODOROWSKY) If we're lost, we’d better not go so fast so as not to fall prey of our own steps better to be silent, to observe the strategy of those who already know these paths: jaguars birds others sidelong glances knowing what food or poison await us on the shores of this drift there is no more a virgil to guide us but look: nothing here is new not even the labyrinth and we were never really alone. <div>事件视界HORIZONTE DE EVENTOS</div><div> </div>“渴望属于旧词典。” ——若热·毛特纳 他是一个没有渴望的存在 意味着极致流亡 与世界格格不入 没有渴望，他活在 一个即时仿真世界里 他之所欲 皆即时呈现眼前 即使渴望之本身 亦是一种仿真颠倒的仿真—— 由缺失填满的空间 渴望，就是事物 属于空间 而非属于相遇的时段 它依然存在 即便已消逝无踪 不知是否幸福存在着 对死亡无概念 对未曾活过的时光 无怀旧之情 他是一个没有问题的存在 事实是 他变成了一块石头 一块伫立在海边的巨石 面朝天空 永恒地 沉醉于云朵变幻之中 HORIZONTE DE EVENTOS longing belongs to the old lexicon Jorge Mautner he was a being without longing what means maximum exile, the foreigness. He had no longing because he lived in a world of instantaneous simulacrum. the constant presence of everything he desired. longing itself is a simulacrum. but a simulacrum of the upside down. absence filling the space. longing is when the thing belongs to space and not to the time of the encounter when it remains even though it is gone. I don’t know if he was a happy being. he had no notion of death, the nostalgy for a time we’re not alived. he was a being without questions. the fact is that he became a stone, an immense rock at the edge of the sea. his face turned upwards eternally <div>delighting itself with the mutation of the clouds.</div><div> </div> <div>此物CECI</div><div> </div>我只能相信 一个无存在的存在 在舞动 它的核心 乃无核心 旋转、分枝 仿佛 沉默 就是其音乐本身 演奏着 距离 <div>CECI</div><div> </div>I can only believe in a non-being that dances that at its center without a center twists and brances as if silence was music that plays the distance <div>诗歌赏析：</div><div>巴西诗人塞尔吉奥·科恩（Sergio Cohn）诗共同体现了一种高度哲理化的诗歌风格，探讨了缺失、存在、虚无等抽象主题。特别在今日人工智能的年代，一切仿佛垂手可得：以虚拟的仿真科技。然而诗人对此进行了深刻的反省。人类作为主体，我们的自我本体是否迷失了？诗人用简练却深刻的语言，诗意并形象化地进行灵魂拷问。比如诗歌“此物” 语言高度精简，却字字含雷霆万钧，理性与感性并存的语言，极有张力。通过自然景象（如石头、海边、云朵）赋予诗歌一种静谧的美感。结尾“沉醉于云朵的变幻”将虚无与永恒融合为一体，赋予诗歌一种超然的力量。对现代科技与人类存在的探索，颇有佛学“空”的意味，把诗歌上升到宗教与哲学的终极高度。读完，掩卷深思。（佩英）</div><div> </div><div>Editorials:</div><div>Brazilian poet Sergio Cohn's works embody a highly philosophical poetic style, exploring abstract themes such as absence, existence, and nothingness. Particularly in today's era of artificial intelligence, where everything seems easily attainable through virtual simulated technologies, the poet offers a profound reflection. As humans, have we lost our true selves? With concise yet profound language, the poet conducts a soulful inquiry, making every word resonate with immense power. The language, blending rationality and emotion, is full of tension. Through natural imagery (such as stones, the seaside, clouds), the poet imparts a serene beauty to the poem. The closing line, "delighting in the transformation of the clouds," merges nothingness and eternity, giving the poem an transcendent power. The exploration of modern technology and human existence has a certain Buddhist “emptiness” connotation, elevating the poem to an ultimate religious and philosophical level. After reading, one is left deep in thought.（By Christine Chen) </div> <h5>萨斯特里·巴克里（Sastri Bakry），印度尼西亚小说家、诗人，社会活动家，现任西苏门答腊作家协会（SATUPENA）主席。她已出版数十本书籍。曾获2007年由马来西亚总理阿卜杜拉·巴达维颁发的Srikandi Tun Fatimah奖、2016年马来西亚Srikandi Numera奖、2023年马来西亚马六甲颁发的Anugrah Tokoh Budaya Nusantara奖、2024年孟加拉国Kathak文学奖。其作品已被翻译成英语、俄语、土耳其语、阿拉伯语、泰米尔语和中文等多种语言，其诗歌被谱成歌曲。</h5> 伦巴昂的背叛 泪已干涸 流得远远的 如果心在头脑里 我的眼睛不会游离 被投资迷住 谁积累了世界的财富 这些泪真已干涸 我不知道我把水洒在谁身上 我不知道它流向哪里 我不知道谁吸走了它 谁知道 这些泪已干涸 在湿冷的暴雨中 浸透寒冷的颤抖 我的孩子们跑来跑去 甚至四散开来 当他傲慢时 你把我们赶走 从根本上被连根拔起 马来艺术与文化、态度与礼仪 仿佛失落，被大地吞噬 我的骄傲 马来人不会消失在大地上 只有*航图华的传奇故事依旧存在 译者注：Hang Tuah（航图华）是马来文化中的一个传奇英雄人物，其故事常被用来象征马来人对传统和民族文化的深厚情感，以及他们对国家的忠诚。 Rempang betrayal These tears have dried Which flows far away If the heart is in the head My eyes won't wander Dazzled by investment Who accumulates the world's treasures These tears have really dried up I don't know who I spilled the water on I don't know where it flows I don't know who sucked it Who knows These tears have dried In the wet, pounding rain Drenched in shivering cold My kids run around Even scattered When he's arrogant You drove us away Uprooted from its roots Malay arts and culture, attitudes and manners Like lost swallowed by the earth My pride Malays are not lost on earth Only the story of the saga of Hangtuah remains Jakarta, 15 September 2023 蜜蜂之音 这是我唱出的音 回荡在整个国家 彩虹的色彩 一天又一天 未曾想过 当我不得不接受命运 我真诚接受 一切都是为了快乐 尽管时有悲伤 心是喜悦的 带来幸福的氛围 分享是为了我们大家 感痛苦时，与之共存 金钱非我所欲，只求声音永久回荡 从蜜蜂之音，从蜜蜂之音 感受幸福 快乐的心是良药 幸福安康 Bee Sounds This is my voice singing Which echoed throughout the country Giving rainbow colors From day to day I didn't think about it all When I have to accept fate I do it sincerely It's all about happy Even though it feels sad My heart is joyful, giving me a happy atmosphere Sharing with others is for all of us Sometimes I feel this pain, I just have to live with it It's not just money that I ask for, but a tone that always resonates From the sound of bees, from the sound of bees For all of us to be happy A happy heart is medicine We are happy to be healthy 夜之萤火虫 凝视闪烁的绿光 在黑暗与焦虑中 等待着未知 萤火虫说话不断 却无言语 光就是语言 绿光持续散发 混着红 锐利的黄色刺痛眼睛 萤火虫传递着特殊讯息 灾难要来了吗？ 抑或预兆客来 客人是谁？ 远方亲戚， 抑或思念的友人 或是素昧平生之人 移动的公交车上 将被认识的新人汇聚 17国愉快致敬，述说彼此的故事 我在联结种种物事中的幸福 文学、文字与文化的世界 一个预兆，天啊 我的国是一片灾难的土地 我们在萤火虫之光中行走 黑夜干渴 如同绝望 心跳中等待 等待永不停歇 与此同时，在另一端 尸体开始堆积 你说萤火虫是死者的指甲 我在黑暗中被萤火虫陪伴，哽咽着 Night Fireflies I was fixated on the flashing green light In the midst of darkness and anxiety Waiting for the unknown The fireflies kept talking Without words Light is speech And the green color continues to radiate light Mixed red and sharp yellow touches the eyes Fireflies carry special messages Is there a disaster coming? Or a sign that guests have come unexpectedly. Who is the guest? The guests who came were distant relatives, Or a friend in longing memories or a new acquaintance appears From a moving bus Truly new acquaintances have united here 17 countries greeted each other happily and told each other stories This is my happiness in uniting various things the world of literacy, words and culture What a sign, oh my God My country is a land of disaster We walked in the light of fireflies Thirsty dark night Like despair Waiting in heartbeat Which doesn't stop Meanwhile at the other end Corpses began to pile up You say fireflies are dead people's fingernails. I choked in the darkness accompanied by fireflies Padang, May 2024 <div>诗歌赏析：</div><div>印尼女诗人萨斯特里·巴克里（Sastri Bakry）的诗歌主题丰富，以多样化的情境与意象，展现了诗人对生命、文化、情感以及社会现象（战争与政治）的深刻反思和感悟。这与作者的人生阅历以及从事的公众服务事业密切相关。《伦巴昂的背叛》通过描写泪水的流逝和对家园的失落，揭示了个人与民族文化间的联系与冲突，有对自己身份与文化认同的强烈诉求。《蜜蜂之音》通过平凡的事物，探讨了幸福的真谛在于与世界的连接，表达了对文化交流与互动的渴望以及世界大同的理想。《夜之萤火虫》流淌忧郁不安之调，对战争带来的灾难有着敏捷洞察力。“尸体堆积”以及对“死者的指甲”的比喻令人警醒，对社会之不公及残酷，有着天然的悲悯。诗人描写细腻，感情丰富，小处见大，运用自然元素和象征手法，对人类命运与历史进程有深刻的人文关怀，令人动容。（佩英）</div><div> </div><div>Editorials: </div>Indonesian poet Sastri Bakry’s poetry is rich in themes, using diverse contexts and imagery to showcase the poet's deep reflection and insight on life, culture, emotions, and social phenomena (war and politics). This is closely linked to the poet's life experiences and her public service career. Betrayal in Rempang portrays the passage of tears and the loss of a homeland, revealing the connection and conflict between individual and national culture, with a strong appeal for personal identity and cultural recognition. The Sound of Bees explores the essence of happiness through ordinary things, expressing a desire for cultural exchange, interaction, and the ideal of global harmony. The Fireflies of the Night flows with a melancholy and uneasy tone, offering sharp insight into the disasters caused by war. The metaphor of "piles of corpses" and "the fingernails of the dead" is a sobering warning about social injustice and cruelty, with a natural compassion. The poet’s delicate descriptions and rich emotions, often finding profound meaning in small details, utilize natural elements and symbolic techniques, demonstrating a deep humanitarian concern for human fate and the course of history, which is truly moving.(By Christine Chen) （本期所有文字均获作者授权）