<p class="ql-block" style="text-align:center;"><span style="font-size:15px;">美國紐約[綜合新聞]832期作品選</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">Compact New#832</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">主編：佩英 Editor-in-Chief: Christine Chen</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">總編：程朗</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">總顧問：馬華勝</span></p> <p class="ql-block">Translated byy Christine Chen 翻譯：佩英</p> <h5>阿瑪尼塔·森（Amanita Sen）<br>印度詩人、譯者、評論家及心理健康專業(yè)人士，現(xiàn)居加爾各答。她已出版三本英文詩集，并為三部短片撰寫劇本。她還積極參與多個文學(xué)團體的志愿工作，協(xié)助組織活動并編輯文集。<br></h5> <b>鳥的生活</b><br><br>為覓食而俯沖--<br>因為身體需要--<br>除此之外，我將棲息樹枝上、<br>門楣上、煙囪頂上，隨心所欲<br>選擇眾多，令人艷羨<br>我只聽命于太陽的召喚<br>這是屬于鳥兒的一天——活在當(dāng)下<br>哦，我會回啄那只<br>用喙溫柔觸我的善良鳥兒<br>與他分享偶爾的戰(zhàn)利品--<br>幾粒谷子、天空的寂靜、我小小空間<br>直到我們失散<br>再次張開雙翅，飛向天空<br> <h5><div><b>The Bird-Life</b></div><div><b><br></b></div>Other than swooping down<br>for food—for the body needs it—<br>I will perch on branches,<br>lintels, chimney-heads, wherever<br>I fancy, spoiled for choice.<br>At the beck and call of none<br>but the sun, it will be<br>a bird’s day for me—living in the while.<br>Oh, I will peck back the kind bird<br>who nudges me gently with his beak.<br>I’ll share with him the occasional booty<br>of grains, the sky’s silence, my little space.<br>All this, until we are lost to each other,<br>spreading our wings to hit the sky again.<br></h5> <b>一根落單的發(fā)絲的故事</b><br><br>一根發(fā)絲從我頭落下<br>藏你枕中<br>它不語那狂喜之夜<br>也吟月光之歌<br>靈魂已熄滅的故事<br>它會默默收藏<br>并帶著慰藉死去<br>因為它曾活過，感受一切過往<br> <h5><b>The Story Of The Lone Hair</b><br> <br>A lone hair fallen off my head<br>Lies hidden in your pillow.<br>It will not speak of a rapturous night,<br>Or sing the moonlight song.<br>The story of the quenched souls<br>It will keep in it's heart.<br>And die with the solace<br>That she lived to feel it all.<br></h5> <b>毒刺</b><br><br>自從聽說毒液能成良藥<br>就不再懼怕那些刺痛<br>反而等待滲出的毒液停止<br>等待皮膚重復(fù)健康的時刻<br>當(dāng)傷疤成遙遠(yuǎn)的回憶<br>我便爬回你的床上<br>讀書給你聽——我夾了書簽的書！<br> <h5><b>Venomous stings</b><br><br>Ever since I've heard that venom makes good medicine,<br>I am not scared of the stings anymore.<br>Instead, I wait for the oozing to stop,<br>The skin to be reinstated back to health. <br>And when the scar is a distant memory <br>I crawl back to your bed <br>And read to you, the book I left page-marked! <br></h5> <div><b>我的冬天</b></div><div><br></div>我不會問訊冬天<br>是否最后一日在我身邊<br>如同不會問一位客人<br>即使他的離去<br>在我心中留下一角空白<br>只因我的冬天是溫柔的<br>從不想我的骨頭受傷<br><br>我的冬天調(diào)皮地把水冰封<br>只為將它再次釋放<br>囚禁，非其方式<br>當(dāng)春芽破土，在年輪的<br>離別欄里簽下名字時<br>我知道<br>世上最真實的事物，莫過于<br>等待一場溫柔與憐憫的魔法<br>我喚他——我的冬天<br> <h5><b>My Winter </b></h5><h5><br>I don’t ask winter if <br>it is his last day with me, <br>like I wouldn’t to a guest<br>whose leaving would leave<br>with a void corner inside me. <br>For my winter is kind, never <br>intending to hurt my bones.<br>For my winter playfully freezes<br>the water only to set it free,<br>imprisoning is not its way to be. <br>But in the springing bud as it signs<br>the departure column of the year’s<br>register, I know there is no bigger <br>truth than waiting for the spell of <br>kindness, mercies.I call him my winter</h5> <h5><div><b>詩歌評論：</b></div><div>阿瑪尼塔·森（Amanita Sen）這四首詩展現(xiàn)了統(tǒng)一而深刻的抒情風(fēng)格：語言細(xì)膩、感情克制但豐沛，富有哲思與隱喻性。詩人以自然意象（鳥、發(fā)絲、毒刺、冬天）為引，書寫人類情感的幽微之處：自由、孤獨、傷痛、柔情、時間與告別。它們不以外在戲劇性取勝，而是以內(nèi)心細(xì)節(jié)與情感轉(zhuǎn)折撼動人心?！而B的生活》是自由的宣言；《一根落單的發(fā)絲的故事》是愛之余痕；《毒刺》愛的傷痛與療愈；《我的冬天》——溫柔的季節(jié)化身。這些詩共同構(gòu)成一個女性詩人獨立而深情的精神世界：她安靜表達愛的深切；以自然的隱喻避開直白的情緒，卻更加動人；對傷害、對分別、對命運都以理解和溫柔回應(yīng)。詩如其人：作者對世界深刻的寬容力。（佩英）</div><div><b>Editorials:</b></div><div>Amanita Sen’s four poems reveal a unified and profound lyrical style: her language is delicate, her emotions restrained yet abundant, rich in philosophical reflection and metaphor. The poet uses natural imagery (birds, strands of hair, venomous stings, winter) to evoke the subtle nuances of human emotion—freedom, solitude, pain, tenderness, time, and farewell. These works do not rely on external drama for impact; instead, they move the reader through inner detail and emotional shifts.<br>“The Bird-Life” is a declaration of freedom;<br>“The Story of the Lone Hair”captures love's lingering traces;<br>“Venomous Stings” explores the pain and healing of love;<br>“My Winter” personifies a gentle season.<br>Together, these poems compose a spiritual world both independent and tender, belonging to a female poet who expresses love with quiet intensity. She uses natural metaphors to avoid overt sentimentality—yet this makes her verse all the more touching. Her response to hurt, separation, and fate is one of understanding and gentleness. The poetry reflects the poet herself: a profound capacity for compassion toward the world.(By Christine Chen)</div></h5> <p class="ql-block"><span style="font-size:15px;">維克托·A·波加達耶夫博士（Dr. Victor A. Pogadaev），俄羅斯歷史學(xué)家、詞典編纂者和翻譯家， 2001年至2016年期間在馬來亞大學(xué)任職，現(xiàn)為俄羅斯外交部所屬莫斯科國際關(guān)系學(xué)院與外交學(xué)院講師，同時擔(dān)任莫斯科努山塔拉協(xié)會副會長（2016年），馬來語國際理事會成員（2014年），曾榮獲馬來西亞NUMERA國際獎（2013年）及俄羅斯陀思妥耶夫斯基獎?wù)拢?021年）。</span></p> <div><b>你佇立于此</b></div><div><br></div>你立于前廳，手握拐杖<br>眼瞼通紅，嘴半張<br>父親啊，我再也見不到你了--<br>這屋，或別的屋--母親早關(guān)門<br>你穿著內(nèi)衣站著<br>身影映在梳妝臺鏡中<br>“……親愛的，我緊緊擁抱你”<br>你在信尾寫道，流淚寫下<br>此刻在陽光明媚的吉隆坡<br>在加星路的一間酒吧喝啤酒<br>你臥病在床<br>那兒咽下最后一口氣<br>真正的痛苦乃終結(jié)前的一段時光<br>在不斷變幻的現(xiàn)實中--<br>終點不存在<br>更準(zhǔn)確地說，它并沒有面孔<br>巨大的痛苦沒有影子<br>躲在被布遮住的鏡子里頭<br>你就這樣站著，而我看見--<br>你正走向永恒<br>你的離去令我心如刀割<br>這世上沒永恒之說<br>每一個靈魂終將嘗到死亡的滋味：<br>死去身體，靈魂活著<br> <h5><b>Here you stand</b><br><br>Here you stand with a stick in the front room<br>Red eyelids, mouth half open,<br>I shall no longer see you, father<br>In this room or another - all closed by the mother.<br><br>Here you stand dressed in underwear,<br>Reflected in the dressing table mirror.<br> "... I hug you tight, my dear," so you finished<br>the letter to me while crying.<br><br>Here I am in KL full of sun <br>In a pub drinking beer at Jalan Gasing<br>There you are griping with bed<br>Taking your last breath.<br><br>The pain is just the time before the end<br>In the reality of changing life<br>The last does not exist<br>More precisely does’t have a face<br><br>The horrific pain has no shadow<br>In the mirror covered with cloth.<br>This is you standing while I see<br>How you go to eternity.<br><br>Your departure is tough for me <br>But there is nothing eternal in this world.<br>Every soul will taste the death:<br>But only body dies, the soul remains alive.<br></h5> <b>尼亞洞——世界第八大奇跡（馬來pantun體）</b><br><br>騎上白象<br>穿越森林，遇見一只猴<br>珍貴目標(biāo)已漸顯--<br>尼亞洞：奇異之境<br>穿越森林，遇見一只猴<br>前方，一個全新國度--<br>尼亞洞：奇異的世界<br>那是真的嗎？不是夢？--不是夢！<br>前方，一個全新國度<br>大王花、豬籠草，還有蘭花盛放<br>真的嗎？不是夢？--不是夢！<br>還有燕子、猩猩與蛇影游蕩……<br>大王花、豬籠草，還有蘭花盛放<br>以及世界最古老的人類化石<br>還有燕子、猩猩與蛇影游蕩……<br>不，永遠(yuǎn)不會忘記的尼亞洞<br>世界最古老的人類化石<br>美景世間難尋<br>不，永遠(yuǎn)不會忘記的尼亞洞<br>我是一只撲向夏日的飛蛾<br>美景世間難尋<br>前方、前方，光明再度照臨<br>我是一只撲向夏日的飛蛾<br>永遠(yuǎn)祝福美妙的時刻！<br>前方、前方，光明再度照臨<br>感謝你們，造就這奇跡的人們<br>美妙時刻被永遠(yuǎn)祝福<br>我不想離開的土地<br>感謝你們，造就這奇跡的人們<br>你們賜予歡樂狂喜<br>不想離開這片土地<br>噢，上蒼??！請再讓它重臨！<br>你們賜予歡樂狂喜--<br>尼亞洞，世界第八大奇跡！<br>噢，上蒼??！請再讓它重臨！<br>我會徹夜難眠，直到黎明！<br>尼亞洞，世界第八大奇跡！<br>我要騎上白象<br>我會徹夜難眠，直到黎明<br><div>因為珍貴目標(biāo)已漸顯！</div><div><br></div><h5>譯者注：四行詩（Pantun）是馬來傳統(tǒng)詩體的一種，其特色在于結(jié)構(gòu)對稱、韻律和諧、內(nèi)容寓意深遠(yuǎn)，常用來表達愛情、人生哲理、自然之美等主題，是馬來民族文學(xué)的精華形式之一。</h5> <h5><b>Niah Cave - eighth wonder of the world</b><br>(in the form of Malay pantun)<br><br>I shall mount a white elephant,<br>I’ll go through the jungle, meet a monkey.<br>And cherished goal is already visible –<br>Niah Cave: some strange world <br><br>I’ll go through the jungle, meet a monkey.<br>There is a new country in front of me -<br>Niah Cave: some strange world <br>Is it reality? Not a dream? – Oh, not at all.<br><br>There is a new country in front of me -<br>Rafflesias, nepenthes, orchids.<br>Is it reality? Not a dream? – Oh, not at all.<br>And swallows, orangutans and snakes...<br><br>Rafflesias, nepenthes, orchids.<br>And the world's most ancient man<br>And swallows, orangutans and snakes...<br>No, I”ll never forget this Niah Cave.<br><br>And the world's most ancient man<br>Such beauty is impossible to find elsewhere.<br>No, I”ll never forget this Niah Cave.<br>I am a moth dreaming of summer days.<br><br>Such beauty is impossible to find elsewhere.<br>Ahead, ahead, where light again awaits us,<br>I am a moth dreaming of summer days.<br>Let this delightful moment be blessed!<br><br>Ahead, ahead, where light again awaits us<br>I thank you all, who made this wonder.<br>Let this delightful moment be blessed!<br>I do not want to go from this place. <br><br>I thank you all, who made this wonder.<br>Who gave us this delightful ecstasy.<br>I do not want to go from this place.<br>Oh God! Repeat it for us again!<br><br>Who gave us this delightful ecstasy –<br>Niah Cave, eighth wonder of the world<br>Oh God! Repeat it for us again!<br>I would’t fall asleep to night till dawn.<br><br>Niah Cave, eighth wonder of the world<br>I shall mount a white elephant<br>I would’t fall asleep to night till dawn<br>Cos cherished goal is already visible<br></h5> <h5><b>詩歌評論：</b></h5><h5>維克托·A·波加達耶夫博士（Dr. Victor A. Pogadaev）兩首詩歌風(fēng)格迥異，卻都在各自的詩意維度上達到了深刻動人的藝術(shù)效果?！綡ere you stand】使用平實卻帶有震撼力的語言，如一封永恒的告別信，沉穩(wěn)深刻、哀而不傷；《Niah Cave – eighth wonder of the world》采用馬來傳統(tǒng) pantun 循環(huán)式結(jié)構(gòu)：句子重復(fù)推進，增強詩歌的節(jié)奏美與層層展開的情感濃度，像一次夢幻而真切的旅程，如歌似畫，心靈飛翔。兩首詩分別代表了人的終點與自然的奇跡起點，一陰一陽，一悲一喜，共同構(gòu)成了你詩歌世界中“生命與存在”的完整譜系。（佩英）</h5><h5><b>Editorials:</b></h5><h5>Dr. Victor A. Pogadaev’s two poems are stylistically distinct, yet each achieves a deeply moving artistic effect within its own poetic dimension.</h5><h5>“Here You Stand” employs plain yet powerful language, like an eternal farewell letter—calm, profound, sorrowful but not despairing.</h5><h5>“Niah Cave – Eighth Wonder of the World” adopts the traditional Malay *pantun* form, using cyclical repetition of lines to enhance rhythmic beauty and gradually unfold layers of emotion. It feels like a dreamlike yet vivid journey—lyrical and picturesque, with a soul that soars.</h5><h5>The two poems represent, respectively, the end of human life and the wondrous beginning of nature—one yin, one yang; one sorrowful, one joyful. Together, they form a complete spectrum of “l(fā)ife and existence” in your poetic universe.（By Christine Chen)</h5>