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菲利帕•维丽叶斯诗4首

菲利帕•维丽叶斯 星期一诗社 2024-01-10
菲利帕·维利叶斯(Phillippa Yaa de Villiers),生于1966年,2011年南非文学奖诗歌奖得主,生平经历奇特,诗风结合西方、非洲和东方传统,独树一帜地创造出属于自己和时代的作品。评论家称:“她的发现自我的诗歌反映着我们国家艰苦转变的历史。”笔者分别于2017年1月30日和2月23日在约翰内斯堡笔者家中和菲利帕家中对诗人进行了专访,这期间又围绕她的诗歌往返40余封电子邮件。没有过去两年多菲利帕给予笔者的牢固的友情,这篇专访稿将难以完成。
菲利帕•维丽叶斯,是南非著名表演诗人和演员,出生于1966年2月17日,曾代表南非参加6月的柏林诗歌节非洲和七月格拉汉姆斯顿国家艺术节。还得到了日本俳文社的荣誉提名奖(2009)和强烈推荐奖(2010),以及2009年度国际笔会斯特金斯基奖。她写作了剧本《旧皮》,并在以下场所亲自表演:市场剧院,格拉汉姆斯顿国家艺术节,以及洪堡大学文学传统会议,2010柏林文学年会。” 



下到那儿去


这是用烛光拼写出的一封信:

我把它留给所有那些

也被限制、被分裂、痛苦地受到压迫的人。

那些紧紧地用双手抱着自己

免得被淘空

被榨干的人。

恐怖吞噬着希望象夜晚吞噬着白昼

只剩下星星的碎片。太远了

帮不上任何的忙。


我在6岁、11岁、13岁、17岁和19岁时被强.奸

我并不知道我是受到了侵犯因为

在我们那儿

爱是被强迫的并且

有时是伤害。


人类脆弱的肉

不能承受极端。我们环绕着自己

把自己构造,把我们的生命

造成一座庇护所。

当你建造房屋,

你会细心地安好窗户;

当你从伤口中成长,

你会用一个幸存者的眼睛

来看生活。

强奸是我的面包:我吃,我领会。

到后来就是,我领会,我吃。

我房屋/身体/躯壳上的标记是

非洲武士身上

瘢痕的记忆:伤疤

被沉着地刻上,作为身份的象征。

我阅读它们就好象盲文。


他们找到我时我满身污垢,

粗野而谙哑。他们问我:发生了

什么事?同情打开了

记忆的笼子,话语从我倾泻而出

就好象格蕾特扔在黑森林里的面包屑,

希望的小石子,

话语

变成了光

指给我

回家的路。


现在我被治好了。

但我再也不

象从前那样看。



乳夏

(为S.H.P.而作)


起先我几乎未注意到你:

更暗的肤色,

乳头双重的吻,

凸点    凸点

装饰着我那自由的

平坦而棕色的

小女孩之躯。


象花蕾在春天膨胀,

我的身体绽放,一朵花儿——

从一手之握成熟到一杯之量,

接着是那丰富的

我自己的、自产的

生命支持系统

洋洋洒洒,

一个乳夏,

我向潜在的追求者展示

我收集他们象上衣和鞋子,


我穿戴上他们的目光,

装饰我的自尊。


仅仅,在一张以羞耻为框的镜子里

我命名你:不充分

不对称

太大

太小

丑。


这身体弯曲着

环绕宇宙,

它是大自然的作品。

它是我的领地:

我住在这里。

在这些天里我重新命名诸元素;

我在措词间耕耘:

美丽的、圣洁的、生机勃勃的、神圣的,

温暖的、丰饶的、养人的、我的。


青天白云的季节过去了而我继续关注着

甜蜜的大地,

甚至在灌水渠里也栽种希望,

嗅到丰收的味道。




红苹果

(为Keorapetse Kgositsile教授七十寿辰而作)


我一直为你祈祷,

请求你出现,成为

我的一部分,还希望

倘若你不止是一个灵魂,

倘若你也还有一个身体,

求你能得到保护。


我从前不认识你

在看到你之前,我想象不出我要什么,

但是当我遇到你我便知道你就是

我的。你是每一个人的孩子,

你站在意志和命运的

交岔口。对每一个想要的人

你都是足够的。


你是一个故事,

一张照片,

一张载满可能性的唱片

浑圆如一场记忆

总是在开始。


一个小男孩摇着一棵长了青苔的树

它结满了成熟的红

苹果;

正当鸟儿从空中

抛下

甜甜的碎渣,蜜蜂

弯着它们的膝在祈求

花神,

街道把它们的双腿浸在

夕阳的水桶里,

而令人心疼的尘土正在飘浮,

白昼叹息着而它的叹息是爵士乐,

你乃是深蓝色的夜,那消逝了的良夜,

被从群星那里撕开,

萨克斯沿着铁轨一路飘扬

追逐着你的恐惧难解难分;

六孔笛的丘比特用旋律的箭头

射中了人们的心,而“诚实”

无法入睡,当“不义”正沿着

黏滑的隧道葡行,寻找着出路;

而在多芒刺的树下的男孩

正认真地搜集这随意的、跳跃的生命,

他的世纪、他的日子、他的苹果,

都收获在

他红红的T恤肚子里:


时间顺流而下

生命吃力地逆流而上

现在你是我的一部分而我可以停止祈祷

或不如说,祈祷者

现在能够变成

一首歌,


男孩,苹果,城市或爵士乐,

不管你在哪里,

不管你是谁,

你都是足够的。




赞美诗


词语在空气中描画出形象。

声音让它们着火。我看着传统

跺着脚,跳着舞

重又与神灵相通

唱着那首

我们称之为“自由”的老歌

有一股激流爆发

在我的心腔之间

亮红 生机勃勃……


我还活着:

我的心大如这拳头而我

小如这手指。我们彼此相连,

生者和死者。

我们抵达生命然后它

离开我们;

把我们的骨头留在身后

而我们的心象宇宙一般辽阔。

人类的进化开始于地球的这一个角落,

我们的祖先留下他们的尘土一如染色体

在我们每个人身上,他们建了一个家,

而人科动物站立成人并且行走

语言从我们口中飘落并且谈话,走着它们的路

进出于风景,心灵的风景。

我们走进词语,一旦需要就创造:

我们站立着影子单薄

然后

我们追逐地平线 消失着

直到 我们重新出现。


奇迹是有的。受害者变成了英雄:

一个没有腿的男人是世界上跑得最快的人。

一个不能走路的女人游泳拿了金牌。

我们的大脑有两半,反映了二元性,

一个以成双的对立面

进行思考的系统

象一个“开关”:

象一条双向街:

白天黑夜错误正确男人女人黑人白人

两性运动员卡斯特•舍门雅

是一个邀请

请我们考虑停止双向思维。是一个刺激

请我们小心定义什么是“人”

或“女人”。一个难题。我们置身在一块艰难的土地上

对它我们不理解,我们从未到过这里但

看来未来就是这样子。我们将不得不

把我们的心灵从一条街

伸向一片田野一个海洋一个宇宙以

顺应我们无限的独特性。


奇迹是有的;我们从自己身体里把它们雕刻出来,

我们从石头和铜块中把它们敲打出来,

我们从欲望中把它们编织出来;

为世界不能容纳的事物

我们的心灵创造了一个家,只要

我们还活着,

我们的心就大如我们的拳头而我们

小如我们的手指。我们彼此相连

生者和死者,

我们的心灵

跟宇宙一样

辽阔。

    

周 伟 驰 / 译




I don’t know

(for Khwezi, the woman who accused Jacob Zuma of rape)

 

I don’t know.

I’m not sure.

I don’t know if

I was raped

or not.

The uncle who held my hand and

wiped the ice-cream off

my black patent leather shoes,

who turned my face to him and then

surprisingly stuck his tongue

through my teeth,

I’m not sure.

He bought me another ice-cream

 

The time I got my new orange hot pants

with the yellow patent leather belt

and paraded in front of him,

and he smiled and told me I was beautiful and

asked me when I was turning twelve

and I laughed and said

only after I’ve turned eleven.

Clamped in his caress,

his eyes, searching mine, asking

is that nice, baby, is that nice?

And he seemed to need me to say yes,

so I did, but it was sore

and now I’m not sure if it was my fault or not

because I lied.

 

I’m not sure if I was raped or not.

I wanted a massage,

his hands are really strong

and he’s used to my body.

He’s taken care of me before.

You can say one thing or 55 things:

I said thank you

because he was giving me so much,

I was really stuck with nowhere to live

he gave me more than I was asking for.

I did really only want a place to sleep

and a massage,

But I don’t know if I was raped because

that short word

is so much a piece of darkness

stuffed into a screaming mouth

 

I don’t know

I am not sure

He is my uncle

He bought me an ice cream

He was helping me out

 



Wanting

 

Infants don’t remember: I can’t recall

the rough blanket of the nurse’s love, bundled out

in bulk to the babies “awaiting placement”;

the metal deafness of

her pen, charting our progress, our feeding and faeces:

all of this is gone. Her kind indifference,

like the white bars of our cots,

confining each of us to our

clean, dry, comfortable, solitary cells;

may or may not have been there.

I might have made it up.

She may have cared.

I don’t remember giving up crying or

ever wanting for anything,

except that I always did want something,

besides the usual

milk and material.

(Good stuff, but not enough.)

I think maybe what I wanted and what I want

is to remember,

that’s all,

remember my story clearly.

My mind is a hand

reaching out to trace

the features of a forgotten face:

 

waves retreat, expose

the beach: naked snails and crabs

sucking and pinching.

 



The River

 

One day the Hillbrow Tower started to cry.

Real tears poured down its sides

collected in the gutters,

and ran down Banket Street,

and when

the other buildings saw the tower's sadness

they started to weep in sympathy.

Soon the whole city was sobbing,

the tears joined other tears

and filled the depressions and valleys.

They covered the koppies,

and collected in City Deep,

cascading over Gold Reef City

flooding Fordsburg

and soaking Soweto.

They flowed until they became a river

that carried us into the night,

where our dreams grew

taller than buildings

taller than buildings

 

 


Both and neither


When I go to the metropole I feel defensive:

we Africans are not barbaric, I assert.

Meanwhile the tv yells

that we are going to elect

an alleged rapist

a polygamist

an accused thief

to the presidency.

I tell them that they don’t know what it’s like;

there are cultural differences,

loss happens in translation,

these things are also coloured by racism,

the west has its pets, its tame Annans,

it’s not our fault that you don’t understand us,you never have.


On the flight home, I study

the cold black tablet

of the aeroplane window:

level with the stars, we cruise

above the masses in their thrall of poverty,

their unnegotiated fate.

When I step off the plane I feel like a missionary.

I want to tell everybody to use a condom,

treat women fairly, get educated, get a life.

 

Traveling pulls me apart

into soft tissue paper

in layers;

I wouldn’t have it any other way.

It’s so much easier

to pack the fragile things.



Phillippa Yaa de Villiers, a famous performance poet and actress, was born in 17 February 1966, performed with top SA and international poets at the Badilisha Poetry Exchange in May 2009, represented South Africa at the Berlin Poesiefestival in June and the Grahamstown Festival in July. This year she was winner of the National Arts Festival/de Buren Writing beyond the Fringe Prize 2009, and received an Honourable Mention for her haiban Wanting from the Kikakuza Haiban Society in Japan, as well as being shortlisted for the Pen/Studinski Prize in South Africa. She wrote and performed Original Skin  at the Market Theatre and the National Arts Festival in Grahamstown last year and has represented South Africa in Sweden, at the International Festival of Poetry in Havana, Cuba, PassaPorta International Literary Festival in Belgium, Word Power in London, and Poetry Africa in Durban. In 2006 she won a Community Publishing Grant from the Centre for the Book, and published Taller than Buildings, which is now in its third edition. In 2005 she received the runner up Best Writer Award and the Audience Appreciation Award at the Pansa Festival of Contemporary Theatre Readings, and a mentorship from Lancaster University and the British Council. She worked as a scriptwriter for television and radio for ten years, contributing to local series Soul City, Soul Buddyz, Thetha Msawawa, Tsha Tsha, Takalani Sesame (2 seasons),  Backstage (6-month contract), and others.  Her work is published in The Edinburgh Review: Voices from Africa, Botsotso 14, Just Keep Breathing (ed. Rosamund Haden and Sandra Dodson, pub: Jacana) We Are (ed. Natalia Molebatsi, pub. Penguin) and Poui, the Cave Hill Journal of Poetry and Literature from Barbados. Her short story Keeping everything the same was selected by JM Coetzee to be included in New Writing from Africa  (pub. Johnson and Kingjames Books, 2009.) She studied theatre at the Lecoq School in Paris, and after a Journalism degree at Rhodes University and also obtained an Honours in Dramatic Art and Scriptwriting from the University of the Witwatersrand. In November she will be touring the UK with Lebo Mashile, Don Mattera, Keorapetse Kgositsile and Lesego Rampolokeng.



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