阿吉·米斯赫尔诗3首
阿吉·米斯赫尔（Agi Mishol，1947—），以色列著名女诗人，出生于匈牙利。父母为大屠杀幸存者。四岁随全家来到以色列。曾在耶路撒冷希伯来大学攻读希伯来文学。长期以教书谋生。1971年出版第一部诗集，之后又出过十余部诗集。她的诗率真，富有挑衅意味，完全摈弃怜悯，同传统意义上的“女性诗歌”分庭抗礼。她常常在诗中嘲讽古典诗歌的华美和雅致。她认为，多愁善感是诗歌的天敌。她渴望爱情，但又绝不愿成为爱的奴隶。她希望自己成为一个无拘无束的女人，一个既有女性特征，也具男性特征的独立的女人。独立精神因此成为她诗歌和人生的双重追求。代表诗集有《内心旷野》等。米斯赫尔曾访问过中国，并参加过青海湖国际诗歌节。
告白
我比看上去还要麻木百倍。
如此众多的面孔中，我忘记了
自己的面孔，用那个瞬间发明的
所有赝品塞满空白。
可我又写下了这些，
仿佛拿遣词造句的鹅毛笔中就有赦免，
仿佛头脑真能在幽暗的迷宫中
理清万事万物。
而我最最信赖他——
这座高傲的灯塔在我身上忽隐忽现，
将自负的光投向我那些
启航去黑暗中探索的英勇的船舰。
正是因他我才克制住自己，
不让一个孩童愤怒的后背转向生活，
那孩子敞开并（哦，那个瞬间）落入
放声叫喊的胸怀。
内心旷野
此处
内心旷野
我带着录音机在草地上放牧
我捡起一根枝条
劈开一只石榴
对狗吹响口哨
在给与我鹅叫声的事物清单上
我又将今晨唱《比利节之歌》一事添上
我如此孤独。
忠告
吸口气，动身：
到月亮去，
到火星去，
到暗物质的光晕
银河去。
一到那里，立即缓缓地
返回：
仙后座，
小熊座的尾巴，
海洋，大陆，
分布着一层人类，
电流发出吱吱声的
地球。
随后，回到自己房间
坐在木椅上
一遍遍地对自己说：
我的文字已被断章取义。
我遭到了错误引用。
高 兴 / 译
Agi Mishol's "Woman Martyr"
Introduction and Text of "Woman Martyr"
The speaker in Mishol's four-versagraph poem, "Woman Martyr," reports a disturbing event in which a young woman feigning pregnancy walks into a bakery and blows herself up. Mishol explains the genesis of the poem, "With that poem it was the suicide bomber's last name, Takatka. … Her name sounded like the ticking of a bomb—taka-taka like tick-tock . . . ."
The poet appends an epigrammatic quotation from Nathan Alterman's "Late Afternoon in the Market": "The evening goes blind, and you are only twenty."
Woman Martyr
"The evening goes blind, and you are only twenty."—Nathan Alterman, “Late Afternoon in the Market”
You are only twenty
and your first pregnancy is a bomb.
Under your broad skirt you are pregnant with dynamite
and metal shavings. This is how you walk in the market,
ticking among the people, you, Andaleeb Takatka.
Someone loosened the screws in your head
and launched you toward the city;
even though you come from Bethlehem,
the Home of Bread, you chose a bakery.
And there you pulled the trigger out of yourself,
and together with the Sabbath loaves,
sesame and poppy seed,
you flung yourself into the sky.
Together with Rebecca Fink you flew up
with Yelena Konre’ev from the Caucasus
and Nissim Cohen from Afghanistan
and Suhila Houshy from Iran
and two Chinese you swept along
to death.
Since then, other matters
have obscured your story
about which I speak all the time
without having anything to say.
—translation from Hebrew by Lisa Katz
Mishol reading "Woman Martyr" in Hebrew, with subtitles in Spanish
Commentary
The speaker is dramatizing the unspeakable act of a woman faking pregnancy to hide a bomb, then entering a bakery to explode herself into a supposed martyrdom.
First Versagraph: A Human Time Bomb
You are only twenty
and your first pregnancy is a bomb.
Under your broad skirt you are pregnant with dynamite
and metal shavings. This is how you walk in the market,
ticking among the people, you, Andaleeb Takatka.
The first versagraph describes the young woman, Andaleeb Takatka, who is only twenty years old. She is wearing "a broad skirt" to make people think she is pregnant, but her pregnancy "is a bomb"; she is "pregnant with dynamite / and metal shavings." She walks into the market "ticking among the people."
Second Versagraph: A Detonating Pregnancy
Someone loosened the screws in your head
and launched you toward the city;
even though you come from Bethlehem,
the Home of Bread, you chose a bakery.
And there you pulled the trigger out of yourself,
and together with the Sabbath loaves,
sesame and poppy seed,
you flung yourself into the sky.
In the second versagraph, the speaker psychoanalyzes the young woman, referring to the common phrase of craziness as having a screw loose. Then the speaker observes that even though the young woman was a native of Bethlehem, "Home of Bread," she chose to enter a bakery in that city to commit her foul deed, and so she detonates her "pregnancy," and along with the "Sabbath loaves, / sesame and poppy seed," she exploded herself "into the sky."
Third Versagraph: Names of Victims
Together with Rebecca Fink you flew up
with Yelena Konre’ev from the Caucasus
and Nissim Cohen from Afghanistan
and Suhila Houshy from Iran
and two Chinese you swept along
to death.
In the third versagraph, the speaker catalogues the names of the victims of this so-called woman martyr: her six victims are Rebecca Fink, probably a Bethlehem resident, Yelena Konre'ev of the Caucasus, Nissim Cohen, an Afghanistan citizen, Suhila Houshy, an Iranian, and two Chinese. Although not mentioned, the reader realizes that along with those who were killed there must have been numerous others who suffered critical injuries.
Fourth Versagraph: Meaning Remains Undetected
Since then, other matters
have obscured your story
about which I speak all the time
without having anything to say.
In the final verse paragraph, the speaker concludes that since that fateful day, additional details have continued to obliterate the underlying story of the young woman. The speaker admits that although she also continues to speak of the crime, she really has little of importance to say about it. The speaker leaves the reader realizing the unspeakable nature of such an act, at least for the speaker the story is unexplainable. Even though she talks about it, she feels that she really cannot say much with meaning.
Life Sketch of Agi Mishol
Born to Hungarian Holocaust survivors, Agi Mishol was four years old, when her family relocated to Israel. She and her husband still live in Israel on a farm. She earned her BA and MA degrees in Hebrew literature from Hebrew University in Jerusalem.
Currently, she serves a writer-in-residence at Tel Aviv University, and she teaches creative writing at Alma College in Tel Aviv. Mishol has published twelve books of poetry, and she was awarded the first Yehuda Amichai Poetry Prize in 2002.
About poetry, Mishol explained in an interview with Lisa Katz:
. . . poetry as I experience it is usually born out of quietness, nothingness. That's poetry's natural background. I often think about it as the image of a fish in water: living in it, the fish doesn't notice the water. Poetry too lives inside this nothingness. Inside the quiet.
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