作者简介    

李晟馥

　　生于1952 年， 诗作极富想像力， 层次丰富，一向备受注目， 荣获「金洙暎文学奖」及「素月诗歌文学奖」。李晟馥深受卡夫卡、尼采及波德莱尔影响， 首部诗集《滚石何时醒来》中诗人充当临床病理学家， 剖析家庭和社会结构， 并仔细记录其逐渐瓦解的过程， 联想奔放大胆， 戥破世界的虚伪、腐败及堕落， 深深震撼读者。李晟馥的第二本诗集《南海锦山》源于他新近对东亚古典文学的兴趣， 大幅探讨爱的本质。他在往后的诗集一直钻研这个主题， 为「爱」另造新语法， 反映现代的情爱概念。诗人同时不断求新， 倡导诗歌改革， 影响不少同期和年轻一代的诗人。

　　评论家金玹指李晟馥的诗作「大大扩展意义的领域， 启迪无尽的问题， 问题不单局限于个人或私人层面， 甚至扩阔至集体及公众的层面。」李晟馥的诗作不断游走于两个层面，展现人生底蕴中的基本关系。

　　李晟馥于首尔大学取得法国文学学士及硕士学位， 曾任启明大学法国文学系及创意写作系教授。主要着作包括《滚石何时醒来》( 1980)、《南海锦山》( 1986)、《那年夏末》( 1990)、《虎狼加时树的回忆》( 1993)、《啊， 没有嘴巴的东西！》( 2003)、《月儿前额的波浪纹》( 2003)、《来， 看看悲伤就是全部》( 2013)。

　　（谢小婷译）

　　Lee Seong-bok (1952–), recipient of Kim Soo-young Literature Prize and Kim So-wol Literature Prize, has continually attracted attention to his highly imaginative and multi-layered poetry. Influenced by Kafka, Nietzsche and Baudelaire, Lee’s first volume of poetry When Do the Rolling Stones Awake shocked readers with its daring use of free association to expose the hypocrisy, corruption and perversity of this world. In this volume, the poet occupies the place of a clinical pathologist who dissects familial and social structures, and meticulously records their gradual disintegration. His second book Mt. Geum, Nahmae, shaped by the poet’s new interest in the East Asian classical literature, largely deals with the question of love’s essence. The subject continues to engross Lee in subsequent volumes as well, and he creates an alternative grammar of love to the modern notion of romance. Driven by a spirit of innovation, Lee heralds a poetic revolution that influences both his contemporaries and younger generation of poets.

　　The critic Kim Hyoun has said of Lee Seong-bok’s poetry that “it vastly expands its sphere of meaning to permit endless questions to be raised, not only on an individual or private level, but on the collective and public one as well.” Moving unceasingly between binary categories, Lee’s poetry thus brings into view the fundamental relation that lies beneath human life.

　　Lee earned both his undergraduate and graduate degrees in French literature from the Seoul National University. He worked as Professor of French literature and creative writing at the Keimyung University.

　　His major works include When Do the Rolling Stones Awake (Dwingguneun Dol-eun Eonje Jam Kkaeneunga, 1980), South Sea, Silk Mountain (Namhae Geumsan, 1986), End of That Summer (Geu Yeoreum-ui Kkeut, 1990), Memories of the Holly (Horanggasinamu-ui Gieok, 1993), Oh, Those without Mouths (A, Ib-I Eomneun Geotdeul, 2003), Ripple Patterns on the Moon’s Forehead (Dal-ui Ima-eneun Mulgyeolmunui Jaguk, 2003), Came, and Saw Sorrow Was All
(Rae Yeo Ae Ban Da Ra, 2013).
 

岁月的褶皱，记忆的断层

任何事物都无法替换的日子流过
河水流向天空的时候
阳光碎在节日打糕米里的时候
我们之所以痛苦 是因为生活
热爱我们

任何事物都无法替换的日子流过
流淌的迷雾向亚麻布一样缠住身体的时候
驮着货物的马的后退比人腿更美丽的时候
如果觉得生活可怜 那么我们
只能被束缚在那里

(薛舟译)

the folding of time, the dislocation of memory

the days we wouldn’t trade for anything have flowed by
when the river flows skyward,
when sunbeams are mashed into the rice for the holiday ttok,
the reason we’re sick is that
life loves us

the days we wouldn’t trade for anything have flowed by
when like linen the flowing fog enwraps our bodies,
when the hind legs of a horse, a load on its back, seem more
beautiful than human legs
even if we feel sorry for life we have no choice
but to be tied to it

(Translated by Hye-jin Juhn Sidney & George Sidney)