作者簡介    

彼得． 明特

　　是澳洲重要詩人、編輯和詩學作傢。1967年齣生， 兼有蘇格蘭、英格蘭和澳洲土著三種血統。他先在海邊後又在叢林裏長大，18 歲時旅行前往日本， 隨後在悉尼大學攻讀文學和哲學。著有多部詩集，其中包括《空蕩蕩的德剋薩斯》、《早晨》、《連字型大小》以及《藍草》。他的作品發錶於眾多澳洲和國際刊物和選集， 並曾為他贏得無數奬學金、資助和奬項。自從1990 年代起， 他一直是澳洲先鋒詩歌和詩學的核心人物。他組織過不少詩歌活動， 以及視覺藝術、音樂和詩歌展覽， 還編輯或參與編輯《伐樓拿》、《柯達炸藥》、《花萼：澳洲當代詩人三十傢》等多種詩歌冊子、詩歌選本和詩歌雜誌。近期， 還參與編輯瞭《安琪拉吉》雜誌「生態詩學和教育學」專號。目前， 他是澳洲最主要的文學和思想雜誌《轉地放牧》編輯。作為詩人、理論傢和教師， 明特在作品中重新思考瞭澳洲和新西蘭詩歌語言、物質主義地緣哲學， 以及自然和詩歌生態學之間的關係。他的近期作品對土著「傢鄉」概念以及澳洲想像去殖民化主題進行瞭生態詩學探索。他在悉尼大學擔任高級講師，主要研究澳洲和土著詩歌、詩學和生態詩學。他與詩人、音樂傢和學者凱特． 法甘以及他們的兩個孩子居住在藍山。

　　Peter Minter is a leading Australian poet, editor and writer on poetics. Born in 1967, he shares Scottish, English and Aboriginal heritage. He grew up first by the ocean and then in the bush, traveled to Japan at the age of eighteen and then studied literature and philosophy at the University of Sydney. He is the author of several books of poetry, including Empty Texas, Morning, Hyphen and blue grass. His work has been published widely and anthologized regularly in Australia and internationally, and he has been awarded numerous fellowships, grants and prizes. Since the mid-1990s he has been a central figure in innovative and avant-garde Australian poetry and poetics. Apart from curating various renowned poetry events and exhibitions of visual art, music and poetry, he was the founding editor of the Varuna New Poetry broadsheets, the founding co-editor of Cordite, a coeditor of the influential anthology Calyx: 30 Contemporary Australian Poets, the poetry editor of the leading Australian journal Meanjin, and a co-editor of both the groundbreaking Macquarie PEN Anthology of Aboriginal Literature and The Literature of Australia. He recently co-edited the “Ecopoetics and Pedagogies” special issue of Angelaki: Journal of the Theoretical Humanities, and is now poetry editor of Australia’s foremost radical journal of literature and ideas, Overland. As a poet, theorist and teacher, Minter reconsiders in his works antipodean encounters between poetic language, materialist geophilosophies and the rendering of natural and poetic ecologies. His recent work has focused especially on an ecopoetical inquiry into Aboriginal conceptions of “Country” and the decolonization of the Australian imagination. He is a senior lecturer in English at the University of Sydney, specializing in Australian and Aboriginal poetry, poetics and ecopoetics, and lives in the Blue Mountains with poet, musician and scholar Kate Fagan, and their two children.
 

永不重返一片草地許可

在它結束以前便開始之時，你開始，神聖的世界
召集一陣風，你走瞭齣去

並在山頂麵前站定
談及愛，居於人民的形狀中，
呼吸緩慢的墜落

已忘卻形式，猶如
草、石頭和樹中睡眠組成的一切

越來越高，越來越高，伴隨著熄滅。
今夜的鎮子
飲盡一支幽靈大軍，

螢幕叮當作響，彷彿新冰
優雅地在頭頂爆炸，藍色的冷杉傳播
直至被佔的田野。

你在那裏，在一個
正點開門的夢裏，葉子輕盈的飄落
日用品的源頭

在每個詞語，句子，葉片裏
當它每日從我們的生活經過時。

我得到許可，永不重返
一片草地，那片他們在電視上再次展示得草地
眼睛因為混亂的禮儀

而愉悅，那份許可，
如今擁有而又喪失，已經逝去。

(高興譯)


Never Return to a Meadow Permit

You began as it ends to begin, holy world
calling up a wind as you walk out

& stand before the crest
to speak of love, living in the shape of people,
breath’s slow fall

with no memory of form, like
all that is made of grass, stone, sleep in trees

grows taller and taller with extinction.
Tonight’s town
drinks up an army of ghosts,

screens tinkle as new ice
explodes gracefully overhead, blue deals transmitted
to fields of occupation.

You are there in a dream
opening on the hour, light fall of leaves
commodity’s source

in each word, line, leaf
as it passes daily from our lives.

I am permitted to never return
to a meadow, the one they show again on cable
eyes breezy with rites

of chaos, that permission,
now propertied & lost, is gone.