Photogram, c. 1923-1925 | Laszlo Moholy-Nagy
©Galerie Kicken Berlin
形象香港
我在寻找一个不同的角度
去看视觉的问题。
这帧旧照片，原来是在
弥敦道的光光摄影院拍摄的。
今天有谁还着色呢？
我抬头，看见银幕上的半山区。
她来自上海，忘不了昔日的繁华、
霞飞路上的白俄咖啡店。小提琴
音乐。究竟是什么一回事？
双妹唛花露水。瓶子摔在地上碎了。
叫卖的人把飞机榄掷入后现代高楼。
我同意她说每个人有不同的想象。
他在法国研究安那其主义，回来
在花花公子、然后在资本杂志工作。
我们眺望月亮，我们一起从不同的角度
眺望月亮。尖沙嘴的钟楼、
香港仔的日落。他们打算重新布置
这房间。皇后餐厅。中国会所。
伸出手按钮，无尽的画面
太多时尚的挑逗，令你无法专心。
太多琐碎的事务，不同的场合
不断转变的身份，我们什么时候──
他是报告文学的好手，他擅写
资本主义社会里的狗和色情杂志。
什么时候坐下来谈谈？
复制的歌星映象和歌声，转移了注意力。
欲望被扩张的荧幕重新界定。
伸手出去，触及了什么？
历史是一连串形象
塑造的材料可以是纸箔、塑胶、纤维
镭射影碟的按钮……我们抬头
眺望月亮，今夜的月亮
在时间的尽头还是开端？
她是来自台湾的小说家，以为自己
是张爱玲，写香港传奇，霓虹倒影
天星小轮泊岸的浪花，旧火车站
不断复印的浅水湾酒店
异国情调描绘给远方的观众。
我们在寻找一个不同的角度
不增添也不删减
永远在边缘永远在过渡
我们用不同颜色的笔书写
这些东西也很容易变得表面
历史就是这样建构出来的吗？
至于他，他擅写东方色彩的间谍小说──
杂在别人的话中
为什么有些话无法言说？
他们打算重新布置这房间。
我们抬头，寻找──
1990
编按：
飞机榄，香港、九龙地区楼高，早期卖甘草橄榄的商贩以投掷方式，将橄榄掷入高楼上的买者，投掷得又高又准，小贩称之为“飞机榄”。
Images of Hong Kong
I need a new angle
for strictly visual matters.
Here’s an old portrait shot originally
in Guangguang studio in Nathan Road;
They don’t paint on them like this any more.
For no reason of mine, Midlevels scenes are on the television.
She’d come from unforgettable Shanghai, from glamorous
Jaffe Road, with its White Russian coffee shops, violins
playing into the night. How does it add up?
A bottle of lotion, Two Sisters, smashed forever on the floor.
Imagine the old vendors throwing olives up into a postmodern tower.
Even the lady who knows only we’re all different has a point.
Here’s a man who studied anarchism in France and came home
to work for Playboy, then Capital.
The tiniest angles divide our views of the moon
when we look up. The Star Ferry clock-tower,
sunsets in Aberdeen: too familiar. Only now somebody plans to redo
everything. Queen's Cafe. China Club
One has only to push buttons to change pictures
to get in on so many trends one can’t even think,
too much trivia and so many places and stories
one can’t switch identities fast enough. When can we ─?
And here’s the Beijing journalist who became
an expert on pets and pornography under capitalism.
When can we just sit down and talk?
Our attentions get lost in factories of images and songs;
appetites are whetted in the hungers of the tiny screen.
Reach out and touch ─ what?
History, too, is a montage of images,
of paper, collectibles, plastic, fibres,
laser discs, buttons. We find ourselves looking up
at the distant moon; tonight’s moon ─
does it come at the beginning or the end of time?
Here’s another from Taiwan, who thinks
she’s Eileen Chang writing Hong Kong romances, with neon
dancing in the back-churning waters of the Star Ferry, on the old depot,
with Repulse Bay Hotel rendezvous produced on cue.
All this exotic stuff, of course, is for export.
We need a fresh angle,
nothing added, nothing taken away,
always at the edge of things and between places.
Write with a different color for each voice;
OK, but how trivial can you get?
Could a whole history have been concocted like this?
Why are there so many good at Oriental spy novels?
Why are there many things that can’t be said?
So now, once again, they say it’s time to remodel
and each of us finds himself looking around for ― what?
1990
Translated from Chinese by Gordon T. Osing
相关阅读
香港诗歌节基金会
The Hong Kong Poetry Festival Foundation is a cultural organization initiated by Chinese poet Bei Dao and established in 2017 in Hong Kong. Our flagship event is the International Poetry Nights in Hong Kong (IPNHK), held every other year since 2009. IPNHK has become Asia’s most influential international poetry festival and one of the world’s most successful international poetry events. IPNHK is also a member of the Word Alliance, which brings together the world’s leading literature festivals.
官方网站 hkpff.com
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