台湾诗人黄冈：游走部落，从来不忘我所从何来

个人化写作与外来文化影响

10月21日上午，2016凤凰·鼓浪屿诗歌节第二天，主题为“个人化写作与外来文化影响”的诗歌国际论坛在鼓浪屿举办。诗人赵野，赵四，李少君，树才，李元胜，默默，韩庆成，廖伟棠，林于弘、黄冈、加拿大诗人洛尔娜·克罗奇（Lorna Crozier），英国诗人李道（Richard Bruns），印度汉学学者、诗人普利亚达西·墨普德教授、韩国翻译家金泰成等人在论坛做出精彩又有见地的发言。论坛由诗人、翻译家、评论家汪剑釗和诗人北塔主持。

鼓浪屿拥有“万国建筑博览”美誉，东方文化与西方文化交会于此，闽南文化与外来文化共融于此。“鼓浪屿女婿”林语堂自评“两脚踏东西文化，一心评宇宙文章”。于诗人而言，外来文化将如何影响个人写作？作为“世界人”的诗人，一方面孜孜不倦地从自身文化中汲取养分，另一方面又无时不刻不体会着全球化带来的“文化震撼”，从而形成观念的冲突、矛盾、变形、融合、促进，进而可能形成写作的自我革新。

黄冈

黄冈是祖父给我的名字，意在纪念1949年以前的故乡。我出生的故乡台湾，则是祖父硬在喉中的一口脓痰，既黏稠，又像吐不出来的满口乡愁。我带著这个充满符旨的名字满山游走，迎接著我的年代、命运和宝岛台湾血浓于水。

我的山海在当代经济建设裡的失衡，在颱风土石流裡嗫嚅著痛楚；看到了瑰丽原乡文化在公部门的抢救和疲软中喘成一条乾涸的砂婆礑溪。我也遇到了一些流浪的人：猎人、吟游诗人、艺术家、流亡作家、甚至我自己的家人，他们的故事动人可以写成好几本小说。

猎人阿鹏是我的好朋友。阿鹏时常无私地与我分享他的山林经验。25岁的他立志当猎人，住在祖先的山中猎寮。可是阿鹏告诉我，他要去台北开公车。「赚比较多啦！」还有一个孩子要养的他，不可以自私地留在猎寮。我不禁想像多年以后，我再度遇到他会是在台北的公车上，眼神不再焕发著光亮，我可能只认得他眼角的疤。于是我发现，在当代社会立志成为一位猎人，跟成为一个诗人同样都是件难以启齿的事，彷彿是个心中的小秘密，因为一说出口便要面对「猎人/诗人能当饭吃吗」这样的问题。

谢默斯．希尼（Seamus Heaney）说，诗是「雅緻、忧伤和微不足道的」。每一个半夜踅来的诗的跫音都让我如是觉得。但诗人、作家的文字份量，是足以以撼动世界的。长大后才发现，每一个诗人的焦虑都是他自己的，但是本质上，「诗人要对世界作出回答、对世界作出反应，这会使他成为一个负责任的诗人」。希尼为我作了最好的注释：我们不用想像著改变世界，但是却可以做一个对自己、对社会负责任的诗人。

写作的这段时间，街头运动、青年、中产阶级的鬱闷都在岛屿中闷烧，与水柱激射成更袄热的亚热带。我持续关注，并继续书写，越写越烧，并逐渐感受这世界上没有所谓「文学」这件事。文字成其为学问，是因为生活，是因为飢饿，是因为渴。肚子裡的渴，灵魂的渴。就如同阿尔代什峡谷中的壁画，是上古人类歌颂飢饿的杰作，于是一隻手涂驯鹿便成为了艺术；而关注乡野间的死亡，把祭辞谱成九歌就成为了经典。关于诗的价值，希尼举罗伯特．弗斯特（Robert Frost）对于诗的诠释为例：「有那麽一刻，诗止住了混乱」。希尼说，「止住」意谓著某种障碍物，它只是片刻的，但绝不逊于留下一个位置，且为那一刻提供了某种秩序。

我不能止住某种偏见歧视，或一桩开发案。但要成为一位走在稜线上的猎人，和成为一位优秀的诗人是同等困难。写作和狩猎像把双面刃，对内耗神、费事、旷日费时；对外缺乏经济效益、市场与商机。不过，两者的共通点，就是能止住人类世界某个时刻的混乱。猎人的囊中物无法喂饱整个部落，但却挽救了千百万年人类的飢饿。我无法藉由写作止住新自由主义的蔓延，却能留住一个民族的精蕴。

游走部落，从来不忘我所从何来。不论哪个民族，都在台湾行舟，都行舟到台湾。写作喂养了我的精神。盼望以文字的重量抚慰一些灵魂，对于生者，是祝福和祈愿；对于逝者，约莫就是哀悼与祭辞。

——节录自《是谁把部落切成两半？》后序

Writingon the Island——Lecture on Forum of the Kulangsu Poetry Festival 2016  

Huang Gang

I was namedby my grandfather after my hometown before my family went to Taiwan in 1949. Iwas born in Taiwan, a place like a bit of phlegm in the throat of my nostalgicgrandfather, viscous and sticky. The name loaded with implications follows meeverywhere, embraces my era, destiny, and merge with my new hometown, Taiwan.

My hometownhas become imbalanced in today’s economic development and suffered from thedisasters of typhoon and mudslide. At the same time, I witnessed that themagnificent culture of my hometown was turned into an inanimate misery underthe so-called rescue of the public sector. I have also come across some roverssuch as hunters, bards, artists, exiled writers as well as my relatives whoseexperiences can support several novels.

Peng is myfriend who used to be a hunter. He generously shared his hunting experience inmountains with me. Peng determined to be a hunter at 25 and lived in hisancestors’ hut in mountains. However, he told me that he was going to be abus-driver in Taipei (to make more money). The reason was that he needed toraise his child and could not be so selfish to stay in the hut. I can’t helpimagining that the place where I met him many years later would be in the busin Taipei, and his eyes were no longer sparkling. And the scar in the corner ofhis eyes was the only feature that I could recognize him. Then, I found thatbeing a hunter is something embarrassing to tell others, just like being apoet. It is a secret in mind because once you utter it, you are bluntly facedwith the question whether it is possible to earn a living as a hunter, or poet.

As SeamusHeaney has put, poetry is elegant, dolorous and insignificant. And I believethat every poem written in the night will be just like that. However, the powerof poets’ and writers’ writing is great enough to vibrate the world. Only in mylater life did I find that the anxiety of every poet is caused by himself.However, in their essence, a poet must answer and react to the world, so as tobe a conscientious being. Heaney has given me the most appropriate explanation:we don’t need to imagine to change the world and what we can do is to be a poetwho is responsible for himself and the society.

When I amengaged in writing, the depression of the street youths, the middle class isboiling on the island. This depression, together with spout contributes to thehot semi-tropical land. I continuously pay attention to this emotion and carryon with my writing. However, the more I write, the more terrible the situationis, and I increasingly feel that there isn’t the so called literature in theworld. Writing is regarded as literature because of life, hunger and thirst.Just as the frescos in the Gorges de l’Ardeche, they are the masterpieces toextol hunger by ancient people. As a result, a reindeer painted by human handsis art and the Chu-ci poem Nine Songs derivedfrom the author’s concern of death and sacrifice ceremonies is a literalclassic. In light of the value of poems, Heaney once quoted the Robert Frost’sexplanation: there is a moment when poems rein up the chaos. Heaney said thatreining up is just like a barrier that only stays for a moment and offers acertain order but does not leave a mark behind.

I can’tprevent prejudice and discrimination, or a new development, but to be a hunterstanding on the ridge is as hard as to be an excellent poet. Writing andhunting are just like double-edged swords which will not only consume youspirit and time, but bring little economic benefits, or marketable, commercialopportunities. Nevertheless, the common thing between poet and hunter is thatit can keep back the chaos in humans at some time. Although the game cannotkeep all the tribe away from hunger, it fed human beings for millions of years.I cannot block the spread of neoliberalism by writing, but I can preserve theethos of a nationality.

I alwaysremember where I came from roving around tribes. Every nation sails in andsails to Taiwan. Writing breads up my spirit and I hope that writing can solacesome souls. For the living, it is blessing and invocation; for the dead, it ismourning and oration.

——Extracted from the epilogue of WhoCut the Tribe into Haves