赵四：真正的写作立基于对“影响”的克服

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。

赵四

很长一段时间，谈“影响”，大家都比较习惯于理解为单一向度的“接受”，也就是认定不同作品之间应当有事实关系，才够得上相互间发生了“影响”。但是，对于任何一个真正具原创力的创作者来说，他/她所追求的，必定是事实“影响”的隐而不见，见得着的话，有时几乎不啻为是一种失败了。

因为原创力是一种能够驱使一切材料为其服务的本初力量，是一种大的、结构性的力量，倘若它不能够裹挟、包容、整合各种材料，而让材料的部分过分地显现出自己的来源，那大概就得叫原创力不够强大。

因为我是一个对原创力有信仰的诗人，所以我比较警惕“影响”，或者说我对自己是有要求的，面对各种“影响”，我要求自己，如果做不到用自己本源的创造力去居先地占据它们、有效地使用它们，让它们为我服务，即便我好奇心再强，我也只能拿它们去写散文，去写感想，而写作最需要仰仗原创力的诗歌，我不会允许自己这样去使用材料。

尤其在今天，我们写作的人，都在事实上生活于一个“世界博物馆”的环境中，如果你不是一个不惧无知的、敢于一味去写的蒙昧主义者，如果你有能力睁眼行走于其中，而不是自甘被各种各样的干扰——意识形态的、商业主义的、媚俗避害的……所障目、迷失，又天资不错的话，也就是是一个真正的写作者，不仅仅是一个追求写作成功的人的话，你会本能地吸收好东西，人类文化精华，先进代表文明……但这一切仍更多是作用于缔造一个敞开的心灵，不断成长、壮大的、有知的心灵。而其中有效触发“诗”的影响，仍在于你本源的“诗心”构造是怎样的。

事实上，最有效的诗的“影响”只能是来自于和你的“诗心”天然契合、坦然呼应的事物，某种能够对你形成触发按钮作用的“忽临”，当它来到你眼前，进入你身心，你内在的某个诗人或其某个面向便被打开了，然后这个诗人或这个诗人的这一局部会走它自己的成长之路，你压根儿不知道他/她会长成什么样，他/她也必要最终长得谁都不像，只是像一切好作品，才能够真正长成了。遇到这种“影响”，可称是获得赐福的。“影响”必经此内在化的道途，或曰内在有能力消化影响，它才是真正属于你的影响，或者说是被你“克服”了的影响。它将只作用于帮助你完成那个艺术家意志的建构，而不是跳出来唱它自己的歌。

其余的很多影响，对诗人来说，最多只能算是一种学习，但一个真正的诗人，不会是个永远的学徒。一旦他/她的艺术家意志完成了自己的构造，无论他/她多么敞开，多么善于学习，他/她得到的一切都将只是供其原创力获得形式显现的资料库。

The Real Writing is basedon Overcoming “Influence”

----the speech on the “individual writing and the influence offoreign culture” forum of Kulangsu Poetry Festival

ZhaoSi

For a very long time, when it comesto “influence”, we have been accustomed to conceiving it as single-way“acceptance”, that is, only if there is the factual relationship betweendifferent works can we affirm the existence of mutual “influence”. However, forany creator with genuine originality, what he or she pursues must be theinvisibility of real “influence”. If the influence can be seen, sometimes italmost can be regarded as a failure.

The reason is that originality isan original power which is able to drive all materials to serve itself and alsoa strong and structural power. If it fails to include and integrate variousmaterials and allows part of those materials to betray their sources tooobviously, probably the originality is less strong than we have expected.

I am a poet worshippingoriginality, so I am relatively on the alert for “influence”. Faced withdifferent “influences”, I require myself that I should only use them to writeessays or impressions if I can’t control them and make them serve me with myown creativity. For poetry which mostly depends on originality, I will notallow myself to use materials in that way.

Especially today, we writers, infact, live in a “world museum”. If you are not an obscurantist who is braveenough to accept ignorance and blindly writing and if you have an ability tokeep your mind clear, not indulge and lose yourself in all kinds ofinterferences (e.g. ideological, commercial and kitsch) and have a good talent,then you are a real writer. You are not just a person who only aims at asuccess but can intuitively absorb good things like human culture essence andadvanced civilization……but all above mentioned are more inclined to create anopen mind which continuously grows, develops and perceive. It is still how yourown “heart of poetry” is structured that triggers effectively the influence of“poetry”.

In fact, the most effective“influence” of poetry can only derive from the things which naturallycorrespond to your “poetic heart” and Eureka. When it comes to you and goesinto your heart, an inner poet or some dimension is released, which will growout of its own path. You have no idea of what he or she will look like. Onlywhen he or she finally resembles nobody but every piece of good works have heor she truly matured. This kind of “influence” is a blessing. “Influence” mustgo through the way of internalization which means that you have an ability todigest the influence so that it can truly belong to you or is overcome by you.It will only help you construct the artist’s volition instead of singing foritself.

Many other influences, for poets,are a kind of learning at most, but a genuine poet cannot be an apprenticeforever. Once the construction of his or her artist’s volition has beenfinished, however open-minded he or she is and however good he or she is atlearning, what he or she has obtained is just a database which provides therepresentation forms of his or her originality.