「浮標」香港國際詩歌之夜2025 嘉賓預告丨崔燉美

镜国（节选）

[美] 崔燉美

李栋 译

纪念。我想起李箱身后墙上的挂钟。他打着领带，穿着衬衫和背带裤，邋遢的头发高高地耸立在年轻的发际线之上。在日本殖民压迫最严重的时期，他和作家朋友们在一家他工作过的出版社合影留念。那是1936年，他正准备前往东京。第二年，李箱被捕，在东京帝国大学附属医院死于肺结核。

纪念。四十四年后，这是光州省厅会议室墙上的老式挂钟。也许是李箱或今村昌平的孪生时钟。一位名叫于尔根·欣茨佩特的德国摄影记者把它拍摄了下来。快到中午了。光州市民代表正通过电话与军方进行谈判。

纪念。瓦尔特·本雅明──“印记的范畴是一种媒介”“印记主要出现在活着的生物身上（基督的圣痕、脸红，或许还有麻风病和胎记）”“印记一定是绝对的，在表现形式上与任何其他事物都不尽相同”“因为印记出现在活着的生物身上，它往往与愧疚（脸红）或无辜（基督的圣痕）相关”“时间的魔力在印记中显现，这意味着当下在过去和未来之间的阻力被消除了”“神奇的融合”。

李箱的时钟敲响，留下宇宙尘埃和星辰痕迹。在时空中穿行、遥远的印记媒介也可以说是一种绝对的印记。神奇融合的时间永远不可预测，也不精准，只知道如何通过孪生体得以呈现。时间魔力通常表现为数字或是一个个零，它们就像留在人脸上或是《信息自由法》上的麻点。它们无可避免。

悲痛往往会转移，从时钟到时钟，从战争到战争，从屠杀到屠杀，从殖民地到新殖民地。我注意到悲痛有一支孤单的翅膀、一个绝对的印记，它与其他事物都不尽相同。悲痛还能看到什么？或许有土星。九年之后，似乎有一只手拨动了时钟，那是小男孩的时刻。

纪念。绝对的悲痛。绝对的标识。指尖、树叶、翅膀。然而，拇指朝上、拇指朝下或食指弯曲等手势已不再适用。在历史上，这些只是军事标识。推迟的事物往往被化解、驱散，只是微微地显露出来。这就是时间魔力融合悲痛的本质。

悲痛还能看到什么？

from Mirror Nation

Don Mee Choi

Denkt an. And I think of the clock on the wall behind Yi Sang in shirt and tie with suspenders. His scruffy hair stands tall above his youthful hairline. During the height of Japanese colonial oppression, he posed with his writer friends at a publishing house where he worked before departing to Tokyo in 1936. The following year, Yi Sang was arrested and died from tuberculosis at the hospital of Tokyo Imperial University.

Denkt an. Forty-four years later, an old-fashioned clock on the wall of the meeting room at Provincial Hall in Gwangju. Maybe it’s the twin clock of Yi Sang’s or Imamura’s. A German photojournalist Jürgen Hinzpeter filmed it. It’s almost noon. Negotiations with the military are being conducted over the phone by the representatives of Gwangju citizens.

Denkt an. Walter Benjamin—“the realm of the mark is a medium” “the mark appears principally on living beings (Christ’s stigmata, blushes, perhaps leprosy and birthmarks)” “the mark is always absolute and resembles nothing else in its manifestation” “because it appears on living beings, the mark is so often linked to guilt (blushing) or innocence (Christ’s stigmata)” “temporal magic appears in the mark in the sense that the resistance of the present between the past and the future is eliminated” “magically fused.”

Yi Sang’s clock chimes, leaving a trail of cosmic dust and stars. The distant, traveling medium of the mark across time and space can also be said to be an absolute mark. Magically fused time is never exact or predictable. It only knows how to manifest itself through its twins. Temporal magic frequently manifests as numbers, as zeros. They’re like the pockmarks left on a face or FOIA page. They’re entirely unavoidable.

Grief has a tendency to migrate from clock to clock, war to war, massacre to massacre, colony to neocolony. I notice grief has a lone wing, an absolute mark, resembling nothing else. What else can grief see? Saturn perhaps. Nine years later, a hand appears to adjust the clock, the hour of Little Boy.

Denkt an. Absolute grief. Absolute sign. Fingertip, leaf, or wing. However, gestures such as thumbs-up, thumbs-down, or curling of the index finger are out of the equation. These are mere military signs, historically. What’s deferred is often defused, dissipated, faintly disclosed. Such is the nature of grief fused by temporal magic.

What else can grief see?

“香港国际诗歌之夜”（IPNHK）是诗人北岛于二〇〇九年创办的国际诗歌节。IPNHK十六年来已成功传递了来自三十多个国家及上百位知名国际诗人的诗歌及思想，成为了亚洲最具影响力的诗歌盛事之一，也是国际诗坛上最成功的诗歌活动之一。IPNHK是“世界文学联盟”的成员，与该联盟合作并打造世界最领先的诗歌节。