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珠江國際詩歌節開幕:鄭小瓊一首

(2013-09-03 19:13:07)
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珠江國際詩歌節開幕:鄭小瓊一首At the 2013 Pearl River Poetry Festival opening ceremony on July 30, 2013, Zheng Xiaoqiong recited this poem:

MUTE

I thought fleeting time would bring truth to light
but history depresses me crawling deeper and deeper into the mud
in the mute throat is the crystal of silence: scorching words, sentences
melting political ice like a train through the night
catching the moon silken verse
pulled from autumn winds gentle art entails disaster
their names are still forbidden glaciers
pressed words are the salt of the earth
good citizens pressed till their blood gushes anger rising
in bodies but I often feel a strange kind of sadness
in these indestructible voices they feel on themselves
in pain how it rises and scatters
deep in the mud becoming a gleaming candle of truth

Tr. MW, August

鄭小瓊
《喑啞》

我以為流逝的時間會讓真相逐漸呈現
歷史越積越厚的游泥讓我沮喪    喑啞的
嗓音間有沉默的結晶:灼熱的詞與句
溶化了政治的積冰    夜行的火車
又怎麼能追上月亮    從秋風中抽出
綢質的詩句    柔軟的藝術包含著厄運
他們的名字依然是被禁止的冰川
被擠壓的詞語帶著鹽的使命
良民被擠得熱血洶湧    身軀的憤怒
升起    而我常感到莫名的悲傷
那些不可摧毀的聲音中    他們痛切地
觸摸到自身    積蓄的    分散的。。。
它在游泥的深處成照亮的真相的燭光

Zheng Xiaoqiong
STUMM

ich dachte die flüchtige zeit brächte die wahrheit langsam ans licht
immer tieferes kriechen im schlamm der geschichte bedrückt mich in stummen
stimmen kristalle des schweigens brennende worte und sätze
schmelzen politisches eis es ist ein zug in der
nacht der dem mond hinterherjagt seidene verse gezerrt aus dem herbstwind
die sanfte kunst bringt dich ins unglück
denn ihre namen sind noch verbotene gletscher
gepresste worte das salz der erde
die braven bürger gepresst bis aufs blut steigt aus
körpern die wut fühl ich ein seltsames weh
in jenen unzerstörbaren stimmen    wie sie voll schmerz
an sich spüren wie es sich sammelt und wie es abebbt...
kriechend im schlamm wird es zur leuchtenden kerze der wahrheit

Übersetzt von MW im August 2013

The forbidden glacier and the accumulated political ice recall "Answer", Bei Dao's most famous poem. Throats silenced, forbidden names, history sinking deeper into the mud - not a very optimistic commentary for the state of art and expression in 2013, although a candle gleams at the end. Zheng Xiaoqiong didn't recite this very loudly, it wasn't easy to understand her. But everybody had their booklets, all the poems to be recited at the opening were printed in a booklet beforehand. It was good for keeping up with the recitals, but it was probably requested by the police. Every poem had to be vetted, they had to be sure they knew what these poets would recite in public, although it was practically only poets and media people in the French restaurant at the Canton concert hall. I was a surprise guest, so the two poems I recited were not in the booklet. But they had to have them in writing at least a few hours before, they sent an assistant to my hotel room so I would give her the two poems and she could send them per Email and smartphone as the police was waiting in the poetry festival's office. The festival also asked me for a speech. I was writing the speech in my hotel room, it was about freedom of expression, beginning with Beijing Spring in 1979 and Democracy Wall. I expected the organizers to tell me to leave out such words, but they didn't. Mr. Ouya, who had called me two days before and invited me to Guangzhou, only wanted to make sure people would understand everything I said. So the police wasn't afraid what I would say, or what anyone else would say in their speeches. They had to know the poems.

Arriving in Guangzhou was great. It was a literary discussion, an international event, the minute I stepped into the car. The Zhujiang Poetry Festival had invited me for their opening event on the next day. Zheng Xiaoqiong, the migrant worker poet from Dongguan, had pulled the strings. It was amazing. Here I was, set on reciting poems and holding a speech at the most important literary event in China. Yes, there were others- Qinghai was bigger, Tianjin's Sunflower magazine was probably more independent, and they were going to begin soon, too. But Guangzhou has the best newspapers and magazines in China, the most independent ones. It is close to Hong Kong. And so Guangzhou is more independent from Beijing than Shanghai. Language, even cultural pull. Doesn't mean people have to speak Cantonese or move to Canton. Should I say Canton or Guangzhou? I don't speak Cantonese, unfortunately. Duo zei. Many thanks. Many thieves, right? Zei is thief in Mandarin. But no, it's a different tone. And the whole phrase sounds different. And Guangzhou is very safe. Even Dongguan is, from my impression. Yes, it's a police state. Is it? There are some freedoms to pull off your thing beside the law. As an unregistered taxi driver. As an unregistered poet, for a while. Zheng Xiaoqiong came to prominence around 2004. I don't remember when I heard her name first. Maybe it was in 2006. She was in China Daily. Maybe the article was passed around on the MCLC list. I think there were several pieces about her in English in different media, all available on the Internet. Zheng Xiaoqiong had refused to be registered as a poet. She was still a factory worker. She had won a prize from People's Literature magazine, which brought publicity. But she was anxious to stay independent. In the end she gave in, you could say, she has a desk job at an official magazine. But she is still concerned with freedom of expression and searching for truth.

The festival was a media event. Southern Weekly- Nanfang Zhoumo and all the other interesting papers and magazines are from Guangzhou. It was sponsored by a real estate company, mostly. Guangzhou's heritage buildings are disappearing, I bought a magazine with building machines destroying beautiful facades in Guangzhou on the cover before I left Beijing. Historical sites, buildings, streets, neighborhoods from all ages have been disappearing for over 20 years all over China.

And it is still accelerating, they are razing old villages at remote places all over the country, bringing people into the cities, but what if they never wanted to get away from the soil at all, like the millions and millions of migrant workers?

Uprooting, rootlessness, alienation is at the heart of Zheng Xiaoqiong's poetry. Still, poetry is alive and kicking. Zheng Xiaoqiong is becoming one of the senior figures in literature in southern China.

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