“ b对爱尔兰和国际事务保持了一定程度的评论,这在爱尔兰没有其他期刊,在其他地方很少有期刊可以发表。它应该得到所有的支持。” X
思考空间,一本庆祝都柏林建校十年的新书 更多信息 

Derek 马翁, the poet

玛格达莱娜凯写道: “尽管一切,太阳还是升起。” 马翁’s luminous poem “一切都会好起来的” is being quoted all over the world during this painful year of illness, isolation and uncertainty. 的 need for such life-affirming verse is now strong. No singular quotation sufficiently captures 马翁’视觉与怀疑之间,怀疑与接受之间,诱人的绝望与光芒四射之间的运动。

马翁 is a poet who has always inhabited the darkness, with an acute sense of fragility and possible loss. He has never cast himself as a hero to do battle with the forces of evil; on the contrary, he has always let us feel his vulnerability. He has not concealed flaws and contradictions. To read his work throughout the years is to feel the raw material of human life, including all the convolutions of human thought, transmuted into a more vivid element, but not to see it falsified and smoothed over. 的 beauty of his poetry scintillates, hiding its gleam one minute, then shining forth its full brilliance the next. It is not easy. It does not always comfort; indeed, it is not a comfortable poetry. 马翁 allows jagged edges to be seen and felt, and this is quite deliberate. “没有媒介的抵抗,没有艺术,”他著名地引用了雷蒙德·钱德勒(Raymond Chandler)的话。

Resistance and acceptance are not easy terms to use when speaking of this poetry. I came to 马翁 as a graduate student steeped in a culture of resistance. Everything was to be questioned, suspected, examined. Everyone might be complicit in a vast, nefarious system. Mystifications of all kinds were to be avoided. 的re was little tolerance for naive readers. And then I (a naive reader getting well-schooled) read 马翁, starting with poems written when he was about my age: “我应该赞美/在这尘世的天空下的尘世,”不满的演讲者写道“Glengormley”。是的,这与我的经验相吻合,具有讽刺意味,而且对居住在一个缩小的世界中有着敏锐的感觉。“No saint or hero”将来到我们所有人居住“new era.”

但是,我们该如何对待这种生物以及这种动机呢?我们该对什么感到厌恶“humorous formulae”在其他诗歌中,例如“Spring in Belfast”,演讲者告诉自己:“我头脑的一部分必须学会知道它的位置”? 的 line could be read seriously or ironically, flippantly or chastisingly. 马翁’s metre is almost always loose enough to allow for variations in stress. 的 young poet clearly longs for a reality that he does not inhabit, but the way forward is confoundingly unclear. Although part of a group of writers responsible for the so-called Northern Irish Renaissance (including Seamus Heaney, Seamus Deane, and 马翁’s close friend Michael Longley), he does not have a defined programme ‑ nor does the group. 马翁 remains 马翁.

所有这些使我激动不已:这是一位诗人讲的单词,立即在我的脑海中回响,但是这些单词的多面性足以允许人们阅读。遇到第一人称演讲者的快感似乎很像一个有血有肉的人,而不是角色或修辞结构,但由于使用复数形式而被手紧抓的快感更加强烈“we”. We are here together in this imperfect place and time, 马翁 seemed to be saying, and you may share my critical attitude. That did it. I sought out everything he had written.

从一开始,马洪就无视简单的分类:他的押韵和节拍的使用不能被称为传统,但是使用编纂的诗歌形式与他乐于接受的文学传统进行对话。他与Yeats的早期对话-哀悼现代爱尔兰城市主义的Yeats-之后是与Beckett,Swift,MacNeice,Heaney,Auden和其他许多人的诗歌对话,尤其是考虑到Mahon’创建对话本身的引用数量惊人。这里没有脚注,但没有脚注也总是可以阅读的。这首诗并没有在互文库中封闭,反而总是给我们一条路。同样,其诗词形式似乎总是当代的,从不过时的:Mahon擅长操纵节奏和韵律,以创造出从来没有过分严格的可识别模式(他是斜韵大师),但总是包含一些惊喜元素。他的诗意画质拒绝擦亮,但充满了彼此碰撞的单词,造成了粗糙和不一致的斑点。他的作品为诗人提供了一个无价的例子,他们想知道如何利用媒介的抵抗力来扩大而不是缩小其表现力。诗歌形式为马洪提供了更多而不是更少的机会。

尽管我认为马翁是一位极简主义的诗人,他的诗歌充满了激情,尤其是他最近的作品,但他始终想知道我们真正需要的东西很少。这是一个道德问题,也是一个美学问题:是“存在的事实”足以维持人类生命?我们需要多少幸福?毫不奇怪,马翁钦佩现代极简主义大师贝克特(Beckett),但他也考虑了冥想思想的传统,这些传统鼓励我们将世界拒之门外。在“The Snow Party”,日本句大师芭蕉(Pasho)参加聚会观看无声降雪。“Ovid in Tomis”使用修改后的句形式居住在流放中’的位置远离电报和愤怒世界。诗人本人倾向于在水面飘扬远景’边缘,或者有时森林以自己的生命存活。马翁’失信和遗弃的诗歌,例如“韦克斯福德公司的废弃棚屋”或个人喜好,“A Garage in Co. Cork”,很有名。很少有诗人向我们展示过如此详细的遗弃所带来的伦理和美学后果,因此我们不仅可以看到,还能听到,感觉,甚至闻到“可能产生想法的地方”.

尽管他是最后一位被指控天真的诗人,但他始终被简单的理想所吸引。它与一种默认信念有关,即一种微不足道的感觉会带来狂喜:“如此小的房屋,如此巨大的天空!” But 马翁 also proposes his own form of Platonism, proposing that the world holds ideas of things as well as the things themselves. We cannot banish the world of the mind in the name of minimalism or hard-edged realism ‑ who would question the titanic force of the imagination, he asks in “Tractatus”?这与从窗口观看或令人沮丧的每日新闻一样,是现实的一部分。

马翁 is one of our great defenders of the imagination. This is especially true of his twenty-first-century work, written after a decade-long silence that ended with 港口灯 (2005). This volume heralded a late flowering that was remarkable in every sense of the word ‑ hoped for yet not foreseen, magnificent, full of new material, enacting and eliciting conversation. It is tempting to call these poems opulent, yet the word implies a decorative quality that is untrue to 马翁’s achievement.

马翁’s poems think. 的y will not rest in a single attitude for long, but restlessly circle about their main concerns, sometimes striking far out from their original locus of attention but always coming back again. 的y demand slow reading. It is easy to quote from 马翁, but he is not a poet of apothegms. Politically, he insisted in 2015 that he never put a name to his own position and was happy not to. Let us heed that warning. 马翁 is a poet of thinking rather than settled thought. 的 openness to wonder and beauty in his most recent work does not signal that he has found all the answers. Rather, he confirms the poet’抵制表面性和非理性主义的职业,即使在珍惜价值的同时也要以复杂的方式思考“创作第一天的观点”. 马翁 is a poet of our times, and his joys are hard-won. Despite the temptation to end this tribute with despair, I will allow 马翁’用自己的话向我们展示如何摆脱悲痛:“一夜之间,黄色和白色的番红花在松树下弹起。 /它一直在发生;生活总是在某个地方找到耳语,以为可以成长。 ”

2020年10月25日

玛格达琳娜·凯(Magdalena Kay)在加拿大不列颠哥伦比亚省的维多利亚大学教授英语和爱尔兰文学,在那里她是英语的副教授。她为《 b on the works of Seamus Heaney and Derek 马翁.