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木朵:我愿望这次访谈能成为你回顾自我的一次小憩。大概是2001年我从诗人何家炜的一篇批评中获悉了你的一点消息:一首长诗的作者。它就是我至今还有印象的《太湖龙镜》,二十首二十七行诗。如今来看,它完成了写作过程中怎样的使命?是不是一次转机?我注意到,诗中以“我”展开的叙述是广泛依赖于对众多名词的独特开凿来完成的,里面有一种氤氲存在,像湿漉漉的二十枝蓓蕾交叉繁衍。它们似乎又暗示了作者寂静的生存状态,正如不少诗人所认为的,“……使得潘维在
Wood Flower: I wish this interview can be your self-time to take a nap. Probably in 2001 I learned from one poet He Jiawei’s criticism of your message: the author of a poem. It is the ”Taihu Long Mirror“ that I still have an impression so far. Twenty and twenty-seven line poems. Now what does it accomplish in the writing process? Is it a turning point? I noticed that the narration in the poem ”“ I was widely relied on for the unique creation of a large number of nouns There are kinds of 氤 氲 existence, like the wet branches of twenty buds cross breeding. They also seem to imply the author’s state of being in silence, as many poets think, ”..."