傍晚

《时间的伤口》

十一月二十五日

坐在班车上

面对冬日的西南山上

在这样一个流动的窗口里

落日在低空里飞行

一个圆的橙色里   宁静的余辉

洁然地满布山野

这样的窗口里   有几缕流动的光

正在一个少女侧着的面颊上流动

这样一个冬日里

温暖如春   暮色苍茫

正在西南的山下

看落日滑行时擦伤着

一个时间的伤口

The Wounds of Time

November Twenty-Fifth

on board a shuttle

facing the wintry southwest mountains

through a moving window

the setting sun flies low.

Within the round, orange, calm remains of the day

Light cascades smoothly over the mountains.

Through the window are a few motes

float in raking beams

down on a girl’s cheek.

On such a wintry day

sunlit as spring, boundless twilight approaches

at the foot of the southwestern mountains

as I watch the descending sun

sliding, scraping

the wounds of time.

《一唇天》

淡淡的云 悠悠的风 薄薄的暮色我在西天锄葵 离村三四里
幕归的羊儿移动着 一片声响不觉回眸 羊儿已远去5
静在空旷里响
天际里有一唇天泛红 我和妻归去走过油菜地惊起白蝶黄花飞
走在草场里牧草婆莎摇摆6 东天里满月儿正白
淡淡的云儿正渐渐微红人到院落里忙于晚炊 小儿在等待里打盹
静在院中响

5 此行引用宋代诗人辛弃疾 (1140-1207)  的著名诗作，《青玉案•元夕》，张联更换原词中“暮然回首”一句为“不觉回眸。”用自然生活中常用语“不觉”取代文言正式词语“暮然”；用修辞中的换喻手法以乡间土语“眸”（眼睛的意思）来代替“首”（头部）。
6 “唇”自然把读者的注意力集中到女子红唇之象征。诗人在此并不直接描述男人对女人的渴望之欲，但用婉转的手法描述小脚女人窈窕淑女般行走的意向，以间接手法道出乡村男人的欲念。当然，此欲念不仅局限于乡间男人，但他们农田里不可能接触到那些电视上看到的城市小姐们，他们的女人是粗手大脚在地里耕劳的女人。
 
A Lip of Sky

Faint cloud, leisurely wind, thin twilight
I harvest sunflowers, a mile or more from home.
My sheep gambol home in twilight, creating a field of sound when all at once turning my gaze, I see my sheep already in
the distance5
silence rings in the open.
A lip of sky forms on the horizon, a patch of red my wife and I pass by a mustard field
stirring a host of white moths, pollen flies. Over the field, tall weeds sway dancing6 the wintry moon brightly shining
faint cloud turning pinkish red
people busy with outdoor cooking children dozing while waiting and silence rings in the yard.

5 This line alludes to a famous Song dynasty poem by Xin Qiji (1140–1207), “To the Tune of A Green Jadeite  Plate,”  written  on  the  first  day  of  the  Gregorian  calendar.  Zhang  Lian  uses the same sequence of the four-word line in the original Chinese, mu-ran hui-shou (All of a sudden turning my head) but applies a new expression, bu-jue hui-mu (When all at once turning my gaze), replacing mu-ran (suddenly). The latter is an example of high literary diction drawing on the Chinese classics, while bu-jue (with little notice or suddenly) is a common example of vernacular expression. The original shou (head) is replaced by mu (eyes), a clever application of synecdoche.
6 The poet subtly suggests, invoking an ancient aesthetic of feminine beauty, the farmer’s desire for a traditional lady with enticing bound feet, sashaying around unlike the woman next to him in the field. Yet, he cannot afford such luxury on the  farm.  It  leaves  to  the readers imagination to comprehend the farmer’s longings and his helplessness at being a poor farmer while watching the young ladies in high heels on sophisticated TV shows.

诗人简介：张联，宁夏盐池人，1967年出生，中国作协会员。当代原生态自然主义诗人，作家，评论家。二十世纪末“乡村诗”出现的创建者，引领者，推动者，“中国草根诗歌部落”的发起者。作品入编《中国新诗百年大典》《二十一世纪中国文学大系2001—2010》诗歌卷，作品译为日，英，西班牙等国外文字，主编中国大型诗歌史料《中国乡村诗选编》系列。

本期翻译：刘克明 （ 美国）

本期制作：晓芳