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冬 其二



昨天读 Helen Vendler: Seamus Heaney 时看到了这样一段引用,很有收获:
When Heaney speaks (in his essay “Feeling into Words”) of his first attempts as a poet, he says, ‘I was in love with words themselves, but had no sense of a poem as a whole structure and no experience of how the successful achievement of a poem could be s stepping stone in your life’. It was only later that he learned what must be added to the love of words in order to make a poem, a quality he calls ‘technique’.

Technique, as I would define it, involves not only a poet’s way with words, his management of metre, rhythm and verbal texture; it involves also a definition of his stance towards life…. It involves … a dynamic alertness that mediates between the origins of feeling in memory and experience the formal ploys that express these in a work of art…. It is that whole creative effort … to bring the meaning of experience with the jurisdiction of form.

比如说在 “Follower” 中,end rhythm 和 slant rhythm 共存,与诗的主题契合得非常好,这即是技艺的一种吧。我也想学习这样的技艺呢。

自我意识过剩的 Saul Bellow

同样是昨天晚上,读了一点 Saul Bellow 去年出的文集,九月份买的但后来一直没读多少。实在是很普通啊,和他的小说一样无聊。在我看的几篇文章里反复出现“我在芝加哥长大,成为一个知识分子很不容易”,“现在的美国人不重视艺术”,“现代人需要多思考”,“高等教育可能没有用”这样自我意识过剩的废话,让人感觉即使是乘着促销买了这本书也非常不值。布鲁姆很不喜欢贝篓,感同身受!作者有无才能通过文字可以很直接的感受到,对于 Bellow,答案是并没有多少。

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Wolfgang Tillmans

The big misunderstanding of the 1990s was people thinking that in photography it’s all about “anything goes,” people snapping snapshots. As if taking lots of pictures is interesting as an activity itself. The notion that you can take pictures of anything has been around for a long time and is, in terms of art, not very interesting.

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