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语言多重性，以布伦达·肖纳希《后女性主义》为例 诗歌翻译得一忘二 译
我已经在公号中三次介绍美国当代女诗人布伦达·肖纳希（Brenda Shaughnessy, 1970-）的诗。她生于冲绳，在加州长大。她诗歌中的 “语言多重性”语言多重性运用得很妙，而这又与她诗歌从多重语气、情绪角度写互相对立的主题有关，也就是她的诗歌内置了很多看似彼此不容的元素，但她却呈现得有机和谐，证明她具有较强的把握能力。 布伦达·肖纳希（Brenda Shaughnessy, 1970-） 《后女性主义》 人分两种，要么是战士，要么是女人， 弗吉尼亚·伍尔夫如是说。两者都只是装门面。 那也太仁慈了吧。它是技术性的：处女和狼。 我们现在有得选择。两个小女孩走进酒吧， 一个点了一杯秀兰·邓波尔。邓波尔的酒推 走过来说：你不会后悔的。她真是一件 极好的工艺，但是来得可不便宜。我自己， 我不怕捕食者，我怕的是在我妈妈肚子里 转来转去。那就是偷偷摸摸，比赤裸还要 赤裸。我们扯扯平吧：你继续在你的灰色 房间里冒火。我一个人狼吞虎咽。单调 宽松的金属内衣。还有少见的黑嘴香烟， 用一个手工制作的篮子装着。我们中 谁用武装过的引诱快速一抹，将世界 编织到一起：你的重拳严打，我的连体袜。 苦行者或肉食动物。即便你在天亮前离开， 男人们仍会打碎你的釉彩层。猪，驾着 警报声，成群结队。啊，肉体，技术肉体， 人分两种。因为混合的光 而热，因侮辱而酔。你和我。 Postfeminism There are two kinds of people, soldiers and women, as Virginia Woolf said. Both for decoration only. Now that is too kind. It’s technical: virgins and wolves. We have choices now. Two little girls walk into a bar, one orders a shirley temple. Shirley Temple’s pimp comes over and says you won’t be sorry. She’s a fine piece of work but she don’t come cheap. Myself, I’m in less fear of predators than of walking around in my mother’s body. That’s sneaky, that’s more than naked. Let’s even it up: you go on fuming in your gray room. I am voracious alone. Blank and loose, metallic lingerie. And rare black-tipped cigarettes in a handmade basket case. Which of us weaves the world together with a quicker blur of armed seduction: your war-on-thugs, my body stockings. Ascetic or carnivore. Men will crack your glaze even if you leave them before morning. Pigs ride the sirens in packs. Ah, flesh, technoflesh, there are two kinds of people. Hot with mixed light, drunk on insult. You and me. 布伦达·肖纳希组诗《一个爱情故事，八种讲法》 得一忘二 译 美国当代女诗人布伦达·肖纳希（Brenda Shaughnessy, 1970-）生于冲绳，那个地区当时叫做琉球列岛美国民政府，在加州长大。已经出版五本诗集，获得多种奖项，也进入诸如格里芬国际诗歌奖等重大奖项的短名单。目前在Rutgers大学教授创作。她诗歌中的语言多重性运用得很妙，而这又与她诗歌从多重语气、情绪写互相对立的主题有关，也就是她的诗歌内置了很多看似彼此不容的元素，但她却呈现得很有机和谐，证明她的诗艺挺高。今天还贴了一个她的7分钟演讲和朗读。 布伦达·肖纳希（Brenda Shaughnessy, 1970-） 《一个爱情故事，八种讲法》 在你温柔的所在，你说着你的复数。 ——罗兰·巴特 一 故事的一个版本是，我多想你能回来——我曾每个夜晚在外夜游，将整个白天消耗在卷缩中的全都抖开。 我买了一件裙子，那么张扬女人味，你简直能透过它看到我的卵巢。 我想我就要这样勾引你。我就要这么疯狂地掏空自己。 One Love Story, Eight Takes Where you are tender, you speak your plural.
Roland Barthes 1 One version of the story is I wish you back—that I used each evening evening outwhat all day spent wrinkling. I bought a dress that was so extravagantly feminineyou could see my ovaries through it. This is how I thought I would seduce you.This is how frantic I hollowed out. 二 换一种讲法就要雇一个浑身长瘤的 庞然怪物，留下录音。 录下塑料珠脱落从小孩的珠宝盒中滑出的声音。 这声音可能很重要，像血清素或强大的线粒体， 让你的身体听到你怎么偷走那只戒指 （由亮晶晶的阿片剂制成），以及装糖果的吊坠盒。 2 Another way of telling itis to hire some kind of gnarled and symbolic troll to makea tape recording. Of plastic beads coming ungluedfrom a child’s jewelry box. This might be an important sound,like serotonin or mighty mitochondria, so your body hears abouthow you stole the ring made from a glittery opiateand the locket that held candy. 三 要公平，就得呈现另一方的故事，尽管那很阴险， 因为双方什么都没做，只是阻截对方。 疑神疑鬼的不信，缩头缩脑的不屑， 这样的幻想和毒素构成第三堵墙。 以这个方式结束，很刻薄，而我做梦也没想到我们想要这样。 3 It’s only fair that I present yet another side,as insidious as it is, because two sides hold up nothing but each other. A tentacled skepticism,a suspended contempt, such fancies and toxins form a third wall. A mean way to endand I never dreamed we meant it. 四 另一种讲述的方式就像在刮刀上涂抹果酱。 甜食能缓解疼痛还是只让它粘着不去？那个最糟！那包含太多技术，你能不能品其甘苦，都无法解决黏稠的问题。 我的意思是怎么也不会缓解。所以我来了，整个人兴冲冲的， 来到你家。来到一个地方，没有玩的房间。有可能，你会把我锁在外面，我最终就是集中心思在雨中把泥饼捏结实。 4 Another way of putting it is likeslathering jam on a scrape. Do sweets soothe pain or simply make it stick?Which is the worst! So much technologyand no fix for sticky if you can’t taste it. I mean there’s no relief unless.So I’m coming, all this excitement, to your house. To a place where there’s no room for play.It is possible you’ll lock me out and I’ll finallyfocus on making mudcakes look solid in the rain. 五 某些文化中，这故事讲得略有不同——背景设置在水族馆，而观众作为各种鱼 参与其中。故事出现转折，因为发现最吸引人的鱼竟然眼睛都只是 长在头的一侧，并且像磁铁一样彼此排斥。海星跟橡皮擦一样大，造成的伤害也是那么大。 海星，同名角色，但不太可能成为主角，它那五个粉红色的移动吸盘 有数不尽的排列，以至于什么可靠的记忆、最近的历史、其他更好的东西，没有什么没被讲述。 5 In some cultures the story told is slightly different—in that it is set in an aquarium and the audience participates as various fish. The twist comes when it is revealedthat the most personally attractive fish have eyes only on one side and repel each other like magnets.The starfish is the size of an eraser and does as much damage. Starfish, the eponymous and still unlikely hero, hasthose five pink moving suckerpads that allow endless permutations so no solid memory,no recent history, nothing better, left unsaid. 六 即使没有见证人、接吻者、讲述者，故事仍然存在。因为秘密总会隐匿， 而这些版本更像是低俗剧，犹如糖果厂里，巧克力在传送带上传送得太快， 或者每个人都碰巧同时侧身扭向一边。这个小故事费尽了力要卖弄幽默， 太想赢得好感，以便久留。因为没有什么真正会被遗忘并被爱。 6 The story exists even when there are no witnesses,kissers, tellers. Because secrets secrete, and these versions tend to be slapstick, as if in a candyfactory the chocolate belted down the conveyor too fast or everyone turned sideways at the sametime by accident.This little tale tries so hard to be humorous, wants so badly to win affection and to lodge.Because nothing is truly forgotten and loved. 七 三百万的理查兹不可能犯错。因此，当他们发动一场内道超车的批判， 在他们看来，内超胜过外超，我被超压了。他们认为人总能以一种平常语气 开始讲一个狂怒的、凄惨的故事。但是当一个人异想天开地开始时， 好像“元故事更好”，好像“这不是你，”好像这个故事“并没发生在任何人身上”， 只有那个你愚弄的人才不是“谁也不是。”那位理查兹认为你不能 纯粹为了好玩，偷偷地向天空抛物减负。你必须从地基开始堆叠故事。 从悲伤的心和倦于支撑它的双脚开始。说到底，语言是建筑，而不是空气囊， 不是滑翔器。这是实实在在的生活。所以房子还没盖好，别邀请任何人进来。 因为拆除时，没有人有条不紊，而有条不紊是要容许人细听的。 三百万的理查兹这话有理。我听进去，为了炮制更多。错误。 7 Three million Richards can’t be wrong.So when they levy a critique of an undertaking which, in their view, overtakes, I take it seriously.They think one may start a tale off whingy and wretched in a regular voice.But when one strikes out whimsically, as if meta-is-better, as if it isn’t you,as if this story is happening to nobody it is only who you are fooling that’s nobody.The Richards believe you cannot privately jettison into the sky, just for fun.You must stack stories from the foundation up. From the sad heart and the feet tired of supporting it.Language is architecture, after all, not an air capsule, not a hang glide. This is real life.So don’t invite anyone to a house that hasn’t been built. Because no one unbuilds meticulouslyand meticulosity is what allows hearing. Three million Richards make one point.I hear it in order to make others. Mistake. 八 结果是，讲这个故事有一个错误的方式。我对你说每件事都有多重真实，我是错了， 而我什么都不说可能更接近真实。我虚构了这么多，阻止了更多。 但是，我想和你谈谈其他的事，在绝对安静的状态。在极端情境下。 再见到你，不是爱情修订版？它本可以走那么多途径。 这只是它走出的一条路而已。给我另讲一个吧。 8 As it turns out, there is a wrong way to tell this story.I was wrong to tell you how muti-true everything is, when it would be truer to say nothing.I’ve invented so much and prevented more. But, I’d like to talk with you about other things,in absolute quiet. In extreme context. To see you again, isn’t love revision?It could have gone so many ways. This just one of the ways it went.Tell me another. from HumanDark with Sugar (2008)
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