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今天,昌耀已经和食指、北岛、海子等人一样,成为了当代汉诗的一块路标。当昌耀将青藏高原的形体、将高原青铜种族的抒情方式和思维方式、将自己的灵魂在世间锥心刺骨的磨难,熔铸成歌、吟咏成诗时,他的作品就既出人意料,却又理当如此地形成了中国现代诗歌的一个凝重峰磊。在这位诗人离开此世、离开青海、离开肉身的十年之时,作为昌耀曾于此伏案编发诗作的《青海湖》文学月刊的后来者,我们特设此专栏,再嗅诗香。诗人轶稿大都从其亲人处觅来,多为1998年的作品。由于时光的浸染,手稿字迹漫漶不清。这样一个字、一个字地校编昌耀作品,恰似一种象征:即对于这位诗人留下的诗篇,我们研究、细释、阐发的工作才刚刚开始。感谢燎原、西川、马钧诸先生于百忙之中,拨冗应编者之邀,在庚寅年春节即至的繁忙时段,写下了他们关于一代诗人至诚的文字。在三月珍贵的阳光下,诗歌新绿。
Today, Changyao and index finger, North Island, Haizi and others, as a sign of contemporary Chinese poetry. When Chang Yao will shape the Qinghai-Tibet Plateau, the lyrical way and thinking mode of the plateau bronze race, his condolences in the soul of the soul, cast into song, chant into poetry, his works are unexpected, but It is reasonable to have thus formed a solemn peak Lei of modern Chinese poetry. As the poet leaves this world, leaving Qinghai and leaving the flesh for 10 years, as a latecomer to the literary monthly of “Qinghai Lake” where Chang Yao once wrote a poem on this desk, we specially enacted this column to smell the poem again. Most of the poets collected their works from most of their loved ones, mostly in 1998. Due to the time of dissemination, manuscripts handwriting unclear. Such a word, a word compiled by Chang Yao works, is just like a symbol: that is, for the poet left behind by the poet, we study, careful interpretation, elucidation of the work has just begun. Thanks to Liaoyuan, Nishikawa and Ma Junzhu for their busy schedules, they are invited by editors to write their sincere words about the generation of poets during the Spring Festival or even the peak of the year. Under the precious sun in March, poetry is a new green.