<h5><div align="center"><b>美國紐約【綜合新聞】828期文藝版選刊</b></div><div align="center">主編:佩英</div><div align="center">總編：程朗</div><div align="center">總顧問：馬華勝</div><div><br></div></h5><div align="center"><br></div> 本期翻譯：佩英（Translated by Christine Chen) <h5>內謝·亞欣（Ne?e Ya??n）, 塞浦路斯詩人，在塞浦路斯大學土耳其研究系教授語言與文學長達26年，在電臺主持并制作廣播節目。她曾在土耳其《每日太陽報》（BirGün）擔任專欄作家六年，目前每周為塞浦路斯《YeniDüzen》報撰寫專欄。亞欣已出版九部詩集、一部小說和一本研究著作。她的詩歌被翻譯成38種語言，現任塞浦路斯作家與藝術家聯盟聯合主席。2024她榮獲“尼基福里迪斯國際和平獎”（Nikiforidis International Peace Award）。<br></h5> <div><b>愛的頌歌</b></div><div><br></div>我們如同最后一場掠奪中<br>那些被折斷的樹枝<br>被春天無休止的交歡欺騙<br><br>合而為一--<br>所有欲望中最不可能的愿望<br><br>時間的邊界上<br>你醒來于<br>遙遠祖國的詩句之中<br>而我，如同一只慵懶的小貓<br>躺在奇跡之床<br><br>我赤足走入你的王國<br>穿過關閉的門扉<br>用驚恐的腳印<br><br>我的思緒是風<br>與樹交談，與云對語<br><br>我愛你<br>如鴿子在未知邊緣振翅飛起<br>蝴蝶突如其來顫動<br>花朵輕輕顫栗<br><br>我愛你<br>如夜空中綻放的煙火<br>親吻夜色<br>又在驚恐中逃離<br><br>化作一棵樹<br>與光交合<br>在月桂葉鋪成的床上<br><br>你微笑<br>你深邃的雙眸<br>我看見心靈的夢境<br>我看見湖泊，天鵝，顫抖的枝丫<br><br>你將我擊碎<br>我看見土地在我體內撕裂<br>你的木筏漂走<br>而我在自我之海沉溺<br><br>如同入侵的騎兵<br>你站在彼岸<br>我們在愛的第七夜<br>在另一個時間的維度<br>在心靈隱秘小屋<br>在肉體的隱遁中<br><br>我們被欲望之爪抓住<br>在舌尖的濕潤里<br>存在于荒涼之地<br>在永恒中的某一刻<br>在一刻中成永恒<br><br>我們在抵達欲望之前就已折返<br>但在折返的途中<br>卻仿佛已經到達<br><br>我們是欲望的螢火<br>是升起的海之肌膚<br>是未知之聲的咆哮<br><br>請記得--<br>那被雪覆蓋的城市<br>那赤裸的身體<br>愛的初晨<br>純真的翅膀<br>心靈的小奇跡<br><br>請記得--<br>夜的呻吟<br>身體的扁舟<br>潛入又浮出<br><br>請記得我們抵達的那片土地<br>潮濕的石頭<br>我們交融的呼吸<br>拉緊渴望的絲線<br>在彼此中溶解<br>遺忘中的寧靜<br><br>請記得--<br>熾熱身體的顫栗<br>我們升騰<br>翅膀熔化<br><br>請記得--<br>欲望的絕望<br>你遺忘的寧靜<br>在彼此荒蕪中<br>飲下魔法的花蜜<br><br>在我搭建的寂靜中<br>燃燒的問題懸于虛空<br>我們親近卻如陌生人<br>而陌生人卻又親近<br>激情的隱秘憂傷<br><br>你留下的<br>只是夢中你走過的那條街<br>那踩碎我靈魂的腳步<br>那在隧道中四散的落葉<br><br>請記得--<br>沙漠風暴中的最后一次擁抱<br><br>如果這首詩有朝一日飛向你<br>請緊緊抓住它的翅膀<br>別讓心中那苦中帶甜的記憶<br>淪為孤兒 <h5><div><b>Ode to Love</b></div><div><b><br></b></div>We were like the broken branches during the last looting<br>deceived by the uninterrupted love-making of spring <br>To be one<br>That impossible of all desires<br>At the border of time<br>You would wake up to the verses<br>of your distant land<br>while I, a sleepy kitten<br>would lay in the bed of miracles<br>I would enter your kingdom<br>Through shuttered doors<br>with the bare feet of my fear<br>My mind was the wind<br>Talking to trees, to the clouds<br>My loving you<br>a dove taking wing<br>at the border of the unknown<br>The sudden flutter of the butterfly<br>The shudder of the flower<br>My loving you<br>like fireworks<br>Kissing the night<br>While fleeing in fear <br>She turns into a tree<br>makes love with the light<br>On a bed of Daphne leaves<br>You had smiled<br>Deep in your eyes<br>I saw the dream of the heart<br>I saw lakes, swans, shuddering branches<br>You had broken me<br>I saw lands torn apart inside me<br>Your raft drifting away <br>My own drowning<br>The invading galloping horsemen<br>You, standing on another shore<br>We were in the seventh night of love<br>In the other dimension of time <br>In the hidden hut of the heart<br>In the seclusion of the body<br>We were in the claws of desire<br>In the moisture of our tongues<br>At the desolation of existence<br>at a moment in eternity<br>in the eternity of moment<br>We returned before we reached the desired<br>But on our return it seemed like we had reached it <br>We were the fireflies of desire<br>the skin of the rising sea<br>the howling of the unknown<br>Remember<br>The city under snow<br>The naked bodies<br>The first dawn of love<br>The wings of innocence<br>The small miracle of the heart<br>Remember<br>The moans of the night<br>and the boats of bodies<br>diving in diving out<br>Remember the land we reached<br>The wet stones<br>Our mingling breath<br>Pulling in the thread of longing<br>dissolving into each other<br>the peace of oblivion<br>Remember<br>The shudder of the inflamed body <br>Our rise<br>The melting of wings<br>Remember<br>The desperation of desire<br>your forgotten serenity<br>drinking the magic nectar<br>in each other’s desolation<br>In the silence I build up<br>the question burning in the void<br>to be strangers while close<br>and close while strangers<br>the secret melancholy of passion<br>What remains of you<br>is the street you stroll in my dreams<br>The steps that crush my soul<br>The leaf scattered in the tunnel<br>Remember<br>The last embrace<br>in the desert storm<br>If ever this poem comes flying to you<br>Cling onto its wings<br>Don’t let the bittersweet memory of the heart <br>be orphaned</h5> <b>毒蘋果</b><br><br>曾經不存在，而后存在了<br>孤獨是我最初的搖籃<br>在風中被遺忘<br><br>珍珠點綴我的被褥<br>邪惡藍眼珠<br>凝固在石中注視著我<br><br>當母親松開手<br>鳥兒借給我翅膀<br>樹木給我筑巢<br><br>那夜<br>林中葉落，片片哀泣<br>狼把乳房借出來哺育我<br><br>我有一個繼父神<br>卻從不聽我說話<br><br>我咬下那顆毒蘋果<br>母親與愛人都離我而去<br><br>我成了寒霜中啼哭的樹枝<br>孤獨飲水<br>落葉沙沙作響，那是我的聲音<br><br>我的愛人或存在，或不存在<br>他的名字是風，他的記憶是一尾魚<br>我哭，他卻不哭<br>我傾訴，他卻不懂<br><br>我說話時，竟不認得<br>無聲的聲音<br><br>然而有一天，我終于解開<br>那顆受傷靈魂的謎題<br><br>哦，我心中秘密博物館，打開--<br>一個小女孩藏在里面<br>她是每一個心碎女人的聲音<br><br>失落之愛的命運<br>銘刻于她流血的國土<br><br>時間，是一場<br>停歇在折斷樹枝上的風暴<br>語無倫次地訴說著毀滅<br> <h5><b>POISON APPLE</b></h5><h5><br></h5><h5>Once I didn’t then I did exist</h5><h5>loneliness was my cradle</h5><h5>forgotten in the wind</h5><h5>Pearls ornamented my coverlet</h5><h5>evil-eye beads</h5><h5>frozen in stone gazed at me</h5><h5>When my mother loosed me from her hand</h5><h5>the birds lent me wings</h5><h5>the trees a nest</h5><h5>It was night</h5><h5>leaf on leaf the forest wept </h5><h5>wolves gave me their breasts</h5><h5>I had a step-god</h5><h5>He would not hear what I said</h5><h5>When I bit into the poison apple</h5><h5>my mother and my love deserted me</h5><h5>I was a branch crying in the frost</h5><h5>water drinking solitude</h5><h5>the voice of leaves rustling</h5><h5>My lover did or didn’t exist</h5><h5>his name was the wind, his memory a fish</h5><h5>if I cried he did not cry</h5><h5>if I explained he did not understand</h5><h5>When I spoke I could not recognize</h5><h5>my voiceless voice</h5><h5>still one day I solved</h5><h5>the riddle of my wounded soul</h5><h5>O secret museum of my heart, open</h5><h5>a little girl is hiding inside</h5><h5>every heartbroken woman’s voice</h5><h5>The fate of a love lost</h5><h5>is registered on Its bleeding country </h5><h5>Time is a storm that comes to rest</h5><h5>on broken branches</h5><h5>speaking deliriously of ruin</h5> <h5><b>詩歌評論：</b></h5><h5>塞浦路斯內謝·亞欣（Ne?e Ya??n）這兩首詩《愛的頌歌》（Ode to Love）和《毒蘋果》（Poison Apple）構成了一組情感強烈、意象豐盈的雙重奏，如同一場愛與孤獨的交響，它們互為鏡像，又各自獨立，如靈魂的兩面，揭示出女性在愛、身體、孤寂、創傷與自我重生之間的深層掙扎與探索。《毒蘋果》是神話、童話與孤獨的隱喻煉金術，相比之下《毒蘋果》比《愛的頌歌》更具象征主義特質與精神心理維度，它不是寫一段愛情或某段關系，而是探討靈魂的誕生、分裂與療愈。它也更“原型化”，對女性身份、家庭、神靈與愛欲進行了深層拷問。（佩英)</h5><h5><b>Editorials:</b></h5><h5>These two poems by Cypriot poet Ne?e Ya??n, *Ode to Love* and *Poison Apple*, form a powerful emotional duet, rich in imagery—like a symphony of love and solitude. They mirror each other while also standing independently, as two facets of the soul. Together, they reveal a profound exploration of the female experience in love, the body, loneliness, trauma, and self-rebirth.</h5><h5>*Poison Apple* is an alchemical metaphor blending myth, fairy tale, and solitude. Compared to *Ode to Love*, it carries stronger Symbolist qualities and delves deeper into the spiritual and psychological dimensions. It is not merely about a love affair or relationship, but rather about the birth, fragmentation, and healing of the soul. The poem is archetypal in nature, raising penetrating questions about female identity, family, divinity, and desire.</h5> <h5>索尼婭·馬諾伊洛維奇（Sonja Manojlovi? / Sonia Manojlovich）, 克羅地亞作家、詩人，已出版23部詩集并被翻譯成30多種語言。她一生從事自由寫作，曾擔任廣播電臺、雜志和報紙的編輯，并多年擔任克羅地亞作家協會秘書長。她曾獲得多項文學獎項，包括希臘、印度、日本和俄羅斯的詩歌卓越獎，她受邀參加世界重要國際詩歌節，包括：哥倫比亞 - 麥德林、馬其頓 - 斯特魯加詩歌之夜等。</h5> <b>我記得一切</b><br><br>如果那就是全部，我記得一切<br>房屋悄無聲息被四散拋棄<br>孩子的話語，執拗地擁擠在<br>花園，草莓叢<br>這被生活啃噬過的印記<br>那么，請長話短說吧——<br>你原諒了嗎？<br>眼睛細長！<br>從未遺忘！<br>我之摯愛都將被毀滅！<br>我能從母親掌紋讀出一切<br>世界干涸，語言行于水面<br>城市如斯，一件一件地<br>毀滅成碎物<br>那就是我們的家留下的所有 <h5><p><br></p><p><b>I REMEMBER EVERYTHING</b></p><p><br>If that's everything, I remember everything.<br>Houses thrown around amidst the inaudible<br>A child's speech, crowded, obsessed,<br>In the garden, among strawberries,<br>Life’s bites,<br>So, in the simplest terms,<br>Do you forgive?<br>Those eyes so narrow!<br>It hasn't been forgotten!<br>All that I love will be killed!<br>I can read it from my mother's palm.<br>The dryness of the world, words walking over the water.<br>That's the kind of city this is, ruined into objects<br>One after another,<br>That’s left of home.<br>Translated by Damir Shodan</p></h5> <div><b>國家舞蹈</b></div><div><b><br></b></div>瑣碎腳步哐當作響！<br>可以這樣跳——但你看，也可以那樣跳<br>搖擺挑釁與張狂<br>高舉著<br>點綴著錘打的青銅器樂<br>呼喊著<br>靴子嘎吱嘎吱作響<br>用放蕩、吞噬的眼神打量著彼此<br>自以為的活著--<br>不過是與死人相比罷了 <h5><b>NATIONAL DANCES</b><br><br>What a petty rattling of feet!<br>It can be done this way, but look, that way is also right<br>Warlike swaying and swaggering,<br>Raising<br>Seasoned with hammered brass,<br>Amiable shouting,<br>Squeaking of boots,<br>They look at each other with debauched, slurping eyes<br>Considering themselves alive<br>In contrast to the dead<br>Translated by Dinko Telechan</h5> <b>我笨拙地活，又如何</b><br><br>我笨拙地活，又如何<br>我步履蹣跚<br>在千數雙眼中我支離破碎<br>直至深夜，我依然為垂死的<br>小夜鶯歸類<br>我在它們體內一層又一層<br>打開深處帷幕<br>我要呼吸，進食<br>如何？<br>待在空氣和書籍煮成的滋養之湯處<br>我將就坐著<br>手托下巴<br>直到手心枯萎<br>直到我之眸確認<br>如何，若我向你索要書本以及<br>吻的嘴唇？ <h5><b>SO WHAT IF I LIVE UNSKILLFULLY</b></h5><h5><br>So what if I live unskilfully,<br>If I stagger<br>Mutilated to a thousand eyes<br>Until late at night I classify tiny little nightingales, almost killed<br>I open and open the screens of distance within them<br>What if I want to breathe, to eat?<br>Where there is nourishing soup of air and books<br>At which I will sit<br>Lean my chin on my palm<br>Until my hand withers<br>And my eyelids confirm<br>So what if I take only the books from you<br>Mouth for our kiss</h5> <h5><br></h5> <h5><b>詩歌評論：</b></h5><h5>克羅地亞作家索尼婭·馬諾伊洛維奇（Sonja Manojlovi? / Sonia Manojlovich）這三首詩風格各異，分別代表了 記憶的創傷敘事（《我記得一切》）、群體行為的政治隱喻（《國家舞蹈》） 與 個體存在的詩性掙扎（《我笨拙地活，又如何》）。其語言葆有高度凝練與詩性流動感；意象精準，如“母親掌紋”“錘打的銅器”“書籍的養分”等， “激活”視覺想象力。無論是冷峻的控訴、諷刺的目光，還是自我之柔軟與堅韌，皆蘊藏溫度與愛，讀完意猶未竟。(佩英）</h5><h5><b>Editorials:</b></h5><h5>These three poems by Croatian writer Sonja Manojlovi? each showcase a distinct style, representing respectively: the narrative of traumatic memory (I Remember Everything), a political metaphor of collective (National Dance*), and a poetic struggle for individual existence (I Live Clumsily, So What).</h5><h5>Her language is marked by a high degree of conciseness and lyrical fluidity. The imagery is precise and evocative—“a mother’s palm lines,” “hammered copper,” “the nourishment of books”—all of which activate the reader’s visual imagination.</h5><h5>Whether delivering a cold indictment, casting a satirical gaze, or expressing the tender resilience of the self, her work holds warmth and compassion at its core, leaving a lingering resonance long after reading.(By Christine Chen)</h5><h5><br></h5> <h5>侯賽因·哈巴什（Hussein Habasch）, 庫爾德斯坦阿夫林的詩人，目前居住在德國波恩。他的詩歌已被翻譯成30余種語言傳播。其詩作被收錄于全球150多部國際詩歌選集中，已出版詩集20部。他曾參加近30個國家的詩歌節。他曾獲得多項榮譽獎項，包括：2024年在摩洛哥薩菲國際詩歌論壇獲得的榮譽獎，2024年在印度加爾各答舉辦的“世界思想家與作家和平大會”上榮獲的“孟加拉Kathak國際文學獎”；2022年由庫爾德作家和記者總聯盟頒發的“偉大的庫爾德詩人哈米德·貝迪爾汗獎”；2022年由波黑作家聯盟頒發的“波斯尼亞·斯捷恰克國際詩歌獎”等。</h5> <b>流亡中的石頭！</b><br><br>我很快就要前往哈瓦那了，吉賽爾，<br>你想讓我從這里帶點什么嗎？<br>“是的，我想要一塊石頭，一塊小石頭，<br>被你們國家的河流和泉水打磨過的石頭！<br>一塊像你眼睛的光芒、像你內心顏色的石頭，<br>一塊我能在哈瓦那海邊陽臺上展示的石頭，<br>我會告訴它：這是詩人的石頭，是他想象的驚嘆。<br>這是詩人的石頭，是他存在的意義。<br>這是詩人的石頭，哦，撞擊的浪花與快樂的魚兒，<br><div>這是詩人的石頭，哦，白色的泡沫與如新娘般在清澈水面上搖曳的船只。”</div><div><br></div>哦，吉賽爾，<br>哦，我親愛的朋友，<br>你在無意間打開了我心中許多傷口！<br>那些沉睡的傷口，我曾努力將它們遺忘。<br>深深的傷口，壓迫著我的心，幾乎要將它壓成塵埃！<br>我如何能從我的祖國帶一塊石頭給你，<br>當我的祖國每小時、每天、每月、每年都在毀滅，<br>卻無人關心！<br>我如何能從我的祖國帶它給你，<br>當這該死的流亡已持續三十年，<br>如同一塊沉重的石頭壓在我胸口，扼住我的呼吸？<br>我如何帶給你，它幾乎是不可能中的不可能！<br>但讓我想一想，找到一個解決辦法！<br>是的，我會帶給你一塊小石頭，<br>一塊被流亡的河流與泉水打磨過的石頭！<br>一塊彩色的石頭，我將從萊茵河中取出，如同珍珠，<br><div>我會再加上一塊，用我的心跳去打磨它！</div><div><br></div>是的，我會帶給你一塊石頭，<br>它將感受流亡，如我所感，<br>但當它坐在你膝上，它將安心，<br>它靈魂與心中的流亡之苦將得到安撫。<br>哦，吉賽爾，<br>我忘了告訴你，我的朋友巴揚去了庫爾德斯坦度假，<br>我請求她為我帶一塊家鄉的石頭，正如你請求我一樣。<br>一塊與你所收到的這塊相似的石頭，<br>但它不是被流亡的河流和泉水打磨，<br>而是被庫爾德斯坦的河流和泉水打磨的石頭。<br>一塊像我眼中之光、我心中之色的石頭，<br>一塊我會珍藏為忠實朋友的石頭，<br>我信任它，它也信任我，<br>一塊比所有寶石都珍貴的石頭，<br><div>一塊將在我流亡歲月中永遠伴隨我的石頭！</div><div><br></div>哦，吉賽爾，我也忘了告訴你，<br>我還從哈瓦那帶來了一塊石頭，<br>一塊被你心的河流與溫暖海洋打磨過的石頭。<br>一塊我觸碰它，就會想起哈瓦那的人行道，一塊一塊地想起，<br>一塊臉上布滿雀斑、下巴有顆痣的石頭，<br>也許它曾是何塞·馬蒂丟失的一顆寶石，<br>好讓庫爾德詩人找到它，<br>并帶回他在德國的流亡生活中。<br>這塊石頭將與巴揚從庫爾德斯坦帶來的石頭并肩而立，<br>它們將共同安慰我漫長的孤獨與永恒的流亡之旅。<br> <h5><div><b>Stones in Exile!</b></div><div><br></div>I will soon come to Havana, Giselle<br>Do you want something from here?<br>Yes, I want a stone, a little stone, polished by the rivers and springs of your country!<br>A stone that resembles the sparkle of your eyes and the color of your heart<br>A stone I show off in front of the seaside balcony in Havana, and I tell it this is the poet's stone and the astonishment of his imagination.<br>This is the poet's stone and the meaning of his existence.<br>This is the poet's stone, oh the crashing waves and happy fish.<br>This is the poet's stone, oh the white foam and ships that sway like brides over clear waters.<br>Oh Giselle<br>Oh, my dear friend<br>You have opened many wounds in my heart without intending it!<br>Wounds that were dormant and I tried to put them in oblivion.<br>Deep wounds pressing on my heart and almost turning it into atoms from the intense pressure!<br>How can I bring you a stone from my country, when my country is annihilated every hour, every day, every month and every year and no one cares about that!<br>How can I bring it to you from my country, when this accursed exile for thirty years has perched like a heavy stone on my chest and suppresses my breath?<br>How can I bring it to you, my friend, and the impossible is impossible?!<br>But let me think a little and find a solution!<br>Yes, I will bring you a little stone, polished by the rivers and springs of exile!<br>A colored stone, I will take out from the Rhine like a pearl, and I will add another stone to it, polishing it with my heartbeat!<br>Yes, I will bring you a stone, it will feel the exile as I feel, but when it sits on your lap; it will be reassured and will ease the torment of exile in its soul and heart.<br>Oh Giselle<br>I forgot to tell you that my friend Bayan went to Kurdistan on vacation<br>I asked her to bring me a stone from my country, as you asked me.<br>A stone similar to the one I brought you from here<br>But not a stone polished by the rivers and springs of exile<br>Rather, it is polished by the rivers and springs of Kurdistan<br>A stone like the light of my eyes and the color of my heart.<br>A stone I will keep as a loyal friend<br>I trust it and it trusts me<br>A stone more precious than all precious stones<br>A stone that will accompany me in my exile forever!<br>Oh Giselle. I forgot to tell you as well<br>That I brought a stone from Havana<br>A stone polished by the rivers of your heart and its warm seas.<br>A stone, if I touch it, I will remember the sidewalks of Havana, stone by stone.<br>A stone with many freckles on its face and a mole on its chin<br>A stone that may have been a jewel that Jose Marti lost in order for the Kurdish poet to find it and bring it to his German exile.<br>A stone that will take its place next to the stone that my friend Bayan brought from Kurdistan<br>And both of them will comfort my long isolation and my eternal exile.<br></h5> <div><b>哭泣</b></div><div><br></div>清晨，她哭泣<br>中午，她哭泣<br>傍晚，她哭泣<br>清晨，她失去了一個兒子<br>中午，她又失去了另一個<br>傍晚，她失去了最后的親人<br>第二天清晨，人們為她哭泣<br>中午，人們為那些哭泣的人哭泣<br>到了傍晚，已無人再哭泣<br>整個小鎮，被鮮血淹沒。 <h5><b>Weeping</b></h5><h5><br>She wept in the morning<br>She wept at noon<br>She wept in the evening<br>In the morning, she lost a son<br>At noon, she lost another<br>In the evening, she lost the last of family<br>The next morning, they cried for her<br>At noon, they cried for those who were crying for her<br>In the evening, there were no remaining cries<br>The whole town was swamped with blood.</h5> <div><b>擁抱</b></div><div><b><br></b></div>當兩位戀人<br>聽見戰斗機的轟鳴，<br>他們相擁在一起。<br>當聲音愈加逼近，<br>他們更加緊緊相擁。<br>當轟炸與毀滅降臨，<br>他們死死地擁抱在一起。<br>如今，<br>他們在永恒中相擁而立。 <div><b>The Embrace</b></div><div><b><br></b></div>When the two lovers heard<br>The fighter planes roar,<br>They embraced each other.<br>When the sound approached more,<br>They embraced each other more.<br>When the bombing and destruction began,<br>They embraced each other tightly.<br>Now they stand in an embrace in eternity. <h5><div><b>詩歌評論：</b></div><div>庫爾德斯坦裔詩人侯賽因·哈巴什（Hussein Habasch）這三首詩構成一組高度統一而多樣的詩歌作品，它們風格各異，卻共鳴在流亡、死亡、創傷與人類情感的極限狀態中。詩人在敘利亞境內本jia族龐大，而今死的死，散的散。詩人把所有情感付諸詩句，描繪了現代人類處境中的終極困境：無家可歸、情感無所依、文明在轟鳴中粉碎，但其中又閃爍著記憶、信任與人性溫度的光芒。文風質樸、清晰、而又震撼人心。詩歌不煽情，通過沉默中的吶喊、壓抑中的爆破、哀痛中的溫柔呈現終極的感性與關懷，過目難忘。（佩英）</div><div><br></div><div><b>Editorials:</b></div><div>The three poems by Kurdish poet Hussein Habasch form a unified yet diverse poetic suite. Though differing in style, they resonate with shared themes of exile, death, trauma, and the extremities of human emotion. The poet’s extended family, once large within Syria, is now scattered—some dead, others dispersed. He pours all his emotions into his verses, painting the ultimate predicament of modern humanity: homelessness, emotional dislocation, and the collapse of civilization amid thunderous destruction. Yet within this desolation glimmer traces of memory, trust, and the warmth of human dignity.<br>His literary style is unadorned, clear, yet deeply moving. Without resorting to sentimentality, his poems express an ultimate empathy and sensitivity—through cries within silence, explosions beneath restraint, and tenderness amid grief. The impact is unforgettable.(by Christine Chen)</div></h5> <h5>亞歷山德拉·尼科德（Alexandra Nicod）是一位瑞士-西班牙詩人、劇作家和演員，出生于瑞士，現居西班牙馬德里。她擁有兩個學士學位，一個為翻譯學位，另一個為戲劇藝術學位。她出版過多部詩集，并創作了多部劇作，在西班牙的劇院上演。她是西班牙通用作家與出版者協會成員、西班牙注冊作家協會成員，以及西班牙演員聯盟成員。</h5> <div><b>起源</b></div><div><b><br></b></div>我離開了自己的身體，<br>就像一個人逃離一所燃燒的房子。<br>我的身體不再是安全的地方，<br>不再是了……<br>突然間，<br>所有的鳥兒從天空墜落，<br>在半空中——<br>白的、黑的，<br>大的、小的，<br>高飛的、貼地滑翔的……<br>云朵墜落，太陽躲藏，月亮不再升起……<br>汽車停下，行人化為石像，<br>屋頂崩塌，<br>忽然之間，<br>所有的女孩都燃燒起來——<br>女兒與孫女，<br>姐妹與侄女，<br>表親與教女……<br>所有的女孩在家中燃燒，<br>在她們的房間，在她們的床上。<br>在每一所房子里，<br>每一個村莊、每一座城鎮里，<br>火焰升騰，接連不斷，<br>火焰在呼救……<br>你聽見了，<br>你試圖尖叫……<br>但你只是個女孩，<br>而燃燒的女孩，<br>是無法尖叫的……<br> <h5><div><b>Origin</b></div><div><b><br></b></div>I left my body like someone leaving a burning house. My body was no longer a safe place. Not<br>Anymore...<br>And suddenly all the birds fell from the sky, in mid-flight, the white ones and the black ones, the big<br>Ones and the small ones, those that fly high and those that glide low to the ground… The clouds fall,<br>The sun hides, the moon does not appear... Cars stop, walkers petrify, the roofs of the houses<br>Collapse, and, all of a sudden, all the girls burst into flames, the daughters and granddaughters, the<br>Sisters and nieces, the cousins and goddaughters… All the girls burning in their homes, their rooms,<br>Their beds. In every house, every village, every town flames arise, one after another, flames calling<br>For help... and you hear them and try to scream...<br>But you are only a girl and girls on fire cannot scream...<br></h5> <h5><div><b>詩歌評論：</b></div><div>瑞士裔詩人亞歷山德拉·尼科德（Alexandra Nicod）《起源》的詩作，是一首極具沖擊力和悲愴氣質的現代自由詩，它用隱喻、象征與突如其來的災難性意象，揭示了深刻的女性創傷經驗與身體政治。這不僅是私人之痛的哀號，也是對整個女性群體苦難的集體記憶與控訴。“身體”與“燃燒的房子” “身體”與“燃燒的房子”隱喻創傷,其意象密集爆裂：天體崩塌，世界凝固。詩人通過，“無法發聲”的意象終結全詩，燃燒的過程成為無聲的毀滅，這是通過女性視野對戰爭與暴行的血淚控訴。（佩英）</div><div><b>Editorials:</b></div><div>Swiss poet Alexandra Nicod’s *Origin* is a modern free verse poem of striking impact and tragic resonance. Through metaphor, symbolism, and sudden catastrophic imagery, it reveals profound experiences of female trauma and the politics of the body. This is not only a lament for personal pain but a collective outcry and testimony to the suffering of women as a whole.<br>The metaphor of the “body” as a “burning house” powerfully evokes the sense of violation and trauma. The poem’s imagery erupts in a cascade of collapse—celestial bodies fall, the world freezes. In the end, the poet concludes with the image of being unable to scream: the act of burning becomes a silent destruction. This silence is not emptiness but a powerful indictment—a cry against war and violence seen through a female perspective, soaked in blood and grief.(by Christine Chen)<br><br></div></h5>
主站蜘蛛池模板：
华蓥市|
禄丰县|
镇远县|
南丹县|
焦作市|
荃湾区|
青阳县|
河南省|
获嘉县|
荆州市|
棋牌|
名山县|
新龙县|
汽车|
巴林左旗|
肥东县|
连城县|
依安县|
鄂伦春自治旗|
临潭县|
科技|
邵东县|
天峻县|
高雄县|
南开区|
策勒县|
阿坝县|
高陵县|
深泽县|
华安县|
金溪县|
德阳市|
沧源|
岫岩|
寻乌县|
桦甸市|
阿瓦提县|
贵州省|
大庆市|
赣榆县|
乌苏市|