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| Author | Louise Glück |
|---|---|
| Language | English |
| Genre | Poetry |
| Published | April 1, 1996 |
| Publisher | Ecco |
| Pages | 80 |
| ISBN | 9780880015066 |
Meadowlands is a 1996 poetry book by Louise Glück.[1] The 80-page collection, published by Ecco, is Glück's seventh poetry collection.[2]
Via a retelling of the Odyssey,[3] Glück explores love through the life and deterioration of a marriage.
References[edit]
- ^ Chiasson, Dan (November 12, 2012). "The Body Artist". The New Yorker. Retrieved 2018-10-07.
- ^ "Fiction Book Review: Meadowlands by Louise Glueck, Author, Louise Gluck, Author Ecco $22 (0p) ISBN 978-0-88001-452-6". Publishers Weekly. April 1, 1996. Retrieved 2018-10-07.
- ^ Henry, Brian (Summer 1998). "The Odyssey Revisited". Virginia Quarterly Review. Retrieved 2018-10-07.
- ^ Chiasson, Dan (November 12, 2012). "The Body Artist". The New Yorker. Retrieved 2018-10-07.
- ^ "Fiction Book Review: Meadowlands by Louise Glueck, Author, Louise Gluck, Author Ecco $22 (0p) ISBN 978-0-88001-452-6". Publishers Weekly. April 1, 1996. Retrieved 2018-10-07.
- ^ Henry, Brian (Summer 1998). "The Odyssey Revisited". Virginia Quarterly Review. Retrieved 2018-10-07.
External links[edit]
- "Ceremony" from Meadowlands, reprinted November 8, 2012 in The New York Times
POEM
POEM
‘Ceremony,’ by Louise Glück
By
By Louise Glück
I stopped liking artichokes when I stopped eating
butter. Fennel
I never liked.
One thing I’ve always hated
about you: I hate that you refuse
to have people at the house. Flaubert
had more friends and Flaubert
was a recluse.
Flaubert was crazy: he lived
with his mother.
Living with you is like living
at boarding school:
chicken Monday, fish Tuesday.
I have deep friendships.
I have friendships
with other recluses.
Why do you call it rigidity?
Can’t you call it a taste
for ceremony? Or is your hunger for beauty
completely satisfied by your own person?
Another thing: name one other person
who doesn’t have furniture.
We have fish Tuesday
because it’s fresh Tuesday. If I could drive
we could have it different days.
If you’re so desperate
for precedent, try
Stevens. Stevens
never traveled; that doesn’t mean
he didn’t know pleasure.
Pleasure maybe but not
joy. When you make artichokes,
make them for yourself.
From “Meadowlands” © 1996 by Louise Glück,
courtesy of HarperCollins Publishers
By
By Louise Glück
I stopped liking artichokes when I stopped eating
butter. Fennel
I never liked.
One thing I’ve always hated
about you: I hate that you refuse
to have people at the house. Flaubert
had more friends and Flaubert
was a recluse.
Flaubert was crazy: he lived
with his mother.
Living with you is like living
at boarding school:
chicken Monday, fish Tuesday.
I have deep friendships.
I have friendships
with other recluses.
Why do you call it rigidity?
Can’t you call it a taste
for ceremony? Or is your hunger for beauty
completely satisfied by your own person?
Another thing: name one other person
who doesn’t have furniture.
We have fish Tuesday
because it’s fresh Tuesday. If I could drive
we could have it different days.
If you’re so desperate
for precedent, try
Stevens. Stevens
never traveled; that doesn’t mean
he didn’t know pleasure.
Pleasure maybe but not
joy. When you make artichokes,
make them for yourself.
From “Meadowlands” © 1996 by Louise Glück,
courtesy of HarperCollins Publishers
Google 翻譯
LouiseGlück的詩： “儀式”
路易斯·格呂克（LouiseGlück）
2012年11月8日 (紐約時報刊 hc)
路易斯·格呂克（LouiseGlück）
我停止進食後不再喜歡朝鮮薊
牛油。茴香
我從來不喜歡。
我一直討厭的一件事
關於你：我討厭你拒絕
在家裡有人。弗勞伯特(通譯：福樓拜 )
有更多的朋友和弗勞伯特
是一個隱士。
福勞伯特瘋了：他住
和他的母親。
和你一起生活 就像生活
在寄宿學校：
星期一是雞肉，星期二是魚。
我有深厚的友誼。
我有友誼
與其他規定。
您為什麼稱其為剛性？
你不能稱之為口味
參加儀式？還是你渴望美麗
對自己的人完全滿意？
另一件事：命名另一個人
沒有家具的人
我們星期二有魚
因為星期二新鮮。如果我能開車
我們可以有不同的日子。
如果你這麼絕望
先例，嘗試
史蒂文斯。史蒂文斯
從未旅行過；那不代表
他不知道高興。
也許但不是
喜悅。當你做洋薊時
自己動手製作。
摘自“牧場”©1996 by LouiseGlück，
由HarperCollins Publishers提供
****
Jiayan Mi
聆聽露伊絲‧葛綠珂/Listening to Louise Glück
美國女詩人Louise Glück榮獲2020年諾貝爾文學獎的消息早已鋪天蓋地，本不想再來湊熱鬧，但是昨天我去我學校辦公室取上課材料時找到葛綠珂給我簽名的詩集《《草場》(Meadowlands) ,翻開詩集一看， 居然發現4頁20年前聽她講座和詩歌朗誦的筆記從書中滑落， 一下子往事便湧上了心頭，要不是Glück獲得2020年諾貝爾文學獎， 我早就把這段往事忘得一干二淨， 所以覺得有必要清點一下Glück講座的亮點，以饗讀者，同時也立此存照。
1998年春季我被安排給一門《歐洲現代詩歌：傳統與創新》課做助教/TA (UC Davis), 5月29日該課教授跟我說Louise Glück要來做講座和朗誦， 當時我心裡還嘀咕著Glück是誰呀(說真的那時剛來美國不久， 除了幾位文壇大伽以外，對美國當代文壇實在孤陋寡聞)。那天的講座和朗誦主要集中在她1996年出版的詩集《草場》(Meadowlands) ，因為這門課就是講現代歐洲詩人如何連續傳統與革新傳統， 正好《草場》是Glück吸收並重寫荷馬史詩《奧德賽》的幾個關鍵人物【如奧德修斯(Odysseus) 、珀涅羅珀(Penelope) 、忒勒馬科斯(Telemachus) 】，移植到當代生活。 Glück的朗誦不太誇張，姿勢也沒有表演性，聲音低沉，但充滿吟唱式的樂感， 仔細傾聽還是滿有磁性的。以下是她講座的一些亮點(當時筆記潦草不堪，至今很多地方難以辨認了):
1、 寫詩的時候，你得放棄尷尬難堪之心，徹底原形畢露（When you write poetry, you have to give up embarrassment, totally exposed to the people）
2、 寫《野鳶尾》時，我想發現一種尚未被觸及的形式， 風格與精神崇高， 一種詞語的優美(When I wrote The Wild Iris, I wanted to discover a form, a style and a spiritual sublime untouched in our life).
3、 之所以寫《草場》，是因為我的婚姻遇到了麻煩， 我的丈夫感到不幸福 (The bedrock of my marriage was in trouble. My husband was not happy)
4、 我花了五年時間準備，我想寫一個喜劇， 可出版商不同意我的設想 。我創作時詩如泉湧， 只花了10天時間就寫完了，寫完後就大病一場(It took me five year to prepare and I wanted to write a comedy but the publisher disagreed with my plan. The poem came out in great rush; it only took me 10 days to finish it and I got sick after)
5、 第一位讀者則是對詩人心靈的考驗(The first reader is the test of a poet’s heart).
6、 我朗誦詩歌時對詩歌有更好的傾聽。我從來就不喜歡一個單一的聲音（I hear poems much better when I read them. I don’t like a single voice）.
7、 以性來判定性別是危險的，我對此反對(Gender by sex is dangerous, I deplore it).
8、 我從來沒有去過希臘，但是希臘文學已經深入我的心，在我的血液裡(I’ve never been to Greece, yet that literature has spoken to me profoundly).
9、 我鍾愛句式，一個句子的排列順序，一種奇蹟，語言的優美存在於塑形的優美。兒童的語言便是句式的語言(I love syntax, the order of a sentence, a miracle; the beauty of language is the beauty of shape. Child’s language is the language of syntax) .
10、 無需概念， 唯有物象。詩歌是原基性的，無需誇飾， 只需質感。語言的靜默否決任何終極詩人（no ideas but in things/W.C. Williams. Poetry is rudimentary, not hyperbolic but always physical. The silence in language denies a final poet）.
The Wild Iris
At the end of my suffering
there was a door.
Hear me out: that which you call death
I remember.
Overhead, noises, branches of the pine shifting.
Then nothing. The weak sun
flickered over the dry surface.
It is terrible to survive
as consciousness
buried in the dark earth.
Then it was over: that which you fear, being
a soul and unable
to speak, ending abruptly, the stiff earth
bending a little. And what I took to be
birds darting in low shrubs.
You who do not remember
passage from the other world
I tell you I could speak again: whatever
returns from oblivion returns
to find a voice:
from the center of my life came
a great fountain, deep blue
shadows on azure sea water.
Jiayan Mi
***
逝者|楊炳章：從北大到哈佛
原文網址：https://read01.com/Gm05ddL.html
楊炳章（1945-2020.9.30）
楊炳章（英文名：Benjamin Yang），1945年出生於山東。1963年從北京101中學考入中國人民解放軍外語學院，1964年退學在北京大學旁聽自學。1966年「文革」初期因反江青及「中央文革小組」而遭關押，1968年獲釋遣送原籍。1978年考上北京大學哲學所碩士研究生，1981年提前畢業赴美國留學，考取哈佛大學文理學院博士研究生。1986年獲得博士學位後擔任哈佛大學費正清中心研究員，1996年回國後擔任中國人民大學國際政治系教授。發表中英文著作《從北大到哈佛》《不平則鳴》《小平大傳》《從革命到政治：長征與毛澤東的崛起》等。
據親屬消息【舅舅走了（修改版）】，楊炳章先生於2020年9月30日因病在重慶去世。
原文網址：https://read01.com/Gm05ddL.html
****
从北大到哈佛: 献给中国知识分子- 杨炳章- Google Books
從革命到政治：長征與毛澤東的崛起(
Title, 鄧小平: 政治的伝記. Author, 杨炳章. Publisher, 朝日新聞社, 1999.
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