First Poets

Li He is the bad-boy poet of the late Tang Dynasty. A Song dynasty critic once described Li He’s poetry as written in the “language of a demonic immortal” and filled with hallucinatory evocations of goddesses, beautiful courtesans, Buddhist visions, drunken nights, and corruption. As the scholar Anne M. Birrell, writes, “Of all the Tang poets, even of all Chinese poets, he best speaks for our disconcerting times.” Modern critics have compared him to Rimbaud, Baudelaire, and Keats. In the crystalline translations by the noted scholar J. D. Frodsham, the 1983 edition of this book has been out of print for decades.

近代中國詩之英譯範本，去認識中華文化的價值 今天，我們在一本書中細讀現代中國三十位風雲人物的詩詞，可以認清每個人的人格和事業功過，同時看清歷史的過程和真實。 ★ 欣賞古詩體裁寫現代人情世事 陳寅恪有「以詩證史」的說法。實在，詩詞流瀉的人情，連歷史亦容納不盡。今天，我們在一本書中細讀現代中國三十位風雲人物的詩詞，可以認清每個人的人格和事業功過，同時看清歷史的過程和真實。 Chen Yinke offered a concept of “poems substantiate history”. As we present in one book the poems of thirty poets who had helped to shape modern China, we anticipate readers to find the contents rich, revealing and meaningful. Our readers will see from the words of the poets a clear view of who is what, and identify wise decisions from selfish mistakes. They will then understand history in human dynamic terms.

Leung Ping Kwan is one of Hong Kong’s most acclaimed poets. His poems display a unique blend of the literary and the down-to-earth, of the modern and the traditional, of the serious and the humorous, of the local and the universal. In his own words, ‘I want my poems about things to be a dialogue with the world, to learn and be inspired by the shapes, smells and colours of things….’ This collection has been carefully curated, and is arranged under ten thematic sections: Lotus Leaves, Hong Kong, Macao, Foodscape, After the Book of Songs, Strange Tales: After Pu Songling, Clothink, Museum Pieces, Places and Friends, and Bitter-Melon and Others. These translated poems, and the delight they bring, are a celebration of the continuing legacy of a remarkable Hong Kong poet.

This pocket-sized paperback is one of the thirty titles published for 2019 Hong Kong International Poetry Nights. The theme of IPHHK2019 is “Speech and Silence”. From 19–24 November 2019, 30 invited poets from various countries will be in Hong Kong to read their works based on the theme “Speech and Silence.” Included in the anthology and box set, these unique works are presented with Chinese and English translations in bilingual or trilingual formats.Poets include Ana Luísa Amaral (Portugal), Maxim Amelin (Russia), Renato Sandoval Bacigalupo (Peru) , Jen Bervin (USA), Ana Blandiana (Romania), Tamim Al-Barghouti (Palestine), Abbas Beydoun (Lebanon), Miłosz Biedrzycki (Poland), Derek Chung (Hong Kong), Louise Dupré (Canada), Forrest Gander (USA), Hwang Yu Won (South Korea), Maozi (PRC), Mathura (Estonia), Sergio Raimondi (Argentina), Ana Ristović (Serbia), K. Satchidanandan (India), Martin

What has traditionally been the main matter explored by Cantonese literati? From the earliest poets—oceanic elements and riparian scenes contrasted with stunning rock formations; a love for the exotic, especially local plants, products, and lore; Daoist transcendentalism; and, finally, a concern for pointing up local loyalty to the distant throne and a fierce pride in being culturally authentically Chinese. The Southern Garden Poetry Society in Guangzhou was the only major literary club in Chinese history to be periodically reconvened over the Ming, Qing, and Republican eras. Beginning with an examination of its five founding members during the Yuan / Ming transition period, in particular Sun Fen (1335–1393), David Honey traces the various elements of this Southern Muse that became embodied in later Cantonese poetry, and pursues the issue of social memory by focusing on later reconvenings of the society.

Yuan Haowen 元好問 (1190–1257) is one of the greatest Chinese poets of the past eight hundred years. He is especially famous for his poems lamenting the death and disorder that accompanied the decline, fall, and aftermath of the Jin dynasty, when the Mongols took over North China. Reading Yuan’s poems, one feels his intense pain at the demise of the dynasty and his deeply felt need to preserve the historical and cultural record of civilization as he knew it. The poems are distinguished by breadth of learning, linguistic creativity, and allusive depth. They also reveal an abiding sense of irony, and occasional self-directed wry humor. John Timothy Wixted’s treatment of 150 of Yuan Haowen’s poems distills available scholarship on the poet in Chinese, Japanese, and Western languages. The poems—lucidly introduced, interpreted, and explicated—are presented in romanization and translation as well as in the original. -----------------------------------------------------------------------------

“Tu Fu is ... the greatest non-epic, non-dramatic poet who has survived in any language.”—Kenneth Rexroth The deepest and most varied of the Tang Dynasty poets, Tu Fu (Du Fu) is, in the words of David Hinton, the “first complete poetic sensibility in Chinese literature.” He merged the public and the private, often in the same poem, as his subjects ranged from the horrors of war to the delights of friendship, from closely observed landscapes to remembered dreams, from the evocation of historical moments to the wry lament over his own thinning hair. Although Tu Fu has often been translated, and often brilliantly, David Hawkes’ classic study, first published in 1967, is the only book that demonstrates in depth how his poems were written. Hawkes presents thirty-five poems in the original Chinese, with a pinyin transliteration, a character-by-character translation, and a commentary on the subject, the form, the historical background, and the individual lines. There is no other book qui

作者 卡蓮．賀德 Karen Head 現任國際詩雜誌《亞特蘭大評論》（Atlanta Review）編輯、亞特蘭大詩理事會祕書。特別是目前為華夫美食屋的桂冠詩人，此頭銜反映一項推廣計劃，旨在將藝術知覺帶給喬治亞州的農村中學。目前也是喬治亞理工學院文學、媒體與傳播系副教授，同時擔任諾格爾（Naugle）通訊中心常務董事。著有四本詩集，即《出言不遜》（Sassing）、《巴黎歲月》（My Paris Year）、《腹案》（Shadow Boxes）和《有時：四位詩人，一年》（On Occasion: Four Poets, One Year）。另與他人合編兩本詩選，即《瑪麗母親來找我：流行文化詩選》（Mother Mary Comes to Me: A Pop Culture Poetry Anthology，與Collin Kelley合編），和《作為人類經驗的教學：詩選》（Teaching as a Human Experience: An Anthology of Poetry，與Patrick Blessinger合編）。詩作獲選入美國及國際多種期刊和選集。2010年獲牛津國際婦女節詩獎。出席2019年淡水福爾摩莎國際詩歌節。 譯者 李魁賢 Lee Kuei-shien 曾任國家文化藝術基金會董事長，現任世界詩人運動組織副會長。獲台灣國家文藝獎、巫賴和文學獎、行政院文化獎、吳三連獎文藝獎、祕魯特里爾塞金獎和金幟獎、印度首席傑出詩獎、蒙特內哥羅（黑山）共和國文學翻譯協會文學翻譯獎等十多項國內外大獎。出版有《李魁賢詩集》6 冊、《李魁賢文集》10 冊、《李魁賢譯詩集》8冊、回憶錄《人生拼圖》和《我的新世紀詩路》等。

嚎叫吧！讓朗讀詩成為一場精采對決！ 從艾倫金斯堡到谷川俊太郎 從即興爵士樂到饒舌詩朗讀 揮舞雙手，動感吟詩，站上世界舞臺！ 從「詩擂臺」比賽的實地考察 重新思索「詩」的定義 尋找被遺忘的特質 王榆鈞（音樂藝術家） 田原（詩人） 向陽（詩人．作家） 谷川俊太郎（詩人） 島田雅彥（小說家） 黃大旺（黑狼那卡西） 楊佳嫻（詩人．作家） 謝明諺（爵士樂演奏家） 鴻鴻（詩人．導演．藝術家） ──熱情推薦（依姓名筆劃排序） 詩與歌分家，是現代詩的重大主張。然而口語的詩能否找到獨屬自己的韻律、節奏，是另一回事。煮雪的人親身踏查日本和美國的詩擂臺場景，體會詩意從語言和身體迸發的力道，還採訪主辦人及衛冕王，鮮活的臨場感，不啻給臺灣詩人一記棒喝：如果連眼前的觀眾都無法打動，遑論千秋萬代的讀者？重新尋找口語的魅力，找回詩的能量，這記左勾拳，希望能揮醒自我陶醉的詩人。──鴻鴻 詩擂臺（Poetry Slam）最早在芝加哥舉辦正式賽事，參賽者輪流上臺朗讀詩作，最後由評審或是觀眾舉牌決定分數。與我們熟知的詩朗讀不同，參賽者常會搭配多樣的肢體動作，藉此擄獲觀眾及評審的目光。詩擂臺日後被傳入日本，最初命名為詩拳擊，人氣最高的時候曾經在 NHK 播出。直至今天，日本仍會定期舉辦詩擂臺全國大賽，各級學校中亦能看見詩擂臺的學生社團。 作者煮雪的人赴日攻讀碩士，期間觀看了多場日本的詩擂臺競賽並接觸相關人士，亦曾經在疫情爆發前夕赴美國考察，到訪的場地包括紐約詩擂臺聖地 Nuyorican Poets Cafe、Bowery Poetry Club……等等。返臺後整理出研究及考察內容，包括日本與美國的詩擂臺紀實、蒐集到的參賽者故事、詩擂臺發展史……等等，完成這本非虛構文集。 近年來社群媒體興盛，閱讀走向速食化，導致不少臺灣年輕一輩詩人的作品「能閱讀卻不能（或不適合）朗讀」。透過此書，除了讓臺灣讀者認識何謂詩擂臺，也希望能呼籲年輕詩人重新思索詩與聲響／音樂的關係，拓寬新一代臺灣詩的風貌。