布洛克作品

◎董继平 译

迈克尔·布洛克 （Michael Bullock，1918-2008），20 世纪加拿大著名超现实主义诗人。1936 年参加伦敦超现实主义展览。 自1938 年以来，他出版了30 余卷诗集，主要有《野性的黑暗》《黑林中的线条》《雨之囚徒》《暗水》《带墙的花园》《迷宫》《黑暗的玫瑰》《在花朵中喷发》《夜曲》等。 他的很多作品已经打破文体界限，小说、诗歌、散文、寓言等特征兼而有之，既富于自然色彩，又颇有形而上的哲学境界，系自然界物象与潜意识心象的结合体。

鸵 鸟

在明显不变的外表下面， 鸵鸟隐藏短暂如八月热天的红藻的自我。 这样的鸟儿分享飞鱼的本性， 从自身上起身， 仅仅是为了最终回归其本性的栖息地。 这样就是鲸鱼感到对这些未经许可的造访者的厌恶， 他们的帽子总是装饰着鸵鸟的羽毛。 在沙漠上或睡鼠孤傲栖居的林边野餐， 是被据说是源于摩西①或甚至更早的立法者的法律所禁止的， 这些立法者的名字失落在具有古风的雾霭或类似的存在的后街里。 鸵鸟自己， 最初之水的合法杰出者，很好地意识到用来把这个地区的居民保护于食肉造访者而设计的这些规定。 然而， 在一群戏剧评论家和穿着无尾夜常礼服的蛤蟆观众前， 它夸耀其非法的行为举止。

鸵鸟回到它无所不在的沙漠之巢， 统治一个嘶哑的狗和猎犬的王国， 狗和猎犬凸出的口鼻已被裂开， 被木钉分开而钉， 便于让穿红色夹克的猎人纵队进入。

注：① 《圣经》 中犹太人古代领袖、 领导者、 立法者。

THE OSTRICH

Beneath an appearance of apparent immutability the ostrich conceals a self as evanescent as frogspawn on a hot August day. Such birds partake of the nature of flying fish, rising above themselves only to return finally to their natural habitat.Such is the distaste felt by whales for these unauthorized visitors that the hats they wear are invariably trimmed with ostrich feathers.Picknicking in the desert or beside woods inhabited exclusively by dormice is expressly forbidden by laws said to derive from Moses or from even earlier lawgivers,whose names are lost in the mists of antiquity or in similarly anonymous back alleys of existence.The ostrich himself, a legal luminary of the first water, is well aware of these regulations designed to protect the inhabitants of the region from predatory visitors.Nonetheless it invariably flaunts its illegal behavior before an audience of dramatic critics and tuxedoed toads.

Returning to its omnipresent desert lair, the ostrich reigns supreme over a kingdom of husky dogs and hounds whose muzzles have been split and pegged apart so as to permit the entry of columns of red-jacketed huntsmen.

墙

在一次穿越道路的行动中停下的墙， 被问到其意图， 它从砖块之间释放出一群鸽子， 接着释放出一阵强烈得使提问者晕眩的香气， 一阵红花和紫花的骚动入侵他的大脑。

现在， 这道墙穿着一件白色长衣裙， 在路上继续行进， 每只手都端着一只水晶高脚杯——被迅速存放在空坟上。

雕刻的墓碑显出一条海豚吞食一条地下鱼的图案， 陶醉于从梗茎中流进上面的高脚杯的绿酒。

这一次， 这道墙以最为极端的优美姿势躺在一棵树下休息，作为果实的替代， 这棵树的枝头结满异常硕大而闪闪发亮的人类眼睛。

THE WALL

Questioned as to its intentions, the wall that has come to a stop in the act of crossing the road releases a flock of pigeons from between its bricks, followed by a burst of perfume so heady that the questioner reels, his mind invaded by a turmoil of large red and purple flowers.

The wall, now wearing a long white dress, proceeds on its way,carrying in each hand a crystal goblet, which it quickly deposits on an empty grave.

The tombstone, carved to represent a sleeping porpoise devouring a subterranean fish, becomes intoxicated by the green wine that flows up into the goblets through their stems.

The wall, by this time, is reposing in a posture of the most extreme elegance at the foot of a tree bearing on its branches, instead of fruit, a collection of exceptionally large and luminous human eyes.

熨 斗

在鲸鱼骨骼紧身胸衣建筑的与石头连在一起的栅栏那边， 放着曼·雷①的熨斗， 它的底钉已经摧毁了好几十个存在于壳中的牡蛎。

这些牡蛎当中的一些还未死去， 它们的叫声， 以一缕浅浅的紫罗兰色光线的形状， 在这个地区的上空升起， 那是一种乳白色微光， 赋予它触摸的一切以一丝魔幻神态。

流水声对这光线形成音乐伴奏， 它们一起将此处的氛围转变成一种威胁的、 无味的迷惑性氛围。 在林中筑巢的鸟儿， 被供以折磨器械——它们毫不犹豫对所有经过那条路的人都使用这些器械， 这是无论在哪方面都很明显的恐怖结局。

在散乱于林地上的破碎的花朵中间， 有一朵外表凶猛的唐菖蒲挥舞着利剑。 鸟儿受到某种通向自我毁灭的模糊冲动驱使， 从树上一一飞下来， 将自己刺穿在那向上举起的刀尖上。

同时， 这熨斗开始烫平那紧身胸衣的栅栏， 让它化为碎片。 光线熄灭了， 水的喃喃声停息了， 这个地方变成一个寂静无光的虚处。

注：①美国著名的超现实主义画家、 摄影家 （1890-1976）。

FLATIRON

On the other side of a fence constructed of whalebone corsets joined together with hair lies Man Ray’s flatiron whose spike shave already destroyed several dozen oysters in their shells.

The cries of these oysters, some of which are not yet dead, rise above the area in the shape of a pale violet light, an opalescent gleam that gives an air of magic to everything it touches.

The sound of flowing water forms a musical accompaniment to this light; together they transform the atmosphere of the place into one of menacing, unsavoury enchantment. The birds that nest in the trees are provided with instruments of torture which they do not hesitate to use on all who pass that way, the horrible results of which are evident on every side.

Among the broken flowers that litter the forest floor is a fiercelooking gladiolus brandishing a sword. Impelled by some obscure urge to self-destruction, birds fly down from the tree one after the other and impale themselves on the uplifted point.

Meanwhile the flatiron has begun to smooth the corset fence,reducing it to shreds.The light goes out; the murmur of water ceases;the area becomes a silent, lightless void.