Sushant Kuma

海外文苑

<h5></h5><h5>以上发刊于纽约[综合新闻报] 第881期</h5><div>The above was published in New York newspaper "Compact News" edition #881</div> <h5>玛尔塔·埃洛伊·齐霍茨卡(Marta Eloy Cichocka)，波兰诗人、摄影师、翻译家与文学学者，现任克拉科夫国民教育委员会大学副教授。著有十部诗集及两部文学理论著作，翻译过拉乌尔·苏里塔、聂鲁达等作家作品。曾获哈丽娜·波斯维亚托夫斯卡诗歌奖、联合国教科文组织克拉科夫文学奖及2026年辛波丝卡翻译奖等重要荣誉。</h5> 总有时间 <div>--给杰日</div><div> </div>也总无时间 永恒的匆忙与致命的无聊并存 深夜的诱惑，失眠的幽影 祛痘与抗皱 两种年龄在皮肤上交替 写动议，也写报告 荷尔蒙更替，营养剂维持 加好友，或取消 初选之后，是清算之季 入账的一日，赤字的月份 出生证明的窗口，死亡证明的窗口 写诗，或写讣告 电话里的声音，模糊的照片 一切如此清晰 <div>却又难以理解</div><div> </div>from engrams there is always time for jerzy and there is no time there is eternal hurry and there is mortal boredom the allure of late nights and the specter of sleepless ones there is the season of acne gel and the period of wrinkle cream a time for writing motions and a time for writing reports a season for hormones and a period for nutritional supplements a time for adding friends and a time for unfriending a time for primaries and for seasons of reckoning there is a day of deposits and a month in the red a window for birth certificates and a window for death certificates a time for writing poems and a time for writing obits there is a voice on the phone and a blurry photograph it is so obvious and so hard to comprehend （trans. Karen Kovacik） 断裂循环之第九环 图像可能包含海、天空、太阳，一座小岛 海洋，十三具身体，一艘军舰 或是靠近首都的一座解放了的城市 图像：塑料购物袋，苹果倾泻而出 或啤酒罐、从未带回家的果酱瓶 其中包含被轰炸的操场与弹坑 图像：儿童玩具，断裂的自行车，静止的身体 或一只躺在街道上的手，或从沙中伸出的手 图像：破碎的指甲，剥落的红色指甲油 海与沙的画面中，双手被白布捆绑 或黑色塑料袋中垂落的手臂 包含一个宇宙，而宇宙可能包含一块屏幕 屏幕包含图像，而图像不再包含任何事物 不证明任何事，不指向任何意义 后台算法持续注视、记录、计算 　　　　发生过什么 　　　　　　　　正在发生什么 　　　　　　　　　　　　永不发生什么 from / image / may / contain / loop 9 / chipped / red / polish / image may contain sea sky sun a small island image ocean the bodies of thirteen guys one warship may be a liberated town near the capital contain bodies of residents returning from shopping image plastic grocery bags apples spilling out may be cans of beer jars of jam never carried home contain a bombed playground crater from the strike image children’s toys a broken bicycle motionless body may be a hand lying on the street hand protruding from sand contain broken fingernails chipped red polish image ocean of sand hands tied behind the back with white fabric may be hands dangling from black plastic bags contain the cosmos which may contain a screen which may contain an image which contains nothing proves anything signifies nothing for the algorithm in the background which keeps watch observes tallies what has been what is what will never be （trans. Karen Kovacik） 第七环 今天我徒步越境，已走二十小时 教皇前往使馆 政客发言、发推、通话 今天我们睡在浴室走廊 爆炸时躲进浴缸 平静时制造燃烧瓶 / . / 今天士兵在离境期间结婚 逃亡者被派出租车接送 屋顶被检查是否有攻击标记 无人再问何时来临 / . / . / 今天“战争”“入侵”被禁 以罚款替代语言 政客会面、发言、自拍 邻人手持白巾行走 证明自己只是邻人 / . / . / . / 孩子学习遮住眼耳 张口抵御冲击 碘片被分发 我把婴儿放在尿布中 在他背上写下姓名、电话、出生日期 / . / . / . / . / 政客修建掩体 通话、发推、自拍 这些是重要的日子 也是八十亿人的时代 loop 7 / image / may / contain / incomprehensible / letters / today I crossed the border on foot I’d been walking twenty hours today the pope went to the embassy to personally convey today politicians give speeches tweet call each other today we’re still sleeping in the hallway by the bathroom when we hear explosions we hide in the tub during calm moments we make molotov cocktails / . / today the government allowed marriages to soldiers during their absence today for those who escaped from the country the spaniards sent taxis today the authorities are asking neighbors to check on the roofs if there’s some sort of marker for attack today no one wonders if they’ll attack only when / . / . / today they ordered the media to avoid the words war or invasion when reporting under penalty of fines <div>today politicians meet give speeches take selfies</div> today neighbors walk around with white towels so it will be obvious that they’re only neighbors without weapons walking around with white towels / . / . / . / today they teach children to cover eyes and ears with their hands to keep their mouths open to minimize the effects of pressure and shock waves they’re handing out iodine today I put my baby in a diaper and on his back I wrote with a marker his first and last names our phone numbers his date of birth / . / . / . / . / today politicians meet feather their bomb shelters call each other take selfies tweet and tweet these are important days and a time for major sacrifices because now we are eight billion here 第八环借贷 今天母亲与妻子 再次借贷 送别儿子与丈夫 走向死亡 loop 8 / loans / today mothers and wives take out loans again to send off sons and husbands to death （trans. Karen Kovacik） <div> </div><div> </div>第13环断裂循环 图像可能有一件橙色外套 男人坐在废墟上——曾是他的家 他不觉得已经崩塌 雨、噪音与寒冷 覆盖一只从瓦砾中伸出的手 于床与混凝土之间 “请拍下我的孩子”他低声说 声音碎裂 松开手又指向-- 十五岁女孩伊尔玛克的位置 再度握紧那只手 “请拍下我的孩子” 摄影师含泪对焦 为世界新闻摄影记录这一瞬 loop 13 / world / press / photo / image may contain an orange jacket of a man sitting on the ruins which had been his house he doesn’t notice the chaos noise rain and cold holds a hand belonging to a body sleeping in a bed crushed by rubble concrete slabs and what’s left of the house take a picture of my child he says quietly in the direction of the photographer his voice quavers and breaks he lets the lifeless hand drop to point to the spot where the body of fifteen-year-old irmak is lying then he again clasps her hand take a picture of my child the photographer gulps back tears and sets the focus for the world press photo <div>（trans. Karen Kovac）</div> 无尽循环 图像或许是一条链 锁住北欧巨狼 / . / 链轻如无物 却不可断 由声音铸成 / . / . / 猫的足音 山的根 熊的筋 / . / . / . / 鱼的呼吸 女人的胡须 鸟的唾液 / . / . / . / . / 断裂之时 狼被释放 世界终结 infinite loop / gleipnir / image may contain a chain holding a nordic monster wolf / . / and that chain light yet strong is forged from the sound / . / . / of a cat's footfall the roots of mountains the sinews of a bear / . / . / . / the breaths of fish the beards of women and the spittle of birds when it breaks / . / . / . / . / and frees the wolf that will be the end of the world （trans. Karen Kovacik） <h3 style="text-align: left">后记 玛尔塔·埃洛伊·齐霍茨卡（Marta Eloy Cichocka）2023年的创新诗集《/ image / may / contain /》回应了自然灾害与战争之后深刻的人类需求。然而，越来越多的生成式人工智能正在介入我们对这些人类故事所附图像的解读方式。诗集标题中反复出现的咒语式短语，指向网络视觉文本中由AI生成的图像说明文字。诗人取材于地震、飓风等自然灾害照片，也包含当代军事冲突的影像，但这些由AI生成的图像转写并非中性，它们常被政府用于操控我们对现实的理解。齐霍茨卡关注的是，这些由算法驱动、冷静无情的图像描述，如何与“情感记忆的冻结画面”发生碰撞。换言之，屏幕上不断循环的图像，深刻影响了我们情感经验的纹理，并塑造我们的记忆方式。 该书中的每一首诗都被称为一个“循环（loop）”。这些分节诗由类似摩斯密码的标点符号（/ . / . / . /）构成，并以三行或四行的结构排列。文本的秩序形式与其所呈现的灾难性混乱形成强烈对照——例如气旋或无人机袭击的余波。正如波兰评论家马尔钦·泽格瓦多（Marcin Zegadło）所指出，这本书的结构呈现出近乎数学化的文本排列，在不断延展的括号中汇聚成无尽的循环短语——正如新闻标题不断涌入我们的意识之中。 这一文本在翻译层面提出了复杂挑战。首先是标题“loop”的多重含义：它可以指电影循环片段、电车终点环线、绳圈，甚至是自杀者颈部的绳索缠绕方式。文本中确实也回荡着这些语义残响。无标点的声音交错急促，如同人物彼此打断对话，但语言同时又呈现出一种诡异的咒语性节奏，其意义与声韵共同驱动。例如“loop 12”的开头写道：“夜里大地震颤并吞没／成千上万熟睡的人我有双胞胎他们需要／牛奶与尿布我们住在车里”。评论者泽格瓦多指出，这些诗中存在一种“压力”，在等待中不断累积。最终，总有某种影像会出现在屏幕上：可能是男性或女性，可能是孩子、父亲，或某人的死亡。 尽管这一项目看似偏向概念性，但其图像却深深植根于身体经验之中——被切断的手上剥落的红色指甲油、母亲用记号笔在婴儿背上写下姓名与电话号码、地震后厨师递出的橄榄等，都构成了具体而肉身化的感知。 这是一部具有时代意义的重要作品，它参与了关于人类乃至后人类世界、作者性本质，以及我们如何理解当下、过去与未来的讨论。早在1935年，文化批评家瓦尔特·本雅明（Walter Benjamin）在“机械复制时代”就曾担忧某种“灵光”（aura）正在消失，并预言法西斯主义将利用电影、摄影与大众印刷技术。今天，深度伪造、合成语音、预测算法与生成式AI的时代，使我们必须重新反思并抵抗这种趋势。诗歌，尤其是像齐霍茨卡这样的作品，能够帮助我们同时进行反思与抵抗。 （卡伦·科瓦奇克)</h3><div> </div><div>afterword Marta Eloy Cichocka’s inventive 2023 collection / image / may / contain / speaks to profound human need in the wake of natural disasters and wars. Yet, increasingly, generative AI mediates how we interpret the images that supplement these human stories. The incantatory title phrase refers to the captions, generated by AI, that accompany visual texts online. The poet works with actual photos from natural disasters like earthquakes or hurricanes, as well as from the contemporary military conflicts. But the AI transcriptions of such images are anything but neutral. They’re often used by governments to manipulate our interpretations of reality. Marta Eloy Cichocka is interested in how those dispassionate AI-generated descriptions of images, driven by algorithms, “collide with the . . . freeze-frames of affective memory.” In other words, the continual looping of images on our screens has a profound impact on the emotional textures of our lives by shaping how and what we remember. Each of the poems in Marta Eloy Cichocka’s book is called a “loop.” Sectioned poems with punctuation marks that resemble Morse code ( / . / . / . /), and each is arranged in tercets or quatrains. The orderly form of the text belies the chaos in the subject matter: the aftermath of a cyclone, say, or a drone strike. As Polish reviewer Marcin Zegadło has observed, “The structure of this book involves an almost mathematical arrangement of text, which gathers in successive parentheses endlessly looping phrases. . .—just as a succession of headlines keeps entering our consciousness.” The text presents provocative problems in translation. Starting with the title, the word “loop” can refer to film clips, the terminal of a tram line, a noose, or even the way a cord wraps around the suicidal person’s neck. A number of these resonances occur in the text. The unpunctuated voices are harried and overlapping—as if one character is interrupting another—yet the language also must sound eerily spell-like, driven as much by sound and rhythm as by meaning. Here, for instance, is the opening from “loop 12”: “today at night the earth shuddered and swallowed / thousands of sleeping people i have twins they need / milk and diapers we live in our car.” In his review, Zegadło called attention to the “pressure” in these poems, “which accrues in moments of waiting. Something, in the end, will always appear on the screen. It could be male or female, it could be children, a father, someone’s death.” This project might sound cerebral, but the images—the chipped red nail polish on a severed hand, the mother writing her name and phone number in black marker on her baby’s back, the chef offering olives after an earthquake—are rooted in the body. This is a timely and significant book because of what it contributes to conversations about our human, even post-human world, the nature of authorship, and the ways in which we understand our present, past, and future. Even in 1935, the cultural critic Walter Benjamin, in what he called “the age of mechanical reproduction,” feared that a certain “aura” of human presence was disappearing, and that fascists would soon co-opt the technologies of film, photography, and mass printing. Our own moment of deep fakes and simulated audio, predictive algorithms and generative AI, invites us to reflect and resist. Poetry, especially a book like Marta Eloy Cichocka’s, can help us do both. (Karen Kovacik)</div> <div>诗歌赏析：</div><div> 玛尔塔·埃洛伊·齐霍茨卡（Marta Eloy Cichocka）这组诗呈现出强烈的当代信息诗与灾难叙事风格，以“循环”“图像”“记录”构建高度碎片化的现实结构，讨论战争、媒体与日常生活的共时崩塌。《总有时间》以清单式并置呈现现代生活的加速与空洞；《断裂循环》系列通过图像堆叠揭示战争影像的去意义化与算法凝视；《无尽循环》则将神话隐喻与技术链条结合，指向系统性终结的想象。整体语言冷峻、结构实验性强，具有明显后现代与媒体批判特征，但情感距离较远，压缩了抒情维度。总体而言，是成熟的观念诗与影像诗写作，偏重结构与思想实验。（佩英）</div><div>Editorials:</div><div>Marta Eloy Cichocka’s poems present a distinctly contemporary mode of informational and disaster-driven writing, constructing a highly fragmented reality through motifs of “loops,” “images,” and “records,” while exploring the simultaneous collapse of war, media, and everyday life. There Is Always Time*uses a list-like structure to depict the acceleration and emptiness of modern existence. The Loop of Fragmentation series assembles layered images to reveal the de-meaning of war imagery and the algorithmic gaze. Infinite Loop merges mythological allusion with technological chains, pointing toward an imagined systemic collapse. Overall, the language is austere and structurally experimental, marked by a strong postmodern and media-critical sensibility, though it maintains a considerable emotional distance, thereby compressing its lyrical dimension. Taken as a whole, this is a mature form of conceptual and visual poetry, prioritizing structure and intellectual experimentation.(BY Christine Chen)</div> <h5>帕尔·丹尼尔·莱文特（Dániel Levente Pál）匈牙利诗人、作家与编辑。他以匈牙利语出版了八部著作，作品被翻译成20多种语言，在国际文学界具有一定影响力。</h5> 值得被注意的人 下电车，复又折返， 沿玛格丽特桥尾随她去佩斯。 忽近忽远， 像被一种无形之力牵引。 她走得笃定， 手却提着空相框。 他坐入长椅， 仰望蓝光流动的天空， 闭眼，等灵感浮现。 一首重要的诗 正在生成。 他忽然记起她—— 空相框，过桥， 走向一幅 尚未成形的画。 Someone Worthy of Attention (Akire érdemes odafigyelni) He stepped off the tram, backtracked, tailing her on Margit Bridge toward the Pest side, at times passing her, then falling back, deeply taken by the girl, by the way she was walking like she knew exactly where with a vacant picture frame in her hand. He sat down on a bench and looked into the sky swimming in blue-bright lights, shut his eyes to fish for inspiration, for signposts to its prompts. It was an important poem he got started on; sitting on that bench with eyes shut he recalled the woman with the empty picture frame in her hand walking across the bridge toward the possibility of an unframed painting. 踪迹 在河岸寻迹， 不急。 沙如时间流动， 无思。 行走， 看脚印 是否能留住时间。 它们消失。 嫉意生， 步伐加重。 想留下 水冲不走的痕。 沙、水、 人、时间—— 皆不能抹去的痕 Tracks (Nyomok) I look around me, taking in the riverbank, looking for tracks, animal tracks, without undue haste. The riverside is smooth, the sand of time drifting, it might cross my mind, I have no thoughts. I take a stroll, watching if my tracks might withstand time. They don’t, I’m overcome by envy, I power my steps with more weight; I’d like to leave behind the kind of tracks I had not seen by the river in the past thirty years. The kind of footprints that time cannot wash away, nor can sand, water, time, sand, water, men or women. 岛屿之罪 从未成行。 我等待远航，徒然。 只剩绝望 与岸外的漂流。 你离去一周， 我在沙中掘你记忆， 拆解、浸浪、再埋。 一月，三月， 反复如此。 凝望如衣， 晾于地平。 词语系入空椰子。 想象与浪潮对峙， 你一次次被冲回岸上—— 落入破碎的影。 An Island’s Peccability (Egy sziget esendősége) It has never come to pass, I waited in vain to sail off, it’s quite clear to me now, there’s nothing but despair and wandering beyond the shores you mislaid here. A week after your departure I disinterred your memories buried in the sand of the seashore, I unpacked them from their clothes, I dunked them in the curvaceous waves, I licked the salt off, I did of course, and then I buried you again. And again a month later, and then again three months past. My watchful desires are drying laundry hung on the clothesline of the horizon, I tied words into a knot in an empty coconut shell, and in my imagination I tirelessly stood up against the tide that kept washing you up here, in the lap of your frazzled but defiant shadow. <div>诗歌赏析：</div><div> 帕尔·丹尼尔·莱文特（Dániel Levente Pál）这组三首诗展现出成熟而统一的个人诗歌气质：不依赖宏大叙事，也不追求语言繁复，而以极少的动作与意象进入时间、记忆、离散与存在经验。《值得被注意的人》完成度最高。空相框是核心意象——既是空无，也是等待；既是观看世界的方式，也是尚未诞生的作品。结尾让现实与艺术生成彼此照亮。《踪迹》以脚印与时间展开哲思。“嫉意生，步伐加重”精准揭示人的愿望：希望留下不被时间冲走的痕迹。《岛屿之罪》情感最浓。反复掘埋记忆、让想象与浪潮对峙，把失去写成无法结束的仪式。 整体上，这些诗更接近一种东方素描美学：删减、留白、节制。诗歌像一幅简洁的素描，寥寥数墨，已经点穴。空相框、脚印、岛屿不只是意象，而成为存在经验的坐标。 综合而言，这已不是技巧性写作，而是形成个人语言秩序后的表达——克制、纯净，值得被认真注意。（佩英）</div><div>Editorials: These three poems by Dániel Levente Pál reveal a mature and coherent poetic voice. Rather than relying on grand narratives or elaborate language, they enter questions of time, memory, estrangement, and existence through minimal gestures and carefully distilled imagery. Among them, Someone Worthy of Attention is the most accomplished. The empty picture frame becomes the central image—at once absence and anticipation; a way of seeing the world and an artwork not yet brought into being. The ending allows reality and artistic creation to illuminate one another. Tracks unfolds as a meditation on footprints and time. The moment when “envy arises, and the steps grow heavier” captures a deeply human desire: to leave behind traces that time cannot erase. An Island’s Peccability carries the greatest emotional density. Through repeated acts of unearthing and reburying memory, and imagination standing against the tide, loss is rendered as a ritual that never truly comes to an end. Taken together, these poems resemble an Eastern aesthetic of sketching: reduction, restraint, and meaningful silence. Like a minimalist drawing, they strike the vital point with only a few strokes. The empty frame, the footprints, and the island are more than images—they become coordinates of lived existence. Overall, this is no longer writing driven by technique alone, but expression shaped by an emerging personal poetic order—restrained, lucid, and worthy of serious attention.（By Christine Chen）</div> <h5>苏尚特·库马尔（Sushant Kumar B.K.）尼泊尔诗人、翻译家、教育工作者及自由撰稿人。他以英语和尼泊尔语创作，出版诗集《The Caste of Flowers》。他拥有两项硕士学位，分别是加德满都特里布文大学（Tribhuvan University）英语文学硕士（M.A. in English Literature）和政治学硕士（M.A. in Political Science）。</h5> <div>心之流</div><div> </div>若心在枯萎—— 且由他 死亡 另一场发芽。 种子坠地， 雅典在灰烬后 重光。 悲剧与喜剧 在狄俄尼索斯的剧场 轮流上演。 你的心 终会找到自己的节律。 万物不驻—— 皆如流水。 HEART FLOWS Is your heart withering, dying? Let it be so, Embrace every destiny As dying also signals a rebirth, Like fallen seeds that sprout, Like the buildings of Athens, Flamed, and downed, Yet restored, and More acclaimed than before. Similarly, in the Theatre of Dionysus From tragic acts to Comedic relief, performed In life’s voyage, inevitably, Your heart will find its rhythms, As nothing remains the same, Like a flowing river 和平与竞逐 圣徒入洞， 神父入堂， 诗人写诗， 革命者起义， 恋人徘徊花园—— 皆求一静。 求静成竞， 和平遂远。 不在胜负， 不在富贵， 不在抵达。 外求者， 沙上浇水。 玫瑰亦非玫瑰—— 乃时间幻影。 爱若崩落， 方知美不恒常。 和平 不新不旧， 不来不去。 在内。 <div>PEACE AND RACE</div><div> </div>The saints quietly enter the cave, seeking peace. The clergymen calmly worship in the church, seeking peace. The poets beautifully compose poems, seeking peace. The revolutionaries boldly revolt against oppressors, seeking peace. Young lovers often roam in the garden, seeking peace. The seeking becomes a race, so it can never truly be peace. It is not a matter of: stimulus, the best, success, riches, seeking peace and finding it in outward things is fleeting, like watering sand, like a fleeting feeling: it comes and goes. It is like a rose that is no longer a rose. When one faces tragedy in love, then one is right to believe that a rose is not fundamentally beautiful, but its beauty is a generalized interpretation of time. Whereas peace is timeless: neither old nor new, and it exists inwardly, absolutely. <div> </div><div> </div>无望之眼 你之眼 是死鱼—— 睁着， 却不见 凤凰般的等待。 你的心 像机器—— 懂计算， 不懂疼惜。 你 一朵莲。 人人途经、赞叹， 却无人 在那里栖居。 <div>WORTHLESS EYES</div><div> </div>Your eyes must be the eyes of a dead fish, always open, yet unable to see my timeless wait, like a Phoenix, my endless love, like the sky. Your mind must be the mind of a robot, calculating heartbeats, yet unable to feel. Your nature must be like that of a lotus— a flower that naturally prefers not to bloom in anyone’s yard. Visitors come and enjoy the place where it’s found, as if it were a holiday destination, yet promising never to make a home there. <div>诗歌赏析：</div><div> 苏尚特·库马尔（Sushant Kumar B.K.）这组三首诗呈现出明显的哲思抒情风格，将宗教、神话与日常经验交织，讨论时间、和平、爱与存在。《心之流》以生灭循环回应生命困境，将衰败理解为另一种萌芽；《和平与竞逐》最具思想密度，把“求静”反转为“竞逐”，指出真正的和平不在外求，而在内心；《无望之眼》则以鱼、机器、莲等意象表达情感失落与关系疏离。整体语言简洁、寓言感强，兼具东方内省与西方哲学色彩，但部分观念表达略先于意象展开。整体而言，是具有成熟意识与精神追问能力的诗歌写作。（佩英）</div><div>Editorials：</div><div>This set of three poems by Sushant Kumar B.K. demonstrates a distinctly philosophical and lyrical mode, interweaving religious, mythological, and everyday experiences to explore themes of time, peace, love, and existence. Heart Flow responds to existential crisis through a cyclical logic of death and rebirth, reframing decay as another form of germination. Peace and Race is the most intellectually dense, inverting the pursuit of stillness into a form of competition, and suggesting that true peace is not externally attained but found within. Worthless Eyes employs images such as fish, machine, and lotus to express emotional alienation and relational detachment. Overall, the language is concise and parabolic, combining Eastern introspection with Western philosophical resonance, though at times conceptual articulation slightly precedes imagistic development. Taken together, these poems reflect a mature poetic consciousness and a sustained inquiry into fundamental existential questions.（By Christine Chen）</div> (本期所有作品均获作者授权）