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空也靜詩(shī)歌研討會(huì)發(fā)言摘要

2024-06-21 14:11:40 作者:陳啊妮等 | 來(lái)源:中詩(shī)網(wǎng) | 閱讀:
“空也靜漢英雙語(yǔ)詩(shī)集《遍地鄉(xiāng)愁》首發(fā)式暨詩(shī)歌研討會(huì)”發(fā)言摘要。

  

  6月16日,“空也靜漢英雙語(yǔ)詩(shī)集《遍地鄉(xiāng)愁》首發(fā)式暨詩(shī)歌研討會(huì)”在古城西安舉辦。此次活動(dòng)由咸陽(yáng)市詩(shī)歌學(xué)會(huì)主辦。著名評(píng)論家陳啊妮女士主持,咸陽(yáng)詩(shī)歌協(xié)會(huì)會(huì)長(zhǎng)凌曉晨,陜文投健康天仁中醫(yī)門(mén)診部董事長(zhǎng)李平出席,

  朱寧、李鴻印、常嘵通、冷瑩、馬婷、李建華、段遙亭、蘇桓稼、李李 、長(zhǎng)安肆少 、南苡 、雷秀玲、劉忠華、鄒弗、黨金紅、魏詩(shī)苑以及摩洛哥Yasmine maha 、Kaissi btissiam ,巴基斯坦Khawaja Haseeb Magbool 、Yaqoob fahad 、Ali Hamza 、Muhammad Adeel等二十多名中外文化領(lǐng)域的代表和嘉賓參加了發(fā)布會(huì)。

  《遍地鄉(xiāng)愁》為空也靜第六部詩(shī)集,是繼《輪回》之后,又一部漢英雙語(yǔ)詩(shī)集,收錄短詩(shī)115首。由山東農(nóng)業(yè)大學(xué)外國(guó)語(yǔ)學(xué)院副教授倪慶行傾情翻譯。

  發(fā)布會(huì)采取國(guó)內(nèi)與國(guó)外、詩(shī)人與作家、線上與線下相結(jié)合的方式。大家普遍認(rèn)為,空也靜的詩(shī)歌短小精練,畫(huà)面感強(qiáng),注重點(diǎn)上發(fā)力,觸及靈魂深處,以獨(dú)特的語(yǔ)言個(gè)性與表達(dá)風(fēng)格得到讀者認(rèn)可,引起普遍關(guān)注,成為詩(shī)壇一道亮麗的風(fēng)景。

  會(huì)議期間詩(shī)人們討論懇切,精彩不斷,中外友人互動(dòng)融洽,氣氛熱烈,給所有參會(huì)的詩(shī)人留下深刻印象,每一位詩(shī)人帶著獨(dú)特的詩(shī)歌思考與立場(chǎng)積極發(fā)言,這是一個(gè)良好的詩(shī)學(xué)氛圍,本次空也靜漢英雙語(yǔ)詩(shī)集《遍地鄉(xiāng)愁》首發(fā)式暨詩(shī)歌研討會(huì)取得了圓滿成功。
 

  1、短詩(shī)更為考驗(yàn)詩(shī)性的超越力量
  陳啊妮

  空也靜的詩(shī)歌獨(dú)樹(shù)一幟,每一首詩(shī)都寫(xiě)得短,我相信單純對(duì)短制的追求,不是他的本意。這很可能與他的個(gè)人氣質(zhì)和語(yǔ)言掘進(jìn)的速度相關(guān)。他的軍旅經(jīng)歷及因此鑄就的軍人風(fēng)格對(duì)他的詩(shī)歌的影響有多大?這是個(gè)有趣的問(wèn)題,或根本不存在這一問(wèn)題。至少我從《遍地鄉(xiāng)愁》這本漢英版的詩(shī)集中,難能找尋軍旅生活的影子。他寫(xiě)的是生活,生存和生命,是可擴(kuò)展到人類普識(shí)意義的話語(yǔ)。甚至,從詩(shī)中我感覺(jué)到空也靜的生活,也是我的生活,包括他生活中的焦灼,激憤,憂傷和清淡。也正因此,詩(shī)人的個(gè)體體驗(yàn)和思索,替代或先我們一步,有所發(fā)現(xiàn),并說(shuō)了出來(lái);抑或他話語(yǔ)極簡(jiǎn),將經(jīng)他觀察并命名的存在,創(chuàng)造性地挽留并“解救”。詩(shī)人是質(zhì)樸熾烈又很細(xì)膩的,情感在他的詩(shī)中得到妥當(dāng)?shù)目刂?,但我們?nèi)阅苡|摸到他奔騰的血。

  保持對(duì)自然界的敬畏,及人類生存的良知,是理解空也靜詩(shī)歌的一條線索。我想這一切主要基于詩(shī)人獨(dú)立的思維,對(duì)萬(wàn)事萬(wàn)物個(gè)性的認(rèn)識(shí)和表達(dá)。也許他寫(xiě)的最初的幾首詩(shī)歌,就差不多是現(xiàn)在這個(gè)姿態(tài),而沒(méi)有刻意模仿名人大家的寫(xiě)作套路,從一開(kāi)始,他就鎖定了自我對(duì)世界的譯解,以及對(duì)傳統(tǒng)“設(shè)定”的忽視,就一下喜歡并堅(jiān)守通過(guò)十行之內(nèi)的鋪陳解決問(wèn)題的模式。不能不說(shuō),到目前為止已寫(xiě)出了3000多首詩(shī),皆是這樣簡(jiǎn)約方式,會(huì)是一種頑強(qiáng)的歷險(xiǎn),越寫(xiě)越多的詩(shī),其身難以避免的復(fù)制性,語(yǔ)言游走或壘筑所形成的高地或深谷,也可能形成一種困境。所幸,詩(shī)人一方面自身一直有了這種自覺(jué)和警醒,另一方面也不斷試圖拓展邊界。僅從這本詩(shī)集看,詩(shī)人主打的是“鄉(xiāng)愁”,也是詩(shī)人寫(xiě)得最多的,我感覺(jué)他的視角,或敏感性,實(shí)際呈現(xiàn)了多重性。

  空也靜的詩(shī),一以貫之的單刀直入并迅即產(chǎn)生的旋轉(zhuǎn),沒(méi)有慢節(jié)奏或自帶鋪墊的啟動(dòng),而直接劃出一個(gè)橫切面,由此而更快抵達(dá)“核心”,多少與持槍和手執(zhí)劍刃相似。所以他針對(duì)一首詩(shī)的謀篇,充分考量的是出奇不意和一劍封喉,讓客體來(lái)不及發(fā)出“啊呀”一聲已致命,甚至做到了兵不血刃。當(dāng)然我是讀到“血”的,而且讀到刀光閃爍后的白骨錚錚。這么說(shuō),并不是說(shuō)他的詩(shī)就是一條快進(jìn)的直線,絕不是,不然就沒(méi)什么意義了,必須看到他內(nèi)在的旋轉(zhuǎn)、攀爬、跌落與回彈,以及突然的掉轉(zhuǎn)和拐彎。因而我們從他的詩(shī)中,讀到了精巧的復(fù)雜和上下左右貫穿的氣息,形成了特別的詩(shī)歌美學(xué)。

  還是要說(shuō)到細(xì)節(jié)問(wèn)題。短詩(shī)中的細(xì)節(jié)安排是詩(shī)歌成立的“命根子”,更是絕不能缺少細(xì)節(jié)。即便是一首短詩(shī),最終印刻在讀者記憶中的,還是細(xì)節(jié)。但是短詩(shī)的細(xì)節(jié)難度更高,多說(shuō)無(wú)益,但分陳的細(xì)節(jié)與細(xì)節(jié)之間,又必須存在相互吸引或排斥的力量??梢哉f(shuō),詩(shī)中的細(xì)節(jié)是不完整,甚至是不確定的,它們之間“神合貌離”應(yīng)是個(gè)原則,即內(nèi)在的自洽性。當(dāng)然,空也靜的很多詩(shī)歌從表層上看是“一氣呵成”的,仿佛說(shuō)明了某個(gè)發(fā)現(xiàn),或提煉出哲思或禪意。

  我注意到了空也靜詩(shī)歌中將世界濃縮的功力,讓偌大的世界變小,進(jìn)入我們的茶杯,或掌心,成為渾圓的玩物。這方面其實(shí)也涉及到空也靜觀察世間萬(wàn)物的方式,他更多把龐大的事物變小,又不喪失它的鮮活和個(gè)性。也許從遙遠(yuǎn)處看世界,如觀察月亮,站在地面上觀看更理想也更美些。甚至觀察一個(gè)人,靠得太近也看不清,甚至?xí)村e(cuò)。

  這本詩(shī)集中的《雨夜》《藏家女孩》《草原》《路遇》等,也都是寫(xiě)的平凡的小人物的命運(yùn)。誠(chéng)然,即使是寫(xiě)“苦難”的“真”,也是有虛飾性的,并非一比一的描繪,“服從于自己的內(nèi)心”應(yīng)是作為詩(shī)人的底線。具體詩(shī)性鋪陳的“假與幻”,如《街頭》中“他像一只沉睡的花豹”和“像一片枯黃的葉子”,比現(xiàn)實(shí)中的“真與實(shí)”更有文本價(jià)值,“假”和“真”的交遞行進(jìn)和相互融合,很能考驗(yàn)詩(shī)人善良意志和詩(shī)性修養(yǎng)。

  陳啊妮:中國(guó)化工作協(xié)會(huì)員,作品在《詩(shī)刊》《詩(shī)潮》《星星》《揚(yáng)子江》《詩(shī)選刊》《詩(shī)歌月刊》《延河》《詩(shī)林》等百余家期刊發(fā)表并入選多部選本。評(píng)論入圍第六屆《詩(shī)探索》中國(guó)詩(shī)歌發(fā)現(xiàn)獎(jiǎng)。著有《與親書(shū)》(合集)。居西安。
 

  2、詩(shī)歌閱讀與留學(xué)生教育的思考
  常曉通

  大家好!很榮幸能在這里就魏彥烈的詩(shī)集《遍地鄉(xiāng)愁》與大家進(jìn)行交流探討。在仔細(xì)研讀這本詩(shī)集后,我有以下三點(diǎn)深刻的體會(huì)。

  首先,是歷經(jīng)歲月沉淀后的深刻感悟。這種沉淀讓他的鄉(xiāng)愁更是對(duì)人生旅程的回顧與感慨。我們能從詩(shī)中讀到他對(duì)過(guò)去時(shí)光的珍視和對(duì)生活真諦的探尋(《登大雁塔》《中秋節(jié)》),這是只有經(jīng)歷過(guò)歲月洗禮的人才能傳達(dá)出的厚重感。其次,是軍人本色與詩(shī)人情懷的融合。盡管已經(jīng)退休,但軍人的堅(jiān)毅、果敢和擔(dān)當(dāng)依然在詩(shī)中若隱若現(xiàn)(《兵馬俑》《八一》《青春》《草原》《可可西里》)。他用詩(shī)歌的形式抒發(fā)著內(nèi)心的情感,這種獨(dú)特的融合讓詩(shī)集具有了別樣的魅力,既有著剛性的力量,又有著柔性的溫情。最后,是對(duì)生活始終保持的熱愛(ài)與敏銳。即使已經(jīng)退休,離開(kāi)了緊張的軍旅生活,作者依然能以細(xì)膩的心去感受生活中的點(diǎn)點(diǎn)滴滴。從故鄉(xiāng)的一草一木到生活中的瑣碎細(xì)節(jié),他都能從中捕捉到詩(shī)意。這讓我們明白,真正的詩(shī)人無(wú)論處于何種境地,都能發(fā)現(xiàn)美、感受美,并將其轉(zhuǎn)化為動(dòng)人的詩(shī)句。這種對(duì)生活不褪色的熱愛(ài)和敏銳的感知力,是非常值得我們學(xué)習(xí)和借鑒的。

  對(duì)于留學(xué)生教育的思考:第一:文化融合與理解:讓留學(xué)生更直觀地感受不同文化在詩(shī)歌這種藝術(shù)形式中的碰撞與融合,增進(jìn)對(duì)中國(guó)文化和西方文化的雙重認(rèn)知,從而更好地適應(yīng)多元文化環(huán)境。第二:審美培養(yǎng)與情感共鳴:詩(shī)歌的美感能培養(yǎng)留學(xué)生的審美情趣,不同文化背景下詩(shī)歌所傳達(dá)的情感也能引發(fā)他們內(nèi)心的共鳴,豐富他們的情感體驗(yàn)。第三:培養(yǎng)文化交流能力:借助雙語(yǔ)詩(shī)歌,引導(dǎo)留學(xué)生進(jìn)行跨文化的比較和分析,提升他們?cè)诙嘣幕h(huán)境中交流、合作與理解的能力。第四:增強(qiáng)文化自信:讓留學(xué)生深入了解中國(guó)詩(shī)歌的魅力,有助于增強(qiáng)他們對(duì)中國(guó)文化的認(rèn)同感和尊重,同時(shí)也讓中國(guó)學(xué)生更加珍視自己的文化傳統(tǒng),增強(qiáng)文化自信。

  常曉通:副教授,1985年生,西北工業(yè)大學(xué)力學(xué)博士,山西屯留人,現(xiàn)為西北工業(yè)大學(xué)力學(xué)與土木建筑學(xué)院土木工程系主任,曾在火箭軍某部服役多年。長(zhǎng)期致力于高等教育與結(jié)構(gòu)動(dòng)力學(xué)領(lǐng)域的理論與實(shí)踐研究,發(fā)表相關(guān)學(xué)術(shù)論文二十余篇,指導(dǎo)學(xué)生獲獎(jiǎng)多次。
 

  3、Yaqoobfahad(巴基斯坦):

  summary of the poem "秋葉" (Autumn Leaves) by Wei Yanlie
 

  The poem vividly depicts the scene of autumn leaves falling. With a gentle scratch by the wind, leaves start falling like flakes of dandruff, piling higher and higher. The accumulating leaves eventually bury this entire autumn season, along with the remnant scenery stored in the poet's memory. Only a few dry twigs are left, holding up a lingering dream of autumn.

  The falling of leaves symbolizes the passing of time and the fading of memories. The poet stays up all night with red eyes, perhaps reminiscing about the past. Autumn represents a melancholic period of life's cycle, when things wither and die before renewal in spring.

  The poem employs vivid imagery and personification. The wind is portrayed as actively scratching and causing the leaves to fall. The leaves are likened to dandruff flakes, creating a tangible image of their lightness as they descend. The dry twigs left behind are given the human quality of "holding up" a dream, imbuing them with purpose.

  Overall, the poem captures the bittersweet feeling of autumn - the beauty of the changing colors contrasted with the sadness of nature's decline. The falling leaves serve as a metaphor for the transient nature of life, memories fading, and the passing of time. Yet the few remaining twigs suggest hope and the continuation of the cycle into the next spring.

Yaqoobfahad(巴基斯坦)


 

  4、樸素情懷中的真誠(chéng)傾訴
  凌曉晨

  空也靜的詩(shī)集《遍地鄉(xiāng)愁》收錄127首詩(shī),英漢雙語(yǔ),的確是自我詩(shī)歌經(jīng)驗(yàn)的一次重大選擇和挑戰(zhàn)。

  一、樸素的性格給予真誠(chéng)的傾訴。詩(shī)歌是橋梁,對(duì)生活的認(rèn)識(shí),對(duì)詩(shī)歌的直覺(jué)和敏感,才是我們討論的主要話題。他當(dāng)兵帶兵直到退伍,是他個(gè)人生活的真實(shí)部分,另一部分則是詩(shī)歌。剛正不屈,堅(jiān)硬無(wú)比,如懸崖,如峭壁,更如大河中心的中流砥柱。我對(duì)他的感覺(jué)就是基巖的整體,穩(wěn)定無(wú)比,難以移動(dòng),真正的顯示了我們民族的性格本質(zhì)和堅(jiān)韌不屈。他的樸素不是一般的,而是根本性的,從他的詩(shī)中你不僅可以看出,而且能夠直接進(jìn)入人心,具有真切的傷害,甚至流血流淚。二、精悍的短小顯明詩(shī)眼的位置??找察o的詩(shī),都很短,短到讓我感覺(jué)仍然可以繼續(xù)寫(xiě),有必要的話再增加三四段。然而,他的短是一種濃度的收縮,是干裂之后的大地上的皺紋,是枯死之后仰面天空的樹(shù)枝,是大地深處埋藏的巖石。

  三、鄉(xiāng)愁意識(shí)讓他的詩(shī)情鋪天蓋地。他是悲憤的,詩(shī)人的悲憤有二種選擇:一種是對(duì)現(xiàn)實(shí)有著特別真切的語(yǔ)言沖擊和思維慣性;二是長(zhǎng)期的思慮會(huì)變?yōu)閴阂种蟮钠渌螒B(tài)??找察o的鄉(xiāng)愁,是一種鋪天蓋地而來(lái)的想象,他的所選的詩(shī)都能夠回到故鄉(xiāng),回到童年,回到純凈的直視。四、詩(shī)意的位置與精神的揚(yáng)棄??找察o的《遍地鄉(xiāng)愁》所收的詩(shī),只是他詩(shī)歌的一部分,不能呈現(xiàn)他的主要的詩(shī)歌經(jīng)驗(yàn)。他的詩(shī),一方面堅(jiān)定地站在現(xiàn)實(shí)的基礎(chǔ)上,意象的獲取不是盲目的,而是有來(lái)源的,具有根深蒂固的原生形態(tài);另一方面,他的詩(shī)有深藏的觸感和外延的擴(kuò)大,加之其氣勢(shì)磅礴的展開(kāi),又若虎豹一樣的迅猛異常的收束。

  凌曉晨:男,1963年10月,陜西永壽人。中國(guó)作家協(xié)會(huì)會(huì)員,中國(guó)詩(shī)歌學(xué)會(huì)會(huì)員,高級(jí)工程師。有1400余首詩(shī)歌在《人民文學(xué)》《人民日?qǐng)?bào)》《詩(shī)刊》《星星》《綠風(fēng)》等50家刊物發(fā)表,詩(shī)歌作品多次獲得國(guó)內(nèi)大獎(jiǎng)。出版詩(shī)集《黃土色澤》《水荒》《火眼睛》《殿堂》《金屬記憶》《天堂》,入選50多本詩(shī)歌選集。
 

  5、AliHamza(巴基斯坦):

  Wei Yanlie's poems capture the essence of nostalgia, melancholy, and the fleeting nature of life using vivid imagery and metaphors. They evoke a longing for one's hometown and past memories, often symbolized through natural elements like fallen leaves, wind, and moonlight.

  Nostalgia and Memories

  In "Late Autumn," the path is compared to "an air-dried sausage filled with nostalgia." In "Night," dreams are "lost in the growing thickness of snow." "Winter Days" personifies the haze as "a pustule pierced by late rain." Many poems reflect on aging, such as in "The Old Man," where the poet envisions his future self as "a pile of clay molded into a human image by wind." Memories of childhood and hometowns frequently appear. In "A Shadow Puppet," past events are revealed through finger movements. "Migrant Workers" likens hometowns to "a waning moon," while "Late Autumn" describes how "the past fades," but "loneliness hides in an album, licking its old scars and new wounds."

  Nature and Cycles of Life

  Nature is a recurring theme, symbolizing the cycle of life. In "Spring Breeze," leaves become "weapons for charging," and flowers use "beauty tricks," with thunder and lightning making "a feint to the East but attack in the West." "Autumn Rain" describes "curling smoke from kitchen

  chimneys" that brings past events to light. Seasonal changes are depicted vividly. In "Autumn Leaves," "a gentle scratch by the wind" causes leaves to "fall like flakes of dandruff, piling higher and higher." "Cold Dew" features a pomegranate's grin making "maple leaves blush half the hillside," while the autumn wind "eats up the chirping of birds."

  Social Commentary

  Some poems address social issues and human nature. "Migrant Workers" describes their sweat as "reserved seeds" scattered on city edges. "Freeing Captive Animals" laments that people are quick to "free a sheep, a fish, or a cow," but reluctant to "set free a man" from "slanders, curses, plots." "Life" paints a bleak picture, with "the face of life" deformed by "old hatred piled with new wounds," and the "secularity between black and white" causing "calluses all over the face." "Self Mockery" suggests that when "poetry loses its past temptation," one must "remove the signboard of the exclusive shop and shift to selling articles of daily use."

  Poetic Techniques

  Wei Yanlie uses vivid metaphors and personification throughout his work. In "Cableway," the cable car "spreading its wings like a bird flying higher and higher" dives into the sky. "Maple Leaves" are compared to "a butterfly spreading its frightened wings at dusk." Contrasts are frequent, as in "Sheep and Shepherds," where "the sheep are concerned about the grass while the shepherds are only obsessed with mutton." In "Topic," the poet says, "even if I can't afford an apartment, at least I can eat my fill to become plump and sturdy." The poems blend reality with imagination and surreal elements. In "Lover," after "the lamp is extinguished, she plods on the moonlit road step by step, close to me." In "Mid-Autumn Festival," "the past, like a headless and tailless fish, swims around and never gets hooked."

  Overall, these poems offer a poignant exploration of human emotions, societal issues, and the beauty and transience of the natural world through Wei Yanlie's masterful use of imagery, metaphor, and lyrical language.
 

AliHamza(巴基斯坦)
 

  6、軍旅生涯的詩(shī)意情懷
  
朱寧

  我寫(xiě)不了詩(shī),能參加這個(gè)研討會(huì),全憑與作者的感情。利用這個(gè)機(jī)會(huì),想說(shuō)三點(diǎn)。

  1、豐富的工作閱歷,拓展了詩(shī)歌創(chuàng)作的觸角。空也靜在部隊(duì)服役30多年,先后在野戰(zhàn)部隊(duì)、邊防部隊(duì)、預(yù)備役部隊(duì)、省軍區(qū)系統(tǒng)任過(guò)職,有團(tuán)、師、集團(tuán)軍、大軍區(qū)機(jī)關(guān)工作經(jīng)歷。擔(dān)任過(guò)指導(dǎo)員,教導(dǎo)員,政治處主任,團(tuán)政委,軍分區(qū)政治部主任。足跡踏遍了西北五省區(qū)。這些豐富的工作經(jīng)歷、人生閱歷,以及大西北的風(fēng)土人情、一草一木,不失時(shí)機(jī)地融入他的詩(shī)歌,為他創(chuàng)作提供了豐富的素材、感悟與靈感,極大地拓展了詩(shī)歌創(chuàng)作的視野。

  2、扎實(shí)的文字功底,夯實(shí)了詩(shī)歌創(chuàng)作的基礎(chǔ)??找察o在部隊(duì)長(zhǎng)期從事政治工作,特別是擔(dān)任過(guò)機(jī)關(guān)宣傳、秘書(shū)、組織科長(zhǎng)或處長(zhǎng),這些崗位在部隊(duì)都是跟材料打交道的,是大家眼里的筆桿子。多年的崗位歷練,極大地提升了他的思辯能力、理論水平和寫(xiě)作技能,練就了過(guò)硬的文筆,也加重了對(duì)文字的興趣與熱愛(ài),讓他能輕車(chē)熟路地在字里行間游走,把一個(gè)個(gè)漢字,擺弄成優(yōu)美的文章,詩(shī)歌只不過(guò)是多年愛(ài)好的延續(xù),是另一種狀態(tài)的表達(dá),是多年積淀的一次爆發(fā)。

  3、持續(xù)不斷地發(fā)力,增強(qiáng)了詩(shī)歌創(chuàng)作的活力。近年來(lái),空也靜先生先后出版多部詩(shī)集,逐步形成自己獨(dú)特的寫(xiě)作風(fēng)格與鮮明的詩(shī)歌特性,靠不斷的努力和探索,得到越來(lái)越多人的肯定和追捧,成為部隊(duì)人員聚會(huì)繞不開(kāi)的話題。但他仍然保持初心,激情不減當(dāng)年,基本每天都在寫(xiě)。不斷有作品見(jiàn)于報(bào)刊雜志。他的詩(shī)帶有一定哲理性,善于以小見(jiàn)大,像銀針,像熱灸,令人怦然心動(dòng),或啞然失笑,或掩卷沉思,或引發(fā)共鳴……

  朱 寧:原預(yù)備役某團(tuán)政委
 

  7、鮮明的軍旅特色
  
李鴻印

  魏彥烈先生是我非常敬重的一位作家。彼此相識(shí)后,他的每一首詩(shī)歌我都能在第一時(shí)間讀到,他的作品常常給我啟迪,引發(fā)我的創(chuàng)作沖動(dòng)。首先,我覺(jué)得這本詩(shī)集取名《遍地鄉(xiāng)愁》非常好。鄉(xiāng)愁,自古就是文學(xué)作品永遠(yuǎn)寫(xiě)不完的主題。如今,望得見(jiàn)山,看得見(jiàn)水,記得住鄉(xiāng)愁,成為2013年中央城鎮(zhèn)化工作會(huì)議文件金句,引起全民共鳴,成為建設(shè)中國(guó)生態(tài)文明的重要內(nèi)容。詩(shī)人作為文化工作者,與時(shí)代脈搏同頻共振,共情共鳴,既是光榮責(zé)任,也是自覺(jué)義務(wù)。其次,從藝術(shù)表現(xiàn)手法上來(lái)看,魏彥烈的詩(shī),言短意長(zhǎng),意象飽滿、空靈悠遠(yuǎn)、引人入勝。

  再者,魏彥烈的詩(shī),具有鮮明的軍旅特色,正氣凜然、剛烈威猛,大愛(ài)仁厚、滿懷豪情。第四點(diǎn),魏彥烈的詩(shī),用詞精妙、語(yǔ)義豐富、含蓄雋永,令人回味無(wú)窮。當(dāng)然,魏彥烈的詩(shī),還有很多值得學(xué)習(xí)的地方,由于時(shí)間關(guān)系,我這里暫時(shí)先列舉這幾首,拋磚引玉,期待和其他文友共同研討交流。

  李鴻印,筆名曲直,陜西省作家協(xié)會(huì)會(huì)員、陜西省職工作協(xié)會(huì)員、陜西省國(guó)防職工攝影協(xié)會(huì)理事。一千余篇作品發(fā)表于《人民郵電》報(bào)、《通信企業(yè)管理》等期刊。作品入選《詩(shī)品短詩(shī)兩百家》《陜西文學(xué)年選•詩(shī)歌卷》等,詩(shī)文、攝影在省內(nèi)外多次獲獎(jiǎng),出版詩(shī)集《人間煙火》。
 

  8、空也靜:羌雜世間的拾貝人
  冷瑩

  在我平時(shí)的閱讀里,詩(shī)歌是必不可少的,現(xiàn)代詩(shī)歌里也有不少我喜歡的詩(shī)人,像劉年、張執(zhí)浩、張二棍等等,他們的作品都是我比較喜歡的。我想,好的文學(xué)作品,無(wú)論何種形態(tài),它的底色是相通的:對(duì)人世懷有樸素的慈悲。

  第一次讀到空也靜的詩(shī)集,內(nèi)心是即刻被觸動(dòng)的。后來(lái)我又陸續(xù)有意去讀了他更多的詩(shī)歌,包括他最新的詩(shī)集《遍地鄉(xiāng)愁》。他的詩(shī)歌立足現(xiàn)實(shí),心寄云端。他不寫(xiě)空話套話,踏實(shí)從生活的塵土里出發(fā),掏心窩子地向詩(shī)歌背后那些面目模糊的讀者們付出他靈魂的真誠(chéng)樸質(zhì)??找察o是一個(gè)值得長(zhǎng)久去追隨留意其作品的詩(shī)人。在他的身上,具備一個(gè)好的寫(xiě)作者應(yīng)具備的高敏體質(zhì),他以深刻的共情,敏銳于這世間的悲傷、苦痛,也敏銳于這世間的溫情與美好之處。每個(gè)寫(xiě)作者內(nèi)心深處都有一個(gè)無(wú)法回避的黑洞,它來(lái)源于對(duì)生命本質(zhì)的深層思考。寫(xiě)作,就是堅(jiān)持直視黑洞、叩問(wèn)自己答案的過(guò)程。在空也靜的詩(shī)歌里,你可以看得見(jiàn)這種不懈叩問(wèn)的身影,可以看見(jiàn),他在捍衛(wèi)生活真相的同時(shí),隨時(shí)在詩(shī)歌的意象世界里為靈魂奔突著潔凈的出口。在這羌雜的人世海灘上,詩(shī)人空也靜,是那個(gè)以極靜之心撿拾美好細(xì)微事物的拾貝人。

  當(dāng)每一本作品離開(kāi)作者,它就宛如一個(gè)新生孩童開(kāi)始了自己在這世道的飄泊。在此,衷心地祝福《遍地鄉(xiāng)愁》擁有它自己喜悅而幸運(yùn)的旅程。最后,借用空也靜自己的一句詩(shī)寄語(yǔ)他這本新的詩(shī)集:一切真相早已浮出水面,熟透的思想掛在枝頭。

  冷 瑩:中國(guó)作家協(xié)會(huì)會(huì)員,中國(guó)水利作協(xié)協(xié)會(huì)會(huì)員,中國(guó)報(bào)告文學(xué)學(xué)會(huì)會(huì)員。已發(fā)表散文、小說(shuō)、水利紀(jì)實(shí)等作品逾百萬(wàn)字。出版有小說(shuō)集《請(qǐng)晚點(diǎn)再離開(kāi)我》《所愛(ài)隔山海,山海亦可平》《遇見(jiàn)你之后,都是好時(shí)光》,散文《心若向陽(yáng),無(wú)謂悲傷》,國(guó)家重點(diǎn)工程南水北調(diào)長(zhǎng)篇紀(jì)實(shí)《丹心寄北流》等專著。
 

  9、Kaissi btissiam(摩洛哥):

  Ladies and Gentlemen,

  Today, I have the pleasure of speaking to you about a remarkable collection of poetry by WEI Yanlie, titled "遍地鄉(xiāng)愁" ("Everywhere Nostalgia"). This bilingual collection presents a profound exploration of life, nature, and human emotions through its vivid imagery and masterful use of metaphor.

  Each poem in this collection invites us to pause and reflect on the intricate tapestry of our existence, drawing us into a world where the natural and the human realms intertwine in delicate harmony. Let's embark on a brief journey through some of the key poems that make this collection so compelling.

  In "Wolves," WEI Yanlie transports us to a tranquil yet mystical scene where the arrival of spring and the melting snow are depicted as wolves painting the grassland with their brushes. The silent, watchful eyes of the wolves at night symbolize nature’s persistent and vigilant presence. This poem reminds us of the ever-watchful and unyielding force of nature that surrounds us, urging us to appreciate its beauty and power.

  "Ankang" offers us a moment of serene beauty and tranquility. Here, a beautiful night is soaked in river water, likened to a dream. The poet scoops up half of the moon and hangs it on a branch, allowing the wind to dry it gradually. This imagery reflects the ephemeral yet profound moments of peace that we experience, inviting us to cherish the quiet beauty of our surroundings.

  In "Spring Rain," the poet captures the capricious nature of spring weather, comparing dark clouds to cunning tricksters and the sky to a bluffer. The metaphor of a chess game reaching a critical juncture but lacking resolution highlights the playful and elusive characteristics of the season. It reminds us of the unpredictability of life and the joy in embracing its uncertainties.

  "Laba Festival" takes us back to basic, heartfelt values. The poet describes the need for a bowl of porridge to awaken humanity’s compassion, extracting nutrients from coarse grains and filtering out additives. This simple, traditional meal symbolizes a return to fundamental values, encouraging us to savor the essence of nostalgia and simplicity in our lives.

  The "Temple of Heaven" reflects on the historical and spiritual significance of this ancient structure. The poet describes the departure of the emperor and his dynasty, leaving behind loess at a historical crossroad. This imagery emphasizes the temple's timeless beauty and its deep spiritual connection, reminding us of our heritage and the continuity of history.

  In "Night," the evening becomes a time for reflecting on past events. The sunset pressing a button symbolizes dreams duplicating the past over and over. The moon, likened to a new stamp, and the wind, riding an old bicycle, contribute to this reflective and nostalgic scene. This poem invites us to contemplate our memories and the enduring impact of our past.

  "Blessing" speaks to the renewal of cherished words like happiness, auspiciousness, and health. These words are compared to firewood, essential and warming, symbolizing the continuity and warmth of blessings throughout life. The poem reminds us of the importance of preserving and cherishing the positive aspects of our lives.

  "Ginkgo" recounts the resilience and endurance of the ginkgo tree through adversities like famine, drought, and war. The tree's silent strength and ability to endure through the rise and fall of dynasties serve as a metaphor for stoic perseverance and silent wisdom. This poem encourages us to find strength in our resilience and to appreciate the silent wisdom we gain through life's challenges.

  "Red Willow" describes a lonely and desolate figure standing at dusk, surrounded by an endless Gobi. This imagery conveys feelings of isolation and the harsh realities of life, highlighting the resilience required to endure such conditions. It speaks to the human spirit's capacity to withstand and overcome adversity.

  "Returning Home" evokes the powerful imagery of hearts as arrows aimed at the homeland, with bodies growing wings for flight. The poem captures the restless and inevitable pull towards one's roots and the cycle of reunion and separation inherent in the human experience. It reminds us of the deep connections we have with our origins and the powerful emotions associated with returning home.

  Lastly, "The Old Man" uses the metaphor of sunlight dragged out of an old house, squatting at a wall corner, representing the drained vitality and the passage of time. The old man, like a pile of clay molded by wind, symbolizes the inevitable aging process and the reflection on one’s future self. This poignant poem urges us to reflect on our own journey through life and the passage of time.

  WEI Yanlie’s "遍地鄉(xiāng)愁" is a collection that intricately weaves themes of nature, historical continuity, and profound human emotions. The vivid imagery and metaphorical language invite us to reflect on our own experiences, emphasizing the timeless beauty and resilience inherent in the world around us. As we delve into these poems, we are reminded of the interconnectedness of all things and the enduring strength of the human spirit.

Kaissi btissiam(摩洛哥)
 

  10、他本身就是一首詩(shī)
  馬婷

  詩(shī)人的語(yǔ)言總是最富靈性,常以為寫(xiě)散文的人對(duì)文字要求高,又常常折服于詩(shī)人的語(yǔ)言中??找察o老師的詩(shī),尤為吸引人。雖是短而精,文字、意境、深度、思考、哲理以及許多人性的東西,又都暗涵其中,同時(shí)不失巧思與美感。有時(shí)讀之恍惚間覺(jué)得與劉亮程先生的散文予人的感覺(jué)很像??梢哉f(shuō)是短小中有大境界,精煉中含大乾坤。其形式自不必說(shuō)。短短幾句,拋出去,落下來(lái),即使人動(dòng)了心弦,觸動(dòng)、感懷、難受了。像幼時(shí)讀安妮寶貝(慶山),發(fā)現(xiàn)他善用短句,讀來(lái)清雅,淺淡,卻能扯得你生疼。這種形式,又符合當(dāng)下人的閱讀習(xí)慣。很快能抓住人,使得你瞬間思緒萬(wàn)千。

  最讓我觸動(dòng)的其實(shí)是巧思,如果說(shuō)每首詩(shī)的立意都很能抓人,那那種心思獨(dú)巧的表達(dá),更惹得人唏噓贊嘆。那詩(shī)中蘊(yùn)含的感情、哲思,詩(shī)人銳利的目光,和對(duì)當(dāng)下亂象的諷刺調(diào)侃,又將一個(gè)文人的、軍人的傲骨,責(zé)任、悲憫等心思淋漓盡顯。雖偶爾暗諷,但讀其詩(shī),又總有種寬容的,淡看一切的感覺(jué)。似一個(gè)智者看穿一切卻云淡風(fēng)輕的視角。所以私下里想,以前沒(méi)有系統(tǒng)地細(xì)讀空也靜老師的詩(shī),零散得看一些時(shí),只覺(jué)得好。細(xì)讀之后便覺(jué)不敢再見(jiàn)了,怕被詩(shī)人悄無(wú)聲息地剖析。推杯換盞間,已淡然看穿我們偶爾的偽裝或淺薄,而后成了詩(shī)歌中的符號(hào)。

  此外,其對(duì)萬(wàn)物的細(xì)膩感受亦教人唏噓。我總說(shuō)寫(xiě)作教不了,不是說(shuō)文字不能教,而是一個(gè)人的感受無(wú)法傳。一個(gè)人自身是俗的,作品自然是俗的。一個(gè)人是有靈氣的,他的感受不同,作品必然靈動(dòng)。人與人交往到最后,得以靈魂見(jiàn)靈魂時(shí),是拋卻了皮囊,沒(méi)有年齡身份之分的。那怎樣靈魂見(jiàn)靈魂,就是通過(guò)文字,通過(guò)讀其作品。以前可能認(rèn)得他是魏政委,是詩(shī)人,是把酒言歡,持茶共飲的相識(shí)?,F(xiàn)在了解,只是這個(gè)人,這位先生,他的內(nèi)心世界,他的靈魂。他本身就是一首詩(shī),一本書(shū),我讀懂了。

  馬婷:中國(guó)作協(xié)會(huì)員,西安市作協(xié)副秘書(shū)長(zhǎng)。作品見(jiàn)《中國(guó)作家》《青年作家》《山花》《雨花》《湖南文學(xué)》《四川文學(xué)》《邊疆文學(xué)》《人民日?qǐng)?bào)》《光明日?qǐng)?bào)》等。多篇作品被《散文選刊》轉(zhuǎn)載,并曾于《西安晚報(bào)》等開(kāi)設(shè)專欄。著有作品集《十畝之間》《靜居長(zhǎng)安》。曾獲“豐子愷散文獎(jiǎng)”;“冰心散文獎(jiǎng)”;“陜西青年文學(xué)獎(jiǎng)”等。作品《尺八》《酒?!繁环g成英文于國(guó)外發(fā)表,另有多篇作品選作“中小學(xué)語(yǔ)文閱讀試題”。入選:陜西省作協(xié)定點(diǎn)深入生活簽約作家,西安市委宣傳部“百青人才”等。

 
 11、若有所思的哲學(xué)意味
  段遙亭

  幾年之前,在一位文友的詩(shī)歌研討會(huì)上,與軍旅詩(shī)人空也靜有過(guò)一面之緣。這次應(yīng)邀參加他的雙語(yǔ)詩(shī)集《遍地鄉(xiāng)愁》首發(fā)式暨詩(shī)歌研討會(huì),恰逢周末一場(chǎng)夏雨,給酷暑難耐的城市帶來(lái)了一些涼爽。因?yàn)槿松?jīng)歷與生活地理的緣故,我對(duì)西部邊疆、青藏高原有一種特殊的感情??找察o曾經(jīng)在青海、甘肅等地從軍30多年。古往今來(lái),西部邊陲都是盛產(chǎn)邊塞詩(shī)歌的高地,青海地區(qū)也從未缺席。早先年被譽(yù)為“青海的高車(chē)”昌耀,后來(lái)的詩(shī)人、詩(shī)評(píng)家燎原,都綻放出“思想的格?;?rdquo;??找察o是緊隨其后的高原詩(shī)人的繼承者。

  印象中的空也靜保持著一種冷靜的思考狀態(tài),似乎與喧囂的人間煙火保持了一點(diǎn)距離。卻不失一種敏感的觀察力與創(chuàng)作熱情。他的身上沒(méi)有人到中年未老先衰的暮氣與慌亂,保持了一個(gè)老兵退役不褪色的軍人氣質(zhì)。詩(shī)歌已成為他日常生活中不可分割的一部分,詩(shī)歌的存在使他的生活多了一份詩(shī)意和美感,并伴隨著一種若有所思的哲學(xué)意味。我零星讀過(guò)其中一些作品,大多數(shù)為身輕如燕的短詩(shī),就像一只快速反應(yīng)部隊(duì)縱深穿越無(wú)人區(qū),探索發(fā)現(xiàn)一個(gè)人獨(dú)特的精神視野。

  段遙亭:陜西白水人。中國(guó)作家協(xié)會(huì)會(huì)員,新疆作家協(xié)會(huì)會(huì)員,陜西文藝評(píng)論家協(xié)會(huì)會(huì)員。作品散見(jiàn)于《中國(guó)民族報(bào)》《人民陸軍》《西部》《西南軍事文學(xué)》《青海湖》《延河》《草原》《詩(shī)潮》等百余家報(bào)刊。散文集《野馬天山》入圍第六屆魯迅文學(xué)獎(jiǎng),出版作品集《有水曰白》、詩(shī)集《馬背上的光陰》多部。曾獲新疆詩(shī)歌節(jié)二等獎(jiǎng)。
 

  12、赤誠(chéng)與悲憫的合唱
  蘇桓稼

  小時(shí)候,很多次,沉浮間,我熱愛(ài)并向往著軍旅生涯,向往“蟬鳴空桑林”,向往“幽并客”“玉關(guān)情”,向往邊疆、戈壁孤懸的皓月——像書(shū)的腰封,像一首絕句。后來(lái)固然走上別的道路,但情愫常在。魏彥烈先生懷著詩(shī)意尋味軍旅。這種詩(shī)意是鏗鏘的,也是柔韌的,是“風(fēng)的刀尖”“大江南北”,也是“春天遠(yuǎn)方”玉蘭花瓣。他將赤誠(chéng)和悲憫澆灌成秦川、星光與鄉(xiāng)愁,于寫(xiě)實(shí)的鋼鐵和寫(xiě)意的草木中怡然自得地游走。

  每個(gè)人都有自己對(duì)詩(shī)的考量,準(zhǔn)確、警醒、平衡、迷惑,甚至無(wú)為,這絕非物理的長(zhǎng)度或者可見(jiàn)的空間能夠理清。腐朽或不朽,相遇或不遇,只有珍重,不可名狀。尤其在中國(guó)這個(gè)詩(shī)的國(guó)度,有關(guān)詩(shī)的一切,都該得到應(yīng)有的尊重。魏彥烈先生喜短句,善短詩(shī),但耐讀,耐人尋味。我猜這與他多年來(lái)在西北五省的軍旅工作有關(guān),或者有一定的關(guān)系。俠骨柔情,鐵血擔(dān)當(dāng),英雄氣概,風(fēng)霜雨雪,自然總是快意的,如刃如劍,又倚天萬(wàn)里。他的筆名“空也靜”也相對(duì)闡釋了幾分他對(duì)詩(shī)歌的看法與展望。

  六月的西安,再讀魏彥烈先生的新作《遍地鄉(xiāng)愁》,那些骨骼般堅(jiān)硬的信仰,身后遠(yuǎn)去的桃花與往事,周旋于人世的依偎與疏離,仿佛躍然同一個(gè)舞臺(tái)合唱生命,成為窗外清澈的蟬鳴。也許蟬鳴會(huì)在仲夏的喉嚨里沙啞、失聲,但鄉(xiāng)愁永不會(huì)老去。

  蘇桓稼:詩(shī)人,導(dǎo)演。1992年出生于寧夏。寧夏作家協(xié)會(huì)會(huì)員,陜西省柳青文學(xué)研究會(huì)會(huì)員。先后任職于香港文匯報(bào)、寧夏電視臺(tái)、西安電視臺(tái)。作品發(fā)表于《星星》《詩(shī)潮》《杭州日?qǐng)?bào)》《西安日?qǐng)?bào)》《蘭州日?qǐng)?bào)》《文化藝術(shù)報(bào)》等報(bào)刊?,F(xiàn)居西安。
 

  13/Yasmine maha(摩洛哥):

  Ladies and gentlemen,

  Today, I am honored to speak to you about WEI Yanlie’s remarkable bilingual collection, "遍地鄉(xiāng)愁" (translated as "Nostalgia Everywhere"). This anthology is a tapestry of poetic reflections that intertwine themes of life, nature, and the profound spectrum of human emotions. Each poem within this collection offers a unique window into the intricate beauty and resilience of the world around us.

  Let us begin with "Wolves." Here, Yanlie presents a scene that is both tranquil and mystical. The imagery of wolves arriving with the spring, painting the grassland with their brushes, evokes a sense of nature's persistent and vigilant presence. The silent, watchful eyes of the wolves at night symbolize an ever-present guardian, highlighting the unyielding and omnipresent spirit of nature.

  In "Ankang," Yanlie beautifully portrays a serene night soaked in river water, likened to a dream. The poet captures a moment of tranquil beauty by scooping up half of the moon and hanging it on a branch to dry in the wind. This imagery speaks to the ephemeral nature of serenity and the fleeting yet precious moments of peace we encounter.

  The capriciousness of spring is vividly depicted in "Spring Rain." Dark clouds are portrayed as cunning tricksters and the sky as a bluffer in a chess game at a critical juncture. This metaphor encapsulates the playful and elusive characteristics of spring, emphasizing the unpredictable dance of weather and life itself.

  "Laba Festival" takes us back to the basics of human compassion through the simple act of savoring a bowl of porridge. By extracting nutrients from coarse grains and filtering out additives, Yanlie underscores the importance of returning to heartfelt values and appreciating nostalgia in its purest form.

  "Temple of Heaven" delves into historical and spiritual reflection. The poet describes the departure of the emperor and his dynasty, leaving behind loess at a historical crossroad. This imagery underscores the timeless beauty and deep spiritual connection of the Temple of Heaven, a symbol of historical continuity and spiritual endurance.

  "Night" offers a reflective journey through time. The sunset pressing a button symbolizes dreams that replicate past events, while the moon, likened to a new stamp, and the wind riding an old bicycle, contribute to a scene filled with nostalgia and reflection.

  In "Blessing," Yanlie metaphorically cleanses and renews cherished words such as happiness, auspiciousness, and health. These words, compared to firewood, symbolize the continuity and warmth of blessings that sustain us through life's journey.

  The poem "Ginkgo" stands as a testament to resilience and endurance. The ginkgo tree, surviving through famine, drought, and war, symbolizes stoic perseverance and silent wisdom. It serves as a metaphor for enduring strength amidst the adversities of life.

  "Red Willow" paints a picture of isolation and desolation. The lone figure standing at dusk in the Gobi Desert highlights the resilience required to endure life's harsh realities, embodying a profound sense of solitude and endurance.

  "Returning Home" evokes the powerful imagery of hearts as arrows aimed at the homeland. This poem captures the restless and inevitable pull towards one's roots, emphasizing the cycle of reunion and separation inherent in the human experience.

  Lastly, "The Old Man" reflects on the passage of time and the inevitable process of aging. The metaphor of sunlight dragged out of an old house, squatting at a wall corner, symbolizes the drained vitality and the reflection on one’s future self.

  Each poem in WEI Yanlie’s collection intricately weaves together themes of nature, historical continuity, and profound human emotions. Through vivid imagery and metaphorical language, Yanlie invites readers to reflect on their own experiences, emphasizing the timeless beauty and resilience inherent in the world around us.

  Thank you.

asmine maha(摩洛哥)
 

  14、一縷炊煙 一味鄉(xiāng)愁
  李李

  在一首題為《草原》的詩(shī)里,空也靜老師這樣寫(xiě)道:“羊群沿著山坡/被一條鞭子趕到天空/累了/隨便一個(gè)姿勢(shì)/一動(dòng)不動(dòng)迷糊一會(huì)/有時(shí)也會(huì)撕下一縷陽(yáng)光/嚼上大半天/一有風(fēng)吹草動(dòng)/撒腿便跑/像一群無(wú)人看管的野孩子/天黑了/才肯回到地上。”讀到這首詩(shī)的時(shí)候,眼前出現(xiàn)了一幅生動(dòng)而略帶奇幻色彩的畫(huà)面,詩(shī)人給羊群的生活賦予了詩(shī)意的自由與靈動(dòng),傳達(dá)一種超越現(xiàn)實(shí)、追求自由與夢(mèng)想,同時(shí)又不失對(duì)現(xiàn)實(shí)的依歸和理解的生活哲學(xué),充滿了浪漫主義色彩,很喜歡這樣的詩(shī)。我又自然想到了老師的筆名空也靜,遼遠(yuǎn)而寂靜的意境,豁達(dá)而自信的心境。如果說(shuō)筆名會(huì)對(duì)一個(gè)人的寫(xiě)作具有一定的暗示性,我覺(jué)得空也靜老師更是將自己在西部多年的軍旅生涯在生命中的印痕,轉(zhuǎn)化成朝夕相伴的筆名和源源不斷的詩(shī)句,滋養(yǎng)著精神的富足。

  從作品中不難讀出,空也靜老師果敢而又雷厲風(fēng)行,是一個(gè)有著敏銳感知力的詩(shī)者,他總能從生活里最平常的事物,體驗(yàn)出獨(dú)特的認(rèn)知,并且能用最簡(jiǎn)潔而凝練的詩(shī)句將這些或憐憫或哲理或傷痛表現(xiàn)出來(lái)??找察o老師的詩(shī)作大多短小精悍,明快又簡(jiǎn)約,準(zhǔn)確而又生動(dòng),作品中呈現(xiàn)出的特點(diǎn)都與老師的軍旅生活所鍛造出的高貴品格有關(guān)。

  空也靜老師擅長(zhǎng)從現(xiàn)實(shí)處境出發(fā),不經(jīng)意間就把讀者的視野拉到更廣闊的時(shí)空,在這過(guò)程中,詩(shī)人切換著鏡頭,在你正欣賞美景時(shí),又戛然而止,給你留下無(wú)盡的回味和思考。如《可可西里》中詩(shī)人這樣寫(xiě)道:“我的內(nèi)心/ 有一大片撂荒的土地/從來(lái)都沒(méi)有人能夠抵達(dá)/牦牛馱著云朵/遷徙/ 陽(yáng)光灼傷眺望的目光/寂寞比可可西里/還多出幾里。”詩(shī)人從內(nèi)心深處情感入題,接著鏡頭一轉(zhuǎn)就是可可西里牦牛遷徙的壯觀景象,當(dāng)我們正感嘆生命在自然面前的堅(jiān)韌與自由的時(shí)候,詩(shī)人又筆鋒一轉(zhuǎn),描述高原日照下眺望遠(yuǎn)方時(shí)的刺痛感受,讀者還沒(méi)有從作者追求夢(mèng)想所承受的苦痛之中跳出,詩(shī)句已止,留給讀者的是更多的思考空間,在現(xiàn)代社會(huì)的喧囂中,我們是否也有一片未曾被觸及的心靈荒原,我們?nèi)绾卧谧匀慌c自我之間找到和諧共處的方式。

  李李:筆名陌小小,陜西省作家協(xié)會(huì)會(huì)員,中國(guó)詩(shī)歌學(xué)會(huì)會(huì)員。作品散見(jiàn)《詩(shī)刊》《綠風(fēng)》《詩(shī)選刊》《詩(shī)潮》《詩(shī)歌月刊》等。著有詩(shī)集《風(fēng)的肋骨》。
 

  15、以秋之名,歸心回鄉(xiāng)
  南苡

  題目,在一首詩(shī)中的作用,作為作者情感的出發(fā)點(diǎn),魏彥烈老師的每首詩(shī),都在以題提筆,以題定詩(shī)。作者結(jié)合自身經(jīng)歷,尋找不同的生活素材,于此寄托情感并以細(xì)膩的表現(xiàn)方式,給人以哲思哲理性的啟示,產(chǎn)生共鳴。在雙語(yǔ)詩(shī)集《遍地鄉(xiāng)愁》中,魏彥烈老師以時(shí)間,地點(diǎn),人物為大方向,將短小的詩(shī)句涂寫(xiě)在《老屋》生銹的的門(mén)鎖上;《秋天》落葉的暗示里;《情人》靠近的燈火旁。

  作為一個(gè)地道的陜西關(guān)中人,魏彥烈老師的詩(shī)如戲曲老生般干脆,利落,卻又不失詩(shī)者般柔情,婉約。寫(xiě)詩(shī)無(wú)關(guān)乎就是人生的態(tài)度,人對(duì)人的態(tài)度,人對(duì)物的態(tài)度。淺淺的《年輪》,“一圈緊套著一圈/纏入身體……宣判了/一棵樹(shù)的末日。”環(huán)環(huán)相扣,生長(zhǎng),壯大,愈纏愈大,愈纏愈緊,繞到一定程度,就是盡頭,而隨著時(shí)間推移,樹(shù)也會(huì)老,會(huì)死。人何嘗不是一樣,或平凡,或高貴,在年輪增加的歲月里,愈到最后,才愈知足。

  魏彥烈老師在生活縫隙,以詩(shī)歌的力量,鑲嵌著自己對(duì)世間萬(wàn)物,所觸動(dòng)的思索和情感。時(shí)光的指針,在詩(shī)人手中,標(biāo)記草原,青春,遠(yuǎn)方,影子。那些被魏彥烈老師羅列的文字,正在以秋天的名義,播撒遍地,叩問(wèn)故鄉(xiāng)。

  南苡:本名陳遲,1992年生,陜西禮泉人。作品散見(jiàn)于《詩(shī)選刊》《星星》《延河》《散文詩(shī)》等刊。中國(guó)作家網(wǎng)2023年“本周之星”,有作品入選多種選本。
 

  16、感悟日常世界的詩(shī)意本質(zhì)
  劉忠華

  讀空也靜先生的詩(shī),我想起了唐代的絕句,想起了元代的小令,想起了日本的俳句,想起了伊朗著名詩(shī)人阿巴斯和他的《一只狼在放哨》,甚至想起了美國(guó)詩(shī)人加里·斯奈德的詩(shī)——這些詩(shī),它們有一個(gè)共同特征:篇幅短小,構(gòu)思精妙,意境空靈,充滿禪意和禪趣,是詩(shī)人與日常世界的瞬間相遇迸發(fā)出來(lái)的感悟,而且這些感悟直擊心靈和世界的本質(zhì)。

  空也靜先生詩(shī)集中的115首精妙的短詩(shī),少有宏大的命題,只注意書(shū)寫(xiě)日常世界的所見(jiàn)所感,寫(xiě)對(duì)日常事物的本真發(fā)現(xiàn)與體驗(yàn),不刻意,不隱瞞,仿佛是信手拈來(lái),卻自在自如,每一首詩(shī)都自成一個(gè)世界,感傷而溫暖,迅疾又永恒,抽象又細(xì)微,是詩(shī)人對(duì)周周遭世界的專注凝視和細(xì)微體察。這些詩(shī)常常引領(lǐng)我們重新審視身邊的日常事物和美好景象,感悟日常世界的詩(shī)意本質(zhì),語(yǔ)言靈動(dòng),比喻新奇,尤其是一些動(dòng)詞特別富有詩(shī)意(“仿佛有一只手/從黃昏伸出/在頭頂輕輕地/摸了一下”—19《法門(mén)寺》;“我從夢(mèng)里咬出/一枚硬幣”— 21《冬至》等等),給人帶來(lái)不一般的閱讀體驗(yàn)和審美感受。我尤其喜歡和欣賞如5《天壇》、6《夜晚》、12《春天》、13《霧霾》、15 遠(yuǎn)方 16 年輪23 秋天24《晚秋》、46《中秋》、49《漢中》、53《山村》、57《楓葉》、64《中秋節(jié)》、72《秋葉》、75《雨傘》、78《草原》、86《舊書(shū)攤》、91《童年》、96《瞬間》、101《老屋》、102《夏風(fēng)》、106《清晨》、113《月亮》等,我覺(jué)得這些詩(shī)充分體現(xiàn)我前面所講到的特征。因?yàn)闀r(shí)間關(guān)系,恕不一一展開(kāi)。

  劉忠華:湖南道縣人,現(xiàn)居湖南零陵,供職于湖南科技學(xué)院中文系,碩士,副教授。公開(kāi)發(fā)表大量詩(shī)歌和評(píng)論,出版詩(shī)集《時(shí)間的光芒》《對(duì)一條河流的仰望》等3部,曾獲魯藜詩(shī)歌獎(jiǎng)、第5屆葉圣陶教師文學(xué)獎(jiǎng)等。系中國(guó)作家協(xié)會(huì)會(huì)員,湖南省詩(shī)歌學(xué)會(huì)理事,湖南省文藝評(píng)論家協(xié)會(huì)理事,永州市文藝評(píng)論家協(xié)會(huì)主席。
 

  17、KhawajaHaseebMagbool(巴基斯坦):

  Summary of "遍地鄉(xiāng)愁" by WEI Yanlie

  The poem "遍地鄉(xiāng)愁" is a bilingual collection by WEI Yanlie that reflects on diverse themes encompassing life, nature, and human emotions. Here is a precise summary of the key poems in the collection:

  Wolves

  The poem "Wolves" presents a tranquil yet mystical scene where the arrival of spring and the melting snow are depicted as wolves painting the grassland with their brushes. The imagery of wolves, along with the silent, watchful eyes at night, symbolizes nature’s persistent and vigilant presence.

  Ankang

  "Ankang" portrays a beautiful night soaked in the river water, likened to a dream. The poet scoops up half of the moon and hangs it on a branch, allowing the wind to dry it gradually. This imagery reflects a moment of serene beauty and tranquility.

  Spring Rain

  In "Spring Rain," the poet captures the capricious nature of spring weather, comparing dark clouds to cunning tricksters and the sky to a bluffer. The metaphor of a chess game reaching a critical juncture but lacking resolution highlights the playful and elusive characteristics of the season.

  Laba Festival

  "Laba Festival" describes the need for a bowl of porridge to awaken humanity’s compassion, extracting nutrients from coarse grains and filtering out additives. This simple, traditional meal symbolizes a return to basic, heartfelt values and the savoring of nostalgia.

  Temple of Heaven

  "Temple of Heaven" reflects on the historical and spiritual significance of the Temple of Heaven. The poet describes the departure of the emperor and his dynasty, leaving behind loess at a historical crossroad. This imagery emphasizes the temple's timeless beauty and its deep spiritual connection.

  Night

  "Night" illustrates the evening as a time for reflecting on past events. The sunset pressing a button symbolizes dreams duplicating the past over and over. The moon, likened to a new stamp, and the wind, riding an old bicycle, contribute to this reflective and nostalgic scene.

  Blessing

  In "Blessing," the poet metaph

KhawajaHaseebMagbool(巴基斯坦)
 

  18、關(guān)于空也靜老師詩(shī)集《遍地鄉(xiāng)愁》之我談
  長(zhǎng)安肆少
 

  空也靜老師是一個(gè)活躍于網(wǎng)絡(luò)時(shí)代的詩(shī)人,他的作品卻并不是網(wǎng)絡(luò)中的快餐文學(xué),而是展現(xiàn)了現(xiàn)代新詩(shī)的獨(dú)特魅力,可以說(shuō),每一首都凝練、生動(dòng)、飽含生活的韻味和人生哲思,包含了蒼涼,飄零與流逝,也包含了堅(jiān)持,熱愛(ài)與永恒,就像今天拿在手上的這本詩(shī)集《遍地鄉(xiāng)愁》一樣。

  閱讀這本詩(shī)集,我們能看到寫(xiě)作者對(duì)新詩(shī)形式的運(yùn)用爐火純青,對(duì)詩(shī)歌內(nèi)容的表現(xiàn)和物象的展現(xiàn),都別具匠心,詩(shī)歌語(yǔ)言有了張力,節(jié)奏推進(jìn)上有張有弛。從讀者的角度,能看到空也靜老師展現(xiàn)給我們獨(dú)特情懷。他是深情的。無(wú)論是寫(xiě)景,寫(xiě)節(jié)氣,寫(xiě)人,都是飽含內(nèi)心的深情,將它們?nèi)谌胱约旱那楦惺澜?,諸如時(shí)光的影子、人生的滄桑和世間萬(wàn)象的回響。

  他是細(xì)膩的??偰軓氖煜さ氖挛镏姓业脚c眾不同的細(xì)節(jié),不露聲色地營(yíng)造出詩(shī)歌的意象,即使是對(duì)一些別人很難描述的事物,如霧、風(fēng)、露等,描述出來(lái)的感覺(jué)很真實(shí),又保持了開(kāi)放性,極具畫(huà)面感。

  他是有大愛(ài)的,著眼于當(dāng)下,著眼于生活,著眼于普世大眾,讓詩(shī)人的作品更具有光華和風(fēng)采,就像是滿臉老繭的生活、把故鄉(xiāng)啃成殘?jiān)碌霓r(nóng)民工、像一堆泥巴的老人……,作者與他們共情的點(diǎn)點(diǎn)滴滴,讀起來(lái)卻是“遍地鄉(xiāng)愁”的大愛(ài)。他是簡(jiǎn)潔灑脫的。十行左右的短詩(shī),在寫(xiě)作技巧和構(gòu)思、表現(xiàn)上,要做到一氣呵成、亮點(diǎn)突出,是極其不易的,空也靜老師卻做得很完美。另外值得贊賞的是,我們這里,墻上掛滿了書(shū)法作品,每一副作品看起來(lái)都是一氣呵成、瀟灑而又唯美,你根本想象不到它們出自僅學(xué)習(xí)2年的書(shū)法愛(ài)好者之手!

  不難看出,他又是冷靜和悲愴的,這是詩(shī)歌的基調(diào),值得我們每個(gè)人學(xué)習(xí)。有人說(shuō),詩(shī)是語(yǔ)言上與生活抗?fàn)幍妮d體,是修復(fù)內(nèi)心黑洞的旅途。也有朋友說(shuō),詩(shī)歌是寫(xiě)作者靈魂的旅行。惟愿以這本《遍地鄉(xiāng)愁》為起興,空也靜老師在詩(shī)歌創(chuàng)作上取得更大的成績(jī)。

  長(zhǎng)安肆少:本名劉璽,中國(guó)詩(shī)歌學(xué)會(huì)、陜西作家協(xié)會(huì)會(huì)員,魯迅文學(xué)院學(xué)員,世界詩(shī)歌網(wǎng)編輯,中詩(shī)網(wǎng)第七屆簽約作家。曾在多個(gè)國(guó)內(nèi)外征文賽中獲獎(jiǎng)。有詩(shī)集《遙遠(yuǎn)的水邊》。
 

  19、萬(wàn)物根源與精神歸鄉(xiāng)的回望之旅
  鄒弗

  如果說(shuō)前幾部詩(shī)集是詩(shī)人戎馬生涯般的游蕩“出走”,那么《遍地鄉(xiāng)愁》這部新詩(shī)集則可以看作是詩(shī)人空也靜的一次“回歸”——心靈與精神上流浪太久、閱盡塵世的自在收束。但這種“收束”卻不是物理與身體意義上簡(jiǎn)單的回鄉(xiāng)與固守,而是往更細(xì)處探究從而看到更高層次的哲思與追尋,不管詩(shī)人身在他鄉(xiāng)、城市、邊地還是鄉(xiāng)村,他時(shí)刻都能以一種回望與凝視之姿反向探查、審視的情思集中表達(dá)出濃郁的“鄉(xiāng)愁”,而對(duì)“地域性”的擴(kuò)大使詩(shī)人邁出一般意義上“鄉(xiāng)愁”的固有形式體現(xiàn)為其獨(dú)特的詩(shī)歌風(fēng)格,是謂:遍地鄉(xiāng)愁。

  即是說(shuō),詩(shī)人短小精悍、韻味深長(zhǎng)的“鄉(xiāng)愁”詩(shī)中,對(duì)故鄉(xiāng)家鄉(xiāng)的懷念與書(shū)寫(xiě)只是其“鄉(xiāng)愁”回望中最基礎(chǔ)的一層,而在這之上,所謂的“鄉(xiāng)愁”迎來(lái)更精煉厚實(shí)的縱向之旅,即空也靜對(duì)萬(wàn)事萬(wàn)物起于耳目情思擬于人但最終追根溯源,直達(dá)哲學(xué)層面的本質(zhì)與真理的核心,又以其化繁為簡(jiǎn)的詩(shī)歌語(yǔ)言寥寥幾筆就呈現(xiàn)出來(lái),直達(dá)事物根本,這是“鄉(xiāng)愁”的深層與本真,體現(xiàn)在方方面面,比如《狼群》里狼群對(duì)草原的眷戀是物理上的鄉(xiāng)愁,《紅《落葉》《教師》是對(duì)宿命與因果的反思,這種反思源于過(guò)程的不可逆以及結(jié)果的不確定性,從而將目光反復(fù)回到最初的起點(diǎn)加以迷茫、深思并滿帶憂慮與愁緒的探查,回到詩(shī)的起點(diǎn),即是對(duì)一首詩(shī)的生發(fā)與走向的“鄉(xiāng)愁”,類似于80年代先鋒小說(shuō)中的“元小說(shuō)”,一部分詩(shī)稱之為“元詩(shī)”也大無(wú)不可,比如在《海子》寫(xiě)“一首詩(shī)/走向遠(yuǎn)方”。

  鄒弗:1996年生于黔北,文學(xué)碩士,寫(xiě)小說(shuō)、詩(shī),兼事評(píng)論,發(fā)表于《當(dāng)代》《十月》《山花》《詩(shī)刊》《揚(yáng)子江》等,曾獲周興嗣短篇小說(shuō)獎(jiǎng)、野草文學(xué)小說(shuō)獎(jiǎng),東蕩子詩(shī)歌獎(jiǎng)等,參加第13屆十月詩(shī)會(huì),第15屆星星詩(shī)刊夏令營(yíng),出版有長(zhǎng)篇小說(shuō)一部。
 

  20、讀《遍地鄉(xiāng)愁》之“狼群”有感
  雷秀玲

  在這遍地流火的六月,我們?nèi)缫粭l條小溪,從不同的地方來(lái)到這里,來(lái)到這盛世古都、這秦磚漢瓦的厚重之地。每個(gè)人都懷揣著一顆比太陽(yáng)還熾烈的蓬勃之心。這顆心不僅流淌著鮮紅血液、燃燒著比火焰還高的詩(shī)歌熱情,更澎湃著一種不同尋常的決心,這決心就是它永遠(yuǎn)帶著一種純粹的不染塵埃的孩童般純凈的赤子之心——也就是充滿了對(duì)世界萬(wàn)物的好奇與慣注、向往與悲憫。魏老師的《遍地鄉(xiāng)愁》,翻開(kāi)扉頁(yè):

  狼群
  春風(fēng)鋪開(kāi)宣紙
  陽(yáng)光研磨著遠(yuǎn)山的積雪
  狼群揮舞狼毫
  在草原上隨意涂抹著。

  遠(yuǎn)山、積雪、陽(yáng)光、春風(fēng)拂動(dòng)的草原、追逐的狼群。這是怎樣的一幅千里畫(huà)卷!遠(yuǎn)山連綿起伏,積雪在陽(yáng)光下閃耀銀光,草原舉著多彩花朵,它搖曳的美就像從天空落下了閃著奇異光彩的無(wú)數(shù)星辰。在這充滿著無(wú)限生機(jī),無(wú)限昂然的遼闊之中,不是點(diǎn)綴著云朵般的牛羊,而是移動(dòng)著讓人毛骨悚然的狼群。

  看到這里,我似乎看到了一只只眼睛泛著綠光的狼后腿坐地,前腿直立,身板直挺,把頭伸向遙遠(yuǎn)深邃天空的不屈族群;耳邊更是似乎聽(tīng)到了孤月下那一聲聲撕心裂肺的狼的嚎喊。而我聽(tīng)到的不僅是深夜里穿越時(shí)空、發(fā)自狼族譜基因深處原始生命的嚎喊,我聽(tīng)到的是一個(gè)生命對(duì)另一個(gè)生命的呼喚,是一個(gè)靈魂,對(duì)另一個(gè)靈魂的真摯情感。我們不僅要問(wèn),什么樣的眼睛死不瞑目?而窺視者,誰(shuí)在窺視?窺視誰(shuí)?為了什么?什么企圖?眼睛的背后到底隱藏著怎樣的深意?這是詩(shī)人帶給我們的拷問(wèn)與思考。冥冥之中,或許是詩(shī)人想要帶給我們的某種暗示與啟迪。當(dāng)然,每個(gè)人的生活境遇不同,解讀也各異。但不管怎樣,這首詩(shī)能夠把我們從冗長(zhǎng)繁瑣的日常生活中抽離出來(lái),讓煩躁的心暫且安息一寓,沉靜下來(lái),然后去思索去探究,去邁出家門(mén),走向曠野,把目光放逐到美麗自由的大自然中去,去尋道,去思索真正意義的人生,從而使我們懂得,生命對(duì)自由和堅(jiān)強(qiáng)的敬畏和追求。

  雷秀玲:陜西渭南人,教師。陜西省散文學(xué)會(huì)會(huì)員。渭南市作協(xié)會(huì)員。
 

  21、MuhammadAdeel(巴基斯坦):

  Nostalgia everywhere by Wei Yanlie is a profound collection of bilingual poetry exploring nature, culture, memory, and life's deeper meanings. Using vivid imagery and metaphors, the poems often blend serene landscapes with underlying complexities.

  The collection starts with "Wolves," where wolves symbolize both beauty and danger on a grassland canvas. This sets the tone for poems like "Ankang," which blends dreams with reality through imagery like scooping up the moon.

  "Nostalgia" in "Laba Festival" calls for a return to simplicity and natural living, away from modern complexities. This theme echoes throughout the collection, alongside spiritual reflections in poems like "Temple of Heaven" and "Wolong Temple."

  "Night" portrays nighttime as introspective and contemplative, revealing a rich inner world. Poems like "Blessing" and "Ginkgo" celebrate nature's endurance and timeless beauty, while "Smog" addresses environmental concerns.

  Overall, "the book" weaves together personal emotions with broader cultural and natural themes. Wei Yanlie's poetry showcases the power of language to convey the complexities of human experience, blending traditional themes with contemporary insight.

MuhammadAdeel(巴基斯坦)
 

  22、跟詩(shī)人一起領(lǐng)略詩(shī)中的風(fēng)景
  黨金紅

  大家好!我是一名中學(xué)老師,有機(jī)會(huì)參加這樣的活動(dòng),見(jiàn)到眾多文人詩(shī)友,圍坐一起,以《遍地鄉(xiāng)愁》為話題,度過(guò)一個(gè)愉快的下午,我很珍惜,也深感榮幸!

  通過(guò)李李老師的傳播,我有幸讀到了空也靜的《遍地鄉(xiāng)愁》,由不經(jīng)意地翻閱到一口氣讀完,我被它短小精悍,意象清晰,意境開(kāi)闊宏大又蘊(yùn)含哲思而吸引。通過(guò)詩(shī)歌作品,我在琢磨:詩(shī)人空也靜會(huì)是一個(gè)怎樣的人,一位長(zhǎng)者、智者抑或老者?如此揣摩,是因詩(shī)中大意境、小細(xì)節(jié)的巧妙結(jié)合,形成強(qiáng)烈的視覺(jué)沖擊。比如《夜晚》

  落日摁下按鈕
  夢(mèng)一遍一遍復(fù)印著往事
  月亮是新貼的郵票
  風(fēng)蹬一輛破舊的飛鴿自行車(chē)
  敲開(kāi)老屋木門(mén)
  父親戴一副老花鏡
  把燈捻挑了又挑

  落日、夢(mèng)、月亮、風(fēng)等意象在情感化的動(dòng)作行為中,搭建了父親寧?kù)o和諧的活動(dòng)背景;郵票、飛鴿自行車(chē)又讓父親的活動(dòng)具有鮮明的時(shí)代特征;“敲”“挑”的巧用,既使環(huán)境祥和,又感父親慈眉善目。挑燈捻的生活小場(chǎng)景就在寧?kù)o祥和之夜徐徐拉開(kāi)。

  其次,小事物大環(huán)境的穿插勾連,具有一言定乾坤的力度。第三、心酸冷暖中,快樂(lè)、吉祥、健康仍是詩(shī)歌內(nèi)容的主旋律。讀者讀詩(shī),是想從詩(shī)中找到共鳴,尋求精神慰藉。我想,讀者是可以從中找到的,比如《祝?!?。

  第四、質(zhì)樸、俏皮、睿智中蘊(yùn)含哲思,悲天憫人的大情懷也讓人印象深刻?!犊偨Y(jié)》《放生》就是這樣的作品??傊?,讀詩(shī),讀空也靜先生的詩(shī)作,讓我換一種方式領(lǐng)略風(fēng)景,體驗(yàn)生活,品嘗滋味,深感欣慰。見(jiàn)到空也靜本人,確實(shí)印證了我的揣測(cè):他,是一位長(zhǎng)者、智者,但不是老者。

  黨金紅,陜西商洛人,中學(xué)高級(jí)教師,作品見(jiàn)《長(zhǎng)江詩(shī)歌》《山東詩(shī)歌》《珠海文學(xué)》《文學(xué)百花苑》等報(bào)刊,喜歡以簡(jiǎn)短的文字記錄平凡的生活。
 

  23、在詩(shī)歌研討會(huì)上的發(fā)言
  空也靜

  首先,對(duì)各位的到來(lái)表示歡迎和感謝,對(duì)為開(kāi)好這次會(huì)議,辛苦付出的各位表示崇高的敬意,特別是今天的主持人陳啊妮女士。

  我先后正式出版過(guò)五本書(shū),他們像我的五個(gè)孩子,雖然出生時(shí)間不同,但卻有著相同的命運(yùn),要么草率地送人,要么深居閨房等待著隨便找個(gè)男人嫁出去,這本書(shū)仿佛一個(gè)沒(méi)有一點(diǎn)姿色的丑姑娘,注定逃不過(guò)一樣的結(jié)局。

  在書(shū)號(hào)如玉一樣金貴的當(dāng)下,出書(shū)無(wú)異是口中奪糧,拼的是一個(gè)實(shí)力。做為一個(gè)沒(méi)有任何背景的詩(shī)人,我曾不至一次告誡自己,別瞎折騰了,入不了圈就別入了,混不進(jìn)去就別混了,安心去寫(xiě),就當(dāng)打麻將釣魚(yú),只不過(guò)打發(fā)時(shí)間、讓自己遠(yuǎn)離寂寞,給清湯寡水的生活添油加醋,調(diào)出一點(diǎn)或酸或咸的味道。幾年功夫,不覺(jué)又日鬼出一大堆,一整理嚇了一跳,能出十八九本。寫(xiě)詩(shī)的人,就像抽煙喝酒,一旦上癮,是很難戒掉了,人一沖動(dòng)就很可能失去理智,容易犯渾。巜遍地鄉(xiāng)愁》就像一個(gè)意外受孕的孩子,在這個(gè)詩(shī)歌并不受待見(jiàn)的夏日悄然降生,用弱不經(jīng)風(fēng)的身子,迎接世俗的指手劃腳。

  前幾天,我與陳啊妮女士開(kāi)玩笑,說(shuō)咱這次活動(dòng)就定一個(gè)主題“空也靜詩(shī)歌吹捧會(huì)”雖然只是說(shuō)說(shuō)而已,一笑了之。但仔細(xì)一琢磨,天下這樣的會(huì)皆如此,只不過(guò)人們習(xí)慣了揣著明白裝糊涂。大家的發(fā)言讓我激動(dòng)也讓我心虛,讓我忘我也讓我回歸自我,重新認(rèn)識(shí)自己,讓我一會(huì)在天上飛,一會(huì)又在人間走。我深知自己幾斤幾兩,知道自己為詩(shī)歌的付出也清楚自己的得到,掌握自己的寫(xiě)作水準(zhǔn)也明白未來(lái)可能的遭遇,也許所有努力都不會(huì)得到想要的結(jié)果,一如繼往的熱愛(ài)只是竹籃打水一場(chǎng)空。世間的事并非付出都有回報(bào),我只想在一首又一首詩(shī)里得到內(nèi)心的平靜、靈魂的慰籍,點(diǎn)燃人生的激情、給生命憑添一點(diǎn)風(fēng)彩,感謝你們,給了我堅(jiān)持的信心。

  這個(gè)下午是短暫的,有詩(shī)穿針引線,讓我相遇相知,坐在十三朝古都,喝著茶水談詩(shī)論道,為詩(shī)歌把脈,為心靈療傷,尋求一個(gè)拯救自我的良方。讓友情成為珍藏的回憶、讓詩(shī)心不離不棄,讓詩(shī)意永遠(yuǎn)形影相隨,我相信有眾人的加持,有詩(shī)神的保佑,踩著唐詩(shī)宋詞的韻腳,我們一定會(huì)走出人生另一番風(fēng)景,一步步靠近碩果累累的秋季。

  2024年6月16日

  空也靜:原名魏彥烈,軍旅詩(shī)人,陜西省作協(xié)會(huì)員,詩(shī)發(fā)《詩(shī)刊》《解放軍文藝》《青海湖》《詩(shī)林》等500多種紙刊,出版英漢雙語(yǔ)詩(shī)集《輪回》等多部。獲昆侖文藝獎(jiǎng),唐蕃古道文學(xué)獎(jiǎng),詩(shī)歌春晚“全國(guó)十佳詩(shī)人"。