All of this took place
on the shores of a lake
in Wisconsin,
when Larry let me stay
in his guesthouse.
A small house
with photos on the walls,
with a shower, kitchen and bathroom,
with a piano, a typewriter
and a living room.
Larry didn't know then
that I had lived
with the Vasilevs,
who were very afraid
that I would become an alcoholic,
even though their son was
an alcoholic and one night
he stole my television.
Then I lived at Krum's.
When I used his bathtub
the woman downstairs shrieked
that her hallway was flooded.
(I don't think Krum had taken
a bath in ten years.)
Larry also didn't know
that I had lived at Simon's,
on Rakovski Street.
It was a nice room,
but didn't have any windows.
I bought a little lamp
that I turned on at night
so that it wouldn't be like
waking up in a coffin.
I even lived in a basement,
in the army,
with Gonzo – an orphan,
who every morning
opened his eyes
and lit up a cigarette.
Larry, my friend,
there's so much you don't know!
Thank you
for letting me live
in your guesthouse.
God bless you,
as I write these lines
on your typewriter!
《 拉里》
所有的一切
都发生在
威斯康辛的湖边
当拉里让我
住进他的客栈
一所小房子
墙上挂有照片
有淋浴室、厨房和洗手间
有钢琴和打字机
还有一间客厅
当时，拉里并不知道
我已与万锡莱夫斯夫妇
住在一起
他们非常害怕
我将成为一位酒鬼
尽管他们的儿子
是位酒鬼，有天晚上
他偷走了我的电视。
那时，我住科鲁姆那儿
当我用他的浴缸时
楼下的一位女人尖叫起来
她的门厅淹水了
（我觉得科鲁姆十年没洗澡了）
拉里并不知道
我在拉科夫斯基大街
西蒙斯那儿也住过
那是一个很漂亮的房间
但没有窗户
我买了一盏小灯
夜晚打开
以便不会令人感觉
从棺材里醒来
我甚至与一位叫贡柞的孤儿
住过军队的地下室
每天早上一睁眼
他便点上一支烟
拉里，我的朋友
有太多的东西你不知道
谢谢让我住你的客栈
上帝保佑你
用你的打字机写的
就写这些吧！
《September 11》
I vaguely remember that day.
I lifted up the receiver
and wanted to talk to you,
but you screamed:
War! World War
Three!
The first thing
I did
was look up at the sky.
I thought
the airplanes would come
from there.
I was in love
and wanted to talk to you
and was sorry
that world war had broken out
right at that moment.
Then I went into a restaurant.
I drank a beer and sat for a long time watching
the two towers collapsing.
I hardly knew anything
about that city.
As a child I drew
the Empire State Building,
but that love ended
like so many others
it faded...
And now I've wound up here,
I was looking at New York
from the fortieth floor
with Cousin Paul.
Then we went
to Ground Zero.
An African-American woman
was still shouting:
"Look out!"
"Look out!"
even though
five years
had already passed.
People were eating lunch.
The city looked like a beast
with its heart ripped out.
Then we strolled
through Central Park,
I breathed the fresh air,
thought about John and Yoko
and suddenly saw
Christo's GATES.
My Lord,
Why did you lead me here
So young
Perhaps this city
Is the road to heaven?
《九·一一》
依稀记得那一天
我举起话筒
想跟你说话
但你尖叫起来
战争！世界大战！
第三次！
我做的第一件事
便是仰望天空
我想
飞机将会飞过来
就在那一刻
我很想对你说
我爱上一个人了
但很遗憾
世界大战爆发了
因此，我走进一家餐馆
喝啤酒，长时间地坐在那儿
看双子星大楼的倒塌
对于这座城市
我几乎一无所知
儿时，我曾画过
帝国大厦
但那份喜好
跟许多其他事情一样
消失无踪了
现在，我焦躁不安
我正与保罗表弟一起
在第四十层的楼上看纽约
随后，我俩去了
纽约世贸中心遗址
一位美籍非裔女子
仍在呼喊：
“小心！”
“小心！”
尽管五年过去了
人们正在吃着午饭
但城市看起来
像一只被挖了心的野兽
然后，我俩沿着
中央公园漫步
呼吸着新鲜空气
心里想着约翰和洋子
忽然，我看到了
克里斯托之门
我的主啊！
你为什么把我引到这儿
如此年轻
也许这座城市
是条通往天堂的路
《Singer》
All of this took place
on the shores of a lake
in Wisconsin,
whenIentered
Larry’shouse
and in the living room,
behind glass,
I caught sight of an old
Singer
sewingmachine.
Memoriesimmediately
burstintomyhead.
My grandmother also had
such a machine
and most likely
from long use
she had come to resemble
it completely.
There’s her shoulder -
the Singer’s machine bed,
there’s her white hair -
a belt with frayed walls,
there are her thin hands –
a presser foot and feed dog.
As deft as a shuttle,
withzigzagteeth,
withaspool-pin hump,
andaneedle-bar mole
I had a bobbin-winder grandmother.
Then I suddenly thought –
You’re right, Larry, my friend,
The difference between present
and past
is expressed
in the relation between
living memory
and dead exhibit.
《歌 手》
所有的一切
都发生在威斯康辛的湖边
当我进入拉里的房子
透过客厅的玻璃
我看到了一位老歌手
缝纫机
许多回忆
旋即闯入我的脑海
我的祖母
也有一台类似的缝纫机
看起来十分相似
有她的肩胛——
歌手的机床
有她的白发——
一条磨破的传送带
有她的瘦手——
压脚和传动卡爪
有交错齿
有钱轴销
还有针板
像穿棱机一样灵巧
因此，我突然想——
拉里，我的朋友
你是对的
现在与过去之间的差别
只是在于
活着的记忆
和逝者的陈列品之间
关系的表达
《Ground Zero》
I took that bus –
for sightseeing,
where you can see all of
New York City in two days.
I was astonished
that the route included
a stop at “Ground Zero.”
Can you really turn
emptiness into an object of desire,
how much does a ticket
to nothing cost?
In front of “Ground Zero”
everyone was silent,
as if before some
invisible graveyard.
Only one African-Americanwoman
was still shouting:
“Look out!”
“Look out!”
even though
five years
had already passed.
I gazed at
the naked earth
hoping
to discover some ruins,
some trace
of bygone life,
but failed.
In that terrible silence
I was the only tourist
burdened by history.
《纽约世贸中心遗址》
我乘坐那辆汽车——
观光旅游
你可以花两天时间
走马观花整个纽约市
我很惊讶
行程里居然包括
纽约世贸中心遗址
你真的能把虚无
变成欲望的目标吗？
一张免费票
价值几许？
站在世货中心遗址前
每个人都是沉默的
仿佛站在
某个无形的墓地前
只有一位美籍非裔女子
仍在呼喊：
“小心！”
“小心！”
尽管五年已经过去
我凝望着
裸露的泥土
希望
能发现一些断壁
一些过去生活的痕迹
但都失败了
在那可怕的沉默里
我只是一位
背负着历史重任的
匆匆过客
诗人简介：伊万·赫里斯托夫是一位保加利亚诗人和文学研究者，出版过《再见》、《十九世纪》（2002年全国南方春季最佳原创诗歌奖项得主）、《不丁》（2006年斯怀特洛斯曲艾国家文学奖获得者，《不丁》在土耳其出版。同时，他还发表了学术专著《美国诗歌》（2013）和《射手座与土著思维》（2009）。2016年，《不丁》一书在罗马尼亚出版，随后《美国诗歌》也相继发行（包括他的两本新诗集）。2018年，他的第四本诗集《爱情字典》面世，同年，伊万·赫里斯托夫在摩洛哥的萨菲国际诗歌论坛荣获“文化是人类的庇护者”大奖。目前，他在保加利亚科学院文学研究所工作。
翻译：张晓阳
本期编辑：Sue 淑文，匠人
含章诗苑
顾问：默罕默德 莎纳扎尔（巴基斯坦）
社长：匠人
编委：晓芳，匠人，木头脑子，Sue（增加中）
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