蔗尾蜂房

詩文組　第一名First Prize Winner – Poetry

阿嬤的紀念物
--Lê thị Vịnh（越南）

那年的夏天 下傾盆大雨
老天也憂愁 陪同流眼淚
阿嬤手術中 我在外等候
心裡好慌張 緊張又擔憂
為阿嬤祈求 手術要成功
要阿嬤回家 與家人團聚
阿嬤再教我 臺語歌學唱
哇！好動聽 抒情的歌曲
我再講笑話 講給阿嬤聽
溫柔的眼神 深深望著我
再微笑訴說 有趣的笑話
阿嬤的女兒 風趣又幽默
我默默再看 阿嬤的臉頰
開朗又智慧 慈祥又福氣
幫阿嬤梳髮 推阿嬤散步
去廟裡拜拜 合十拜神明
誰知到那天 下傾盆大雨
罕見的疾病 奪走嬤生命
阿嬤知道否 我心中絞痛
哭喊叫阿嬤 別離我而去
讓我成孤單 嬤教唱曲子
我還沒熟練 離別的時候
我在嬤身旁 溫柔又親切
餵嬤吃碗粥 阿嬤手顫動
緊握我的手 拿下手戒指
喘氣對我說
這是我送妳的禮物作紀念
不論妳在臺 還是回越南
戴它保平安 不要賣掉它
大家都在旁 聽到皆感動
我心裡不捨 說不出話來
眼紅淚盈眶 哽咽不成聲
戒指戴手上 天天看著它
像阿嬤在世 坐在我身旁
教我說好話 教我作好事
未熟練歌曲 現我已會唱
我向嬤承諾 不論在哪裡
嬤的紀念物 我一生保存
嬤已回天堂 留紀念在世
嬤叮嚀的話 永留我心中


Kỷ vật bà trao
--Lê thị Vịnh (Vietnam)

Mùa hè năm ấy.
Trời bỗng đổ mưa.
Hay trời cũng buồn.
Mà trời rơi lệ.

Bà trong phòng mổ.
Cháu ở ngoài chờ.
Lòng cứ thẩn thờ.
Hồi hộp lo âu.

Cầu mong cho bà.
Ca mổ thành công.
Bà trở về nhà.
Gia đình xum hộp.

Bà lại dạy cháu.
Học hát tiếng Đài.
Ôi! thật là hay.
Sao mà truyền cảm

Cháu kể chuyện hài.
Cho bà nghe nhé.
Bà nhìn âu yếm.
Nhí yêu vào đầu.

Nói trong nụ cười.
Chuyện Viết hấp dẫn.
Con gái của bà.
Thật là dí dỏm.

Cháu ngồi cháu ngắm.
Khuôn mặt của bà.
Thật là từ bi.
Hiền từ phúc hậu.

Cháu tết tóc bà.
Đưa bà đi dạo.
Bà cháu vào chùa.
Cùng nhau dâng lễ.

Nào ngờ hôm ấy.
Trời đổ cơn mưa.
Căn bệnh hiểm nghèo.
Cướp bà đi mãi.

Bà ơi có biết
Tim cháu đau thắt
Nước mắt chảy ròng
Khóc la gọi ba
Bà đừng bỏ cháu.

Bơ vơ xứ Đài.
Bài hát bà tập.
Cháu chưa thuộc mà.
Trước lúc biệt ly.

Cháu đứng bên bà.
Ân cần nhẹ nhàng.
Bón thìa cháo cuối.
Tay bà run run.

Nắm bàn tay cháu.
Cởi nhẫn đang đeo.
Nói trong hơi thở.
Đây qùa của bà.

Bà tặng cho cháu.
Dù ở Đài Loan.
Hay về Việt Nam.
Đeo Để bình an.

Đừng bao giờ bán.
Mọi người đứng bên.
Nghe đều xúc động.
Lòng cháu bùi ngùi.

Không nói nên lời.
Lệ ướt bờ mi.
Nghẹn trong tiếng nấc.
Đeo nhẫn vào tay.

Ngày ngày chăm ngắm.
Như vẫn có bà.
Đang ngồi bên cháu.
Dạy cháu lời hay.

Bao điều tốt đẹp.
Bài hát đang dỡ.
Nay cháu thuộc rồi.
Bà ơi cháu hứa.

Dù ở nơi nao.
Kỷ vật bà trao.
Suốt đời cháu giữ.
Giờ bà đã khuất.
Kỷ vật còn đây.
Lời bà năm nao.
Vẫn còn vang mãi.


詩文組　第二名1st Runner-Up Winner – Poetry


夢想之樹
--Endang（印尼）

從遠方望著妳
你看起來好美
你的葉子又綠，又陰涼
呈現你的肥沃茂盛

我疑慮地走向你
好想要在你的陰涼濃蔭下休息
但…………
通往你的道路又遠又彎
鋪滿礫石且很恐怖

而………
我握著充滿希望
堅忍在心裡只為了一句“美好的家“
我願意犧牲一切

我耐心地走向通往你的道路
我用真誠磨平路上尖銳的礫石

我用祝福及放開之心爬著你的樹

而後………
我會用微笑下來
在樹下感激
而後………
離開
迎接我新的美夢


Pohon impian
--Endang (Indonesia)

Dari jauh ku memandang
Kau begitu menakjubkan
Daun hijaumu nan rindang
Pancarkan suatu kesuburan

Dengan keraguan ku melangkah
Ingin berteduh di bawahmu
Tapi ternyata…
Jalanmu panjang penuh liku
Berkerikil tajam menakutkan

Sementara …
Segenggam harapan di tangan
Kuatkan tekad dalam dada
Demi kata “ Keluarga bahagia ”
Ku kan korbankan segalanya

Kan kutelusuri jalanmu dengan
kesabaran

Kan ku auskan kerikilmu dengan kejujuran

Kan ku panjat pohonmu dengan doa dan
keikhlasan

Lalu…
Ku kan turun dengan senyum bahagia
Sujud syukur di bawahmu
Lalu…
Ku kan pergi tinggalkanmu
Tuk jemput impian baruku



詩文組　第三名2nd Runner-Up Winner – Poetry


海燕
--Landingin BlesildaDe Borja（菲律賓）

飛吧！飛吧！海燕
鼓動你的翅膀
到很遠很遠的地方去

懷著希望和企圖到達蒼穹
移工的生活宛如一隻海燕

飛進又遠又開闊的天空
我不怕狂風巨浪

因為你的目標是要擺脫貧窮和悲傷
在追逐目標中提升自我
到一個我心靈擁抱的他鄉
為我貧窮的家園勾勒美好的明天
如此 我才不用繼續窮困度日

但是生命自有其本質
飛得高和在風中翱翔是兩回事
你可能深陷絕望 悲傷
移民者的生命就是如此

風聲如雷灌耳
我迎著海浪前進
為了要在有如被鎖鍊般纏繞著的
生命中生存
我總是對自己說 要飛得高

我思索著 一個移工是如何過活
各種難題紛至沓來
如果未能面對生命中的挑戰
就會帶著破碎的夢想 仆倒於地

我要擊敗命運中的挑戰
懷抱著與我的所愛的美好回憶
擺脫貧困的泥沼 達成我的夢想
我期待感受到一些舒適

上帝是我唯一的基石
我的所愛 得保免於傷痛和鄙視
如此 我的夢想可望成真
讓我所受的苦難益顯其色

我到底要旅行多遠？
我到底要飛得多高？
我到底要衝得多深？
以才能明白彰顯我的夢想

如今 我是一隻海燕
振翅飛向我的理想
我會抵達海洋的極遠之處
我的目標終將達成



Langay-langayan (Sea Swallow bird)
--Landingin BlesildaDe Borja (Philippines)


Lipad-lipad langay -langayang dagat
Iyong ikampay mga bagwis at pakpak
Upang maabot ang dako paroon
Marating ang langit inasam at inambisyon.

Buhay migrante kapara’y langaylangayang
dagat
Malayo’t matayog ang inatahak na landas

Hindi natatakot sa daluyong ng karagatan
Pagkat ang layunin makaahon sa dusa’t hirap.

Sa hangarin maiangat ang buhay na nasadlak
Pangingibang bayan ang sa puso’t isip
niyakap
Maihandog ang magandang bukas sa
pamilyang nililiyag
Upang kahirapan di na muling makapiling at
mayakap.

Ngunit ang buhay sadyang ganito
Paglipad ng matayog ay hindi pare-pareho
May nasasadlak sa pighati, dusa at kalbaryo
Bakit nga ba ganito ang buhay ocw.

Sa pagaspas ng hangin na tila ay nangangalit
Daluyong ng karagatan nasa akin ay sumasapi
Tanikalang nais lagpasan sa buhay kung yagit
Paglipad ng matayog ang lagi kung sambit.

Buhay migrante kung ating lilimiin
Sari-saring suliranin dumaratal kahit di naisin
Pag di ka naging matatag sa hamon ng buhay
Sa lupa’y tiyak babagsak, luray-luray ang
pangarap.

Sa pagkampay kong ito sa hamon ng
kapalaran
Tangan-tangan ko ala-ala ng mahal sa buhay

Pangarap na ninanais makaahon sa kumonoy
ng kahirapan
Kaunting kaginhawahan ito sana’y
maramdaman.
Diyos na may lalang ang tanging sandigan ko
Mahal ko sa buhay pananggalang sa lungkot,
siphayo
Upang ang pangarap ko’y maging totoo
Magkaroon ng kulay ang mga paghihirap ko.

Gaano pa kalayo ang dapat kong lakbayin?
Gaano pa kataas ang dapat kong liparin?
Gaano ba kalalim ang dapat kong sisirin?
Upang ang pangarap lubusang maangkin.

Ako ngayon ay isang langay-langayang dagat
Nabubuhay sa pagkampay para sa mga
pangarap
Nais marating ang lawak ng karagatan
Upang mithiin ay maging isang ganap.

玉山登頂
--Marjorie Evasco (1953- )，羅浩原 譯

致紀傳財

籠罩在霧中
我拿覆滿青苔的石頭
當做枕頭
登山的半途
我來到此處
四周的楊柳輕唱著
憂傷的催眠曲
露水的味道
如橙花的蜜露
盛於金杯
中途暫時休憩後
我將攀爬上
玉山的後半段
倘若發現你沒在上邊
我將在顛峰的空氣中立定
朝你吐納出
一首渴望的等待曲


Scaling Jade Mountain
--Marjorie Evasco (1953- )

(For Kee Thuan Chye)

Overtaken by mist
A moss-covered rock I take
And lay my head upon.
The half-way climb
Has brought me here
Where willows sing
A plaintive lullaby
And dewdrops taste
Of orange-blossom nectar
In a golden cup.
After this restful interlude
I will climb
Jade Mountain’s other half.
Should I find you are not there,
I will stand the summit air
And breathe to you
A wistful song of waiting.


Marjorie Evasco, Dreamweavers: Selected Poems 1976-1986, Manila, Philippines : Editorial and Media Resources Corp., 1987, p.19.

Conchitina Cruz



失眠症
--Conchitina Cruz，羅浩原 譯

教堂外，孩子們蹲在水泥台階上，用手指將一朵朵雙瓣茉莉*串進聖徒木雕像的花冠。上年紀的民族主義者接受訪問時回答：「行動主義的目的就是讓自身過時淘汰。」他的聲音從收音機雜音中揚起，我的目光從被撞死的動物身上移開，此際你一如平常開車送我回家，擺動著車頭避免壓到已被撞死的動物；一隻貓浸在自己的血中；馬路上處處是青蛙平滑屍體的光澤。

當我目光從馬路上轉開，你說道：「聽著，我太疲倦了，我開車時需要妳不斷跟我說話。」由於我已經好幾年不看報紙了，我無法再背誦出南美各國的首都。幾個小孩肆無忌憚地貼近車道，向疾駛的汽車兜售鮮花。

冰箱的嗡嗡聲之下，還有別的聲音：樹木一棵棵倒下，屠宰場紛紛暴動。

人無法從物理學那邊討到便宜，物理學只要用代表熱力學第二定律的一個詞就能直指重點：「能趨疲」。** 我開始每天購買雙瓣茉莉；你將花夾到車內的後照鏡上。枯萎的花圈在垃圾中越積越多。

一輛擁擠的巴士上，有個飢餓的孩子盯著我口袋中的錢包看。我累得快睡著了；我知道他還在等。

Conchitina Cruz, Disappear, Quezon City: High Chair, 2004, p.17.

譯註：

* 雙瓣茉莉（Sampaguita），1937年被選為菲律賓的國花。

** 「能趨疲」（entropy，又稱「熵」）的觀念乃根據熱力學第二定律，能量由一種形式轉換為另一種形式之過程中，有些能量會形成不具潛能之熱形式。凡具秩序性之組織，會朝向混亂而變化，有秩序之組織較無秩序者具潛能，而此能量則會漸變成分散性、不具做功之能力。在不可逆的反應過程中「能趨疲」將會增加，諸如冷熱空氣自發性地混合、煤的燃燒等等。生命現象則抗拒熱力學第二定律，亦即減少「能趨疲」，而增進生命組織的秩序。（引自：國家教育研究院「學術名詞暨辭書資訊網」：http://terms.naer.edu.tw/detail/1318541/?index=1）


Insomnia
--Conchitina Cruz

Outside the church, the children squat on concrete steps, their fingers stringing sampaguitas into wreathes for wooden saints. In response to the interviewer’s question, the aging nationalist says. '"The goal of activism is to make itself obsolete." His voice rises above the static, and I look away from the roadkill as you, driving me home as usual, swerve the car to avoid hitting what is already dead; a cat soaks in its own blood; the roads glisten with the slippery bodies of frogs,

and you say, when I turn away from the road, “Listen, I’m too tired so I need you to talk to me while I drive.” Because I have not read the newspapers in years, I can no longer recite the capitals of many countries in South America. The children approach the highway without fear, peddling their flowers to speeding cars.

Beneath the hum of the fridge, there are other sounds: falling trees, the riot of slaughterhouses .

One gains nothing from physics, which makes its point in one word that stands for the second law of thermodynamics: entropy. I start buying sampaguitas each day; you clip them to the stem of your rearview mirror. The withered wreaths accumulate in the garbage.

In a crowded bus, the hungry child eyes the purse in my pocket. I am tired and about to fall asleep; I know he is waiting.

Eunice Tietjens





手
--Eunice Tietjens (1884-1944)，羅浩原 譯

你坐著，映著火光，你的手
色澤如新鑄的銅器
我的目光無法離開你的手
在其中，一個小宇宙，那浩瀚又
幽暗的東方為之立現
誰該來為我讀讀你的手？

一個大男人，手卻小而窄得
像個女人
或黑猩猩的指掌
你柔韌無骨的手宛如
塗了層顏料，由時髦的
肖像家勾畫而成，長而尖細的手指
向上翻翹
指間燃著裊裊的捲菸，你
姿勢中有說不盡的倜儻，像一位
在愛人注視下的女子
你修長捲曲的指甲
是精雕細琢的鮮活寫照
你的手，很靈巧
用毛筆就能創出細若羽毛的線條
難以言喻的遐想，浮光掠影的隱匿
美感，用小工具就能雕出
象牙與白玉間的奇夢
你的手，亦殘酷
用同樣冷峻的倜儻與靈巧
設計出精美的酷刑、直到永遠
難以想像的痛苦，就連托爾克馬達*
都見所未見
你的手，又縱情女色，擅長感知
觸摸
能細膩地愛撫顫抖的肌膚
能輕柔地滑過金色的腿間
……就連比利蒂斯**亦無如此修長的指甲

誰能來為我讀讀你的手？
煙霧在火光中繚繞到不可思議
那捲菸夾在你的指間
膚色如新鑄的
銅器
房間此際佈滿奇異的影子
你的手，令我生畏…….


* 托爾克馬達：托馬斯‧德‧托爾克馬達（Tomas de Torquemada, 1420-1498），天主教多明我會僧侶，西班牙宗教裁判所首任大法官，以火刑處死數千名異教徒。

** 比利蒂斯：法國作家皮耶‧路易斯（Pierre Louÿs, 1870–1925）在1894年出版的情色詩集《比利蒂斯之歌》（Les Chansons Bilitis）中所塑造的古希臘女性角色。

Eunice Tietjens, Profiles from China: Sketches in Verse of People & Things Seen in the Interior, Chicago: Ralph Fletcher Seymour, 1917, p.11.


The Hand
--Eunice Tietjens (1884-1944)

As you sit so, in the firelight, your hand is the
color of new bronze.
I cannot take my eyes from your hand;
In it, as in a microcosm, the vast and
shadowy Orient is made visible.
Who shall read me your hand?

You are a large man, yet it is small and nar-
row, like the hand of a woman and the
paw of a chimpanzee.
It is supple and boneless as the hands
wrought in pigment by a fashionable
portrait painter. The tapering fingers
bend backward.
Between them burns a scented cigarette. You
poise it with infinite daintiness, like a
woman under the eyes of her lover.
The long line of your curved nail is
fastidiousness made flesh.
Very skilful is your hand.
With a tiny brush it can feather lines of
ineffable suggestion, glints of hidden
beauty. With a little tool it can carve
strange dreams in ivory and milky jade.
And cruel is your hand.
With the same cold daintiness and skill it
can devise exquisite tortures, eternities
of incredible pain, that Torquemada
never glimpsed.
And voluptuous is your hand, nice in its sense
of touch.
Delicately it can caress a quivering skin,
softly it can glide over golden thighs
..... Bilitis had not such long nails.

Who can read me your hand?
In the firelight the smoke curls up fantasti-
cally from the cigarette between your
fingers which are the color of new
bronze.
The room is full of strange shadows.
I am afraid of your hand......

Marjorie Evasco




紙鶴
--Marjorie Evasco (1953- )，羅浩原 譯

文字展開，鼓風而起
加速鶴之翱翔
由我太陽之北朝你飛去

我形塑此詩
以紙，摺疊起
橫亙我倆間歲時季節的距離

這首詩是一隻鶴
當翅膀展開時
紙張將會是純淨、空白的


Origami
--Marjorie Evasco (1953- )

This word unfolds, gathers up wind
To speed the crane's flight
North of my sun to you.

I am shaping this poem
Out of paper, folding
Distances between our seasons.

This poem is a crane.
When its wings unfold,
The paper will be pure and empty.

（作者的原詩為英文）


Origami
--Marjorie Evasco (1953- )

Mibukhad kining pulong, mitigom sa hangin
Pagpadali sa lupad sa talabon
Amihanan sa akong adlaw, ngadto kanimo.

Gilalang ko kining balak
Gikan sa papel, gipilo-pilo
Ang gilay-on sa atong panahon.

Kining balak usa ka talabon.
Inig bukhad sa iyang pako,
Ang papel motin-aw ug mahawan.


（作者的宿霧語(Cebuano-Visayan)版本）

http://iwp.uiowa.edu/sites/iwp/files/IWP2002_Evasco-Pernia_marjorie.pdf

Elise Paschen




東史考特街十二號
--Elise Paschen (1959- )，羅浩原 譯

我們搬回我爸家時
我身高已夠按到最頂的按鈕
讓咱們的歐提司牌電梯緩緩上升

我媽扭開她的蜥蜴皮
愛馬仕凱莉包，勾出來
一串白熱熾人的鑰匙

世上唯有此處聞起來
像家。我們從進門廳漫遊而過
兩側貼滿報導我媽的剪報*

她拉動最上層右側的抽屜
（我下巴剛剛高過櫃頂）
打開了她的桃花心木五斗櫃

家是我媽發現內藏在
她抽屜金髮女人裸照的地方
斜倚著海灘巨石擺姿勢

我媽用她的拇指
遮住那張快照的下半部
平靜地問：「這不是妮可嗎？」

我倒吸一口氣不知是否該
說「對」。我媽持著
那張照片用指頭

對摺、再對摺
對摺到剩下
一丁點丟進字紙簍

家是我媽…家是我媽
她衣服全瀰漫著客機的味道
被她從提包、皮箱中取出

家是我媽攤開她精心收摺的
一件件聖羅蘭女裝、外套、禮服
調整好袖口、肩部

吊上衣架，掛進
整齊衣櫥中她享有的那一半
家是我媽排好她的褻褲、胸罩

絲襪、手帕、皮包、手套
收進衣櫃抽屜，逐步
從頂層，一層一層一層往下收


*譯註：作者的母親是知名的芭蕾舞蹈家

Elise Paschen, Infidelities, Brownsville, OR: Story Line Press, Inc., 1996, pp.67-68.



12 East Scott Street
--Elise Paschen

We move back to my father’s home
when I can press the highest button
of our slow Otis elevator.

My mother unclasps her lizard
Kelly handbag and fishes out
a ring of incandescent keys.

This is the only place that smells
like home. We travel down the hallway
hung with clippings about my mother.

She pulls open the top right drawer
(my chin just clears the top)
Of her mahogany bureau.

Home is my mother finding inside
her drawer a snapshot of a blond
posing naked against beach boulders.

My mother covers with her thumbs
the bottom half of the snapshot,
evenly asks, 'Is this Nicole?'

I hold my breath and wonder whether
to answer yes. My mother takes
the photograph between her thumb

and forefinger, quarters the picture,
quartering and quartering
the bits into the wastepaper basket.

Home is my mother. Home is mother
with airplane smell on all her clothes,
when she unsnaps each suitcase, trunk,

when she unfolds her nicely folded
St. Laurent blouses, jackets, dresses,
positioning the arms, the shoulders

on hanger after hanger in
her half of their well-arranged closet,
when she lines up her panties, bras,

stockings, handkerchiefs, purses, gloves
in dresser drawers, beginning at
the top, then working her way down.

其餘的故事
--Dian Titus (1972- )，羅浩原 譯

TKW*…女性外籍勞工
當我尚未成為TKW時
常聽到鄰居謠傳和新聞說
TKW被賣去當歡場女郎
TKW…這三個字招來懷疑的目光
一般人聽了很刺耳
現在我要成為女性外籍勞工了
我歷經了營隊生活和種種工作訓練
我很瞭解一般人的看法
許多不好的耳語傳入我耳中
但…我仍然禮貌地回應他們
知情的人或許會改變觀感
縱然時常不被注意遭到冷淡
我從國外回家鄉後
當我向警察局申請良民證**
警員問道：「到海外工作過嗎？」
知道我剛從國外回來後
他遞菸給我，並向我借火柴
語帶挑逗，把我從頭看到腳底
但是…我還是耐心禮貌地回答他
抱歉長官…我不抽煙也沒有火柴
呃…這警員淫笑著，還掐我的臉頰
使我胸懷之尊嚴和耐心盡失
抱歉長官…
「許多TKW都能秉持信念」
即便確實有些去過海外的人抽煙又出賣她們自己

*TKW (Tenaga Kerja Wanita)：女性外籍勞工
* SKKB (Surat Keterangan Kelakuan Baik)：行為良好證明

（第四屆台北市外籍勞工詩文比賽 佳作二）


Cerita Yang Tersisa
-- Dian Titus (1972- )

TKW…Tenaga Kerja Wanita
Kala aku belum jadi TKW dan menjalaninya
Sering dengar kata tetangga dan berita
TKW dijual dijadikan wanita penghibur kata mereka
TKW…tiga huruf kadang dipandang sebelah mata
Dan awampun mendengar sumbang di telinga
Saat kuingin jadi tenaga kerja wanita
Kujalani hidup di penampungan dan berbagai latihan kerja
Sangat kurasa bagaimana awam memandangnya
Bisik-bisik suara tak enak di telinga
Namun…aku tetap sopan menyapa mereka
Siapa tahu dapat mengubah pandangan mereka
Walau kadang acuh dan tak digubrisnya
Setelah aku pulang dari luar negeri
Saat kucari SKKB datang dari kantor polisi
Polisi bertanya, “Pernah kerja di luar negeri?”
Tahu aku pernah kerja ke luar negeri
Dia tawarkan rokok dan pinjam korek api
Bicara sambil main mata, memandang dari kepala sampai kaki
Tapi…aku jawab dengan sopan dan menyabarkan diri
Maaf pak…saya tak merokok juga tak ada korek api
Ech…polisi malah tersenyum genit sambil mencolek pipi
Hilang hormat dan sabar di dada ini
Maaf pak…
“Masih banyak TKW yang bisa jaga din”
Memangnya ex luar negeri pasti merokok dan jual diri


剩餘的故事
--Dian Titus (1972- )，譚雲福、林麗珠 譯

TKW…
是外籍女性工作者
常聽到新聞和鄰居謠傳
TKW被出賣成陪酒女郎
聽著聽著真讓我發慌

經過了訓練和營隊的生活
如今…
自己就要踏入這圈子
仍然感覺到謠傳
耳邊也聽到雜音
但是…
我是不一樣的TKW
我要好好的問候他們
發揮TKW的耐心和尊嚴
希望可以改變他們的看法

回到家鄉時
當地警員來詢問
國外工作的狀況
知道我剛從國外返
問我抽煙？也向我借火柴
邊聊邊眨眼，也從頭看到腳底
但是…
我還是耐心的對待他
我不抽煙也沒有火柴
但是
他淫蕩的對我笑並碰上我的臉頰
幾乎使我失去耐心和尊嚴

不要說每位外勞都抽煙又賣淫
仍有許多外勞會克制自己
TKW也有耐心和尊嚴
我…
是不一樣的TKW



譚雲福 總編，《台北，請再聽我說：第四屆外勞詩文選集》，（台北：台北市勞工局，2004），頁111-114。

 
 
Agam Wispi (1930-2003)
回家
--Agam Wispi (1930-2003)
向古納汪．穆罕默德致謝 (註1)
你在何處
我的綠樹？
我在此處
已化成一塊石
嗨！漂泊者
你從何處來？
無論來自何方我都想要
附在你的塵灰上離去
在卡列墓園，在卡列墓園 (註2)，你說著
哇噢，凱里爾，你還在那邊嗎？
還是已湮沒在石堆中
或是以沉默面對公元二千年？
是呀，邦達 (註3)，你砲彈般的演說已生鏽
「沒有人會想要回家！」
家？要歸向何處
無巢的海鳥？
可惜呀，帕依 (註4) 你死得太早未能見到
世代的轉變，可世界卻沒有
經常蠱惑住我像你細長的雙眼、
焦躁難安的渴望、與無休無止的生活那樣
很驕傲我還記得蘇佐佐諾的勇敢指控
並能說：「還好我不是一條狗！」(註5)
現代化、全球化也一樣：被各種話語擠乾了的
新文明！上上下下全是勒索或偷竊高手
詩呀，只有你是我的歸宿
詩呀，只有你是我飛翔的伴侶
詩呀，多才多藝的新世代，其拳打過來
硬如花崗石，其愛飄忽如海浪
你在何處
我的綠樹？
在你的詩中，噢！漂泊者
在你愛人的遙遠小島 (註6)
註1. Goenawan Mohamad (1941- )，印尼詩人、戲劇家與導演。
註2. 此處引用印尼現代詩先驅、45年派的代表者Chairil Anwar (1922-1949)〈遭劫者與逃脫者〉(Jang Terampas Dan Jang Luput)的詩句：「在卡列墓園，在卡列墓園(亦是我的去處)，風仍在怒吼」(di Karet, di Karet (daerahku j.a.d.) sampai djuga deru angin)。Chairil Anwar死後亦葬在雅加達的卡列墓園。
遭劫者與逃脫者
--Chairil Anwar (1922-1949)
我被黑夜與晚風滌淨，
卻微微發抖只因在那屋內有我想念的妳，
夜色漸濃壓得樹林像枯槁的石碑。
在卡列墓園，在卡列墓園(亦是我的去處)，風仍在呼號
我收拾好房內與心裡，如果妳來的話
我還要為妳開展一段新的故事
但只有我的手兀自乒乒乓乓地做著事。
我的身軀寂靜又孤單，傳言與事情都過去了、凍結了。
1949
*這首詩曾以另外兩個題目發表：Jang Terampas dan Danjang (被劫掠與破壞的) 以及Buat Mirat (獻給米拉)
Jang Terampas Dan Jang Luput
--Chairil Anwar (1922-1949)
Kelam dan angina lalu mempesiang diriku,
Menggigir djuga ruang dimana dia jang kuingin,
Malam tambah merusak, rimba djadi semati tugu.
di Karet, di Karet (daerahku j.a.d.) sampai djuga deru angin
aku berbenah dalam kamar, dalam diriku djika kau datang
dan aku bias lagi lepaskan kisah baru padamu;
tapi hanja tangan jang bergerak lantang.
Tubuhku diam dan sendiri, tjerita dan peristiwa berlaku beku.
1949
Some are Plundered, Some Escape
-- Chairil Anwar (1922-1949), translated by Burton Raffel
Darkness and a passing wind purify me.
I shiver, and so does the great room where the one I want is lying.
Night squeezes down, jungle trees freeze like columns of stone.
At Karet, at Karet (where I go next), the cold wind moans too.
I'm tidying my room, and my heart, in case you come
And I can set free a new story for you.
But now it's only my hands that move fiercely.
My body is still, alone. The story, whatever can happen: all stiff, icy.
．Burton Raffel, ed. & trans., The Complete Poetry and Prose of Chairil Anwar, Albany : State University of New York Press, 1970, p. 151.
註3. 此處指印尼詩人Bandaharo Harahap (1921- )，為左翼文學團體「人民文化協會」(Lembaga Kebudayaan Rakyat)之喉舌，於1965年後遭逮捕囚禁。
註4. Pa-i為印尼詩人Rivai Apin(1927-1995)的暱稱。
註5. 此處指印尼畫家 Sindoedarsono Soedjojono (1913-1986)的作品《很遺憾，我們並不是狗》(Sajang, Kami Bukan Andjing)。參見：Nani Afrida, “The style is not Father’s: Sudjojono’s son,” The Jakarta Post, Expose,Wed, May 30 2012.
Sindoedarsono Soedjojono (1913-1985), "很遺憾，我並不是狗" （Sayang Aku Bukan Anjing）, Oil on Canvas, 1944.
http://archive.ivaa-online.org/pelakuseni/s-sudjojono-1 (accessed 25 Sep, 2014)
註6. 此處引用Chairil Anwar的詩〈我的愛人在遙遠的島上〉(Tjintaku Djauh Dipulau)
我的愛人在遙遠的島上
--Chairil Anwar (1922-1949)
我的愛人在遙遠的島上
甜美的少女，如今獨寂寥
船行速，月相照，
為了愛人我頸上戴著定情物
風相助，海泛光，卻突然感到
我將不復至此矣。
縱然光亮，在風中有遠雷聲，
最後感覺上一切都稍縱即逝
死亡一邊掌控，一邊說道：
「還是將船開向我的懷抱吧。」
唉呀！我行過此處已經好多年了！
相伴的這艘船都快要腐朽了！
為何死亡催喚甚早
竟在我未能擁抱我愛人之前？！
我的甜心在遙遠的島上
如果我死了，她亦將獨自寂寥而死
1946
Tjintaku Djauh Dipulau
--Chairil Anwar (1922-1949)
Tjintaku djauh dipulau,
gadis manis, sekarang iseng sendiri.
Perahu melantjar, bulan memantjar,
dileher kukalungkan ole-ole buat sipatjar,
angina membantu, laut terang, tapi terasa
aku tidak ‘kan sampai padanja.
Diair jang tenang, diangin mendaju,
diperasaan penghabisan segala meladju
Adjal bertachta, sambil berkata:
‘Tudjukan perahu kepangkuanku sadja.’
Amboi! Djalan sudah bertahun kutempuh!
Perahu jang bersama ‘kan merapuh!
Mengapa Adjal memanggil dulu
Sebelum sempat berpeluk dengan tjintaku?!
Manisku djauh dipulau,
kalau ‘ku mati, dia mati iseng sendiri.
My Love’s on a Faraway Island
--Chairil Anwar (1922-1949), translated by Burton Raffel
My love’s on a faraway island,
A sweet girl, doing nothing for lack of anything better.
The prau slides quickly along, the moon gleams,
Around my neck I wear a charm for my girl;
The wind helps, the sea’s clear, but I know
I’m not going to reach her.
In the calm water, in the gentle wind,
In the final sensation, everything goes swiftly.
Death pulls the strings, calls:
“Better steer your prau straight into my lap.”
Hey! I’ve made it through this way for years!
This prau mine is going to fall apart!
Why is Death calling so soon
Before I have a chance to hug my girl?!
My sweet on a faraway island,
If I die, she’ll die for lack of anything better.
Burton Raffel, ed. & trans., The Complete Poetry and Prose of Chairil Anwar, Albany: State University of New York Press, [1962], 1970, pp.106-107.
Going Home
--Agam Wispi (1930-2003), translated by Harry Aveling
With thanks to Goenawan Mohamad
where
is my green tree?
here
I am only a rock
wander
where have you come from?
Wherever it is
I want to be the dust on your feet
“in karet, karet cemetery,” you said,
are you still there, chairil?
Or have you been buried beneath a pile of stones
Or disappeared before the year two thousand?
yes, banda, your bombastic words have corroded,
“no one ever wants to go home again!”
home? how can the ocean bird
return when it has no nest?
unfortunately, Pa-i, you died
before seeing a new generation arise,
the world was bewitched by your sidelong glances,
restless yearning, fear and worry
I can proudly remember sudjojono pointing
and saying, “I am glad I am not a dog!”
this too is modernization, globalization:
words squeezed dry of meaning,
a new culture: from top to bottom
all are extortioninsts and thieves
poetry, you are the only home I have
poetry, you are the only love who can fly
the poetry of a new generation is capable, clever and cruel
hard as granite, its love as unstable as the sea
where are you
in my green trees?
in your poetry, wanderer,
in your love on a distant island
John H. McGlynn & A. Kohar Ibrahim, ed., Menagerie 6: Indonesian Fiction, Poetry, Photographs, Essays, Jakarta: The Lontar Foundation, 2004, pp.101-102.
Pulang
--Agam Wispi (1930-2003)
Terimakasih untuk Goenawan Mohamad
di mana kau
pohonku hijau?
di sini aku
sudah jadi batu
hai perantau
dari mana kau?
dari mana saja aku mau
melekat menjadi debu
di karet, di karet, katamu
wahai chairil, apa kau masih di situ?
atau lenyap dipasok batu
atau senyap sebelum tahun duaribu?
ya, banda sudah berkarat bombasme yang kaubilang
“tak seorang berniat pulang!”
pulang? kemana harus pulang
si burung samudra tanpa sarang?
sayang, Pa-i kau mati sebelum bertemu
generasi berganti, dunia belum juga sudah
aku sering tersihir oleh juling matamu
oleh rindu resah, oleh hidup gelisah
bangga aku teringat sujoyono berani menuding
dan bilang, “untung aku bukan anjing”
ini juga modernisasi-globalisasi: kata-kata jadi kering
kebudayaan baru! dari bawah sampai atas tukang peras atau maling
puisi, hanya kaulah lagi tempatku pulang
puisi, hanya kaulah lagi pacarku terbang
puisi, generasi baru bijak bestari menerjang
keras bagai granit cintanya laut menggelombang
di mana kau
pohonku hijau?
dalam puisimu, wahai perantau
dalam cintamu jauh di pulau
Awal Kembara, ed., Di Negeri Orang: Puisi Penyair Indonesia Eksil, Jakarta: Amanah-Lontar, 2002, pp.32-33.
 

Behind the Curtain--by Devi Amanullah



荷蘭噢荷蘭
--Devi Amanullah (1974- )

天氣陰晴不定
嚴寒酷暑兩極
若還不准抱怨
豈非把人逼瘋！

派對搞小圈圈
糕點加小點心
吃肉丸配啤酒
「妳的日子可好？」

拜訪請先來電！
準時赴約之外
「吃飯時請勿擾
稍晚再打可好？」

午餐牛奶一杯
黑麵包夾起司
洋蔥生魚一拌
洋芋肉塊一盤

父母不管你飯
「咱們可沒有錢！」
三人各自買單
最愛拿免費的！

說話直來直往
頭腦條理清晰
九月才放長假
「包全套才便宜」

「騎單車最健康」
有問題就解決
幾乎人人養貓
「照這樣就對了！」

處處有紅燈區
咖啡館賣大麻
「行不通、咱不幹！」
但人人都愛荷蘭


Devi Amanullah, My Sunrise: Selected Poetry and Paintings, San Bernardino,CA: Lulu.com, 2014, pp. 52-53.



Holland Oh Holland
--Devi Amanullah

Unpredictable weather,
bipolar temperature,
we will go insane--
if we can't complain!

Circles at parties,
small snacks and pastries,
meatballs with beer,
“How was your day, dear?”

Call before visiting!
Better come on time but,--
“Not while we’re having dinner.
Can you please call back later?”

A glass of milk for lunch,
a slice of cheese on rye.
Onions and raw fishes,
Meat and potato dishes.

Families they leave you be.
“No we don’t have any money!”
Divide the bill by three and we--
love everything that is free!

Direct confrontations.
Sober perceptions.
Vacations in September,
“All inclusive is much cheaper.”

“Take the bike it’s good for you.”
Every problem has a solution.
Most people own a cat.
“Do it like this don’t do it like that!”

Red light districts everywhere,
Happy leaves in coffee shops.
“No, not possible, no we can’t.”
But everyone sure loves Holland.

火奴魯魯紀念公園中的京都庭園，主體建築包括三重塔、金閣寺與鏡池，亦是一座公墓



火奴魯魯日本庭園
-- Sapardi Djoko Damono (1940- )

這就是和平嗎？一座小樹林：
拐彎抹角的小徑，太陽
在繁花下找到了掩蔽，水波
每每推遲了答辯


Japanese Garden, Honolulu
-- Sapardi Djoko Damono, translated by John H. McGlynn

is this peace? A small glen:
a winding footpath, the sun
resting beneath the flowers,
rippling water postponing
each and every answer


Taman Jepang, Honolulu
--Sapardi Djoko Damono

inikah ketentraman? Sebuah hutan kecil:
jalan setapak yang berbelit, matahari
yang berteduh di bawah bunga-bunga, ricik air
yang membuat setiap jawaban tertunda


John H. McGlynn, ed. & trans., On Foreign Shores: American Images in Indonesian Poetry, Jakarta: The Lontar Foundation, 1990, pp. 100-101.