面对灾难,诗歌何为?——以泰华《小诗磨坊(14)》的疫情叙事为“样本”

What Can Poetry Do In Front of a Disaster?——with the Covid-19 Narrative of the Chinese-Thai’Little Poetry Mill’(No.14)as a Sample

面对灾难,诗歌何为?阿多诺的论断“在奥斯维辛之后,写诗是野蛮的”提示出了一个重大的文化问题,一个具有建构意味的诗学问题。在全球面临新冠疫情凶残肆虐的至暗时刻,泰华《小诗磨坊(14)》以“在地”与祖籍国的双重情结,在灾难诗歌的抒情主体“占位”、灾难诗歌的诗性正义以及历史品质等多个层面给出了可供讨论的“经验”。质言之,面对灾难,任何盗用大众情感的廉价抒情、或者是以“诗性”之意而放弃关怀,乃至反思品质的缺位,都是违背灾难叙事伦理的。正是在这一意义上,泰华《小诗磨坊(14)》给我们提供了“奥斯维辛”之后,诗人何为的一个样本。

What can poetry do in front of a disaster?The conclusion drawn by Adorno that’Writing poetry after Auschwitz is barbaric’states a major cultural issue,and a constructive problem of poetics.In the darkest hour in which the world was facing the rage of the Covid-19,the Chinese-Thai’Little Poem Mill’(No.14)has provided an experience for discussion on the multiple levels of its double-complex of the local and ancestral land,the positioning of the lyrical subject of disaster poetry,the poetic justice of disaster poetry and historical qualities.Qualitatively speaking,in front of a disaster,any cheap lyricism by way of stealing the emotion of the masses,or the abandonment of care in the name of the poetical and even the absence of reflective qualities are against the ethics of disaster narrative.In this sense,the Chinese-Thai’Little Poetry Mill’(No.14)has provided us with a sample of what poets can do after Auschwitz.