“我们自身内的外来者”——论多多海外诗歌的“双重外在性”

“Outsiders within Ourselves”:On the“Double Outsideness”of Duoduo’s Overseas Poems

流散者所特有的双重经验或双重视域使得流散文学具有“双重外在性”的美学特征,它是游牧的、去中心的、对位的。具体以多多的海外创作为例,可知其“外位性”视角主要表现为一种与声音和韵律有关的音乐性结构,其表现已不再是传统的“被归化”的协调,而是相互矛盾的“背离”。总体而言,这种由多行诗节和单行诗节组合而成的彼此“背离”的结构频现于多多1990年代的诗歌创作,几乎成为他流散写作的一个特色。即便是在诗节对比并不明显的作品之中,或者同一诗节内部,极具反差的声调转换也构成了离心式的要素,不仅带来了文学形式的创新,更是对传统与现代、记忆与现实、原乡与异域、民族与世界等一系列二元对立向度与思维模式的超越。

Diaspora literature has the aesthetic characteristic of“double outsideness”duo to the unique double experience or double vision of the diasporas,which is nomadic,decentralized,and contrapuntal.The“outside”perspective of Duoduo’s overseas creations is mainly manifested as a musical structure related to sound and rhythm,which is no longer a traditionally“naturalized”coordination,but a contradictory“departure.”In general,this structure of“departure”is made up of multi-line stanzas and single-line stanzas,which is common in much of his poetry in the 1990s,and almost a feature of his diaspora writing.In the works where the contrast between stanzas is not obvious,or even within the same stanza,centrifugal elements are also found in the very antithetical tonal conversions.This is not only an innovation of literary form,but also a transcendence of a series of binary opposites and thinking modes including tradition and modernity,memory and reality,native land and foreign country,and nationality and world.