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| 2023/12/03 05:47:27瀏覽108｜回應0｜推薦5 | |
| Excerpt：羅伯特．麥克法蘭的《荒野之境》 羅伯特．麥克法蘭（Macfarlane Robert），一個在心頭上經常惦記的名字，總覺得自己應該要多讀一些他的作品，而在原文之外，也就只能求助簡體中文譯本。 然而，近日一時不察，在拍賣網站購入一本可能早已絕版的《荒野之地》（The Wild Places），等收到時才發現自己買到的居然是影印版…… 無論如何，羅伯特．麥克法蘭的作品本身絕對值得一讀，以下併同英文摘要分享。 https://www.books.com.tw/products/CN11280957 荒野之境 作者：羅伯特．麥克法蘭 出版社：上海譯文出版社 出版日期：2015/08/01 語言：簡體中文 《荒野之境》是劍橋學者羅伯特．麥克法倫2007年所作，他「鬆散的行走文學三部曲」的第二部，尋訪英倫三島最後的荒野，用雙足繪制幾被遺忘的自然地圖。 從蘇格蘭的拉斯海角到多塞特的「陷路」，從諾福克的風暴海灘到埃塞克斯的鹽鹼灘和河口，從蘭諾克的大沼地到奔寧山脈，麥克法倫目間攀援、行走、游泳，入夜，則露宿於荒野之上、密林之中、峭壁之巔。他的旅途導演著人和文化、過往和現在，讓它們緊密地交織在這些地點之中。每一章都是一段旅程，每一段旅程都是一個角度，辨認、摩挲荒野的某種特質。 麥克法倫一貫行文如詩，不僅能描繪出自然的風貌和表象之下的能量與機理，也能刻畫自我與自然交會時感官和內心的種種感觸，讀者似乎就在字裡行間與作者一同遠行。他曾說過，出色的自然文學能夠引導讀者「萌生新的行為形式，新的道德意識，以及對於自然世界更為強烈的關切」，此書是示範。 羅伯特．麥克法倫（Robert Macfarlane）出生於1976年，是劍橋的院士，他的研究和寫作領域側重於自然與文學的關系、二戰之後的英美小說、當代詩歌和維多利亞時期文學等等。他的「行走文學三部曲」展現了當代旅行寫作新的走向和所能達到的高度。其中首部《心事如山》獲得了「衛報首作獎」、「泰晤士報年度最佳青年作家獎」和「薩默賽特．毛姆獎」；第二部作品《荒野之境》獲得或被提名有將近十個獎項，由BBC製成紀錄片。《古道》2012年出版，廣受好評，不斷出現在各種「年度好書」的推介中，獲得「塞繆爾．約翰遜獎」提名。2013年他受邀擔任布克獎評委會主席。麥克法倫的散文機智博雅，精巧而不晦澀，《格蘭塔》前主編弗里曼稱他為當代最好的行走文學作家。 【Excerpt】 〈櫸樹林〉（Beechwood） 我們不該停止探索， 而每一次探索的終點 都將回到開始的地方 我們這才真正認識了起點。 We shall not cease from exploration, And the end of all our exploring Will be to arrive where we started And know the place for the first time. ——T·S·艾略特 從霍普山谷回來的那天晚上，從架子上取下來自風雨海灘的那些石頭，把它們放在我的書桌上，把我新拾來的那塊菱形的砂石也放了進去。我開始擺弄起來。首先，我把它們按照發現的先後順序排列，最早發現的排左邊，最新發現的排右邊。然後我又按它們的年代久遠程度重新排列，在我力所能及的範圍內：寒武紀、奧陶紀、志留紀、泥盆紀、二疊紀、侏羅紀……之後我又把它們分散開，大致按照發現它們的地點大致排列出一個圖形，於是它們就成了一張礦石的地圖，也勾勒出我在列島間的旅行。每一塊石頭裡都保留著我發現它們時的記憶：那裡的氣溫，那裡空氣的味道，那裡的光照程度。 The evening I got back from the Hope Valley, I took down my stones from their storm-beach on the shelf, and laid them out on my desk, adding my gritstone lozenge to the pattern. I began to move them around. First I arranged them into a long line of their finding, with the earliest to the left and most recent to the right. Then I moved them into order of their ages, as best I could: Cambrian, Ordovician, Silurian, Devonian, Permian, Jurassic . . . Then I dispersed them into a rough shape of the relative places of their findings, so that they made an approximate mineral map of the archipelago itself, and my journeys within it. Each stone still carried with it some residual memories of the moment of its finding: the smell and temperature of the air, the light’s texture. 來自巴德西群島的藍色玄武岩，取自珍珠色海水中急流峽谷的邊緣。來自科魯什克的橄欖形石英石，我們在那個大熱天裡離開那裡時，我一直把它含在嘴裡。兩塊眼珠子形狀的石頭在那裡瞪著我，一塊來自蘭諾克的泥炭沼澤，另一塊來自桑伍德附近的溪流地。一塊藍白相間的橢圓形石頭，來自黑森林結霜的樹幹腳下，在它一層層的紋路里依然保留著冬林的魔力。來自本霍普山巔的霜裂的碎石。來自內夫河口（naver）的橫紋菱形石，上面的紋路讓人聯想到木紋和沙丘。來自布萊克尼角的地圖石。來自埃塞克斯滿綴著海扇殼海灘的白堊質古墓石，還有那塊來自荒野的楔形平紅石。還有——這最後的一塊石頭——是我在羅傑去世後從胡木農莊的架子上取下來的，帶著雲母斑點的卵形淡色花崗石，為了紀念他在自己家裡創造出的荒野。還有一些別的紀念物：猛禽的羽毛、木刻的海豚、帶缺口的蛾螺、風乾的柔荑花。 The blue basalt heart from Ynys Enlli, from the gulch-edge of the pearly sea. The olive-shaped quartz pebble from Coruisk, which I had rolled in my mouth as we left on that hot bright day. The two eyeball-shaped stones, plucked from the peat of Rannoch and the stream-cut near Sandwood, staring back at me. The blue and white oblong taken from the frosted root bole in the Black Wood, which still had winter-wood magic trapped in its layers. The frost-cracked shard from the summit of Ben Hope. The hooped rhombus from the Naver estuary, whose lines recalled wood grain and sand terrace. The mapstone from Blakeney. The dolmen of chalk from the cockle beach at Essex, and the flat red wedge of brick from the Wilderness. And - last of them all - a squashed egg of pale granite flecked with mica, which I had taken from a shelf at Walnut Tree Farm on a visit after Roger’s death, to mark the wildness of his home. Other talismans, too: raptor feathers, the dolphin of wood, the broken whelk, the catkins. 我的旅程向我展現出英國和愛爾蘭一些本不相關的地方之間新的邏輯聯繫，除了公路和飛行航線之外的聯繫。這是一種地質學的聯繫：突岩回應著突岩，燧石回應著燧石，砂岩回應著砂岩，花崗岩演變成淤泥。這是一幅候鳥和動物的遷徙圖。這是氣候和光線難以預料的活動：暴風、迷霧和黑暗的進程，以及它們對土地的荒野化影響。還有人，活著的或死去的，他們或曾在這片風景中逗留或穿越。許多故事和記憶如蛛網勾連我的旅途，同樣，也有很多更物質化的關係。這些聯繫是由所有的力量匯聚而成的——岩石、動物、氣候、人類，它使土地改變了面貌，就像是經過了顯影液體的衝刷，一些意外的圖形展現出來，在道路和城市的蛛網中出現了鬼魂般的身影。 My journeys had revealed to me new logics of connection between discrete parts of Britain and Ireland, beyond the systems of motorway and flight-path. There were geological links: tor answering to tor, flint to flint, sandstone to sandstone, granite giving way to mud. There were the migration lines of birds and animals. There were the unpredictable movements of weather and light: the passage of blizzards, mists and darkness, and the wildness they conferred on places. And there were the people, alive and dead, who had dwelled in or passed through the landscapes. A webbing of story and memory joined up my places, as well as other more material affinities. The connections made by all of these forces - rocks, creatures, weathers, people - had laid new patterns upon the country, as though it had been swilled in a developing fluid, and unexpected images had emerged, ghostly figures showing through the mesh of roads and cities. …… 我一邊擺弄著石子，一邊回想著這段漫長、曲折的旅程：先是去了遙遠的西部和北部，然後又折回南部，最終來到埃塞克斯，一個似乎不可能荒涼的埃塞克斯。我對「變換」有色彩的記憶：從蘇格蘭冬季的白色、灰色和藍色出發，穿過巴倫地區的青灰色和乳白色，進入英格蘭春季綠色和金色的世界。我還有一個觸覺的記憶：從堅硬的岩石到柔軟的泥土，從冰塊到草葉再到黃沙。但我最強烈的記憶還是來自於關注點的改變：從半島、沼澤、高山的漫長風景線，到樹籬、溝渠、海池和兔穴的特寫世界。 Moving the stones around, I thought back over the arc of the journeys: the long cast west and north, and then the retreat south, and eventually down to Essex, unlikely wild Essex. I had a chromatic memory of the change: from the whites, greys and blues of winter Scotland, through the pewter and cream of the Burren, to the green and gold of the English summer. I had a haptic memory, too, a memory of touch: from the hard rock to the soft mud, from the ice to the grass and the sand. But most powerfully I remembered it as a change of focus: from the long sight-lines from peninsula, moor and mountain summit, to the close-up worlds of hedge and ditch, sea pool and hare scrape. 隨著我向南的移動，我自己對荒野的理解也發生了改變，或者說是它的範圍被擴大了。我以前對荒野的理解是某個遙遠的、沒有歷史的、沒有標識的地方，如今看來，這樣的認識實在是膚淺、片面。 As I had moved south, my own understanding of wildness had been altered - or its range had been enlarged. My early vision of a wild place as somewhere remote, historyless, unmarked, now seemed improperly partial. 我的意思並不是說，像本霍普、蘭諾克這些大自然最後的堡壘是沒有價值的。不是，它們剝離一切的樸質和原始無比強烈，讓它們的價值不容懷疑，它們的力量使人不得不心生敬畏。但我也學會了去觀察另一種形式的荒野，而此前我對它是視而不見的：自然生命體的荒野，有機物發生作用的單純力量，既猛烈又混亂。這樣的荒野無關嚴酷，而是一個絢爛的、生機勃勃的，有趣的世界。雜草在鋪路石的縫隙間蓬勃生長，樹根強行伸入柏油路的路基：這些都是荒野的標誌，就和風暴。海浪、雪花一樣。位於市郊的一塊林地和本霍普山殘破的山巔一樣，都是值得你去探究的： 這是羅傑教我的——也是莉莉現在還不需要去教的事情。這是大多數人長大之後才遺忘的東西。 It was not that places such as Hope and Rannoch, the last fastnesses, were worthless. No, in their stripped-back austerity, their fierce elementality, these landscapes remained invaluable in their power to awe. But I had learned to see another type of wildness, to which I had once been blind: the wildness of natural life, the sheer force of ongoing organic existence, vigorous and chaotic. This wildness was not about asperity, but about luxuriance, vitality, fun. The weed thrusting through a crack in a pavement, the tree root impudently cracking a carapace of tarmac: these were wild signs, as much as the storm wave and the snowflake. There was as much to be learned in an acre of woodland on a city’s fringe as on the shattered summit of Ben Hope: this was what Roger had taught me - and what Lily did not yet need to be taught. It was something most people forgot as they grew into adults. 還有另外一個變化，那就是時間性的變化。我開始感覺到荒野有一種照亮未來的性質，同時也是過去的一種回響。在當代，荒野正面臨著來自方方面面的嚴重威脅。但這些威脅也只是暫時的。因為荒野的歷史比人類古老，也必將比人類長命。假以時日，曾經輝煌的人類文明就會成為過眼雲煙。青藤會悄悄地返回歷史舞台，重新佔領我們的公寓和陽台，就像它曾荒蕪了羅馬的別墅一般。黃沙會飄進我們的商業園區，就像它曾在鐵器時代飄進史前石塔。我們的道路會退化為田野。「一個幽靈般的荒野徘徊在整座星球上，」詩人、林學家加里．斯奈德這麼寫道，「幾百萬株植物的小種子……躲在北極圈腳下的淤泥裡，躲在沙漠的乾沙裡，或是躲在風中 ……每一顆種子都準備著漂流、冰凍或者被吞噬，但它們的萌芽永遠也不會被消滅。」 One other change had happened, and that was a shift of time-scheme. I had come to feel wildness as a quality that flared into futurity, as well as reverberating out of the past. The contemporary threats to the wild were multiple, and severe. But they were also temporary. The wild prefaced us, and it will outlive us. Human culture will pass, given time, of which there is a sufficiency. The ivy will snake back and unrig our flats and terraces, as it scattered the Roman villas. The sand will drift into our business parks, as it drifted into the brochs of the Iron Age. Our roads will lapse into the land. ‘A ghost wilderness hovers around the entire planet,’ wrote the poet and forester Gary Snyder, ‘the millions of tiny seeds of vegetation . . . hiding in the mud on the foot of an arctic tern, in the dry desert sands, or in the wind . . . each ready to float, freeze or be swallowed, always preserving the germ.’ |
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