我一直把扬尼斯·里索斯作为我写作的标杆,他选择的立场也是我认为最为恰当的立场。他的诗歌一点也不卖弄,朴素得几近于木讷,但仔细一读,又发现平易中隐含着另外的极为犀利的东西,一种沉积于生活深处的、最为核心的苦痛。他的音调始终在低音区,有点像自言自语,类似呢喃和梦吃,但却有着巨大的场域,盘旋在高处,扫过脏乱的街区、弱至无言的人群,乃至整个令人伤心欲绝的尘世。他的语言仿佛是用胆汁泡制而成,然后经过反复的风干,看起来似乎脱离了苦水,但在咀嚼之后,那种苦才真正令人铭心刻骨。这要追索他的整个一生,可以说,他的一生 I have always used Ioannis Rissos as the benchmark for my writing. The position he chooses is also what I think is the most appropriate one. His poetry did not show off at all, but it was a bit naive. However, after reading it carefully, he found that there were other extremely sharp things hidden in Ping Yi and one of the most central pains that have been deposited in the depths of life. His tone is always in the bass area, a bit like talking to himself, like whispering and dream eating, but with a huge field, hovering high, sweeping dirty neighborhoods, weak to speechless people, and even the whole Heartbreaking worldly. His language seems to have been made of bile, and then, after repeated air-drying, seems to be out of bitter water, but after chewing, that bitterness is truly memorable. This wants to reclaim his whole life, can say, his life