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田原:回顾您半个多世纪的创作历程,准确地说,您步入诗坛是出于被动式的“被人劝诱”所致,而不是来自自我原始冲动的“自发性”。从现象学上看这是“被动式”的出发,但恰恰是这种偶然的诱发,使您走上写作的道路。从您受北川幸比古等诗人的影响开始写作,到您在丰多摩中学的校友会杂志《丰多摩》(1948年4月)复刊第二期上发表处女作《青蛙》,以及接着在同仁杂志《金平糖》(1948年11月)上发表两首均为八行的诗歌《钥匙》和《从白到黑》时为止,作为您还不满十七岁,那时,您是否已立志将来做一
Tahara: Recalling the creative process of your more than half a century, to be precise, you are entering the poetry world out of the passive “being persuaded ”, rather than “spontaneity ” from the original impulse. From a phenomenological point of view this is “passive ” departure, but it is precisely this accidental induction, allowing you to embark on the road to writing. Begin writing as you are influenced by such poets as Kitagawa and to the debut second titled “Frog” at the Fondama (April 1948), alumnus magazine at Fonterura, As you are still under 17 when you publish two poems “Key” and “From White to Black”, both of which are eight lines, in “Golden Plum Sugar” (November 1948), have you decided to do one