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  Top 20 Poems by
Chen Li

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1. A War Symphony

2. Microcosmos

3. The Edge of the Island

4. Nocturnal Fish

5. A Lesson in Ventriloquy

6. Taroko Gorge, 1989

7. Hualien

8. Gliding Exexcises

9. A Cup of Tea

10. 18 Touches

11. Footprints in the Snow (two versions)

12. Autumn Song

13. Spring

14. Furniture Music

15. In the Corners of Our Lives

16. Butterfly-Mad

17. Wooden Fish Ballad

18. Postcards for Messiaen

19. Autocracy

20. The Ropewalker

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1. A War Symphony

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See an animation of the poem by Wu Xiu-jing & the poet reading it


Note:
The Chinese character
§L (pronounced as "bing") means "soldier."
¥â and ¥ã (pronounced as "ping" and "pong"), which look like one-legged soldiers,
are two onomatopoeic words imitating sounds of collision or gunshots.
The character
¥C (pronounced as "chiou") means "hill."

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®Ñªk®a¤_©ú¸àµ§¤Uªº¡m¾Ôª§¥æÅT¦±¡n
Calligraphy by Yu Ming-Quan
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¡X¡X from The Edge of the Island 
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         2. Microcosmos  (12 selections)

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´^´¼Á¨ ø¹Ï¡þIllustrated by Peng Chih-wei

¡õSee Chen Li  reading eleven poems from Microcosmos (in Chinese)

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I wait and long for you:

a rolling dice in the empty bowl of night

attempting to turn on a seventh side

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§Úµ¥­Ô¡A§Ú´÷±æ§A¡G

¤@²É»ë¤l¦b©]ªºªÅ¸J¸Ì

¥ø¹ÏÂà¥X²Ä¤C­±

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A great event on the desolate

winter day: ear wax

drops on the desk 


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¨Æ¥ó¡G¤@¶ô¦Õ«Ë

±¼¸¨¦b®Ñ®à¤W

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Multiplication table for kids of cloud and fog:

mountain times mountain equals tree, mountain times tree

equals me, mountain times me equals nothingness¡K

   

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¤s­¼¤sµ¥©ó¾ð¡A¤s­¼¾ðµ¥©ó

§Ú¡A¤s­¼§Úµ¥©óµêµL¡K¡K

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All the sorrow of night will be turned into golden

ears of rice by daylight, to be

reaped by another sorrowful night

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Âনª÷¶Àªº½_ÁJ¡Aµ¥­Ô

¥t¤@­Ó¼~¶Ëªº©]±ß¦¬³Î

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"Which runs faster, grass or dust?"
after a spring shower, beside a deserted railway
someone asked

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¬K«B«á¡A¼o±óªºÅK¹D®Ç
¦³¤H°Ý§Ú

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White skin turns a mole

into an isle: I miss the glistening

vast ocean within your clothes

   

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¦¨¬°¤@®y®q¡G§Ú·Q©À

§A¦çªA¸Ìªi¥ú¸U³¼ªº®ü

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Sandals throughout the seasons: do you see
the free verse my two feet write, treading
upon the blackboard, upon the dust?

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½ñ¹L¶ÂªO¡B¦Ç¹Ð¡A§Úªº¨â°¦¸}
¼gªº¦Û¥Ñ¸Ö¶Ü¡H

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The story of marriage: a closet of loneliness plus

a closet of loneliness equals

a closet of loneliness

 

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¤@­Ó¦çÂdªº±I¹æµ¥©ó

¤@­Ó¦çÂdªº±I¹æ

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Amour, or no more?

I say amour, you say no more; I say

no more no more no more, you say amour I mourn no more ¡ò

   

·R¡A©ÎªÌ­ü¡H
§Ú»¡·R¡A§A»¡­ü¡F§Ú»¡
­ü­ü­ü¡A§A»¡·R«s­ü

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Chirping competition:

zero-year-old old cicadas teach zero-year-old

baby cicadas to sing Happy Birthday

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ª§»ï¡G

¢Ý·³ªº¦ÑÂͱТݷ³ªº

¥®ÂÍ°Û¡u¥Í¤é§Ö¼Ö¡v

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Ah man, come and

take a selfie:

                     encaged

  

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¦s¦bªº¼g¯u¡G

               ¥}

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Having constantly broken world records

our lonely shot-putter throws his head out

in one put

   

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§Ú­Ì©t±Iªº¹]²y¿ï¤â¡A¤@Á|

§â¦Û¤vªºÀYÂY¥X¥h

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Violent love brought about pleasant injury:

I perspired the sweat equivalent to five boxes of grapefruit

you had twenty-one hairs broken

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§Ú¬y¥¢¤F¤­½c¸²µå¬cªº¦½¥Ä

§A§éÂ_¤F¤G¤Q¤@®ÚÀY¾v

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 Great fleeing: let me hide inside

you, like water melting in water,

seen by the world, found by no one

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¸Ì­±¡A¹³¤ô·»©ó¤ô¡A³Q
¥þ¥@¬É¬Ý¨£¡A¤S¨S¦³¤Hµo²{

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(1993 / 2006)   
Translated by Chang Fen-ling
& ¡òJennifer Feeley

¡õ¡iÁp°Æ¡E¬°§A®ÔŪ¡jChen Li  reading six poems from Microcosmos

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  ¡õ  Chen Li  reading in Chinese & English two poems from Microcosmos in Macau

         

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¡X¡X from Microcosmos & Microcosmos II  
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¡m¤p¦t©z¡n&¡m¤p¦t©z II ¡n

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3. The Edge of the Island

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On the world map on a scale of one to forty million
our island is an imperfect yellow button

dangling on a blue uniform

My existence is a transparent thread

thinner than spider's silk, going out my window facing

the sea to bind the island and ocean together

 

At the edge of lonely days, in the crevice

between the new year and old

thought is like a book of mirrors, freezing

the ripples of time

Thumbing through it, you¡¦ll see pages of an obscure

past, flashing upon each mirror

 

another secret button¡X

like an invisible tape recorder, pressed against

your breast, repeatedly recording and playing

your and all of mankind's memories¡X

a mix tape of love and hate

dream and reality, sorrow and joy

 

What you hear now is

the sound of the world

the heartbeats of all the dead and living

plus your own. If you call with all your heart

the dead and the living will speak to you

in clear voices

 

At the edge of the island, on the boundary

of sleep and awake

my hand is holding my needle-like existence

threading through the yellow button polished and rounded

by the island people, piercing hard into

the heart of the earth beneath the blue uniform

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¡õSee Chen Li  reading the poem "The Edge of Island" in Chinese at his hometown Hualien

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§Ú­Ìªº®q¬O¤@²É¤£§¹¾ãªº¶À¶s³§

ÃP¸¨¦bÂŦ⪺¨îªA¤W

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³z©úªº½u¡A¬ï¹L­±®üªº§Úªºµ¡¤f

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¥t¤@²É¯µ±Kªº³§¤l¡X¡X

¹³Áô§Îªº¿ý­µ¾÷¡A¶K¦b§Aªº¯Ý«e

§â§Aªº©M¤HÃþªº°O¾Ð

­«Å|¦a¦¬¿ý¡B¼½©ñ

²V¦XµÛ·R»P«ë¡A¹Ú»P¯u

­WÃø»P³ß®®ªº¿ý­µ±a

 

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¥@¬ÉªºÁn­µ

§A¦Û¤vªº©M©Ò¦³¦ºªÌ¡B¥ÍªÌªº

¤ß¸õ¡C¦pªG§A¥Î¤ß©I¥s

©Ò¦³ªº¦ºªÌ©M¥ÍªÌ±N²M·¡¦a

©M§A»¡¸Ü

 

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µd¿ôªº¥æ¬É

§Úªº¤â´¤¦í¦p°wªº§Úªº¦s¦b

¬ï¹L³Q®q¤W¤H¥Áªº¤â¿i¶ê¿i«Gªº

¶À¶s³§¡A¥Î¤O¨ë¤J

ÂŦâ¨îªA«á­±¦a²yªº¤ßŦ

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(1993)

Translated by Chang Fen-ling
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¡X¡X from Traveling in the Family 
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¡m®a®x¤§®È¡n

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4. Nocturnal Fish

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¡÷ Hear Chen Li read the poem in Chinese


In the night I turn into a fish

an amphibian

suddenly rich and free from having nothing

 

Emptiness? Yes

as empty as the vast space

I swim in a night darker and wetter than your vagina

like a cosmopolitan

 

Yes, the cosmos is my city

Seen from any of our city swimming pools

Europe is but a dry and shrunken piece of pork

and Asia a chipped tea bowl by a stinking ditch

 

Go fill it with your sweet familial love

fill it with your pure water of ethics and morality

fill it with your bathwater replaced every other day

 

I am an amphibian

with nothing and with nothing to fear

I perch in the vast universe

I perch in your dreams each day and night

 

A bather bathed in rain and combed by wind

 

I swagger across your sky

across the death and life you can never escape

 

Do you still boast of freedom?

 

Come, and appreciate a fish

appreciate a space fish suddenly rich

and free, because of your forsaking

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¡õ¡iÁp°Æ¡E¬°§A®ÔŪ¡jChen Li  reading the poem "Nocturnal Fish"

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¤@­Ó¦]¤@µL©Ò¦³¬ðµM´I¦³¡B¦Û¥Ñ°_¨Óªº

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§Úªs´å¦b¤ñ§Aªº³±¹DÁÙÀãÁٶªº©]¸Ì

¹³¤@­Ó¥|®ü¬°®aªº¤H

 

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±q§Ú­Ì¥ô¦ó¤@®y¥«¥ß´åªa¦À©¹¤U±æ

¼Úù¤Ú¥u¤£¹L¬O¤@¶ô°®Ã§ªº½Þ¦×

¦Ó¨È²Ó¨È¥¿¹³¬O¯ä¤ô·¾®Çªº¯}¯ù¸J

 

¥h¸Ë§A­Ìªº²¢»e¿Ë±¡§a

¸Ë§A­Ì­Û²z¡B¹D¼wªº¥Õ¶}¤ô

¸Ë§A­Ì¹j¤Ñ´«¤@¦¸ªº¬~¾þ¤ô

 

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´Ï®§¦b§A¤é¤é©]©]ªº¹Ú¸Ì

 

¤@­ÓÀÍ­·¨N«Bªº¨N¯DªÌ

 

¤j±ø¤j±ø¦a´å¹L§Aªº¤ÑªÅ

´å¹L§AµL©Ò°k¹Pªº¥Í¥Í¦º¦º

 

§AÁÙ­n¸ØÄ£§Aªº¦Û¥Ñ¶Ü¡H

 

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Åé»{¤@±ø¡A¦]§Aªº±óµ´¡A¬ðµM´I¦³

¦Û¥Ñ°_¨Óªº¤ÓªÅ³½

(1994)

Translated by Chang Fen-ling
  
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¡X¡X from The Edge of the Island 
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¡m®qÀ¬Ãä½t¡n

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5. A Lesson in Ventriloquy

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¡õ Music: Hong Chung-Kun / Image: Wu Xiu-jing



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*

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°cËBظõ­°îËWÍÑëÒètÍ|ÓOÊVܪÖQÍõÞ|ÉåÉÖ
¡]§Ú¬O·Å¬Xªº¡K¡K¡^
ÉÖÉåÞ|ÍõÖQܪÊVÓOÍ|ètëÒÍÑËW°îõ­Ø¸ËB°c
;ÔÁ×åÚ²ó÷ôºÊÄäúçgÄE¶õÂ뮩»~°Èª«¤Å´c
¡]§Ú¬O·Å¬Xªº¡K¡K¡^

´c¾j«X¶k¤Ì¹KÁî§ãÆsôºì_éhãáݦÜáÜGÛåÛå
ÃE§c´j¾µ³mË®õ§°îë§ÓÄÒÞÏîôYøÌÊÃØ®Ìâøí
¸°ÎK°×ØÞÝ~¸ãìFè¶Ø¥Ø¥è¶ìF¸ãÝ~ØÞ°×ÎK¸°
øíÌâØ®ÊÃøÌôYÏîÒÞÓÄ맰îõ§Ë®³m¾µ´j§cÃE
ÛåÜGÜáݦãáéhì_ôºÆs§ãÁî¹K¤Ì¶k«X¾j¡]
¦Ó¥Bµ½¨}
¡K¡K¡^

(1994)
Translated by Chang Fen-ling

Note:
Ventriloquy is an art of speaking with no or little lip movements. This poem can be viewed as a variation on the theme of the Beauty and the Beast, monologue done by a man, or the beast, toward his beloved, the beauty. A man has wanted to speak words of love or make some confession to his beloved. He tries very hard to use ventriloquy to say ¡§I am gentle and kind,¡¨ but somehow, he is too nervous or too shy to express himself properly. Before the right words are uttered, what come out are numerous twisted sounds which either seem unrelated or imply evil intentions. The beast produces a lot of odd-looking words with the same sounds. Chen Li obviously found all the weird characters with the help of the computer for this audio-visually striking Chinese poem.


µù¡G¡q¸¡»y½Ò¡r¬°¤@±¡¸Ö¡A¥þ¸Ö¥D­n¥Ñ¸ò´c (£¹`) »P´c (£­`) ¦P­µªº¤@°ï¦r²Õ¦¨¡A»¡¸ÜªÌ±ý¦V¨ä©Ò·RªÌªí¹F¤ß¤¤·Å¬Xµ½¨}ªº±¡·N¡A¤£·N«o¦R¥X¤@°ï´c§Î´cª¬ªº»y¦r¡C

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¡õThe whole song  Music: Hong Chung-Kun / Soprano: Lee Chia-Yi

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¡X¡X from The Edge of the Island 
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¡m®qÀ¬Ãä½t¡n

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6. Taroko Gorge, 1989

¤Ó¾|»Õ¡D¤@¤E¤K¤E

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1
In a drizzly chilly spring I ponder over the subtle meaning of your silence

Your vastness is a kind of close intimacy
The towering mountain walls lie flat at the bottom of my heart like a grain of sand
Clouds and fog push gently by
Lushness revolves and pauses in moisture
The tenderness is like breath
like the gentle falling of a leaf, the slow flight of a bird
and the blossoming of a tree
on the steep and slippery mountaintop and cliff
Your profundity takes in misery and ecstasy
as solemn as a lush rain forest
or a dark blue starlit sky. Your sonority is
like lively rabbits and fowls
passing through last summer's torrential mountain floods
galloping on the sunny morning
I seem to hear the calling of life to life
in the deep pond where I used to play in my childhood
in the dream from which I awoke with a start last night
I seem to see the passion of history
twisted and frozen by time
on the surface of crinkled and rugged rocks
at the bottom of the valley tumbling with rocks ¡@
whose veins run like clouds and water
in the endless gaze between mountains
in the endless reflection of the sky and earth

Still you simply look silently at me
walking on your mountain path
You look at me, time after time
stumbling before you
just like those who have fallen, bled and died
in your arms for the past thousands of years

2
How many times you have left your children
stumbling, hurt and rising in your arms
How many times you have left them
proceeding and lost in the luxuriant forest scattered with rotten leaves
You see youth splashing like flying waterfalls
flowing into the distant ocean with mountain streams
You see floating clouds loaded with dreams
vanishing slowly into more giant dreams
You let them search for massive rocks to meditate on
You let them lean on the toll of bells to go into the evening
They grow in the torrential rain
You have left them standing by the broken cliff
watching water dripping through rocks
watching time flowing by like a river day and night

Time flows by like a river day and night
You allowed the red-haired Spaniards to gather gold dust in your gorge
You allowed the red-haired Dutchmen to gather gold dust in your gorge
You allowed the Chinese driven over the sea by the Manchus to gather gold dust in your gorge
You allowed the Japanese who drove the Manchus away to gather gold dust in your gorge

To build fortresses, set up cannons, and kill in your gorge
To build fortresses, set up cannons, and kill on your mountainside
To build fortresses, set up cannons, and kill on your streamhead

You heard the Han people enter and say to those under their knives
"Surrender, Taroko barbarians!"
You heard the Japanese enter and say to the people under their guns
"Surrender, Taroko barbarians!"
You watched those tattooed people move gradually from the depth of the mountain to its foot
from the foot of the mountain to the plain
You watched them gradually leave their homes
in silence

3
You watched them gradually leave their homes
and come to you
those Chinese who were driven over the sea by the Chinese

With postwar explosives, nostalgia, bulldozers
they dug new dreams among your tangled bones
Some were missing in the tunnels they themselves had dug
Some sank into the eternal abyss with falling rocks
Some had one arm or one leg left
standing in the wind like a persevering tree
Some took off old robes, picked up hoes
and nailed new doorplates by the newly-built road
>From the girls whom they were newly acquainted with in the strange land, they learned
to graft, mix blood, propagate
Just like the California plums, cabbages, Twentieth-century pears they grew time and again
they planted themselves into your body

They hung new names of places over the newly-built roads
In spring
their great leader, wearing medals of honor
came to a place named Tianxiang to appreciate fallen plum blossoms
They paved the royal couches on the hot-spring path, with hot vapor overhead
reciting aloud
The Song of Righteousness
But you are neither Huaqing Pool nor Mawei Slope
nor the vague, distant Chinese landscape

That famous painting master Da-qian, with his trembling hand
touching his beautiful beard, more elusive than mountain cloud and fog
painted nostalgia extravagantly with half-abstract splashes of ink on your concrete face
They painted the picture of the Yangtze River on your mountain wall
Yet you are not landscape, not the mountains and rivers in the Chinese landscape painting
What hangs down from your forehead is neither Li Tang's
Whispering Pines in the Mountains
nor Fan Kuan's Traveling among Rivers and Mountains
To those who visit you in air-conditioned tourist buses
you are beautiful landscape
(They are just like the Portuguese who cried out "Formosa"
in a strange tone when their ship passed by the ocean in the east four hundred years ago)
Yet you are not Formosa, though you are beautiful
You are not the landscape to be carried, hung, or displayed
You are living, you are life
you are the great and truthful existence to
those people of yours
who vibrate and breathe with the pulse of your veins

4
I'm looking for the foggy dawn
I'm looking for the first black long-tailed pheasant that flew over the gorge
I'm looking for the indigo and the euphorbia that peeped at each other through crevices
I'm looking for the red knees of the setting sun that chased the flying squirrels
I'm looking for the calendars of trees that changed their colors with the changes in temperatures
I'm looking for the tribe of wind
I'm looking for the rites of fire
I'm looking for the footsteps of mountain boars that echoed with the sound of bows
I'm looking for the bamboo houses of dreams that slept on the pillows of floods
I'm looking for architecture
I'm looking for navigation
I'm looking for the crying stars in mourning
I'm looking for the mountain moon which, like a hook, hung up the bloody night and the gorge
I'm looking for the fingers that tied themselves with wires and hung down thousand-foot-high cliffs to explode with the mountain
I'm looking for the light that dug through the wall
I'm looking for the skull that hit the bow of a ship
I'm looking for the heart that was buried in strange soil
I'm looking for a suspension bridge, a song without a shoelace maybe
I'm looking for the caves of echoes, a group of significant vowels and consonants:

Tangarao, Bunkium, Tupido
Tanlongan, Losao, Teruwan
Topogo, Sumeg, Lupog
Kobayan, Balanao, Botonof
Kumoxel, Kalagi, Baga-Paras
Kalapao, Tabula, Lapax
Qesia, Busiya, Tassil
Sexengan, Sidagan, Sikalaxen
Qaugwan, Tomowan, Bolowan
Vetodan, Putsingan, Senlingan
Daoleg, Degalan, Degiag
Sakadan, Palatan, Sowasal
Bunayan, Bololin, Tabokyan
Owai, Doyun, Batakan
Dagali, Xoxos, Waxel
Sikui, Bokusi, Mogoyisi
*

5
I'm looking for the cave of echoes
pondering over the secret of the humble residence on earth
in a drizzly chilly spring
When autumn came, they traveled together on the mountain path in the gorge
What were waiting in the woods or by the stream
might be a group of suddenly-swarming monkeys
might be two ownerless bamboo houses standing silently
by the desolate plowland
Farther into the ancient path, they crossed a shrub of weeds
and encountered again the Japanese army trench lying in ambush
Still farther on was an aboriginal hunting hut built of thatches
with a couple of broken pottery pieces left by
the latest party of archeologists

We pass by Huitowan
and arrive at the suspension bridge where stand nine plum trees
At the place where Japanese policemen used to be stationed, a modern postman
happily distributes mail into different mailboxes
It may be taken away by the old veterans living at Water Lily Pond
who will cross the suspension bridge after two hours' walk
or by the women living at Plum Village
who will come jolting all the way down in a cart

You jolt along into the evening village
A healthy village boy runs excitedly to greet you
His agile figure is like the wild deer that his maternal grandfather
hunted fifty years ago
"Papa has made good tea for you!"
Bamboo Village, the name of their hometown
so much like the poetry of Tang Dynasty his father read in his youth
Just like the Atayal people who plowed and hunted here fifty years ago
they crossed the sea and became the owners of the land
growing their fruit trees, raising their children

6
In the drizzly chilly spring I ponder over the secret of
the humble residence on earth
One toll pushes another
Mountains stand beyond mountains
I go up the steps, in the twilight approaching slantwise
the Buddhist chanting of the mountaintop temple
Like the repeated beats of waves
like your vast existence

how simple and yet complicated the low, repeated chanting is¡X
tolerating the infinitesimal and the vast
tolerating the distressed and the joyous
tolerating strangeness
tolerating imperfection
tolerating loneliness
tolerating hatred
Just like the low-browed benevolent Bodhisattva, you too are
the silent Goddess of Mercy
impartially looking on the creation of the heaven and the earth, the death of trees and the birth of insects
The landscape speaks aloud, the skies are boundless
I seem to hear the calling of life to life
It goes through the crystal look of mountains and waters
through the caves of eternal echoes
and reaches tonight

The towering mountain walls lie flat at the bottom of my heart like a grain of sand

Note
:

   The above are the ancient names of the places in Taroko Gorge. In the Atayal language they refer to different meanings.
For example, Tupido, now called Tianxiang, originally means "palm tree;" Losao originally means "swamp;"


Tabokyan originally means "sowing;" Putsingan originally means "a must for passing;" Bolowan originally means "echo."

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    Tianxiang: a place in Taroko Gorge, named after Wen Tian-xiang (1236-1282), a heroic character in the last reign of Sung Dynasty,
who fought against the invaders only to be captured. Refusing to surrender, he was executed after three years'
imprisonment.
Before the execution, he wrote The Song of Righteousness to express his loyalty and patriotism for the native land.


    Huaqing Pool and Mawei Slope: names of places in Tang Dynasty.


Yang Yu-huan (719-756), Tang Xuan-zong's favorite concubine, bathed in the former, and was forced to hang herself on the latter.


    Da-qian (Zhang Da-qian, 1899-1983): a master of the traditional Chinese water-and-ink painting. Living in Taiwan in the last years
 of his life, he painted mostly the scenery of Mainland China.


Li Tang and Fan Kuan: two major Chinese painters of Sung Dynasty, famous for their landscape paintings.


Formosa (meaning "beautiful"): another name for Taiwan given by the Portuguese who reached it in 1590.


The indigo (Indigofera ramulosissims) and the euphorbia (Euphor-bia tarokoensis): two rare species of plants found in Taroko Gorge.


    In Part Four, Chen Li lists twenty images of search, which is an attempt to lead readers into the heart of Taroko Gorge to look for its origins,
to take a glimpse at "the secret of the humble residence on earth." He also lists forty-eight ancient names of spots in Taroko Gorge.
To the outsiders, they may be meaningless sounds, but to the Atayals, they are significant, vividly revealing the local features. The reason why
Chen Li makes such a long list is obvious: he is eagerly inviting readers to go on a journey of retrospection to the lost culture of Taiwan.

(1989)

Translated by Chang Fen-ling
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¡õSee a short video of Chen Li's "Taroko Gorege, 1989" with the poet reading it

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³o¨Ç¬O¤Ó¾|»Õ°ê®a¤½¶é°Ï¤ºªº¥j¦a¦W¡A¦b®õ¶®±Ú»y¸Ì¬Ò¦U¦³©Ò«ü¡C¦p¶ð¤ñ¦h¡A¤µ¤§¤Ñ²»¡A­ì·N¬°¡u´Ä¾ð¡v¡F¬¥»à¡A­ì·N¬°¡uªh¿A¡v¡F
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¡õChen Li  reading "Taroko Gorege, 1989" (in Chinese)


¡õChen Li's handwriting of the poem "Taroko Gorege, 1989"











¡X¡X from Rainstorm  ²¦¶O.jpg (2343 bytes)
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7. Hualien

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  ¡õ Sung by the band Outlet Drift

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With waves, with surfs, with the sea

with a swash, a swoosh, a splash, with lush

depths of waters and sable currents

whitecaps, crests of crests, waves urging waves 

in the backyard garden and rearward ocean

the forward hopes and outward glances

of a sloping backdrop, solid mountains, and soil thick

with a view toward the far away

with breaths, with laughs, with surfs, with laughing surfs

with a sea of joyful tears, with the ocean¡¦s lavish placard

a special announcement of clear skies, with waves¡K

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(2014)

Translated by Elaine Wong

¡õ Recited by Colin Bramwell (in English)

 

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¡õSee Chen Li  reading the poem "Hualien" in Chinese  (two versions)

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µù¡Gªü¬ü±Ú»y Widang¡]ªB¤Í¡^¡A¦³¤H­µÄ¶¬°¡u¥H®ö¡v¡C

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¡÷ Hear Chen Li read "Hualien" in Chinese (mp3)

¡X¡X from New Poems 

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8. Gliding Exercises¡X        based on Vallejo's theme  

·Æµ¾½m²ß¡X¡X¥Î¥Ë¯P»®¥DÃD

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¡õ Gliding Exercises: for Soprano and Piano  (Music: Lily Chen / Poem: Chen Li)

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¡§At that corner we sleep together plenty of nights.¡¨  

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At

such height looking back at the earth

your breath tops my breath

 

We

steer the wind forward, along with

the stars playing truant

 

Sleep together

through such lengthy and dark pre-historic times and Middle Ages and

suddenly wake up

in the modern light

 

Plenty of

wet and glistening golden fleece, and your name, called by the

lips of the whole Milky Way

 

Nights¡¦

medals, words which have been

rubbed and inscribed

 

That

(yes, that) giant warehouse with time as its pillar, where thunder and

lightning and clouds and rain

are stored in its secret

 

corner


Note:
The first line of each stanza of this poem comes from the beginning of a poem in
Trilce by the Peruvian poet
César Vallejo (1892-1938)
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¡§At that corner we sleep together plenty of nights.¡¨  Chen Li divides the sentence into
seven parts, and tries to weave them into this poem of his own, using each part as the first line of each stanza.
It is a pity that owing to the gap between languages the English translation fails to present such a poetic device faithfully.

(1998)

Translated by Chang Fen-ling

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¡u¦b§Ú­Ì¦PºÎ¹L³\¦h©]±ßªº¨º­Ó¨¤¸¨¡v¡A¯¦¾|¸Ö¤H¥Ë¯P»® (Vallejo, 1892-1938)  ¸Ö¶° Trilce ¸Ì¨â­º¸Öªº¶}ÀY¡C
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9. A Cup of Tea

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¡õ Chen Li  reading "A Cup of Tea" (in Chinese)

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And then I know
what the time for a cup of tea means

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I waited in the crowded and noisy station building
for the one who was late for the appointment
to appear on the bitterly cold winter day
I carefully held a full cup of
hot tea
carefully added to it sugar and milk
stirring gently
sipping gently

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You casually opened the slim collection 
of Issa's haiku that you had in your luggage:
"A world of dew; yet
within the dewdrops¡Xquarrels..."
This crowded station was a dewdrop within
a dewdrop, dropped
in the tea deeper with every sip

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A cup of tea
at first hot, turned warm, and then cold
Things on my mind
ranged from poetry to dreams to reality
In ancient times¡X
in the world of Chinese serial novels or
tales of chivalry¡X
it would be the time for a cup of tea
in which a swordsman drew his sword wiping out the besieging rascals
and a hero was enraptured and enchanted before the bed of a fair lady

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But modern time has changed its speed
Within about the time for half a cup of tea
you drank up a cup of golden fragrant tea
A cup of tea
going from far to near and then into nothingness
The one for whom you had waited long finally appeared
and asked if you would like one more cup of tea

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Note:
 
The Chinese title of this poem is the name of the Japanese haiku master Issa (1763-1827),
which means "a cup of tea"
 or "a single bubble in steeping tea."

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  ¡÷ Hear Chen Li reading the poem "A Cup of Tea" in Chinese 

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luyen.jpg (11279 bytes)

  ¡÷  Hear the song "A Cup of Tea" (sung in Chinese)

composed by Lu Yen (¿cª¢, 1930-2008) 

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(1993)

Translated by Chang Fen-ling

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¡X¡X from The Edge of the Island 
³¯¾¤¸Ö¶°
¡m®qÀ¬Ãä½t¡n

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10. 18 Touches

¤Q¤KºN

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Note:
  ¡§18 Touches¡¨ (
¤Q¤KºN) is a Chinese popular song with erotic allusions. £t, £u, £v (similar to b, p, m) are three phonetic symbols of Chinese.
Eluan Beak is the southernmost point of Taiwan. Eluan is a transliteration of the Paiwanese word for ¡§sail.¡¨
Red-headed Island is also called Orchid Island, where the Yami (the Tau) people live.
Sosoli
is the plural form of ¡§taro¡¨ in Yami language (soli, the singular form), and soso means ¡§breast.¡¨
Turoboan, where the Liwu River runs through, is the ancient name of Hualien, famous for its Taroko Gorge.
Black Ditch is the old name of Taiwan Strait. Chen Li¡¦s original poem in Chinese is shaped to the contour of Taiwan.

(2010)

Translated by Chang Fen-ling


µù¡GÃZÆq¡A±ÆÆW»y¡u¦|¡vªºÄ¶­µ¡C

¡X¡X from New Poems 

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11. Footprints in the Snow (two versions)

³·¤W¨¬¦L (¨âºØ)

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¡õ Footprints in the Snows  (Music: Chen Chiung-yu / Poem: Chen Li)

¡@

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A. Footprints in the Snow (1976)

Cold makes for sleep
deep
sleep, for
a feeling soft as a swan
Where the snow is soft, a hastily scrawled line is left
in white, white
ink
hastily because of his mood, and the cold:
the hastily scrawled
white snow

¡@

¦]§N¡A»Ý­nºÎ¯v
²`²`ªº
ºÎ¯v¡A»Ý­n
¤ÑÃZ¤@¯ë¬X³nªº·Pı
³·ÃPªº¦a¤è¯d¤U¤@¦æ¼ã¯óªº¦r¸ñ
¨Ã¥B¥u¥Î¥Õ¦â¡A¥Õ¦âªº
¾¥¤ô
¦]¥Lªº¤ß±¡¡A¦]§N
¦Ó¼ã¯ó
¥Õ¦âªº³·

(1976)

Translated by Chang Fen-ling

¡X¡X from Animal Lullaby 

³¯¾¤¸Ö¶°¡m°Êª«·nÄx¦±¡n

¡@

¡@

B. Footprints in the Snow (1995)

¡@

¡@

(1995)

Note:
The title of this poem comes from a piano piece by the French composer
Claude Debussy, ¡§Des pas sur la neige¡¨ (Preludes: Book 1, No.6).

¡X¡X from The Edge of the Island 
³¯¾¤¸Ö¶°
¡m®qÀ¬Ãä½t¡n

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12. Autumn Song

¬îºq
¡@

When dear God uses sudden death
to test our loyalty to the world
we are sitting on a swing woven of the tails of summer and autumn
trying to swing over a tilting wall of experience
to borrow a brooch from the wind that blows in our faces

¡@

But if all of a sudden our tightly clenched hands
should loosen in the dusk
we have to hold on to the bodies of galloping plains
speaking out loud to the boundless distance about our
colors, smells, shapes

¡@

Like a tree signing its name with abstract existence
we take off the clothes of leaves one after another
take off the overweight joy, desire, thoughts
and turn ourselves into a simple kite
to be pinned on the breasts of our beloved:

¡@

a simple but pretty insect brooch
flying in the dark dream
climbing in the memory devoid of tears and whispers
till, once more, we find the light of love is
as light as the light of loneliness, and the long day is but

¡@

the twin brother of the long night

¡@

Therefore, we sit all the more willingly on a swing
interwoven of summer and autumn, and willingly mend
the tilting wall of emotion
when dear God uses sudden death
to test our loyalty to the world

¡@

*

¡@

·í¿Ë·Rªº¯«¥Î¬ðµMªº¦º
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¹³¤@´Ê¥Î©â¶Hªº¦s¦b¯d¤Uñ¦Wªº¾ð
§Ú­Ì³°Äò¸Ñ¤U¾ð¸­»P¾ð¸­ªº¦ç»n
¸Ñ¤U¹L­«ªº³ß®®¡A±ý±æ¡A«ä·Q
¦¨¬°¤@°¦³æ¯Âªº­·ºå
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¤@°¦³æ¯Â¦Ó¬üªº©øÂΧO°w
¦b¶Â·tªº¹Ú¸Ì½­¸
¦b©â¨«²\¤ô»P¦Õ»yªº°O¾Ð¸ÌÃkª¦
ª½¨ì¡A¦A¤@¦¸¡A§Ú­Ìµo²{·Rªº¥ú»P
©t±Iªº¥úµ¥»´¡A¦Óº©º©ªø¤é¡A¥u¬O

º©º©ªø©]ªºÅp¥Í¥S§Ì

§Ú­Ì©ó¬O§ó¥Ì¤ß§¤¦b®L¤Ñ»P¬î¤Ñ
¥æ§À¦Ó¦¨ªºÂþÆH¤W¡A¥Ì¤ß­×¸É
¤@°ô¶ÉÉȤFªº·P±¡ªºÀð
·í¿Ë·Rªº¯«¥Î¬ðµMªº¦º
´úÅç§Ú­Ì¹ï¥@¬Éªº©¾­s

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(1993)

Translated by Chang Fen-ling

¡X¡X from The Edge of the Island 
³¯¾¤¸Ö¶°
¡m®qÀ¬Ãä½t¡n

¡¶

¡@

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13. Spring

¬K¤Ñ

¡@

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Oh, world
our hearts have
become legitimately and healthily lustful again

¡@

*

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°Ú¡A¥@¬É
§Ú­Ìªº¤ß¡A¤S
¦Xªk¦Ó°·±d¦a²]¿º°_¨Ó¤F

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(1992)

Translated by Chang Fen-ling

¡X¡X from Traveling in the Family 
³¯¾¤¸Ö¶°
¡m®a®x¤§®È¡n

¡¶

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14. Furniture Music

®a¨ã­µ¼Ö

¡@

¡õ Hear Chen Li reading the poem "Furniture Music" in Chinese

¡@

I read on the chair
I write on the desk
I sleep on the floor
I dream beside the closet

¡@

I drink water in spring
(The cup is in the kitchen cupboard)
I drink water in summer
(The cup is in the kitchen cupboard)
I drink water in fall
(The cup is in the kitchen cupboard)
I drink water in winter
(The cup is in the kitchen cupboard)

¡@

I open the window and read
I turn on the light and write
I draw the curtains and sleep
I wake inside the room

¡@

Inside the room are the chairs
and the dreams of the chairs
Inside the room are the desk
and the dreams of the desk
Inside the room are the floor
and the dreams of the floor
Inside the room are the closet
and the dreams of the closet

¡@

In the songs that I hear
In the words that I say
In the water that I drink
In the silence that I leave

¡@

*

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¦b§ÚÅ¥¨ìªººq¸Ì
¦b§Ú»¡ªº¸Ü¸Ì
¦b§Ú³Üªº¤ô¸Ì
¦b§Ú¯d¤Uªº¨HÀq¸Ì

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¡õ Hear the song "Furniture Music" (sung in Chinese) composed by Lu Yen (¿cª¢, 1930-2008) 

¡@

¡@

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(1995)

Translated by Chang Fen-ling

¡X¡X from The Edge of the Island 
³¯¾¤¸Ö¶°
¡m®qÀ¬Ãä½t¡n

¡¶

¡@

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15. In the Corners of Our Lives

¦b§Ú­Ì¥Í¬¡ªº¨¤¸¨

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¡õ Hear Chen Li reading the poem "In the Corners of Our Lives" in Chinese

¡@

 

In the corners of our lives live many poems
They may not have reported to the domiciliary registration office 
or received doorplate numbers from the district office or police station
Walking out of the alley, you bump into a jogger speaking on the cell phone
His embarrassed smile reminds you of the aged doctor who polishes his 
young wife's red sports car in front of the house every night 

You realize then
 that they are two sections of a long poem 

 
Objects are
 known to each other, but not necessarily on visiting terms
Some float up to become images, courting and showing affection 
for others. Sound and smell usually conspire first, flirting with each other
on the sly. Colors are the coy little sisters who must stay home
get set the curtain, sheet, bathrobe and tablecloth, wait for their master to return, and turn on 
the lights. A poem, like a home, is a sweet burden

sheltering
 love, lust, pain and sorrow, taking in the good and the bad

 
They needn't go to the health center to be sterilized or to buy condoms
although they do have their own ethics and family planning
Couples of well-matched family backgrounds do not
 
always make the best matches
Water
 can mix well with milk, but it can also be mated with fire 
Whitehead eats black-boned chicken; black-headed flies debate over
whether or not a white horse is a horse. Tender violence
Deafening silence

Incestuous love is 
the poet's license 

 
Some of them choose to live in the shadow of metaphor or woods of symbols
Some are broad-minded and optimistic, like sunny spiders climbing here and there. Some
enjoy living outdoors, talking
 idly and having intercourse; others, like invisible gauze
are scattered in your brain, which is divided into many small suites for rent, from time to time 
switching on the spinning wheel of dream or subconsciousness
Many poems are said to b
e imprisoned in the room of habit. In quest of lines you
close 
the door, overturn boxes and cupboards, call out desperately, and even ride an electronic
donkey,
 drive the mouse and pound the keys. You open the window
to the big wide world, and surprisingly, there they are: 
Irises after the rain. A flock of gulls
on their way home from school. Slanting 
waves of the ocean
The microwave oven boiling tomato soup with
 slices of bean curd 
 
It occurs to you to buy some peas. You go to the supermarket and see
cancancancancancancancancancancancancancancancancan
cancancancancancancancancancancancancancancancancan
cancancancancancancancancancancancancancancancancan
You take one can casually and find what you've been racking
your brains for 
owes its presence to its very absence:
cancancancancancancancancancancancancancancancancan

cancancancancancancancan      cancancancancancancancan
cancancancancancancancancancancancancancancancancan
 
A persimmon lies solitarily on the counter. You say

how fantastic, a persimmon lies solitarily on the counter
A line of words forms a family in itself

You can't help suspecting it was immigrated from Japan, or from the High Tang 
when quatrains were flourishing.

But you don't mind at all. You don't mind at all that they'll all fit into
a small shopping bag
 

¡@

*

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ÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀY
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ÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀYÅøÀY
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ÀY        ÅøÀYÅøÀYÅøÀYÅøÀY
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¤@Áû¬õ¬U©t¿W¦a¦b¦¬»È¥x¤W¡C§A»¡
§®«v¡A¤@Áû¬õ¬U©t¿W¦a¦b¦¬»È¥x¤W
¤@¦æ¦r¦Û¦¨¤@¤á
§A¤£§KÃhºÃ¥¦²¾¥Á¦Û¤é¥»©Î¦hµ´¥yªº²±­ð
¦ý¬O§A§¹¥þ¤£¦b·N¡C§¹¥þ¤£¦b·N¥¦­Ì¥i¥H¥þ³¡¸Ë¶i
¤@­Ó¤p¤pªºÁʪ«³U

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(2000)

Translated by Chang Fen-ling

¡õ Hear Greek actress Keraisa Samara reading Chen Li's "In the Corners of Our Lives" at Athens

¡@


 


¡X¡X
from New Poems 

¡¶

¡@

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16. Butterfly-Mad

°g½º°O

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¡@

  

 

Note: This poem is shaped like a butterfly (or several butterflies).

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(2001)

Translated by Chang Fen-ling

¡X¡X from New Poems 

¡¶

¡@

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17. Wooden Fish Ballad

¤ì³½®Ñ

¡@

  ¡÷  Hear the complete poem recited in Cantonese

¡õ See Chen Li (in Mandarin Chinese) and Professor Wang Ling (in Cantonese) reading "Wooden Fish Ballad"

            ¡@

This is the seventh autumn visiting here

cool wind as usual; autumn typhoons merciless

My feelings missing you are like the flooded

MRT system, with no trains

and so nowhere to go

I am stranded in memories of the past deeper

than the flood in this city

picturing you glancing at the Hello Kitties caught in the twilight by the window

I am in silent contemplation at the computer desk

as the new ring tone just set on the cell phone

rings like birds chirping, and the newsbar on the TV rolls:

Airport closed, transport cut off by land and air

All these add to my sorrow and annoyance in missing you

 

The old testament is hard to break. What I have is a coverless

wordless Bible, carrying last night¡¦s wet dream

and leaking from upstairs like an ever-turning waterwheel

dripping on my heart

All wet, every page of scripture about ecstasy of fish and water

poetry and music, our sacred swimming pool

 

My shining silver-scaled swimming choir

tapped out in rows from electronic wooden fish

pass through the flooded city, through spongy-wrinkly

moonbeams, to swim onto your computer screen

 

I know how to recall and narrate the merry hours

I remember the day we first met at the theater

I was a wretched and penniless traveler

yet you showed me affection, because of

an unaccompanied aria composed of meaningless vowels

You kept me company by the hotel bedside lamp, inquiring about

the story in the song. I told you the romantic tale

behind ¡§The Traveler¡¦s Autumn Rue,¡¨ about

Miu Lianxian, how his memory of songstress Mai Qiujuan

left him remorseful on his journey, turned days into years

writing poems, lost in reminiscence, looking for outlets for his sorrow

 

After hearing my story, you sighed and said

¡§Your story was really us, how memory

breeds music and images for poetry to recite

how you, a poet, courted me, singing

similar yet different themes

with subtly varied postures and tones; I

was a songbird whose mission

was to sing, but before poetry, a more

melodious songbird

I choose silence in response to voices¡¨

You said my words were pearls, creating

pricelessness out of nothing. I knew you not only saw my talent but

felt no contempt for poverty. My only possession: fabrication

 

Oh, loveliest of lovers, your attentive listening is

itself singing. I write because you are here

You are not a songbird; you are every singing

and non-singing bird: robin, bluebird, red falcon

sandpiper, snow-owl, swift¡K

You are music incarnate

existing prior to poetry. Attracting poetry, accepting poetry

you are the scaffolding for words gone lost

my journey¡¦s lodging house, and in the aquarium of your screen

my shining silver-scaled swimming choir and chanting team

¡@

Note:

¡§Wooden fish ballad¡¨ is a form of oral literature popular in Guangdong (Canton Province), China.
The wooden fish is a wood percussion instrument used to keep rhythm while chanting or singing.
¡§The Traveler¡¦s Autumn Rue¡¨ is one of the most famous in the repertoire of wooden fish ballads.
 ¡§
I know how to recall the merry hours¡¨ is a translation of a line from Baudelaire¡¦s poem ¡§Le balcon.¡¨


*


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 (2001)

Translated by Chang Fen-ling

¡X¡X from New Poems 

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18. Postcards for Messiaen

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¡õ Hear the song "Postcards for Messiaen" (sung in Chinese) composed by Lu Yen (¿cª¢, 1930-2008) 

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1

We are all hanging
Tears
Stars
Rainbows
Birds

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Over the abyss of time
singing
singing

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A garden of sorrow in the air


2
We run on a terrestrial globe
I am in ancient Asia
you are in distant Europe
Someone revolves the earth
we stumble, falling together into
the melancholy ocean


3
The suffered but serene ocean

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Breathe
Breathe
Breathe

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Love

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Note:
These poems are written according to some of the music I have heard recently, especially that of Messiaen (1908-1
992),
Nono (1924-1990), Webern (1883-1945), and Takemitsu (1930-1995). Takemitsu said, 
"The joy of music, ultimately, seems connected to
sadness. The sadness is that of existence. The more you are filled with the pure happiness of music-making, the deeper the sadness is."


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³o¨Ç¸Ö®Ú¾Úªº¬O§Ú³ÌªñÅ¥ªº¤@¨Ç­µ¼Ö¡A¯S§O¬O±ö´ð (1908-1992)¡A¿Õ¿Õ (1924-1990)¡AÃQ¥» (1883-1945) »PªZº¡¹ý (1930-1995) ªº¡C
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 (1990)

Translated by Chang Fen-ling

¡X¡X from Traveling in the Family 
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19. Autocracy

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They are lawmen tampering with grammar at will

 

Singular yet accustomed to the plural form

Objects presuming to be subjects

 

Hungry for the future tense when young

Indulging in the past tense when old

 

No need for translation

Resisting all changes

 

Fixed sentence patterns

Fixed sentence patterns

Fixed sentence patterns

 

Only one transitive verb: suppress


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 (1989)

Translated by Chang Fen-ling

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20. The Ropewalker

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Now what I sustain is, floating in the air, your laughter
your laughter, through the obscure quivering net
What if a ball larger than a roof should be thrown over?
Would it drive you into sudden melancholy?
A ball like the earth, pouring onto your face the unfastened
islands and lakes (just like a wheelbarrow with a loose screw)
Those black and blue bruises are the collisions with mountains
the metaphysical mountain ranges harder than iron wheels
the metaphysical burdens, anxiety, metaphysical aestheticism...
And the so-called aestheticism, to me, who tremble in the air
is perhaps only a restraint from a sneeze, an itch, with
the head still up

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What runs over you at the same time is the joke system of
all continents and subcontinents, interwoven in your body like tributaries
a joke not very funny: black humor, white terror
red blood. Red, because you once blushed with your heart fluttering
for the beloved girl (of course you can't forget the hatred and bright red blood
aroused by jealousy and fury...) But you're simply a ropewalker
walking on the earth, yet discontented with only being a ropewalker
walking on the earth

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Now what I sustain are the subjects left behind by the
departed circus: time, love, death, loneliness, belief
dreams. Will you thus unpack the parcel before a houseful of
silent audience? The moment of sudden solemnity after roaring laughter
You simply pull out, wipe, rearrange the earth's internal organs
those spare parts that make the world move, sunshine leap
the male and the female animals reach their orgasms...
They don't even know why you stay there
stay there (restrain from sneezing and itching)
a wingless butterfly turning a somersault where it is

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So you tremble in the air, cautiously constructing
a garden of jokes on the dangling rope
cautiously walking across the earth, propping up
the floating life
with a slanting bamboo cane
with a fictitious pen

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*

¡õ Hear Hao Jia-xin reading Chen Li's poem "The Ropewalker" in Chinese


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§A¥u¬O§â¦a²yªº¤ºÅ¦±Ç¥X¨Ó¡AÀ¿«ø¡A­«²Õ
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 (1995)

Translated by Chang Fen-ling

¡X¡X from The Edge of the Island 
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 Selected Poems of Chen Li  

In Front of the Temple     Animal Lullaby     Rainstorm
Traveling in the Family     Microcosmos     The Edge of the Island
The Cat at the Mirror     New Poems     Microcosmos II 

  Introduction to Chen Li's Poetry  
  by  Chang Fen-ling


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