Kubrick Poetry •三月• 詩歌彌撒——木心作品誦讀夜

時間 Time：2012年3月24日7:00PM - 9:30PM
地點 Venue ：九龍油麻地眾坊街3號駿發花園百老匯電影中心一樓演講廳
主持 Moderators：Polly Ho, Jimi Yo, 楊光
誦讀嘉賓 Guest：廖偉棠


是次「詩歌彌撒——木心作品誦讀夜」作為香港首場紀念木心先生的活動，通過詩文誦讀、小型展映、跨媒體演出、茶會、分享等，以誠愨而歡喜的氛圍作紀念、紹介及拋磚之義。 木心，詩人、文學家、畫家，原名孫璞，字仰中。一九二七年生於浙江烏鎮。一九四六年進入了由劉海粟創辦的上海美術專科學校學習油畫，隨後轉入林風眠門下，入杭州國立藝術專科學校研習中西繪畫。五十至七十年代，任職上海工藝美術研究所，參與人民大會堂及歷屆廣交會設計工作。一九八二年移居紐約，長期從事美術及文學創作。

詩文誦讀;
首次現場演奏木心先生之音樂作品——《海風》;
紀錄片「Mu Xin: Notes from the Underground」片花放映;
跨媒體誦讀劇場「夏夜的即興」;
木心畫作及相片小型展;
讀者紀念圖文放映;
終場咖啡乾杯

木心生平 1986年至1999年，臺灣陸續出版木心文集共12種。 1989年至1994年，為旅居紐約的文藝愛好者開講《世界文學史》，為期六年。 2003年，木心個人畫展在耶魯大學美術館、紐約亞洲協會、檀香山藝術博物館巡迴。最後三十三幅畫作皆被耶魯大學博物館所收藏，亦為20世紀首位畫作被大英博物館收藏的中國畫家。 2006年，木心文學系列首度在大陸出版，始獲本土讀者認知。同年，應故鄉烏鎮的盛情邀請，回國定居。 2010年，木心散文體小說集《空房》英文版在美國出版。年底，紐約獨立電影製片導演赴烏鎮為木心先生錄製紀錄片。 2011年，木心美術館由OLI建築設計事務所設計動工。 2011年12月21日淩晨三時，木心先生在故鄉烏鎮逝世，享年84歲。

china as kafka

(Adam Cheung)

The February session of Kubrick Poetry took place in our new post-renovation hang-out at the upper level atrium of the Broadway Cinematheque. This afternoon, we were joined by Maori poet, Vaughan Rapatahana, who kicked off the afternoon by sharing his curious observations of Hong Kong, a place he has called home for the last seven years. The first few poems he shared conjured the vivid sights and smells of places like Tsimshatsui and Mongkok. Vaughan also expressed a genuine concern for the condition of our society when he talked about his observations of the social fabric of his neighbourhood in Tin Shui Wai,

The poem “china as kafka” captures his impressions of contemporary China as a country plagued by corruption and injustice. “cadre Wong is never wrong / remember that / you fool” are the lines that echoed throughout this reading. After Vaughan’s enthusiastic performance, a member of the audience offered her own verbal rendition, giving the audience and the poet himself another interpretation of the same poem via a different voice.

In addition to his two books of poetry, Vaughan also shared with us the books he wrote for teaching young people how to write poems. The books used English and Maori poems as examples. Vaughan read a poem in the Maori language and offered another member of the audience a chance to try to read in this foreign tongue. In this verbal exploration of the Maori text, the group enjoyed a few laughs as we discussed the wide range of sounds that the language offers. Vaughan also gave us some background history of New Zealand and the white man’s conquest of the local inhabitant’s land. He also shared many insights accumulated over the years having lived in various places in Asia including the Philippines.

At the same time as being an English teacher, Vaughan also expressed a deep interest in local language preservation amidst the spread of English as a global language. His concern is explored in a forthcoming book titled The English Language as Hydra. Vaughan is also well-versed in existential philosophy and has mentioned the works of Colin Wilson as a source of inspiration.

Overall, Vaughan has shown us that reading and listening to a poem can be an enjoyable and rewarding experience even if the language being read may be foreign for the listener or even the reader. He has shown us that poetry can be written and enjoyed across different languages, and across different countries. We ought to respect Vaughan’s non-judgmental curiosity for the local culture of the places he has lived in, and even amidst the mass commercialism and consumerism that plague Hong Kong, we are pleased to know that Vaughan will continue to call this place his home in the years to come.

(Photos by Paul Wan)