時間 Time：2013/11/24 (Sunday)
4:00pm-5:00pm
地點
Venue： 油麻地 Kubrick電影中心一樓講廳
主持
Moderator：Atom Cheung
嘉賓
Guest：張美君
語言
Language：廣東話
散文詩 (prose
poetry) 生於城市，是營役急促的生活裏速成的快拍。最為人津津樂道的是十九世紀法國詩人波特萊爾（Charles Baudelaire）的《巴黎的憂鬱》（Paris Spleen），刊於當時的報章，是交錯的文類，既是散文亦是詩作。香港大學比較文學系系主任張美君的新作《寫在窗框的詭話》(滙智出版)，企圖以城市散文為香港文化留下印記，並嘗試以詩意的想像和感性的書寫探索散文與詩或其他文類﹙例如攝影和繪畫﹚交錯的可能。在這次深秋的詩會中，她會與讀者一起談中外文學傳統裏的著名散文詩 (例如魯迅的《野草》和波特萊爾的《巴黎的憂鬱》) ，並分享她自己的書寫經驗。
Prose
poetry belongs intimately to the ephemeral and fleeting city where our pace of
life cannot be slowed down. In the Western tradition of prose poetry, Charles
Baudelaire’s Paris Spleen famously
explores the nature of city life through this cross-over genre. Esther M. K
Cheung’s new Chinese book The Uncanny on the
Frame (Infolink 2013) is a modest attempt to experiment what can be done in
the cultural space of Hong Kong. In this November poetry meeting, from Lu Xun’s
Wild Grass to Baudeliare’s Paris Spleen, Esther will share with us
her reflections on prose poetry and its power.
“Which one
of us, in moments of ambition has not dreamt of the miracle of a poetic prose,
musical, without rhythm and without rhyme, supple enough and rugged enough to
adapt itself to the lyrical impulses of the soul, the undulations of reverie,
the jibes of consciousness? It was above all, out of my exploration of huge
cities, out of the medley of their innumerable interrelations, that this
haunting ideal was born.” --From Baudelaire’s Paris Spleen.
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