《野生的心:郭诗玲水墨画集》画者的话:不野不生(郭诗玲)



2016年,年底,为第四本诗集《得不到你时得到你》的每一首诗作绘制插画后,深受朋友鼓励,说画得又快又好又有个性,这才惊觉自己原来仿似有那么一丁点的绘画天分(如果朋友的话可信)。

于是,在2017年2月至5月期间,到距离工作地点不远的新加坡南洋艺术学院,连续报读了三门短期课程:“童书绘画技巧”(八堂课)、“儿童绘本制作”(四堂课)、“西方绘画:油画”(八堂课)。

记得2017年2月2日是平生第一堂非学校美术课,这门“童书绘画技巧”课的导师是新加坡著名插画家余广达先生。课上,我们学用粉彩上色。虽然从幼儿园到高中,都有美术课,不过从未用过这种颜料,色调竟是如此轻柔,一下就爱上了,涂色的时候,心跳快得不行,好像随时会冲出身体一样。

课程都是在晚上7点到10点进行,回到裕廊西“陋室”已经相当晚了。不过,上完第一堂课的那晚,我却彻夜难眠,亢奋不已,这对“睡货”如我而言极不对劲。尽管躺在床上,一直苦口婆心地规劝自己明天还得早起工作,但就是怎么都睡不着。

素来没有失眠问题(只有昏睡问题),于是开始知道,自己的灵魂好像
被画笔召唤了,它是属于画画的。

* * * * *

完成Raphael Koh老师的油画课后,紧接着,又在2017年6月,报读了为期一年(2017年6月27日至2018年5月22日),每周二晚上7点到10点的水墨画文凭课程。除了就读马来西亚新山宽柔中学时的初中三美术老师,即林英杰老师教过一次水墨画金鱼之外,就从未碰过水墨画了。有点不安,万一不喜欢水墨画,如何撑得了一年?

这门水墨画课导师是南洋艺术学院的全职高级讲师蔡宝龙先生,他也是诗人、作家。在第一堂课上,蔡老师传授握笔姿势,然后要我们在宣纸上画出一道道线条,画完横线,再画纵线,仿佛形成一张密网后,方休。结果,就这样被水墨画“网”住了。蔡老师对我这些“鬼画线”
赞不绝口,而我一头雾水,完全不解笔下这些线条的出众之处。学着学着,发现写意派水墨的挥洒自如,相当符合自己的秉性。在画画的世界里,可以享用无穷无尽的自由。过程中,我全情投入,从忘我到无我,内心澄静无瑕,再无尘事;仿佛说飞就飞,说游就游,画纸上的主宰。

* * * * *

不知不觉,为期一年的水墨画课转眼即逝,承蒙蔡老师与评审老师不嫌弃我独特的“野生画风”,竟然考了个A,而且在日常练画中也累积了数百幅画。

越愁越画,越画越愁,明知是一种恶性循环,还是一头热地飞扑过去。火的好,非蛾类不会知晓。

从写诗到作画,每样作品都是我的心迹,每道线条都是我的心轨。

由衷感谢蔡宝龙老师一年来包容我的“不按画理作画”,我总是在完成指定临摹画后,就画些有的没的,不时竟还获得蔡老师的连连嘉许,他甚至在我来不及反应前,就率性地从桌上拿起画作贴堂表扬。何德何能,深得“纵容”。谢谢蔡老师为这本野生画集赐序,蓬荜生辉。

我还要感谢另一位赐序人,母亲李淑娴女士优良的绘画基因。她曾言自己不是当护士,就是当画家。她最终虽然选择了护士一职应付生计,不过其画功至今仍是一流,记得小时候还常为我的作业画画呢。现在周末有时会与她一起画画,享受岁月的静好,情感的流淌。

这本中英双语画集能顺利出版,初中结识的张珮瑜同学的友情襄助令人感动。2017年考获香港中文大学翻译硕士文凭的她,尽管工作忙碌,仍细心地将画集的华文内容译成英文,得好好请她吃好几顿饭才行(19年友谊万岁!)。此外,非常感谢远在澳洲布里斯本的哥哥郭伟良先生与嫂子张詠媜女士拨冗校对英文内容,难为他们这辈子有那么“野”的妹妹了!华文内容方面,则要感谢我在而立之年有幸结缘的新朋友仇莉莲编辑,辛苦她“抛夫弃女”数小时为我校对了。我也要感谢曹蓉女士对我的艺文创作事业一贯的鼎力支持。

最后,当然要感谢来自马来西亚马六甲的作家、书画爱好者叶欢玲女士,愿意从一堆杂草中,挑选相对好的草,为这本集子的选画工作付出了宝贵的时间。还好有奇妙的缘分,终究让我们在2018年3月相遇了。

没想到这一生,可以出版一册画集。人生就是这样,充满着无数的“没想到”,就看我们敢不敢“想”,够不够“野”,不野不生。


郭诗玲
2018年7月4日
新加坡裕廊西豪宅第二层多功能小陋室
(画室/书房/出版办事处/卧房/乱草岗)



After I drew an illustration for each of my poems in my fourth published book, Gaining While Losing at the end of year 2016, I have been deeply encouraged by my friends, complimenting that my illustrations have quick, simple lines with unique characters. It makes me realise that I do have a little talent in paintings (if friends’ compliments are trustworthy).

Consequently, between February and May 2017, I enrolled in some short courses at Nanyang Academy of Fine Arts (NAFA), Singapore. The school is near my work place. The courses I took are Children’s Book Illustration (8 classes), Create Your Own Children’s Picture Book (4 classes) and Western Painting: Oil (8 classes).

I remember 2nd February 2017 was my first non-school fines art class. The Children’s Book Illustration course was taught by Mr. Patrick Yee, a famous illustrator in Singapore. We learnt to paint with pastels. Although there are arts classes from kindergarten to high school, I have never used this kind of art medium. The colour was so soft that I fell in love with it. When I painted with pastels, my heart was pounding fast, and I was full of excitement.

The courses were held from 7pm to 10pm, and it was very late when I reached my humble home in Jurong West. I love to sleep. However, after the first lesson, I could not fall asleep. I was too excited! Surely something has gone wrong for a person who treasures sleeping hours like me. Although lying in bed, I have been painstakingly reminding myself that I must get up early to work the next morning, but I just cannot sleep. For a person who never has problem with insomnia (only with the problem
of lethargy), I began to realise that my soul seemed to be summoned by the painting pens – my soul belongs to painting.

* * * * *

After completing the oil painting course taught by Mr. Raphael Koh, I continued to enrol a one-year course for Certificate of Chinese Painting on every Tuesday 7pm, to 10pm (from 27th June 2017 to 22th May 2018).

Apart from my only Chinese painting of gold fish taught by my Year 3 Art teacher, Mr. Lin Ying Jie at Foon Yew High School in Johor Bahru, Malaysia, I have never drawn anything with ink. I was uncertain about this enrolment. How am I going to survive if I find myself dislike Chinese paintings?

The course was taught by Mr. Chua Poh Leng, a full-time senior lecturer in NAFA. He is also a poet and writer. In the first lesson, Mr. Chua taught the posture of holding the ink brush, and asked us to draw lines on the rice paper, horizontally and then vertically, as if forming a dense net. As a result,
I am “trapped” in the net. Mr. Chua always praises me for my “scribbly drawings”. I am confused. It is completely out of my comprehension what are the outstanding features of the lines I have drawn.
After some time of learning, I find the spontaneous style of the Chinese painting is so free flowing and it matches my characteristics perfectly. I enjoy endless freedom from the world of drawing. When I am drawing, I am fully engaged in what I am doing. I lost track of time, become selfless, and
my mind is calm and tranquil. I become the master of the drawing paper, as if I am flying or swimming as I wish.

* * * * *

Time flies, the one-year course has ended. Thanks to the Mr. Chua and judges who appreciated my unique and unconventional, wild drawing style, I got an A for my result. I have also accumulated hundreds of drawings in my daily practice.

“The more you pain, the more you paint, the more you paint, the more you pain”. Even though it is a vicious circle, I still fly into the flame like a moth. If you are not a moth, you have no idea how attractive a flame is.

From writing poetry to painting, every piece of my work is the imprints of my heart, every line is a track of my thoughts.

Thanks to Mr. Chua for accepting my “outlandish” drawing style in the past whole year. I always started a free-style drawing after I finished the assigned topic. Occasionally, my outlandish drawings received his compliments, and were posted for appreciation in the classroom. How can I be so connived! It is also my great honour to have him writing the preface of this “Untamed Heart” publication, adding a luster lent to my humble book.

Besides, I would like to thank another preface writer, my mum, Ms. Sharon Lee Soo Har, whom I inherited the drawing genes from. She once said if she was not a nurse, she would be an artist. Although she chooses nurse as a job because of livelihood, but her drawing skills are still top-notch.
I remember she used to helped with my school art assignments. Nowadays, I sometimes paint with her on weekends, enjoying the quietness of time and companionship.

I am very grateful to have my high school friend, Ms. Teo Pei Yu for helping on the translation, so that my Chinese-English bilingual painting work can be successfully published. She obtained her Master of Arts in Translation at the Chinese University of Hong Kong last year. I thank her
for carefully translated the Chinese content into English. I must treat her many meals in return (Thanks to our 19-year friendship!) I would also like to thank my big brother Mr. Jonathan Quek Wei Lian and my sister-in-law Ms. Chong Ying Ching who stay far away in Brisbane, for editing and
proofreading the English translations. I am sorry for them to have this maverick sister. Another special thanks go to Ms. Ruth Cao for her support, and my friend, Ms. Kiew Li Lian for her Chinese proofreading.

Finally, I would also like to thank the painting selector, Ms. Yap Huan Lin, a writer and arts amateur from Malacca, Malaysia, for willing to spend her precious time to pick “a relatively good bunch of grass from a pile of weeds” for this publication. It is a miraculous blessing for us to know each other
in March 2018.

I had never dreamt of publishing an art work in my life time. This is life, full of countless “unexpected”. It all depends on whether we dare to “dream” and dare to have an “untamed heart”.


Quek See Ling
4th July 2018
Jurong West, Singapore

《野生的心:郭诗玲水墨画集》选画者的话:如何鉴赏一幅水墨画?(叶欢玲女士)

关于选画者:
叶欢玲,马来西亚马六甲人,马来西亚工艺大学景观建筑系荣誉学士,马来亚大学中文系
硕士。喜欢世间举凡与美相关之人事物景诗书画。散文随笔载于马来西亚各大报刊,现为《中国报》副刊专栏作者。

About the Painting Selector:
Ms. Yap Huan Lin was born in Malacca, Malaysia. She obtained Bachelor of Landscape Architecture from University of Technology, Malaysia, and Master of Arts in Chinese from University of Malaya. She is an aesthete who loves poetry, calligraphy and paintings. Her articles and essays are published on newspapers and magazines in Malaysia. She is currently a weekly China Press columnist.

* * * * *

诗玲让我为其水墨画集选画,恭敬不如从命,然而自觉资历不足。 “这样更好!”她说,“那样你就不会替我的作品,套上一堆艺文理论。”于是斗胆接下这项任务。画集以《野生的心:郭诗玲水墨画集》命名,就带出了不只诗玲在作画时,让心中野马脱缰飞驰在画纸上;选画者也一样,以大自然原生态中未经人工培训、单纯审美的心去品味和领受其作品中,酸甜苦辣的滋味、悲欢离合的情愁。


初遇诗玲,一年200幅的狂热

对于诗玲作品的第一印象,始于2015年获得第19届台湾国家文艺奖的小说家,李永平老师的画像。曾经在南洋理工大学旁听李老师的创意写作课,为期半年,那期间经常在校园里遇见他,打个招呼、问声好,李老师提起创作时眼里闪现的光辉、课后他汗流浃背的样子,深深烙印在脑海中。2017年9月,当李老师辞世的消息传来,我握住手机,蹲踞在马路旁,一双手颤抖不已,眼眶儿热了,心却凉凉的。不久,在脸书上看见朋友转发的帖子,那是诗玲为李老师画的肖像《写,像个孩子(敬悼李永平老师)》(页30)。画中捕捉到李老师的神韵,让见画者宛如亲睹李老师一样,不可思议!我想,倘若李老师尚在人世,看见画像,会刷亮
了双眼并告诉她:“画吧,继续画,要多画!”也说不定。

约莫半年后,机缘巧合下认识了诗玲。听说她出版了四部诗集,又积极报读了一年的水墨画班,我想下班后得打起精神上课,且每周一次、为期一年,若无强烈的兴趣与过人的毅力,恐怕难以达成。光看诗玲在短短一年内创作出200多幅作品,对水墨画的狂热,让人动容!
诗玲的画,有着强烈的个人风格。她的笔触豪放不羁,作画主题多元,不只画意新颖,创意无限,为画作命名立意,也经常引人会心一笑:或幽默风趣,或戏谑人生……常言道,画如其人。打从认识诗玲以来,她就再三告诫我这经常以散文和小品记录生活的写作人,要是胆
敢把她写入文章里头,我俩的情谊将告一段落。现在既然她让我写一写她的画,我又怎么能不提一提其人呢?唉,真叫我好生为难!

2018年6月15日,星期五的晨,我开着音乐,喝一杯热可可,等待诗玲把画作带来,让我挑选。就在指针一步步走向约好的时间,震耳欲聋的雷声轰隆隆响起,豆大的雨点忽然从天上
来,打在窗外山坡、拍在窗台上。诗玲发简讯来,说不好意思,怕弄湿画作,她得晚到。透过雨帘,只见外边灰蒙蒙一片,大树在风雨中猛烈摇摆。雨渐歇后,寂寂的长廊响起了轮
子拖曳的喀啦喀啦声。诗玲抱着画筒、拖着行李箱,来到门前。

那行李箱和画筒里边,一共有200幅画,完成于2017年6月27日至2018年6月15日期间。从中,我们淘汰了53幅作品,147幅收录于此画集中。诗玲将画集分成八辑:“人儿藏心间”、“动物
派对”、“插翅好家伙”、“草民”、“吃的用的有的没的”、“景色无边”、“来点可爱的”、“戏仿”。


善于捕捉人与动物的独有神韵 

笔者认为,画人不易;在几笔内要把一个人的形象勾勒出来,尤其困难。诗玲画人不似照相般画个十足,但是她能抓住对象的特征,捕捉到一个人独有的神韵,好比诗作被选录在台湾高中课本、并获编为曲、得到传艺金曲奖最佳作词人奖的台湾诗人向阳老师,2018年3月他到狮城进行讲座“时间•空间与人间:诗与日常的对话”时,笔者现场见过其人一面,看见诗玲笔下的《性喜向阳》(页49)时,禁不住愣了一下,回过神时喃喃道:“还挺像的哟!”

又有一次,下班后跟着诗玲,去新加坡南洋艺术学院(Nanyang Academy of Fine Arts, NAFA),旁看她的水墨画导师蔡宝龙老师当场示范画竹子。月余之后,当我看见诗玲绘出其水墨画班大合照《我们毕业啦》(页52),画中人物不点目睛,不画口鼻,但是那蔡老师却有着超越形体的相似,格外传神,即使对水墨画技术精炼的人,做到这一点也未必容易吧!只能说,诗玲具有画画天分。

我尤其喜欢诗玲笔下的动物,生动有趣,创意出人意表。不管画猫画狗、青蛙、猴子,在她笔下,动物都有了自己的个性、自己的脾性。欣赏一幅水墨画,也许我们期待立意要“雅”,她偏偏在宣纸画上小狗撒尿、大狗拉屎。你说它不雅吗?它固然不恬淡冲和,跟不食人间烟火也无所挂钩,然而它不装腔作势,或披上风雅的皮。诗玲作画,有一种傲骨,它的雅是内里渗透出来的。你看,狗们可是为草木、为大树《施肥中》(页68与69)哩!至于《这是我的山头,不信踢不到太阳》(页64)呢,红屁股蹦跳的小猴子固然调皮可爱,此外还蕴含着一种“天不怕,地不怕,我要做的事一定办得到!”的力量。


以过人的感受力,画出新意

此外,再平常的题材,也能画出新意来,这是诗玲的创意。好比西瓜这种热带极受欢迎的解暑水果,在其画中就有了不一样的构图:大西瓜怀着切片小西瓜,并命名为《道》(页130)。而瀑布作为水墨画中的景色,再普遍不过,当我看见诗玲画的瀑布时,却觉得“咦,这挺有意思嘛!”。鸟瞰像尼亚加拉瀑布(她说是伊瓜苏瀑布)的《不如我们从头来过(伊瓜苏瀑布)》(页154),画意是可供玩味的。

诗玲的画作,从感情出发。她把情感寄寓于画中,可以读到难以言喻的痛楚,甜蜜温暖的幸福……画中有她风趣调皮的一面,也有她忧愁悲郁的一面。对于生活、人事相处、周遭景物等,诗玲有着过人的感受力。她的温柔与坚毅,她澎湃与汹涌的情感,全都掩隐在一笔一画中。

收录于辑四“草民”的《仙人之掌(不敢和你击掌)》(页122),那构图、那笔触、那力度,让人感受到一股强烈的情绪在里头,唯有在情绪驱使之下,才能一笔勾成吧,就连诗玲本人,往后恐怕也未必复制得来。《美好,不会消失》(页42)画中女子娇羞的神态,
温柔的笑容,料想跟诗玲非要有着一般亲昵,才能呈现出来。此外,当笔者投入去看,有两幅画是让人自心底打个寒颤的!《残败又自由的人生》(页110)及《要饲料还是要自由?》(页105)那种极度沮丧、灰暗的情绪,具有强烈的感染力,绝望的人看了,会泯灭心底的最后一盏微光。

诗玲说,她最不擅长的,是戏仿,然而我喜欢她仿梵谷(Vincent van Gogh)的《向日葵》(页178)和《星空》(页179)……噢,没错,在我看来,那确实不似仿画,更像再创作。


投入灵魂与生命,孩子般的艺术感

我也喜欢《幸福的重量》(页156),画面温馨、有感染力,像跨页的儿童故事书,刻画着家庭幸福。《偷懒无罪》(页95)中的那只老鹰,跟一般画家笔下英姿焕发的老鹰不一样,它不帅气,光天化日也不去打猎,在树梢歇息偷懒呢!看它雄赳赳的样子,具有笑点,过目难忘。我想,也许作者的情绪也寄寓在里头。嘿,就算是鸟中之王老鹰,也需要休息哦!身为凡人,我们在生活中也需要透口气!

《朋友,你要睡到几点?》(页58),以猫、小鸟和玉米为主题,是诗玲仿画中国广东画家方楚雄的构图,可爱而充满趣味,是笔者喜欢的一幅。此外,辑五“吃的用的有的没的”收录的《“相见时难别亦难”(李商隐)》(页142)、《叮叮电车》(页139)、《抵达是一件难事》(页140),除了画名引人深思,构图着墨质朴天然,也很好看。《是爱啊,狗熊》(页60)更让人爱不释手,笔者仿佛看见了从前在北京宛平城邂逅的狮子狗,一身毛茸茸,满发盖住眼睛,肥胖屁股扭扭摆摆走前来。诗玲的画让我们看见,水墨画的题材也可以不呆板,未必非要表现特定的山水和梅兰竹菊等传统元素。

一个作画人的画功和技法,要绝对纯熟并具有高度水平,是需要日久生成的。诗玲学了一年的水墨画,我们不能把她的画说得天上有、地下无,优点以外,缺点必然存在;然而她是投入灵魂与生命去创作的,记得我们一同选画那天,翻看不同的画时,她的脸上出现不同的表情:痛楚、欢愉、幸福……她的画中有她的情绪,她的感受。寄情于画以外,诗玲没有被技巧戴上手铐,她自由发挥自己的艺术感,画中不乏孩子般的艺术感。毕加索(Pablo Picasso)曾说,自己能在短时间内画得像一位大师,却要用一生学习画得像个儿童。我想,在创意的培养上,诗玲的作品是令人欣慰的,也具有其意义与价值。


叶欢玲女士
2018年7月8日
新加坡南洋理工大学



When See Ling asked me to select her Chinese paintings for her album, at first I considered myself unqualified to undertake such a task. “That’s better,” she said, “because you won’t apply all those artistic concepts onto my works.” So, I decided to give it a try. The title Untamed Heart: Chinese Paintings by Quek See Ling not only tells us that See Ling draws heartily and freely; but as the
selector of this album, I adopted a simple natural aesthetic approach in appreciating her artworks: there are happiness, anguish, regret, sadness, pain, bitter-sweetness, as well as feelings and sentiments in relation to the vicissitudes of life.


First Met See Ling, 200 Works Per Year with Her Enthusiasm

My first impression on See Ling’s painting was formed when I saw a portrait painting of Mr. Lee Yung-ping, the novelist who won Taiwanese 19th National Cultural Award in 2015. I attended his creative writing course in Nanyang Technological University for half a year. I still can remember vividly the greetings I had with him when we met in the school campus, his sparkling eyes whenever he talked about literary creation, and his sweaty face after each class. Unfortunately, he passed away in September 2017. When I knew about the news, I squatted at the roadside, my hands were trembling, my eyes went red and my heart turned cold. After that, I saw a post shared on Facebook – a portrait of Mr. Lee, Write Like a Child (Condolence to Mr. Lee Yung-ping) (p.30) by See Ling. The painting captured Mr. Lee’s inner essence so skilfully that its close resemblance made one feel like seeing Mr. Lee in person. It was absolutely incredible! I believe, if Mr. Lee is still alive and sees the portrait, his eyes would definitely brighten up and tells her, “Draw, and keep drawing!”

Around six months later, I happened to know See Ling in person. At that time she had already published four poetry books and had been actively attending a Chinese painting course. It was never an easy task because it was a weekly course for a year. Unless one has a very strong interest with an
extraordinary perseverance, taking on and completing a part-time course is close to an impossible mission. However, when you look at See Ling’s more than 200 pieces of paintings completed within that one year, you just cannot help but admire her great passion in Chinese painting.

Her paintings reflect her strong personalities. The lines and strokes are bold, the subjects she draws cover a broad spectrum of themes, and the titles describe the abstract concepts nicely. They are creative, humorous and sometimes mocking on life – just like her in person. I am a writer too, but ever since I know her, she always warns me not to characterise her into my proses. But how can I make commentaries about her drawings without mentioning her?

On 15th June, it was a Friday morning in 2018, with some soothing music playing and a mug of hot cocoa, I was waiting for See Ling to bring me her paintings for selection. Just before the agreed time, thunder started rolling loudly in the sky, and rain started pounding down heavily. It beat against the
trees outside, the roof and the windows. It was a severe thunderstorm. Soon, See Ling sent me a text message and apologised that she would be late as she was concern her paintings may get damped in the heavy rain. I waited and watched the rain outside. It was dark. The trees were shaking violently in the storm. When it began to stop, I heard a clacking sound of a luggage from the corridor. Here she came, carrying a scroll holder and a luggage containing 200 pieces of her paintings, which were painted between 27th June 2017 and 15th June 2018. We excluded 53 and chose 147 pieces of paintings for the collection. She categorised them into eight series: “Person in Mind”, “Animal Party”, “Flying Little Fellow”, “Plant & Fruit”, “Anything, Whatever”, “Endless Scenery”, “Show Me Cute”, and “Imitation for Fun”.


Good at Capturing the Likeness of People and Animal

I believe it is difficult to draw a person, especially when you want to draw an image of a person in a few sketches. Her skill does not work like a camera, but she pick up the unique features and inner essences of a subject. Here is an example, I met Mr. Xiang Yang in person, a Taiwanese poet in 2018 when he came to Singapore for a public lecture, ‘ Time, Space, and the Human World – Poetry
and the Everyday’. His poems are included in Taiwanese high school textbook and he also won the Best Lyrics category at the Golden Melody Awards. When I saw See Ling’s Fond of Facing the Sun (A Portrait of Poet Xiang Yang) (p.49), I was mesmerised and said to myself: “It’s so closely resembled!”

And there was another example related to her lecturer and classmates at Nanyang Academy of Fine Arts (NAFA). I had a chance to sit in the lesson whereby Mr. Chua Poh Leng, her Chinese painting lecturer demonstrated how to draw a bamboo. A few months later, when I saw See Ling’s work Yeah, We Graduated (p.52), a “group drawing” for the classmates in the Chinese painting class, the details of their faces were not touched up, but I could still recognise Mr. Chua immediately. The likeness of his image on the drawing paper really amazed me. I believe it is not an easy task, even for those who have mastered Chinese painting. So, I am convinced that See Ling is indeed a talented painter.

I really like the animals on her paintings. They are vivid, funny, energetic and imaginative. All animals under her brush have their own character and temper, regardless which type of animal they are - cat, dog, frog or monkey. When we are looking at a Chinese painting, we normally expect to see
a classic elegance, but what she drew was a puppy’s peeing and a big dog’s pooing. Will you say it is inelegant? It is not conventional, and is nothing related to otherworldly, but it is figurative. Her unique arrogance is clearly expressed, yet an elegant ambiance permeates through every piece of her
works. The dogs’ action is for Fertilising (pp.68-69), as described by the title of the painting. While for the small monkey in This Is My Hill, I Don’t Think I Can’t Kick the Sun (p.64), though it looks mischievously cute, it also possesses an ultimate strength of “I fear nothing at all, and I am determined to do whatever I want to do!”.


Great Sensibility, High Creativity

On top of that, no matter how ordinary an object is, she can draw it creatively. For example, one of her paintings in this compilation, watermelon, a popular tropical fruit especially during the summer season, is drawn as a big round watermelon containing three slices of smaller ones – is named as
Tao (p.130). Waterfall is another common subject in Chinese painting. When I saw See Ling’s How About We Start It All Over Again (Iguazu Falls) (p.154), which is a drawing like Niagara Falls (Iguazu Falls actually as she said), it is really up to one to interpret its actual meaning.

See Ling draws emotionally. We can always find her both unspeakable pain and sheer happiness emotions from her drawings… Her paintings reveal not only her sense of humour and playful characters, but also some of the other aspects of her characters - gloominess and melancholy. She is sensitive towards her life, relationships and everything else surrounds her. Her gentle and perseverant qualities, and her many surging sensations and excitements are all hidden in her drawings.

In the series of “Plant & Fruit”, Cactus – Dare Not Give Me Five (p.122) shows a tactile impression, strong visualisation and extraordinary composition. It is clearly driven by some strong emotions, and I think even See Ling herself may not be able to replicate the same work in the future. And for Joyfulness Will Last (p.42), the lady in the drawing looks shy but has a sweet smile, it must be a person very closed to See Ling, otherwise she might not be able to draw it in that level of details. Nevertheless, there are two pieces which are chilly – Miserable But Free Life (p.110) and Feeds or Freedom (p.105). They show deep dejection and negative emotions, which its negativity is
infectious. If someone is depressive and sees these paintings, they may feel the last candle of their life burns itself out.

On the other hand, See Ling told me that she is not good at imitating other artworks, but I really like her cover of Vincent van Gogh’s Sunflowers (p.178) and Starry Night (p.179). Oh yes, for me, they are re-creation.


Devote with Soul and Life, Paint Like a Child

I also like her Weight of Happiness (p.156), which conveys the message about the blissful warmth from family bonding. It looks like a spread in an illustration book or story book. In her No Harm Taking a Rest (p.95), there is an eagle which does not look like eagles on other painters’ works,
it does not look cool at all and not hunting for its food but resting on top of a tree! Well, I guess even the King of Birds needs some rest too, we as ordinary human beings also need to slow down our pace in life!

Hey Friend, When’ll You Wake Up? (p.58) is one of my favourite which imitated Guangdong-based artist Fang Chuxiong’s composition. There are cat, bird and corn as different subjects in the painting. In addition, under “Anything, Whatever” series, there are several drawings such as “So Hard for Us to Meet and Part” (Li Shangyin) (p.142), Ding Ding Tram (p.139), Arriving Is Difficult (p.140), etc., not only have provocative titles, the compositions are simple and natural. I like her It’s Love, Bear (p.60) as well, which made me recall a Pekingese puppy I met in Beijing Wanping Fortress. That little furry, long-haired and walked with a rolling gait’s small creature. See Ling’s drawings show that Chinese paintings can be non-rigid and lively, they do not necessarily be stereotyped by mountain and river, or conventionally expressed in traditional cultural elements such as plum blossom, orchid, bamboo and chrysanthemum.

A painter needs to practise years and years to be acquainted with skills and techniques. See Ling only learns Chinese painting for about a year, so we cannot praise her works like masterpieces, inevitably there are defects. Yet, she devotes her soul and life to create all these paintings. I remembered when we were choosing these paintings for the collection, she showed different kinds of facial expressions when we browsed through them – pain, joy, happy… All these paintings contain her true feelings, her true sensations. On top of that, See Ling is not bounded by her skills, she expresses freely her artistic self and draws everything with her heart, and like a child. Just like what Pablo Picasso has said, “It took me four years to paint like Raphael, but a lifetime to paint like a child”. I am pleased with See Ling’s works in terms of creativity cultivation, and they are definitely meaningful and valuable.


Ms. Yap Huan Lin
8th July 2018
Nanyang Technological University, Singapore

《野生的心:郭诗玲水墨画集》推荐序1:童眼看天下,快笔写大千(蔡宝龙老师)

诗玲有文采有诗情,敏于学而诚于道。每周上课,同学未到她已提前开工,孜孜不倦地在宣纸上挥洒笔墨,常让同学备感压力。

她观察力强,以慧眼观天下,所画题材具时代感,广泛而多样化:亲朋戚友、师长前辈、时事轶闻、卡通人物、名著名句、名士风采……皆成她的灵感,舒怀与对话的对象。对传统名家之作她并不排斥,在模仿、学习与借形之外,也加上自己的解读。她创作爆发力强,作画甚快,灵感之神一眷顾就下笔不停,毫不费力地一连创作好几幅作品,常令同学咋舌。

诗玲快笔下随意拈来的人物对象,大多纯朴自在,行为不亢不卑,甚有文气,又带幽默感及喜气,看了令人会心一笑。她是性情中人,画笔下也常流露出不经意的深层情感:如悼念2017年过世的作家李永平(页30);为“快乐王子”王尔德(Oscar Wilde)造像(页28);词
人纳兰性德如天真的娃,坦腹带惆怅(页48);卡夫卡(Franz Kafka)笔下躺卧床上的大昆虫(页182);天下无关我事的低头族滑手机(页172);出格吉蒂猫比中指(页167)……周遭的人与事与物,甚至流行文化,在她轻描淡写中,化成一幅幅隽永的浮世绘。特别是她提交的考试作品,中堂大鸵鸟(页88),大得太有震撼力,立意大胆带幽默,笔墨磅礴。

康德(Immanuel Kant)曾谓:“艺术(作品)不是表现美的对象,而是美好地表现对象。”诗玲的心眼所见,洋溢着正面的思维,全是健康美好的。画笔题字所宣,皆是妙思联想,深层观察浮世的成果。

毕卡索10余岁的绘画技巧已达大专院校毕业生的水平,但一辈子仍还在学习洗涤凡尘俗染,以童眼看天下。诗玲心中有个小孩,笔下遗貌取神,神而望逸,求简求瞬间感受,常有令人心喜的画作出现,赏心悦目之余是非凡享受。冀望她在艺术路上,永葆童心慎慎行,他日别因技术技巧的进步,而害初祖心。

诗玲于2017年6月27日至2018年5月22日之间在南洋艺术学院上我的水墨画课。这段期间她共画了200多幅水墨画,与朋友一起选出147幅;自谦“作品虽然还很稚嫩”,怕“以后没有这种稚嫩感了,所以想印出来纪念一下当时的情怀。”师生一年,缘分不易,草草数言不求工,是为序。


蔡宝龙老师
新加坡南洋艺术学院美术与设计系纯美术课程高级讲师、诗人、作家
2018 年8月3日完稿
新加坡南洋艺术学院


Preface 1:
Seeing the World Through the Eyes of a Child,
Drawing the Universe with the Strokes of a Brush

See Ling has literature and poetry writing talent. She is diligent to learn things and being sincere in her principles. Every week before the lesson started, she was always well-prepared and has started painting assiduously, often making her fellow classmates feel pressure.

She has strong observation ability and has bright eyes to see the world. Her drawings’ subjects are contemporary and extensively diversified, ranging from family and friends, teachers and elders, current affairs and anecdotes, cartoon characters, famous books and quotations, renowned scholars and etc. All these subjects become her inspiration, inner expression and dialogue with her audiences. She does not reject traditional arts masterpieces. In fact, she likes to manifest her personal reinterpretation of the masterpieces when she tries to imitate, study and adumbrate them. Her creativity is explosive and strong. She draws in fast strokes. When she is inspired by the “god of inspiration”, she always effortlessly creates several paintings in a row, often left her classmates speechless.

The random characters of See Ling’s drawings are mostly simple and free; neither presumptuous nor servile, but very literate, with a sense of humour and joy, and put her audiences in a smile. She is a person in temperament, and often reveals inadvertently deep emotions under her painting brush. For
example, the condolences portrait for the late writer Mr. Lee Yung-ping (p.30); the “Happy Prince” Oscar Wilde (p.28); the portrait of a half-naked, innocence baby-looked but melancholic poet Nalan Xingde (p.48); the gigantic bed-lying insect from Franz Kafka’s novel (p.182); a phubber who does not care anything (p.172); a Hello Kitty character showing her middle finger (p.167) and so on.
The surrounding people, objects, and even the modern trends in her under statement fast sketches, are all transformed into works like Ukiyo-e (pictures of “floating worlds”). In particular, her final examination drawing, titled “I Love This Unique Fashion Since Young” (Qu Yuan) (p.88) - which depicting a big and powerful ostrich, is bold and humorous. It is majestically painted which leaves a lasting impression on whoever sees it.

As Immanuel Kant once said: “Art (work) is not an object of beauty, but a beautiful expression of objects.” See Ling’s mind overflows with positive thinking, which is healthy and beautiful. The titles and inscriptions of her paintings are the results of her association of thoughts and deep observations
with her interpretation of the world.

Even though Pablo Picasso’s drawing skill had achieved the level of college graduates when he was in his adolescence years, but he still persistently learnt to polishing his drawing skills in his entire life, clarifying his drawings from being influenced and stained by the world. Picasso saw the world with a child’s eyes. Today, there is a child in See Ling’s heart too. Under her paint brush, everything becomes lively and fascinating. Her expression of simple and instant lines create pleasing artworks. It is always such a fascinating and extraordinary enjoyment when appreciating her paintings. I hope in
the future, she could keep her childlike heart and originality in her drawings, regardless how skilful she would become.

See Ling was my student in the Chinese painting course in Nanyang Academy of Fine Arts (NAFA) from 27th June 2017 to 22nd May 2018. She has drawn more than 200 pieces of works during this period. After selection, 147 of them will be published. She humbly proclaims her works are still
very young and tender. However, she is afraid that she will lose this sense of tenderness in the future. Therefore, she wants to print them out as a memento to this period of her drawing journey. It is such a privilege for us to have this teacher-student relationship for a year. Here are my few simple words for her preface.


Mr. Chua Poh Leng
Senior Lecturer of Fine Art Programme, School of Art and Design, Nanyang Academy of Fine Arts; Poet; Writer
3th August 2018
Nanyang Academy of Fine Arts, Singapore

《野生的心:郭诗玲水墨画集》推荐序2:生活与艺术(李淑娴女士)


李淑娴女士与怀中幺女郭诗玲
Ms. Sharon Lee Soo Har held her youngest daughter, Quek See Ling (1986)


美梦成真 A Dream Comes True, 李淑娴绘 Painted by Sharon Lee Soo Har,


郭诗玲陪绘 With Quek See Ling’s Companionship, 46cm x 35cm, 2018



女儿诗玲WhatsApp给我,她要出一本水墨画集了!哦,这是她的心愿吧!能圆梦,那是人生中多么幸福的事呀!

喜欢画画的她,作品在中学时代都拿到高分,也有机会贴堂。大学毕业后,过了几年,她没有忘记自己的喜好,空出一点时间来学习画画。

就是这样,坚持学习,不断学习,春天来了,可以出一本画集了!太棒了!画画也可能成为生活中的一种技能。人生这条路要不断提升自己,最好至少能拥有两种技能,才能走得更远……

诗玲,祝福你的第一本水墨画集出版了。

真是生活中找艺术,艺术中找生活。


2018年4月18日
马来西亚新山,我们的家


Preface 2:
Life and Arts (by Ms. Sharon Lee Soo Har)

My daughter, See Ling WhatsApp-ed me that she is going to publish a Chinese painting collection! This is her long-cherished dream! To accomplish a dream is the greatest happiness in life!

She likes to paint. In secondary school, most of her drawings scored high and displayed as excellent works. A few years after she graduated from the university, she has started to spare some time to learn to draw. She never gives up this childhood hobby.

From this determination and perseverance to learn to draw, it has grown to a flower blossom in the spring – a publication of her Chinese painting collection! Awesome! Painting can also be a skill in life. Never give up pursuing a higher-level skill, or even multiple skills, because it will become
part of yourself, and let you to be a better person.

See Ling, truly congratulate for your first publication of Chinese painting collection.

Indeed, it is an art in life, and a life in art.

18th April 2018
Our home sweet home in
Johor Bahru, Malaysia

PayFuture

水床嬉闹
命运终究不把我们送往心之所向
任凭踢水功力高强
任凭华丽转身的错
浮漾,梦一场挨得很近的曾经
回过神,踉跄在无灯的道
被索斯罗茶致醉
黑暗是你我的名字与居所
笑声轰地击碎硬巩的理性

浪大,从来不是理想港湾
只能将心事收纳在未来的腹肌
只能颠簸时轻拍手背,别怕有我
车笛声,苦心孤诣,忧虑我们大耳聋
将句点鸣得响彻云霄

(2018年12月1日)

开跑车的诗人

是我仇富吗?
还是把诗人当圣人了吧?
呼啸而过的
是著名诗人的开蓬

跑车换普通车
救济泅于深水
燃于热火的贫民
(太天真了?)

反正跑不跑车
限速牌前
兔子也不过龟速

(2018年11月25日)

芳邻

City Square的天桥上
你没手
我没脚
她携老抱幼
相伴等飘零
(那些新币佬会依兑换率施舍三倍吗?)

(2018年11月24日)

慎友

瓷砖地板平滑
下雨容易跌倒

(2018年11月23日)

小宠物

你冲凉
我捡毛

你打呼
我擦口水

你踢被
我盖上

你说饿了
想吃掉我

(2018年11月20日)

养兵千日

雨天
摔楼梯
屁股肉多
弹了上来

(2018年11月20日)

分手快了

读你读到
阅读障碍

蹲匿厕所
冲眼泪

马桶里
埋葬你我的屎尿

翻开左叶
掀右叶

咖啡杯缘
深浅生花

嘴角
覆着你的唇印

一针玻尿酸
抚平所有思纹

(2018年11月17日)

精神出轨

在梦里我们交媾了无数回
在现实我们假假好好交心

(2018年11月13日)

人生是一场练习:读扬见《行旅练习帖》


2018621日下午,收到台北教育大学语文与创作学系副教授陈佳君博士的短信,邀请我为她的摄影随笔集《行旅练习帖》撰写几句“名家推荐语”。佳君老师是我几年前在新加坡南洋理工大学担任学术书刊编辑时结识的访问学者。

我当然不是名家(喜欢坐家那倒是事实),不过“恭敬不如从命”,睡前发给她的“丛光从图文绰影间流泻,闪熠着行旅者的情性;随笔?当心有诗出没”,就这样印在封底了。其他“名家”邻居有好几位,包括新加坡诗人学者陈志锐博士的荐语“其文图竟似其名姓,扬眉所见尽是细微之美。扬见在世界各地的走心体会,让文字和光影的小美学有了丰富层次的大深度”,以及台湾作家赖钰婷推荐此书“是安静飞翔中的凝视。在光影和诗文的对话间,深情回望的履痕”等。

按书中作者简介,“扬见”是一位藏族老师赐予佳君老师的名字。全书共分四辑——“自己的季节”、“降速时光”、“飞翔的符号”、“染净之间”,由108篇随笔、126幅旅拍组成,旨于与读者“一起慢慢的走,轻轻的读,深深的想。意义,从来不只是在眼见的画面与文字上。游方天地的每一步,都是练习,也是疗愈”。

佳君老师一说已将书本从台湾邮寄过来,就引颈期盼了许久。书是热腾腾的,翻阅着这本漂亮的书,心也在沸腾,迫不及待一口气读完,不时发出会心一笑。书中的旅拍地点包括台湾、新加坡、马来西亚、印尼、日本、韩国、中国大陆、澳洲、捷克、奥地利、荷兰、法国、瑞士、德国、印度、尼泊尔等。有别于一般旅游书刊,一帧帧照片并非那些颇具压迫感的非打卡不可的地标照,均是细微的发现,独特的视角,洋溢着正面自省的能量。能在浮躁尘世保住敏锐的心眼观察周遭事物,并不容易,不过作者却做到了,并无淹没在大学案牍累累的教职工作里。

作者的文字富有哲理,值得再三咀嚼,如染净之间〉:“每个古文明,/都由一条大河蕴育。/从何时开始,/汲取一瓢净水,/竟难如蜀道。/那么,心的染净呢?”,配图是在印度菩提加耶(Bodhgaya)近郊,主体是一个陶瓮,附近似有个汲水装置。菩提加耶位于印度比哈尔邦巴特那城南约150公里处,是释迦牟尼悟道成佛之处,被视为佛教四大圣地之一。“染净”概念则源自老子人本清净无为与墨子所染的思想,在后世佛道里,着之念及所爱着之法谓“染,解脱之念及所解脱之法谓“净取名“染净之间”,耐人寻味,在爱与解脱之间,如何过渡?当中又聚散了什么?

除了哲思,此书不乏令人心折的句子,浪漫情感的气息,例如有空〉:“我在堆积如山的报表夹层中,有空;/我在柴米油盐的货架缝隙中,有空;/我在Line与微信飙升的红色数字中,有空;/…我有空,为了/陪你”。“没有时间了”、“我很忙”等说辞已是不少都市人的口头禅,单纯的陪伴成了奢侈品,仿佛心有旁骛才是正轨。不过,有没有空其实是相对的,说穿了,就是有没有心——有心就有空。这篇配上阿姆斯特丹的火车内外景色,呈现一种豁然闲适的心情。

另外,值得一提的是作者善于(发现)对比,如枯与荣〉:“爬上了墙的那些/枯与荣,/也是人生风景配图是法国科玛的一栋房子,左窗外是一棵枯木,右窗外则种了一盆姹紫嫣红,满是生命力。《红楼梦》这部鸿篇巨著早已提醒着我们人生的枯荣盛衰,心细如尘的作者想必对此深有感触,将这番景色摄入镜头,配上文字,充分表达意境与情怀。
人生是一场行旅,有起点、终点、沿路的风光;人生也是一场练习,练习失败,练习接受失败,练习接受失败是生命绝大部分的事实。以文图作为记录行旅和练习的帖子,回看来时思绪飞翔的痕迹,不也造就了一种永恒,庆祝了我们生而为人的无意义——正如作者在Present所言:“我们都在享受着/‘当下’这份礼物,往者不可谏,来者还得追,众多时态里唯一属于我们的,就是“现在”,而现在就是真意。
2018820

如果我们听话

如果李安听话
不再做奇幻漂流的导演梦

如果英培安听话
懒理文学世界的二三事

如果梵谷听话
不再天天画着一幅幅滞销品

如果我听话
不再写诗

世界还会有趣吗?
(原来星空可以是圈状的)
我还会是我吗?
(当书局只有理财书瘦身书)

不愿当擦桌的抹布
只想当擦边的球儿
滚啊滚
溜溜溜
享受在边缘滚动的独有快感
可能坠落的惊心
(观众最爱这戏码了)

(2018年11月12日)

赶着排版新书时s键坏了

success太多s是启示?

寓意一个就好,不要复数?

从此不能输入sexy了吗?
(这样活着还有什么意思?)

要打一首shi怎么办?

叫我郭玲?

求sheng不得,求si不能啊

show?how?

stop?top?

绵延不绝的擦音

不用去school就能学习啦

(2018年11月12日)

抱你的同时想着《天净沙·秋思》

雨夜酒店肉团

枕头高潮鼾声

月亮躺下

断肠人在天涯

(2018年11月8日)

马劳大军塞车随想

天,灰到骨子里了
飞蝇扑窗
以一种从左眼到右眼
再从右眼到左眼的节奏

下成雨宙的傍晚
车子幻想顺时针飞转
水花乱绽
转到大家以为改朝换代
弯桥,国产车,水供,族群,宗教
报纸标题比讣告还永垂不朽
复古风,风继续吹

乘客们昏睡了
嘴巴开开
司机也假寐
双腿开开
悬崖不远
黄土里躺着许多外国工友
最近是槟城的,金马仑的

说好的宏愿都忘了吧
人道就好
拿别人的尸体叠成金山银山
你真的食得落饭吗

(2018年11月3日)

不聚自然不散

弓在弦上拉扯成章
万物让我疲乏
真实不如虚幻
神宽慰
好好做人便是

(2018年10月24日)

影子的爱抚

偷派影子爱抚
睡在身旁的你
不惊动心事
不佯装满足
不让无辜的体温成为
骇人的万圣节南瓜

你嫌我恐怖


(2018年10月24日)

深夜读者对我述心碎

心碎
拾碎片
或大或小
拼好
或齐或缺
又是另一种完整

(2018年10月16日)

寂寞

他发了封短信给自己
聊着聊着
成为了挚友

(2018年10月16日)

数学学会会长写的诗可信吗?

因:恋世又厌世
又:恋你又厌你
故:你等于世

(2018年10月15日)

好好打工,如狗

他们叫我转左
我就转

他们叫我跑
我就跑

他们叫我跳火圈
我就跳

他们叫我走钢丝
我就走

他们叫我摇尾巴
我就摇

他们把骨头掷得老远的
我拼了命冲去捡

逗得他们哈哈大笑
又赏赐一根小骨头
我高兴得舌头都要掉出来
乐得当摇头摆尾的小玩物

(2018年10月14日)

厕所

按奶或鸟来分已经过时啦

不如温柔良善的一间
粗暴自私的一间

不如有欲望的一间
无欲望的一间

不如爱干净的一间
不爱干净的一间

归属感的风向鸡
还有心灵与肉体之分呐

(2018年10月12日)

想念没用


喜欢夜晚,沉稳而魅惑,激情而踏实,铺展广袤无边的可能性。太亮的东西,怕,缺乏遁逃的余裕;白天,也通常过得乱七八糟,庸俗哈腰,油头垢面。

在车上赏读笼在外头的黑。这黑是如此温柔细腻,宽心包容,容得下像我这样的人,如同梵谷如梦似幻的笔触般,我们俯伏情愿地卷入其中。光影形色,似明还昧,还来不及细读,迅即又被车子翻至下一页。

数不清经过了多少遍光,稍不留神,有些光竟幻化成你的目光。你要离开了,搬得远远的,或许地理位置算近,对我已是海角天涯。日子越近,心越躁,早上还对你发脾气。动怒一秒,懊悔一天,差点要把自己活活讨厌死了。

无数次的同窗毕业,都不及这次感慨“各奔东西”的深意。几乎天天相见的日子,即将进化成天天不见。虽深谙聚散有时,但一念及今后各自曲折,各自荣枯,就不中用地连叹,人生路终究一人,尽管我们曾经如此他X的深刻。

不舍和你的缘分从频繁变寥寥,人为地加长相处时光,还如卡夫卡《变形记》变成“超级跟屁虫”,更屡屡逼你约定出游(尽管出游日子一直待定)。谢谢你从不嫌我烦(我真的很烦)。做那么多事有用吗?不知道,只晓得自己还是孩子气,还是笨蛋,还是白痴有限公司的社长,还是想不让你走(当然离开对你比较好)。硬要说这样做有什么用的话,大概就是让分离前更甜蜜吧。结果兜兜转转,又跌入了越甜蜜,越不舍的恶性循环。

友人曾用蘸满同情的眼眸告诉我:“像你这样太珍惜一切的人,活在世上太辛苦了。”

也许有些人,生来就是注定还泪的吧。

是的,想你是没有用的(且自作多情的成份很高),却偏爱干这样没用的蠢事。“春心莫共花争发,一寸相思一寸灰”,谢谢你的存在,又让我青春了一回——瞬间再当一个大喜大悲、大情大性的强说愁少年。


(2018年2月)

假装训练


月光共产主义地撒在地上,无论穷富皆可捡起,然后收纳在口袋,让心脏微微莹亮的地方。

迷恋月亮的本质,蕴含可望而不可即的极致。崖上蔷薇切切召唤,在那清冷的夜,只有云在跳现代舞。伫在乌黑的尽头前,还不自量力地想摘花,以为粉身碎骨是种超然的浪漫。

心悸(我的心其实一直跳得比你快,稍一靠近就要休克)。在这场心的季节,心瓣如花瓣,即将落光。必须对自己残忍些,非得完成为期两个月的假装训练不可。今天你说故作潇洒久了,可以隐藏所有情绪和难过,好学如我,当然也要学学看。

第一,假装没有你的日子,可以过得好好的,还能四处调笑(你该知道只有你是我笑容的来源)。

第二,假装没有你陪我吃饭,假装没有你陪我喝咖啡,假装没有你在左右,可以很坚强(尽管事实是,你的音容,无处不在,不管我画多少遍写多少回,都无法抖落殆尽)。
岔题:我们在一起的最后第二天,你在圣安德烈教堂为我捡的20颗相思豆,我都拿去煮了,不过没熬成缠绵的伤口,只是溢满了无数个子夜的梦。

第三,假装抱着你送的小枕头等同拥有与被拥有。

第四,假装和你坐在巴士站旁惜别的一小时,已经凝结成一种名为永恒的琥珀。

第五,假装你不曾离开过。

第六,假装你不曾出现过。

第七,假装能将这篇文章折成纸飞机,掷得老远老远的,连你的美一并载走。

荒凉的回忆,必须用苍凉的手势作别。谢谢你,如此干净利落地离开。

2018213日)

如果全世界联手反抗


小男孩与爸爸立在桥上,松开手,看谁掉下的树枝漂得最快。小时候也玩过这样的游戏,看谁在水沟(我们叫“龙沟”)里的纸船最先漂到终点。如今在岁月层叠交加下,似已对这类型游戏兴致缺缺,不再怎么迷恋速度、竞争、胜利、终点之类的东西,转而心醉于沿途风光。

说的是在机上看的电影《再见,克里斯托弗·罗宾》(Goodbye Christopher Robin)的剧情。记得中学时曾和好友一人做一只维尼卡通人物,笑容可掬、体态温暖厚实的她当然是维尼小熊,而我就是那头看起来憨笨的驴子耳。

原来维尼小熊作者米恩(Alan Alexander Milne1882-1956)在1926年的创作初衷,是为了抚慰历经一战后的人们心灵。最令人感动的是电影中的米恩试图说服妻子自己想写一部反战作品的想法(妻子认为反战题材不畅销):只要世界联手起来反抗某样东西,那样东西就会消失了,就像奴隶制一样;他因而希望全世界都可以抵制战争,那么战争就会消失了。每次读及世局纷乱或近期朝鲜试射导弹等新闻时,就不免心惊胆战,相信我们任谁都不愿与心爱的人儿分开,不愿他们受到任何伤害——战争这可怕的东西,这邪恶至极的念头,怎么还不消失?

米恩创作维尼小熊故事的灵感来自和儿子搬到郊野后一起度过的时光。不过因为成品的爆红,儿子的童年开始不得不活在镁光灯下,青少年时期更是惨被同侪霸凌;为了证明自己,儿子要求父亲想办法让无法通过体检的他获得通融,参与二战。

原以为命丧战场的儿子,竟大难不死。回到一望无际的山崖上,儿子向父亲说起大伙儿在前线哼起维尼小熊的歌曲,两人也都释怀了——虽然他们因为爆红的作品而失去了寻常人家的天伦之乐,却为广大的同龄层儿童缔造了共同的回忆。

凡事皆有代价,大红大紫难免得牺牲隐私,不红不紫,反倒有空间去成为其他暧昧不明的颜色。诚如剧中保姆所言,每个人都应该,跟他所爱的人一起做爱做的事,因为世事无常,除此之外确实还有什么好追逐的呢。

2018212日)