五个国家国际著名诗人为《血液里的孤独》诗集作序
序一
几年前，在浦东惠南的一次文学聚会时认识了惠子，当时她给了我她的第一本新诗集《深睡的语言》，我读后感觉她的诗歌语言清新雅致、朴实简洁，情感丰富多彩，思想敏锐，虽然有些诗行尚嫌稚嫩、单薄了点，但她写作的心态与表达的方式已初具个性，给我们显示了她诗歌的艺术才华！
2016年8月，上海市作家协会等单位主办了“首届上海国际诗歌节”，当时邀请了许多国内外知名诗人参加，盛况空前，我也加入了这次诗歌盛会。之后，上海每年都举办“国际诗歌节”，惠子也参加了这个诗歌活动。上海也由此展示出了中国文化的活力与诗歌的繁盛。
近两年，惠子的诗名愈来愈大，她英文版诗集《深睡的语言其他诗》出版后，部分的诗作已被翻译成二十多种语言，并在世界20多个国家和地区发表了作品，得到了国际诗人们的认可！近来，她应邀参加了多国的“国际诗歌节”， 并得了几个诗歌大奖，赢得了诗坛很高的声望！成了名副其实的“国际桂冠诗人”的称号！如今，中国当代诗人在国际上得诗歌大奖的无非是在中国作协体制内有影响的实力派诗人或官员诗人，像惠子既不是体制内的作家诗人，也不是国家级或省级作协会员，她只是以一个中国民间诗人跻身“国际诗坛”行列，实属凤毛麟角！可想而知，她的诗歌是多么受人喜欢啊! 当然，“国际诗人”的名头所带来的不单单是荣誉，还引来了许多非议。由此她迷惘、困惑、痛苦，幸好有两个著名诗人跟她说：“走自己的路，让别人说去吧！”在前辈诗人激励和鼓舞与惠子的倔强性格双重作用下，惠子终于走出了阴影，涅槃而重生了！
近期，惠子要我为她第三本诗集《血液里的孤独》作序，我欣然答应。惠子是我们浦东作家协会的会员，她有现在的成就也是我们浦东作协的荣耀；她早期曾生活艰难、工作无着、困顿疲惫，这种人生经历会使她的作品更接地气；还有她对诗歌的迷恋像对宗教的崇拜，我想，她在诗歌这块园地里一定会耕耘出更为出彩的诗作，所以我义不容辞的为她说上几句！
惠子这几年游历了世界上许多国家，她的这本诗集《血液里的孤独》第一辑“希望的曙光”中的“希腊组诗”写的很有特色。古希腊是西方文明的源头之一，希腊神话更是世界文化艺术宝库里的一朵奇葩。惠子以深遂的历史目光去看待两千多年前的遗物：“像指尖触动琴键/触碰飞翔的灵魂/几根柱子，令群山失色”，“神和人终将握手/我的族谱写着伏羲，神农氏”，“神谕,让爱引向灵魂/时间带不走仁慈/你为废墟生长绿叶/未来世界血液融合”（《德尔斐——阿波罗神庙》）在这里，她的诗笔不但超越了时间与空间，还将中西方的文化思想融汇贯通！这首诗从她立意的高度，呈现的宽度，穿透的厚度上来说，都可以认定为上乘之作！
惠子第二辑“无论你跌倒多少次”中《住在星空下》这首诗是首写实的诗，写实最能打动读者的心，尤其她用精练的诗句抒发自己苦难的经历，更能让人产生同感。“夜如一头巨兽，无人征服/耗子占据被窝/我移居草地/露水从脸流到嘴里，复杂味道……面对劳动报酬负数/风吹冷了胸膛/疼痛无处申冤”。这是她在打工时期的真实写照，生活的残忍，工作的不堪，倒让她的普世观日渐成熟。苦难是诗人最大的财富，贫困是诗人创作的源泉，杜甫在贫穷潦倒时写出了千古传诵的诗篇《茅屋为秋风所破》，普希金在流放时创作了《假如生活欺骗了你》。普希金的这首诗曾经勉励、鞭策过多少人，惠子也因为这首诗而坚定了自己诗意的人生道路！
惠子第三辑“告诉我你的痛”中《致--母亲》是一首写亲情的诗，“盛满露水的草丛坟地荡漾/引我眼睛瀑布，深省/隔着一层土，触目不可见//鞠躬送出隔着时空香纸/祭品化着青烟/隐蔽的形体能否吮吸甜美滋味……”对母亲的深情，对母亲的怀念，她是用字字带泪的诗句来倾诉，这隔世的叨念让读者也走入了凄苦的意境！
她第四辑中《血液里的孤独》：“夜抓不住灵魂，压抑的器官/像玫瑰敲打瓶子，放我出来吧”她对着自我在呼唤、哭诉、吼叫，想把灵魂深处的孤独叫唤出来“梦游正在驱动人类向前，向前吧/冬天过后不再有死亡，不再有/一切在春天枝头重复诞生/它们制造痛苦，流泉淙淙/生命重负逼它说出//一切不会死，永远活着，白色/从空中飘起送葬音符/呵，恶风穿过空林/强吻梦中的我 /你的红唇将为这卑贱过去/争破自我设定的网”这首诗似呓语、似哭叫、似独语、似呐喊、似宣战，在这里，她把所有受到的不公、暗讽、欺凌、羞辱都作了一一回击，然后毅立风中、毅立尘世，坦然面对过往，坦然面对未来！
惠子的诗歌创作已到了炉火纯青，她已站在未来十年、百年的高峰上来看待万物、洞察世界，从而练就一双诗眼。尤其是这些内心独白、倾诉苦痛、抒发心绪、放飞灵魂的诗！她在欢愉、快乐、痛苦、寂寞、惆怅时都会用转折起伏的笔调，把内心所有的感情与感受书写出来，拨动读者心弦，赢得共鸣！
写到这里，我一直在想，惠子为什么要写诗，为什么要迷恋诗歌？人们说，诗歌是一剂毒药，一剂无可救药的毒药，一旦沾染，很难自拔！可惠子为什么还愿意沉沦其间。其实惠子知道，诗歌不是商品，是精神圣物，写诗的人物质生活也并不富褣，但能养成一种深度思考与独立人格，故而被世人称之为“精神富翁”！惠子就是想用凝练的诗词诗语与超拔的思想去抵达自己营造的纯静诗境！
原本诗歌不能改变人生的长度，但能改变人生的宽度与厚度；诗歌不能摆脱生活的窘境，但能摆脱精神的苦痛。诗歌会潜移默化改变一个人、一个地区的命运，一个民族、一个国家需要诗歌象需要宗教一样，诗歌就是惠子的宗教。希望惠子在未来的日子里创造出更含有张力、富有弹性、韵味十足的诗篇，从而拥有一个不同常人的精神世界！
2020年5月中旬于树德堂
（作者系中国作家协会会员、上海市浦东新区作家协会主席、《上海诗人》杂志编辑）
序二
一座连接东西方诗歌的桥梁
2018年我在上海国际诗歌节朗诵完自己的诗歌后，幸会与会的安娜·惠子女士。返回西班牙家中，我即给她及其他中国参会同仁发去“每周一诗”相关文献。“每周一诗”由本人从世界各地优秀诗歌中精选而成，以23种语言译介出版。安娜·惠子对该项目充满热情，自2018年11月以来，她一直在自己主事的上海惠风文学社之网站及其他一些中国文学网站予以力推，成功构筑了一座联通中国与世界的诗歌金桥，她也被推选为总部设在西班牙的国际文化基金会伊萨卡（Ithaca）中方代表。
同时，我也有幸阅读了她的诸多优秀诗歌作品。她的诗在希腊、罗马尼亚和智利的国际诗歌节上倍受赞赏，发表在多家外国诗歌杂志、网站和博客上。有一位西班牙文学评论家为我的新诗集作了题为《自我阐释之路上的语言》的序，我想这个标题也同样适用于阐释安娜·惠子的诗。她的诗是探索自身及自身经历的工具，无论正负。但若称她的诗属于自传性的，也未必准确。就我印象所及，她的诗与我接触过的大多数中国现代诗迥然不同，正如大诗人保罗·策兰（Paul Celan）的诗观，诗不应是对过去事物的简单再现，而应是对现实的崭新求索。我认为，安娜·惠子的诗与其说是对过去生活的再现，还不如说是对现实的探索，饱含着强烈的生存意识，一如她在《一个空杯子》一诗中对生存的质问，兹引数句，聊备一格：“水，我身体的一部分/当我试图喝它/杯子是空的”然后她问：“一只杯，它的存在，是迷，是惑？。”之后又发问道：“水去了那里。”另外，她在《漫步布加勒斯特公园》一诗中提出了存在主义的问题：“一场暴风雨倾泻而下/无处藏身，茫然不知所措/令人不安的黑暗深林里/孤独的我/必须不加思考地越过”。
安娜·惠子的诗歌俨然是一种逃避，一种对日益以自我为中心的社会的逃避，而要摆脱这个“无所不能”的社会又谈何容易。对她而言，这不只是什么诗歌道路的问题，而是如何通过诗歌之路寻求对社会的更深刻理解，从而获取更多的智慧和力量。
安娜·惠子的诗既非古典，也未遵循中国当代诗的流向。中国诗歌显然与文学传统相脱节，有时甚至格格不入。我和安娜·惠子所聊话题纵贯古今诗歌与哲学，而令我惊异的是，她不仅对中国古诗、中国古代哲学如数家珍，也对最重要的西方哲学和西方诗歌了如指掌。她曾一度提及歌德（我曾用歌德的一行诗作为自己第二部诗集的书名），询问我是否读过歌德的《少年维特之烦恼》。其实，我早在学习德国文学时就读过了，但我想不到她也读过此书。除了日耳曼学学者之外，我真不知道西方世界还有谁读过这部小说。不仅如此，安娜·惠子还读过大量其他作家和诗人的作品，这着实让我刮目相看，譬如以下一长串名字：让·保罗·萨特，西蒙妮·德·波伏娃，玛格丽特·杜拉斯，波德莱尔，保罗·魏尔伦，以及巴勃罗·聂鲁达，奥克塔维奥·帕兹甚至塞萨尔·瓦列霍等拉丁美洲大诗人，还有北美洲现代诗人，乃至古希腊哲学家亚里士多德和苏格拉底……很少有西方人（包括大学教授）能对世界诗歌或世界文学如此博学。这一学识背景有助于我们解释为什么安娜·惠子的诗有别于大多数中国当代诗歌：她的诗不像典型的中国当代诗，也非西方现代诗的复制品，而是一座连接东西方诗意的桥梁——一座人类比以往任何时候都需要的文化桥梁。
杰曼·卓根布鲁特谨序
2020年3月13日
【译者简介】桂清扬，浙江外国语学院教授，翻译哲学博士。
翻译2020年3月21
Introduction
A poetic bridge between the East and the West
I had the pleasure to meet Anna Keiko after my poetry reading in 2018 at the excellent Shanghai International Poetry Festival. Back home, I sent her and the other Chinese poets I had met, information about the project Poem of the Week, a poem from all over the world I select and have translated and published weekly in 23 languages. Anna Keiko was very enthusiast about the project and since November 2018 she has been promoting dynamically those poems at the website of her Huifeng Literary Association in Shanghai and at other Chinese websites, successfully making a poetic bridge with excellent poetry from all over the world to China. She became the Chinese representative of the international cultural foundation Ithaca, based in Spain.
Meanwhile I also had the pleasure to read a number of her excellent poems. Her poetry was greatly appreciated at international poetry festivals in Greece, Romania and Chile and also published at a number of foreign poetry magazines, websites and blogs. The Spanish Literary critic who wrote the introduction of my next poetry book gave his introduction as title: “The word on the road to explain itself”. This very same sentence could as well be used to explain the poetry of Anna Keiko. Indeed, her poetry seems also to be a utensil to explain herself, her experiences, both the positive and the negative. However, it would be wrong to claim that her poetry is biographic. I have the impression that her poetry is, as the great poet Paul Celan claimed, not a pure reproduction of something experienced, but rather a search of a new reality. Her poetry appears to me more than a mere reproduction of what she has lived, but rather a way to discover a new reality, her own reality, including the sense of existence, as it is questioned in her poem “An Empty Glass”. I quote: “Water, a part of my body / I try to drink it / But when I tried to drink it / The glass was empty” and then she questions: “Is the existence / no more than a glass of water?” Also, the poem “Walking in the Bucharest Park” expresses that existentialist question: “A storm and heavy rain poured down / No place to hide, at loss / and disoriented in the dark forest / all alone, I had to find the way out”.
The poetry of Anna Keiko seems to be a kind of escape, an escape from a more and more egocentric society, where it becomes difficult to escape its omnipotence. More than a road, it appears to me that with her poetry she searches for more understanding, for more wisdom and power.
Although her poetry is not classical, it neither follows the mainstream of contemporary Chinese poetry which apparently – sometimes too – drastically cuts with tradition. As we had long conversations, not only about modern, but also about ancient poetry and philosophy, I always was amazed and impressed by her extensive knowledge not only of ancient Chinese poetry and philosophy, but also of the most important Western poetry and philosophy. Mentioning once Goethe, of whom I used a verse as title for my second book of poetry, she asked me if I ever had read Goethe's Werther. I have, as I studied German literature, but I was very astonished that she had read that book. With the exception of Germanists, I know no Westerner who might have read that novel. The same happened with other writers or poets she has read: Jean-Paul Sartre, Simone de Beauvoir, Marguerite Duras, Baudelaire, Paul Verlaine as well as the great Latin American poets Pablo Neruda, Octavio Paz, Cesar Vallejo, modern North American poets and even the Greek philosophers Aristoteles and Socrates. Few Westerners, including professors, have such an extensive knowledge of international poetry and literature. That background probably explains the difference of her poems with most contemporary Chinese and Western poetry: her poetry is neither typical contemporary Chinese nor a copy of modern Western poetry, but rather a poetic bridge between the East and the West, a bridge humanity needs more than ever before.
Germain Droogenbroodt
序三
一本跨越东西方文化的诗集
安娜·惠子在她的诗集《血液里的孤独》一书中写出了充满人性并
触及普遍性的话题, 例如爱和分离、生与死、大自然的美、人类事物的无常。安娜伴随我们在旅途中, 我们不仅有机会品尝生命的美丽, 也从中窥见人性的善恶。
在安娜的诗中，光是她最喜欢的主题之一，对光的需求使她得以表
达。
如果世界是我的避难所
请给我一扇窗户
让光线进来
有时她几乎看不见光
尽管太阳已经升起
我还在
黑暗中等待光明
安娜还写了一些当下热点题材，如2020 年初全球疫情突然蔓延
不可预知的事情发生了，冠状病毒，
一场可能持续更长时间的风暴，
正在破坏发芽的树枝花朵
恐惧无处不在
死亡接近于任何人
“看电视”一诗
思考人类的行为对我们世界的和谐造成破坏力
枪支，炸药，毒品，化学武器，
所有的一切都在与人类的善良作斗争
她的旅行诗，特别是写希腊，
例如: 雅典卫城
雅典娜波塞冬孕育怎样的谎言
清风能否吹醒卫城
帕特农神庙被目光包围
但安娜她为土地写了一首诗，真正表达了她的爱:
我爱这片土地
我爱我自己的国家，
不是它的未来有多强大，
是它让我看到过去有多么智慧
我爱这个城市。
不是它日新月异，
而是看到它的希望
对她所爱的人来说，安娜表达了许多诗意的思考，在诗中，爱常常
与自然之美联系在一起，
例如:
希望的曙光中
就像月亮在夜晚升起
所以你，我的爱人
无论发生什么，无论你在哪里，
你都在我心中
因为爱，改变了我们的世界，
两颗心找到了温柔的家。
或 爱
如果你是船，下一个错别字
我想成为水。
如果你是，
我希望成为海岸。
如果你是海岸，
我想成为一座桥…
但安娜很快就开始引导我们反思生命的短暂，她提醒我们一切事物
都是短暂的瞬间。
《血液里的孤独》是一位心灵善良而敏感的作家的诗集：
所以我们跟随安娜·惠子进入她的诗意世界，她一定能够唤起我们
内心深处的情感。
莉迪亚·基亚雷利（Lidia Chiarelli）
意大利艺术与文学运动主席
二〇二〇年六月二十日
汉译:安娜,礼萨
A collection of poetry that spans easternand
Western cultures
Anna Keiko tackles emotionally charged themes in her collections of poems Loneliness on the Blood.
Touching universal topics such as love and separation, life and death, the beauty of nature, the transience of human things, Anna accompanies us on a journey where we have the opportunity not only to taste the beauty of life, but also to meditate on the negative aspects that may arise in the history of humanity.
Light is one of the favorite subjects in Anna's poems, a need for light that makes her say
If the world is my sanctuary
Give me a window
And let the light in
light that sometimes she can hardly perceive
Although the sun has risen
And chased away the night
I’m still waiting for the light
Anna deals also with topical issues such as the sudden spread of the global pandemic in early 2020
The unpredictable occurred, the coronavirus,
A storm that could last long,
Is destroying sprouting branches, flowers
Fear is everywhere
Death is close to anyone
Or in Watching TV she makes us think on the negative effects of man's actions that can upset the harmony in our world
Guns, explosives, drugs, chemical weapons,
All combatting with human kindness
There are also travel memories, particularly of Greece, for ex. in The Acropolis of Athens
Athena and Poseidon create lies of power in the cold of winter.
Does the wind awake the Acropolis
or does the Acropolis cover the golden light?
But it is to her land that Anna dedicates a poem that is a real declaration of love: I love this land
I love my own country,
Not how strong its future will be,
But that it lets me know how wise its past is.
I love this city.
Not that it is changing with each passing day,
But that I can see it thrive with my own eyes
To her beloved, Anna addresses many poetic reflections, poems where love is often associated with the beauty of nature, for ex. in Dawn of Hope
Like the moon ascending at night,
so you are, my love.
Whatever happens, wherever you are,
I keep you in my heart.
Since I am in love with you, my world has changed,
for two hearts found a home of tenderness.
or in Love
If you are the boat,
I wish to be water.
If you are water,
I wish to be the shore.
If you are the shore,
I wish to be the bridge…
But it is soon at the beginning that Anna leads us to reflect on the transience of life when she warns us that all things are transitory
Everything dies as you rush to every instant
Loneliness in Blood is a collection of poems by a writer with a kind and sensitive soul:
so let Anna Keiko guide us on this journey into her poetic world and she will certainly be able to arouse deep emotions in us.
Lidia Chiarelli
President of the Art-Literary Movement IMMAGINE & POESIA – Italy
June 20th, 2000
序四
安娜·惠子诗歌的轻盈之光
安娜·惠子（Anna Keiko）用蘸了光的羽毛写作。她的诗几乎每一首都将光视为大自然的奇观，最具象征意义的是，她的诗始终充满美好希望。启蒙之光开人心智，直达谐美之境，正如《散步》一诗:“一束光/将我从黑暗中拽出。”
惠子的诗咋看起来轻如羽毛，事实上主题明确，思想深刻，每每追求爱之真谛。《月光》一诗无疑是描写光主题的名篇：“温柔地在海面上/一支不能吹灭的蜡烛/一张银色的嘴，/低语/黎明前。”
惠子的诗不仅赋予人们思想和灵魂之光，而且令人耳目一悦。读她的诗，会情不自禁地赞叹其文字之优美，布局之和谐，让人联想到书法艺术之精妙。我斗胆指出，她的诗结构呈由弱至强渐进之势，先围绕一个起始句展开，文字愈来愈简洁，最后在某个极简短的诗句中窥见其高度凝炼的实质，从而引发突如其来的启迪和感悟。何等深沉、何等专注的文字啊!正因如此，惠子的诸多诗歌结构总让人想象到可爱的葡萄、宝贵的智慧或臻美的宝石。
自从有幸与惠子谋面以来，我认识到，她的诗不只触及其个性特征的某个侧面，而是触及整个生命的基石。惠子人如其诗，温柔而敏感，深邃而真诚。她轻盈的羽毛与她闪光的语言相遇，无异于她日常生活中的诸多美丽邂逅。
与惠子聚叙总是快乐如斯。她以清新的本真生活在诗歌中，坚定信念，克己慎独，致力于培养和守护对美好生活的信仰和想往。
她坚持我手写我心，她的抒情诗充满了对现实生活的敏感性，如《心中的诗》所言:“未发表的诗/我写在心里。”
毫无疑问，安娜·惠子拥有日见丰富的诗歌宝藏，而本诗集所呈现的仅仅是其中的一小部分，我热切希望她的诗能更快走向世界，直达我们手中。
加布里埃拉·卡卢尤·松嫩贝格博士
（德裔罗马尼亚作家、翻译家及新闻记者，居西班牙）
【校对】桂清扬，浙江外国语学院教授，翻译哲学博士。
2020年4月28
Anna Keiko´s light of lightness
Anna Keiko writes with a feather dipped in light. Almost each of her poems refers to light as one of nature´s wonders and, in a more symbolic meaning, as a herald of hope and beauty. This en-lightening leads to deep wisdom, pointing to harmony (“A BRIGHT LIGHT/ WHICH LIFTED ME OUT OF THE DARKNESS”, as she writes in TAKING A WALK).
Yet, only at a first glance her poetry might appear light as a feather. In fact, it is much deeper and concentrated, often pursuing the ideal of love. A beautiful sample of poetry in regard of this light is her poem MOONLIGHT: Gently on the surface of the sea/ A candle one cannot blow out/ A silver mouth,/ whispering/ Before dawn.
Anna Keiko´s poems are also a delight, not just for mind and soul, but also for the eyesight. Whilst reading her poems, one can not resist to admire the shape of her words, arrayed in perfect harmony, reminding somehow of the delicate art of calligraphy. It is a crescendo, gingerly suggested, step by step. Her poems seem to grow around an initial sentence that becomes more and more concise towards the final, finding its concentrated essence in a brief verse that reveals a sudden revelation. Letters of concentrated deepness! Therefore, many of her poems build up to constructions that remind of a delightful grape, a drop of precious wisdom or a perfectly shaped gem.
After having the opportunity to meet her in person, I realized that her poetry is not just one of many layers of her personality, but the foundation itself of her entire being. Anna is gentle and sensitive, profound and sincere, just like her verses. The lightness of her feather meets the light of her words, including in her daily life.
It is always a pleasure to be at her side. In fact, she is living her poetry with refreshing authenticity, leaving no doubt about her conviction, stored and cultivated with deep abnegation: hope and belief in the beauty of life.
Expressing it with her own words, the lyricism that concentrates her sensitivity is, as pointed out in her poem IN THE HEART: “the unpublished poem/ I wrote in my heart.”
There is no doubt that Anna Keiko has just started to reveal a small part of more poetry that hopefully soon will find its way to the world, reaching us.
Dr. Gabriela Căluțiu Sonnenberg
German-Romanian writer, translator and journalist, resident in Spain
序五
安娜·惠子的诗就像一朵淡粉色的花，在空中摇曳后，文字在紫色的云朵上流淌。赋予宇宙无限的色彩。安娜用大自然母亲永恒的、正在消失的字母向我们诉说。就像她那首优美的诗，深邃的文字，沉睡着:记忆的碎片被复原，形成了画面/废墟中灵魂的复活。
杰克韦索基 汉译 林巧儿
波兹南，波兰，2020年3月
Anna Keiko's poetry is like a flower with a light pink color swaying in the sky after, which words flow woven on purple clouds. Given to infinity colors of the universe. Anna speaks to us with the eternal, vanishing alphabet of mother nature. Just like in her beautiful poem Profound Words Asleep: Fragments of memories are recovered forming pictures/ the resurrection of spirits in the ruins.
It is a great honor for me, thank you very much Anna, I am very grateful for these words.
Jacek Wysocki
Poznań, Poland, March 2020
收到国际部分发表诗诗集
我的歌
(节选)
Anna 惠子
让灵魂猎夹捕获白昼老虎
让时间獠牙咬住时间黑暗
让远风驱逐正在升起的噩梦
让你的梦中不再寄来咒语
让春意在血液中狂野吧
让土地升起爱的旋律
让爱缝制心灵伤口
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