The Writing Mentor
The Writing Mentor
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发表时间：
2016
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通讯作者：
Nan Cuba
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作者：
Nan Cuba
书名《现在有多长》让我们立即知道，诗人正在研究时间和艺术的本质，就像法国哲学家柏格森提出“durée”（艺术的定性时间）的概念一样（1889年）。普鲁斯特继承了柏格森的思想，并将其体现在他的伟大作品《对逝去时光的研究》（A la recherche du temps perdu，1913-1927）中。像普鲁斯特一样，大卫·安廷也探索了内心时间的体验。艺术中的现在有多长？大卫安廷帮助读者探讨这个问题，什么是转瞬即逝，什么是留下来。在浪漫主义传统中，诗人是语言和时区的媒介，这些语言和时区都是通过他发生的。动态的，节奏的冲动，安坦的诗歌是他们的主要特点。随便翻开这本书，你都会发现连贯的节奏模式，它震撼着我们的读者，让我们放心，在这些诗中有一个坚定的、探索的头脑，不会让我们失望。停顿，口吃，是反思和性格的标志;他们给了工作呼吸空间和脊椎。在一个片段中，我们的诗人叙述了一个人在飞机上体验到的那种特殊的时间感的调查。在这里，Antin使用“你”作为主语;主语已经“进入了你的时间之前的某个时间”。诗人倾向于不知道这个特定的时间是什么，并“开始调查任何可能的事情”：
The title, How Long is the Present, lets us know immediately that the poet is investigating the nature of time and art, as did French philosopher Bergson, when he posited a notion of “durée,” the qualitative time of art (1889). Proust took up Bergson’s idea and embodied it in his great project, A la recherche du temps perdu (1913-1927). Like Proust, David Antin explores the experience of inner time. How long is the present in art? David Antin helps the reader probe this question of what is fleeting and what stays. In the Romantic tradition, the poet-speaker is a medium for languages and time zones that are happening through him. The dynamic, rhythmical impulse to Antin’s poems is the primary characteristic of their being. Open the book anywhere and you will find the coherent rhythmical pattern that rocks us readers and reassures us that there is a firm, probing mind within these poems that will not fail us. The pauses, the stuttering, are marks of reflection and character; they give the work breathing space and spine. In one segment, our poet narrates an inquiry into that peculiar sense of time that one experiences on an airplane. Here Antin uses “you” as subject; the subject has “gone into some time that’s anterior to your time.” The poet leans into not-knowing what this particular time is, and “starts investigating in anything possible”: