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大意了。封面设计让我兴趣平平，但从第一首诗开始，慢慢地浸染情绪。像是一个农庄狭窄厨房，一道掉漆的后门，水槽边的窗口是没有明确边界的农庄。所有在经过，所有的日常在美丽，所有的没有修成固定形状。像人在宇宙中摇动。

读的时候觉得被接纳了，像一只蝗虫伏在牧场草浪上，默默观察世界的奥妙，为我的饥饿和啃噬而羞愧，但又被那叙事的力量安抚和原谅了。

如同巴赫《G弦上的咏叹调》，人的精神和身体穿行于历史之中，庄严神圣。无奈的，痛苦的，欢欣的，悲痛的，似溢彩流光，蜿蜒岁月之河而过：“我心思那么沉重，装满了往事。还有足够空间让世界穿透吗？它必须去一个地方，不能仅仅停留在表面。”

翻译完全不是诗的翻译，有较多偏颇的地方，封面选得也与诗歌内容不符，纸质很透没有前几本格丽克的书做得好，这本书其实是格丽克死前最重要的诗集，没想到为了出版搞得这么仓促，很失望。

用《歌》这么一首诗作为诗人生涯的收尾之作，这也许就是天意吧。相当迷人，是那种经得起误读的迷人。

Just like she wrote in A Children’s Story that ‘calm is not the truth’, the poem collection is full of poems with a ‘frankness I had nearly forgotten’ (A Memory). Such frankness is valuable, because ‘in spring, anyone can make a fine meal’, while in ...  

路边的黄昏，等待着日落， 她伫立远方的褐色小屋， 看炊烟袅袅弥漫平原， 冬日里的苔藓，美妙如谜， 向内走去， 欢愉之火仍在燃烧。 这一次摆脱月光合金和直到灵魂，走向自我的美好，不在人神对话中寻找爱与死，冬日里苔藓慢慢变老，春日的暖阳似乎过分拥抱，桂冠的诗人，让人...  

Just like she wrote in A Children’s Story that ‘calm is not the truth’, the poem collection is full of poems with a ‘frankness I had nearly forgotten’ (A Memory). Such frankness is valuable, because ‘in spring, anyone can make a fine meal’, while in ...  

Just like she wrote in A Children’s Story that ‘calm is not the truth’, the poem collection is full of poems with a ‘frankness I had nearly forgotten’ (A Memory). Such frankness is valuable, because ‘in spring, anyone can make a fine meal’, while in ...  

Just like she wrote in A Children’s Story that ‘calm is not the truth’, the poem collection is full of poems with a ‘frankness I had nearly forgotten’ (A Memory). Such frankness is valuable, because ‘in spring, anyone can make a fine meal’, while in ...