Afterword
我在清点工具。刀、斧、刨、鈼。还有一张小小的挖孔锯子，我是说那种弓一样可以从一端打开，又可以从一端合上的专门用来打孔的锯子。这是我的全部家当，雕那群诗人雕像用的。当然还有一些辅料，书籍、期刊、网络上下载的各种资料，诗评文章，图片、诗歌作品，流派宣言，还有些梦里梦外的杂碎。
I am checking my tools，including knives，hatchets，and planes as well as a little dibble saw，I mean，a kind of specialized dibble saw，which，just like a bow，can be unfolded from one end and be folded from the other end.These are all my belongings I have used to engrave the group statues of those poets in Contemporary China.Of course there are some other accessories，for instance，books，periodicals，a variety of materials I have downloaded from the Internet，essays of poetry comment，pictures，works of poetry，manifestoes of schools of thoughts，as well as odds and ends within and without my dreams.
就要收工了。一组巨大的我的中国当代诗人群雕，这使我暗暗想起了《清明上河图》。是啊，从雕塑艺术的角度来看，这个世界上最原始的是石雕，尔后是木雕，还有青铜、铸铁和一些更现代，更当代的雕塑材料。而我应该不是一个匠人吧，我暗想，我是一个用诗，用文字和情感来雕塑诗人的诗人。每当想到这一点，我的心底就有一种神圣感。至少，我认为我从事的这一劳动是神圣的，神圣到在我用每一首诗来雕塑每一位诗人时，我都采取仰视的工作姿势，这是出于我对我要雕塑的那些诗人的尊重，哪怕他是一位90后的刚刚出道的诗人。
It’s time to knock off.My gigantic group statues of contemporary Chinese poets reminds me of Riverside Scene at the Pure Moon Festival，one of the best-known works of arts in ancient China.Indeed，judging from an aspect of sculptural arts，stone carving is the earliest form of sculpture in the world.Thereafter，we have woodcarving，bronze，cast iron，and some other sculpture materials，more modern and more advanced.However，I said to myself，I am not a craftsman but a poet who has sculpted the poets with Chinese characters and affections.Whenever this idea occurs to me，I cannot help having a sense of the sacred rising from the bottom of my heart.At least，I believe that the labors I have undertaken are sacred，so sacred to me that I always adopt an upright posture when I am sculpting every poet within each of my poems.The reason why I adopt such a sacred attitude is that I am trying to show respect to each poet I am sculpting，even if he or she is just an inexperienced poet born after the 1990s.
为了探讨我的诗歌创作动机，诗评家张后对我进行专访时曾问我“你为什么要写诗？”我的答案很简单，可能也出乎他的意料，我说我不是在写诗，我是在“拆”拆过了以后再雕。在我上报中国作协的“重点作品扶持申报表”中，我是这样填写的：“拆那”（ch1na）意为中国。“拆那·当代诗人群雕108”就是“中国当代108位诗人群雕”的意思。
In order to probe into my motives for creating poetry，Zhang Hou，a famous poem critic，asked me a question when he was conducting an exclusive interview with me：“for what reason do you choose to compose poems？”My answer was very simple，probably out of his expectations.I answered that I was not composing poems and what I did is just “disassemble”and after that I sculpt again.In the “Declaration Form of the Key Work Support Project”I reported to the Chinese Writers’Association，I fill in like this：“‘Chai na’means China.So ‘Disassemble group statues of 108Contemporary poets’just means ‘group statues of 108poets in Contemporary China’.
改革开放30年了，我们的国家正在崛起，中国已经是多极格局状态下的世界级的经济大国、政治大国和军事大国。但回过头来看看，30年，中国在国际上文化大国的地位并没有确立。我们没有真正意义上的系列文化产品源源不断的输出，没有让外国人魂牵梦绕的文学形象真正走出国门，对中国当代文学的翻译介绍工作应该说也是是刚刚起步。这一奇怪的现象在表面喧嚣的中国境内你是看不到的，只有到了国外，只有在国外工作或生活上一段时间你才能体会到。
Thanks to thirty years of reform and opening up，our nation has been soaring and China has become a world-class economic power，political power and military power.However，looking back on how it was in years gone by，we will find that for the past thirty years，China has not established her status internationally as an great country of culture—we do not have a series of cultural products in its true sense which can be exported continually nor some literary images，which would carry foreigners away into a region of dreams，to other lands.Moreover，it should be mentioned that the translation and introduction of Contemporary Chinese literature is still at an early stage.This strange phenomenon cannot be seen within the borders of China with an appearance full of sound and fury，but can be felt and understood only when you have been abroad，working or living there for a period of time.
作为一个诗人和外经工作者，长期的国外工作和生活经历，使我深深地体会到了改革开放以来，中国经济的发展与文化交流力度的差异，体会到我国文化输出所面临的尴尬。就中国文学的输出而言，其实在国外，除修养很深的汉学家外，许多中国文学和中国诗歌爱好者，由于受语言、资料及文化背景的限制，对中国诗歌的了解只处于一种“肤浅的、受限制的表层状态”。对中国诗人的了解，更是少而又少。加之翻译后的古体诗歌和现代汉语诗歌，在本质上并没有太大的区别，因而，许多外国朋友对中国的古体诗、现代诗无法分清，对中国从古到今的大量诗人也是分不清朝代、分不清男女。
As a poet and a foreign trade worker，I have been working and living abroad for a long time，which makes me fully realize the great gap between China’s expanding economy and her cultural exchange power，and it also makes me keenly aware of an embarrassing situation China has been confronted with in her culture output.Regarding the reception of China’s literary output，in foreign countries，as a matter of fact，except for some well-educated sinologists，so many lovers of Chinese literature and Chinese poetry have just developed a kind of “superficial，restrained surface layer”understanding of Chinese poetry.This is due to various restrictions in language，material and cultural backgrounds.Furthermore，their knowledge of Chinese Poets is extremely poor.In addition，due to an unclear distinction in the translated version between poetry of the ancient style and modern Chinese poetry，so many foreign friends fail to draw a clear distinction between Chinese ancient poems and modern poems and they get confused about dynasties and genders of numerous Chinese poets from ancient to modern times.
当我们沉湎于为顾城写出了“黑夜给了我一双黑色的眼睛，我却要用它来寻找光明”而拍手叫好时，孰不知翻译成英语或西瓦西里语以后，坐在我们对面的外国朋友真的想不通开放的中国人，为什么直到今天才明白还要用眼睛去寻找光明？当我们把“床前明月光”、“两只黄鹂鸣翠柳”“孤藤老树昏鸦”等唐诗、宋词翻译成英语或其它民族的语言以后，喜欢中国诗歌的外国朋友并分不清这是古体诗，还是现代诗。也弄不懂这些诗歌的作者到底是古人，还是今人。正是这种尴尬的交流状况，使我萌发了用诗歌、而不是用论文的形式，向世界喜欢中国诗歌的朋友，集中介绍一批中国当代诗人的念头。
