深南書籍和檔案：對南非詩歌的持久性的重要致敬

側重於東開普省的一個名為Makhanda的小鎮上發表的詩人，深厚的南方書籍和檔案倡議試圖通過提供有關其工作和生活的背景信息以及廣泛的背景信息來提升他們的聲音。他們的書摘錄。

South African poetry is rich with history, but a new digital archive is helping change that. Focused on the poets published by a small but important press in a town called Makhanda in the Eastern Cape province, the Deep South Books and Archive initiative seeks to elevate their voices by offering an archive of background information about their work and lives as well as extensive excerpts from their books. It’s a rare window into a vital but overlooked tradition of South African literature.

南非詩歌充滿了歷史，但是一個新的數字檔案正在幫助改變這種狀況。側重於東開普省的一個名為Makhanda的小鎮上發表的詩人，深厚的南方書籍和檔案倡議試圖通過提供有關其工作和生活的背景信息以及廣泛的背景信息來提升他們的聲音。他們的書摘錄。這是一個罕見的窗口，進入了南非文學的至關重要但被忽視的傳統。

Robert Berold, after spending a decade as editor for New Coin journal, set up Deep South in 1995. For decades he has had a quiet influence on the South African poetry scene. His impulse to publish emerged from a place of need and outrage that some of the talented young black poets he was publishing in New Coin couldn’t get their books published in the new, democratic South Africa.

羅伯特·貝羅德（Robert Berold）在擔任《新硬幣雜誌》（New Coin Journal）的編輯十年後，於1995年建立了南方。幾十年來，他對南非詩歌界產生了安靜的影響。他出版的衝動來自一個需要和憤怒的地方，他在新硬幣中出版的一些才華橫溢的年輕黑人詩人無法將其書籍出版在新的民主南非。

Many of these poets had been using their words to fight for freedom, while a new generation of young poets was emerging with democracy. Ever since, Deep South has been an important arena where South African poets and their poems could speak to one another.

這些詩人中有許多人一直在用他們的話來爭取自由，而新一代的年輕詩人則伴隨著民主。從那以後，南方深處一直是一個重要的舞台，南非詩人及其詩歌可以彼此說話。

My work on African literary production shows the importance of small presses in creating local literary ecologies.

我在非洲文學作品上的工作表明，小型媒體在創造當地文學生態學方面的重要性。

For Berold, the mission was always:

對於Berold來說，任務總是：

To publish what was considered to be innovative and risk-taking South African poetry, regardless of market limitations.

出版被認為是創新和冒險的南非詩歌的內容，無論市場局限性如何。

His many endeavours as a publisher, editor and teacher have been linked by the effort to rescue from oblivion, to supply context, to indicate points of continuity while insisting on the diversity of the South African experience.

他作為出版商，編輯和老師的許多努力與從遺忘中拯救的努力聯繫在一起，以供應背景，以表明連續性點，同時堅持南非經驗的多樣性。

After 30 years of publishing, Berold is now sharing a vast catalogue and archive that would otherwise remain unknown. Even though the African Poetry Digital Portal, hosted by the University of Nebraska in the US, was created as a resource for the study of the history of African poetry from antiquity to the present, it does not give direct reference to particular communities.

經過30年的出版，Berold現在分享了一個龐大的目錄和檔案，否則該目錄仍未知。即使由美國內布拉斯加州大學主持的非洲詩歌數字門戶網站是研究從上古到現在的非洲詩歌歷史的資源，但它並未直接提及特定社區。

In bringing this archive to the internet, Berold is revealing the process and method of how contemporary South African poetry has been shaped into being.

在將這個檔案帶到互聯網的過程中，Berold揭示了當代南非詩歌如何形成存在的過程和方法。

Behind the poems

詩背後

Much of the archive material is what Berold accumulated in dealing with the poets – correspondence, manuscripts, reviews. This is also physically deposited at the Amazwi South African Museum of Literature. He explains:

Berold在與詩人打交道時所積累的許多檔案材料 - 信函，手稿，評論。這也是在Amazwi南非文學博物館物理存放的。他解釋說：

I got into correspondence with everyone who sent in poems, trying to give helpful criticism, recommending poets for them to read. There was a certain inappropriateness about this at times, and some arrogance too on my part, but mostly people appreciated the feedback.

我與所有派遣詩歌的人通訊，試圖提出有益的批評，推薦詩人供他們閱讀。有時對此有一定的不合適性，而我也有些傲慢，但大多數人都讚賞反饋。

The “difficult miracle of Black poetry”, as US poet June Jordan once remarked, is that it persists, published or not, loved or unloved. In racially segregated South Africa during apartheid, publishing spaces were few and far between.

正如美國詩人喬丹（June Jordan）所說的那樣，“黑人詩歌的困難奇蹟”是，它堅持不懈地出版，不喜歡或不被愛。在種族隔離期間，在種族隔離的南非，出版空間很少且相距甚遠。

Black poets were often censored, banned or exiled as their work confronted the injustices of a racist system. This digital archive recasts the story of South African poetry as insurgent, independent and driven to define a distinct aesthetic.

黑人詩人經常被審查，禁止或流放，因為他們的作品面臨種族主義制度的不公正現象。這個數字檔案館將南非詩歌的故事重現為叛亂，獨立和驅動的，以定義獨特的美學。

Deep South has, furthermore, made a particular impression by fostering a unique aesthetic in South African poetry through its investments in typography and design. As a small, independent press situated away from culture capitals – Cape Town, Durban and Johannesburg – it has had the freedom to experiment.

此外，Deep South通過在版式和設計上的投資來培養南非詩歌中的獨特美學，從而給人留下了特別的印象。作為一個小型獨立的新聞界，它遠離了開普敦，德班和約翰內斯堡的文化首都，它具有嘗試的自由。

Deep South Books and Archive is therefore a significant tribute to the persistence of South African poetry, despite many historical and structural inequalities. It is a catalogue and a digital archive that provides a unique entry point into modern South African poetry.

因此，儘管有許多歷史和結構性的不平等，但南非深層的書籍和檔案是對南非詩歌的持久性的重要致敬。它是一個目錄和數字檔案館，為現代南非詩歌提供了獨特的入口處。

Inside the archive

在檔案中

The digital archive’s architecture is simple. The poets are indexed in alphabetical order. Some of the featured names are Vonani Bila, Mangaliso Buzani, Angifi Dladla, Mzwandile Matiwana, Isabella Motadinyane, Seitlhamo Motsapi, Khulile Nxumalo, Mxolisi Nyezwa, Lesego Rampolokeng, Mxolisi Dolla Sapeta, Dimakatso Sedite and Phillip Zhuwao.

數字存檔的架構很簡單。詩人按字母順序排列。一些特色名稱是Assome Ask，Dladan，Sabella Motani，Lesugo Rampelokeng，Dimakatso Dolle和Phillip Zhuwao。

Clicking through the carousel of finely designed book covers leads one to excerpts, book reviews, interviews available as PDF files, as well as links to other multimedia resources.

單擊精心設計的書籍封面的旋轉木馬，將摘錄，書評，作為PDF文件的訪談以及指向其他多媒體資源的鏈接。

Rampolokeng’s work may be iconoclastic, experimental, unclassifiable but he found a home with this press. He has published several of his groundbreaking collections with them. Defying category, they bend and shift, and culminate into a remarkable linguistic virtuoso. His interviews are an extension of his art, reflexive, autobiographical, and works in themselves.

Rampolokeng的作品可能是偶像塑形的，實驗性的，無法分類的，但他在這台新聞界找到了家。他已經與他們一起出版了他的幾本開創性收藏。反對類別，它們彎曲和轉移，並最終成為一個非凡的語言演奏家。他的採訪是他的藝術，反思性，自傳和自傳的延伸。

Unrecognised poets

無法識別的詩人

Then there are poets like Motadinyane and Zhuwao who died far too early, leaving behind only single collections. Luckily, even if their portraits and writings are fragmentary, we’re at least witness to the poetic geniuses that might have been. This is the superpower of this archive, to serve as a memorial for a canon (or collection of literary texts) that wasn’t even close to being fully blossomed.

然後是像Motadinyane和Zhuwao這樣的詩人，他們死得太早了，只留下了單一的收藏。幸運的是，即使他們的肖像和著作是零散的，我們至少見證了可能的詩歌天才。這是該檔案館的超級大國，是紀念佳能（或文學文本收集）的紀念館，甚至還沒有完全開花。