跨界越位的後現代：以林德俊《樂善好詩》為例

"Postmodernism Goes Beyond Limits: A case study of Lin, De-Jun’s Charitable Acts╳Good Poetry"

自稱是呆板城市的塗鴉混混、秩序世界的不良少年的台灣新新世代詩人林德俊，以一本既跨界又越位的詩集、詩行動，企圖建構一個作者與讀者互補，語言與材質、文字與行動兼具互文效果的詩體解放活動，激起詩壇注意。本文以解構主義者德希達（德里達）的觀念，審視《樂善好詩》這本著作，如何多層次、多面向解構詩的創作技巧，解構用以代表實物的符號，甚至於直接解構實物的諸多成就。主要重點放在詩是連鎖性大解構此一論題上，在新詩創作上讀者也有參與的可能，因而成就新詩更為寬廣的空間。其次討論物從來不以其特有的意識材料而成為必然，總是以某種偶然的方式而存在，詩因此以浮游的狀態，碰撞心靈的諸多可能，讓「事」成為動態詩的呈現，「物」成為靜態詩的展覽，詩是心與物的瞬間結晶體，可以立體化在具象的物件上，與物同為詩之不可分割的一部份。

"punk or a rude boy shaking this dull city with his poems. He tries to launch a series of actions to free poetry, in which poets and readers complement each other, languages and materials, words and actions interact altogether. Lin’s innovative ideas arouse the poetic field’s attention. The study reviews his“Charitable Acts X Good Poetry”from the perspectives of Jacques Derrida, who worships deconstructionism. In this way, the study may discover how poems can be created with multi-levels and multi-aspects along with the symbols of true things and furthermore, deconstruct the achievements of them. Firstly, the study focuses mainly on the issue of chain deconstruction. As for the creation of modern poems, readers may also get involved so that new poetry gains more freedom. Secondly, the study believes that an object discussed does not exist because of its consciousness, but its chance. Therefore, poems may touch readers’mind in a floating way. In this case, an event may become a presentation of dynamic poems, while objects may become a static display of poems. Poetry is the combination of mind and object in that critical moment, reflecting on practical objects. Therefore, events and objects cannot be separated in poetry."