Late in 1948, an article appeared in the Jefferson County Union newspaper that celebrated the local industries of the town of Fort Atkinson, Wisconsin. The town boasted an economy that included “the manufacture of hose, dairy equipment, canned goods, barn equipment, poultry supplies, and saws,” as well as “the famous ‘Little Pig Sausages’” produced by Milo Jones II (Derleth, qtd. in Penberthy 156). Jones the sausage maker was not Fort Atkinson’s only local celebrity: the town also claimed as one of its own “the poet, Loraine [sic] Niedecker” (Derleth, qtd. in Penberthy 156). Commenting on the Union story, Niedecker wrote to Louis Zukofsky with ambivalence about her inclusion in the newspaper and the exposure that it might bring. “The worst is to have the ordinary person look at you as tho you wrote of moonlight and roses and were a simpleton in general,” she feared, “but never stir himself to find out otherwise” (Penberthy 156). Niedecker hoped that her writing might find a wider audience as a result of the piece (“I can’t wait till they read Goose”), but doubted that her fellow inhabitants of Fort Atkinson would bother to acquaint themselves with her verse (Penberthy, 156). “Such is fame,” she wrote to Zukofsky, “that I’m linked to a sausage maker” (Penberthy 156). Niedecker’s letter reveals a number of anxieties that animated her poetry. The letter touches on the problem of poetry’s relationship with the broader non-literary community, and the connection and disjunction between the aesthetic work performed by the poet and the manual or commercial labor performed by others, such as Milo Jones the sausage manufacturer. At the same time, Niedecker is anxious about being perceived by her community as a “simpleton” whose verse deals with “moonlight and roses,” those most standard and codified of lyric subjects, which in turn bespeaks a concern about her lack of recognition as a poet who frequently wrote about political and economic issues. Niedecker’s fear of being misunderstood is telling, and prescient. Of all her poetry, none has been so thought of as apolitical or “personal” as the verse she was writing at the time of her public comparison to the sausage maker in the Jefferson County Union. In the late 1940s,

中文翻译：

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尼德克的天赋：《为保罗而作》和其他诗作中的工作诗学

1948年下半年，杰斐逊县联盟报纸上刊登了一篇文章，庆祝了威斯康星州Fort Atkinson镇的当地工业。该镇经济发达，包括“制造软管，乳制品，罐头食品，谷仓设备，家禽用品和锯子”，以及米洛·琼斯二世（Dloleth，qtd）生产的“著名的“小猪香肠””。 （在Penberthy 156）。香肠制造商琼斯并不是阿特金森堡唯一的当地名人：该镇还声称自己是“诗人，罗兰·尼德克尔”（Derleth，qtd。，彭伯西156号）。尼德克（Niedecker）在评论联盟的故事时，含糊其词地向路易斯·祖科夫斯基（Louis Zukofsky）致信，理由是她被包括在报纸中以及可能带来的影响。她担心，“最糟糕的是让普通人看着你，就像你写的月光和玫瑰一样，总的来说是一种简单的东西，但永远不要动摇自己以找出其他问题”（彭伯西156）。尼克德（Niedecker）希望她的作品会因为这一作品而受到更多读者的关注（“我等不及他们读鹅”），但她怀疑她的阿特金森堡的同胞会不愿意使自己熟悉她的经文（彭伯西， 156）。她写给祖科夫斯基的信中说：“这真是名利，我和香肠制造商有联系”（彭伯西156）。Niedecker的信揭示了许多使她的诗歌充满生气的焦虑。这封信涉及诗歌与更广泛的非文学界的关系问题，诗人从事的美学工作与其他人（例如香肠制造商米洛•琼斯）从事的体力劳动或商业劳动之间的联系和脱节。同时，尼德克（Niedecker）渴望被自己的社区视为“简单人物”，其经文处理的是“月光和玫瑰”，这是最标准和编纂的抒情题材，反过来又表达了对她缺乏认识的担忧。一位经常撰写有关政治和经济问题的诗人。Niedecker害怕被误解的想法是有先见之明的。在她的所有诗歌中，没有人像她在公开场合与杰斐逊县联盟的香肠制造者进行比较时所写的那首诗那样具有非政治性或“个人性”。在1940年代后期，Niedecker担心被自己的社区视为“简单人物”，其经文处理的是“月光和玫瑰”，这是最标准和编纂的抒情题材，这反过来又引起了人们对她缺乏经常写作的诗人的关注。关于政治和经济问题。Niedecker害怕被误解的想法是有先见之明的。在她的所有诗歌中，没有人像她在公开场合与杰斐逊县联盟的香肠制造者进行比较时所写的那首诗那样具有非政治性或“个人性”。在1940年代后期，Niedecker担心被自己的社区视为“简单人物”，其经文处理的是“月光和玫瑰”，这是最标准和编纂的抒情题材，这反过来又引起了人们对她缺乏经常写作的诗人的关注。关于政治和经济问题。Niedecker害怕被误解的想法是有先见之明的。在她的所有诗歌中，没有人像她在公开场合与杰斐逊县联盟的香肠制造者进行比较时所写的那首诗那样具有非政治性或“个人性”。在1940年代后期，这反过来引起了人们对她缺乏公认的诗人的关注，这位诗人经常撰写有关政治和经济问题的文章。Niedecker害怕被误解的想法是有先见之明的。在她的所有诗歌中，没有人像她在公开场合与杰斐逊县联盟的香肠制造者进行比较时所写的那首诗那样具有非政治性或“个人性”。在1940年代后期，这反过来引起了人们对她缺乏公认的诗人的关注，这位诗人经常撰写有关政治和经济问题的文章。Niedecker害怕被误解的想法是有先见之明的。在她的所有诗歌中，没有人像她在公开场合与杰斐逊县联盟的香肠制造者进行比较时所写的那首诗那样具有非政治性或“个人性”。在1940年代后期，