8. Múi-ê goān-bōng lóng sī sio-kāng ê goān-bōng
In tiāⁿ-tio̍h ū iōng bó͘-chióng chō͘-sio-che, tiāⁿ-tio̍h ū, só͘-í tī saⁿ-ê gín-á kō͘ hóe-pé kā ù ê sî (sin-khu oai chi̍t-pêng, hóe-pé tu kah hn̄g-hn̄g-hn̄g), hóe-iām sûi ùi chhâ-thâu chhèng khí-lâi, ùi ki-chō kàu hó-chhiò ê ông-koan, kui-ê kap-á chek-sî to̍h khí-lâi. Chū án-ne liáu, koh ū chin tōa ê po̍k-chah siaⁿ, pûn-khùi lá-pah siaⁿ, kap gín-á kō͘ chhiú iô-tāng ê chhe̍k-á hām liang-á siaⁿ, chiah-ê siaⁿ í-gōa koh ū lâng ê kóng-ōe siaⁿ, kûn-chiòng ūi hóe, ūi tú kàu ê Sin-nî hoah-hiu ê siaⁿ. Tōa-tiâⁿ ū kúi-ā pah lâng, tī ûi hóe tui ê chhâ lân-kan sì-chiu kheh óa-óa, lī khah hn̄g ê ūi lâng khah chió, goán tō khiā tī chia; tī chia lâng tiong-kan ū khong-kan thang hō͘-siong kèng-chiú, chiú té tī sok-ka poe a̍h sió po-lê kan-á, R. ūi goán chah-lâi ê prosecco chiú tō sī kō͘ ū chūn-kòa ê kan-á té. Lim chiú liáu, góa àⁿ hiòng i, siang-chhiú phóng i ê bīn kap i sio-chim. Góa kō͘ i kah-ì ê hong-sek sóa-tāng góa ê chhùi, seng chim i ê téng tûn, koh lâi ē-tûn, jiân-āu góa khiú-khui, kā chhiú-kut kòa tī i ê keng-thâu. Tán kàu tiau-siōng sio-liáu í-āu -- he chiâⁿ tōa, thoa put-chí-á kú chiah sio-liáu -- ū lēng-gōa chi̍t-chióng siaⁿ, sī chi̍t-chūn kó͘-siaⁿ kap chii̍t-chūn guitar /gí-tà/ siaⁿ, chit-sî tōa-tiâⁿ hn̄g-hn̄g hit-thâu tiám-to̍h chiò-bêng ê teng-kng, koh sī chit-chūn kûn-chiòng ê hoah-siaⁿ, lâng-lâng sóa-ūi hiòng ga̍k-tūi khai-sí piáu-ián ê bú-tâi kiâⁿ khì, sì-ê sán-thiu ê cha-po͘ siàu-liân-ke àⁿ-sin tī in ê ga̍k-khì teh ián-chàu. Tî-liáu kó͘ kap guitar, mā ū chi̍t-tâi keyboard /kì-bó͘/ (khí-pôaⁿ), che sī Bí-kok sek ê im-ga̍k, góa siūⁿ, hām goán chiu-ûi ê chio̍h-thâu kiàn-tio̍k hām ī-kàu-tô͘ ê hóe hêng-sêng chi̍t-ê tùi-pí. Tī lâng-tīn lú lâi lú chió ê sî, R. hām góa bô sóa-ūi; goán mā bô boeh lâu lo̍h-lâi, in-ūi thiⁿ chin léng, ga̍k-tūi mā bô chin hó, koh khòaⁿ chi̍t-ē-á hóe, góa tio̍h boeh tńg-khì hotel. R. ê chhiú hut-jiân ùi góa chia kiu cháu, chhun ji̍p i ê tōa-i lak-tē-á, ùi hia the̍h chhut chi̍t-pau i khah chá hām chiú tâng-chê bé ê pô-tô-koaⁿ. Góa hiám-á bē-kì-tit, i kóng, hiám-á bē-hù ah. I kā chiú-kan kau hō͘ góa, thǹg chi̍t-ki kap-cháiⁿ chhiú-thò, thang tit phah-khui hit-ê pau-chong. Chhiú chhun hō͘ góa, i kóng, choăn góa kā kan-á khǹg tī thô͘-kha, chhiú chhun hō͘ i, chiàu i ê hoan-hù, kā chhiú-thò thǹg tiāu, i tō sǹg 12 lia̍p pô-tô-koaⁿ, pâi chi̍t-liat khǹg tī góa ê chhiú-sim, ùi chhiú-ba̍k kàu tiong-cháiⁿ ê chéng-thâu-á bóe, koh sǹg 12 lia̍p hō͘ i ka-tī. Che sī Portogal ê thoân-thóng, i bat kā góa kóng, chi̍t-lia̍p pô-tô tāi-piáu Sin-nî ê chi̍t kò goe̍h. I khòaⁿ góa, chhiò-chhiò, kóng: Skups, feliz ano (Sin-nî khoài-lo̍k), goán iū-koh sio-chim. I kā pô-tô-koaⁿ chò chi̍t-kái chia̍h, kā in hop-ji̍p chhùi, kā kap-cháiⁿ chhiú-thò lom hó-sè, chiah oan-io kā chiú-kan the̍h khí-lâi, oa̍t-sin khòaⁿ hóe. M̄-koh góa bô khòaⁿ hóe, góa ê ba̍k-chiu kan-ta kim-kim khòaⁿ i, sui-jiân chin kôaⁿ, góa siūⁿ boeh kap i tńg hotel, bih-ji̍p goán un-loán ê bîn-chhn̂g. Góa kā pô-tô-koaⁿ chi̍t-lia̍p chi̍t-lia̍p khǹg-ji̍p chhùi, ta̍k-lia̍p lóng tòe chi̍t-ê goān-bōng, m̄-koh góa múi-ê goān-bōng lóng sī sio-kāng ê goān-bōng.
(Soah)
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8. 我每个願望攏是相仝 ê 願望
In 定著有用某種助燒劑, 定著有, 所以 tī 三个囡仔 kō͘ 火把 kā 焐 ê 時 (身軀歪一爿, 火把 tu 甲遠遠遠), 火焰隨 ùi 柴頭 chhèng 起來, ùi 基座到好笑 ê 王冠, 規个蛤仔即時 to̍h 起來. 自 án-ne 了, koh 有真大 ê 爆炸聲, 歕氣喇叭聲, kap 囡仔 kō͘ 手搖動 ê 摵仔和喨仔聲, chiah-ê 聲以外 koh 有人 ê 講話聲, 群眾為火, 為拄到 ê 新年喝咻 ê 聲. 大埕有幾若百人, tī 圍火堆 ê 柴欄杆四周 kheh 倚倚, 離較遠 ê 位人較少, 阮 tō 徛 tī 遮; tī 遮人中間有空間通互相敬酒, 酒貯 tī 塑膠杯 a̍h 小玻璃矸仔, R. 為阮扎來 ê prosecco 酒就是 kō͘ 有捘蓋 ê 矸仔貯. 啉酒了, 我 àⁿ 向伊, 雙手捧伊 ê 面 kap 伊相唚. 我 kō͘ 伊佮意 ê 方式徙動我 ê 喙, 先唚伊 ê 頂唇, koh 來下唇, 然後我搝開, kā 手骨掛 tī 伊 ê 肩頭. 等到雕像燒了以後 -- 彼誠大, 拖不止仔久才燒了 -- 有另外一種聲, 是一陣鼓聲 kap 一陣 guitar /gí-tà/ 聲, 這時大埕遠遠彼頭點 to̍h 照明 ê 燈光, koh 是一陣群眾 ê 喝聲, 人人徙位向樂隊開始表演 ê 舞台行去, 四个瘦抽 ê 查埔少年家 àⁿ 身 tī in ê 樂器 teh 演奏. 除了鼓 kap guitar, mā 有一台 keyboard /kì-bó͘/ (齒盤), 這是美國式 ê 音樂, 我想, 和阮周圍 ê 石頭建築和異教徒 ê 火形成一个對比. Tī 人陣 lú 來 lú 少 ê 時, R. 和我無徙位; 阮 mā 無欲留落來, 因為天真冷, 樂隊 mā 無真好, koh 看一下仔火, 我著欲轉去 hotel. R. ê 手忽然 ùi 我遮勼走, 伸入伊 ê 大衣橐袋仔, ùi 遐提出一包伊較早和酒同齊買 ê 葡萄乾. 我險仔袂記得, 伊講, 險仔袂赴 ah. 伊 kā 酒矸交予我, 褪一支佮指手套, 通得拍開彼个包裝. 手伸予我, 伊講, choăn 我 kā 矸仔囥 tī 塗跤, 手伸予伊, 照伊 ê 吩咐, kā 手套褪掉, 伊 tō 算 12 粒葡萄乾, 排一列囥 tī 我 ê 手心, ùi 手目到中指 ê 指頭仔尾, koh 算 12 粒予伊家治. 這是 Portugal ê 傳統, 伊捌 kā 我講, 一粒葡萄代表新年 ê 一個月. 伊看我, 笑笑, 講: Skups, feliz ano (新年快樂), 阮又閣相唚. 伊 kā 葡萄乾做一改食, kā in hop 入喙, kā 佮指手套 lom 好勢, 才彎腰 kā 酒矸提起來, 越身看火. 毋過我無看火, 我 ê 目睭干焦金金看伊, 雖然真寒, 我想欲 kap 伊轉 hotel, 覕入阮溫暖 ê 眠床. 我 kā 葡萄乾一粒一粒囥入喙, 逐粒攏綴一个願望, 毋過我每个願望攏是相仝 ê 願望.
(煞)
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8.
They had used some kind of accelerant, they must have, so that when the three children touched their torches to it (angling their bodies away, keeping the greatest distance between themselves and the fire) the flames leaped up the wood, from the base to the ridiculous crown the whole frog blazed up. And with it there was a huge explosion of sound, air horns and rattlers and little handheld bells children jingled, and above them all human voices, the crowd cheering both the fire and the New Year, which had just struck. There were hundreds of people in the square, pressed tight near the wooden barricades that held them back from the fire but thinner near the edges, where we were; there was space here for people to toast one another, with wine in plastic cups or little glass bottles like those R. had bought for us, prosecco with a twist-off cap. After we drank I leaned toward him and cupped his face in my palm and we kissed. I moved my mouth in a way he liked, kissing first his upper lip and then his lower before I drew away, hanging my arm around his shoulder. And then, as the statue burned—it was huge, it would take a long time to burn—there was another sound, a salute of drums and a burst of guitars, and then the far corner of the square lit up with floodlights, and there was a new shout from the crowd as it shifted toward the platform where the band had begun to play, four skinny boys bent over their instruments. There was a keyboard as well as the guitars and drums, it was an American sound, I thought, which contrasted with the stone buildings around us, with the pagan fire. R. and I didn’t move as the crowd thinned further; we wouldn’t stay, it was cold and the band wasn’t very good, we would watch the fire a little longer and then go back to the hotel. R. pulled away from me suddenly and reached into his coat pocket, taking from it the packet of raisins he had bought earlier with the wine. I almost forgot, he said, it’s almost too late. He handed me his bottle and took off one of his mittens so that he could open the packet. Give me your hand, he said, so I put the bottles on the ground and held it out to him, taking my glove off as he asked, and he counted out twelve raisins, placing them in my palm in a single line from my wrist to the tip of my third finger, then counting another twelve for himself. It was the Portuguese tradition, he had told me, a raisin for each month of the year that had passed, a wish for each month of the year to come. He looked at me and smiled, Skups, he said, feliz ano, and we kissed again. He ate his all at once, tossing them in his mouth and putting his mitten back on before he leaned down for his bottle and turned to watch the fire. But I didn’t watch the fire, I kept my eyes on him, though it was cold and I wanted to be back in the hotel with him, in the warmth of our bed. I took my time, I put the raisins in my mouth one by one, thinking a wish for each, though all my wishes were the same wish.
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//
Published in the print edition of the November 26, 2018, issue.
Garth Greenwell is the author of “What Belongs to You.” His most recent book, “Cleanness,” was published in January.
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