在一九八三年的專書《史耐德的視界：詩與真正的作品》中，莫滋華斯很有見地的指出，史耐德的歷史觀是「批判性的」。本文一開始援引莫滋華斯論及史耐德與尼釆在創作上的相似性，並以黑爾波的《史耐德：生命的面相》傳記史料為基礎，最後再輔以史耐德的散文、詩作分析和訪談，企圖重新梳理史耐德如何將「生活／生命」與「書寫／詩學」作生態哲學和美學上的聯結。本文共分五部分：(一) 史耐德、尼釆與生 命；(二) 史耐德的求學生涯；(三) 史耐德的日本行；(四) 史耐德與反文化運動；(五) 史耐德、禪宗、東亞。透過對史耐德早期在日本學禪的研究，本文試圖開展一種具有史耐德式的生態文學與文化批判的生命書寫。In his 1983 book Gary Snyder’s Vision: Poetry and the Real Work, Charles Molesworth insightfully observes that Snyder’s concept of history is a “critical” one. This essay, based not only on Molesworth’s Nietzschean reading of history but also on Jon Halper’s Gary Snyder: Dimensions of a Life as well as Gary Snyder’s poetry, prose, and in-terviews, attempts to retrace the interrelations between Snyder’s phi-losophical apprenticeship—especially during his college years and early trips to Japan—and his (early and later) literary productions. Those formative years helped to reshape Snyder’s ecological vision, that is, his environmental imagination. The last part of this essay fo-cuses on Snyder’s Zen Buddhism and, more generally, his attraction to Asian religious wisdom in the light of his early studies in Japan.
