美国《Pinyon Review》期刊再发百科诗派作品
美国跨界文学/艺术杂志《Pinyon Review》继2018年11月集中刊发并于刊首语推介百科诗派作品后，在2019年5月的第15期再次刊登百科诗派作品，包括殷晓媛《神性，相对坐标》《相贯线》、王自亮《浑天仪》、浪激天涯《The Slope》及“百科之友”叶如钢《莱布尼茨》。
http://pinyon-publishing.com/pinyonreview.html
When you were born, your coordinates relative to Divinity was:
(@0，0，-30). Yes, He was floating in the air, surrounded in his halo, 30 meters over your head.
The surface of an unfamiliar matrix was always level with those of old major waterbodies. There seraphs took shape of humankind,
carrying water in jars. Viverridae, procyonidae and hyaenidae…
New names originated, when mountains rose and valleys fell,
Touches of spring on the wild were as pompous as crushed butterflies.
Driving along a twisting Lancashire road,
as rough as bleached denim, the sunshine flew down it, to the abysmal emptiness you used to keep yourself from
-- It was a slight but metallic sound that gave you an ecstatic thrill.
The phantom island of Tonga,
once surfaced before your eyes like a shark from an ink-blue ocean.
Hisses and crackles. Swifts broke away from the ethereal draperies and glided down to the abysm for afterglows.
Rumbles. A panther couple dived to the bottom, inviting the Evil to be their witness.
They dwindled like paper-cut figures.
In the bitter wind, the earth beneath you just vanished like a hallucination.
You were just in time for His ascending. Again, He was right there, 30 meters
over your head.
神性。相对坐标
殷晓媛
出生时，你相对于神的坐标是：
（@0,0,-30）。是的，他悬浮在你头顶三十米之上的光芒中。
陌生的母体平齐于一切水面。这里，六翼天使化装为人类，
用瓦罐汲取泉水。灵猫科、浣熊科和鬣狗科动物，
从众水之上诞生，山脉上升，幽谷下降，
繁花迷乱如蝴蝶之血。
你曾行驶在兰卡斯特郡九曲回肠的公路上，
日光沿着泛白牛仔布一般的路面，滑向你更愿意背靠的深渊。
你也在汤加曾拜访幽灵岛，
那时它从冰蓝色波浪中再次浮出如一座香炉。
灼烧声。雨燕挣脱云层鸣向光焰倾泻之处；
轰鸣声。一对猎豹沉到深处，请恶魔做它们的证婚人。
但它们都越来越小如同剪纸小人，
一排风打过来，大地从脚下幻象般消失。
你看到神已飞临高空——仍然不偏不倚，在你头顶上
整三十米。
They are all true and real:
Flowers covered by frost, gelatinous sky drooping low,
boats drifting between olive-green islands...Why are there furrows and creases on the surface of this aquamarine-blue planet?
It is between you and her. A ridge, different from that of a mountain or a roof,
bleak and sheer, where gravity experiments fail and earth's magnetism disappears,
like daylight slipping away from your grasp.
(On the darker side of the earth, Bermuda is sinking with cables of suspension bridges, entangled with sparks in your dreams,
one of which was drawn across your neighborhood.)
Earth's magnetism? A child said, the bottom of an ocean must be striped
with magnetic lines like a zebra. You sent him off,
with the high kick of The Truman Show, which had left a water line on his back, between him and the deceased
It is so obvious, the angle between your stand-point and the purple peaks beyond, 150 degrees or so,
are in different gravity systems, even different latitude-and-longitude coordinate systems
“Instead of a perfect globe constructed by individual-centered developable surfaces,
the world is a mass made up of various intersecting spheres.”
Like squatting down to pet a cat, you overlooked those angles growing into rocky peaks.
The gap that separates a regular tetrahedron from a curved surface, is not a crater
--that’s where you have diverted from each other. A butterfly-shaped shadow,
merged unobtrusively into background colors of mountains and beaches.
相贯线
殷晓媛
真实而确切：花与霜、富于胶质微甜的晴空、
茶绿色群岛间穿梭的船只……但浑圆的世界为何有折痕？
在你与她之间。棱线，不同于山脊或屋脊，
笔直的不毛之地。这里重力试验纷纷失效，像从手中吹散的羽毛，
地磁消失。
（你梦见过地球背面的百慕大像一支苹果芯，
缠绕的线缆其中一条拖曳过这附近。）
地磁？邻居的小孩说，海底看起来一定像斑马皮，
带着它条带状磁异常的讯号。你把他赶回家吃饭，
你刚看完《楚门的世界》，新鲜的油漆感和封冻感还没有从后背上消失。
无需深究，这里与对面几乎旋转150度的彤紫山头，
并非基于同一重力体系，更非同一经纬系统。
“仿佛并非将每个人所在圆面延伸而虚拟出的圆满球体，
而是大大小小的形体相互镶嵌、所形成的巨大聚集堆。”
可以像蹲下抚摸一只猫，俯视那些长成山体的尖角，
正四面体与曲面体之间的凹痕，不是星体撞击留下的创伤
——你们唯一的分歧。像一个黑色的蝴蝶形，
隐藏在山形与河滩之间。
殷晓媛
“百科诗派”创始人、智库型长诗作者、“泛性别主义”写作首倡者、中、日、英、法、德多语言写作者。中国作家协会、中国诗歌学会、中国翻译协会会员。代表作有11000行长诗“前沿三部曲”、六万行结构主义长诗“风能玫瑰”等。出版有第四部个人诗集：《印象之内，物象之外》、《它们曾从卓尔金历中掠过》、《前沿三部曲》、《播云剂》（百科诗派创派10周年年鉴系列）及多部译著，最近一部为2018年8月纽约New Feral出版社出版的《成为一条河流》（Bill Wolak著），著作被美国、英国、德国、法国、俄罗斯、爱尔兰、新西兰等国一百余家国家图书馆、世界顶级名校图书馆和大使馆大规模收藏。主持“2018人工智能纸魔方”（六国语版）视觉设计+行为艺术项目，所发起“百科之友主题跨界创作工坊”创作出各类综合文本、摄影、绘画、装置、音乐、对联、朗诵、书法作品一百二十余件。曾授权其独家翻译诗歌的包括美国、瑞典、爱尔兰、英国、澳大利亚、西班牙、阿根廷、印度、日本、古巴、洪都拉斯、哥伦比亚、玻利维亚、厄瓜多尔等的50余位国际诗人。2018年独自游历全国名山大川，包括全程徒步登顶泰山。俄罗斯国家图书馆采编部部长T.V.彼得鲁先科将百科诗派著作誉为“横贯当代中国诗坛的百科诗学主义之强流”，多米尼加国家图书馆馆藏发展部部长Glennys Reyes Tapia则称之为“博大文化代表、书志编纂研究瑰宝”。
主要长诗作品：
前沿三部曲——Nephoreticulum (《云心枢》)；Polysomnus (《多相睡眠》)；Enneadimensionnalite (《九次元》)
风能玫瑰十六传奇——Iki of Bashō, Wabi of Muramasa (《武芭蕉，雌村正》)；Seepraland (《锡璞拉群岛战纪》)；Wind Quencher (《止风之心》) ；Hanoi Tower (《汉诺塔》）；Turkana (《图尔卡纳》) ；la Byzantine(《拜占庭野心》)；Doppelganger Duet（《自他体二重唱》)；Lapland Blood-soaked（《血沃拉普兰》)；The Space-time Optimization Bureau(《时空优化署》)；Disappearance into Atacama (《盐湖疑踪》)；Twin Flames（《双生火焰》）。
Ⅰ. A mechanism of Time
1
In the dead of night, the whole land was overgrown with memories, desires and wild plants,
which matured and metamorphosed into destinations, explorations and indulgences.
Nian Gengyao [2] stood by the corner of the rampart, remained silent for a long time, watching for a astronomical sign, but then he sighed: “It is doomed.”
Blessed or doomed, sacrifices and rewards, perils and remedies--
everything should be taken in to taken into account in the astrological sense.
“The celestial signs reveal fate.” [3] Was it a revelation or a paraphrase?
The stars and the winds, were alternately seeking for understanding and sympathy from human race,
when the most outstanding intellectuals of human(almost all of whom had distinctive appearances) were busy interpreting those signs. Lao-Tzu was born with white hair and eyebrows
--features of a hoary man; Wei Qing, on the contrary, a man of action, was valiant, dynamic and statuesque.
Lao-Tzu unveiled the nature of phenomena with reticence, while Wei Qing, turned the tables in history at one stroke.
“The armillary sphere was shaped like an egg.” [4]Notions were father to apparatus, thus were the celestial globes [5], and then the armillary sphere invented.
Through the observing tube, facts and representations, conjectures and verifications, always demystified themselves.
Luoxia Hong [6] identified the terminator line and the mid-night constellation in the southern hemisphere,
And Geng Shouchang was led by divine revelations to his inventions of equatorial coordinate system and absolute longitude [7],
Zhang Heng [8] improved the sphere with horizon and meridian rings, united the armillary rings of his predecessors into the equatorial armillary sphere, and added to it spring & autumn equinoxes and constellations.
It was immense power, the discourse power in economics, dominance over an under-civilized world.
Chang’an, was like a giant eagle in a birds’ eye view; Luoyang—a petal in a lotus; Bianliang—a picturesque corridor; and Lin’an—a scroll of brocade.
Time was monopolized, while the essential things became state-operated, including salt trades and blacksmiths.
2
The needle of daylight, dived deep in the grooves of the vinyl records of night--
Memories, desires and wild plants were there, in the order established by music along with counterpoints and harmony.
Massive silence, as expressive as counterpoints themselves.
Indecision lay in the flesh of men, instead of lingering on rings on your fingers some idle afternoon, or wandering in shadows of trees.
Through geological faults of time, human shapes were torn apart, where the tea cup lid of history
has been covering the sizzling reality: a drug dealer roving about in Xi’an, or a comprador double-dealing in Shanghai.
“With his impeccable research into the yin-yang dualistic-monism, Zhang Heng solved mysteries of the armillary sphere mechanism.” [9] On the globe which stands for the day-and-night cycle,
The brass-carved tray-of-dews immortal and Xu Tu [10], both holding arrows in the left hand and pointing to the dial with the right:
Water drove the rings, the great vault moved forward and the whole empire rotated with it.
The armillary sphere is a garden, a prison and a monument too,
A post-modern device, located among memories, desires and wild plants,
Time was imprisoned within it during fathomless nights.
Ⅱ. Perishing Chang’an
An ideology perishes from history the way a horse disappears into vast Samarqand.
“The sun, the moon and the stars, floated above the void, driven merely by airflow”, [11],
unattached to any celestial objects.
Unsheltered by the vault, disconnected from the land--
The situation is both the origin of our tragedy and its probable outcome.
“Memories of this land should be engraved into all human minds.”
A cello has saturated the land with dark melodies,
For the Hangu Pass [12], Lao-tzu and his water buffalo has long become symbols of sorrow.
Should Chang’an be reduced to an assemblage of goat soup, marinated-meat buns and Qingqu Cross-talk Society?
From eyes of the Terracotta Warriors, run down tears of captives--
These earlier conquerors have been conquered now by harsh lights and noises, smell of greasy food.
Vocality has been added to reality, when the scroll of the world unfolded itself-- a new panorama since Divina Commedia
The rancid salty smell ebbed out, when the sea wasted away,
Chang’an had shrunk during its voyage before arriving here.
Imagine generations of emperors, facing south in the imperial court [13].
Shadows ran across the sundial like horses, while bells tinkled under the eaves. There was a curtain-shaped fringe underneath,
Shrine tablets in the Imperial Ancestral Temple were a promise to their descendents: let the plumb line draw the boundaries of the realms!
When sounds of frolics and glint of sunglasses disturb the tranquility of the site of Weiyang Palace [14],
When death and anxiety no longer multiply during nights, and candle flames no longer cover up for coughs,
When the rain makes the ruins a hallucinatory bathtub,
We just cannot resist questioning: does tomorrow really deserve us?
The bluffing statues around public places are nothing but products of the impotent,
Recuperative powers degenerate, cavities appear in the surface of the mind, like darker maria on the moon.
Wide sleeves of Tang and Pipa sleeves [15] of Han have been stuffed so they became scarecrows,
A lonely soul clutched at winds in various directions, but only snatched hesitation and vanity.
Only when you stand on White Deer Plain [16] would cool breezes run through your lungs.
Laughter of children, shine like red persimmons high in a tree. The loess plateau [17],
tinted by the sun, leaves on the canvas of mind touches of green.
White deer will saunter into sight, then start trotting.
The cherry garden has revived a city from senescence.
Chang’an loomed up in arguments, reconciliations and smiles of children,
resurrected and reflected along the diagonals between the old walls, Drum Tower and archery figurines,
as well as in the breaths of Qin Opera.
（Excerpted）
（Translated by Yin Xiaoyuan）
Notes:
[1] Armillary sphere: a model of celestial objects, consisting of a spherical framework of rings, centered on Earth or the Sun, that represent lines of celestial longitude and latitude and other astronomically important features, such as the ecliptic. As such, it differs from a celestial globe, which is a smooth sphere whose principal purpose is to map the constellations. It was invented separately in ancient Greece and ancient China, with later use in the Islamic world and Medieval Europe.
[2] After Nian Gengyao’s fall from grace with Emperor Yongzheng, a counselor of his advised him to orchestrate a rebellion. Nian remained silent for a long time, watching for astronomical signs, and then sighed: “It is doomed.” He started to behave and serve Yongzheng loyally since. (Anecdotes of Qing Dynasty, Volume 1, by Qiu Kuanglu)
[3] “The celestial signs reveal fate, auspicious or ominous, and the sages interpret them by divination; the Yellow River and Luo River provide their diagrams, and the sages construe them.”(I Ching: An Interpretation, Part I, by Confucius) The Yellow River Diagram (He Tu)and Nine Halls Diagram (Luo Shu) are important parts of the legacy of the most ancient Chinese mathematical and divinatory (I Ching) traditions.
[4] “The armillary sphere was shaped like an egg, with celestial objects as round as cannon balls around. The earth is like egg yolk within, when the heavens encircle the earth like egg shell and white.”(Illustration of the Armillary Sphere, Zhang Heng)
[5] In ancient China, astronomers created Celestial Globes (Hun Xiang) to assist the observation of the stars and map the constellations. Armillary sphere was invented later in aiding calendrical computations and calculations.
[6] During the Western Han Dynasty (202 BC – 9 AD) additional developments made by the astronomers Luoxia Hong, Xiangyu Wangren, and Geng Shouchang advanced the use of the armillary in its early stage of evolution.
[7] Absolute longitude translates the zodiac degrees into the 360° of the zodiac circle and is used in many astrological calculations. 0 Aries is taken as the start of the circle and thus becomes zero degrees in absolute longitude. 18° Taurus becomes 48 degrees in absolute longitude - the 30 degrees covered by the sign of Aries, plus the 18 degrees of Taurus.
[8] Zhang Heng (78-139 AD): educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang applied his extensive knowledge of mechanics and gears in several of his inventions. He invented the world's first water-powered armillary sphere to assist astronomical observation.
[9] “With his impeccable research into the yin-yang dualistic-monism, Zhang Heng solved mysteries of the armillary sphere mechanism, and succeeded in invented a new generation of it. He also wrote The Spiritual Constitution of the Universe (Ling Xian) and and Suan Wang Lun and amplified his theories in them. ”(A Biography of Zhang Heng)
[10] Xu Tu: Xu and Tu are both officials in the palace chosen, to serve the emperor.(Rites of Zhou)
[11] The sun, the moon and the stars, floated above the void, driven merely by airflow. (History of Jin: Astronomical Events)
[12] Lao-Tzu lived in Zhou for decades, and then went away(on the back of a water buffalo), seeing signs of its decline. When he went through Hangu Pass, the guard Yin Xi said to him; Since you choose to live in seclusion, write me a book before you go. Lao-Tzu wrote the later famous Tao Te Ching, which included around 5,000 characters, left it to Yin Xi, and nobody had found his whereabouts since. (Records of the Grand Historian: Biographies of Lao-Tzu and Han Fei)
[13] In feudal times, “seat of honor” was always placed in the north, facing south. “The saints sit facing south, listens to voices from within the bounds of his realm.” (I Ching: Interpretation of Hexagrams) The central axis was designed north–south in the Forbidden City,
[14] Weiyang Palace was the main imperial palace complex of Han Dynasty and many other dynasties, located in the city of Chang'an (now Xi'an). Built in 200 BC at the request of Emperor Han Gaozu, under the supervision of his Prime Minister Xiao He, it served as the administrative centre and imperial residence of the Western Han Dynasty, as well as the Western Jin dynasty and several other regimes during the Northern and Southern Dynasties. The palace survived until the Tang dynasty when it was burnt down by marauding invaders en route to Tang Chang'an. This was the largest palace ever built on Earth, covering 4.8 km² (1,200 acres), which is 6.7 times the size of the current Forbidden City, or 11 times the size of the Vatican City.
[15] The pipa is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments. Sometimes called the Chinese lute, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12 to 26.
[16] White Deer Plain: Chen Zhongshi’s magnum opus novel published in 1993, for which he won the Mao Dun Literature Prize in 1997.
[17] The Loess Plateau, also known as the Huangtu Plateau, is a 640,000 km2 plateau located around the Wei River valley and the southern half of the Ordos Loop of the Yellow River in central China. It covers almost all of the provinces of Shaanxi and Shanxi and extends into parts of Gansu, Ningxia, and Inner Mongolia. It was enormously important to Chinese history, as it formed one of the early cradle of Chinese civilization and its eroded silt is responsible for the great fertility of the North China Plain, along with the repeated and massively destructive floods of the Yellow River.
浑天仪（节选）
——给殷晓媛
王自亮
一 、时间装置
1
夜晚，大地滋生着记忆、欲望与植物，
而白昼是一种抵达，冒险，放纵。
年羹尧伫立城墙一角，默然久之，夜观天象，浩然长叹曰：“事不谐矣”。
谐与不谐，祭祀与报偿，险象与拯救，
这一切，都得纳入天象之列。
“天垂象”。究竟是启示，还是阐释？
星辰与风，在交替中寻求人的理解与同情。
诠释者，人中龙凤，老子生下来须眉皆白，
长者仪态；卫青擅长行动，英气勃发，俊朗。
老子以沉默揭示物象，卫青奋然扭转局势。
“浑天如鸡子”。观念成就工具，于是有了浑象与浑仪。
透过窥管的光，事实与表象，猜想与确认，逐一澄明。
于是，洛下闳看到了昼夜分界线，夜半中星，
耿寿昌得知神灵指示，赤道坐标与黄道经度，
张衡着手制造多层运转的圆，辨析南北极，赤黄道，节气与列宿。
此后，所有的天象解释权在握，世界的主动权在握。
长安如巨大的鹰，洛阳如莲花瓣，汴梁画栋，临安织锦。
时间被垄断。重要的事物纳入官营，如盐铁。
2
白昼的唱针，深入夜的黑胶唱片——
记忆、欲望和植物，乐音建立秩序，和声，对位。
巨大的沉默，获得复调的表现力。
纠结的是人，不是午后的指环，亦非影子与树木。
在时间的断层，人被撕裂，而历史就如茶杯盖子，
捂住蒸腾的现实，毒贩子在西安，如同买办在上海。
“妙尽璇玑之正”。站在代表昼夜的铜壶之上，
金铜仙人和胥徒，左手抱箭，右手指刻；
水推动圆圈：被劫持的天空转动，帝国转动。
浑天仪，园林、监狱与纪念碑。
浑天仪，后现代时间装置，坐落在记忆、欲望与植物之间。
因狂暴而被囚禁的时间，夜未央。
二、 失传的长安
一种观念失传，如同一匹骏马消失在撒马尔罕。
说的是：天无定形，日月星辰就浮生于虚空之中，
并不附着于“天体”。
如今，我们既不被天空覆盖，又没有落在大地上，
这就是悲剧的根源，也是可能的结局。
人类，需要培育“一种对大地的记忆能力”。
大提琴，将更多的黑暗植入大地，
函谷关那边，青牛和老子建立了双重忧伤。
不能想象长安由羊杂汤、肉夹馍和青曲社构成，
那些秦俑的眼中，流出了俘虏的泪水，
强光与喧哗，油腻的气味，征服了征服者。
现实获得了歌唱性，勾勒出神曲以来的新构造，
海上咸腥味大幅减退，大海消瘦，
长安在漂移中，失去了它的长度。
想象一下那些天子们，朝向太阳光线射入的南面，
眼前是日晷和骏马，微风中屋檐与铃铛，流苏如水，
太庙神位的允诺，让铅锤的影子记录疆域的范围。
当未央宫遗址上传来嬉笑和墨镜的反光，
当夜色不再繁殖死亡与忧虑，灯焰不再覆盖干咳，
当，废墟的轮廓被雨声敲打成想象中的浴缸，
那么，下一个黎明还值得守候吗？
公共场所虚张声势的雕塑是阳痿者的作品，
复原能力的退化，导致月球般的内心荒凉。
汉唐人物宽大的衣袍里塞满稻草般的意念，
灵魂抓不到任何方向的风，只有迟疑和虚空。
唯有站在白鹿原上，可以享受一阵清凉。
远处，孩子的欢笑像红色柿子高挂，那黄土堆积台原
被阳光所涂抹，足以保持想象力的斑驳。
一群白鹿陆续走进人的视线，开始疾驰，
今日樱桃园，令古老的生机一息尚存。
长安，在城郊孩子们的争执、和解和笑声中浮现，
长安在城墙、鼓楼和跪射俑的对角线中复活，
长安藏在秦腔的魂儿里。
（节选）
This time he can only face himself.
Rust appears in lies which can no longer tow nothing.
The flag falls in the relay of a badge.
He whispers with himself.
Halfway up the mountain are spells,
The Eighth day of a week an inn.
The goshawk hovering overhead intends to dive,
As if it smelled the red of the corn poppy in his body.
The angle of view has implicit or explicit decision-making values,
Theoretical marrow retains shocks reversible at any time.
Lifting then lowering his feet, he cannot bear to give up after all
He leans sideways, Sisyphus goes by taking the path.
斜坡
浪激天涯
这一次 只能面对自己
谎言出现锈迹 再无法牵引
徽章里的驿站落下旌旗
游丝般交头接耳
半山腰是咒语 星期八是客栈
盘旋头顶的苍鹰 意欲俯冲
仿佛嗅到他身体里虞美人的红
目及的角度 明里暗里都具决策价值
理论的骨髓 保留随时可逆震荡
脚 提起又放下 终究静止于原地
他一侧身 西西弗斯借道而去
浪激天涯
法国某大学机器人学博士。现供职于法国某集团公司。喜欢写作新诗，诗评，及随笔。著有诗集《超弦之玄》。
“My thoughts have grown wings here."
Sacred white snow overflows from inside of glass
The fennel from an ancient century is ignited by the setting sun
A cane of tree-turned-jade, a crown of thorns, and feathers
Look, a carriage is running
European philosophical thoughts are like night lights
Grass and black soil kicked up by horseshoes
The teenage future king-- his young arm pulled the heavy sword out of the stone
The elves in the Black Forest have sharp horns and beautiful eyes
Sword blades, bows, and hull curves are all in the command of differentiation
dx, dy, dt. This is the spell
The gods can't help but worship:
The mathematical sword cuts iron like clay
Wild geese’s philosophical footprints on the snow, and a gallop away from out of the dust
If the world hangs over a cliff
If the sexy beauty, who is a princess or a widow dressed in white, appears intimate and secretive
Can the rope of logics pull up the world?
But we no longer inquire
We do nothing but face the wall silently
We put huge seas into a small bottle
Black and white
Skulls and babies freshly from birth
Sea water and charcoal fire
0 and 1. Is this the essence of everything?
Whether a god or ghost, it only needs to be compiled into digital codes
Binary bean halves germinate into the swinging of green shoots
In the blink of an eye, massacres take place, cities are attacked and taken
In the blink of an eye, the roses begin to bloom brightly and charmingly
And the wind begins to carry the warm fragrance of lavender
In the blink of an eye, floods pour in and famines burst out
In the blink of an eye begins a moonlit song penetrating the entire world and all the centuries
"There are always some events that happen incidentally.
The reasons for their occurrence exist outside of everything that exists."
"All predicates are contained in their subjects."
Whether it is accidental or inevitable
Whether it is present, past, or future
"Every soul is a universe."
Everything can melt in rational salt water
This world is our only one
Like snow falling in summer
Like a piece of meteoric iron on the vast snowland
Every soul is a withered and fresh flower
(Translated by the Poet)
Ye Rugang, poet, mathematician and translator, Member of Encyclopedic Poetry Creative Writing Program, Professor at University of California, Santa Barbara, Changjiang Lectureship Professor at University of Science and Technology of China, Hefei, China. His numerous poetry works include the poetry dramas/epics The Nine Planets and The Nine Chapters of the Fatal and Gorgeous Natalia which contain poems in Chinese, song lyrics in English and screenplay components. He has translated English, German, French, Italian, Spanish and Swedish poems into Chinese, and Chinese poems into English and German. He was a professor of mathematics at Bochum University, Germany.
（叶如钢 译）
莱布尼茨
——百科诗派总第五期主题创作“哲学史”
叶如钢
“我的思想在这里生出了翅膀”
神圣的白雪从玻璃里溢出
传世茴香被落日点着
化玉的手杖， 荆棘、羽毛的冠
看，马车奔腾。欧洲的哲思如夜灯
如马蹄扬起的青草和黑土
王的童臂把重剑从石里拔出
黑森林里精灵有尖角和美眸
而剑刃、弓、船壳曲线，皆在微分的掌握之中
dx，dy，dt。这就是魔咒
众神也不能不跪拜：
数学的剑削铁如泥
哲学的雪泥鸿爪， 一骑绝尘
如果世界悬于绝壁
如果性感美人，她是公主或白衣寡妇，亲密而诡秘
逻辑的绳索竟能把世界拽起？
但我们不再叩问
我们只面壁。把巨大的海水装进很小的瓶子
黑与白
骷髅和诞生的婴儿
海水和炭火
0和1 。 这是一切的本质？
不论是神是鬼，只需要编成数码
二元的豆瓣，发芽成青苗的摇曳
一转眼是杀戮、攻城掠地。一转眼是玫瑰香艳、薰衣草温风
一转眼是灾荒、饥馑。一转眼是月光照射的旷世歌声
“总有一些事件是偶然发生的
它们发生的理由，在一切存在之外”
“一切谓语都包含在主语之中”
不管是偶然的，还是必然的
不管是现在、过去、未来
“每个灵魂都是一个宇宙”
一切都可以在理性的盐水里融化
这世界是我们的唯一
就像夏季落雪。 就像雪原上一块唯一的陨铁
就像每个灵魂都是枯萎而新鲜的花朵
延伸阅读：
【贺岁档 · 百科之友】2018年度主题创作成果展 ▍叶如钢
上期回顾：
美国跨界文学/艺术杂志《Pinyon Review》2018年11月刊集中刊发百科诗派作品并于刊首语中大篇幅做了推介，作品包括：
殷晓媛《同素异形体》《隐秘或喧哗的交流电》、王自亮《穿越罗布泊》、浪激天涯《钙质》、山水如歌《作为练习的登山》。
该杂志位于科罗拉多州西南部蒙特罗斯，风景壮阔的落基山脉，主编为Gary Entsminger与Susan Entsminger，是一部诗歌、小说、艺术和摄影跨界艺术为特色的高品质全彩印刷的杂志，迄今已创办十周年，在亚马逊等各大网站均有销售。其宗旨在于集中展示来自美国及海外的不同艺术家群体的成就。本期聚焦东方诗人，将读者带进神秘古老国度，去探索缪斯所激发的中国诗人的“细微与神秘之处”。
Susan Entsminger在本期刊首语中写道：
在中国诗人王自亮的长诗《穿越罗布泊》（阿九翻译）中，诗人将这首诗分为“落日”、“土地”、“天空”、“耳朵”和“太阳墓”，一切在关于耳朵的诙谐隐喻中淡出：“据说罗布泊的形状/像一只耳朵/但它从未用于倾听。//也不曾用于增添大地的/官能之美……这耳朵/表现神祗们如何借助于巨大的沉默，抵达坚忍。”这首诗有着典型东方风格中一样, 大自然通过土地的感官之美赋予世界精妙的的哲学注脚。
浪激天涯的诗《钙质》写道：“以山的形状端坐/冥想在斜坡上滑过 重量呈曲线升起/落叶覆盖 杂草归家/乱石堆里活着的脚印自会寻得出路”为读者提供了一种和稳如钙质的冥想。
在不易进入语境这一点上，本期刊发的当代中国诗人与日本俳句存在某种意义的相似。正如艾达·利蒙在PBS电台节目中所讲：“对于诗歌，我们承认有诸多未知。”
往期封面：
编辑团队：
GARY ENTSMINGER，主编
作家、博物学家、IT工程师。著有九部编程书籍，发表100余篇科技论文，及设计多款面向科学家进行生物多样性及生物地理学教学的计算机软件。
SUSAN ENTSMINGER，执行主编
作家、艺术家、生态学家。美国加州洪堡州立大学（Humboldt State University）毕业，专攻植物学及法语，并取得达特茅斯学院（Dartmouth College）生物学博士学位。
附原文全文：
Cover of Pinyon Review #14 by Susan Entsminger
A few nights ago as I watched the PBS News Hour, I was pleasantly surprised to see a female poet appear in the last segment of the news. Ada Limon spoke passionately about the radical hope of poetry as an effective way of communicating and touted that people today are reading
more and more poetry, exploring the nuance and mystery of it, as well as using it as a way to express rage. Limon also pointed out that poetry was a place where we admit to the unknown and sometimes practice beauty, make music from specificity and empathy. I was inwardly applauding her comments during the entire segment.
Gary and Susan Entsminger, editors and publishers of Pinyon Review, a magazine that features poetry, fiction, art, and photography, have been doing their share of touting the effectiveness of poetry for almost a decade in the pages of a literary journal that showcases the talents of a diverse group of artists from throughout the U.S. and abroad. In the latest issue showing the cover art of “Limes and Leaves” rendered by Susan Entsminger, the editors have chosen to include the translated work of several Chinese poets and a deceased Dutch poet, M. Vasalis, billed in her country as the “Dutch Elizabeth Bishop.”
Although the work of other poets: Stuart Friebert, Neil Harrison, Gary Entsminger, Scott Davidson, to name a few, contributed highly notable work, I chose to showcase the Oriental poets who take readers farther afield to explore the “nuance and mystery” of Chinese poets the Muse inspires. Also impressive: “To A Tree,” a poem by the deceased Dutch poet, M. Vasalis, translated by Fred Lessing and David Young, which quickly sets the tone of international sharing on the opening pages of this issue of Pinyon Review.
As I’m a tree hugger, I appreciated the poet’s plea for trees not to move, “… for who could bear it if a tree pulled up its roots/and danced away?…” Vasalis muses on the eternal qualities of trees that [are not] “made to move,/in lengthy lines, like steady music, simple,/and then again stand still, a slender temple…I stood there in the wet and heavy grass/and felt that I had drifted into paradise…” Gary and Susan plan to publish a career-spanning selection of Vasalis’s poems in 2019. Interestingly, she was a Dutch psychiatrist who specialized in the treatment of children and was recognized as the most widely read and admired poet of her country.
In a long poem entitled “Crossing Lop Nor,” the Chinese poet Wang Ziliang, translated from the Chinese by Ajiu X. LI, divides the poem into sunset, land, sky wind, high wind, and ear into a medley that ends with a humorous musing about the ear; e.g., “It is said that Lop Nor/has the shape of an ear,/though never used to listen… Lop Nor, a metaphor about listening./A metaphor about sound and its fading… This ear/emblems how the gods achieved immortality/through enormous silence.” In this poem, as in many Oriental writings, nature offers specific philosophical commentary through “the sensual beauty of the land.”
A self-translated poem by Langji Tianya, another Chinese poet featured in this issue, offers readers a meditation entitled “Like Calcium,” in which he “settles in a mountain pasture,/His meditation slides on a slope, the mass rises in a curved manner./The dead leaves cover themselves, the weeds go home/The fresh footprints on the piles of rocks
will find the way of release.” Like Haiku, the featured poems by Chinese poets in this issue, aren’t understood quickly and include lines for the process of meditation. As Limon said in her broadcast, in poetry “we admit to the unknown.”
In this 14th edition, an intriguing article, “The Studio of The Three Arrows,” by Robert Elliott and Susan Entsminger features photography by 20th century photographer Harold A. Taylor who in his early 20’s hiked through Yosemite National Park to photograph its valley — “massive rocks, waterfalls, sequoias…” partnering with Eugene Hallett to open the Studio of the Three Arrows, so named for the Yosemite Miwok Indians and the English-born Taylor’s family crest. The photographs, as explained by Susan Entsminger and Robert Elliott, were created by using dry glass plates that produced sharp images and beautiful contrast. Susan’s father, Robert Elliott, acquired the glass plate negatives when Taylor retired as he and Taylor had been in a photography business together. Elliott gave his son, R. Elliott, the Yosemite and California Missions Collection, which he is digitizing and archiving. The arresting photograph of “Wawona With Coach,” is a digital scan of one of Taylor’s beautiful glass plates. Photographs in this article by father and daughter make this 14th edition a real collector’s piece.
Along with the Oriental poems, I couldn’t resist including the haiku of award-winning Gary Hotham who lives in Maryland; e.g., “outside the lines/our grandson includes more/with one crayon”… and “mixing with the afternoon sky/a lifetime of clouds/disappear.” Hotham has won first
place in the Harold G. Henderson Memorial Haiku Awards and second place in the San Francisco International Haiku Competition. Pinyon published his Stone’s Throw, described as a book echoing the Japanese masters.
Pinyon Publishing just celebrated its tenth year as a publisher of quality literature and art in book form. Pinyon Review, a journal of the arts and sciences, is one of the few journals that has kept its mission of featuring emerging and well-known poets, fiction writers, translators, artists, and photographers. The magazine is produced in a log cabin on a plateau in southern Colorado where Gary and Susan share a life devoted to the cause of sustainability and quality publishing. On a personal note, they have consistently featured and supported my writing and reviewing of other writers’ work. Thank you, Pinyon, from all of your writers, photographers, and artists.
Available from Pinyon Publishing, 23847 V66 Trail, Montrose, CO 81403.
Pinyon Publishing近期出版图书（部分）：
官方网站：
http://pinyon-publishing.com/pinyonreview.html