美国Pinyon Publishing正式提名殷晓媛参评2021年度“手推车奖”

2020年1月，殷晓媛英文诗选《Clouding Seeding Agent》（中文版：《播云剂》）由美国Pinyon Publishing出版社正式出版。该诗集是Pinyon Publishing出版社创办12年来出版的第一部中国作者诗集、及该出版社百余种出版物中第一部最高规格平展式画册精装版，由八位国际一线诗人联名推荐。

本月，Pinyon Publishing出版社官宣，该诗集中的开篇诗《质数颂》已作为出版社2021年度提名作品参与美国“手推车奖”（Pushcart Prize）评选，相关材料已正式邮寄给评委会。“手推车奖”在提名期间接受来自各类刊物杂志及出版社编辑的提名，体裁包括诗歌，短篇小说，随笔，传记及长篇小说节选等，兼顾传统与实验性写作。参评下一年度“手推车奖”的作品必须是本自然年度内正式出版、发表的作品。

此前，殷晓媛该部诗集已由出版社提名参与美国诗歌协会（POETRY SOCIETY OF AMERICA）“四个四重奏”诗歌奖（FOUR QUARTETS AWARD）、美国文学翻译协会（AMERICAN LITERARY TRANSLATOR’S ASSOCIATION）“国家翻译奖”（“NATIONAL TRANSLATION AWARD”）的角逐。各奖项截至目前尚在评选之中。

“手推车奖”官网：http://www.pushcartprize.com/

出版社官网公布提名页面：

http://www.pinyon-publishing.com/cloudseedingpushcart.html

《Cloud Seeding Agent》为作者物理、化学、生物学、信息技术、投影几何、摄影、书法、大气科学等主题实验先锋组诗精选，中文版《播云剂》创作于2012-2015年期间，2017年由北岳文艺出版社出版；英文版2016年由作者自译，2020年1月由美国Pinyon Publishing出版社出版。其中作品近年陆续被选译为二十余种外语，其中已译介完成并发表的包括：意大利语（译者：Pina Piccolo、Alberto Pellegatta）、西班牙语（译者：JOSÉ LUIS GÓMEZ TORÉ、Fabiola Renaudo、Frances Siman等）；法语（译者：Cécile Oumhani、Marilyne Bertoncini）、加利西亚语版（Lourdes De Abajo）；孟加拉语（译者Shuhrid Shahidullah）；葡萄牙语（译者Carlos Ramos、Paulo Ramos、Noel Petinga Leopoldo、Manoel Herzog等）；阿拉伯语（译者Raed Al-Jishi、Abdul Hadi Sadoun、Najwan Darwish等）；罗马尼亚语（译者：Diana Manole）、希腊语（译者：Elsa Korneti）、爱尔兰语（译者：Seaghan Mac an tSionnaigh）、德语（译者：Pilar Baumeister）、马其顿语（译者：Daniela Andonovska-trajkovska）、瑞典语（译者：Aleisa Ribalta）、土耳其语（译者：Adnan Özer）、匈牙利语（译者：Johanna Domokos）、阿尔巴尼亚语（译者：Arian Leka）、希伯来语（译者：Gili Haimovich）[点击译者名查看该语言译本及发表情况]、芬兰语、日语等，俄语、保加利亚语、爱沙尼亚语等语种正在翻译中。该诗集已提名美国诗歌协会“四个四重奏”诗歌奖、美国文学翻译协会“国家翻译奖”等奖项，并进入“加拿大诗人联盟”（The League of Canadian Poets，简称LCP )推荐图书榜单。

作者肖像出自国家一级摄影师宋醉发主编的《中国诗歌的脸》（第二辑）

殷晓媛

“百科诗派”创始人、智库型长诗/小说/诗剧/实验文本作者、“泛性别主义”写作首倡者、从事中、日、英、法、德多语言写作。中国作家协会、中国诗歌学会、中国翻译协会会员。著有长诗11000行长诗“前沿三部曲”、六万行结构主义长诗“风能玫瑰”等，小说四十万字，诗剧及实验文本若干卷。出版四部中文诗集：《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）、一部英文诗集《Cloud Seeding Agent》（美国Pinyon Publishing出版社，2020）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）。作品被译为法语、德语、西班牙语、意大利语、瑞典语、葡萄牙语、阿拉伯语、爱尔兰语、加利西亚语、芬兰语、罗马尼亚语、希腊语、爱沙尼亚语、俄语、孟加拉语、希伯来语、马其顿语、土耳其语、保加利亚语、日语、匈牙利语、阿尔巴尼亚语等，发表包括英国《the New Humanist》、爱尔兰《Comhar》、美国《Madswirl》《Pinyon Review》《Contrapuntos》、意大利《La Macchina Sognante》、英国《新阿拉伯人报》、阿根廷《Buenos Aires Poetry》《Revista Excéntrica》等杂志，收录入《Caminos sin fronteras》等选本，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。2020年策划“100位国际一线诗人精品诗歌云诵读&表演国际诗歌节”——“誓[诗]大会”。百科诗派“2018人工智能纸魔方”（六国语版）”、“2019：创派12周年纪念徽章”、“百科诗派12周年‘诗 ╳ 影 ╳ 艺’跨界艺术联展册”+“2020‘诗 ╳ 影 ╳ 艺’跨界艺术联展册”、“2020年豪华精装版“天·地·人”摄影画册诗历”“‘国际誓[诗]大会’高定CD专辑”文创项目总策划及总设计师，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、书法作品二百余件。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、意大利、西班牙、加拿大、俄罗斯、沙特阿拉伯、法国、葡萄牙、芬兰、秘鲁、阿根廷、印度、日本、古巴、洪都拉斯、哥伦比亚、阿尔巴尼亚、北马其顿、罗马尼亚、玻利维亚、巴勒斯坦、厄瓜多尔等的200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”。

英文版：

Yin Xiaoyuan(Yīn Xiǎoyuán, “殷晓媛” in Chinese) is an avant-garde, crossover epic poet as well as a trans-genre & multilingual writer, founder of Encyclopedic Poetry School (est. 2007), initiator of Hermaphroditic Writing Movement and chief drafter of Declaration of Hermaphroditic Writing, Editor and visual designer of “Encyclopedic Poetry School A.I. Papercube” (10th Anniversary Special Edition) , “12th Anniversary Poetry╳ Photography ╳Manuscripts Album” and “2020 Yearbook: Poetry╳ Photography”, director and visual designer of “12th Anniversary Poetry ╳Tea Deluxe Gift Set” and “12th Anniversary Commemorative Medallions”. She also directs “Encyclopedic Poetry School Creative Writing & Integrated Art Workshop”, members of which include poets, writers, dramatists, musicians and visual/installation/photography/calligraphy artists.

Yin Xiaoyuan graduated from Beijing International Studies University. She is a member of Writers’ Association of China, Translators’ Association of China and Poetry Institute of China. She has published 11 books including 5 poetry anthologies: Ephemeral Memories(Dazhong literature & art publishing, 2010), Beyond the Tzolk’in (China Federation of Literary and Art Publishing House, 2013), Avant-garde Trilogy(Tuanjie Publishing House, 2015) , Agent d’ensemencement des nuages (Encyclopedic Poetry School’ 10th Anniversary Series)(Beiyue Literature & Art Publishing House, 2017), and Cloud Seeding Agent (Pinyon Publishing, USA); and 6 translations, including The Ruby in Her Navel (Tsinghua University Press, 2014) by Booker Prize winner Barry Unsworth, a translation of contemporary New York poet/artist Bill Wolak’s poetry anthology Become a River (New Feral, 2018), two novels from Japanese and a haiku anthology. T.V. Petrusenko, Head of Acquisition Department, National Library of Russian, referred to the works by Encyclopedic Poetry School as “a new trend of contemporary Chinese poetry”, and Glennys Reyes Tapia, Head of Collection Department, BNPHU, described them as “bibliographical treasure of their (Chinese) culture”.

She wrote 18 epics (which add up to a total of 70 thousand lines) and 24 volumes of encyclopedic poems. 

Her works were written in Chinese, English, Japanese, German and French and translated into Italian, Spanish, French, Portuguese, Galician, Finnish, Estonian, Russian, Bengali and Bulgarian, published home and abroad. She is cooperating with 100+ contemporary poets in U.S., U.K., Sweden, Ireland, Australia, Spain, Portugal, Russia, Germany, France, Finland , Canada, Argentina, Japan, India, Estonia, Cuba, Honduras, Columbia, Chile, Bulgaria, Bolivia and Ecuador, etc. 

She has travelled around China by her own, challenging mountains including Mount Huang, Mount Hua, Mount Heng (Hunan) and Mount Tai, which she summited on foot.

装帧：

封面豪华硬壳精装、内文70lb（约318克）艺术纸全彩印刷

尺寸：

11” ╳ 8.5”英寸（约28 ╳ 22cm）

语言：

英语

平面设计：

Susan ENTSMINGER & 殷晓媛

出版时间：

2020年1月

出版社地址：

Pinyon Publishing

23847 V66 Trail, Montrose, CO 81403

封面摄影：

目录：

全书配色：

"Undeconstructible and enigmatically unyielding," that is Yin Xiaoyuan.  Her poetry weathers vain attempts at interpretation and rebukes all efforts at categorization. Her ink blends Catherine- wheel fireworks and hydroelectricity: Awe and Shock.  A partisan of the new, so strong and audacious, she unites Octavio Paz and Ezra Pound, rescues Oulipo from its degenerative state, and exposes-- bluntly and unapologetically--Beauty and Philosophy running in tandem and chafing against each other. No one can ask a poet--or Poetry--to achieve more. 

––George Elliott Clarke 

Parliamentary Poet Laureate of Canada (2016 & 2017) 

“无法解构，拒绝媾和。”（《质数颂》）——这便是对于诗人殷晓媛的最佳注解。她的诗歌气象使得一切破译的企图望洋兴叹，一切归类的尝试相形见绌。她是“墨”与“凯瑟琳”[1]的耦合体——轮转烟火[2]与水电能源：令人油然而生敬畏与震撼之感。她是新生事物的坚定同盟，强悍无畏，文风犹如奥克塔维奥·帕斯（Octavio Paz）与埃兹拉·庞德（Ezra Pound）联袂，挽“乌立波”风格于既倒，在率直与毫无愧色的文本间，美学与哲学的马车并驾齐驱，彼此角逐。对于诗人造诣，对于诗歌文本的期待，至此观止。

——[加拿大]乔治·艾略特·克拉克

第七届加拿大国会桂冠诗人（2016-2017）

[1]指殷晓媛邮箱用户名中的两个单词。

[2]轮转烟火，即“凯瑟琳之轮”。在中世纪欧洲，凯瑟琳之轮是常见的纹章图案寓意物，一般被描绘成为插刀的轮子，象征图案持有者对信仰的决心——决心接受任何残酷的试炼。在欧洲凯瑟琳之轮被发展为一种焰火表演，表现为高大烟花架之上旋转燃烧的烟花之轮。

Yin Xiaoyuan holds back nothing. Their poems are bulky, excessive, cinematic and suddenly despondent and pulling back and the poem ends. I applaud the richness of the work, its bravery, its quirkiness. I turn the pages of Cloud Seeding Agent eagerly for another vista and another reshuffling of what a poem is. I feel like a fledgling lover, abandoned, happy and surprised.

—Eileen Myles

Poet, author of I Must Be Living Twice

殷晓媛的风格是酣畅淋漓毫无保留。她的作品体量庞大、穷工极变、银幕感充溢，总在出乎意料之时突然笔锋一转沉入低调或戛然而止——一首诗急势陡收。我不禁为她作品呈现出的丰饶、刚劲与诡谲而喝彩！我热切地翻阅着这部《播云剂》，探寻着关于“诗究竟是什么”的另一片崭新洞天、一轮全新洗牌。我像一个青涩无知的情人，被在这文本抛在背后，欣喜而又诧异不已。

——[美]艾林·迈尔斯

诗人，《我准是活了两次》作者

Consistently surprising in their inventiveness and leaps of logic, the poems of Yin Xiaoyuan read like bulletins, fables, case reports and songs built from the wreckage of the information age, but also in accordance with our ancient human need. These poems are engineered to jostle rather than to comfort, and their absurdist surreality often takes comically dark and disquieting turns: “Today a buttery-coated rodent / nibbled away buds of your last wild rose.” Nonetheless, and almost in spite of themselves, they make a dwelling of uncertainty amid a dawning doom, giving voice to the way it feels to be alive now: “When you unpack your entire life / On the shore, like windblown sleet, froth and foam will rise / From the center of the ocean, and sweep across your feet….” Riddled with science, the fantastic, gorgeously complex sentences and exhilarating music, the work of Yin Xiaoyuan offers, in its insistence on creating something new and strangely beautiful from the rubble of our world, a modest, unsentimental, and not unwelcome hope.

—Timothy Donnelly

author of The Problem of the Many, Columbia University School of the Arts

殷晓媛的诗歌让读者处于一种持续的惊愕之中，它们如此匠心独具，逻辑线在其中疾冲猛跃，使得它们被赋予新闻简报、寓言、结案报告等五光十色的文本特质，又仿佛大数据时代的信息碎片被谱曲填词，但同时这些文本的内核又与我们古老人类文明的内在需求形成一种观照。它们被“研发”出来，旨在掀起风波而非安于舒适，它们荒诞主义与超现实的肌理通常映射向怪诞的暗调与令人惴惴不安的跌宕起伏：“今天，一只皮毛如黄油的啮齿动物，在寒冷的高山上，/啃食最后的火红野玫瑰” （《同素异形体》）尽管如此，它们已超越自身边界，在一种行将降临的末日氛围营构出一处充满不确定性的栖居之所, 由此记叙此在所感知的生命能量：“你在岸边，松开自己如解开层层包裹，大洋之上//白沫如涌起自地心的霰雪，跌落脚边/冲洗成片的鸡血石。” （《生存之波粒二象性》）这些诗歌文本中各种科幻、奇幻元素纵横交错，形成极为繁复蔚为壮观的句式，及令人亢奋不已的乐感。殷晓媛的作品执着于在世界的瓦砾之上一件件创造出卓异、绮丽的全新事物，给予人们幽微、冷峻而又不可抗拒的希望。       

—[美]蒂莫西·唐纳利

《众数之惑》作者, 哥伦比亚大学文学院诗歌部负责人

Poems given to the physical experience of the world. “Beauty of the universe,” says Stefan Klein and it is right because in mass and energy, in quantum and wormholes, between the centrifuge and centripetal forces, life and its opening are settled, its possibility, its permanent path full of coats and feet to say yes to the poetic experience. Yin Xiaoyuan knows it and makes it arrive beautifully punctual. 

—María Ángeles Pérez López  

Poet and Professor

University of Salamanca, Spain

殷晓媛的诗歌构建于世界的物理体验层面之上。“宇宙之美”，斯特凡·克莱因[1]如是说：宇宙是瑰丽的，正是在质与能、量子与虫洞、离心机与向心力……之间，产生了生命及其与世界交互的通道，而通往诸多可能性、亘古不变的路径上，从来不乏探索者的身影与足迹，去拥抱世界的诗性体验。殷晓媛深知其法门，接引这一体验美妙而准时地降临人世。  

--[西班牙]玛莉亚·安吉利斯·佩雷斯·洛佩兹 

诗人、萨拉曼卡大学教授  

[1]指物理学家、散文家、科普作家斯特凡·克莱因（Stefan Klein）的著作《身处无限的边缘：邂逅宇宙之美》（《On the Edge of Infinity: Encounters with the Beauty of the Universe》）。他生于德国慕尼黑，来自一个三代均为科学家的“科学世家”，在慕尼黑大学取得物理学博士学位，专业领域涉及生物物理学、理论物理学以及分析哲学。著有《快乐的科学》《列奥纳多的遗产》《我们都是散落的星骸》等，他的作品被译为超过25种语言，占据多个国家的畅销榜。他曾担任多家科学刊物的编辑、撰稿人，并获得德国科普写作大奖乔治·冯·霍尔茨布林克奖，现为自由撰稿人，文章多发表于《自然》《纽约时报》等主流媒体。

Yin Xiaoyuan’s writing is remarkable. The energy it displays in intellectual conception is compelling. So too is the precision and concentrated detail of these verses. This is experimental writing at its  best, nurtured within the context of Encyclopedic Poetry School, which she founded. Yin’s poetry ranges confidently over the poetic traditions of both Europe, the USA and China, modifying and enriching both, borne up by a belief in translation as a crucial and creative stimulus to the inter-play of cultures. Poems such as “Wolfram” are notable for their exhilarating command of English, lexis is confident and expansive; rhythms are sustained yet exciting; argument and dramatic voice carry to fine conclusions. Lines such as these are highly original and deserve to be greeted with the utmost enthusiasm.

—ROBIN KIRKPATRICK

Professor emeritus, Italian and English Literatures, Cambridge University

殷晓媛的创作是非同凡响的：智性构想间充溢的能量、高度的精确性与细节的丰富浓郁极具折服力。实验文本在她的写作中已达极致——对此，她创建的百科诗派所营造的理念语境功不可没。其诗歌以自信的姿态涵纳了欧洲、美国与中国之美学传统，并加以提炼与深化，翻译研究工作使她对于作为跨文化交流至关重要与激发创意原动力的语言坚信不疑。在《钨》等众多作品中，她显示出令人兴奋不已的高超英文技能、其词藻从容自如、绵延极广，节奏克制却又激动人心，争论与戏剧冲突总是巧妙地指向结论。她这一系列特立独行的文本值得读者投入最大的热情去研读。

——[英]罗宾·柯克帕特里克

剑桥大学意大利及英语文学荣誉退休教授

Yin Xiaoyuan is the founder of E.P.S.-- an emerging group of Chinese poets who—by offering new paradigms for the mixing of genres in the Encyclopedic Poetry Movement—have transformed writing with breathtaking language juxtapositions, with the introduction of innovative scientific subject matter, and with astonishing, non-linear representations of reality. Her poetry pushes language to the brink of the undefinable, where the ordinary through a miracle of imaginative alchemy becomes numinous. Yin Xiaoyuan’s poetry is powerful, bold, and uncompromising.  

--Bill Wolak

poet, photographer, collage artist, professor 

作为中国崛起的新一代文学流派创始人，殷晓媛发起的“智库型写作”诗歌运动，为跨文体创作树立了全新的典范，其令人惊艳不已的语言建构模式重新定义了写作界域，让独树一帜的创意以科学主题为媒介进入人们的视野，其非线性叙事模式下的现实更是震撼人心。殷晓媛的诗歌语言在拒绝定义之域边缘铤而走险、即使平凡之物一旦进入这想象力炼金术的奇观帝国，便获得了超自然的特质——她的作品是强有力的，富有胆略，永不妥协。  

——[美]比尔·沃拉克（诗人、摄影师、插画艺术家、教授）

Xiaoyuan’s exciting poetry charts a new path in contemporary Chinese poetry, and this beautiful volume shows her poetic gifts on full display. The rich inventiveness of her poems stems from a combination of her compositional virtuosity, the use of different linguistic and conceptual domains, and the experience gathered from her prolific activity as a poet engaged in translating poems from many cultures. Her poems reveal a deeply original and welcome voice in the panorama of contemporary Chinese verse. An avant-garde artist, she has created a series of unpredictable and stunning poems, which testify to the ingenuity of her poetic talent. 

--Jacob Blakesley

Associate Professor in Comparative Literature and Literary Translation, University of Leeds

晓媛扣人心弦的诗写所开示的是一条横贯当代汉语诗歌的新道路，这部美轮美奂的著作便是她诗歌天赋的一次全面勃发。她在文辞编码层面的精湛造诣，使她的诗歌充溢着独出机杼的全新构想。她拓展了语义与能指的新界域，作为一位致力于世界文化交互的诗人，她非常丰产，这使她得以积淀深厚的文化底蕴。她的诗歌在当代中国诗歌全景模式下呈现出高度特立独行又引人共鸣的特质。创作出若干变幻莫测、令人惊艳诗歌系列的她，也可以说是一位先锋艺术家，各类作品都充分证明了她的诗歌才华与奇智。

——[美]雅各布·布莱克斯利

利兹大学比较文学与文学翻译副教授

La teoría literaria china difiere absolutamente de occidente. Ya Confucio afirmaba que la poesía tiene una función didáctica y puede forjar al individuo y al pueblo a través de una moral de influencia personal, para ello había que practicar la lectura así como ejercitarse en la composición poética, lo cual ayudaba a mantener un equilibrio personal entre lo que se siente y lo que se dice. También el maestro Zhuang Zi dijo que el concepto de literatura se define como manifestación del Tao, es decir, el camino espontáneo y natural que nada tiene que ver con lo artificioso y pragmático,  y el artista/texto se convierte en un espejo que  refleja la verdadera naturaleza de las cosas. 

Las oníricas imágenes de la poesía de Yin Xiaoyuan, respondiendo a su tradición,  no se despliegan en conocidas imágenes por extrañas que pudieran ser, sino que nos llevan al enigmático mundo del principio, del “tiempo Hadeano”, densidades que van cobrando formas configurando la mente para imaginar otros conceptos. A medida que sus metáforas construyen un escenario multi-real, en algunos pone en cuestión la masculinidad como principio que ha regido la subjetividad humana, en un escenario de pantallas LED y de aritméticas configuradas en el espacio de las redes, más allá del tiempo que conocemos puesto que éste se dimensiona en otras posibilidades. “Cuando apartaste la mirada más allá de los rieles del tiempo, él se hizo visible emergiendo desde la superficie de lo etéreo, brillando con vigor y tenacidad. Esos atributos suyos no perecen con el cuerpo, ni siquiera con el alma. Está encarnado en todas partes, en el clima, la energía e incluso en el Zen”. Como dijo Octavio Paz, “la luz es tiempo que se piensa.”

El entramado de metáforas configura partículas y densos ramajes entre bosques de verdores diferentes. La naturaleza cobra una forma amenazadora como “la materia inevitablemente funcionará como una fuente de luz/ un universo inundado de gluones, fotones y mesones. El misterio , de la misma manera que las almas se combinan con los cuerpos/ son bendecidos con la gravedad y la velocidad”. La originalidad de esta poesía no la encontraremos en el ritmo –la traducción del chino al español presenta sus dificultades-, la encontraremos en el concepto mismo del poema. La autora propone “Caminos cuánticos” , donde solo a través de los campos de energía y vibraciones nos iremos encontrando con haces de voces fantasmagóricas, clasificando a los hombres con puntuaciones según estructuras,  por lo que al lector puede imaginarse formas insólitas, surrealistas, navegando en el espacio del poema. 

Iniciadora del Movimiento de poesía Hermafrodita, la poeta extiende sus versos exentos de trascendencia y sublimación, solo es posible el encaje en un mundo matemático donde la belleza de las ecuaciones configuran esta insólita poesía en un espacio que multiplica y proyecta varias realidades: “Las calles te han dado todos los colores y sonidos de la vida que están el sistema paralelo al suyo”. 

--Concha García

Ganadora de los premios: Universidad de León (1987)  Barcarola (1988), Jaime Gil de Biedma (1995) y Dama de Baza

东西方文学存在于两套截然不同的理论体系之中。孔子强调诗的教化功能（“诗教”），提出诗能以人格魅力层面的道德价值裨益于个体乃至全体人民的人格塑造。为达成这一愿景，必须在诗歌创作与鉴赏两个维度上齐头并进，以个体为单位在洞察与表述间建立一种均衡态。庄子也曾讲过：“文原于道”，文学乃是自觉与自然之道，不为矫饰或功利所羁累。而艺术家及其作品则是照彻万物本原的镜子。（“夫岂外饰，盖自然耳。”——刘勰《文心雕龙·原道》）

殷晓媛的诗歌宛如绮丽梦幻的走马灯，与古典诗学传统遥相呼应，它拒绝在庸常意象中羽化，乍看似乎奇异怪诞，却将我们引入鸿蒙初开的秘境——极邈远的冥古宙。在那一时空，密度具化为形体，演化出智性，幻化成其中酝酿的万千世相的奥义。在隐喻体系所构筑的多重现实中，她对雄踞于人类主体性之间、被视为典范的男性气质提出诘问。在由网络空间LED屏矩阵与算法建构的场景中，事件超越常规意义上的时间概念而独立存在，概率分布于多维空间中。“你若顺着时间轨迹望去，他是横亘虚无中的顽骨。他在无数个传说中隐显，像一种壮烈或孤绝的性状，并不随灵魂躯体故去。你们看到他，如气象，如能量，如禅......”（《质数颂》）诚如奥克塔维奥·帕斯（Octavio Paz）所言：“光，即会思考的时间。”

在她作品中，纵横交织的隐喻构成文辞微粒，继而繁茂为深浅色阶相映生辉的森林式致密枝叶。自然物理在她笔下呈现出摄人心魄的威势：“质量为形体之髓...... 胶子、光子、介子...... 直到上帝粒子催发它们，照魂魄的形态生成躯体，伴随以重力与速度” （《上帝粒子，或一茶匙未知元素》）她的诗歌经由翻译通道由中文进入西班牙语境，本身便是一个艰辛的过程，可以觉察到韵律的流失使诗歌的原汁原味有所损伤。我们还看到，在诗的概念内核中，作者将“量子化道路”提上议程，我们只能深潜于能量场中，微粒的振动间，去寻觅其间幻异之声的光线；而人类被贴上数值刻度与机械结构的标签进行归档，因而读者思绪得以信马由缰，与那些光怪陆离的超现实之物邂逅，在诗的太空中自我导航。

作为“泛性别主义写作”首倡者，诗人的创作早已跳脱一般意义的超越与升华之境。只有数学宇宙与它们是自洽兼容的，方程特质之美将这非凡文本架设于特定空间，现实在那里叠加并投射成复层结构：“那些为你与他们的成长输送光色养分的街道，是互不关联的两套。”（《质数颂》）

——孔查·加西亚

“海梅·希尔·德·比德玛奖”、“巴萨市女士”及莱昂大学与巴塞罗那颁发的多项殊荣得主

远程协助

他的Twitter。她的LinkedIn。他2的Troubleshooting Ticket。

他3的iCloud和Facebook。她2的Wolfram Mathematica。

——你像一个气旋从它们上空掠过，明察秋毫，尽收眼底：

她的B-girl天团他的安赫尔瀑布翼装飞行他2的Gordian Knot。

讷言男他3的酒后之勇工作狂她2的伯努利双纽线影武者她3的Neve前级。

他4的羚羊谷之旅他5加密的bucket list她4抛向冰川的Marathon军表……

他们脊柱旁细小的红色“+”切口，

你从那里进去过，穿起他们的肌骨、ID、阅历和戏剧冲突……

（猩红正电荷与钴蓝负电荷沿天幕狂奔终于相遇的瞬间迸发弧光放电足以掀翻一辆重型卡车）

你headspin superman windmill boomerang知悉他3在观众席沐着丝兰夜光静默盛开，

你效仿亚历山大快刀斩死结在厄尔布鲁士山巅与她4诀别。

你沉浸在红砂岩间波澜壮阔天光中，指头戴着根据他5留下的线索找到的戒指。

你说，除了数学，你人生中只有两个朋友：他的狂野翅膀，她3的愤怒天籁。

“人格类型也是有其整合方向的——或者只是我突然‘醍醐灌顶’了。”

他3面对镜头时有饱满的身体语言，

“要相信,一切选择都是我的自我意志。”

他的骨头早已远离被病毒蛀空的可能。他双唇有力、容光焕发。

她完全忘掉你是风车动作中唯一的支点……

他们将整个躯体交到你的手上,

那时你令昼夜之光与风霜的白刃静止。

你又一次轻易地原谅了他们。

Remote Assistance

Alpha Man’s Twitter; Alpha Woman’s LinkedIn; Beta Man’s Troubleshooting Ticket;

Gamma Man’s iCloud and Facebook; Beta Woman’s Wolfram Mathematica.

—Like a tropical cyclone, you hovered over them, perspicaciously witnessing everything, from God’s perspective.

Alpha Woman’s B-girl; Alpha Man’s Angel Fall wing-suiting; Beta Man’s Gordian Knot;

Reticent Gamma Man’s Dutch courage; Workaholic Beta Woman’s Lemniscate of Bernoulli;

Kagemusha Gamma Woman’s Neve Mic Preamp; Delta Man’s tour into Antelope Canyon; Epsilon Man’s encrypted bucket list;

Delta Woman’s Marathon military watch, which she threw to the glaciers.

The unobvious cross-shaped notches beside their spirals were the passages whereby you used to enter,

put on their bones and muscles, IDs, experiences, and life dramas.

(Scarlet positive charges and blue negative charges dashing along the sky crushed into each other,

and the arc discharge could blast over a truck.)

It was you, who did all the headspins, superman windmills, and boomerangs,

while Gamma Man sat in the audience, blooming like yucca in the dusk.

You cut the knot of love like Alexander the Great when you said farewell to her on top of Mount Elbrus.

You were soaked in the infatuating glimmers of the dawn among the red sandstones,

wearing an antique ring discovered somewhere, by clues Epsilon Man had left.

Once you said, there were two things you loved besides Mathematics: Alpha Man’s wild wings and Gamma Woman’s gothic metal.

“The personality integration was implemented. Or something just dawned upon me.”

Gamma Man has rich and telegenic body languages: “Believe me, everything I did, I did it of my own free will.”

His bones are too strong to be hollowed out gradually by age. His lips are lusciously plump and face radiant.

—She has no idea how you had acted as the only pivot in the windmilling.

They put themselves in your hands. So mercifully, you made turbulent torrents of time stop for them to swim across.

You let them off easily—again.

一天：他与陌生的防火墙

深秋，逐渐红透的闪电缠绕窗沿。

木工锤在宽铁条上有节奏地敲打，

留下调色刀痕迹：“很结实。”

他现在确信，声响的烟火将沿着城堡外侧行走，最终枯竭冷透。

但他召唤这些词汇时也身在窗外，像一只结霜的幽灵：

低：地平线上涌出一堆堆黑色，很快湮没了街道与尖顶。

一群螃蟹，一丛苏门答腊岛大花草，

或者一些曼森式视觉线条。

它们持砂轮走向他的躯体骨架，试图先磨去砂石，

再吃掉鳞茎和须根。

四面玻璃燃烧，疏密程度适合烤炙，

——它们最终作为布条晾晒在上面。

中：他收到一条短信——

“我在外面三天了。很奇怪你每天拉开落地窗帘、目光跟随太阳运行曲线时，

却没有注意到我。现在我变成一些玫瑰茄，晒干后可泡茶。”

高：巨大水母带着炬光升起——玻璃屏黑掉。

星辰开始珊瑚礁式的繁衍——玻璃屏黑掉。

古老鬼船的侧影从近处掠过并惊起鸥鸟——玻璃屏黑掉。

……这次没有再亮起来。

他在无声无光中呆了三十分钟。或三十小时。这感觉并不确切。

它将被写入他的自传。章节题目叫——“Finally Safe”。

他们找到他的时候电脑开着，整个屏幕的数学公式正在自动演算。

一排波浪带着变形的数字推开另一排。

任务显示器显示：没有任何程序正在运行。

安静如退场前一转身的微笑。

A Day among Unacquainted Firewalls

It was late autumn, when vines of lightning climbing down through the windows turned red.

Carpenters hit the walls with square hammers but barely scratched them: “Remarkably solid.”

For a moment was he assured that fireworks of noises were all shut out, where they faded and were chilled thoroughly.

When he summoned these words he suspended himself in the moonlit minty air outside, like a frost-covered ghost.

Security Level: Low

Shadows emerging from the horizon flooded over the streets and church spires.

A cast of crabs, a field of Rafflesia arnoldii flowers, or just wisps of Mansonesque lines.

They applied grinding wheels to his mortal frame, sanding off his coarse wrappers, eating all bulbs and roots in his territory.

Window glass grew scalding, ready to grill.—They ended up as rags on a clothesline.

Security Level: Medium

He received a message—“I’ve been outside for 3 days. I wonder why you keep neglecting me.

I saw you drawing the brocade drapes, your eyes following the track of the sun … Now I’m as dried as roselle flowers.”

Security Level: High

A giant jellyfish rose like floating candles—the surface blacked out.

A constellation grew in the dimness like coral reef—the surface blacked out.

A ghost ship skimmed over and scared off seagulls—the surface blacked out.

… It never lit up any more.

He stayed in the quiescent darkness for 30 minutes, or 30 hours —the flowing of time is so intangible.

This will be one of the scenes in his biography, with the chapter title—“Finally Safe.”

He was found slumped over his keyboard. The computer was on, a formula calculation running on the screen.

Waves of characters overlapping and erasing one another.

Task Manager showed: There was no “currently running program.”

As serene as a smile after the curtain call.

32位色隧道

（广播：色彩测试即将开始，现在是第一次提示。请回到各自房间。）

“知道吗？这并不是一家酒店，红丝绒沙发、暗金壁毯、枝形吊灯都是伪装：

这是一家精神病院。这里和其它楼貌似只隔着绿化带，但你永远别想踏出去一步。”

（他双眼血红，抓起餐车上的“深水炸弹”，

一饮而尽。）送到他房间的纸夹板上别着一小方块布片：

紫色，剪裁整齐。

“怎么会出现紫色结果？”

窗户下蓝雾树在风暴里火星四溅，树杈上挂着刮过天空上染上的血痕……

你是何种人格？红或蓝？它们在中和，

看这些瓷器，它们正缓慢中和，边缘模糊——

纺锤形花瓶与方形抽纸盒中和成扇贝状，

它们光暗边缘挪动，发出窸窸窣窣的声响。

而笑面的大堂经理和乖戾的妇女中和成沉默得吓人的1037号房客。

电梯里，最后出来的人和电梯侧壁粘在了一起

——仿佛滚烫的拔丝马铃薯。“救救我！”她说。

但你知道救不了她，物体的轮廓正在无限制地打开，

就像颜色间的壁垒被依次破坏掉一样。

“目前这家无名的小公司称已经破解Photoshop不能制作32位色图片的局限，

这对于图像世界的色彩过渡至关重要：

世界由跳跃转化为渐变……”

维罗妮卡的瞳仁像彩虹湖：中间是祖母绿，往外是石榴红和酒石黄……

曾在其中溺水的人说，如此层次分明，他甚至看到自己正在分离的灵魂与躯体。

窗外白油漆闪着湿润的鱼鳞光。

他们把整个帘子拉开用手指触摸：

“超五星级的奢华与洁净，2023年我们打开万物的边界……”

——这是海报上竖行印刷的广告语。

这一年你们生于画中囚于画中。

比你们的前世鲜亮安详，但仍旧没有香味。

32-bit Color Depth

(An announcement: The Color Test System has been activated. This is the first warning. Please return to your rooms.)

“Have you noticed it? What we are in is not a hotel.

The scarlet velvet couches, dark golden carpets and chandeliers are but a camouflage—

This is an institution. It seems other buildings are only a green belt away, but you can never take a step outwards.”

(Eyes blood-red, he grasped a glass of Depth Charge from the trolley and gulped it down.)

A piece of cloth was clipped to the board sent to your room—Purple, neatly cut.

“Why is purple a possible outcome?”

A Jacaranda tree by the window sprayed sparks in the storm, scratching the sky and made it bleed …

What kind of personality are you? Red or blue? They are diffused into each other this very moment.

Look at those pieces of porcelain! They are neutralizing one another, their outlines mixing—

A spindle-shaped vase and a napkin box mixed into some scallop-shaped ware.

Moving, rustling, on the boundary between light and shadow.

A hypocrite lobby manager and a grumpy woman mixed into the sullen guest in room 1037.

The last person stepping out of the elevator adhered to the wall

—like a potato wrapped in candied floss. “Help! ” she cried.

But there was nothing you could do. The outlines of everything were opening up towards the infinite,

while borderlines between colors shattered.

“This company, emerging from nowhere, has pronounced their breaking the bottleneck of Photoshop,

by successfully making 32-bit pictures,

which is definitely an astounding breakthrough:

A gradient has replaced a color atlas.”

Veronica’s irises are like the Grand Prismatic Spring: emerald in the middle, garnet on the outer ring, and mustard at the edge …

Men drown in them described them as “a crescendo of hues,” in which he witnessed his own soul being detached from his flesh.

Window frames shimmered with mercury luster.

They drew the curtains wide and felt the world outside:

“Super-5-star luxury and lustration, in the year 2023 we opened outlines of objects …”

—Those are letters written on the scrolls, hanging from top of this skyscraper.

You were born and imprisoned in such a picture,

brighter than you were in your previous life, but remained odorless.

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