蔗尾蜂房

歸途
--Conchitina Cruz，羅浩原 譯
　
他在夜之隧道內開著車。他駛向一條吐得長長的舌頭似的巷道。一柱柱路燈的影子反覆齧咬著妳的臉龐。那個字就像根手指放上了妳的嘴唇。
　⋯⋯
血淋淋的月亮搭到了玻璃上，像個孩子遢拉著大嘴。她在這暗室中看見了什麼？妳的血肉是後座之分心誘惑，中控台上的十字刑架。那個字成了妳膝蓋上的潰爛瘀傷。
　
當他開了口，駕駛者盯著妳的眼睛。妳將目光保持在後照鏡上。妳默默記下警察會需要知道的事情。
　
　
Return
--Conchitina Cruz
　
He drives inside the tunnel of night. He drives down the alley stretched out like a tongue. The shadows of lampposts graze your face again and again. The word is a finger against your lips.
　
A bloodied moon against the glass, a child's mouth hung open. What does she see in this dark chamber? Your flesh an interruption on the backseat, the crucifix on the dashboard. The word is a festering bruise on your knee.
　
When he speaks, the driver looks you in the eye. You keep your eyes on the rearview mirror. You memorize what the cops might need to know.
　
Conchitina Cruz, Dark Hours, Quezon City: The University of the Philippines Press, 2005, p.36.

為你璀璨的現代性乾杯
--Conchitina Cruz，羅浩原 譯
　
一進旅館你就拿了公園中的夏天；剪過的草坪與可在床上欣賞的河景
群鳥繞著水晶燈做動，演練著它們的陣形⋯⋯
我將我的靜態布景在沙發躺椅旁，我的渴望是個古怪的精密裝置
當然你的聲音自有分寸
若能讓那兩個草坪上曬太陽的女孩離開就太好了
　
　
A toast to your dazzling modernity
--Conchitina Cruz
　
Into the hotel you take summer at the park; cut grass and a river view on the bed.
The birds work around the chandelier, rehearsing their formation.
I stage my stillness by the divan, my longing an odd contraption.
Surely your voice would know its place.
It would be kind to let the two girls sunning in the grass make an exit.
　
Conchitina Cruz, There is No Emergency, Quezon City: Youth & Beauty Brigade, 2015.

苦行指數
--Conchitina Cruz，羅浩原 譯
　
屈從於我寧可不要的搜求與奪佔
紀錄一切的喉嚨中有個小機件，我的商業誘惑⋯⋯
我租出虛線以上的這塊語言的精華區
並無不敬的意思，請問我可以攫取感覺，可以肉體與物質嗎？
我向一致的身體訴求，我唯一的隱私
　
Austerity Measures
--Conchitina Cruz
　
Yield to the search and seize I would prefer not.
A cog in the recording throat, my corporate allure.
Above the dotted line I lease this prime piece of language.
With all due respect, may I cop a feel, may I corporeal?
I appeal to the body in unison, my only privacy.
　
Conchitina Cruz, There is No Emergency, Quezon City: Youth & Beauty Brigade, 2015.

親愛的消失
--Conchitina Cruz，羅浩原譯
你佔用每一件非物
我營造一座花園滿是積灰塵的坑洞
歷史，我親愛的保護人，你的呼吸就是室內的天氣
每件事都顯得完美無瑕
感謝這勤奮的空氣，我沒孔眼的篩子
Dear disappearance
--Conchitina Cruz
Every not thing you occupy.
I grow a garden of holes gathering dust.
History, my guardian dear, your breath‘s the room‘s weather.
Everything appears to be intact.
I thank the diligent air, my eyeless sieve.
Conchitina Cruz, There is No Emergency, Quezon City: Youth & Beauty Brigade, 2015.

 
親愛的紀律
--Conchitina Cruz，羅浩原 譯
我整天排演一齣以第二人稱發聲的戲
像觀光一樣老套，我心悸動不已
這個小圓徽章是我進入內場的通行證嗎？
我的口音令人產生介系詞過多的幻覺
我的主角們輪番接受拒絕為回覆
Dear discipline
--Conchitina Cruz
All day I rehearse show tunes in the second person.
Trite like tourism, my trilling heart.
Is this the button for my visa to the interior?
My accents hallucinate a surplus of prepositions.
My protagonists take turns taking no for an answer.
Conchitina Cruz, There is No Emergency, Quezon City: Youth & Beauty Brigade, 2015.

繪有電腦螢幕的靜物畫
--Conchitina Cruz，羅浩原 譯
我看起來會像是需要淋浴的人嗎
我看起來會像是能調酒的人嗎
我看起來像是會抄捷徑嗎
抄捷徑是否浪費
時間。我看起來像是知道
現在是什麼時間嗎
值得將我的衣領燙出折角嗎
值得讓我的門上被貼通知嗎
值得放個手電筒
在我皮包裡、留個污漬在踏腳墊、
多個空房間嗎
我那時該留在床上嗎
我那時該按記憶陳述嗎
我那時該穿越罷工人牆嗎
我那時該不理會紅綠燈嗎
那燈是否故障閃爍，是否是個預兆
是否是個詭計
我看起來像是能簽約嗎
我看起來像是能將條款反轉嗎
我看起來像是會不知該如何處理
呆持著一瓶漂白劑嗎
然後，我會這麼說嗎
我會去諮詢合適的機關嗎
我會去援引正確的參考資料嗎
我會去撥打正確的號碼嗎
你好，狙擊手
你好，陌生人
我看起來像是會有生命危險嗎
Still life with monitor
--Conchitina Cruz
Do I look like I could use a shower.
Do I look like I could fix a drink.
Do I look like I took the short cut.
Is the short cut a waste
of time. Do I look like I know
what time it is.
Is it worth the crease on my collar.
Is it worth the note on my door.
Is it worth the flashlight
in my purse, the stain on the mat,
the extra room.
Should I have stayed in bed.
Should I have quoted from memory.
Should I have crossed the picket line.
Should I have ignored the traffic light.
Is the light a glitch. Is it a sign.
Is it a ruse.
Do I look like I could sign the contract.
Do I look like I could reverse the terms.
Do I look like I wouldn‘t know what to do
with a bottle of bleach
and would I say so.
Would I consult the right authorities.
Would I invoke the right references.
Would I dial the right number.
Hello, sniper.
Hello, stranger.
Do I look like I‘m in danger.

 
 

 
 

 
 

五行詩
--Cochitina Cruz，羅浩原 譯
我又在監視我自己了
我正將番茄切片並攪拌著大碗裡的番茄塊
廚房的燈光如此殷切，大碗的藍色亦然
被失蹤的話現在一定是最安全的時機
然後直到我死才會被放出來
Five Lines
--Cochitina Cruz
I’m spying on myself again.
I’m slicing tomatoes and tossing the chunks in a bowl.
The kitchen light is attentive, and so is the blue of the bowl.
Now must be the safest time to disappear.
I won’t come out until I’m gone.
康慈天娜．告魯茲（Conchitina Cruz），《慾望二三事》（Two or Three Things about Desire），（香港中文大學出版社，2013），頁33。