蔗尾蜂房

十九世紀菲律賓畫家璜．盧納 (Juan Luna, 1857-1899)的油畫「巴黎生活」局部 (The Parisian Life, a.k.a. Interior d'un Cafi, 1892, 現藏於National Museum of the Philippines），畫面中女主角的構圖如同一幅左右顛倒的菲律賓群島的地圖。






她的手指劃過
--Kristine Domingo，羅浩原 譯

她的手指劃過
數個尚不存在的文明，彷彿在閱讀似的。
在地圖的海岸上
大航海時代的地圖上，
地圖保管者則隱身到了幕後密室。

一面稜鏡將世界裁切成
一塊大陸、一些難以辨識的島嶼、
幾個無名的海洋，分別用概念標示
按希望賦予形狀，
將原本單純的空間化為界限

區分水域、化為歷程區分時間。
在稀微的氣氛中喊出了一個價錢
本來的請託卻已遭遺忘。
她並不做出什麼結論。
彷彿光是觸摸，就已足夠

留住所有可能流散的事物，即便
當她的映像遭到扭曲
顯得縮小的時候，就已感覺像是
一個人的思想駛進了
難以航行的大海。



A woman runs her finger across
--Kristine Domingo

A woman runs her finger across
civilizations yet to exist, as if to read.
Upon the coast of a map from
an Age of Discovery,
the keeper vanishes to the backroom.

A mirror crops the world into
a continent, a few island indistinguishable,
seas anonymous, marked by ideas
taking the shape of hopes,
then simply space as limits

of water as passage of time.
A price is declared into thin air
upon a request forgotten.
The woman does little to conclude.
It is as if touch would suffice

to hold on to all that could transpire even
as her reflection betrayed,
saw smaller. Would feel like
the thought of a man aboard
a sea unnavigable.


* High Chair, Issue No.7, June 2007. <http://www.highchair.com.ph/issue7/untitled.htm> Accessed 10 May 2013.