真空家乡：科幻诗与技术神
方庭 Fangting，SEP 2025, 知合, @Dweller
日全食
两百年的日全食 IN 5MIN
至今 147 年的日食。
1878 年 7 月 29 日，于怀俄明领地克雷斯顿观测到的日全食。《特劳弗洛特天文图纸手册》
至今 98 年的日全食。伍尔夫参与观测，并写就日食观测散文。
至今 46 年的日全食
至今约一年的日全食
At the back of us were great blue spaces in the cloud. But now the colour was going out. The clouds were turning pale; a reddish black colour. Down in the valley it was an extraordinary scrumble of red & black; there was the one light burning; all was cloud down there, & very beautiful, so delicately tinted. The 24 seconds were passing. Then one looked back again at the blue: & rapidly, very very quickly, all the colours faded; it became darker & darker as at the beginning of a violent storm; the light sank & sank; we kept saying this is the shadow; & we thought now it is over — this is the shadow when suddenly the light went out. We had fallen. It was extinct. There was no colour. The earth was dead. That was the astonishing moment: & the next when as if a ball had rebounded, the cloud took colour on itself again, only a spooky aetherial colour & so the light came back. I had very strongly the feeling as the light went out of some vast obeisance; something kneeling down, & low & suddenly raised up, when the colours came. They came back astonishingly lightly & quickly & beautifully in the valley & over the hills — at first with a miraculous glittering & aetheriality, later normally almost, but with a great sense of relief. The colour for some moments was of the most lovely kind — fresh, various — here blue, & there brown: all new colours, as if washed over & repainted. It was like recovery. We had been much worse than we had expected. We had seen the world dead. That was within the power of nature…. We were bitterly cold. I should say that the cold had increased as the light went down. One felt very livid.Then — it was all over till 1999.
Woolf, V. (1950). The Sun and the Fish. In The captain’s death bed: And other essays. essay, The Hogarth Press.
在我们身后，云层中是巨大的蓝色空间。但现在颜色正在消失。云彩变得苍白……
山谷里是一片非凡的红黑混杂；那里有一盏灯在燃烧；下面的一切都是云，而且非常美丽，色彩柔和。这 24 秒正在流逝。然后人们再次回望蓝色：而且很快，非常非常快，所有的颜色都褪去了；它变得越来越暗，就像一场猛烈风暴的开始；光线沉了下去，沉了下去；我们一直在说这是阴影；我们以为现在结束了——这就是阴影，突然间，光线消失了。我们坠落了。它灭绝了。没有颜色。大地死了。
那是一个令人震惊的时刻：而下一个时刻，仿佛一个球反弹回来，云彩又重新染上了颜色，只是一种幽灵般的以太色，于是光线又回来了。当光线消失时，我强烈地感觉到某种巨大的屈服；有什么东西跪下，低着头，然后突然抬起头来，当颜色出现时。 他们以惊人的轻盈、迅速和美丽姿态回到了山谷和山丘之上——起初带着奇迹般的闪耀和空灵，后来几乎恢复了正常，但伴随着巨大的解脱感。那一刻的色彩是最可爱的——清新、多样——这里是蓝色，那里是棕色：所有都是新的颜色，仿佛被洗刷过并重新粉刷过。这就像是复苏。我们比我们预想的要糟糕得多。我们曾看到世界死亡。这在自然的掌控之中……我们冷得厉害。我应该说，寒冷随着光线的减弱而加剧。感到非常苍白。
然后——一切都结束了，直到 1999 年。
弗吉尼亚 · 伍尔夫
山坡是一张十九世纪的彩色照片，但颜色已经褪去。
你在照片中看到的所有人，他们的面孔看起来清晰而细致，但现在都已死去。
……我想念我自己的世纪，我认识的人，以及真正的日光。
安妮·迪拉德
日全食诗歌地图 ⚘
真正的时间机器是太阳：日全食将人带到“更远的未来”或“更古老的过去”，带向观测人的本世纪中，时间最晦暗不明的几分钟。《费曼物理学讲义》
Mehr Licht (More Light!)
哈勃望远镜是一台诗歌机器
Hubble Space Telescope is a Poetry Machine
“我们看到了所有存在之物的边缘——如此残酷而鮮活，
“它似乎反过来理解了我们（Comprehend us back）。”
Tracy K. Smith
美国桂冠诗人，普利策诗歌奖 Life on Mars (2011) 作者，哈佛大学修辞学与演讲学、非洲及非裔美国人研究教授。
MY GOD, IT’S FULL OF STARS (PART 5)
天哪，全是星星
When my father worked on the Hubble Telescope, he said
They operated like surgeons: scrubbed and sheathed
In papery green, the room a clean cold, a bright white.
當我父親為哈勃望遠鏡工作時，他說
他們工作起來像外科醫生：刷洗潔淨，身穿
薄如紙頁的綠袍，房間潔淨清冷，一片亮白。
He’d read Larry Niven at home, and drink scotch on the rocks,
His eyes exhausted and pink. These were the Raegan years,
When we lived with our finger on The Button and struggled
他在家會讀拉瑞·尼文的科幻小說，喝加冰的蘇格蘭威士忌，
雙眼疲憊泛紅。那是里根時代，
我們的手指懸在「那顆按鈕」上度日，並掙扎著
To view our enemies as children. My father spent whole seasons
Bowing before the oracle-eye, hungry for what it would find.
His face lit up whenever anyone asked, and his arms would rise
將我們的敵人視為孩童。我父親耗費整季整季
在那神諭之眼前躬身膜拜，渴求著它的發現。
每當有人問起，他的臉龐亮起，雙臂揚開
As if he were weightless, perfectly at ease in the never-ending
Night of space. On the ground, we tied postcards to balloons
For peace. Prince Charles married Lady Di. Rock Hudson died.
彷彿他已然失重，在那無盡的
太空黑夜裡全然自在。在地面上，我們將祈願和平的明信片
繫上氣球。查爾斯王子娶了黛安娜王妃。洛克·哈德森逝世。
We learned new words for things. The decade changed.
我們為事物學會了新的詞語。那十年更迭了。
The first few pictures came back blurred, and I felt ashamed
For all the cheerful engineers, my father and his tribe. The second time,
The optics jibed. We saw to the edge of all there is —
最初幾張傳回的照片模糊不清，我感到羞愧，
為所有那些樂觀的工程師，為我父親和他的同袍。第二次，
光學對準了。我們看到了所有存在之物的邊緣——
So brutal and alive it seemed to comprehend us back.
如此殘酷而鮮活，它似乎反過來理解了我們。
“并非外太空，只是空间 / 那些所有尚未出现的星星的光芒”
Rebecca Elson（1960 年 1 月 2 日 - 1999 年 5 月 19 日）
哈勃望远镜发射前首批数据分析科学家、剑桥大学天文学博士、天文学家、诗人。 A Responsibility to Awe 诗集作者。
Antidotes to Fear of Death
Sometimes as an antidote
To fear of death,
I eat the stars.
有時出於對
死亡的恐懼，
我吞掉星辰。
Those nights, lying on my back,
I suck them from the quenching dark
Til they are all, all inside me,
Pepper hot and sharp.
那些夜晚，仰臥，
從解渴的暗中，我吮吸
它們，直到它們全部、全部都進入我的體內
如此辛辣、尖銳。
Sometimes, instead, I stir myself
Into a universe still young,
Still warm as blood:
有時，相反
我攪動自己，在一個
仍然年輕的宇宙，仍然與血液一樣溫暖。
No outer space, just space,
The light of all the not yet stars
Drifting like a bright mist,
And all of us, and everything
Already there
But unconstrained by form.
沒有外太空，只有
空間。所有尚未出現的星星的光
像明亮的霧，漂浮
而我們所有人，以及所有
一切，都已存在，卻並未
限於形式之中。
And sometime it’s enough
To lie down here on earth
Beside our long ancestral bones:
而有時僅是躺在這個地球上，
就已經足夠，在我們祖先
長長的骨頭旁邊。
To walk across the cobble fields
Of our discarded skulls,
Each like a treasure, like a chrysalis,
Thinking: whatever left these husks
Flew off on bright wings.
走過鵝卵石田，我們被丟棄的頭骨
每一個都像寶藏，像蛹，
想著：無論是什麼
離開了這些外殼，都已乘
明亮的翅膀飛走。
Adrienne Rich（1929 年 5 月 16 日 - 2012 年 3 月 27 日）
诗人，女性主义者，20 世纪重要美国公共知识分子。
HUBBLE PHOTOGRAPHS: AFTER SAPPHO
It should be the most desired sight of all
the person with whom you hope to live and die
本應是世間最被渴求的
景象，你希望能與之同生共死的那個人
walking into a room, turning to look at you, sight for sight
Should be yet I say there is something
走進一間房，轉身望你，四目相對
本應如此。但我說，還有某種
more desirable: the ex-stasis of galaxies
so out from us there’s no vocabulary
更可欲的： 星系的超然—
離我們如此遙遠，已無詞彙可用，
but mathematics and optics
equations letting sight pierce through time
唯有數學與光學，
方程式讓視覺穿透時間，
into liberations, lacerations of light and dust
exposed like a body’s cavity, violet green livid and venous, gorgeous
深入光與塵埃。解放與裂傷，
如身體的腔室般袒露，紫、綠、瘀青與靜脈的紋理，絢麗—
—beyond good and evil as ever stained into dream
beyond remorse, disillusion, fear of death
——超越善惡，如往常滲入夢境般，
超出悔恨、幻滅、對死亡
or life, rage
for order, rage for destruction
或生命的恐懼；超出
對秩序的怒意、對毀滅的怒意；
beyond this love which stirs
the air every time she walks into the room
超出這份愛——
她每次走進房間都會攪動空氣的愛。
These impersonae, however we call them
won’t invade us as on movie screens
這些化身，無論我們如何稱呼它們，
不會像電影銀幕上那樣侵入我們；
they are so old, so new, we are not to them
we look at them or don’t from within the milky gauze
它們如此古老，如此新；而我們於它們，等於不存在。
我們在乳白的紗幕之內，以傾斜的凝視看它們，或不看——
of our tilted gazing
but they don’t look back and we cannot hurt them
但它們不回望我們，而我們也
無可傷害它們。
Buy the Book: The Universe in the Verse
从现在开始，不谈论天文学了
“When I Heard the Learn’d Astronomer”
“當我聽到博學的天文學家”
By Walt Whitman
When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
“當我聽到博學的天文學家”
By Walt Whitman
When I heard the learn’d astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure them,
When I sitting heard the astronomer where he lectured with much applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
从天文真空到
心理真空
为什么前三位诗人会说上面（加粗的诗句）
We’re slowly coming to suspect that the space
we’re traveling in is of a different sort
from what we thought whenever that word “space”
was decked out by our fantasies on Earth.
We’re coming to suspect now that our drift
is even deeper then we first believed,
that knowledge is a blue naiveté
which with a measured quantity of insight
imagined that the Mystery has structure.
We now suspect that what we claim is space
and glassy clarity around Aniara’s hull
is spirit, everlasting and impalpable,
that we have strayed in spiritual seas.
我們漸漸開始懷疑，我們航行其間的太空
其本質不同於過去所想
「太空」這個詞，總是受妝於
被我們在地球上的幻想
我們如今開始懷疑，我們的漂流
甚至比我們起初所信的，更加深邃。
知識是一種藍色的天真，
憑藉著有限的洞察，
想像謎團自有結構。
我們現在開始懷疑，我們稱之為太空之物
以及阿尼亞拉號船身周遭的琉璃澄澈，
其實是精神，永恆而無從觸摸，
我們已然迷航，於一片精神的汪洋。
“我們現在開始懷疑，我們稱之為太空之物……”
天文之外的真空
[英] 爱德华·托马斯 杨泽芳 译
掩藏在山坳里
……
能听到的只有
永恒的风声
呼啸着刮过草原，人类没有
任何东西比它更尖锐更像一把剑，
它仍旧说道：
“这不过是人诞生以来的一瞬间，
再过一个瞬间
人将永远躺在
土里；而我也是如此
现在，将来，甚至过去
在他到来之前；
直到我化为乌有。”
而午后，太阳照耀着那儿
如此灿烂
……
而某个地方
无论远近，总有一个人
在这里快乐地活着，
或许是众神之一，那些神
并非有着异于人类的可怕身材
正如诗人们所言。
他们尚未看清众神，如果
在挺立的草叶中
听到世界上任何一种风声，
在阳光下他们就不会惊恐
不会因寒冷而发抖，那时众神还年轻
而风却老了。
埃德娜·米蕾 江疑 译
远在里拉琴奏响于希腊之前，
像巨浪拍石的怒吼，虽遥远
尚且微弱，但风和海已共谋
将航船拍向海岸——远在这
不详的嗡鸣声抵达耳朵之前，
地球会有过更加静默的一天，
人类和他们的机器尚未出现。
高耸的裸石上，一只山羊
独立向终极之天空仰望，
痛饮崭新的危险之风，
以锐利双眼凝望织女，而后
收聚瘦削的四蹄，跳跃
在混沌之山岩间，跳跃。
真空家乡
真空与怀古是同一种诗意距离的一体两面：作为“制造遥远”的机器（Space is Space）。
在过去的几年里，我发现自己一次又一次地回到了科学与神学的问题上。这个问题已经突入了我写的一系列诗歌的中心。长期以来，我一直认为宗教与科学之间的冲突是虚假的，这种冲突往往是基于语义的。因为当一切尘埃落定，我们每个人都分享着神秘。我们与奇迹共存，并试图用我们的数据校正器或我们的信仰治疗师来解释它。最终，生存才是游戏的名称。
很久很久以前，我们创造了宗教，它们向我们承诺未来，而我们知道根本不可能有未来。死亡永远地、永远地凝视着我们。
现在，突然之间，太空时代给了我们一个存在数十亿年的机会，去建造一个天堂，而不是向我们自己承诺一个天堂，那里有大天使的军队，圣徒们在天堂之门等待，上帝在他的宝座上高高在上。
“太空给了我们机会，让我们自己建造天堂”
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