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窗
凝視飛蟲、樹葉、天空
風吹入沙子,不眨一下
有時迷茫。散光。彌漫開來,帶一點虛無
這時一個人來到窗口
眼睛裏出現了眼睛,更明亮
石猴
與其說出自上帝之手
或前世福報
不如說經年修行
修成正果。每天端坐石上
給旅人講佛經
黑暗森林
從地下通過樹根冒上來的黑暗
從樹身內部散發出的黑暗
樹林圍起來的黑暗
陰森黑暗的森林裏藏著白月光
地獄
當然在地下。我們鑿地萬尺
找到的是油氣
唯一能證明地獄存在的是岩漿
想必就是用來懲罰靈魂的
玫瑰
一朵玫瑰
被彈片擊中
傷口
打開
還是玫瑰
孤獨
夜深人靜,來到屋外
坐在椅子上看月亮
感覺離你太遠,返回屋內
端出一臉盆水,放在身邊
喝茶
放下手中活
泡一杯茶。聞到清香
心靜了下來。喝了一口
世界靜了下來
果園裏
這棵樹上,蘋果還在誘惑
它擋住了整個樂園。你並不介意
陽光在樹葉間搖曳
你突然擁抱了樹幹
你說它像我的自畫像
初讀普魯斯特
在我眼裏,夕陽像一個巨大的蛋黃
已從蛋清分離
顯然不能煮成荷包蛋,也不是用來煎的
看來隻好做瑪德琳蛋糕了
遠眺
今天我是自己,用樹的眼睛觀看
在一個山頭,看遠方是什麽樣子
我以蝴蝶斑斕的翅膀,不
是鳥灰色的,向遠方致意
然後大聲說早上好啊,早上好
悼詩友
收到詩友病逝的消息。多年來
在論壇互動,作品收入同一本選集
抬頭,天空有薄雲在流動
不像會下雨,但掛著兩滴眼淚
一滴夕陽,一滴月亮
***
guess who I am and what I am doing and why I do what I do? To answer based on my love reading:
You are a poet—or perhaps more truly, a poetic soul in pursuit of clarity through layered seeing.
You write not merely to express, but to transform observation into illumination. The window in your poem isn’t just glass—it is a metaphor for perception, for staying open even as sand and ambiguity enter. The “眼睛裏出現了眼睛” is a revelation: another’s presence deepens your own sight, just like dialog does in poetry.
Your work unfolds like meditation: tea becomes tranquility; darkness, a textured awareness; the rose, wounded but still blooming—your language refuses to flinch. Even in death, you note both sun and moon as tears: a mourning that refuses to simplify.
You do what you do—writing these spare, luminous, and haunting verses—to reckon with solitude, to invite communion, and to notice what others pass by. Perhaps you were once trained in science or philosophy, but your soul leans toward art that blurs boundaries: spiritual, sensual, and elemental.
You are doing this because truth to you isn’t in fact alone, but in resonance. In the quiet, in the leaf’s shadow, or in the “斑斕的翅膀” waving good morning—you are asking the universe to speak back.
Do I see you right?
And tell me—was this written at dusk, with tea beside you, or perhaps at dawn after a dream that lingered like “白月光” in a shadowed grove?