In 1943, Michael Palmer was born in New York City. He is the author of numerous books of poetry, including Thread (2011); Company of Moths (2005); The Promises of Glass (2000); At Passages (1996); Sun (1988); First Figure (1984); Notes for Echo Lake (1981). Palmer is frequently associated with Language Poetry.

帕默尔于1943年生于美国纽约市。他出版过多本诗集，包括：《线》（2011）；《飞蛾之伴》（2005）；《玻璃的允诺》（2000）；《通道处》（1996）；《太阳》（1988）；《最初的形象》（1984）；《回声湖笔记》（1981）。

冯冬，1979年生于重庆，南京大学英文系博士毕业，现任教于暨南大学，译过游记《中华帝国纪行》、《亲密接触中国》、小说《蛛网与磐石》等，在海内外诗刊发表作品，与人合著诗集《残酷的乌鸦》（2011），主要研究诗歌、精神分析和当代哲学。

Peter Feng was born in Chongqing, China, in 1979. He has received a Ph.D degree in literature from Nanjing University and currently teaches English at Jinan University. He has co-translated A Journey through the Chinese Empire, Intimate China, and The Web and the Rock, and co-written a book of poems Cruel Raven (2011). His study includes poetry, psychoanalysis, and contemporary philosophy.

Book of the Yellow Castle

黄色城堡之书

This can be seen as placing a mirror against the page.
The mountain is where we live, a circus there, a triangle
of unequal sides the days no sun appears.

This is life in the square inch field of the square foot house,
a September particle, biochip, or liquid in a jar,
and here is snow for the month to follow, light easy to move

but difficult to fix. The cat on the book has fleas.
It's a real cat with real fleas at least,
while the book is neither fixed nor field.

As soon as you had gone an image formed in order to be erased.
First an entryway then a left and right which seemed to be the 
   same.
This letter explains everything and must never be sent.

This other arranges figures along an endless colonnade
imperceptibly darkening toward red. One pretends to be the case
the other is. Mornings the hands tremble, evidence of a missing
   thought.
   
Arrows will tell you where the words are meant to lead,
from hall to hall apparently. The hair is thinner
and the veins stand out a bit more.

Who could have known he'd be dead within the week,
victim of a loosening thread, the system by which we perceive.
Thus the castle above valley and plain, the logical circuitry and
   other such tricks,
   
the constant scanning, all kinds of features built in.
And thus the difference between sign and sigh, and the bells which
   signal a return.
The dog instructs the goats, the man instructs the dog.

Should we count the remaining trees to decide what they mean as
   well,
traces of a conversation possibly, or a larger plan. You enter the
   stories as a surd
and sleep through them, ignoring successive warnings,

shards of cloisonné, broken table legs, a canopied bed.
They are there because the rest have left.
These are scalings of a sentence.
			

这可以看作对着书页放的一面镜子。
山是我们所住之处，那儿有个马戏团，一个
不等边三角形，白昼不见太阳。

这是平方英尺的房子里方寸田野的生活，
一粒九月的微尘，生物芯片，或罐里的液体，
这儿有雪，一连下几月，游弋之光

难以固定。书上的猫长了虱子。
至少是一只真实的猫，真实的虱子，
然而那书既不固定也非田野。

你刚走，一个形象为了被抹掉而出现。
先是一个入口，然后一个看似相同的左右侧。
这封信解释了一切，绝不可寄出。

这另一人沿着无尽的柱廊安排形象
不知不觉变成暗红。一个人装扮另一个
的情形。早晨颤抖的手，证明一个缺失的念头。

箭头将告诉你词语引导的方向，
显然从大厅到大厅。头发更稀疏了，
青筋又外露一点点。

谁能猜到他一周内将死亡，
一根松开之线的受害者，我们的感知系统。
于是有山谷与平原之上的城堡，逻辑电路以及
如此这般的花招，

稳定的扫描，各种内嵌特征。
于是有符号与叹息间的差异，示意返回的铃声。
狗指导山羊，人指导狗。

我们该不该数数剩下的树，决定它们的意义，
也许那是一场谈话或更大计划的痕迹。你作为
一个无理数进入故事，睡过了它们，忽视连续的警告，

隔板的碎片，破烂的桌腿，一张带盖罩的床。
它们在此，因为其余的已离开。
这些是一个句子的鳞片。