She moved among the players — unseen, uncounted — collecting the rhythm of their laughter, the sudden rush of shared effort, the ache of almost winning.
2025.11.09
珍學會的書寫，不靠墨水，而靠空氣。每一個動作都是詩行，每一步的節奏都是在無形頁面上震盪的音節。她稱自己為「動能詩人」，以呼吸與運動之間的間隙作為創作的節奏。她的舞台，是人群玩樂的場域——身體相撞又分離，太短暫以致難以記憶，卻足以成為意義的片刻。
每天早晨，她走進開闊的場地，讓遠方的聲音為她的脈搏定調。她穿梭於奔跑的人群之間——無人看見，也無人計算——蒐集笑聲的韻律、共同用力的瞬間，以及那幾乎勝利的酸甜。對珍而言，每一次傳球、跌倒、歡呼，都是同一種語法：在消逝前渴望連結的心。黃昏時，她在心中重播一天的動作，將喜悅與疲憊譯成無人能讀、卻人人能感受的語言。她的詩只存在於空氣中——風與心跳短暫的契合，誕生即消散。然它們的餘韻仍在經過之人身上留痕：一種無聲卻確實存在的意味。
珍明白，詩不在於留下什麼，而在於逃逸——在意圖與消逝之間的運動。
Jane learned to write not with ink, but with air. Every gesture became a line of verse, every footstep a syllable that rippled through invisible pages. She called herself a kinetic poet, one who composed in the intervals between breath and motion. Her stage was wherever people gathered to play — places where bodies collided and separated in patterns too brief for memory but long enough for meaning.
Each morning, she stepped into the open field and let the hum of distant voices tune her pulse. She moved among the players — unseen, uncounted — collecting the rhythm of their laughter, the sudden rush of shared effort, the ache of almost winning. To Jane, every pass, stumble, and cheer carried the same syntax: the human need to connect before vanishing.
As dusk arrived, she would replay the day’s choreography in her mind, mapping joy and exhaustion into a language no one could read but everyone somehow felt. Her poems existed only in the air — brief alignments of wind and heartbeat, dissolving as soon as they were born. Yet their residue lingered in those who moved through them: a quiet aftertaste of meaning, unspoken but unmistakable.
Jane understood that poetry was not what remained, but what escaped — the motion between intention and disappearance.
