Drone

Chen Poyu,
translated by
Nicholas Wong

A small boat by the riverbank, so reachable               

              yet with separation anxiety, buoy balls twisting their shoulder blades.

Drinking alone, or with others (while trading poems),

              a young Roman emperor sailed past,

overseeing his own mausoleum-in-progress.

              He divulged, excused himself (the development project had stalled again).

Sediment, reeds, and crossings.

              Young talents should know and embrace each other.

And the guards on duty at the power plant

              watched the emperor and ministers watching

each other pass in silence on the ship.

              Bitcoin and computer hackers from afar

were bewitched by the salt lake’s pattern.

              Daringly, they geared up, then blitzed.

(A few lines are missing here.)

              If we are wise enough

to fathom destiny’s scratches on the ship’s side,

              how is it even possible

that we were trading and mingling like cubs?

              Excessively mining codes and data,

someone declared, We will go abroad next year for sure!

              The young emperor felt lightheaded.

Could it be a sign of a fatal illness?

              It was difficult to look through a layer of oil.

Writing a postcard (to river-walkers of the future)

              on water full of dead fish,

Heraclitus said,

              No one ever steps in the same river twice.

(But the river itself could.)

              And it becomes a kind of driving recorder.

Oh, dawnlight!

              Beauty and crudeness in this world

will come and go,

              soaring over high plains,

crumpled pillars, and ruins,

              then pick up a duck down jacket, a giveaway.


How did this poem begin for you?

Sometimes it’s not easy to explain where the idea for a poem comes from, but I remember how certain parts of the poem come together like a machine. For example, the drone is from Hsu Chia-Wei’s video installation Drones, Frosted Bats and the Testimony of the Deceased, and the bitcoin is from Liu Chuang’s artwork. I was reading Memoirs of Hadrian at the time of writing the poem, which explains why the Roman emperor naturally appears in it. Separated from the original work of art, any object is just an object. I think it’s like being in an empty room where one tries to arrange the placement of objects until, at some point, an idea comes to him.

Chen Poyu is the author of The Basement Tapes and was named one of the Ten Most Anticipated Writers Born in the 1990s by Wenhsun magazine. His Chinese translation of Robert Hass’s Summer Snow was published in 2022. He currently lives in Taipei.
Nicholas Wong is a poet, translator, and visual artist from Hong Kong. He was an International Writing Program resident at the University of Iowa in 2024 and currently teaches at the Education University of Hong Kong.
Originally published:
March 19, 2025

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