By+Nathaniel+Popper

“詩(shī)歌能幫我們制造出更好的搜索引擎。”這是肯碩公司創(chuàng)始人之一丹尼爾·納德勒（Daniel Nadler）的高見(jiàn)。早在哈佛讀書(shū)時(shí)，這位科技奇才就曾拜在普利策得獎(jiǎng)詩(shī)人喬麗·格雷厄姆門(mén)下……他說(shuō)，每個(gè)清晨和周末都是留給詩(shī)歌創(chuàng)作的，不查郵件、不接電話甚至不照鏡子，因?yàn)榫拖雵L試一種最質(zhì)樸的寫(xiě)作方式，即：驅(qū)除一切干擾，擁抱本我，吐露心聲。 Daniel Nadler spends most of his waking hours running the technology start-up Kensho， which has become a darling of the financial industry， attracting big investments from Goldman Sachs and venture capitalists.1

But in the mornings and on weekends， Mr. Nadler， 33， writes poetry—an art he studied while at Harvard， where he was a student of the Pulitzer Prize2-winning poet Jorie Graham. Mr. Nadlers first collection， “Lacunae： 100 Imagined Ancient Love Poems，” has been published by Farrar Straus and Giroux.3

Mr. Nadler may work with technology， but his book imagines a world before computers and telephones. The unnamed narrators of these love poems live in an unidentified place in a distant mythic past.4 Jonathan Galassi， Mr. Nadlers editor at Farrar Straus， said he was drawn to the pared-down， direct nature of the work： “Not many poets today are bold enough to be this simple.”5

Mr. Nadler has developed some rather austere practices for separating his poetry from his job as an entrepreneur.6 When he is writing he doesnt check his email， speak or even look in a mirror.

But he also says that his work at Kensho—on what is essentially a search engine for economic events and data—is deeply informed by his experience as a poet， and vice versa.7

We talked to Mr. Nadler about his habits， his day job and why poets can make better search engines. Below are edited excerpts8 from the conversation.

* When do you write your poetry？

I write in the morning.

I make a habit of not looking at email and try to make it so I have a period of time in which whatever is going on in the world hasnt arrived at the threshold of my consciousness yet.9

* I heard that you also avoid looking in mirrors.

I never look in a mirror until I am finished writing for the day. My own reflection in a mirror reminds me that I am an organism10 situated in time， one that once was not here， one that will at some point not be here.

* Can you explain the concept behind this volume11 of poetry？ In my mind， I created this idea of ancient poems that in reality have never been written. My project is the same project that I believe Pablo Neruda was pursuing， which was a direct encounter with nature， unburdened by the history of allusion and the history of symbolism， and the history of footnotes.12

* What is the world these characters live in？

A world without technology—a world without the internet—in a world without complex political and economic structures. In such a time， the most conspicuous thing on the horizon is love.13

The exploration of that world was the path through which to get back to the basic elemental truths about love and human relationships.14

* It seems a bit odd15 for a technologist to be writing about a time before technology， no？

Artificial intelligence and machine intelligence are about decreasing the length of human perception.16 Google autocomplete17 is an attempt to shorten the time and path between thought and a response—to decrease the time and path between seeing something and categorizing it or identifying it and moving on.

To me what poetry in particular is so good at is defamiliarization.18 Increasing the length of perception. Allowing grown adults to return to the childlike state in which routine experiences， or ordinary objects seem totally strange or foreign.

To me that is the role that art in general and poetry specifically must play in the 21st century. As a counterweight to the many things pushing to decrease the length of perception.19

* Why choose poetry as your art form？

My generation has grown up through video games and immersive20 worlds. In a video game your character can see a rock and then just sort of walk around the rock. Thats a very different modality21 than a movie， which is a totally directed experience.

Poetry is the most directly analogous high art form to environments like video games and virtual reality.22 Poetry is entirely about regulating the pace of your own emotional transportation， and it is the one that is going to be the most native to millennials who have grown up with that idea.23

* Does your poetry complement your day job or distract from it？ 24

They are wonderfully synergistic， which is why I never feel myself needing to divide my time.25

Poetry teaches you how to build a better search engine because it teaches you how to reflect on the needed balance between expectation， utility and serendipity.26

If a search engine only provides exactly what you are looking for， then it is only as smart or as dumb27 as you are. We all know from using search engines that a pleasure of life is serendipitous discovery. Its one of the reasons we like using Wikipedia28. As a design principle， thats a way to build a better search engine.

1. Kensho： 肯碩，來(lái)自日文，意為佛家的“見(jiàn)性”?？洗T是一家金融分析公司，由丹尼爾·納德勒與程序員彼得·克魯斯卡爾聯(lián)合創(chuàng)立。該公司正在研發(fā)一種針對(duì)專(zhuān)業(yè)投資者的大規(guī)模數(shù)據(jù)處理分析平臺(tái)，被認(rèn)為是能撼動(dòng)金融分析行業(yè)、以人工智能取代華爾街頂級(jí)金融工程師的產(chǎn)品；darling： n. 寵兒；Goldman Sachs： 高盛集團(tuán)，一家國(guó)際領(lǐng)先的投資銀行和證券公司，總部位于紐約曼哈頓；venture capitalist： 風(fēng)險(xiǎn)投資家。

2. Pulitzer Prize： 普利策獎(jiǎng)，美國(guó)一年一度頒發(fā)給新聞、文學(xué)、戲劇和音樂(lè)方面優(yōu)秀作品之獎(jiǎng)，由Joseph Pulitzer設(shè)立，于1917年首次授獎(jiǎng)。

3. lacuna： 空隙，空白，復(fù)數(shù)形式為lacunas或lacunae；Farrar Straus and Giroux： 法勞斯特勞斯和吉羅出版社（FSG）。

4. narrator： 敘述者；mythic： 神話般的。

5. 喬納森·加拉西，納德勒先生在FSG的編輯，表示他被這些詩(shī)作的簡(jiǎn)約和直接所吸引：“現(xiàn)在的詩(shī)人，沒(méi)幾個(gè)敢如此樸素地表達(dá)自己。”pared-down： 簡(jiǎn)化的，縮減的；bold： 大膽的。

6. austere： 嚴(yán)厲的，一絲不茍的；entrepreneur： 企業(yè)家。

7. 但他也表示，他在肯碩這家經(jīng)濟(jì)事和數(shù)據(jù)搜索引擎公司的工作也深受寫(xiě)詩(shī)的影響，反之亦然。inform： 影響（態(tài)度、風(fēng)格等）；vice versa： 反之亦然。

8. excerpt： 節(jié)選。

9. 我養(yǎng)成了（寫(xiě)詩(shī)時(shí)）不查郵件的習(xí)慣，目的就是想嘗試一下使自己處于這種狀態(tài)，即無(wú)論外界發(fā)生什么都無(wú)法進(jìn)入我的意識(shí)。threshold： 門(mén)口，門(mén)檻。

10. organism： 生物，有機(jī)體。

11. volume： （書(shū)的）冊(cè)，卷。

12. 我相信我的目標(biāo)也曾是智利詩(shī)人聶魯達(dá)所追求的，即解除由來(lái)已久的用典、象征主義與腳注的負(fù)荷，徹底擁抱自然。Pablo Neruda： 巴勃羅·聶魯達(dá)（1904—1973），智利詩(shī)人、外交官，代表作有《二十首情詩(shī)和一首絕望的歌》、《詩(shī)歌總集》等，獲1971年諾貝爾文學(xué)獎(jiǎng)；unburden： 卸去負(fù)擔(dān)；allusion：引用典故；symbolism： 象征主義；footnote： 腳注，補(bǔ)充說(shuō)明。

13. conspicuous： 顯眼的，顯著的；horizon： 地平線。

14. 借由對(duì)這個(gè)領(lǐng)域的探索，我們才能找到一條途徑，重新尋回有關(guān)愛(ài)和人際關(guān)系的最基本固有的真相。elemental： 基本的，固有的。

15. odd： 古怪的。

16. artificial intelligence： 人工智能；perception： 感知，知覺(jué)。

17. Google autocomplete： 谷歌搜索的自動(dòng)完成功能，可以根據(jù)用戶輸入的內(nèi)容，揣測(cè)用戶的搜索意愿，不僅向用戶提出建議，還自動(dòng)幫用戶補(bǔ)全搜索關(guān)鍵字。

18. 對(duì)我來(lái)說(shuō)，詩(shī)歌尤其擅長(zhǎng)的就是陌生化。defamiliarization： 陌生化。

19. 但對(duì)我而言，這是21世紀(jì)廣義的藝術(shù)，特別是詩(shī)歌必須承擔(dān)的角色，它可以對(duì)很多試圖減少感知時(shí)長(zhǎng)的東西起到一個(gè)平衡作用。counterweight： 抗衡力，平衡物。

20. immersive： 沉浸式虛擬現(xiàn)實(shí)的。

21. modality： 感覺(jué)模式。

22. 詩(shī)歌對(duì)于營(yíng)造環(huán)境來(lái)說(shuō)，是一種最貼近電子游戲和虛擬現(xiàn)實(shí)的高級(jí)藝術(shù)形式。analogous： 類(lèi)似的；virtual reality：虛擬現(xiàn)實(shí)。

23. regulate： 調(diào)節(jié)，控制；native： 生來(lái)就有的；the millennials： 千禧一代，泛指1983—2000年出生（有時(shí)也包括1980—1982年）的一代人，差不多伴隨著電腦和互聯(lián)網(wǎng)的形成與發(fā)展一同成長(zhǎng)。

24. complement： 補(bǔ)充，補(bǔ)足；distract： 轉(zhuǎn)移，分心。

25. 他們相輔相成天衣無(wú)縫，因此我從不覺(jué)得自己需要在時(shí)間上拉鋸。synergistic：具有協(xié)同作用的。

26. utility： 實(shí)用，效用；serendipity： 意外的發(fā)現(xiàn)，好運(yùn)氣，出自英國(guó)作家霍勒斯·沃波爾（Horace Walpole）所著童話故事《錫蘭國(guó)三王子》（The Three Princes of Serendip），書(shū)中主人公具有隨處發(fā)現(xiàn)珍寶的本領(lǐng)。后文的serendipitous是其形容詞形式。

27. dumb： 笨的，傻的。

28. Wikipedia： 維基百科，一部基于互聯(lián)網(wǎng)、內(nèi)容開(kāi)放的全球多語(yǔ)言百科全書(shū)，也是目前世界上最大的百科全書(shū)。