獸

是什麼時候開始，我發現燒杯裡有隻野獸。

調香的過程中，可以說是在馴獸。

我要用玫瑰馴服那頑佞的蛇麻草。當一鍋野生的性感完成後，我終於理解，獸是我欠缺的世界，鷹眼、狗鼻、猩猩的狂野，都超出於我。

我也意識到自己有能力生活在獸與人的邊界，獸映照著自己，我活在獸裡，與獸同行。得如此共同生活，相互滲透與牽絆，才能理解自己究竟是什麼樣的存在，並真正地打開人類的感官世界。

我對野獸，有種無法自拔的著迷，這份感覺在我長大後，搬到新竹後越來越強烈，新竹風大，養狗的時候，我看著牠逆風走，紅棕色的毛隨風塑形，成了一隻流動雕塑。

牠沿著花園的湖走，湖面正起波濤。匍匐在水面的野薑花枝也隨風劇烈搖擺。風的動態使我敬畏。

野獸如果不是動物，我想就是風。

When did Fang first discover a beast living inside the beaker?

To compose a perfume is, in a sense, to tame it.

She tames unruly hops with rose. When the brew of wild sensuality was complete, she understood at last: the beast held the world she lacked—the eye of a hawk, the nose of a dog, the wildness of an ape, all extending beyond herself.

Fang realized she could live at the boundary between beast and human. The beast reflected her back to herself; she lived within it and walked beside it. Only through this shared life—seeping into and becoming bound to one another—could she understand the nature of her own being and open the human senses to their fullest.

Her fascination with beasts deepened as she grew older, especially after moving to Hsinchu, a city of fierce winds. She watched her dog walk against the wind, its russet coat reshaped by every gust until the animal became a sculpture in motion.

The dog followed the garden lake as waves rose across the water. Wild ginger stalks bent low over the surface, thrashing in the wind. There, Fang saw the invisible wind made visible—and felt awe.

If the beast is not an animal, it must be the wind.