吳俞萱《沒有名字的世界》與夏宇《第一人稱》這兩部詩集都使用攝影與詩並置,卻呈現出相當不同的詩觀。吳俞萱明知再現高雄工業區之不可為,遂試圖再現詩人心中感知且難以命名的一切;她詩集中的攝影和詩句,形成了兩種疊合並對映的缺席,這也許可詮釋為對於世界真實與人文理想情懷是否同一的提問。而夏宇則讓攝影和詩句之間產生懸擱的、對望的語意,藉著圖文表意的落差,攪擾了讀者思維與判讀的習慣;她讓再現的意圖缺席,卻「在現」她自己的第一人稱狀態。藉著追索兩本詩集內攝影和詩的關係,可得見兩種不同型態的詩學,它們沿著「缺席」與「再現」的線索朝各自方向展開。
Wu Yuxuan's The World Without Names and Xia Yu's The First Person both have photography and poetry, but they show very different poetics. Knowing the impossibility of representing Kaohsiung's Industrial District, Wu Yuxuan tries to represent those difficult to name which come to her. There are two types of absences superimposed and contrasted in her photographs and poetry. And they might be regarded as an inquiry about whether reality and humanistic ideality can be identical. Xia Yu, on the other hand, creates suspended and opposite significances between her photography and poetry, and thus disturbs readers' habits of thinking and interpretations. She makes the intention of representation absent, so as to "show" her own first-person state. By tracing the relationship between photography and poetry in the two collections, two different types of poetics can be found, which develop in two directions along with "absence" and "representation."