The Weariness of the Second Law
Somewhere, a man holds chalk against a blackboard. E = mc2. He writes it the way a surgeon marks skin before cutting, clean, deliberate, as if the body on the table had agreed. The equation does not ask permission. It only asks for mass.
In the valley where blossoms speak to the wind, a carver kneels beside the tree. She has been quiet for thirteen billion years, since before the first star tore silence open into light. He is the blade. She is the bark. And the dying world outside the valley will accept no other offering.
They said the only door to peace was built from bone, that order demands a blood equation: E equals your body times the speed of everything I’ll never hold again. So he carves. The way a nucleus was carved open over Hiroshima, not by hatred, but by the terrible arithmetic of mercy.
Because the universe does not accept prayer as currency. And she, she didn’t scream. She said, Please carve me into something holy. If I must become energy, let me become the kind that ends the war.
The blossoms do not flinch. The wind does not flinch. They have been here since the Bang, speaking a language older than the valley, watching, the way a grandmother watches a child build sandcastles at the edge of the tide. The wind sighs. Not cruel. Just tired. The way all things grow tired when the only law they know is that nothing ordered lasts. The blossoms ask: Why dothey keep building? Why do they keep carving each other open to delay what we have already finished writing?
The wind answers nothing. Not because it has no language, because the answer was already in the grain of the wood the moment she chose to let him cut.
Now I ask you, whose grief do we carry: the hands that struck, or the rings inside the wood that counted every year of loving him and still said yes?
If order can only be purchased with an equal and irreversible decay, who pays the entropy of the peacemaker’s hands? And if both are the same grief, then what exactly did we save?
Fish Chan Wing Yu is a multidisciplinary artist based in Los Angeles. Born and raised in Hong Kong, she has since lived across three continents, a nomadic journey that has profoundly shaped her creative vision and deepened her understanding of the world.
Fish trained in contemporary dance at the Northern School of Contemporary Dance in Leeds, UK, and later studied at the American Musical and Dramatic Academy (AMDA) in New York and Los Angeles. Her formal training across these institutions laid the foundation for a practice that is as physically rigorous as it is intellectually curious.
A rational dancer at heart, Fish is drawn to the intersections of art, science, and philosophy. She channels her observations of the world, the people she meets, the cultures she inhabits, and the emotions she carries, into storytelling pieces that span movement, writing, and other creative forms. Her work transforms lived experience and intellectual inquiry into art that is both deeply personal and universally resonant.
