2010年12月12日 星期日

走樣

我無法找出一個合宜的說法解釋我自己。我無法解釋為什麼我是這樣的。我無法解釋為什麼我不愛那些適合我的角色。我無法解釋為什麼我對一切毫不在意﹐無法解釋為何一切毫無意義。

四年前的自己不認識我﹐四年前的自己並沒想過今天來到這裡的是這個我。


剛開始我只是跳過一些場次而已﹐然後整個戲便走樣了。

也或許它沒有走樣﹐是我走樣了。


這裡沒有一個地方是我的 / 沒有什麼真的是我的 / 人從來不可能真正擁有什麼 / 或被擁有 / 但我想要的是這麼多於是什麼都不要了 / 我不知道我要什麼 / 我不知道我能要什麼 / 讓那些要的去要吧 / 沒有了 / 都沒有關係 / 我想要相信些什麼 / 但相信不相信我 / 非常困倦 / 不可收拾 /某個時候開始 / 我一直悲傷著 /是我不好但我好不起來。


:我們可以永遠不要再見但別說我們要分離。不說我就可以相信我們並沒有分離。

但她一直在婉轉的告別,在最愛的時候輕聲告訴自己:這很好,但這樣就夠了。因為沒有甚麼會 一 直 好 下 去。

因為都好過。然後就不好了。


一點點的,閉上眼睛。一點點地變 得  透   明。

2010年12月5日 星期日

《我是許涼涼》李維菁

92
我寧願記得一些小小時間片刻﹐一些我想起來幾乎微笑的小小小小事﹐仿彿那些細微不足道的小小小小事情當時發出的光澤與令人心顫的微笑震動﹐至今還留在我眼睛裡頭﹐還存在我皮膚細胞隙縫。那些嗡嗡作響蜂鳴般的磁力的剎那。

94
我對眼前的障礙與事實的局限視若無睹﹐其實不是因為我具備無畏的勇氣能夠挑戰既定的價值和眼光﹐實情是﹐我根本不懂規矩與合宜究竟是什麼﹐我有情緒反應的延遲模式﹐我以為每一種愛到最後都可以變成為美好的愛﹐我之所以看起了勇氣十足總是向前﹐是因為我眼中界限總是消融於彼此以及自我欺瞞。

123
我看著他那樣寂寞想找人說話﹐便決定我以後千萬不要變得同樣難堪。這世界上沒有人真的喜歡聽其他人的回憶﹐沒有人真的在意其他人的過去﹐沒有人真的珍惜別人的感覺。這世界的現實是這樣的﹐人們在關係中若提到過去﹐往往是拿過去作為現在某種交換的籌碼。

我想像著他此刻半閉上眼睛。他說﹐人生其實沒有什麼是需要跟人家談的﹐一點也沒有﹐我告訴自己要把嘴巴閉上﹐沉默可以帶來尊嚴。

152
溫柔不代表軟弱﹐殘忍不是粗暴。那些人們誤以為大器的男人﹐常常只是粗暴﹐粗暴不一定精準﹐畢竟不是殘忍﹐殘忍一定要精準。

220
那些看起來純真﹐沒有性威脅﹐善體人意的﹐其實多半是包裹著少女外表的成熟女性﹐她們清清楚楚知道世界﹐現實的結構﹐因此可以純熟操作男女政治不著痕跡﹐才能談場愛戀仍舊風度優雅﹐全身而退。真正的少女們總是壞事﹐因為她們想要一份徹底的愛。然而這世界存活下來的男獸﹐身與心早已沒有餘裕﹐愛的把戲十足﹐愛的力氣不足。

但你怎麼能夠苛責少女﹖少女不正是如此嗎﹖只有強烈的對愛之憧憬﹐才生出想要改變世界的力量﹐可以與宇宙為敵﹐正是少女的力量之所在。

傷過心的少女們﹐自此永遠生活在現實與夢幻的交叉點... 恍恍於人間渡過悠悠時日。

少女的時間感與一般人不同。少女常常固在人生的某一時間點﹐並且只活在裡頭。能力強些的少女﹐則常將青春美境與黯淡現實交混一起過日。

......

有個少女住在心裡的感受﹐其實相當驚悚﹐疼痛。面對人生的挫敗﹐你常常怪起她來﹐這個寄局在你身體裡頭不切實際的小女孩﹐正是搞砸你人生的罪魁禍首。

少女讓你在人生中躊躇不前﹐少女讓你一再跌跤﹐少女不肯讓你變老。幾次你都下定決心殺了少女﹐自此當一個大人了。但是﹐就在你準備好要變老的關口﹐少女哭喊淒厲如同女鬼﹐一再跳出來阻止你的人生進程。

...

少女因等待而感傷﹐你在捷運車廂望著窗外朗朗陽光﹐對著窗外的行人路樹流淚。
少女不喜肉體﹐你只好放棄生兒育女﹐任憑自己雨夜之中四年男女之事而輕輕嘆息。
都是少女搞的鬼。要不是她﹐你的人生不會像列不靠站的公車﹐行經一路變成大人的站牌卻從不下車﹐為了守住一個不會來的未來而一事無成。
有好幾次我只想長大。
夜裡我捧著麵碗對著電視機﹐看著看著突然嚎咷大哭﹐死命捶打胸部。咒罵著少女﹕「滾!快滾!滾出去!」
我覺得﹐少女再不走﹐我就活不下去了。
少女消失了﹐第二天她又回來﹐幽幽地看著我。
我沒說話﹐靜靜地將少女吃下去﹐塞回胸腔。
沒有了你﹐我活著又是為了什麼呢﹖

少女善于等待。

2010年12月4日 星期六

The Easter Parade - Richard Yates

然而愛米莉至此還是一滴眼淚也沒有流。回市裡的一路上﹐她都感到心神不安。在車上﹐她把一只手墊在自己的臉部和大轎車冷冷的、顫動著的車窗之間﹐那樣似乎有點用。她試過跟自己低聲說“爸爸”試過閉上眼睛想像他的臉﹐但是都不管用。然後她想到一件事讓她的喉嚨發緊﹕她也許不是爸爸的寶貝﹐可是她一直叫她“小兔子”。這時她不費事就哭了起來﹐讓媽媽伸手過來揣緊了她的手﹐唯一的麻煩﹐是她拿不準自己是為了爸爸而哭﹐還是為了沃倫馬多克或是馬多克斯而哭﹐他現在回到了南卡羅萊納﹐正要被分配到某個師。

可是她意識到就連那也是謊話﹐她突然停止了哭泣﹕這些眼淚﹐就像她這一輩子裡一貫的情形﹐完全是為了自己而流 - 為了可憐而敏感的愛米莉格蘭姆斯﹐誰也不明白她﹐她也什麼事情都弄不明白。

2015/07/22

“可是等一下,” 她的姊姊和媽媽正在平靜下來時,愛米莉說,“厄普頓軍營只是個新兵中心,士兵在那兒只待幾天,就會去別的軍營接受基本訓練,然後他們被分配到哪個師裡。如果唐納德是一年前給你寫的信,他很可能現在已經到了國外。” 她本來想加上一句他甚至有可能已經死了,但又不想說得過份。

“喔?”薩拉說,“嗯,這我可不知道,但是無所謂啊。”

“喔,愛米,”普吉說,“別煞風景了。你的幽默感哪兒去了?” 她又重複了一遍那句妙語,“我敢打賭是唐納德 克萊昻。”

愛米莉不知道自己的幽默感哪兒去了,可她知道當時不在 - 那天下午晚一點在大屋那裡時也不在,那是她和普吉過去禮節性拜訪老威爾遜夫婦時,她想她是把自己的幽默感和所有別的重要方面都留在了校園。



後來的幾個星期、幾個月裡,愛米莉想到過很多義憤填膺、措詞得體的反駁話,本來可以在聽他那麼說了之後用上的;然而當時,她能說出口的,只是她從小就討厭自己愛用的那個軟弱而順從的小短語:“我明白了。”

只用兩天,霍華德就把他的東西從這裡搬走了。他對這一切感到很抱歉。只是有一次,他把像根分量重的絲繩的那束領帶從衣櫃裡拿走時,才總算出現了一幕,進而演變成可怕而不堪入目的一幕 - 最後她跪下來抱著他的腿哀求他,求他留下來 - 愛米莉盡了最大努力,想忘掉這一幕。



世界上還有比一個人待著更糟糕的事,她每天都對自己說,她有效率地做好上班準備、在鮑德溫廣告公司忍耐著度過八個鐘頭、熬過晚上的時間,直到能睡著覺。

...... 有一年時間,她在好像是無所謂地面對世界時,感受到了劇痛 - 幾乎成了快感。看看我吧,在艱苦的一天中間,她會對自己說,看著我吧,我活下來了,我在應付,一切在我控制之下。

她們

她們抽煙像吹火山灰
喝酒像做體內消毒
她們發出孤獨的小光暈
是召喚愛的營火



“I beg you, my darling
Don't leave me, I'm hurting
Big lonely above everything
Above everyday, I'm hurting”



結果他也說了。結果我們也相信了。結果也不是這樣。結果也沒有結果。結果還是一樣。



冰箱裝滿了你沒有很愛吃的東西。



你想像的生活是甚麼?你可以想像五年以後的生活,然後往回推,不就知道了嗎?

我不知道。我想像的這麼多,一些實現了,一些錯過了。曾有過一些模糊印象,但它們過去了。

我有許多的好意善意,甚至是愛意。但那都不是意志。不能帶我或任何人去哪裡。



我們能不能擁有我們所能擁有的。全心全意。然後在離去時就離去?我們能不能擁有每一個片刻而不感到悲傷?



他在這裡,為甚麼不呢。你討厭他,但你至少還討厭他。其它的你連討厭都談不上。他就在這裡,他過來了,至少兩個人裡面有一個人相信著甚麼。至少兩個人裡面有一個人是害怕的。至少兩個人裡面有一個人認真的在說謊。



你心裡再次有個隱約的幻想慢慢建立起來,癌細胞一樣的。好像有哪裡可以去。好像有一個人。好像。但沒有。只有你一個人。哪裡也不是⋯⋯

2010年11月17日 星期三

偶然結束

她覺得時間與事件是以多線進行﹐像腦中神經樹突或生物網那模樣﹐驟然離開的場景還會繼續下去﹐有一個她還會在那裡﹐把戲演完﹐給觀眾一個交待。因為每個線索都應該有一種解釋﹐每個場景都有它存在的原因﹐每個出現在場中的物件都象徵著什麼﹐一切都有所安排的世界沒有偶然。

她這樣想﹐不過那只是想。誰也看不見誰腦裡的世界﹐這才是麻煩的地方﹕她沒法解釋﹐她已經離開那場戲了。

她驚覺沒別人可以代替她。而沒有什麼是她必須要的。

就像你只能提著一箱行李離開﹐離開前你覺得什麼都需要﹐但其實 - 你什麼也不需要。像那些留在櫥櫃裡的衣服﹐那些留在其它房間的書﹐偶爾你會想起它們 - 但你並不需要它們。永遠有其它衣物﹐其它書﹐其它人...... 一張蜘蛛網破了﹐總能再織一張。而且它甚至沒破。

有什麼結局是絕對完整的。幾年來慢慢建立的回路﹐撒手而去﹐時間一到總是可以用得上。像條不遠處的高速公路﹐她只需要往那個方向去﹐就可以到其它地方。告示牌上寫著不同路標 - 西西里 四十五公里﹔柏林 七十公里﹔哥本哈根 一百六十公里﹔南極 四千五百六十公里。

2010年11月12日 星期五

When You Are Engulfed in Flames - David Sedaris

This Old House

Given enough time, I guess anything can look good. All it has to do is survive.

All the Beauty You Will Ever Need

it broke my heart to think of him marching across a muddy field with a bouquet in his hand.  He does these things that are somehow beyond faggy and seem better suited to some hardscrabble pioneer wife: making jam, say or sewing bedroom curtains out of burlap.  Once I caught him down at the riverbank, beating our dirty clothes against a rock.  This was before we got a washing machine, but still, he could have laundered things in the tub.  "Who are you?" I'd said, and, as he turned, I half expected to see a baby at his breast,

It's astonishing the amount of time that certain straight people devote to gay sex - trying to determine what goes where and how often.  They can't imagine any system outside their own, and seem obsessed with the idea of roles, both in bed and out of it.  

Memento Mori

"He's our mascot," the store manager said.  "We couldn't possibly get rid of him."
In America athis translates to "Make me an offer," but in France they really mean it.  There are shops in Paris where nothing is for sale, no matter how hard you beg.  I think eople get lonely.  Their apartments become full, and, rather than rent a storage space, they take over a boutique.  Then they sit there in the middle of it, gloating over their fine taste. 

Town and Country

The man was foreign, but I have no idea where he was from.  One of those tragic countries, I supposed, a land beset by cobras and typhoons.  But that's half the world, really.

Old Faithful

I'd met my first boyfriend in a place called the Man Hole - not the sort of name that suggests fidelity.  It was like meeting somone at fisticuffs and then complaining when he turned out to be violent.

Most likely my father was having some problem at work and needed to remind himself that he was not completely worthless.  It sounds like something you'd read on a movie poster: sometimes the sins you haven't committed are all you have to hold on to.  If you're really desperate, you might need to grope, saying, for example, "I've never killed anyone with a hammer" or "I've never stolen from anyone who didn't deserve it."

then I looked over at the elderly couple, thinking, See, we're talking witch burnings!  It's work, though, and it's always my work.  If I left it up to Hugh, we'd just sit there acting like what we are: two people so familiar with each other they could scream. 

2010年11月9日 星期二

碎片 fragment s

1
這應該要結束了。然而我要去哪﹖我不知道自己在這裡做什麼﹐(我的手有些奇怪...... isn't that how it started in nausea?)﹐面前那個人無比熟悉又無比陌生。這應該結束了。但它沒有結束。我不知道怎麼讓它結束。為什麼要結束。結束因為我不知道它為什麼開始。我不知道它要往哪裡去。不。其實只是這刻你希望它結束。四個小時以後你會感覺不同。或許。但只要開始就會繼續下去。不管是繼續結束還是繼續開始。

2
一切都只剩下符號。過去傳來的回音。沒有什麼是新的... 所有線索都歸類在過去。not a new language, not a new character, no new setting, nothing. 如果是新的它會更觸動你還是更不觸動你﹖一向以來你看著他覺得奇異。其實他是透明的。你開始擁抱因為他已出現﹐像出現在臺上的演員﹐你說出臺詞像此刻臺詞從你指上自動出現。其他只是身體過份寂寞。

3
不我們沒有辦法繼續下去。我想不到這種可能。我確定我想過﹐曾經的字裡行間。但那過去了。我不知道為什麼我哭﹐我沒有辦法解釋。如 Damasio 說情感來在理智前。心碎的機制如何產生。或許我難過。但我不想解釋。理智不願處理。它說﹕此部門恕不受理。

4
那是愛嗎。It's children' game. It's a nostalgic replay.  What does it mean?  It doesn't mean anything.  It's a messy script which scenes don't even go together.  Like a retro commercial that gives you tender feelings yet ridiculous in its own term.  It has no authenticity.  復古的價值在於它不再存在。在於中間那些過去的時間。與它本身脫節。在復古身上人們要找到的是曾經的自己。

5
伸出手 - 那片雲霧 - 你將無法致信它不曾存在的程度。

2010年10月31日 星期日

Eating the Dinosaur - Chuck Klosterman

Errol Morris

Modern forms of lie detection - methods that go beyond that polygraph.  The writer's idea was that we can actually record activity inside the brain that proves who is or who isn't lying.  It suggests that the brain is some kind of 'reality recorder' and that we know when we are lying.  But I think those kinds of lies represent a very small piece of the pie.  I think the larger sect of liars are people who think they are telling the truth, but who really have no idea what the truth is.  So the deeper question is, what's more important: narrative consistency or truth?  I think we are always trying to create a consistent narrative for ourselves.  I think truth always akes a backseat to narrative.  Truth has to sit at the back of the bus. 

Most lying is just an accepted part of the world... if you don't want to know something, can you not know it?  Can you convince yourself that you don't know it?  Can you actually not know it, in some real sense?  Can you form a barrier to knowing things? 

I'm a great believer in self-deception.  If you asked me what makes the world go round, I would say self-deception.  Self-deception allows us to create a consistent narrative for ourselves that we actually believe.  I'm not saying that the truth doesn't matter.  It does.  But self-deception is how we survive. 

31
But it wasn't just a nice car, it was a Lexus.  A Lexus.  That's a specific kind of nice car.  Everyone knows what owning a Lexus means.  To Cobain, a lavender limousine would have been preferable to a Lexus, because at least that would have been gratuitous and silly.  The limousine is awake of its excess; a Lexus is at easy with it.  A Lexus is a car for a serious rich person.  There are no ironic Lexus drivers, or even post-ironic Lexus drivers. 

45
Although I'm not sure which one it's unfair to.  I feel sorry for both of them.  I can see it both ways.  That's my problem.

145
Football allows the intellectual part of my brain to evolve, but it allows the emotional part to remain unchanged.  It has a liberal cerebellum and a reactionary heart.  And this is all I want from everything, all the time, always. 

163
It will always seem stupid, because canned laughter represents the worst qualities of insecure people... Insecurity is part of being alive.  But it's never less complicated than this.  It's never less complicated than a machine that tries to make you feel like you're already enjoying something, simply because people you'll never meet were convinced to laugh at something else entirely.

2010年10月25日 星期一

Lumiere

到的那天﹐那個城市下起大雪。她看著窗外﹐沒有說話。像是接受了理解了一切。其實還是一種唐突。日後再也不會有的﹐她不知道再來是什麼。窗外是那個無數電影使用的背景﹐她像站在一個背景裡演出﹐她從未拿到劇本﹐但所有人都認為她讀熟了。

都可以。沒問題。她木木地和自己說。心像驚弓之鳥似地撲翅﹐誰會發現嗎﹖她像偷了一個角色﹐她不屬於這裡﹐但她在這裡﹐而且這裡要屬於她﹐她甚至不能決定。

雪在光裡飄在街上。一個全色的黑夜﹐對面的是千篇一律、標準的、無數的窗﹐千篇一律﹐她忘了有沒有燈光。這是一個沒有人的場景﹐只有她﹐觀眾全在等她﹐她的對手在等她作戲﹐等她說話。他有一切的把握和臺詞﹐她不用回頭也感到那毫不在乎的神氣。一片雪花毫無規律的飄.... 高高... 下下...... 離開了視線。或許她知道要來的是什麼﹐或許她感覺到了 - 即將發生的剝離﹐一點點賠出去﹐直到一切鋪平﹐無所謂 - 但戲即將開場﹐她深呼吸﹐走進另一間房。第一幕。

2010年10月19日 星期二

《瘟疫》卡謬

52
當一場戰爭爆發時﹐人們都說﹕「這太愚蠢了﹐而且它也不會長久。」可是﹐一場戰爭可能「太愚蠢」﹐但這並不就能防止它的持續。愚蠢自有其大行其道的訣竅﹔如果我們能夠不太只顧自己的話﹐我們便能看出這一點。

59
格蘭充份流露著一個當地政府小僱員的外表特徵與定型姿態。他又高又瘦﹐看起來好像在他那身基於以為可以穿得久一點的幻想﹐而時常故意選大一號的衣服中失蹤了。.... 他具有微不足道的一切屬性。你只能想像他彎在一張辦公桌上﹐專心一志地修訂室內浴室的價目表﹐或者替某一位低級秘書整理關於垃圾清潔稅的報告資料﹔如果你要另作其他想像﹐實在相當費力。甚至在你知道他的職位以前﹐你也會有一種感覺 - 他只是為了執行每天薪水僅有六十二法郎三十生丁的臨時市政助理僱員那些奉命惟謹但又有其必要的工作而來到這個世界。

82
連續幾個星期中﹐我們無可奈何地把同樣的一封信一再從頭寫過﹐重提著那些零碎消息與個人願望﹔結果﹐經過一段時間以後﹐那些似乎曾經攙和著我們心血的活潑言詞﹐都涸竭了原有的意義。從這以後﹐我們只是機械性地重複抄寫它們﹐試圖透過這些死了的語辭﹐來對這場受罪考驗略微表達出一點概念。臨到末了﹐和這些毫無意思的重複獨白與徒然的面壁自語比較起來﹐就連電報那樣的平板公式﹐也變得聊勝一籌了。

146
世界上所有的惡﹐永遠都來自無知﹐而善意﹐加入缺乏理解的話﹐也會跟惡意一樣﹐造成同樣嚴重的損害。就整個而言﹐人是善多於惡的﹔但是﹐這不是真正的要點。他們多多少少有點無知﹐而這才是我們所謂的惡德或美德﹔最難矯正的惡德﹐就是那種自以為無所不知﹐因而自命具有生殺之權的無知。謀殺者的靈魂是盲目的﹔假若沒有最高度的「明辨」﹐就不可能有真正的善與愛。

179
「人正『是』一個觀念﹐一個寶貴的微小觀念﹐一旦他背棄了愛。並且我的看法﹔我們 - 人類 - 已經失去了愛的能力。醫生﹐我們必須面對這個事實。我們要耐心地等待﹐以求獲得那種能力﹐假若那真是我們力所不及的東西。讓我們等待各人遲早會來的那種拯救﹐而用不著扮演英雄角色。就我個人而言﹐我不向更遠的地方看。」

 李爾站了起來﹐突然間﹐他顯得異常疲倦。

「你是對的﹐十分的對﹐我決不為了世界上任何東西而試圖說服你不做你所要做的事﹔我認為它絕對正確而適當。但是﹐有一件事我必須告訴你﹔在這一切當中﹐決無英雄主義可言。這只是一種普通的禮儀。這個觀念可能會使某些人發笑﹐然而唯一能夠反擊一場瘟疫的武器﹐就就只有 - 普通禮儀。 我不知道別人認為它是什麼意思。就我而言﹐它就存乎做我的本份工作。」

196
既無回憶﹐又無希望﹐他們只為此時而活著。一點不錯﹐「此時」與「此地」代表了一切。無可否認﹐瘟疫不僅殺死了我們大家心裡的愛意﹐甚至消滅了友情。這是很自然的﹐因為「愛」要求某種未來的東西﹐而我們除了一連串的「此刻」之外﹐一無所有。

2010年10月18日 星期一

Good Morning, Midnight - Jean Rhys

55
If someone had come to me and asked me if I wished to be born I think I should have answered No.  I'm sure I should have answered No.  But no one asked me.  I am here not throught my will.  Most things that happen to me - they are not my will either.  And so that's what I say to myself all the time: "You didn't ask to be born, you didn't make the world as it is, you didn't make yourself as you are.  Why torment yourself?  Why not take life just as it comes?  You have the right to; you are not on of the guilty ones. 

64
Well, what harm can he do to me?  He is out for money and I haven't got any.  I am invulnerable.

68
Yes, I'll have the sheets changed.  I'll lie in bed all day, pull the curtains and shut the damned world out. ...  There was a monsieur, but the monsieur has gone.  There was more than one monsieur, but they have all gone.  What an assortment!  One of every kind...

75
At this moment a taxi draws up.  Without a word he gets into it, bangs the door and drives off, leaving me standing there on the pavement.

And did I mind?  Not at all, not at all.  If you think I minded then you've never lived like that, plunged in a dream, when all the faces are masks and only the trees are alive and you can almost see the strings that are pulling the puppets.  Close-up of human nature - isn't it worth something?

88
But this is my attitude to life.  Please, please, monsieur et madame, mister, missis and miss, I am trying so hard to be like you.  I know I don't succeed, but look how hard I try.  Three hours to choose a hat; every morning an hour and a half trying to make myself look like everybody else.  Every word I say has chains round its ankles; every thought I think is weighted with heavy weights.

108
But it wasn't all that that mattered.  It wasn't that he knew so exactly when to be cruel, so exactly how to be kind.  ... He had gone out to buy something to eat.  I was behind the curtain and I saw him in the street below, standing by a lamp-post, looking up at our window, looking for me.  He seemed very thin and small and I saw the expression on his face quite plainly.  Anxious, he was... When I saw him looking up like that I knew that I loved him, and that it was for always.  It was as if my heart turned over, and I knew that it was for always.  It's a strange feeling - when you know quite certainly in yourself that something is for always.  It's like what death must be. 

2010年10月11日 星期一

Hollywood - Charles Bukowski

9
"We have just landed upon the outpost of death.  My soul is puking."
"Will you stop worrying about your soul?"

10
It opened to this tall slim delicate type, you smelled artistry all over him.  You could see he had been born to Create, to Create grand things, totally unhindered, never bothered by such petty things as toothache, self-doubt, lousy luck.  He was one of those who looked like a genius.  I looked like a dishwasher so these types always pissed me just a bit.

23
"I probably would have lost anyhow.  A gambler without an excuse is a gambler who can't continue."

26
I looked in the mirror.  I liked myself but I didn't like myself in the mirror.  I didn't look like that.  I finished my drink.

39

LUKE
Isn't there another part of you somewhere?

YOUNG MAN
Well, shit.  I was in the 6th grade, I think.  The teacher asked us to write something about our most moving experience.  And I don't mean like moving to Denver.

Anyhow, I wrote about this frog I found in the garden.  He had one of his legs caught in a wire fence.  He couldn't get away.  I got his leg out of the wire fence but he still wouldn't move.

So I held him in my lap and talked to him.  I told him that I was trapped, that my life was caught in something too.  I talked to him for a long tmie.  At last he hopped out of my lp and hopped across the lawn and vanished into some brush.  And I said to myself that he was the first things that I had ever missed in my life.

The teacher read it to the class.  Everybody cried.  Well, I thought that some day I might be a writer.

120
"I want a castle, I want 6 children and a big fat wife.  So when I lose at gambling somebody will take to me.  Now when I lose at gambling nobody talks to me."
I wanted to suggest that when he lost at gambling maybe a fat wife and 6 chlidren might not talk to him either.  But I didn't.  Francois was suffering enough. 

165
Sarah found people to talk to.  She was lucky.  Every time somebody spoke to me I felt like diving out a window or taking the elevator down.  People just weren't interesting.  Maybe they weren't supposed to be.  But animals, birds, even insects were.  I couldn't understand it.

232
Maybe they were waiting for me to get drunk and insane and abusive like I sometimes did at parties.  But I doubted that.  They were just dull inside.  there was nothing for them to do bus stay within the self that was not quite there.  That wasn't too painful.  It was a soft place to be. 

Adoptation - Charlie Kaufman

「或是我可以去學俄語或什麼﹐或是一種樂器。我可以說中文。我可以成為一個說中文吹黑管的劇作家。那會很酷。我應該剪短頭髮。別再誤導自己和身邊所有人認為我有滿頭秀髮。多可悲。真實點。自信。難道女人不就是被這個吸引嗎﹖男子以才為貌。才怪。尤其不是現在。男人身上的壓力幾乎和女人一樣重。為什麼有人讓我覺得我應該為我的存在感到歉意﹖或許不過是腦裡的化學作用。或許我的問題就出在那裡。不好的化學。我所有的問題和焦慮都不過是化學不平衡或是突觸的某些錯誤傳導。我需要尋求幫助。但我還是很醜。什麼也改變不了這個事實。」

《蘭花賊》

What if I learned Russian or something, or took up an instrument. I could speak Chinese. I’d be the screenwriter who speaks Chinese and plays the oboe. That would be cool. I should get my hair cut short. Stop trying to fool myself and everyone else into thinking I have a full head of hair. How pathetic is that. Just be real. Confident. Isn’t that what women are attracted to? Men don’t have to be attractive. But that’s not true. Especially these days. Almost as much pressure on men as there is on women these days. Why should I be made to feel I have to apologize for my existence? Maybe it’s my brain chemistry. Maybe that’s what’s wrong with me. Bad chemistry. All my problems and anxiety can be reduced to a chemical imbalance or some kind of misfiring synapses. I need to get help for that. But I’ll still be ugly though. Nothing’s going to change that.

2010年9月28日 星期二

Sleep With Me - Hanif Kureishi

9
Charles I'm so relaxed these days I'm hardly alive.  Are you in therapy yet?
Julie Everybody talks about themselves enough as it is.
Charles That's because it's the one thing most people know anything about.

22
Julie Ah... You love the children.
Stephen Your anger is unbearable.
Julie You make me like this.  You don't let me in.
Stephen You wouldn't like what you saw.

49
Sophie That's the mistake, though - thinking you can find everything there... Families, if you don't mind me saying so, are mental hospitals.

The Body - Hanif Kureishi

3
Beside my numerous contradictions - I am, I have been told, at least three different people - I am unstable, too, lost in myself, envious, and constantly in need of reassurance.  My wife says that I have craziness, bewildering moods and "internal disappearances" I am not even aware of.  I can go into the shower as one man and emerge as another, worse, one.  My pupils enlarge, I move around obsessively, I yell and stamp my feet.  A few words of criticism and I can bear a grudge for three days at a time, convinced she is plotting against me.  None of this has diminished, despite years of self-analysis, therapy, and "writing as healing," as some of my students used to all the attempt to make art.  Nothing has cured me of myself, of the self I cling to.  If you asked me, I would probably say that my problems are myself; my life is my dilemmas.  I'd better enjoy them, then.

55
How fidelity interferes with love, at times!  What were refinement and the intellect compared to a sublime fuck?

69
It has, at least, become clear that it is our pleasure, rather than our addictions and vices, that are our greatest problems.  Pleasure can change you in an instant; it can take you anywhere.  If these gratifications were intoxicating and almost mystical in their intensity, I learned, when something stranger happened, that indulgence wasn't a full-time job and reality was a shore where dreams broke.

132
People either want eternal life or they want out right now.

149
I was a stranger on the earth, a nobody with nothing, belonging nowhere, a body alone, condemned to begin again, in the nightmare of eternal life.

2010年9月2日 星期四

Intimacy - Hanif Kureishi

Silence, like darkness, can be kind; it, too, is a language.  Couples have good reason for not speaking.

Their reluctance to go to sleep I don't understand.  For months the highlight of my day has been the anticipation of unconsciousness.

Ambition without imagination is always clumsy.

"But marriage is a battle, a terrible journey, a season in hell and a reason for living.  You need to be equipped in all areas, not just the sexual."
"Yes," I said, dully. "I know."
Oh to be equipped in all areas.

No wonder everyone wants it - as if they have known such love before and can barely remember it, yet are compelled ever after to seek it as the single thing worth living for.  Without love, most of life remains concealed.  Nothing is as fascinating as love, unfortunately.

I know love is dark work; you have to get your hands dirty.  If you hold back, nothing interesting happens.  At the same time, you have to find the right distance between people.  Too close, and they overwhelm you; too far and they abandon you.

She is of a disapproving generation of women.  She thinks she's a feminist but she's just bad-tempered.

Suddenly I had the feeling that everything was as it should be and nothing could add to this happiness or contentment.  This was all that there was, and all that could be.  The best of everything had accumulated in this moment.  It could only have been love. 

2010年8月29日 星期日

Midnight All Day - Hanif Kureishi

That Was Then


We are unerring in our choice of lovers, particularly when we require the wrong person.  There is an instinct, magnet or aerial which seeks the unsuitable.  The wrong person is, of course, right for something - to punish, bully or humiliate us, let us down, leave us for dead, or, worst of all, give us the impression that they are not inappropriate, but almost right, thus hanging us in love's limbo.  Not just anyone can do this. 

A Meeting, At Last

Eric said, "My children are going to be pretty angry with you when they find out what you've done to us."        
 "Yes," said Morgan. "Who could blame them?"
 "They're big and expensive. They eat like horses."
 "Christ."

Morgan thought he had been afraid of happiness, and kept it away; he had been afraid of other people, and had kept them away.  He was still afraid, but it was too late for that.
"What?" said Eric.
"I've decided," said Morgan.  "The answer is yes.  Yes to everything!  Now you must get out." He stopped the car.  "Out, I said!"

The Umbrella

He had always been proud of the idea that he was a good man who treated people fairly.  He did not want to impose himself.  The world would be a better place if people considered their actions.  Perhaps he had put himself on a pedestal.  "You have a high reputation - with yourself!"  a friend had said.  Everyone was entitled to some pride and vanity.  However, this whole business with his wife had stripped hi of his moral certainities.  There was no just or objective way to resolve competing claims: those of freedom - his freedom - to have his dependable presence.  but no amount of conscience or morality would make him go back.  He had not missed his wife for a moment.

"No.  No umbrella," she said.
He said, "There were three there last week."
"Maybe there were."
"Are there not still three umbrellas there?"
"Maybe there are," she said.
"Give me one."
"No."
"Sorry?"
"I'm not giving you one, " She said.  "If there were a thousand umbrellas there I would not give you one."

2010年8月26日 星期四

《夜車》 Night Train - Martin Amis

但人們的一些行為往往是在沒人知道的情況下發聲的。人們殺人﹐埋葬﹐離婚﹐結婚﹐變性﹐發瘋﹐生小孩...... 全都沒人知道。人們神不知鬼不覺地在廁所生下了三胞胎。

2010年8月17日 星期二

The Fall - Camus

I know of others who have appearance on their side and are no more faithful or sincere.  I knew a man who gave twenty years of his life to a scatterbrained woman, sacrificing everything to her, his friendships, his work, the very respectability of his life, and who one evening recognized that he had never loved her.  He had been bored, that's all, bored like most people.  Hence he had made himself out of whole cloth a life full of complication and drama.  Something must happen - and that explains most human commitments.  Something must happen, even loveless slavery, even war or death.  

Without desire, women bored me beyond all expectation, and obviously I bored them too.  No more gambling and no more theater - I was probably in the realm of truth.  But truth, cher ami, is a colossal bore.  

There are always reasons for murdering a man.  On the contrary, it is impossible to justify his living.  That's why crime always finds lawyers, and innocence only rarely.  

A person I knew used to divide human beings into three categories: those who prefer having nothing to hide rather than being obliged to lie, those who prefer lying to having nothing to hide, and finally  those who like both lying and the hidden... But what do I care?  Don't lies eventually lead to the truth?  And don't all my stories, truth or false, tend toward the same conclusion?  Don't they all have the same meaning?  So what does it matter whether they are true or false if, in both cases, they are significant of what I have been and of what I am?  Sometimes it is easier to see clearly into the liar than into the man who tells the truth.  Truth, like light, blinds.  Falsehood, on the contrary, is a beautiful twilight that enhances every object. 

2010年8月7日 星期六

勘誤表 Errata: an Examined Life - George Steiner

無論是情感、智識及專業各方面﹐我都不信任理論。只要我能力所及﹐在科學﹐或是某種程度內的應用科學裡﹐我能夠把意義和理論概念相結合。理論可以從數學或邏輯驗證中成立﹐而它們要求的是關鍵的實驗以驗證其真偽﹐如果實驗結果不符﹐理論就會被取代。但在人文學科、歷史研究及社會研究或是品評文學及藝術﹐要從「理論」著手﹐我覺得是虛偽不實的。人文學科既不須實驗﹐也無法驗證(除非是就物質的﹐紀實的層次來談)。我們對人文學科的翻譯是直覺的敘事。在語意無拘無束的活力中﹐在意義的長流裡﹐在詮釋不受限制的交互作用裡﹐唯一的命題是個人選擇、品味、回 音的相近或聽而不聞。...... 我認為當前理論在文學、歷史、社會學等論述的勝利﹐其實是自我欺騙﹔無非是因為科學站上風﹐人文學科為了背水一戰而發展出來的。

法文即使是以抒情的形式呈現﹐也是一種公共媒介(法文裡並沒有確切指示「隱私」的辭彙)。法文強調雄辯滔滔﹐到了走火入魔的地步。即使是和情色相關的文字﹐也隨處可見冠冕堂皇的修辭和華麗用典的辭藻﹔法文中的死亡也可能喋喋不休。

羅馬劇作家說﹕「只要是人性的﹐於我都無甚陌生」(Nihil alienum)。或者換一種方式說﹕有時候﹐其他人的出現哪裡比得上我自己更令自己感到陌生﹖

我相信﹐從生理局限的解放出來﹐從我們自身死亡以及個人和集體失望的外在永恆毫無出口的牆垣解放﹐靠的無非是語言。就生物社會的角色而言﹐我們確實是短命的哺乳動物﹐和其他動物一樣會絕跡。但是我們是語言動物﹐這一點天賦異秉非常重要﹐使我們短暫生命變得能夠忍受且有意義。人類言說的演化 -也許來得遲 -假設句﹐祈使句﹐反事實的條件句﹐及動詞的未來時態(並非所有語言都有時態)﹐已定義並保障了我們的人性。正是因為我們能夠述說有關十億年後的宇宙故事﹐無論是虛構的或是數字 - 宇宙論的﹐因為我們能夠﹐如前所述﹐討論、概念化自己火化之後的星期一早晨﹐因為「如果」的句子能夠隨意地去否定﹐重建﹐改變過去、現在、和未來﹐以另一種可能勾勒實際現實的決定因素﹐所以存在始終值得體驗。文法就是希望。

2010年8月6日 星期五

臨時愛情 - 哈金

那天夜裡祖明堅持要做愛﹐麗娜也願意。完事後﹐丈夫睡了過去﹐而她卻好幾個小時都睡不著﹐聽著他打呼嚕。雖然聲音不大﹐但像隻破風扇。

2010年8月3日 星期二

創世紀

應該要從另外一個世紀醒來,睜開眼,一切還是一樣。應該要跨過什麼,但跨不過去。像在諾亞方舟上說了不好笑的笑話,被扔到海裡的恐龍還是長毛象;洪水來不能沖走你,地球爆炸沒把你散成分子,要靠自己創世紀。

這不是你一直在做的事情嗎?但你寫不出來,渾身乏力。

你想移動,不知往哪裡去。你知道這無需想像力,而是動力。你對醒來見到的狀況不甘心。你需要的不是一場睡眠,是一場昏迷。早晨的地鐵裡迎面走來你的鬼魂,整裝待發、毫無血色;抹著一臉毒粉,一年吃掉一條鉛。

到最後他們都是你的敵人,站在你的相對面。你說不出謊言,誠實又不仁慈。不是你不想走,是你不知走到哪裡去。繞了這麼多次又似乎回到原點,消磨志氣。

從高處摔落的幻覺不停來喚你:想閉上眼睛,揮不去清醒。

2010年7月31日 星期六

一個夜行性動物的自白

走到路上去,夜裡。一一和他們說話。那是你最適合的角色...... 一個鬼魂。夜裡的那些城市。你走過。你熟悉的。黃色的照在地上的燈,洗刷過石板路發光的雨。其它的遊魂。橋墩。兩邊的聖人。山上一個發亮的城堡。無人的櫥窗前。 

喔。說了什麼並不重要。交換過什麼並不重要。因為夜包裹著你們- 它永遠不會結束。親愛的。它永遠不會結束。

2010年7月3日 星期六

明日世界

這一年,要用什麼作為單位衡量?新的城市,走過的路,拍下的照片,遇見的人。那些新嚐的美食,讀的書、寫的字、看的電影、課程、人。產生了什麼新想法、或臉上還捉摸不清楚的細紋。產生了什麼新迴路、多相信什麼、多不相信什麼、對什麼開始毫無所謂,或是更輕易的裝作無所謂的模樣。

誰知道我是走前了還是往後退,總之是移動著。該習慣的四季和那些上上下下的興奮和絕望。我知道我什麼都不知道。理解自己是不可被理解的。掌握我什麼也掌握不到的事實。擁有誰也無法真正被誰擁有的真實。自信我再也不會對自己這樣自信,我不知道明天的我,明天的我可以在這裡知道我。

等我走到金光閃閃的對方,太陽將會把我深深灼傷。我將會相信謊言,我將會說謊;我將會吃驚,我將會讓人吃驚。還有更深的絕望和孤獨在等待我,我知道。那是我最大的勇氣和喜悅。

2010年6月29日 星期二

為什麼我的世界始終沒有變小 - Tony Wheeler


... 今天我們生活的這個星球看起來像是陷入了一個永無休止的怪圈:衝突,誤解還有悲傷和心碎。但與此同時旅行也一直在不斷地提醒我們:我們生存的這個世界是如此美好而這個美好的世界是屬於我們大家的。對於一些國家來說,旅遊業對他們的經濟十分重要,而對於無數旅行者來說,旅行則會給他們帶來巨大的滿足和喜悅。但更為重要的是旅行能夠以最積極的方式去幫助人與人相互結識,去讓我們認識到我們有著同樣的希望和渴求,去證明我們可以擁有一個更美好的世界。

不管經歷過多少陽光與風雨,也不管在這些年裡Lonely Planet 帶著我走過多少徬徨,對我而言,旅行一直都讓我充滿熱情,我也願意為之付出一切。塞給我一張機票,告訴我出發的方向,我馬上就可以動身上路。這些旅程不斷提醒我為什麼我的熱情始終未曾退卻,為什麼我的世界始終沒有變小,以及為什麼我的旅行癮似乎,令人幸福地,永遠也不能治癒。

Tony Wheeler
Lonely Planet 創始人

Lonely Planet China Blog

2010年6月19日 星期六

Women - Charles Bukowski

A young guy - at least 6 feet 6 inch tall - walked up to me. "Look, Chinaski, I don't believe all that shit about you living on skidrow and knowing all the dope dealers, pimps, whores, junkies, horse players, fighters and drunks...."
"it's partly true."
"Bullshit," he said and walked off. A literary critic.
Then this blonde, about 19, with rimless glasses and a smile walked up. The smile never left. "I want to fuck you," she said. "it's your face."
"What about my face?"
"It's magnificent. I want to destroy your face with my cunt."
"It might be the other way around."
"Don't bet on it."
"You're right. Cunts are indestructible."

I took my bottle and went to my bedroom.  I undressed down to my shorts and went to bed.  Nothing was ever in tune.  people just blindly grabbed at whatever there was: communism, health foods, zen, surfing, ballet, hypnotism, group encounters, orgies, biking, herbs, Catholicism, weight-lifting, travel, withdrawal, vegetarianism, India, painting, writing, sculpting, composing, conducting, backpacking, yoga, copulating, gambling, drinking, hanging around, frozen yogurt, Beethoven, Bach, Buddha, Christ, TM, H, carrot juice, suicide, handmade suits, jet travel, New York City, and then it all evaporated and fell apart.  People had to find things to do while waiting to die.  I guess it was nice to have a choice.
I took my choice.  I raised the fifth of vodka and drank it straight.  the russians knew something.

人間失格 - 太宰治

只要將錢包交給崛木﹐與他同行﹐崛木便會大肆殺價。可能因為他很懂得玩樂﹐所以他總是能發揮厲害的花錢本事﹐以少許的花費換取最大的效果。他不坐昂貴的計程車﹐而是善用電車﹐巴士﹐蒸汽船﹐以最短時間抵達目的地﹐展現他厲害的本事。早上從娼樓返家的路上﹐他會順道繞往某家餐館泡熱水澡﹐再點個湯豆腐配小酒﹐價格便宜﹐感覺卻很奢華﹐以此對我實地上了堂課。此外他還告訴我﹐攤販賣的牛丼飯和烤雞肉串既便宜又營養﹐還向我拍胸脯保證﹐最快讓人喝醉的酒﹐非電器白蘭地莫屬﹐總之﹐有他買單﹐我從不會感到不安和惶恐。

和崛木交往的另一個好處﹐是他完全不理會對方的想法﹐一味任憑自己的熱情發散(也許所謂的熱情﹐就是無視對方的立場) ﹐一天二十四小時總是言不及義﹐完全不必擔心我們兩人走累了﹐會陷入尷尬的沉默中。

2010年6月16日 星期三

美麗的她

她從樓梯上直挺挺地走來。米色貼身西裝裙上面是同色內裡,外面套著薄薄灰色毛衣,兩片荷葉邊柔軟地吹拂。皮帶剪出鬆緊段落,高跟鞋、黑色的介於皮包和公事包之間的袋子,細細地背在單肩上。啊我喜歡那銀釦子怎樣輕輕地鎖住皮革,像門上那小手形狀的舖首抓住的門環。染過色的長髮高高的托在後腦,端正又凌亂。臉上撲了極其完整的妝,那是白日所不可親近的,靠過去都能沾在大衣上。

她戴著眼鏡緊閉雙唇走向地底的電車,托著全副精神向著世界站著。曾經有誰令她幾乎錯覺她卸下一切以後能夠不用再做坚强。最後給了她“你不會當真吧”的微笑。她像幼鹿一樣靠自己的力量雙腿發軟地站起來;她顯然錯認幼鹿會是天真的無比殘忍的他,她以為自己是保護他遠離現實世界的母鹿,他隨即一槍打進她身體。

她把那眼睛永遠閉上。張開時是另外一雙。

衣服一件件穿上。面具一張張套上。他買的這些假皮,以便剃下她真正的尊嚴。她微笑。


她緊抿著嘴角走在早晨,比任何人都還要高直。那冷風呼呼地襲在每個人身上。她直挺挺地走進地上開出來的洞穴,裡面有部車,帶她去所有地方。任何地方。但她已哪裡也不想去。她直直地看著前方,義無反顧地走下去。

2010年6月15日 星期二

A Week at the Airport: A Heathrow Diary - Alain de Botton

I was reminded of the Roman philosopher Seneca's treatise On Anger, written for the benefit of the Emperor Nero, and in particular of its thesis that the root cause of anger is hope. We are angry because we are overly optimistic, insufficiently prepared for the frustrations endemic to existence. A man who scream every time he loses his key or is turned away at an airport is evincing a touching but recklessly naive belief in a world in which keys never go astray and our travel plans are invariably assured.

I know, at least in theory, that Norcock could not always, in every circumstance, be a model of authoritative and patriarchal behaviiour. He, too, must be capable of petulance, of vanity, of acting foolishly, of making casually cruel remarks to his spouse or neglecting to understand his children. There are no directional charts for daily life. But at the same time, I was reluctant to either accept or exploit the implications of this knowledge. I wanted to believe in the capacity of certain professions to enable us to escape the ordinary run of our frailties and to accede, if only for a moment, to a more impressive sort of existence than most of us will ever know.

Another man explained that he had been visiting his wife and children in London, but that he had a second family in Los Angeles who knew nothing about the first. He had five children in all, and two mothers-in-law, yet his face bore none of the strains of his situation.

'For what purpose is all the toil and bustle of this world? What is the end of the pursuit of wealth, power and pre-eminence? To be observed, to be attended to, to be taken notice of with sympathy, complacency, and approbation.' Adam Smith, The Theoryy of Moral Sentiments (1759)

We may ask our destinations, 'Help me to feel more generous, less afraid, always curious.  put a gap between me and my confusion; the whole of the Atlantic between me and my shame.'  Travel agents would be wiser to ask us what we hope to change about our lives rather than simply where we wish to go.  

2010年5月21日 星期五

性史 - 江平

啊!她打扮得花枝招展地出門去了,她打扮得如天仙化人地要到一個我不能去的地方去了。

2010年5月20日 星期四

一座島嶼的可能性 - Michel Houellebecq

我不能夠再忍受的﹐是笑﹐是笑本身﹐臉部肌肉的這一突如其來的猛烈扭曲﹐讓人類的臉徹底變形﹐讓它在一瞬間裡喪失任何尊嚴。如果說人能笑﹐如果說人是動物界中唯一能展示這一可怖得面部變形的種類﹐那是因為﹐如果不考慮其他動物自我中心的本性﹐他也是唯一能達到殘酷最慘無人道得最高階段的物種。

愛情使人軟弱﹐兩人中最軟弱的一個會被另一個壓迫、折磨、甚至殺死﹐另一位則壓迫、折磨、殺死﹐而毫不想到痛苦﹐甚至也不體驗到快感﹐而僅僅帶著一種徹底的無所謂﹔這就是人們通常所說的愛情。

斯湯達爾﹕美貌是對幸福的一種承諾。

也許﹐除了跟一個心愛的女人﹐我跟別的人從來就沒有過真正的交談﹐從心底裡﹐我覺得這一點十分正常﹐跟某個根本不熟悉你肉體的人交流思想﹐跟一個你不能讓他感到痛苦﹐或者相反﹐給他帶來快樂的人交流思想﹐是一種虛假的練習﹐而且最終根本就是不可能的﹐因為我們都是肉體﹐我們首先是﹐從根本上是﹐而且幾乎就只是肉體﹐而我們肉體的狀況如何﹐構成了對我們絕大多數和道德觀念的真正解釋。

叔本華寫道﹐當性的本能死亡時﹐生命的真正內核也就耗盡了﹕因此﹐他在一個具有某種可怕暴力的隱喻中寫道﹕人類的存在就像是扮演一齣戲劇﹐一開始是由活生生的演員來表演得﹐到最後﹐則是由一些穿著同樣服裝得機械人來表演。

男人們從誕生之時起就生活在一個艱難的世界中﹐一種充滿了賭徒的簡單而又無情的世界中﹐如果沒有女人的諒解﹐實在沒有多少人能勉強活下去。

來了差不多兩百人﹐我無疑是唯一超過二十五歲的人﹐但是﹐儘管如此﹐我還是沒有失態﹐我在一種奇特的鎮靜狀態中﹔沒錯﹐從某種意義上說﹐災難早已發生﹐有什麼好慌張的。

我心底裡感覺到的這種專一的愛的情感﹐它正在越來越殘酷地折磨我﹐最後甚至可能把我徹底消滅﹐但是﹐它跟她身上的任何東西絕對都沒有牽連﹐它沒有絲毫的確鑿證明﹐絲毫的存在理由﹕我們的肌膚是各不相同的﹐我們不可能感覺同樣的痛苦﹐也不能體驗同樣的快樂﹐我們顯而易見是彼此分離的生命。......  也許﹐愛情從來就如同在尼采看來的憐憫那樣 - 只是由弱者發明出來的虛幻架構﹐為的是讓強者覺得有罪﹐為的是給他們本質上的自由和他們本質上的殘忍設下界限。

2010年5月19日 星期三

Pregnant Widow - Martin Amis

"I had a birthday suit once, but it doesn't fit anymore."

When he recently became a grandfather - he has two grown sons from a previous marriage and an adult daughter.  "it was like a telegram from the mortuary."

2010年5月18日 星期二

左小詛咒

3.我不能悲伤地坐在你身旁
 
那杆枪被你扔了
我也没有说我用不上那玩意儿
我需要它去杀某个人 在昨天
我不能悲伤地坐在你身旁

当我推开那扇门
想看看永恒荣光的壮景
那没有他们说的实用阶梯 然而我
又不能悲伤地坐在你身旁

那把吉它你拿回来了
你也没有说我用不上那玩意儿
我需要它来歌唱 在今天
我不能悲伤地坐在你身旁

在我走出那扇门
撕下某本书的二百五十二页
它用黑色镶金这般地写着:
我不能悲伤地坐在你身旁

1 讓我再見一次大夫

把我從福爾馬林的標本瓶裡撈起來
讓我跋涉在這條充滿燒餅味的路上
把我腦袋勺後的那根通氣管拔掉
讓它變成柔軟的繼續躺在我咽部

讓這部人力車牽引我到外科大夫家
讓他奶奶的看看我腹股溝下的青煙
讓我再見一次你——大夫
我要找回我的左股、左腿、左肋、左手、左肺、右派的爹

4 媚笑陽台

“愛情是你好,再見
直到我們再次相見”
死亡是窗口,陽台
等到我們跳下陽台

有人哀求有戶窗口
有人乞求高高陽台
愛情對死亡開始憐憫
憐憫給愛情燒上紙錢

2010年5月10日 星期一

四章書 泰戈爾

那麼你要些什麼呢?
我要三天不不上學。
你告了假做什麼呢?
我要做一個兔子箱。
你一隻兔子也沒有了,做了箱子乾嘛?
兔子可以來幻想的,重要的是做這個箱子。

生命,這位作偽的能手,模仿著永恆的筆跡;死亡來到便撕毀了這張偽造的文件。

2010年5月5日 星期三

The Impulse Factor - Nick Tasler

You might fancy yourself as unpredictable, but even your self-proclaimed unpredictability makes you all too predictable.  

One of the peculiar traits often found in people with attention deficits is that they are also prone to periods of "hyperattentiveness."  Instead of their minds wandering, they become intensely focused.  It is as if their dopamine receptors roam aimlessly through a catalog of new experiences searching for adequate stimulation.  When they find that stimulation, they fervently attack it.  They "figure out a way to make it keep going."  If the time pressure were absent, the stimulation would be missing as well.

Seth Godin:"bring me three failures by the end of the week or you're fired."
"Now, of course, safe is risky."
"safest thing they can do, it turns out, is become a thrill seeker."

2010年5月1日 星期六

可笑的愛 - Milan Kundera

舊鬼讓位給新鬼

她沒有理由在面對一個真實的生命時﹐偏偏去選擇紀念碑﹔對她來說﹐她自己的紀念碑只有一個存在的理由﹐就是她現在可以為了她被瞧不起的身體來背叛它﹔因為她喜歡坐在她旁邊的這個男人﹐他年輕﹐而且很可能(幾乎可以說是非常確定的)是她最後一個會喜歡的男人、她最後一個能擁有的男人﹐這一點才是最重要的﹔要是接下來她讓他倒胃口﹐毀了她記憶中她的那座紀念碑﹐她也不在乎了﹐因為這座紀念碑在她身外﹐正如這個男人的思緒、記憶在她身外一樣﹐而凡在她身外的她一概不放在心上。「你以前不會說這種話的﹐媽媽﹗」她聽見她兒子的叫喊﹐可是她根本沒聽進去﹐她臉上帶著微笑。

永恆慾望的金蘋果

有一位宗教作家曾經說過﹐猶大背叛耶穌﹐正是因為他「太相信」耶穌﹔他沒有耐心等待奇跡﹐沒有耐心等候耶穌為所有猶太人展現祂的神聖力量﹔所以他把耶穌賣給羅馬總督﹐迫使耶穌行神跡奇事。他背叛耶穌﹐因為他急著要那榮耀的時刻來到。

老實說﹐要是有一天我得放棄這些象征著青春的追求行動﹐我做不做得到﹖要是我不要只是「模仿」這些追求的舉動﹐不要在我理智的生活中闢一個小小的場地﹐保留給這個愚蠢的活動﹐ 那我又能做些什麼呢﹖就算這一切只是無益的遊戲﹐那又有什麼關係呢﹖而且我知道了這些﹐又有什麼關係呢﹖我會因為這個遊戲是無益的﹐而放棄嗎﹖

「那也可以啊﹖」他說﹕「沒什麼不可能的。」接著我們就開始討論相關的計劃。計劃越來越明確﹐在漸次垂落的夜色中﹐它很快就搖搖晃晃的出現在我們眼前﹐就像是一顆成熟燦爛的金蘋果。

請允許我用誇張的修辭﹐把這顆蘋果稱為「永恆慾望的金蘋果」。

二十年之後的哈維爾醫生

她雖然口裡說是嫉妒﹐但是她人太善良﹐不會真的嫉妒什麼﹔哈維爾反而很可憐她﹐因為他知道孩子所帶來的快樂無法取代其他的快樂﹐而且如果某種快樂負有責任去取代別種快樂的話﹐那這種快樂一定很快就快樂不起來。

小鎮平庸的品味製造了一種假的理想美﹐基本上﹐這種理想美是非情色的﹐甚至是反情色的﹐而真正魅力的所在﹐情色的、具有爆炸性的美﹐卻不是這種品味的人所能領略的。在這裡﹐我們周圍的確有些女人能夠引導男人去經歷最刺激的感官冒險﹐只是沒有人察覺她們的存在。...... 因為她們不符合這裡得標準﹔事實上﹐情色的魅力是藉由獨特性來表現的﹐而非藉由規格化﹔是藉由表達力來表現的﹐而非藉由度量標準﹔是藉由不規律性來表現的﹐而非藉由平庸的漂亮。

艾德華和上帝

一抹苦笑浮現在女校長的臉上﹐艾德華看了幾乎要同情她。她那副醜樣子還滿觸動人的﹔黑色的頭髮圈著她消瘦狹長的臉﹐鼻子下面黑色的寒毛帶有一點鬍髭的效果。他忽然明瞭了她生命所有的悲愁﹔他看見她臉上的輪廓透露了她是個有極端強烈感情的人﹐同時﹐他也看見她醜陋的長相透露了這種強烈感情很難得到飽足﹔他想像她﹐在史達林去世的那一天﹐她懷抱著滿腔的熱情化身為悲痛的活雕像﹐她懷抱著滿腔的熱情參加千百種的聚會﹐懷抱著滿腔的熱情攻訐可憐的耶穌﹐他明瞭所有的這一切不過是一種愁悶的宣洩﹐因為她的慾望無法流瀉到它想望的地方。艾德華還年輕﹐他的同情心還沒有耗盡。他用諒解的眼神看著女校長。

“我願意為你做任何事情。”

以前從來沒有人對艾德華說過這樣一句話﹔這一句話﹐是上天的賞賜。當然﹐艾德華心裡也明白他不配得這個賞賜﹐可是他心裡想﹐既然命運拒絕賞賜給他配得得﹐那麼他就有權利接受他不配得的。

我知道你一向是個直爽的人﹐你對自己這一點很驕傲。可是﹐請你想想這個問題﹕「為什麼」要說實話﹖是什麼強迫我們這麼做﹖為什麼把誠實看做是一種美德﹖假設你遇到一個瘋子﹐他說他自己是魚﹐我們每一個人也都是魚。你會和他爭論嗎﹖你會在他面前脫掉衣服﹐好讓他看看你沒有魚鱗嗎﹖你會當他的面對他說你心裡真正想的嗎﹖

... 要是你對他說實話﹐把你真正的想法告訴他﹐這意思就是說﹐你同意和一個瘋子進行嚴肅的對話﹐你同意你自己也是個瘋子。我們所處的這個世界正是這個樣子。如果你執意要當一個人的面說實話﹐這就表示你嚴肅的看待他。嚴肅的看待一件根本不嚴肅的事﹐意味著自己也要喪失自己的嚴肅。我啊﹐我為了不要嚴肅看待瘋子﹐不要自己也變成瘋子﹐就「必須」說謊。

2010年4月20日 星期二

我們那個時代的民間傳說/高度資本主義前史 - 村上春樹

不過他當然並沒有拒絕。為什麼要拒絕呢﹖那是個永遠的童話。那恐怕是一生中僅有一次的美麗神話。那位伴隨他一起度過最容易受傷的時期的美麗女友對他說﹕我想和你上床﹐現在就來我家。她就住在附近。而且那是個在遙遠的過去﹐在森林深處悄悄許下的傳說般的承諾。

「我在她那裡停留的時間﹐總共一個小時左右。我記不太清楚﹐不過大概是那麼久。差不多是那種程度。如果繼續留在那裡﹐我覺得自己也許會變得神志不清呢。」他這麼說之後露出微笑。「然後我對她說聲再見就離開了。她也對我說再見。於是那真的就是最後的再見了。我明白那一點﹐她也明白。我最後看她時﹐她雙手抱在胸前﹐站在門口。她似乎想說什麼﹐但什麼也沒有說。她想說些什麼﹐我不問也知道。我覺得非常...... 非常空虛。好笑一個空洞。周遭的聲音奇怪地響著。各種東西的模樣都歪歪扭扭的。我在那一帶漫無目的地走著。我覺得﹐自己以往的歲月仿彿像是毫無意義的消耗。我好像立刻折回她家﹐不顧一切把她緊緊抱住。可是那種事我做不到。根本做不到。」

「當一切事情結束以後﹐國王和大臣們都捧腹大笑。」他終於又說道﹐「每次我想起當時的事情﹐都會聯想到這一段文章﹐就像是條件反射一樣。我認為﹐在深深的悲哀中總是包含著些許的滑稽。」


我認為﹐正如一開始曾經提過的﹐這個故事中並沒有足以稱為教訓的東西。不過﹐這是發生在他身上的故事﹐也是發生在我們大家身上的事。因此我聽了那個故事卻無法大笑﹐直至今日依然如此。

2010年3月28日 星期日

Liberty - Paul Eluard (1945)

On my school notebooks
On my desk and on the trees
On the powdery snow
I write your name

On the pages read
On all the blank pages
Stone, blood, paper or ash
I write your name

On the gilt imgaines
On the warriors' weapons
On the king's crown
I write your name

On the jungle and the desert
On the nests and the briers
On the echo of my youth
I write your name

On all my blue scarves
On the damp sunlit swamps
On the living moonlit lake
I write your name

On the fields, on the horizon
On the birds' wings
And on the shadowy mill
I write your name

On every daybreak breeze
On the sea, on the boats
On the demented peaks
I write your name

On the froth of the cloud
On the sweat of the storm
On the dense, flat rain
I write your name

On the scintillating forms
On the colorful bells
On the physical truth
I write your name

On the elevated paths
On the deployed roads
On the overcrowded city square
I write your name

On the lit lamp
On the spent lamp
On my reunited reasonings
I write your name

On the bisected fruit
Of my mirror and my room
On my bed, my empty shell
I write your name

On my dog, sweet gourmand
On his piqued ears
On his blundering paws
I write your name

On the latch of my door
On those familiar objects
On the torrent of a bonfire
I write your name

On all comfortable flesh
On the foreheads of my friends
On all outstretched hands
I write your name

On the windowpane of surprises
On the expectant lips
Far deeper than silence
I write your name

On my ruiined hiding-places
On my sunken lighthouses
On my walls and my boredom
I write your name

On absence without desire
On naked solitude
On death's march
I write your name

And by the power of a word
I regain my life
I was born to know you
To name you

Liberty. 

The Infinity of Lists - Umberto Eco

The fear of being unable to say everything seizes us not only when we are faced with an infinity of names but also with an infinity of things.  

Quisquis amat ranam, ranam putat esse Dianam [whosoever loves a frog, thinks that frog Diana].

Finally, we come to the Mother of all Lists, infinite by definition because it is in constant evolution, the World Wide Web, which is both web and labyrinth, not an ordered tree, and which of all vertigos promises us the most mystical, almost totally virtual one, and really offers us a catalogue of iinformation that makes us feel wealthy and omnipotent, the only snag being that we don't know which of its elements refers to data from the real world and which does not, no longer with any distinction between truth and error. 

上癮五百年 Forces of Habit - David T Courtwright

我要...... 一個撒了糖霜的蛋糕﹐但希望是巧克力口味的﹐裡面的巧克力也要黑得像被燻黑的魔鬼屁股。Marquis de Sade

幸福感與解脫感都是化學分子湊巧產生的結果。只有少數有毒的分子(如果這些分子能夠順利進入循環系統並且穿越從血液到大腦的障礙) 能夠模擬或影響腦部的獎賞與痛苦的控制中樞之內的神經傳導素。身體機能在快感方面很是吝嗇。誘發幸福感的神經傳導素分配得非常儉省﹐而且大都發給對於求生或繁衍后代有益的表現。藥物會矇騙這個發送系統﹐促使這些誘發快感的神經傳導素暫時增多。

曾經上癮的人就算徹底解毒  - 古柯鹼之類的藥物完全戒除乾淨可能需要好幾個月時間﹐也會變了一個人。大腦會記得達到快感的化學藥物捷徑﹐生活環境中的細微線索 - 例如常去的酒館招牌 - 都可能挑起強烈的渴望。藥物上癮是一種慢性的﹐好復發的腦部疾病。

.....抓住消費習慣仍有可塑性的年輕人。受影響度排行榜第一的是年輕﹐單身﹐人際活動偏少﹐欠缺體質或文化背景上的防範機製﹐已經在使用其他藥物的都市男性﹐這一類人最有可能試用新的藥物﹐而且試用後會上癮。

美國人即使負擔不起車子也要開車﹐不該看電影的時候也照樣上電影院﹐為了買香煙幾乎什麼都可以不要。假如你想賺錢﹐要挑一個可靠的壞習慣。人在年頭不好的時候會放棄很多必須品﹐卻絕不會想到要戒掉自己的壞習慣。 

據說﹐杜克剛知道有製煙機﹐就要人拿一本世界地圖給他看。他一頁頁翻著﹐不看地圖﹐只看人口數字。翻到中國這一頁﹐看見「人口﹕四億三千萬」﹐他便說﹐那就是我們要去賣香煙的地方。

Michael Ondaatje - Divisadero

When I come to lie in your arms, you sometimes ask me in which historical moment do I wish to exist. And I will say Paris, the week Colette died... Paris, August 3rd, 1954. In a few days, at her state funeral, a thousand lilies will be placed by her grave, and I want to be there, walking that avenue of wet lime trees until I stand beneath the second-floor apartment that belonged to her in the Palais-Royal. The history of people like her fills my heart. she was a writer who remarked that her only virtue was self-doubt. (A day sor two before she died, they say Colette was visited by Jean Genet, who stole nothing. Ah, The grace of the great thief...)

'We have art," Nietzche said, "so that we shall not be destroyed by the truth."

那些我躺在你手臂上的時刻﹐有時你問我最想回到哪個歷史時段。我會說巴黎﹐科雷特過世的那個禮拜...... 1954年﹐八月三日的巴黎。幾天後﹐在她的國葬上﹐千百朵百合擺在她的墓前﹐我想在那裡﹐走過菩提树的大道﹐來到她在大皇宮二樓的公寓樓下。像她一樣的人生令我感動。她唯一的道德就是自我懷疑﹐這樣的一個作家。(人們說﹐惹內在她死前一兩天拜訪了她﹐什麼都沒偷。啊竊賊的善意...)

“我們有藝術﹐”尼采說﹐“我們永遠不會被真理毀滅。”

2010年3月25日 星期四

prayer in bad weather - Bukowski

...

it's not the fucking and sucking
alone that reaches into a man
and softens him, it's the extras,
it's all the extras.

2010年3月23日 星期二

Tropical of Cancer - Henry Miller

已經完全沒有什麼可以期待的了。這個體認對我來說﹐有非常重大的意義。日復一日﹐年復一年﹐可以說﹐這大半輩子我一直在期待能發生什麼事﹐期待外來的事件來改變我的生活﹐而現在﹐突然之間﹐由於對一切事情的徹底絕望﹐我得到解放﹐感覺好像一個重擔剛從肩膀上卸下來。天快亮的時候﹐我和年輕的印度人分手。走之前﹐我跟他要了幾個法郎﹐找個旅館睡不成問題。走到蒙帕那斯附近﹐我決定要讓自己隨波逐流﹐決不跟命運做任何抵抗﹐不管命運以什麼姿態出現。到目前為止﹐在我身上發生過的事情﹐還沒有任何一件足以摧毀我﹐被摧毀的﹐只是我的妄想。我人還是完好如初﹐世界也一樣完好如初。明天也許會有一場革命﹐一場瘟疫﹐或一場大地震﹔明天也許你就找不到半個人同情你﹐幫助你﹐鼓勵你。對我來說﹐一場巨大的災難似乎已經清清楚楚的擺在眼前﹐我再也不可能像這一刻一樣孤獨。我下定決心﹐絕對不再依附任何東西﹐絕對不再期待任何東西﹐今後我要像動物﹐野獸﹐流浪漢﹐土匪一樣過活。...... 我已經找到了上帝﹐可是他實在不夠看。精神上我是死了﹐肉體上我還活著﹐道德上我無牽無掛。我離開的世界是一個動物園﹐黎明的曙光正照耀著一個新的世界﹐一個叢林世界﹐在這個世界﹐野獸餓了就會伸長利爪﹐仰天長嘯。如果我是土狼﹐那我是一隻瘦又餓的土狼﹕現在我準備上路把自己養胖。

Niccolo Machiavelli, d. 1527

I desire to go to Hell and not to Heaven. In the former I shall enjoy the company of popes, kings and princes, while in the latter are only beggars, monks and apostles.

Charles Bukowski - The Genius Of The Crowd

there is enough treachery, hatred violence absurdity in the average
human being to supply any given army on any given day

and the best at murder are those who preach against it
and the best at hate are those who preach love
and the best at war finally are those who preach peace

those who preach god, need god
those who preach peace do not have peace
those who preach peace do not have love

beware the preachers
beware the knowers
beware those who are always reading books
beware those who either detest poverty
or are proud of it
beware those quick to praise
for they need praise in return
beware those who are quick to censor
they are afraid of what they do not know
beware those who seek constant crowds for
they are nothing alone
beware the average man the average woman
beware their love, their love is average
seeks average

but there is genius in their hatred
there is enough genius in their hatred to kill you
to kill anybody
not wanting solitude
not understanding solitude
they will attempt to destroy anything
that differs from their own
not being able to create art
they will not understand art
they will consider their failure as creators
only as a failure of the world
not being able to love fully
they will believe your love incomplete
and then they will hate you
and their hatred will be perfect

like a shining diamond
like a knife
like a mountain
like a tiger
like hemlock

their finest art

2010年3月22日 星期一

愛之逃 - Bernhard Schilink

他覺得如果自己留下來﹐就得和那女子上床﹐但是他不想。幾年前他突然決定戒煙﹐那種每天不再需要抽上五﹐六十根煙的輕鬆感﹐使他重新思考什麼是非必須品的問題﹐接下來放棄喝酒﹐然後愛情﹐然後食物 - 再來該輪到他的肉身成為非必須品﹐在他看來似乎是容易又自然的步驟。當初他穿上道袍出發時﹐戒掉了喝酒的習慣﹐並且體驗到不再每晚喝光一瓶紅酒的輕鬆感。開始過一個穿上道袍、力行獨身男人的生活時﹐他也接著進行下一步﹐吃飯對他而言反正已經越來越無所謂了。

2010年3月15日 星期一

Cahit Sitki Taranci 火車

去什麼地方呢?這麼晚了,
美麗的火車,孤獨的火車?
淒苦是你汽笛的聲音,
令人記起了許多事情。

為什麼我不該揮動手巾呢?
乘客多少都跟我有親。
去吧,但願你一路平安,
橋都堅固,隧道都光明。

2010年3月6日 星期六

遠方的鼓聲 - Haruki Murakami

我所住的公寓還算寬敞﹐以帕勒摩來說算是舒服好住的地方﹐然而一整天車輛噪音還是很嚴重﹐頭都有點痛起來。尤其半夜更嚴重。巡邏警車或救護車發出叭咘叭咘的聲音在路上疾駛。機車經常嘰咿咿咿地緊急剎車。車上裝的防盜器遇到什麼狀況就發出嗶-嗶-嗶-嗶大音量的聲響。被雙排停車出不來的車子主人則叭----、叭----------﹐按兩百次左右的喇叭。這種情況大多一直延續到半夜三點為止。從靜悄悄的米克諾斯忽然來到這樣的地方﹐簡直是地獄。杜斯妥也夫斯基雖然暗示過有別種內省性的地獄村子﹐但對我來說﹐這種程度的地獄就已經很夠受了。

在西西里印象最深刻的事﹐再怎麼說還是吃的東西。話雖然如此﹐但在米其林旅遊書上所記載的有星號的餐廳倒不見得特別美味。我也試著去了幾家那樣的餐廳﹐很多卻讓我不敢苟同(米其林傾向於比較會推薦菜無懈可擊的店﹐我覺得在這層意義上好像無法對意大利菜的美好價值和勁道給予適當評價)。說起來﹐我覺得在西西里﹐與其無懈可擊的菜﹐不如“會出差錯的菜”還比較美味。就像歌劇一樣﹐雖然多少粗曠一些﹐但還是有氣勢的應該會比較適合西西里這裡的風土。在這層意義上﹐心血來潮地隨意走進街上的一家餐廳﹐好像還很能遇到讓你欣賞的好菜。當然有時也會吃到很糟糕的。

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寫長篇小說﹐我想對我來說是一件非常特殊的行為。不管在任何意義上﹐都不能成為日常行為。如果要勉強舉例的話﹐就像是一個人獨自走進深深的森林裡去一樣。既沒帶地圖﹐也沒有羅盤﹐連食物都沒帶。樹木像牆壁般密生著﹐巨大的枝幹重重疊疊遮蔽了天空。裡頭到底生息著怎麼樣的動物﹐我也不清楚。

因此在寫長篇小說時﹐我每次都在腦子裡某個地方想著死這件事。

*

如果把這包著金箔扭曲變形的疑似階級社會叫做雅痞社會的話﹐或許日本社會現在正在確實在追求這樣的方向。在某一本雜誌裡的某一個女孩這樣說。我只想和開BMW700系列的男孩子約會﹐500或300系列的太窮我討厭。剛開始﹐我還以為那只是俏皮的玩笑。或是某種隱藏著雙重意思的複雜訊息。但那既不是玩笑也不是訊息。而是真正不假的本意。她們是認真坦白這樣說的。我想說﹐喂﹐那只不過是車子啊﹐只要方向盤一個偏差﹐就會撞上電線桿變成一堆廢物的東西而已。不過對她們來說那不是什麼東西。那是可以明確定位(pinpoint)出她們存在位置的重要共同幻想。

我當然不能笑這個。我往後還必須在這塊土地上﹐揹負著身為一個作家﹐身為一個人的責任繼續活下去。那是首要問題。而我連自己在這裡有什麼發言資格都還無法判斷。我連該笑什麼都還不知道。

*

有些喜悅是唯有精疲力竭之後才能夠獲得的。這是我繼續旅行所得到的真理。

2010年2月23日 星期二

Candide - Voltaire

憨第德

- 那麼﹐真的是你了﹐憨第德說﹐你還活著﹐我在葡萄牙又找到了你。那麼你沒有被強暴﹖你的肚子沒有被豁開 - 就像哲學家潘格羅斯確確實實向我講的﹖
- 哦﹐有哇!可愛的克妮岡蒂這樣說﹐但是這兩件事也並不總是叫人會死。

-你來過法蘭西嗎﹖馬丁先生﹖憨第德問。
-來過﹐馬丁說﹐我走過幾個省。有些地方的人是瘋子﹐有些地方的人又太狡猾﹐還有的地方的人太溫吞﹐另有些地方則太喜歡耍弄小聰明了些﹔但不管什麼地方﹐主要打發時間的方法都是一樣﹕第一是談情說愛﹐第二是造謠生事﹐第三是說一些蠢話。

-完全對﹐潘格羅斯說﹔因為人被放到伊甸園的似乎﹐是 ut operaretur eum(為了工作的)﹐因此他必須工作﹔這證明人不是生來悠悠度日的。
-讓我們不要空談空想﹐老老實實的工作吧馬丁說﹔這是唯一使生活可以忍受的辦法。
... -說得好﹐我們必須耕種我們的園子。

沙地克

"終於我快樂了!“沙地克說。但是他錯了。

不斷的享樂就不是享樂。

... 但並沒有所謂偶然這回事﹔一切都是試探﹐或懲戒﹐或報償﹐或預支。

麥克羅梅嘉斯

當我們這兩位哲學家已經準備好數學儀器﹐就要昇入土星上空的時候﹐那聽說他們就要離開的土星人的情婦卻揮淚而來。她是個漂漂亮亮的小黑女﹐只有六百六十噚高﹔但是她用了許多迷人之處來彌補她的矮小身材。”噢!沒心肝的人“她叫道﹐”我抗拒了一千五百年才開始投降﹐但我只在你懷抱裡過了一百年﹐你卻要把我遺棄﹐跟另一個世界來的巨人去旅行。去吧!你從來就沒有誠意﹐你對我們女人只是喜歡調戲調戲而已﹐你從來就沒有愛過我﹔如果你是個真正的土星人﹐你就該對我忠實。你們要到哪裡去閒蕩﹖你要我什麼﹖我們的五個月亮也比不上你這樣喜歡東奔西跑﹐我們的環帶也不如你善變。有一件事是定了的!我絕不會再愛別人。

那哲學家問她﹐跟她一同揮淚﹔然而他畢竟是哲學家﹐而那女方呢﹖在暈過之後﹐去找了一位當地的紈絝子尋求慰藉了。

午後公車

都是什麼人在這個時候坐公車﹖車上混合著酒精 香煙 大麻和更不可思議的氣味。剛上車的年輕女子遇見了熟面孔﹐兩人打著千篇一律的招呼﹐隨即又聽她歡呼起來“快快快﹐大錢﹐大錢﹐大錢...... 嘿!!!”她瞪著手機﹐喜不自勝的和剛剛打過招呼的男人說“啊哈!我贏了三塊﹐三塊!”男人定著海獅一樣巨大的臉﹐低沉地回﹐“那很好。”她拍子凌亂地疊著話﹐“三塊﹐很快就是三千塊﹐然後是什麼﹐是六千﹐六十千﹐六百萬﹐唉嘿!”海獅聲調一樣“六十百萬。”女子興奮了“六十百萬!!!啊哈!你不該再哈草了﹐哈哈!”像是她剛剛的推論就十分合理一樣。

發放免費報紙的女子走上前和司機說話﹐司機看也沒看她徑自說“你想就放一些在車上吧。”女子放下了報紙﹐嘴裡一邊討好著快速說著“這麼帥的司機真讓人分心啊!”﹐對話順序似乎錯了﹐兩人都不關心﹐她砰砰砰地跳下車去了。高壯的黑人男子一身昂貴的休閒衣﹐牛仔褲﹐耳朵裡塞著小白耳機﹐盯著手上的黑莓打字﹐這是要去做交易的。亞洲男子在這樣的雨天也戴著墨鏡﹐手裡勾著幾個白色塑膠袋﹐膝上還放著一巷泡面﹐這是要回家的。一群孩子推扯嚷嚷著下了車﹐這是剛下了課不知社會慘痛的。一再也看不出年紀的女子坐在電動輪椅上﹐後面吊著的粉藍色粉紅色玩偶全淋濕 - 這是我怎麼也讀不出來的。

2010年2月15日 星期一

A Portrait Of The Oceanographer As A Young Man.

無論他如何嘗試﹐那記憶一天比一天遙遠。他習慣閉上眼睛在心裡一次次復習一條一條街﹐兩個人經歷過的一舉一動﹐怕忘記又怕自己編造。時間是成形的固體﹐可以感覺一天天清楚地隔在他們中間﹐兩個人都覺得得提高聲調對方才會聽到﹐說什麼都像叫罵。於是也真的吵了幾架。誰也聽不懂誰在講什麼。維根斯坦的游戲竟然有這麼多玩法。每次對話結束都像痛揍了一團棉花﹐無故的疲倦﹐毫無效果 - 除了又忘記對方的表情一點。發現的時候已經面目模糊﹐雖然他不願想不敢講。他知道她正在忘記他像他忘記她一樣。問題是她永遠不 一 定 要到任何地方。

無愛繁殖 - 韋勒貝克

晚餐她烤了一條鱸魚﹔它們所存活的社會讓他們能在食物所需方面﹐比基本的需求還多了一點奢侈﹔因此他們也能試著活得好一點﹔問題只是他們已經沒什麼慾望想活得好一點了。他對她心存同情﹐因為她內心有那麼大量慷慨的愛﹐卻被生命全蹧蹋了﹔他對她心存同情﹐這也是他唯一還能感受到的人類的情感。除此之外﹐他的身體完全封凍﹐確確實實﹐他再也沒有愛的能力了。

回到巴黎﹐他們經歷了一些快樂的時光﹐就像香水廣告裡看到的畫面(一起走下蒙馬特的階梯﹔或是在藝術橋上擁抱著一動也不動﹐塞納河上轉彎的蒼蠅游船燈光照在他們身影上)。他們有時週日下午拌拌嘴﹐一片寂靜中他們的身體捲縮在床單下﹐安靜無聊的海灘上生命好像終結了。安娜貝爾的套房相當陰暗﹐下午四點就得開燈。他們有時候很悲傷﹐但更多時候是很嚴肅﹐他們兩個都很清楚他們現在經歷的﹐是最後一次與人發生的關係﹐這個感覺讓他們活的每一分鐘都像帶著痛楚。他們對彼此都非常尊重﹐都對對方無限憐憫。有時候﹐好像出現神奇恩典一般﹐他們經歷陽光燦爛﹐空氣清新的時刻﹐但大部份時刻他們覺得一個灰色的陰影籠罩著他們﹐籠罩著他們生活的世界﹐他們好像已經看見盡頭。

*

和她的這一段情﹐是他一生中從沒有過的美好時光﹐是一段重要而且嚴肅的人生。至少這是他有時看著她穿衣服或是在廚房裡忙碌時所想的﹔但是更多時候﹐星期當中她不在身邊的時候﹐他預感這只是個惡作劇﹐他生命中最後一個惡劣的大玩笑。我們最大的不幸﹐通常就是在最接近幸福的那一刻﹐面臨它的破滅的那一刻。



2010年2月8日 星期一

Plateforme - Michel Houellebecq

我眼前又出現我父親臥床的場景,突然頹喪萎靡—像他這樣活躍的人,真觸目驚心;那些登山好友圍繞床前,手足無措,無從抵抗。有一次他跟我解釋:他之所以這麼熱愛運動,是為了讓自己腦袋一片空白,不再思考。他做到了:我相信他這輩子是真的沒有面對到生命真實的疑問。

我的身份就是幾張資料,放在一個尋常的文件夾裡。每個個體都是獨一無二的、具有無可取代的獨特性真是個謬誤,就拿我來說吧,我察覺不出自己身上任何一丁點獨特性。我們奮力想分辨出個人的命運、個性,通常是徒勞的;歸結來說,人類個體獨特性只不過是個荒謬的假想。叔本華曾經寫過這麼一句:我們對自己生命的記憶,只不過比當年看過的小說記憶來得鮮明一點點而已。沒錯,就是這樣:多一點點而已。

性器官是存在的,是伸手可得、無盡歡愉的泉源。上帝創造人類的不幸,把人注定成過客,走這虛無一遭,面對殘酷結果,也好歹給了我們這一點卑微的補償。倘若沒有偶得的性歡愉,生命還剩下什麼呢?一場面對關節變硬、齒牙衰敗的無謂對抗,說的更無趣一點,就是膠原組織硬化、微生物在齒槽的蛀食。

做愛時,人不可能不做某些程度的放任,不可能不接受暫時的、某種方式的依賴和示弱。感情的興奮和性的縈繞來自於同一個根源,兩者都是部分地忘卻自我;而在這個層面,或多或少會讓自己迷失。我們已經變得冷漠、理性至上、極端意識到個人的存在與權益;我們最希望的就是避免任何失控、依賴的情況。

老實說我也不敢殺雞,但是殺一個人,好像簡單多了。

不是我奇怪,是我周圍的人奇怪。難道你真的想買一輛法拉利?一棟在多維拉海邊的周末度假屋—而且遲早會被闖空門偷光?每個星期工作九十個鐘頭直到六十歲?一半的薪水拿去繳稅,拿去支援科索沃軍事行動或是郊區重整計劃?我們在這裡很好,所有生活所需都有。西方社會唯一能提供的,就是名牌;如果你相信名牌,那就只好留在西方,要不然,仿冒品牌商品好得不得了。

2010年2月3日 星期三

What did you do when you do?

他在說這些話的時候同時在做什麼﹖他走下樓﹐聽另一個女子說話。他看著眼前稱讚咖啡杯的她﹐紅色骨瓷雕金花 - 他腦裡根本沒這些辭彙﹐她也沒有 - 這真好看﹐我也想要有一套。應是這樣講的。他看著她﹐想到別人。“別人”的眼神像一口井﹐心也是﹐費力也看不出深淺﹐只有石油一樣泛光的表面。

和那口井一對照﹐只有他和井的那個世界﹐身邊一切驟然落色﹐無味。咖啡喝上去像液體的紙﹐一切沒有色彩﹐層層灰的景色往外淡出。

「你的世界有光﹐有星辰﹐」井說。「但誰也贏不了黑洞。」

他心一緊。恨不得拿出全副精力往井裡探﹐滅頂就滅頂﹐恨不得還能毀壞什麼。面前她神色生動﹐像一生都在同一棵樹上的小動物﹐她說著很多很多﹐他想﹐我都知道。這裡有什麼他不知道的﹖她身邊的一切全不費功夫﹐像他身邊一切一樣。吃吧﹐喝吧﹐笑吧﹐說話﹔他告訴井這就是一切﹐井不說話﹐但他清楚聽見了﹕這一切都是假裝。

2010年1月25日 星期一

An Education - Lynn Barber

What did I get from Simon? An education - the thing my parents always wanted me to have. I learned a lot in my two years with Simon. I learned about expensive restaurants and luxury hotels and foreign travel, I learned about antiques and Bergman films and classical music. All this was useful when I went to Oxford - I could read a menu, I could recognise a fingerbowl, I could follow an opera, I was not a complete hick. But actually there was a much bigger bonus than that. My experience with Simon entirely cured my craving for sophistication. By the time I got to Oxford, I wanted nothing more than to meet kind, decent, straightforward boys my own age, no matter if they were gauche or virgins. I would marry one eventually and stay married all my life and for that, I suppose, I have Simon to thank.

But there were other lessons Simon taught me that I regret learning. I learned not to trust people; I learned not to believe what they say but to watch what they do; I learned to suspect that anyone and everyone is capable of "living a lie". I came to believe that other people - even when you think you know them well - are ultimately unknowable. Learning all this was a good basis for my subsequent career as an interviewer, but not, I think, for life. It made me too wary, too cautious, too ungiving. I was damaged by my education.

my harsh lesson in love and life

Yes

2010年1月24日 星期日

Indifferent

1
Whenever he feel mad, he whisper to himself: indifferent.

2
他說完了﹐笑的很開心。一邊叉起另一塊肉送進嘴裡﹐很愉快的樣子。

她看著他。他似乎不很在意她的反應﹐自顧自吃著。她禮貌的微笑。低下頭正想想些什麼﹐只想到自己也31了。明白告訴自己“再聰明的人也難免有說出蠢話的時候”。

然後﹐她抬頭﹐對他微笑。

2010年1月23日 星期六

1
日日清醒地說夢話。

2
短暫的五分鐘出名也令我見獵心喜﹐握拳似平反了什麼怨情﹐自覺可笑 兼猥褻。拋上又自己跌下。

3
An Education: 先受教育﹐再教育他人。初心如死灰。

4
別寫﹐不要不甘心。睡吧。

2010年1月16日 星期六

The Pleasure and Sorrows of Work - Alain de Botton

On Maldive Bureaucracy:
有關馬爾地夫的官僚主義﹕

On our way out, he hands us a set of his business cards, allowing us to flash them at anyone who might cause us trouble on our peregrinations around his heavily policed island fiefdom. Unsure of how to pitch my gratitude, I suggest we have tea the next time he is in London.

我們正要告退﹐他拿出一疊名片給我們﹐表示在這警衛森嚴的島上要是有誰給我們麻煩﹐就出示他的名片來解決困難。不知該如何展現我的感謝﹐我建議他下次來倫敦時一起吃個下午茶。

On a tall and bearded Career Counsellor who looked as if he could wrestle a wolf to the ground, but (his) physical might belied the patient manner of a priest:
有關一個高壯滿臉鬍渣﹐看上去能赤手屠狼﹐卻謙和如神父的就業輔導師﹕

so kindly were his eyes, he seemed like someone who would be open to confessions of the most unusual sort. Not even the most extreme quirk of the mind appeared liable to surprise him or elicit humiliating judgement. I harbared a confused wish for him to be my father.

他的眼神如此溫柔﹐像是能接受任何違背倫常的告解。就算是最極端最奇異的思想也不會令他驚訝、或發出傷人的評論。我開始有些混亂地渴望他成為我的父親。

On Interview with CEO:
有關訪問總裁﹕

After twenty minute of this, I am tempted to ask when he was last troubled by his bowels in a meeting. But perhaps he speaks like this not so much because he wishes to keep secrets as because years of circumnavigating the earth, breathing conditioned air and headlining conferences, have hollowed out his personality. It may have been a decade since he was left alone in a room with nothing to do. I feel my boredom turn to pity for someone who one might otherwise imagine had precious little to be pitied for.

在這樣二十分鐘的問答後﹐我開始有種衝突想問他最後一次在開會的時候肚子痛是什麼時候。我想他這樣說話並不是因為他想保有什麼秘密﹐而是這些年的環球旅程﹐呼吸空調裡吹出來的空氣﹐在講座裡開場的所有經驗﹐慢慢地挖空了他真正的個性。或許他已經許久不曾一個人在房間裡無事可做。我感到我的無聊漸漸地變成了同情﹐同情這個誰也不認為有什麼需要同情的人。

On Accountant after work:
會計師下班後﹕

For this particular combination of tiredness and nervous energy, the sole workable solution is wine. Office civilisation could not be feasible without the hard take-offs and landings effected by coffee and alcohol. The final approach will be made under the benign guidance of a Chilean Cabernet and the hypnotic, entirely untroubling retelling of the day's misdemeanours and cataclysms on the evening news.

對這種揉合疲倦和緊張的壓力來說﹐唯一的解決方法便是酒。辦公室文明之所以存在﹐無非是靠著咖啡和酒精促成的起飛和著陸。最後﹐智利紅酒會溫和地帶領著我們聆聽晚間新聞﹐催眠地、無慮地復述今日世界上的大小災難。

On Work:
有關工作﹕

If we could witness the eventual fate of every one of our projects, we would have no choice but to succumb to immediate paralysis... our work will at least have distructed us. it will have provided a perfect bubble in which to invest our hopes for perfection, it will have focused our immeasureable anxieties on a few relatively smallscale and achievable goals, it will have given us a sense of mastery, it will have made us respectably tired, it will have put food on the table. It will have kept us out of greater trouble.

如果我們能目睹手上所有項目的終極命運﹐我們只有立即麻痺了... 工作至少能讓我們分心﹐製造一個完美的泡泡﹐讓我們投資所有追求完美的希望。讓我們將所有難以算計的焦慮投注在一些小規模、可以達成的目標上﹐感覺我們能掌握什麼。讓我們疲倦得很驕傲。維持生計。工作讓我們避開其它更嚴重的憂慮。

The impulse to exaggerate the significance of what we are doing, far from being an intellectual error, is really life itself coursing through us... To see ourselves as the centre of the universe and the present time as the summit of history, to view our upcoming meeting as being of overwhelming significance, to neglect the lessons of cemeteries, to read only sparingly, to feel the pressure of deadlines, to snap at colleagues, to make our way through conference agendas marked '11:00 a.m. to 11:15 a.m.: coffee break', to behave heedlessly and greedily and then to combust in battle - maybe all of this, in the end, is working wisdom. It is paying death too much respect to prepare for it with sage prescriptions. Let it surprise us while we are shipping wood pulp across the Baltic Seas,... Let death find us as we are building up our matchstick protests against its waves.

那種對我們的工作舉輕若重的衝動﹐決非理解錯誤﹐而是生命本身與我們擦肩而過... 視我們自己為宇宙中心、視此時如歷史之巔、像再來的那個會議有多麼重要、忽略死亡所能教導我們的課題、少量並謹慎地閱讀、感覺作業期限逼近的壓力、對同事發飆、會一個又一個開過去、在記事本寫上“十一點到十一點十五分﹕咖啡休息時間。” 貪婪而自私﹐在爭鬥中燃燒 - 或許這一切﹐都是工作的意義。我們多麼尊重死亡﹐不惜以鼠尾當藥單。讓死亡給我們一個驚喜﹐在我們正運送木屑穿過波羅的海... ﹐讓死亡找到我們時﹐看見我們正努力拼湊火柴棒以抵擋它的巨浪。

2010年1月7日 星期四

笑忘書 - Milan Kundera

Litost 是一種陷人於苦惱的狀態,它誕生於我們自身悲慘遭遇突然被揭露的真實現場。

“我知道你很悲傷”年輕人接著說。
雖然年輕人注意到這一點,但塔米娜也沒有因此就被吸引。她知道,征服一個女人的方法很多,而要得到女人的身體,最妥當的辦法就是從她的悲傷下手。

她說得對,她的生命只維繫在一條細如蛛網的絲線上。 只消一陣微不足道的輕風撫過,食物的變動雖微乎其微,但一秒鐘前我們還當一回事的生命,卻會突然變成沒有意義的東西,裡面空無一物。