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Q已己

暴躁老哥在线大骂反动历史学家春秋笔法;新话专家为英国言论审查辩护

暴躁老哥在线大骂反动历史学家春秋笔法;新话专家为英国言论审查辩护

Q已己

火车站的过道里睡了三个流浪汉,身着黑色制服的安检员近在咫尺。大约是默许了吧

火车站的过道里睡了三个流浪汉,身着黑色制服的安检员近在咫尺。大约是默许了吧


Q已己

辉格史观的英国革命解读已经很荒谬了,托利史观的解读居然能更傻逼,活像大骂东林党误国之后转而吹捧阉党高明的工业党小粉红。

辉格史观的英国革命解读已经很荒谬了,托利史观的解读居然能更傻逼,活像大骂东林党误国之后转而吹捧阉党高明的工业党小粉红。


Q已己
我和我的祖国~一刻也不能分割~

我和我的祖国~一刻也不能分割~

我和我的祖国~一刻也不能分割~

Q已己

Being available to social media 24/7 does not count as receptivity; it's just fragmentation.

Being available to social media 24/7 does not count as receptivity; it's just fragmentation.


Q已己

When people are incapable of listening, when they are stone(d) deaf or blind to each other, the resulting condition may seem comic if the observer has the requisite distance, which observers in these circumstances seldom do. Comic dramatic writing depends, at least in part, on misunderstandings, mishearings...

When people are incapable of listening, when they are stone(d) deaf or blind to each other, the resulting condition may seem comic if the observer has the requisite distance, which observers in these circumstances seldom do. Comic dramatic writing depends, at least in part, on misunderstandings, mishearings, misinterpretations, misplacement, comic self-centeredness, and a daily diet of broken-off conversations. All this can be funny to watch and to listen to. But then, very quickly, it modulates into the peculiar hellish isolation of the person who faces a blank wall, in the form of a non listener, or a compulsive interruptor.

There should be a wise discussion somewhere of the non discourse of modern narcissism. We all know the type who generates it: after all, who has not heard hours and hours and hours of self-conversation by virtuosi of the boarded-up self? Such people are almost incapable of conversation except when priming their own pumps. In perpetual therapy administered to themselves by themselves, they must be roused to conversation by a question about their biographies, like opera singers waiting for their cue. Once incited, their arias have commenced and cannot be stopped until the curtain falls. There are no questions directed at the listener, no inquiries about subjects of common interest, no curiosity about larger subjects, no real diversions, no points of interest out there. Certainly there can be no conversational back-and-forth. How could there be? There are only statements, followed by other statements, leading eventually to over statements, when the listener eventually tires, flags, sighs, grows tried of saying, “You’re right,” and turns away.


Q已己

The word “distraction” has some etymological relation to “madness.” But distraction, the mental state in which information cannot be separated from noise, is hardly the same mechanism as psychic deafness and referential denial. Deafness and denial manifest themselves when we can’t stand to absorb what...

The word “distraction” has some etymological relation to “madness.” But distraction, the mental state in which information cannot be separated from noise, is hardly the same mechanism as psychic deafness and referential denial. Deafness and denial manifest themselves when we can’t stand to absorb what’s being said. Narcissism and egomania and psychic vulnerability are the three great pillars of the Tower of Voluntary Deafness. They are the silent markers of subtexts in all dialogue; contemporary dialogue is marked by all three of them, and they are the signs, in good writing, of what Gertrude Stein once called the excitement of our contemporaneousness. If you’re a good writer, these days, you pay attention to the way that people don’t pay attention.

A woman who once said to me, “I’m not listening to you. I just turned off my hearing aid,” had no hearing aid and was using a current expression of that particular year. The following year, the new expression was, “Talk to the hand.” But even here, the energy of denial has to be separated from the cooler, glassier shield that narcissism erects to guard against the pain of others.

These days, the best and most artful dialogue is marked by the inattentiveness of its characters.

*

In second-and third-stage narcissism, nothing gets through that does not directly address oneself, but the self can only be addressed in certain ways—through corrosive wit, for example, an endless deflection, by means of a distracting style, of a genuine subject. The true narcissist, it seems to me, feels the pain of a perpetual wound. The wound is both peripheral and somehow central. This pain makes him or her distractable. But the wound, having no clear definition, is largely indescribable. Yet it seems to demand description, even though words are inadequate to it. (In some versions of the myth of Narcissus, Narcissus’s scream is soundless.) Most of the narcissist’s conversations therefore have a lengthy, free-floating, and often witty complaint built into them. One of the only forms of conversation that flames the true narcissist into attentiveness has to do with reparations. The narcissist is always waiting, in one stance or another, for the world to offer its apologies. If there are no apologies, then admiration will do.

*

Self-dramatizers know that people are looking at them, but what they’re not good at is paying attention to others. They command your attention by speechifying and turning spotlights in their direction, but they rarely listen carefully; they’ve lost the gift for it. Their actions are densely rhetorical, done to practiced turns. Having lost a sense of what the other person is saying, they often don’t know what world they inhabit, which is why their emotions can explode unpredictably—this is what happens again and again to all four of the Tyrones. People like this are great characters to write about as long as the story or other characters notice how stagy they are.


Q已己

Staging in fiction involves putting characters in specific strategic positions in the scene so that some unvoiced nuance is revealed. Staging may include how close or how far away the characters are from each other, what their particular gestures and facial expressions might be at moments of dramatic...

Staging in fiction involves putting characters in specific strategic positions in the scene so that some unvoiced nuance is revealed. Staging may include how close or how far away the characters are from each other, what their particular gestures and facial expressions might be at moments of dramatic emphasis, exactly how their words are said, and what props appear inside or outside. Excessive detailing is its signpost. Certainly it involves the writer in the stage craft of her characters just as a director would, blocking out the movement of the actors. Staging might be called the micro-detailing implicit in scene-writing when the scene’s drama intensifies and takes flight out of the literal into the unspoken. It shows us how the characters are behaving, and it shows us what they cannot say through the manner in which they say what they can say. Staging gives us a glimpse of their inner lives, what is in their hearts, just as Esteban Werfell’s study leads us also to his soul. Staging, you might argue, is the poetry of action and setting when it evokes the otherwise unstated.

*

For years I was puzzled by the phenomena of airport/ airplane reading. The spectacle of people reading before and during flights wasn’t especially perplexing, but what always baffled me was the narrowness of the selections. Walk down the aisle of almost any airplane and you are likely to see passengers hunched up, bent over, the men reading Tom Clancy novels and the women reading Danielle Steel novels. I am exaggerating here, but not to a criminal degree.

The techno-political thriller and the romance novel are similar in their preoccupation with procedural issues related to material objects. But they aren’t “staged” in the way I am using that word because they have virtually no interest in using dramatic means to reveal character and the inner life. Instead, they provide materially overdetermined hypernarratives that aim to reduce the scale of human beings in relation to the things that surround them.

In a Tom Clancy novel, we are presented with details of military hardware, hierarchies of power, both military and civilian, and a loose cannon to set the plot into motion. The loose cannon is always required to destabilize things-as-they-are. In any particular scene the writing locates the characters quickly, but then characterizes the hardware at length. In these novels human beings can be summarized with almost embarrassing ease. They have roles to play, which they perform well or badly. (Conveniently, however, they have no souls.) The hardware, by contrast, is unimaginably complex and requires considerable writerly hubbub. In fact the hardware takes on the sex appeal that the characters typically lack. The only element left in doubt is the outcome of the plot, not the vagaries of human nature. The characteristic resolution to a novel of this type is a return to the status quo, with the addition of a new regulatory agency.

Similarly, in a romance novel the exotic location and the details of material wealth eventually lead the reader to an understanding of who is profitably to be paired off with whom. The imaginative energy devoted to hardware in the techno-political thriller is applied here to clothing, sex appeal, accessories, the sovereignty of riches, location (the more exotic the better), physical attributes, and lifestyle choices. In a romance novel a disturbance to social hierarchies may be settled through marriage or a cunning liaison. Men once thought to be mysterious and dangerous can be understood and tamed through sex, domestic affection, and familial ties. The characteristic resolution to this sort of novel is a marriage and the displacement of a threatening female figure to the distant background, usually a cemetery.

Both kinds of novels are fully explicit about human nature, which, though more complex in the romance novel than in the techno-political thriller, must be revealed by the novel’s end. Things are celebrated and given an aura. The aura around a thing is a good sign of commodity culture busily at work. Both genres are absolutely opposed to ongoing mystery and to the unknowable. Everything that needs to be said can and will be said. As a result, these books leave very little to the imagination to reconstruct. And both kinds of novels indulge in material overstatement—a knowingness about objects thought to be valuable, along with a fascination with technique, the exact way to do something properly—making love, mixing a martini, or firing off a torpedo.

The techno-political thriller and the romance novel serve as antidotes to the imagination rather than stimulants to it. For this reason they make for ideal reading in airports and airplanes. They effectively shut down the imagination by doing all its work for it. They leave the spirit or the soul—and ambiguity, for that matter—out of the equation. By shutting down the imagination, genre novels perform a useful service to the anxious air traveler by reducing his or her ability to speculate.


Q已己

“我的货币把我的种种无能变成了它们的对立物”

「依靠货币而对我存在的东西,我能付钱的东西,即货币能购买的东西,就是我-货币持有者本身。货币的力量多大,我的力量就多大。货币的特性就是我-货币持有者的特性和本质力量。因此,我是什么和我能够做什么,这绝不是由我的个性来决定的。我是丑的,但是我能给我买到最美的女人。可见,我并不丑,因为丑的作用,丑的吓人的力量,被货币化为乌有了。我-就我的个人特点而言-是个跛子,可是货币使我获得二十四只脚;可见,我并不是跛子。我是一个邪恶的、不诚实的、没有良心的、没有头脑的人,可是货币是受尊敬的,所以,它的持有者也受尊敬。货币是最高的善,所以,它的持有者也是善的。此外,货币还使我不必为成为不诚实的人伤脑筋。所以我事...

「依靠货币而对我存在的东西,我能付钱的东西,即货币能购买的东西,就是我-货币持有者本身。货币的力量多大,我的力量就多大。货币的特性就是我-货币持有者的特性和本质力量。因此,我是什么和我能够做什么,这绝不是由我的个性来决定的。我是丑的,但是我能给我买到最美的女人。可见,我并不丑,因为丑的作用,丑的吓人的力量,被货币化为乌有了。我-就我的个人特点而言-是个跛子,可是货币使我获得二十四只脚;可见,我并不是跛子。我是一个邪恶的、不诚实的、没有良心的、没有头脑的人,可是货币是受尊敬的,所以,它的持有者也受尊敬。货币是最高的善,所以,它的持有者也是善的。此外,货币还使我不必为成为不诚实的人伤脑筋。所以我事先就被认定是诚实的。我是没有头脑的,但货币是万物的实际的头脑,货币持有者又怎么会没有头脑呢?既然我能够凭借货币得到人心所渴望的一切东西,那我不是具有人的一切能力了吗?这样,我的货币不是就把我的种种无能变成它们的对立物了吗?

「如果货币是把我同人的生活,把我同社会,把我同自然界和人们连结起来的纽带,那么货币难道不是一切纽带的纽带吗?它难道不能够解开和系紧任何纽带吗?因此,它难道不也是普遍的离间手段吗?它既是道道地地的使人分离的“辅币“,也是道道地地的结合手段;它是社会的化合力。」

*

「凡是我做为人所不能做到的,也就是我个人的一切本质力量所不能做到的,我依靠货币都能做到。因而货币把每一种本质力量都变成它本来所不是的那个东西,即变成它的对立物。」

*

「谁能买到勇气,谁就是勇敢的,即使他是胆小鬼。因为货币所交换的不是特定的性质,不是特定的事物或特定的人的本质力量,而是人的、自然的整个对象世界,所以,从货币持有者的观点看来,货币能把任何特性和任何对象同其它任何即使与它相矛盾的特性或对象相交换,货币能使冰炭化为胶漆,能迫使仇敌互相亲吻。」

*

「我们现在假定人就是人,而人同世界的关系是一种人的关系,那末你就只能用爱来交换爱,只能用信任来交换信任……如果你想得到艺术的享受,那你就必须是一个有艺术修养的人。如果你想感化别人,那你就必须是一个实际上能鼓舞和推动别人前进的人。你同人和自然界的一切关系,都必须是你的现实的个人生活的、与你的意志的对象相符合的特定表现。如果你在恋爱,但没有引起对方的反应,也就是说,如果你的爱作为爱没有引起对方的爱,如果你作为恋爱者通过你的生命表现没有使你成为被爱的人,那末你的爱就是无力的,就是不幸。」


Q已己

「人人能自由,是必为无国之民」

「故人滿之患,必生於他日之土滿,非真滿也。土滿之患,必生於居處之不均,墾闢之不講,亦未能定為真滿也。苟統五大洲人土兩均,而猶患人滿,期真滿矣。期農之所以貴有學也。地學審形勢,水學禦旱潦,動植學辨物性,化學察品質,汽機學濟人力、光學論光色,電學助光熱。有學之農,穫數十倍於無學之農。然竭盡地球之力,則尤不止於此數。使地球之力,竭盡無餘,而猶不足以供人之食用,則必別有他法,攷食用之物,為某原質配成,將用各原質化台為物,而不全恃乎農。使原質又不足以供,必將取於空氣,配成質料,而不全恃乎實物。且將精其醫學,詳攷人之臟腑肢體所以必需食用之故,而漸改其性,求與空氣合宜,如道家辟穀服氣之法,直可不用世間之物,...

「故人滿之患,必生於他日之土滿,非真滿也。土滿之患,必生於居處之不均,墾闢之不講,亦未能定為真滿也。苟統五大洲人土兩均,而猶患人滿,期真滿矣。期農之所以貴有學也。地學審形勢,水學禦旱潦,動植學辨物性,化學察品質,汽機學濟人力、光學論光色,電學助光熱。有學之農,穫數十倍於無學之農。然竭盡地球之力,則尤不止於此數。使地球之力,竭盡無餘,而猶不足以供人之食用,則必別有他法,攷食用之物,為某原質配成,將用各原質化台為物,而不全恃乎農。使原質又不足以供,必將取於空氣,配成質料,而不全恃乎實物。且將精其醫學,詳攷人之臟腑肢體所以必需食用之故,而漸改其性,求與空氣合宜,如道家辟穀服氣之法,直可不用世間之物,而無不紿矣。又便人滿至於極盡,即不用一物,而地球上駢肩重足猶不足以容,又必進思一法,如今之電學,能無線傳力傳熱,能照見筋骨肝肺,又能測驗腦氣體用,久之必能去其重質,留其輕質,損其體魄,益其靈魂,兼講進種之學,使一代勝於一代,萬化而不已;必別生種人,純用智,不用力,純有靈魂,不有體魄。猶太古初生,先有蠢物,後有靈物;物既日趨於靈,然後集眾靈物之靈而為人。今人靈於古人,人既日趨於靈,亦必集眾靈人之靈,而化為純用智純用靈魂之人。可以住水,可以住火,可以住風,可以住空氣,可以飛行往來於諸星諸日,雖地球全毀,無所損害,復何不能容之有!惟是眾生之業力雖消,地球之變局日甚:地球由熱而冷,由漲而縮,由鬆而緊,由軟而堅,由圓而扁;歲差數十秒,七十餘年而差一度,二萬餘年而復其始。復其始,又不能真復其原點;則積無量二萬年,而地球之南北極,與天空之南北極,兩相易位。其間之水火海陸,不知凡幾經大變,而地球亦有終毀之時。他日之治亂興衰,誠非人之私意所能逆料,然而極之彌勒下生,維摩病起,人民豐樂,山河如鏡,真性如如,充滿法界,一切眾生,普遍成佛;其未成佛者,舍此世界地球極治之時,必即在地球將毀之時矣。何者?眾生之業力消,地球之業力亦消;眾生之體魄去,地球之體魄亦去。夫地球亦眾生也,亦一度眾生者也;地球之不得即毀,眾生累之也。」

*

「地球之治也,以有天下而無國也。莊曰:"聞在宥天下,不聞治天下。"治者,有國之義也;在宥者,無國之義也。囗囗囗曰"在宥",蓋"自由"之轉音。旨哉言乎!人人能自由,是必為無國之民。無國則畛域化,戰爭息,猜忌絕,權謀棄,彼我亡,平等出;且雖有天下,若無天下矣。君主廢,則貴賤平;公理明,則貧富均。千里萬里,一家一人。視其家,逆旅也;視其人,同胞也。父無所用其慈,子無所用其孝,兄弟忘其友恭,夫婦忘其倡隨。若西書中百年一覺者,殆彷彿《禮運》大同之象焉。蓋國治如此,而家始可言齊矣。」


Q已己

A Universal Autism

The repression of practice and the antidialectical false consciousness that results from that repression are imposed at every moment of everyday life subjected to the spectacle—a subjection that systematically destroys the “faculty of encounter” and replaces it with a social hallucination: a false consciousness...

The repression of practice and the antidialectical false consciousness that results from that repression are imposed at every moment of everyday life subjected to the spectacle—a subjection that systematically destroys the “faculty of encounter” and replaces it with a social hallucination: a false consciousness of encounter, an “illusion of encounter.” In a society where no one can any longer be recognized by others, each individual becomes incapable of recognizing his own reality. Ideology is at home; separation has built its own world.

……Imprisoned in a flattened universe bounded by the screen of the spectacle that has enthralled him, the spectator knows no one but the fictitious speakers who subject him to a one-way monologue about their commodities and the politics of their commodities. The spectacle as a whole serves as his looking glass. What he sees there are dramatizations of illusory escapes from a universal autism.

The spectacle obliterates the boundaries between self and world by crushing the self besieged by the presence-absence of the world. It also obliterates the boundaries between true and false by repressing all directly lived truth beneath the real presence of the falsehood maintained by the organization of appearances. Individuals who passively accept their subjection to an alien everyday reality are thus driven toward a madness that reacts to this fate by resorting to illusory magical techniques. The essence of this pseudoresponse to an unanswerable communication is the acceptance and consumption of commodities. The consumer’s compulsion to imitate is a truly infantile need, conditioned by all the aspects of his fundamental dispossession. As Gabel puts it in describing a quite different level of pathology, “the abnormal need for representation compensates for an agonizing feeling of being at the margin of existence.”

Q已己

「他没有离开讲台,因为讲台给他提供了一份生活来源,也因为讲台让他懂得要时时谦恭,让他明白自己在世界上所处的地位。他对生活中这样的反讽理解甚深:来教书的倒学到了最最深刻的道理,而来听课的却什么也没有学到。」

「他没有离开讲台,因为讲台给他提供了一份生活来源,也因为讲台让他懂得要时时谦恭,让他明白自己在世界上所处的地位。他对生活中这样的反讽理解甚深:来教书的倒学到了最最深刻的道理,而来听课的却什么也没有学到。」


Q已己

The depoliticization of the private sphere in late-Socialist societies is 'compulsive', marked by the fundamental prohibition of free political discussion; for that reason, such depoliticization always functions as the evasion of what is truly at stake. This accounts for the most immediately striking...

The depoliticization of the private sphere in late-Socialist societies is 'compulsive', marked by the fundamental prohibition of free political discussion; for that reason, such depoliticization always functions as the evasion of what is truly at stake. This accounts for the most immediately striking feature of Kundera's novels: the depolitical private sphere in no way functions as the free domain of innocent pleasures; there is always something damp, claustrophobic, inauthentic, even desperate, in the characters' striving for sexual and other pleasures.


Q已己

“父亲不让我继续上学,理由是我已经到了结婚的年龄,就不应该再读书了。他还强迫我跟对他有用的人结婚,这事他没有任何理由,只因为他是我生活中的主宰,我就像是他的一小块土地,或者说是他的一件货物。”

“父亲不让我继续上学,理由是我已经到了结婚的年龄,就不应该再读书了。他还强迫我跟对他有用的人结婚,这事他没有任何理由,只因为他是我生活中的主宰,我就像是他的一小块土地,或者说是他的一件货物。”

Q已己

“人们不喜欢种别人的地,不愿意永远做奴隶。”

“人们不喜欢种别人的地,不愿意永远做奴隶。”

Q已己

西班牙

「昨天的一切已消逝。度量衡术语

沿着贸易航线传播到了中国;

算盘和环形石柱散布四方;

昨天,在日照充足的地带会测量投影。


「昨天,纸牌用来为保险估价,

水用来谶纬卜卦;昨天发明了

车轮和时钟,驯养了马匹。

昨天是航海家们忙碌穿梭的世界。


「昨天,仙女和巨人被废黜,

城堡如兀立的苍鹰盯视着山谷,

小教堂建在了森林里;

昨天雕刻了天使和吓人的滴水兽。


「在石柱间对异教徒进行了审判;

昨天有小酒馆里的神学纷争,

有治愈百病的神迹泉水;

昨天有女巫安息日;但今天只有斗争。


「昨天安装了发电机和涡轮机,

在殖民地的沙漠里铺设了铁路;

昨天有关于人类起源的

经典演讲。但今天只有斗争...

「昨天的一切已消逝。度量衡术语

沿着贸易航线传播到了中国;

算盘和环形石柱散布四方;

昨天,在日照充足的地带会测量投影。


「昨天,纸牌用来为保险估价,

水用来谶纬卜卦;昨天发明了

车轮和时钟,驯养了马匹。

昨天是航海家们忙碌穿梭的世界。


「昨天,仙女和巨人被废黜,

城堡如兀立的苍鹰盯视着山谷,

小教堂建在了森林里;

昨天雕刻了天使和吓人的滴水兽。


「在石柱间对异教徒进行了审判;

昨天有小酒馆里的神学纷争,

有治愈百病的神迹泉水;

昨天有女巫安息日;但今天只有斗争。


「昨天安装了发电机和涡轮机,

在殖民地的沙漠里铺设了铁路;

昨天有关于人类起源的

经典演讲。但今天只有斗争。


「昨天仍信仰着希腊的绝对价值,

英雄死去时会垂下帘幕;

昨天会在日落时祈祷

会对疯子顶礼膜拜。但今天只有斗争。


「诗人嘀嘀咕咕,在松林里受了惊吓,

蜷缩在纵情欢唱的瀑布里,或伫立在

斜塔旁的峭壁上:

“哦,我的幻象。哦,赐给我水手的好运。”


「研究员透过他的仪器,窥视着

非人类的领域,活跃的杆菌

或巨大朱庇特的殒灭:

“但生命就如我友。我要探究。我要探究。”


「穷人在他们不生炉火的住处放下了晚报:

“我们的日子过一天少一天。哦,让我们

看到历史的操作员

和组织者,让时间之河焕然一新。”


「各个族群汇聚了每一声呼喊,召唤着

那个塑造了独特的食欲、安排了

隐秘的暗夜恐惧的生命:

“难道你不曾建起海绵的城邦,


「不曾复兴鲨鱼与老虎的庞大军事帝国,

不曾创立过知更鸟勇敢的州郡?

干涉吧。哦,像鸽子、像狂怒的父亲

或像温和的工程师般降临,但请降临。”


而生命,若它给以答复,会从内心、

从眼睛和肺腑、从城市的商店和广场来回应:

“哦,不,我不是倡议者;

今天不是;我不是你想的那样。对你来说,


「我是应声虫,是酒吧陪客,是容易受骗的傻子;

我是你做的每件事。我是你立志从善的

誓言,是你的幽默故事。

我是你生意上的代言人。我是你的婚姻。


「你有何建议?建一座正义之城?我愿意。

我同意。或是立一份自杀协议,那罗曼蒂克的

死亡?很好,我接受,因为

我即是你的选择,你的决定。是的,我是西班牙。”


「很多人已听到了这个声音,在遥远的半岛,

在沉寂的平原,在离经叛道的渔夫的海岛,

或是在城市堕落的中心,

他们听到了,如海鸥或花种般迁徙而来。


「他们如刺果紧贴着长长的特快列车,一路颠簸地

驶过了不公义的土地,驶过了黑夜,驶过了高山隧道;

他们飘洋过海而来;

他们走过了重重关卡。他们前来奉献自己的生命。


「那个干燥的方寸之地,那块从炽热的非洲掐下来的

碎片,被如此粗糙地焊上了追新逐异的欧洲;

在那个河网密布的高原上,

我们的思想已具形体;我们的狂热样貌凶险,


「明晰而生动。因为那些促使我们对药品广告

和冬季游轮宣传册作出反应的恐惧

已然变成了入侵的军队;

而我们的脸庞、建筑的外观、连锁商店和废墟


「正投射着它们的贪欲如同行刑队和炸弹。

马德里是心脏。我们的片刻温情

如救护车和沙袋般蓬勃发展;

我们数小时的友谊成就了一支人民军队。


「明天,也许就是未来。会研究

包装机的耐损度和运转部件;会逐一探索

放射线的所有频程;

明天,会以节制饮食和短暂休整来拓宽意识。


「明天将重新发现浪漫的爱情,

也要为乌鸦摄影;所有的欢乐都会得到

自由的巧妙庇护;

明天将是庆典司仪和音乐家的时刻,


「圆屋顶下的合唱美妙而又喧闹;

明天会就猎狗的饲养问题交换心得,

突然举起的一只只手臂

会热切地选出领导人。但今天只有斗争。


「明天属于年轻人,诗人们会像炸弹般冲动,

湖畔的漫步,数星期的融洽交流;

明天会有自行车比赛

在夏日黄昏穿行于郊外。但今天只有斗争。


「今天,死亡的几率有预谋地倍增,

在必要的谋杀中清醒接受了罪恶;

今天,力量都消耗在了

无趣短命的小册子和令人生厌的会议里。


「今天还有暂时的慰藉:分着吸的香烟,

谷仓烛光下的牌戏,走调的音乐会

和男人间的玩笑;今天

伤痛前还有笨拙的不尽如人意的拥抱。


「星辰已死去。动物不会再观看。

只留下我们孤独打发着时日,而时光短促,

历史或会对失败者呜呼哀叹,

却既不能救助,也无法宽恕。」


Q已己

「你们谈到了自由,却并不公正;而现在

你们的敌人已揭开了你们的底牌;因为在你们的城市,

只有站在步枪背后的人才拥有自由意志。」

「你们谈到了自由,却并不公正;而现在

你们的敌人已揭开了你们的底牌;因为在你们的城市,

只有站在步枪背后的人才拥有自由意志。」


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