Der konstrabab - Patrick Süskind

"念頭阿，念頭是種詪難解式的東西，每個人都能在其中作業餘活動。"

但任一個人都認為自己能去想像，而且在思考時有如脫韁野馬，這是今日及大的錯誤
讓我們全人類毀滅的禍害就是這麼產生的。
我說，他很有道理。
我不再多說了。


我是國立樂團的團圓，差不多算是個公務員，這份工作也不可能停止；我每周有固定的工作時數，每年有五個禮拜的長假，另附疾病保險。每兩年新水會自動調整一次，最後還有退休金可領。我完全有保障....

你們知道嗎-----有時這卻讓我感到害怕，我...我有時候不敢走出這種房子，我覺得這樣比較安全。空閒時我就呆在家裡，我的空閒時間很多，但我寧可待在家裡。因為我害怕，就像現在。該如何像你們解釋呢，這是一種憂鬱，一場噩夢，對於生活保障我有極大強烈的恐懼感，就如同空間恐懼症，精神持續處在不安的狀況下-----由其是低音大提琴立在一旁時，因為根本就沒有自由自在的低音大提琴手。

Amanda Jenssen - Look what they've done to my song

而我依稀記得

當我撥開柚瓣，我立即知道那不是普通的柚子。或許是經過飛機違法帶回來的白柚。
" 為，阿你有吃掉水果嗎?"
"阿沒有呀，東西太多我只吃完蘋果"
"超甜的捏"
"噢真的喔! 好阿我明天吃"
"阿你沒去買飯配咖哩啊?直接吃咖哩喔?不會太鹹嗎"
"不會呀 我吃一半了剩一半明天吃"
"喔喔好好好"
"阿沒事了喔 再見"
"掰掰" 我塢住了嘴，努力發出了以往輕鬆愉快的語調。
"赫赫，掰掰" 愉快的，學了我的語調。

老徐的完結篇

Paris Je T'aime

the boat -- Nam Le

**http://www.namleonline.com/index.html

"My relationship with Vietnam is complex. For a long time I vowed I wouldn’t fall into writing ethnic stories, immigrant stories, etc. Then I realized that not only was I working against these expectations (market, self, literary, cultural), I was working against my kneejerk resistance to such expectations. How I see it now is no matter what or where I write about, I feel a responsibility to the subject matter. Not so much to get it right as to do it justice. Having personal history with a subject only complicates this — but not always, nor necessarily, in bad ways. I don’t completely understand my relationship to Vietnam as a writer. This book is a testament to the fact that I’m becoming more and more okay with that."

The book's final story, "The Boat," is another 'ethnic' Vietnamese tale about a harrowing 13-day journey in which boat people endure squalid conditions, survive a terrifying storm at sea, then almost die of thirst before finally reaching land. The protagonists in the five other stories, however, are a 14-year-old Colombian hit man, an elderly and ailing New York painter, an Australian teenager, an 8-year-old Japanese girl in Hiroshima in August 1945 and an American attorney visiting an Iranian friend in Tehran. That range of characters is unusual, but what is truly remarkable about these stories is that the language and tone of each one is perfectly suited to the characters and setting, even incorporating snatches of Colombian gangster slang, Vietnamese proverbs and wartime Japanese patriotic slogans. The stories are so different from one another it is hard to believe all seven are the work of a single author.

Of all these heartrending stories of pain and loss, the most moving and unforgettable in the collection is "Halflead Bay," which, at 69 pages, is also the longest story in the book. Rarely has one read such a sensitive and empathetic treatment of adolescent angst, all the more remarkable because the story's main character is shy and inarticulate. Eighteen-year-old Jamie experiences an unaccustomed moment in the limelight as his high school's sports hero, attracting the attention of the glamorous Alison Fischer. But Jamie knows that by encouraging her flirtation, he is setting himself up for a savage beating by her Neanderthal boyfriend. On a deeper level, the story deals with how Jamie and his younger brother (and by extension their fisherman father) struggle with the knowledge that their mother is dying of multiple sclerosis. As if this were not painful enough, the achingly beautiful bay where they live in Australia, which has provided the family with a good living for generations, is also dying, having been overfished, and is losing its port traffic to nearby Maroomba. The story is especially memorable for its richly poetic Australian vernacular, a language Nam Le clearly feels in his bones.

**http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/06/11/DDS2117GM7.DTL

"If you only read that first story ("Love and Honor"), you might peg me as a very self-conscious writer," said Le on a visit to San Francisco. The impetus behind this tale seemingly drawn from his own life, he went on, came from a very different source - his desire to "examine the idea of authenticity and why we're all so quick to correlate text to biography."

Le gave his own first name to his character, he explained, "to not let myself off the hook. A lot of people assume that writing from your real life is easier. To me it's much more difficult. If something exists for me and is easily slottable into a story, that means perhaps I haven't looked adequately at whether it exists on the page."

Once past the initial story of the collection (Knopf; $22.95), readers will discover an author able to make a sweeping range of people, places, actions and states of feeling come to life vividly on the page. Few young writers are driven to step outside themselves and their own experiences so decisively. One of Le's stories depicts an aging New York painter's meeting with a daughter he hasn't seen for 18 years. Another explores an Australian boy's storm of sexual and violent emotions as his mother drifts toward death. "Hiroshima" takes place in a haunting calm before the bomb falls.

The protagonist of "Cartagena" is a teenage assassin in the drug-drenched neighborhoods of Medellín, Colombia. "I am no child, wet behind the ears," Juan Pablo Merendez insists, with the machismo cadence of a child who has grown up too fast. "I have now fourteen years and two months. I know how things work."

For Le, "minds and sensibilities that we would normally see only from the outside, in a simplistic and reductive way" are particularly compelling. "Juan Pablo is illiterate and uneducated," he said, "and he is also a heinous creature in many ways." The writer's challenge, met in full by the story, was "to make the case for the character with eloquence and dignity, and without being sociological or anthropological." Le grinned at his own flight of rhetoric and regrounded himself: "Let's give this guy a voice."

Seated at a table in full sun outside the Ferry Building and sipping pineapple juice, Le retraced his unlikely path to a widely heralded early success. Like his fictional namesake, he left Vietnam as an infant with a family forced to flee the country after the war. After a stay in a Malaysian refugee camp, where the 3-month-old Le fell ill, the family accepted an offer to immigrate to Australia.

"My parents took the first chance to get medical help," he said. "We would have gone to America if it weren't for me." Other members of Le's extended family immigrated to Southern California.

Le's parents were well-educated high achievers in Vietnam. His father was a teacher and top government aide. In Australia, they took factory jobs and got by at first with the help of donated food and clothing. His mother worked for the postal service and later became a chef. His father was the outreach director of a children's center and is now retired. Neither of Le's parents spoke much about their escape from Vietnam or the years his father spent in a re-education camp.

By then Le was reading voraciously - Auden, Tennyson, Rilke - and writing poetry. "That was the dream - to become a poet." Instead, feeling the pressure to succeed, he enrolled in law school and found a job with a huge corporate firm. His heart was never in it. After a year, Le took a loan, traveled for a year and began work on what would eventually become a 700-page novel about coming-of-age in Melbourne.

Le applied with the first five chapters of his abandoned novel and was accepted into the highly selective program. With teachers such as Marilynne Robinson, Ethan Canin and the late Frank Conroy and a community of fellow fiction writers and poets, Le flourished in Iowa. "When I came to the United States I became completely smitten with the short-story form. With all the techniques and methods and voices and styles available, it was not a no-brainer to test them out and test my own limitations

Le never foresaw his diverse stories ending up in book form. "There was good reason to believe these stories would never make their way into a collection," he said. "Publishers were more interested in linked stories or at least thematically congruous stories. That just wasn't where my mind and interests were."

"I'm trying to be OK with the intermittency," he said, "but it comes across - to myself, at least - as slackness. I was a slacker when I was at university.

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/06/11/DDS2117GM7.DTL#ixzz16AhgO75a

陳珊妮﹣花樣年華

Bonjour tristesse

written by Françoise Sagan

Adieu tristesse
Bonjour tristesse
Tu es inscrite dans les yeux que jàime
Tu nès pas tout à fait la misère
Car les lèvres les plus pauvres te dénoncent
Par un sourire
Bonjour tristesse
Amour des corps aimables
Puisssance de l`amour
Dont l`amabilité surgit
Comme un monstre sans corps
Tête désappointée
Tristesse beau visage

Paul Éluard, La vie immédiate

"這是我從未體會的感覺，一股令我鬱悶卻又感覺溫柔的情懷，我不知為他冠上"憂愁"這個美麗嚴肅的名字是否合適。這股情懷如此充斥我心，如此自私，使得我幾乎為之感到羞愧，因為我一直認為"憂愁"是很高貴的。憂愁，我以前枚體會過；我只體會過鬱悶、遺憾，偶而也體會過悔恨。今天，一股莫名的情節就像絲縷一般把我纏繞其中，又煩人又溫柔，是我和其他人疏遠。


"第二天下午將近三點鐘，我們回到別墅。愛樂莎和西里樂坐在台階上等我們，一看到我們就立起身，站在我們前面，看起來活像兩個被遺忘的滑稽角色。這兩個人沒有一個認識安那，也沒有一個喜歡她。他們各有各的感情問題，他們的美貌與苦惱變成雙重的誘餌。西里樂朝我走前一步，抓住我的手臂。我看著他，發覺我從來沒愛過他。我只是覺得他人很好，很迷人；我喜歡她帶我的快樂，可是我並不需要他。"

School of Seven Bells - "Half Asleep"

Sometimes I go whole days listening, bored, half sleep
I won't say anything that's worth a thing to me
One day, suddenly, time took a turn that once felt so brief
I blinked to see polite ghosts fading quickly

What begins as an unguarded train of thought slowly can become
An addiction to the slumber of disconnection
And the resonance of memory that no longer has a shape
But keeps you numb through the hours till gone is another day

Be aware, my darling these things I say I mean
Are just traces of something I long to feel again
I see our time expand in the air almost forcibly
Spreading thinner till it dissolves completely

What begins as an unguarded train of thought slowly can become
An addiction to the slumber of disconnection
And the resonance of memory that no longer has a shape
But keeps you numb through the hours till gone is another day

what if

Taiwan taekwondo athlete in Asian Games

all i am questioning about is the exact the reason of kicking out of the game, just because of the extra electronic sensors ?nothing happened even did the pre-check until in the middle of the competition, the committee stopped it and claimed :"something is wrong", does anyone believe that? if you were keeping watching the competition, i think no one will deny her skills (Yang Shu-chun).just in my opinion, i think the committee wasn't fair to judge the game.

vocabulary 11.17

haggard 憔悴的，疲憊的
frazzled疲憊而煩躁的
vulgar庸俗的；粗俗的
cliché陳詞濫調；陳腐的套語
coppery color

Celi-Cela

Taiwan international cultural creative industry expo 10'

today i get up late that i didn't have enough time to appreciate all the masterpieces. but indeed there are still many precious, bright , amazing stuffs.

tribal art , kind of tribe style sculptures, fulling of funny, sluggish faces, really really attractive. (as a reference of Picasso style series, Africa period)

national palace museum, those impressive 2D interactive Ch'ing dynastic maids, combining with the modern material such as taiwan, new york, france, that represents another new face of new international era.
and there is another interesting section about the Buddhism in Ch'ing dynastic: lung tasung ching, a golden ink dharma treasure, which is the tibertan-language edition,hand copied in gold ink.(k'ang-hsi reign) it reminds me of the ex-trip to gansu province, mogao grottoes. i was really honored to be there and
to be able to see all the historical relics. languages are so fascinated to me, even the Sanskrit is. but it seems a lot different from the way i saw gansu, i really not fully understand anyway (this year i went some temples in changhua , the characters there are more similar with which in gangsu)

and at the end of the exhibition i saw something really creative style, a design company in hong kong, goods of desire. the blog site: www.god.com.hk/blog

well, there are too many good thing to be metioned, like some beautiful dresses design by yep, or many other thing , one thing i could say is that , the heart of designing is never dead! (rock!! XDDD)

vocabulary

introspective 好內省的；好反省的
vehemently 激烈地;暴烈地;強烈地
By adopting a wholly positive lifestyle you may get lumped into a group, subset or culture that you vehemently oppose with every fiber of your being,

versatility多用途,多功能

Anna Ternheim - Halfway To Fivepoints

How to get to fivepoints
Make the wrong turn you know
If you're thinking of going
Think no more

Who's taking you down there
What's his name
Let me know
The price he offers
Round the corner of love

Halfway to fivepoints
Is as far as you come
Halfway with high hopes
Of love

So be careful, my love
Be careful, my girl
Be careful with love

How to get to fivepoints
How would I know
A place so distant
And so long ago

Halfway to fivepoint
Is as far as you come
Halfway with high hopes
Of love

ppaper,business 紀錄

ppaper,business

王菲。就是那麼一個強烈的顏色，讓人覺得那就是一個代名詞。就好比蘋果電腦對於蘋果迷之間的吸引連結。
但卻沒人說過，這東西到底蔡依林沒。

因為流行文化讓商業化的行為隨之流動，while他們的卻帶動他們的不同。

文後，Andy Warhol 說道:你可以不說你這類人說的話，但你絕對不可以做你這類人不會做的事。

其實就是一個原則，也是一個對外結連結性的探討。這種連結式很特殊的，可以被習慣，可以被異之，又是可以隨從。

hi,

" you have to concentrate on you work "

Amanda Jenssen - For the sun

Anna Ternheim - What have I done

You are my everything
my head my heart my mind my wing
I could give all again
I'm never sure
of anything
with you

The jokes the laughs the teardrops too
The games the fun the travels too
Yes I won't do them all with you
All good things now come from you

I hope you feel the way I do
I hope you give yourself up too
I'm damned to feel the way I do
What have I done
to fall so hard
for you

You are my everything
My head and my heart my mind my wing
The past the present tomorrow too
I'll spend my final day
with you

I hope you feel the way I do
I hope you give yourself up too
I'm damned to feel the way I do
What have I done
to fall so hard
for you

I hope you feel the way I do
I hope you give yourself up too
I'm damned to feel the way I do
What have I done
to fall so hard
for you

Anna Ternheim -To be Gone

Karoline Eriksson:Anna“A voice that cuts like a knife and sings about those feelings that hurt, so beautiful it makes you want to cry“

Call me free today, if you see it my way
Time on my side as well as my mind is
It's not with you for sure, no not anymore
I intend to stay away for good

It's just a matter how I define
My state of mind

Today is a good day

Without you company
i have so many holes to fill
at least seven nights a week killing time
i still feel fine i guess, my life was a mess
When i shared it with you
I was lonely.
no i'm just alone

It's just a matter how i define
My state of mind.

Today is a good day

Just a scratch on my ego
I get up in the morning
With a good plan tomorrow
I'll be keeping my mind cold
Until the evening
When the hours forget me and
The waiting awaits me
and voices of madness
from my subconscious
singing songs of the sadness
Today is a good day.

melissa horn & lars winnerbäck - som jag hade dig förut

Those Dancing Days - Home Sweet Home

rabbit heart

Who is the lamb and who is the knife?

au revoir

au revoir

sentimental october

**

green邊收著行囊邊說，有沒有小袋子啊?

我從桌上隨便指了一下，到處都是可能曾經裝過食物的塑膠袋。媽媽拿了一個看起來算乾淨的地給姐姐。

過了半晌，爸爸從車上費力的撈出了一個破舊的紙袋，大概只有15公分見方。
"超小mini袋子。" 遞給滿臉驚訝的green 。"漂亮....漂亮。"爸爸帶點自滿的平淡的讚嘆。

愣了三秒，我們全部的人霎時大笑。但我不知為何笑中帶淚。眼睛邊熱熱濕濕的但我不是難過。

那個袋子並不漂亮，破舊被蹂躪著的牛皮紙袋。又再說的是他並不能裝green想要裝的東西(內衣)。但他仍然不解我們在笑什麼所以我們笑著。好難過。

**
我坐在沙發上百無聊賴的看著要考試的講義。抬頭看著剛坐定的爸爸手上捧著一棵椰子。這時候怎麼會有椰子?現在是早冬的十一月。這是出差從南方帶回來的寶物，是來自南國的思念，那個還溫日栩栩的天氣。他拿起了一個鑽子，輕鬆的轉了兩下開了一個洞口。爸爸小心翼翼的將椰子汁水倒進馬克杯裡。留了兩滴後就停止了。我插話: 拔，你要再鑽一個洞再遠一點的地方，ˋ這樣大氣壓力才會把他押出來。爸附和了幾聲，說對對你聰明。鑽了兩個洞後，椰子汁水奔放的流竄出來，爸爸趕緊將它靠近杯子，一杯接著一杯直到他漸漸殆盡。倒完後，隨手將那兩個開動過後的碎片撿起來剝下上面的椰奶塞進嘴裡。然後拿起杯˙子倒了一大半給我，他自己喝了按半碗小碗後，看著掏空的椰殼喃喃道:不知道裡面有沒有椰奶噎。抬頭露出了那平和的魚尾紋。我說，這種的椰汁較多應該不太會有吧?

隨後，過了幾分鐘，爸爸烏地從廚房拿了菜刀出來，刷刷的切落椰殼。我緊張的站起來望，椰殼堅硬，蕭下的都是核心外面的部分。但一層又一層，看著左手拿刀昨時有點讓人心臟揪了一下。最終一個巧妙的小洞笑盈盈的在白色外層的中間嶄露，這菜刀猛力一橫並兩手一扳，椰子就剖了兩半了。爸爸歡天喜地的抬頭說有! 好吃的。然後將她抱回桌面上，用湯匙挖了幾口給我們並到了一部分在馬克杯中的椰水里。這種成熟度是最好吃的，椰汁梅那麼香，但是椰奶式滑嫩的。咖啡色的椰子椰汁香淡椰奶就應了是拿去做椰子蘇用的.....


**

我現在有薪水了不用了。綠油油的超漂亮晃晃的在我面前。她皺著習慣的眉頭說，拿著，要用到的時候想買東西的時候就可以用到。太多了，我那語氣不知為何很浮躁動怒我好想死。他趕緊抽回了兩張。我接手。留了三張在身上將抽出的兩張放在桌上。 不知什麼時候開始我們的相處模式像是討價還價，愛很見外，你給了我十分，我說太多，妳留著三成，自己收了七成以後再折半留在原處。誰也不敢碰。