7月22 - 26號...五日四夜東京之旅 !!!
十分期待是次旅行, 新boss來到前的休息輕鬆之旅.
回來後十萬個變數, 開心留下, 勉強留任, 找新工作, 旅行, 讀書...等等等等．．．
Tuesday, July 21, 2009
Friday, July 17, 2009
新老板
我個新老板將於7月25號由西班牙飛嚟香港, 我27號星期一返工就會見到佢.
新老板係一個喺新加坡做咗4 or 5 年嘢嘅西班牙人, 34歲, 本來有諗過佢會唔會係一個靚仔, 咁樣我做嘢都會開心d, 對佢容忍指數又會高d (靚仔係著數d o架喇!!); 不過以我近幾星期收到嘅風, 佢唔靚仔, 仲有人用個"醜"字嚟形容佢ｔｉｍ, 哈哈, 慘lor, 地獄呀 !!! 我宜家個老板都算係一個”靚佬”嚟o架, 遲d o個個如果太醜, 咁大轉變, 服侍開金城武, 突然俾個八兩金嚟, 太激la ma.....
當然我宜家個老板無金城武咁靚仔啦, 係個比喻嚟je～
新老板係一個喺新加坡做咗4 or 5 年嘢嘅西班牙人, 34歲, 本來有諗過佢會唔會係一個靚仔, 咁樣我做嘢都會開心d, 對佢容忍指數又會高d (靚仔係著數d o架喇!!); 不過以我近幾星期收到嘅風, 佢唔靚仔, 仲有人用個"醜"字嚟形容佢ｔｉｍ, 哈哈, 慘lor, 地獄呀 !!! 我宜家個老板都算係一個”靚佬”嚟o架, 遲d o個個如果太醜, 咁大轉變, 服侍開金城武, 突然俾個八兩金嚟, 太激la ma.....
當然我宜家個老板無金城武咁靚仔啦, 係個比喻嚟je～
Thursday, July 16, 2009
永遠站在雞蛋的那方 (村上春樹 "耶路撒冷文學獎"演講辭)
向村上春樹致敬 整理/張翔一 出處:天下雜誌 418期
以色列政府空襲迦薩,獲頒耶路撒冷文學獎的日本知名小說家村上春樹受到國內外壓力,猶疑是否該出席頒獎,結局是,他去了,並掀起了比小說更為震動世人的餘波。
現年六十歲的日本作家村上春樹,被«時代雜誌»喻為當代最具國際影響力的日本作家。
村上春樹三度問鼎諾貝爾文學獎,被媒體形容為繼川端康成、大江健三郎之後,「離諾貝爾文學獎最近的日本人」。他包括«挪威的森林»在內的多部長篇小說作品,陸續被翻譯成四十多國語言,全球銷售超過兩千萬冊,近年陸續獲得捷克「卡夫卡文學獎」、愛爾蘭「法蘭克.歐康納國際短篇小說獎」等多項國際文學獎項肯定。
今年二月初,村上春樹獲頒耶路撒冷文學獎。該獎項每兩年頒發一次,表彰對人類自由、社會公平、政治民主具貢獻的作家。歷屆得獎者包括西蒙波娃、羅素、米蘭昆德拉等。
諷刺的是,頒發獎項的以色列政府,近來空襲迦薩,備受國際和平團體批評。日本輿論因此要求村上春樹為避免被認為支持以色列近來的軍事行動,應拒領該獎項,否則將抵制其作品。
但 二月十五日 ,村上春樹在國內外壓力下,仍選擇赴耶路撒冷出席頒獎典禮。他更出人意料地,在以色列總統佩雷斯面前,公開批判以色列的軍事行動,同時一吐作為文學創作者,希望透過描寫微不足道的個人,對抗既有權力和體制的深層意義。
村上春樹於耶路撒冷的英語演講辭「永遠站在雞蛋的那方」,道出個人應有的道德勇氣、與對體制霸權的深刻反省,隨即被國際媒體競相轉載,更超越文壇,在國際政治、人權組織間引起廣大迴響。
Always on the side of the egg By Haruki Murakami Tags: Israel News, Haruki Murakami
我永遠站在「雞蛋」的那方 作者:村上春樹 整理/張翔一 出處:天下雜誌 418期
Today, I have no intention of lying.
今天,我不打算說謊
I have come to Jerusalem today as a novelist, which is to say as a professional spinner of lies.
今天我以一名小說家的身分來到耶路撒冷。而小說家,正是所謂的職業謊言製造者。
Of course, novelists are not the only ones who tell lies. Politicians do it, too, as we all know. Diplomats and military men tell their own kinds of lies on occasion, as do used car salesmen, butchers and builders.
當然,不只小說家會說謊。眾所周知,政治人物也會說謊。外交官、將軍、二手車業務員、屠夫和建築師亦不例外。
The lies of novelists differ from others, however, in that no one criticizes the novelist as immoral for telling them. Indeed, the bigger and better his lies and the more ingeniously he creates them, the more he is likely to be praised by the public and the critics. Why should that be?
但是小說家的謊言和其他人不同。沒有人會責怪小說家說謊不道德。相反地,小說家愈努力說謊,把謊言說得愈大愈好,大眾和評論家反而愈讚賞他。為什麼？
My answer would be this: Namely, that by telling skillful lies - which is to say, by making up fictions that appear to be true - the novelist can bring a truth out to a new location and shine a new light on it.
我的答案是:藉由高超的謊言,也就是創作出幾可亂真的小說情節,小說家才能將真相帶到新的地方,也才能賦予它新的光輝。
In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form.
在大多數的情況下,我們幾乎無法掌握真相,也無法精準的描繪真相。因此,必須把真相從藏匿處挖掘出來,轉化到另一個虛構的時空,用虛構的形式來表達。
In order to accomplish this, however, we first have to clarify where the truth lies within us. This is an important qualification for making up good lies.
但是在此之前,我們必須先清楚知道,真相就在我們心中的某處。這是小說家編造好謊言的必要條件。
Today, however, I have no intention of lying. I will try to be as honest as I can. There are a few days in the year when I do not engage in telling lies, and today happens to be one of them.
今天,我不打算說謊。我會盡可能地誠實。我在一年之中只有幾天不會說謊,今天剛好就是其中之一。
So let me tell you the truth. A fair number of people advised me not to come here to accept the Jerusalem Prize. Some even warned me they would instigate a boycott of my books if I came.
請容我告訴你們真相。在日本,許多人建議我不要來這裡接受耶路撒冷文學獎。甚至有人警告我,如果我堅持前來,他們會聯合抵制我的小說。
The reason for this, of course, was the fierce battle that was raging in Gaza . The UN reported that more than a thousand people had lost their lives in the blockaded Gaza City , many of them unarmed citizens - children and old people.
主要的原因,當然是迦薩正在發生的激烈戰鬥。根據聯合國調查,在被封鎖的迦薩城內,已經有超過千人喪生,許多人是手無寸鐵的平民、孩童和老人。
Any number of times after receiving notice of the award, I asked myself whether traveling to Israel at a time like this and accepting a literary prize was the proper thing to do, whether this would create the impression that I supported one side in the conflict, that I endorsed the policies of a nation that chose to unleash its overwhelming military power. This is an impression, of course, that I would not wish to give. I do not approve of any war, and I do not support any nation. Neither, of course, do I wish to see my books subjected to a boycott.
我收到獲獎通知後,不斷問自己:此時到耶路撒冷接受文學獎,是否正確？這會不會讓人認為我支持衝突中的某一方,或認為我支持一個發動壓倒性武力攻擊的國家政策？老實說,我也不想看到自己的書被抵制。
Finally, however, after careful consideration, I made up my mind to come here. One reason for my decision was that all too many people advised me not to do it. Perhaps, like many other novelists, I tend to do the exact opposite of what I am told. If people are telling me - and especially if they are warning me - "don't go there," "don't do that," I tend to want to "go there" and "do that."
經過反覆思考,我還是決定來到這裡。原因之一是,太多人反對我來。我和許多小說家一樣,總是要做人們反對的事情。如果有人對我說,尤其是警告我說,「不要去」、「不要這麼做」,我通常反而會特別想去、特別想做。
It's in my nature, you might say, as a novelist. Novelists are a special breed. They cannot genuinely trust anything they have not seen with their own eyes or touched with their own hands.
這就是小說家的天性。小說家是特別的族群,除非親眼所見,親手觸摸,否則他們不會相信任何事情。
And that is why I am here. I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing.
我來到這裡,我選擇親身面對而非置身事外;我選擇親眼目睹而非矇蔽雙眼;我選擇開口說話,而非沉默不語。
This is not to say that I am here to deliver a political message. To make judgments about right and wrong is one of the novelist's most important duties, of course. It is left to each writer, however, to decide upon the form in which he or she will convey those judgments to others. I myself prefer to transform them into stories - stories that tend toward the surreal. Which is why I do not intend to stand before you today delivering a direct political message.
但是這不代表我要發表任何政治訊息。判斷對錯,當然是小說家的重要責任,但如何傳遞判斷,每個作家有不同的選擇。我個人偏好用故事、尤其用超現實的故事來表達。因此,我今天不會在你們面前發表任何直接的政治訊息。
Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: Rather, it is carved into the wall of my mind, and it goes something like this:
不過,請容我在這裡向你們傳達一個非常私人的訊息。這是我創作時永遠牢記在心的話語。我從未將這句話真正行諸文字或貼在牆壁,而是刻劃在我心靈深處的牆上。這句話是這樣的:
"Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg." Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg.
「以卵擊石,在高大堅硬的牆和雞蛋之間,我永遠站在雞蛋那方。」無論高牆是多麼正確,雞蛋是多麼地錯誤,我永遠站在雞蛋這邊。
Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?
誰是誰非,自有他人、時間、歷史來定論。但若小說家無論何種原因,寫出站在高牆這方的作品,這作品豈有任何價值可言？
What is the meaning of this metaphor? In some cases, it is all too simple and clear. Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. This is one meaning of the metaphor.
這代表什麼意思呢？轟炸機、戰車、火箭和白磷彈就是那堵高牆;而被它們壓碎、燒焦和射殺的平民則是雞蛋。這是這個比喻的其中一層涵義。
This is not all, though. It carries a deeper meaning. Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell.
更深一層的看,我們每個人,也或多或少都是一枚雞蛋。我們都是獨一無二,裝在脆弱外殼中的靈魂。
This is true of me, and it is true of each of you. And each of us, to a greater or lesser degree, is confronting a high, solid wall. The wall has a name: It is The System. The System is supposed to protect us, but sometimes it takes on a life of its own, and then it begins to kill us and cause us to kill others - coldly, efficiently, systematically.
你我也或多或少,都必須面對一堵名為「體制」的高牆。體制照理應該保護我們,但有時它卻殘殺我們,或迫使我們冷酷、有效率、系統化地殘殺別人。
We made The System.
是我們創造了體制
I have only one reason to write novels, and that is to bring the dignity of the individual soul to the surface and shine a light upon it.
我寫小說只有一個原因,就是給予每個靈魂尊嚴,讓它們得以沐浴在陽光之下。
The purpose of a story is to sound an alarm, to keep a light trained on The System in order to prevent it from tangling our souls in its web and demeaning them.
故事的目的在於提醒世人,在於檢視體制,避免它馴化我們的靈魂、剝奪靈魂的意義。
I fully believe it is the novelist's job to keep trying to clarify the uniqueness of each individual soul by writing stories - stories of life and death, stories of love, stories that make people cry and quake with fear and shake with laughter. This is why we go on, day after day, concocting fictions with utter seriousness.
我深信小說家的職責就是透過創作故事,關於生死、愛情、讓人感動落淚、恐懼顫抖或開懷大笑的故事,讓人們意識到每個靈魂的獨一無二和不可取代。這就是我們為何日復一日,如此嚴肅編織小說的原因。
My father died last year at the age of 90. He was a retired teacher and a part-time Buddhist priest. When he was in graduate school, he was drafted into the army and sent to fight in China .
我九十歲的父親去年過世。他是位退休老師和兼職的和尚。當他在京都的研究所念書時,被強制徵召到中國打仗。
As a child born after the war, I used to see him every morning before breakfast offering up long, deeply-felt prayers at the Buddhist altar in our house.
身為戰後出生的小孩,我很好奇為何他每天早餐前,都在家中佛壇非常虔誠地祈禱。
One time I asked him why he did this, and he told me he was praying for the people who had died in the war. He was praying for all the people who died, he said, both ally and enemy alike.
有一次我問他原因,他說他是在為所有死於戰爭的人們祈禱,無論是戰友或敵人。
Staring at his back as he knelt at the altar, I seemed to feel the shadow of death hovering around him.
看著他跪在佛壇前的背影,我似乎感受到周遭環繞著死亡的陰影。
My father died, and with him he took his memories, memories that I can never know. But the presence of death that lurked about him remains in my own memory. It is one of the few things I carry on from him, and one of the most important.
我父親過世了,帶走那些我永遠無法盡知的記憶。但環繞他周遭那些死亡的陰影卻留在我的記憶中。這是我從他身上繼承的少數東西之一,卻也是最重要的東西之一。
I have only one thing I hope to convey to you today. We are all human beings, individuals transcending nationality and race and religion, fragile eggs faced with a solid wall called The System.
今天,我只希望能向你們傳達一個訊息。我們都是人類,超越國籍、種族和宗教,我們都只是一枚面對體制高牆的脆弱雞蛋。
To all appearances, we have no hope of winning. The wall is too high, too strong - and too cold.
無論怎麼看,我們都毫無勝算。牆實在是太高、太堅硬,也太過冷酷了。
If we have any hope of victory at all, it will have to come from our believing in the utter uniqueness and irreplaceability of our own and others' souls and from the warmth we gain by joining souls together.
戰勝它的唯一可能,只來自於我們全心相信每個靈魂都是獨一無二的,只來自於我們全心相信靈魂彼此融合,所能產生的溫暖。
Take a moment to think about this. Each of us possesses a tangible, living soul. The System has no such thing.
請花些時間思考這點:我們每個人都擁有獨特而活生生的靈魂,體制卻沒有。
We must not allow The System to exploit us. We must not allow The System to take on a life of its own.
我們不能允許體制剝削我們,我們不能允許體制自行其道。
The System did not make us: We made The System.
體制並未創造我們:是我們創造了體制。
That is all I have to say to you.
這就是我想對你們說的。
I am grateful to have been awarded the Jerusalem Prize. I am grateful that my books are being read by people in many parts of the world. And I am glad to have had the opportunity to speak to you here today.
我很感謝能夠獲得耶路撒冷文學獎。我很感謝世界各地有那麼多的讀者。我很高興有機會向各位發表演說
以色列政府空襲迦薩,獲頒耶路撒冷文學獎的日本知名小說家村上春樹受到國內外壓力,猶疑是否該出席頒獎,結局是,他去了,並掀起了比小說更為震動世人的餘波。
現年六十歲的日本作家村上春樹,被«時代雜誌»喻為當代最具國際影響力的日本作家。
村上春樹三度問鼎諾貝爾文學獎,被媒體形容為繼川端康成、大江健三郎之後,「離諾貝爾文學獎最近的日本人」。他包括«挪威的森林»在內的多部長篇小說作品,陸續被翻譯成四十多國語言,全球銷售超過兩千萬冊,近年陸續獲得捷克「卡夫卡文學獎」、愛爾蘭「法蘭克.歐康納國際短篇小說獎」等多項國際文學獎項肯定。
今年二月初,村上春樹獲頒耶路撒冷文學獎。該獎項每兩年頒發一次,表彰對人類自由、社會公平、政治民主具貢獻的作家。歷屆得獎者包括西蒙波娃、羅素、米蘭昆德拉等。
諷刺的是,頒發獎項的以色列政府,近來空襲迦薩,備受國際和平團體批評。日本輿論因此要求村上春樹為避免被認為支持以色列近來的軍事行動,應拒領該獎項,否則將抵制其作品。
但 二月十五日 ,村上春樹在國內外壓力下,仍選擇赴耶路撒冷出席頒獎典禮。他更出人意料地,在以色列總統佩雷斯面前,公開批判以色列的軍事行動,同時一吐作為文學創作者,希望透過描寫微不足道的個人,對抗既有權力和體制的深層意義。
村上春樹於耶路撒冷的英語演講辭「永遠站在雞蛋的那方」,道出個人應有的道德勇氣、與對體制霸權的深刻反省,隨即被國際媒體競相轉載,更超越文壇,在國際政治、人權組織間引起廣大迴響。
Always on the side of the egg By Haruki Murakami Tags: Israel News, Haruki Murakami
我永遠站在「雞蛋」的那方 作者:村上春樹 整理/張翔一 出處:天下雜誌 418期
Today, I have no intention of lying.
今天,我不打算說謊
I have come to Jerusalem today as a novelist, which is to say as a professional spinner of lies.
今天我以一名小說家的身分來到耶路撒冷。而小說家,正是所謂的職業謊言製造者。
Of course, novelists are not the only ones who tell lies. Politicians do it, too, as we all know. Diplomats and military men tell their own kinds of lies on occasion, as do used car salesmen, butchers and builders.
當然,不只小說家會說謊。眾所周知,政治人物也會說謊。外交官、將軍、二手車業務員、屠夫和建築師亦不例外。
The lies of novelists differ from others, however, in that no one criticizes the novelist as immoral for telling them. Indeed, the bigger and better his lies and the more ingeniously he creates them, the more he is likely to be praised by the public and the critics. Why should that be?
但是小說家的謊言和其他人不同。沒有人會責怪小說家說謊不道德。相反地,小說家愈努力說謊,把謊言說得愈大愈好,大眾和評論家反而愈讚賞他。為什麼？
My answer would be this: Namely, that by telling skillful lies - which is to say, by making up fictions that appear to be true - the novelist can bring a truth out to a new location and shine a new light on it.
我的答案是:藉由高超的謊言,也就是創作出幾可亂真的小說情節,小說家才能將真相帶到新的地方,也才能賦予它新的光輝。
In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form.
在大多數的情況下,我們幾乎無法掌握真相,也無法精準的描繪真相。因此,必須把真相從藏匿處挖掘出來,轉化到另一個虛構的時空,用虛構的形式來表達。
In order to accomplish this, however, we first have to clarify where the truth lies within us. This is an important qualification for making up good lies.
但是在此之前,我們必須先清楚知道,真相就在我們心中的某處。這是小說家編造好謊言的必要條件。
Today, however, I have no intention of lying. I will try to be as honest as I can. There are a few days in the year when I do not engage in telling lies, and today happens to be one of them.
今天,我不打算說謊。我會盡可能地誠實。我在一年之中只有幾天不會說謊,今天剛好就是其中之一。
So let me tell you the truth. A fair number of people advised me not to come here to accept the Jerusalem Prize. Some even warned me they would instigate a boycott of my books if I came.
請容我告訴你們真相。在日本,許多人建議我不要來這裡接受耶路撒冷文學獎。甚至有人警告我,如果我堅持前來,他們會聯合抵制我的小說。
The reason for this, of course, was the fierce battle that was raging in Gaza . The UN reported that more than a thousand people had lost their lives in the blockaded Gaza City , many of them unarmed citizens - children and old people.
主要的原因,當然是迦薩正在發生的激烈戰鬥。根據聯合國調查,在被封鎖的迦薩城內,已經有超過千人喪生,許多人是手無寸鐵的平民、孩童和老人。
Any number of times after receiving notice of the award, I asked myself whether traveling to Israel at a time like this and accepting a literary prize was the proper thing to do, whether this would create the impression that I supported one side in the conflict, that I endorsed the policies of a nation that chose to unleash its overwhelming military power. This is an impression, of course, that I would not wish to give. I do not approve of any war, and I do not support any nation. Neither, of course, do I wish to see my books subjected to a boycott.
我收到獲獎通知後,不斷問自己:此時到耶路撒冷接受文學獎,是否正確？這會不會讓人認為我支持衝突中的某一方,或認為我支持一個發動壓倒性武力攻擊的國家政策？老實說,我也不想看到自己的書被抵制。
Finally, however, after careful consideration, I made up my mind to come here. One reason for my decision was that all too many people advised me not to do it. Perhaps, like many other novelists, I tend to do the exact opposite of what I am told. If people are telling me - and especially if they are warning me - "don't go there," "don't do that," I tend to want to "go there" and "do that."
經過反覆思考,我還是決定來到這裡。原因之一是,太多人反對我來。我和許多小說家一樣,總是要做人們反對的事情。如果有人對我說,尤其是警告我說,「不要去」、「不要這麼做」,我通常反而會特別想去、特別想做。
It's in my nature, you might say, as a novelist. Novelists are a special breed. They cannot genuinely trust anything they have not seen with their own eyes or touched with their own hands.
這就是小說家的天性。小說家是特別的族群,除非親眼所見,親手觸摸,否則他們不會相信任何事情。
And that is why I am here. I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing.
我來到這裡,我選擇親身面對而非置身事外;我選擇親眼目睹而非矇蔽雙眼;我選擇開口說話,而非沉默不語。
This is not to say that I am here to deliver a political message. To make judgments about right and wrong is one of the novelist's most important duties, of course. It is left to each writer, however, to decide upon the form in which he or she will convey those judgments to others. I myself prefer to transform them into stories - stories that tend toward the surreal. Which is why I do not intend to stand before you today delivering a direct political message.
但是這不代表我要發表任何政治訊息。判斷對錯,當然是小說家的重要責任,但如何傳遞判斷,每個作家有不同的選擇。我個人偏好用故事、尤其用超現實的故事來表達。因此,我今天不會在你們面前發表任何直接的政治訊息。
Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: Rather, it is carved into the wall of my mind, and it goes something like this:
不過,請容我在這裡向你們傳達一個非常私人的訊息。這是我創作時永遠牢記在心的話語。我從未將這句話真正行諸文字或貼在牆壁,而是刻劃在我心靈深處的牆上。這句話是這樣的:
"Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg." Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg.
「以卵擊石,在高大堅硬的牆和雞蛋之間,我永遠站在雞蛋那方。」無論高牆是多麼正確,雞蛋是多麼地錯誤,我永遠站在雞蛋這邊。
Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?
誰是誰非,自有他人、時間、歷史來定論。但若小說家無論何種原因,寫出站在高牆這方的作品,這作品豈有任何價值可言？
What is the meaning of this metaphor? In some cases, it is all too simple and clear. Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. This is one meaning of the metaphor.
這代表什麼意思呢？轟炸機、戰車、火箭和白磷彈就是那堵高牆;而被它們壓碎、燒焦和射殺的平民則是雞蛋。這是這個比喻的其中一層涵義。
This is not all, though. It carries a deeper meaning. Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell.
更深一層的看,我們每個人,也或多或少都是一枚雞蛋。我們都是獨一無二,裝在脆弱外殼中的靈魂。
This is true of me, and it is true of each of you. And each of us, to a greater or lesser degree, is confronting a high, solid wall. The wall has a name: It is The System. The System is supposed to protect us, but sometimes it takes on a life of its own, and then it begins to kill us and cause us to kill others - coldly, efficiently, systematically.
你我也或多或少,都必須面對一堵名為「體制」的高牆。體制照理應該保護我們,但有時它卻殘殺我們,或迫使我們冷酷、有效率、系統化地殘殺別人。
We made The System.
是我們創造了體制
I have only one reason to write novels, and that is to bring the dignity of the individual soul to the surface and shine a light upon it.
我寫小說只有一個原因,就是給予每個靈魂尊嚴,讓它們得以沐浴在陽光之下。
The purpose of a story is to sound an alarm, to keep a light trained on The System in order to prevent it from tangling our souls in its web and demeaning them.
故事的目的在於提醒世人,在於檢視體制,避免它馴化我們的靈魂、剝奪靈魂的意義。
I fully believe it is the novelist's job to keep trying to clarify the uniqueness of each individual soul by writing stories - stories of life and death, stories of love, stories that make people cry and quake with fear and shake with laughter. This is why we go on, day after day, concocting fictions with utter seriousness.
我深信小說家的職責就是透過創作故事,關於生死、愛情、讓人感動落淚、恐懼顫抖或開懷大笑的故事,讓人們意識到每個靈魂的獨一無二和不可取代。這就是我們為何日復一日,如此嚴肅編織小說的原因。
My father died last year at the age of 90. He was a retired teacher and a part-time Buddhist priest. When he was in graduate school, he was drafted into the army and sent to fight in China .
我九十歲的父親去年過世。他是位退休老師和兼職的和尚。當他在京都的研究所念書時,被強制徵召到中國打仗。
As a child born after the war, I used to see him every morning before breakfast offering up long, deeply-felt prayers at the Buddhist altar in our house.
身為戰後出生的小孩,我很好奇為何他每天早餐前,都在家中佛壇非常虔誠地祈禱。
One time I asked him why he did this, and he told me he was praying for the people who had died in the war. He was praying for all the people who died, he said, both ally and enemy alike.
有一次我問他原因,他說他是在為所有死於戰爭的人們祈禱,無論是戰友或敵人。
Staring at his back as he knelt at the altar, I seemed to feel the shadow of death hovering around him.
看著他跪在佛壇前的背影,我似乎感受到周遭環繞著死亡的陰影。
My father died, and with him he took his memories, memories that I can never know. But the presence of death that lurked about him remains in my own memory. It is one of the few things I carry on from him, and one of the most important.
我父親過世了,帶走那些我永遠無法盡知的記憶。但環繞他周遭那些死亡的陰影卻留在我的記憶中。這是我從他身上繼承的少數東西之一,卻也是最重要的東西之一。
I have only one thing I hope to convey to you today. We are all human beings, individuals transcending nationality and race and religion, fragile eggs faced with a solid wall called The System.
今天,我只希望能向你們傳達一個訊息。我們都是人類,超越國籍、種族和宗教,我們都只是一枚面對體制高牆的脆弱雞蛋。
To all appearances, we have no hope of winning. The wall is too high, too strong - and too cold.
無論怎麼看,我們都毫無勝算。牆實在是太高、太堅硬,也太過冷酷了。
If we have any hope of victory at all, it will have to come from our believing in the utter uniqueness and irreplaceability of our own and others' souls and from the warmth we gain by joining souls together.
戰勝它的唯一可能,只來自於我們全心相信每個靈魂都是獨一無二的,只來自於我們全心相信靈魂彼此融合,所能產生的溫暖。
Take a moment to think about this. Each of us possesses a tangible, living soul. The System has no such thing.
請花些時間思考這點:我們每個人都擁有獨特而活生生的靈魂,體制卻沒有。
We must not allow The System to exploit us. We must not allow The System to take on a life of its own.
我們不能允許體制剝削我們,我們不能允許體制自行其道。
The System did not make us: We made The System.
體制並未創造我們:是我們創造了體制。
That is all I have to say to you.
這就是我想對你們說的。
I am grateful to have been awarded the Jerusalem Prize. I am grateful that my books are being read by people in many parts of the world. And I am glad to have had the opportunity to speak to you here today.
我很感謝能夠獲得耶路撒冷文學獎。我很感謝世界各地有那麼多的讀者。我很高興有機會向各位發表演說
Tuesday, July 07, 2009
7.7.2009 - BYOB
今日香港政府終於開始收取膠袋稅鼓勵香港人少用膠袋, 我舉手&腳支持因為我唔想個地球咁快玩完~ 請各位親朋好友以後要記得自備環保袋囉~
今朝聽林海峰先知原來政府喺2000年已經開始"BYOB"ne個口號叫香港人重視環保嘅工作, 過咗19年喇，唔見有咩大改進囉！今時今日先開始收膠袋稅, 仲有所有政府大樓都唔知係舊年尾定今年頭先開始續漸更換慳電膽ｊａ．．．你話我哋嗰個曾特首同班高官幾有效率～～～～～～～
今朝聽林海峰先知原來政府喺2000年已經開始"BYOB"ne個口號叫香港人重視環保嘅工作, 過咗19年喇，唔見有咩大改進囉！今時今日先開始收膠袋稅, 仲有所有政府大樓都唔知係舊年尾定今年頭先開始續漸更換慳電膽ｊａ．．．你話我哋嗰個曾特首同班高官幾有效率～～～～～～～
Monday, July 06, 2009
Design for living 生活與生存
上星期五去咗演藝睇由張艾嘉, 鄭元暢, 林奕華為賣點的話劇<>．講真，套劇唔差，但係太長，三小時再加中場休息十五分鐘，有ｄ場口／配角，我覺得刪除咗個故事會更流暢，更緊湊．
我睇嗰場電視新聞話林青霞，任賢齊都有嚟睇，但我係場內場外都見唔到佢哋，可能因為我唔係買最貴嘅飛而同佢哋唔同區．好想見吓林青霞真身，睇吓佢係咪真係”不老嘅大美人”～
講番套劇，好多人話鄭元蜴今次做得好好，而我覺得佢做得好嘅原因係佢可以做番自己．佢嘅角色係一個廿歲出頭，唔明白生活意義，滿腦子問題而不知天高地厚嘅後生仔；每日番工唔知為咩，最大嘅理想係要賺好多錢，而如果你問佢點解要賺咁多錢同你打算點樣去賺咁多錢，你唯一會得到嘅答案係”唔知，未諗到”．如果你問我選角時點解會選佢，我會話有５０％原因係因為佢可以吸引更多年輕觀眾買飛入場，偶象派嘅魅力係沒法擋的，當然我無話佢唔識演戲（５０／５０囉），企喺台上要演番自己都係唔容易嘅．．． ： ）
至於張艾嘉，無可否認佢係好好戲，再加上個劇本係佢寫嘅，而個角色又好似為佢度身訂造一般，一個有ｄ年紀，不斷想向上爬，要証明自己比其他人優越，爭權奪利嘅公司高層，有咩理由會演得唔好呢！整套劇我留意到有一個”蝦碌”地方，就係當張艾嘉攞咗支紅酒出嚟想倒落個杯度，點知好死唔死支酒係無開到，好有演戲經驗嘅佢，雖然呆咗一呆，但係好快就扮倒咗酒，攞住個”吉”酒杯搖下搖下，扮無事，雖然嗰個我有笑咗出嚟．．．
全套劇我反而覺得ｄ大配角做得幾好，特別係一個叫蘇菲的配角，佢演一個工作勤奮，唔多ｓｏｃｉａｌ嘅ｆｉｎａｎｃｉａｌ人，有能力有知識，唔買身材樣貌，但最後鍾意咗個想利用佢嘅同事；因為愛，明知犯法都要幫佢；喺工作上，佢可以攞１００分，但喺感情上，佢卻係一個敗者；有幾個場口，佢喊到聲嘶力竭，俾人一巴打到飛埋一邊；但燈光一暗，十秒內，換第二個場景，佢就要若無其事咁坐番喺度；厲害！ｎｅ個角色由一個謝盈萱嘅台灣女仔飾演，佢係台北藝術大學戲劇系畢業，主修表演，之前無睇過佢任何演出，今次係第一次．其實做暗戀蘇菲嗰個木納嘅有婦之夫同嗰兩個ｃａｍ ｃａｍ哋嘅男PA都做得唔錯．．．
講咗咁耐都無講個故事－社會嘅縮影，一間大公司同事老闆間明爭暗鬥，太過看重成敗得失嘅故事，反而我覺得佢無將<<生活與生存>>嘅大不同交代清楚．就好似林奕華喺開ｓｈｏｗ前嘅講座所講”泡麵係生存，給自己煮一餐飯係生活”，生活與生存就只差在你一念之間．
無咩睇過林奕華嘅劇，對上嗰次應該係好多年前佢搵吳彥祖做嘅<<小王子>>．
總括而言，套劇ｏｋａｙ，可能一看，但要留意－為迎合大中華市場，此劇嘅所有對白都係用普通話的～
Friday, July 03, 2009
健忘症
最近我發現自己個健忘症病情嚴重咗好鬼多, 搭車番屋企仲諗梗今晚有d有趣嘅事要update自己個blog, 但番到屋企之後我竟然可以忘記得一乾二淨, 諗到頭都爆都諗唔番! 如果對於d唔開心嘅事我可以好似咁樣健忘就好囉...
我腦裡面諗嘅野真係會瞬間即逝, 可能遲d我要帶住本簿仔出街寫低自己做過d咩&要掛住條有自己屋企地址同電話嘅頸鏈出街, 要警察叔叔帶我番屋企! sigh ~~~~~
我腦裡面諗嘅野真係會瞬間即逝, 可能遲d我要帶住本簿仔出街寫低自己做過d咩&要掛住條有自己屋企地址同電話嘅頸鏈出街, 要警察叔叔帶我番屋企! sigh ~~~~~
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