2008年4月29日 星期二

高次軒(D-Link )

我 hc在90年代初曾為Dupont公司 PRIVATE-LABELLING 他們
D-Link 的產品






企業家風範》網路世界的台灣之光──悼高次軒先生

日 前交通大學為慶祝在台建校50周年,特別舉辦「台灣50、影響50」校慶主題活動,由校內外人士票選出最具有影響力的50位交大校友,彰顯交大人半世紀以 來在全球高科技產業、學術界、文化界等各產業令人刮目相看的貢獻。結果由已故的友訊科技(DLink)創辦人高次軒先生獲得最高票,還超過有「品牌先生」 尊稱的宏碁創辦人施振榮先生,這雖與大家懷念之情不無關係,但也凸顯高次軒先生一生對台灣的貢獻與其人格魅力。

筆者從事創業投資20餘年,有幸親自參與台灣產業轉型的艱辛歷程,深知發展品牌雖是台灣產業升級必須跨越的天險,但成功者實屬鳳毛麟角。

次軒兄在1986年創立友訊時,就以品牌產品做為發展策略,去年美國《商業周刊》科技100強調查,友訊科技更是國內唯一入榜的網通廠商,也是全球僅次於思科(Cisco)的網通品牌業者。

這其間,次軒兄的智慧與魄力是為關鍵,足以稱之為網路世界的台灣之光。

1994年,次軒兄經由花旗銀行陳睿緒的引介而相識,當時友訊為了搶進快速發展的中國大陸網路通訊市場,希望透過我與熟識的中國最大資訊通路聯想集團總裁 柳傳志先生見面,隨後我兩度安排次軒兄與柳傳志先生、及後來負責聯想衍生網路產品集團神州數碼的郭為先生,在香港進行合作磋商,初期雙方從貿易、製造到技 術的合作都有接觸。

不過,在雙方各有保障技術機密、壓低進貨成本、確保營運彈性的想法下,最後達成的協議僅限於合力擴展分銷市場、攜手進軍網路設備市場。

在雙方談判過程中,我極為佩服次軒兄所展現的洞見智慧與魄力,當時聯想計劃向友訊學習網路設備的製造核心技術,但次軒兄堅守網路設備的製程包含著核心競爭力的技術,迫使聯想最終也不強人所難的接受次軒兄提出的合作底線。

這項前後約五年的合作,雖因由聯想分家成立的神州數碼另有打算,而以拆夥告終,但其間友訊不但進入中國市場而深蒙其利,也因保有核心製造技術而未受拆夥之後害,次軒兄的折衝與遠見,是為未來新政府積極推動兩岸合作之借鏡。

同是軍人子弟,在與次軒兄交往的20年中,我雖然幫了他不少忙,但也因受邀參與其事業投資而受他照顧許多,過程中深深感受他人格中正直而充滿豐富情感的特質,舉止優雅又保有創業家的衝勁,處處與人為善。

企業家我見識不少,但像次軒兄這般真誠真情流露的,少之又少;我想,這當是真正大企業家的風範,與這樣的人物共事,才是縱橫商場的樂趣。

今天是生前好友為他追思告別的日子,謹以此文來懷念次軒兄為台灣留下的人格風範與企業標竿,我相信,這才是品牌背後最值得尊敬的魅力。

随筆家の岡部伊都子さん死去

随筆家の岡部伊都子さん死去

2008年04月29日18時42分

 暮らしに息づく日本の伝統美をこまやかにつづった随筆家の岡部伊都子(おかべ・いつこ)さんが29日午前3時59分、肝臓がんによる呼吸不全で死去し た。85歳だった。葬儀は近親者のみで行う。「お別れ会」は5月31日午後2時から京都市上京区寺町通丸太町上ル松蔭町141の2の洛陽教会で。連絡先は ギャラリーヒルゲート(075・231・3702)。

写真

岡部伊都子さん

 大阪市の生まれ。婚約者を沖縄戦で失った後、1946年に結婚したが離婚。破産した実家に戻るなど苦労を重ねた。

 54年から放送された朝日放送のラジオエッセーをまとめた「おむすびの味」で随筆家として名を得た。独特のやわらかい筆づかいで美の世界を追求し、戦 争、差別などを鋭く批判。著書は「沖縄からの出発」など100冊を超える。96年の著作選集「岡部伊都子集」(岩波書店)は、愛読者でもある作家の落合恵 子さんと評論家の佐高信さんが企画・編集を担当した。

 「学歴はないけど病歴はある」と自らを評したほど、幼少時代から病気と闘いつづけた。療養生活を続ける中で、弱者や美しいものへのまな ざしを養った。01年に肝臓がんの宣告を受けた。05年2月、約30年住んだ京都・賀茂川べりの家からJR京都駅近くのマンションへ転居。蔵書は図書館に 寄贈し、思い出の品も整理した。「死に支度や」と話していた。

 06年、自伝「遺言のつもりで」を出版。この本で、自らの最期を見つめるこんな境地を表現した。「死ぬまで、自分を育て、解放されなければ。これで終わりということがない。毎日が始まりや。刻々の誕生や」


2008/04/29-19:24 岡部伊都子さん死去=随筆家、日本の伝統美とらえる   日常生活の機微や日本の伝統美をきめ細かくとらえたエッセーで知られた随筆家の岡部伊都子(おかべ・いつこ)さんが、29日午前3時59分、肝臓がんによ る呼吸器不全のため、京都市の病院で死去した。85歳だった。葬儀は近親者のみで行い、しのぶ会を5月31日午後2時から京都市上京区寺町通荒神口下ル松 蔭町141の2の洛陽教会で開く。
 大阪市出身。結婚・離婚を経て、1954年から執筆活動を開始。ラジオ番組のために書いたエッセーをまとめた 「おむすびの味」で認められ、随筆家としての地位を確立した。その後「女人歳時記」「おりおりの心」「二十七度線 沖縄に照らされて」「暮しの絵暦」「生 きるこだま」などの作品を発表。06年には語り下ろしの自伝「遺言のつもりで」を発表し、話題となった。



岡部伊都子さん=随筆家

 日常生活に息づく美意識をさりげない筆致でつづった随筆家の岡部伊都子(おかべ・いつこ)さんが29日午前3時59分、肝臓がんによる呼吸器不全 で亡くなった。85歳だった。告別式は親族だけで行い、5月31日午後2時から京都市上京区寺町通丸太町上る、洛陽教会でしのぶ会を開く。

 戦後、ラジオ番組のために書いた原稿が1956年に「おむすびの味」の名で刊行され随筆家として注目された。晩年は京 都に暮らし、紀行、エッセーで仏像や花などの風物と人間の営みを細やかに描き、それらを踏みにじる戦争や差別、環境汚染などを批判した。作品に「古都ひと り」「女人の京」「朱い文箱から」「朝鮮母像」など。

2008年4月29日21時58分 読売新聞)


断肠花

岡部伊都子 原作


今年的秋海棠又开放了。

自其纤纤细叶萌芽之际,其嫩芽那鲜红的曲线便很是美丽。当我还是个不谙世事的少妇时,就住在满院秋海棠盛开的宅子里。那是个战败后物质极度匮乏的年代,我亲手揉面做面条、烤面包;缝补汗衫、布袜,做得背部酸痛时,便躺着继续手中的针线活儿。

初秋时节多淫雨,仿佛梅雨一般,连绵不断。秋海棠被这持续不断的雨水淋得湿漉漉的,它的叶片色泽鲜明,深红的花茎和淡红的花朵楚楚动人。我曾悠闲地坐在走廊里,凝视着那小小的院落。

那时的我到底是何许人?现在想来,不甚了了。从表面上看,我似乎是个新婚不久、一门心思料理家务、即便不是无微不至但仍尽心尽力服侍丈夫的妻子。事实上,我认为自己当时就是这样真心诚意地过日子的。

现在回想起来,自己当时活得是何等地天真无聊啊!在我虚岁十五那年,中国的卢沟桥爆发了战争。那以后,身边的年轻人纷纷应征入伍,战事不断扩大。我被发现 低烧不退,因此经常不去女子学校上课。那时,对结核病的治疗除了静养和空气疗法之外别无良策。于是,我远离位于大阪市中心的家,租借郊外的房屋,辗转易 地,进行疗养。

虽然最终没有拿到毕业证书,但换来的是大难不死,胖嘟嘟地从疗养院返回了家中,是年,我已十八岁。战争日益激化,我最尊敬的哥哥参加了空军,于1942年1月阵亡。他大我四岁。

当时,我是个狂热的军国主义者,我坚信:“战争是圣战,牺牲是荣耀”。哥哥死后,我的未婚夫竟出乎意料地说:“我厌恶战争。我不想为天皇而死。”对此,我 大为震惊,他在我们相会的短暂时光情不自禁地吐露自己的真实感受,我却不能充分理解。如今,我回忆起他当时所体味到的那份孤寂,为自己无法挽回的万分歉意 而感到无地自容。

他最终被派往冲绳,为自己所反对的战争而命赴黄泉。可我在1968年以前对他的死亡情形及其丧身之地——冲绳的历史均一无所知。战败后收到他的死亡通知。第二年,望着那栽满秋海棠的院子的人已是将他的死抛诸脑后的别人的妻子了。

我生活在一个多么严重的谬误之中?!我是个对此毫无察觉的自私女人。自由生存的机会因战败不期而遇,可我却仍然摆脱不了父母、社会舆论之类的顾忌,仍想扮演乖女贤妻的角色,只留意身边琐事,既无心关注时代变化,又无意放眼大千世界。

从满院的花朵中我剪下一枝插在壁龛里。凝神近观,其鲜红的花瓣中隐约可见的小黄花蕊甚是可爱。此花的别名叫断肠花,悲痛得令人肝肠寸断即断肠,断肠花亦即令人悲恸欲绝的花。

它给人的不是那种挺着胸膛肃然呼喊的感觉,而是带有一种柔弱虚幻的味道,令人觉得莫名的感伤。比起天气晴朗的日子,在阴郁或被雨水浸透的日子里它更能显出勃勃生机。

人,憧憬光明却又留恋阴影。那种只追求光明而对阴影部分不屑一顾的心灵是不懂得存在之悲哀的。依附于实在的生命体以及所有存在物的喜悦与不安、置身于包括死亡在内的生命的动荡——当你意识到这些时,生存的欢喜与绝望就会同时令你心灵震撼。

天生孱弱的我具备一种弱者的本能——处身于阴影之中,心境会更加平和。与其进行未来的自我设计,倒不如做好无论大限何时来临都要从容镇定的心理准备。这种习惯性想法自幼就占据了我的灵魂,因而觉得带着阴影的秋海棠犹如自己的同伴令我心生喜悦。

然而,和秋海棠一起相处的日子使我明白:她具有一种顽强的生命力。关于这点,从其外表得到的负面印象出发是很难想象的。秋海棠在经过淫雨季节之后,沐浴了 桂花芬芳四溢的深秋阳光,在被台风刮倒的板壁下仍然盛开不衰。它没完没了地开放,以致我想:“它难道能永远花开不败吗?”

终于,萧瑟秋风四起,当其枯萎的叶茎呈现一副行将入土的模样时,我陷入了沮丧之中,似乎一场长剧在我眼前落下帷幕。

那时候,我自豪于自己看破了健康人所无法看到的人生的飘渺。因为人终归一死,所以我的感觉是从死亡的边缘回望人生,与此世交流直至与世长辞的那一刻来临。

或许这是个悲观的想法,但它却是一种相对豁达的心境。我一直以为最好在自己生命的每个瞬间都对自己周围有缘相识的人们珍而视之,我觉得这样准没错。所以心 情坦荡悠闲自得,从父母呵护的安乐窝中投身丈夫的保护伞下,新环境的一切的一切都弥足珍贵。秋海棠静静地、虚幻飘渺却次次绽放,其坚韧不拔便是阴影所蕴含 着的巨大能量。这是个很大的发现,我为之鼓舞。

后来据说,我丈夫因估计我活不过三年方与我结婚。但却事与愿违,我活了好久。这点便是生命的不可思议之处,谁都无法左右。最终,我离开婆家,回到我母亲独 居、家道中落的娘家。若是为了生活,我不会想要独身。靠年岁的增加,我一点点地醒悟到了一些“百思莫解”的事儿。当时我担心失去经济上的保障;并且在那以 前一直支配着我的审美观是:离婚是人一生中不能容忍的污点。

可是,我的美学观终于土崩瓦解了。我转而认为:与其呆在表面体面周全的位子上,倒不如贫困度日饱经风霜,纵然遗尸街头。作为人而言,这似乎是一种更为理想 的生存方式。我丈夫经济宽裕,又深受女性亲睐,他决意打发身心交瘁的我返回娘家。托他的福,我得以独身,真是令人庆幸。

作为女人、作为人、作为生存者,我都是个彻头彻尾的失败者。我一落千丈跌入谷底,不得不承认自己的一切都大错特错。我好象终于看到了自己一贫如洗、软弱无 能的真面目。后来,我逐渐可以将以前了然于心的真心话一一吐露。蓦然环顾四周,那种发现自己可以随心所欲无拘无束时的兴高采烈,那种明白自己不再是谁的妻 子、不靠丈夫供养、自谋生路简朴生活的充实感,使我两眼熠熠生辉,我感到了一个新生的自我。

我之所以能够将封闭的自我向外界敞开,完全得益于自己为了生计与社会产生联系、开始从事工作。无论我对人生怎样超脱,但对生存竞争的对手也不能善罢甘休。以往虽未想到过这点,但一旦自己意识到时才发现自己(竟然)是个歧视者。

我自以为毫无轻视他人的念头,但却无视那些苦于不平等、反抗歧视的人群。通过这点我明白了自己是个不可饶恕的歧视者,是个承认不平等的现实、对他人的痛苦不闻不问的加害者。

这就是我无休止的心灵自责的第一步。

通过解放封闭的自我发现了更糟糕更丑陋的自我。我陶醉于解放这个词汇所具有的甜蜜回味之中。也许所谓真正的解放就是从歧视与被歧视中解放出来。
  
荒畑寒村16岁时就立志社会改革、自食其力、专心致力于社会主义实践活动。他有个笔名叫竹内断肠花。竹内是慈母般支持他的夫人姓氏。这位硬骨铮铮的社会主义者说“断肠花有着令人难以舍弃的楚楚可怜之韵致,我喜爱有加。”因而,他将二者结合起来作为自己的笔名。

他在一篇短文中写道,他所景仰的堺利彦氏曾把秋海棠扭曲的心形叶子形容为“宛如武士礼服的一只袖子,耀武扬威。”而幸德秋水氏则说:自己曾偶得一句诗——“断肠人看断肠花”,然后凝视着院子里的秋海棠为诗的下句煞费苦心而不得。

断肠人看断肠花。

这些人就是一想到被政府蹂躏的国民、一想到他们的悲惨处境就感到柔肠寸断的人——断肠人。秋海棠在阳光照不到的地方静静地盛开,婀娜多姿;因之而生出心旌 摇曳的情愫情怀。正因为这种丰富的感受性,他们才会对谷中村因矿物公害事件所导致的毁灭而愤怒,才会反对战争,才能自觉不自觉地站在受歧视受虐待的民众一 边。

尽管我也为秋海棠花的美丽而动情,却没能在这种情绪的鼓动下去奋斗,而是立刻避而远之、逃之夭夭。这样的人能说是爱花之人吗?

不知为何,在春天这个风和日丽的季节里却有个词汇叫春愁;与春之愁绪相对,秋天则促人思索。清澈透明的空气诱人进入清晰思维之愉悦中。把朝外的心绪拉回内心,我思索何谓自我?何谓人?何谓生存?

秋思。

我真想和这误入眼帘的蜻蜓一起追溯那曾遗忘了的、抛弃了的、忽略了的一切。说真的,我一直在为丑陋的自我而常感悲哀,但终因能正视自己而又感欣慰。

(原文有时间再另附 )pupupu訳




A Conversation With Arno Motulsky: A Genetics Pioneer Sees a Bright Future, Cautiously

A Conversation With Arno Motulsky

A Genetics Pioneer Sees a Bright Future, Cautiously


Published: April 29, 2008

Among scientists, 84-year-old Arno Motulsky is known as the “father of pharmacogenomics.” In 1957, Dr. Motulsky, a medical doctor and researcher at the University of Washington, published an article reporting that two drugs had negative interactions with enzymes produced by certain human genes. Might this be true of other pharmaceuticals, Dr. Motulsky wondered? His question set off a revolution in research. Dr. Motulsky, who grew up Jewish in Nazi Germany, barely made his way out of wartime Europe and to safety in America.

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Stuart Isett for The New York Times

“What we know about the genome today is not enough for all the miracles many expect from this field.”

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Q. IN 1939 YOU BOARDED AN OCEAN LINER FROM HAMBURG TO CUBA WITH YOUR MOTHER, BROTHER AND SISTER. DID YOU EVER GET THERE?

A. We got as far as Havana harbor. Our ship was the S. S. St. Louis. The Cuban government had canceled the transit permits of most of the passengers — nearly a thousand refugees. We could not disembark.

Q. YOU MUST HAVE BEEN TERRIFIED.

A. I was 15. At that age, one tends to be optimistic. Many of the older men, they’d been in concentration camps and they had a better sense of what could happen. For days, appeals went out to the U.S. government to take us in. Then the Cubans ordered the St. Louis out of Havana harbor. The captain — who was a decent sort — sailed the ship up the Florida coast, hoping something would change. You could see Miami. Eventually, the St. Louis turned around for Europe. Our family was given asylum by Belgium. After a year in Brussels, we got our visas for America, but before we could leave, the country was overrun by the German Army.

Q. WERE YOU THEN INTERNED?

intern (PUNISH) PhoneticPhoneticPhoneticPhoneticPhoneticPhoneticPhoneticPhoneticPhonetic Phonetic PhoneticPhoneticPhoneticPhoneticPhoneticPhoneticPhoneticPhonetic Hide phonetics
verb [T often passive]
to put someone in prison for political or military reasons, especially during a war:
Many foreigners were interned for the duration of the war.

A. Yes, I was sent to a succession of camps in France. Though conditions were bad — hunger, typhoid — I always tried to know what was going on. I always tried to get a hold of newspapers, which was very difficult.

After many months, the Vichy French moved those internees with the possibility to emigrate to a special camp near Marseilles. We were allowed to visit consulates in the city. I spent much time at the American consulate, pleading for a renewal of my now-expired visa.

That came through right before my 18th birthday. So 10 days before I turned 18, I crossed into Spain. From there I went to Lisbon and eventually Chicago, where my father was. If my visa had taken any longer, I wouldn’t be here today because Franco had barred males over 18 from transiting through Spain; I would have ended up in Auschwitz, like most of the people I left behind.

Q. WHAT BECAME OF YOUR MOTHER AND SIBLINGS?

A. For two years, there was no news. In Brussels, they’d gotten orders to be “resettled in the East.” With the help of Belgian friends, they illegally crossed into Switzerland. We didn’t see them until 1946.

Q. HOW DID YOU BECOME A DOCTOR? THAT COULDN’T HAVE BEEN EASY FOR A PENNILESS REFUGEE KID.

A. I had a great piece of luck. When I was 20, I was drafted! The Army needed doctors for the war. They put me into a special program, where they sent me to Yale and later to medical school.

Q. HOW DID GENETICS BECOME YOUR SPECIALTY?

A. While at Michael Reese Hospital in Chicago, I met the hematologist Dr. Karl Singer, and he had all these modern ways of studying blood. That interested me. Because there are hereditary blood diseases, I soon became interested the genetic aspect of hematology.

Q. YOUR OBSERVATION IN 1957 ABOUT THE INTERACTIONS BETWEEN THE ENZYMES PRODUCED BY GENES AND SOME DRUGS — DOES IT PLEASE YOU TO SEE HOW IMPORTANT IT HAS BECOME?

A. Yes, because at first the idea was not well accepted. I remember going to an important pharmaceutical executive and I said, “I found a new way to find out about drug reactions.” And he kissed me off: “Drug reactions?”

Things also moved slowly for a long time because it was hard to test for this. But now, with the new DNA testing, you can do many things faster and better. And with the modern computerized genomics, you can even test for reactions to many different enzymes, all at the same time.

On the other hand, I think the promise of pharmacogenetics is sometimes overhyped. There are people who think we’ll be able to solve almost everything with an individualized prescription. We need more research, which will be expensive.

Q. WILL HEALTH INSURANCE PAY FOR DNA TESTING AND CUSTOM PHARMACEUTICALS?

A. That’s a problem. On the hopeful side, people say it may soon be possible to sequence a person’s genome for $1,000. Once they figure out low-cost ways to sequence the genome, the price of personalized medicine will come down.

Still, one shouldn’t be misled. What we know about the genome today is not enough for all the miracles many expect from this field. There’s a lot about what regulates the genes and how they interact that we still need to understand. We won’t have the answers by tomorrow.

Q. AT 84, YOU’RE STILL WORKING. WHAT ARE YOU TACKLING IN YOUR LABORATORY?

A. One project I’m very excited about relates to human color vision. About 8 percent of males have inherited red-green color blindness. This is caused by hereditary abnormalities in color sensitive pigments of the retinal cones in the back of the eyes, which are actually part of the brain. Our laboratory found that one-half of males with normal color vision had the amino acid alanine in their red pigment, while the other half all carried the amino acid serine, at the same site. This finding means that the same exact red color is perceived as a different type of red, depending on a person’s genetic makeup.

Q. WHAT’S THE POINT OF KNOWING THIS?

A. It’s exciting to learn that because of heredity, different people can see the same thing differently. I think this may prove useful in studying more complex brain functions. If this were 20 years ago, I’d focus on neurogenetics. What’s going on in the brain, that’s the last frontier.

Q. DO THE EXPERIENCES OF YOUR CHILDHOOD HAVE AN IMPACT ON YOUR LIFE AND WORK TODAY?

A. I often think about it. Whenever something good happens, I say to myself, “Look, you almost didn’t live to experience this.” When I see pictures from Africa, I think: “That could be me. I was once a refugee.”

2008年4月26日 星期六

Isabel Allende

阿言德(Isabel Allende)

Columbia Encyclopedia: Allende, Isabel,
1942–, Chilean novelist. Since the 1973 coup that deposed her uncle, President Salvador Allende Gossens, Isabel Allende, who is among the most notable contemporary Chilean writers, has lived abroad, for many of those years in California. Her fiction is distinguished by its fusion of traditional realism with political (including feminist) concerns. Her first and best-known novel, The House of Spirits (1982, tr. 1985), which reflects the influence of Gabriel García Márquez and the technique of magic realism, tells the story of a Chilean family over three generations. Allende's fiction also includes Of Love and Shadows (1984, tr. 1987); Eva Luna (1987, tr. 1988); The Infinite Plan (1991, tr. 1993), her first work set in the United States; Daughter of Fortune (1998, tr. 1999); Portrait in Sepia (2001); and Inés of My Soul (2006), the fictionalized life of a 16th-century conquistadora.

Bibliography

See her memoirs, Paula (1994, tr. 1995), Aphrodite: A Memoir of the Senses (1997, tr. 1998), and My Invented Country (2003); J. Rodden, ed., Conversations with Isabel Allende (1999, repr. 2004); studies by W. Zinsser (1989), P. Hart (1989), S. R. Rojas and E. Aguirre, ed. (1991), R. G. Feal and Y. E. Miller, ed. (2002), L. G. Levine (2002), H. Bloom, ed. (2003), and K. C. Cox (2003).

Wikipedia article "Isabel Allende".


電影:金色豪門(Isabel Allende小說好萊塢電影版) Film: The House of the Spirits (Hollywood's version of Isabel Allende's novel) ..Amazon.co.jp: The House of The Spirits: Isabel Allende: 洋書

《我心中的伊妮絲》

(Ines of My Soul)

科爾賀原本最愛智利女作家阿言德以母親身分寫失女痛楚的《寶拉》(Paula)。某回和阿言德巧遇談起新作獲悉本書梗概,立時預知必屬佳作。智利國母伊妮 絲‧蘇阿瑞茲(In晹s Su罝rez)十六世紀由西班牙航向新世界,縱橫秘魯及智利的傳奇故事。「歷史學家遺忘的政治人物,因本書重回南美洲女性名人堂。」


女作家阿言德手抱已故愛女寶拉照片,新書《一把昨日》寫她在寶拉逝後的生活。
(美聯社資料照片)

穿裙子的馬奎斯阿言德回憶《一把昨日》

專擅魔幻寫實技法,贏得「穿裙子的馬奎斯」美名的智利女作家阿言德(Isabel Allende),近年新作別開生面,屢屢讓人眼睛一亮:1999年推出集合情色故事、食譜和春藥祕方的另類文字饗宴《春膳》,近年投身炮製奇幻少年小說 《天鷹與神豹的回憶》,與經典「納尼亞傳奇」互別苗頭。阿言德身世傳奇,愛女寶拉罹患罕見疾病昏迷,她1995年的《我女寶拉》(Paula)即是寫給女 兒的長信,以淚以情傷以身為母親的痛。本月初阿言德又推新書《一把昨日》(The Sum of Our Days),猶如《我女寶拉》續篇,向長睡的女兒訴說母親及身邊親友的生命遭遇。

阿言德的叔叔曾當選智利總統,但因流血政變遭槍殺,阿言德1975年與丈夫攜女兒寶拉、兒子尼可流亡委內瑞拉。1988年阿言德赴美,嫁給律師威利‧高 登。多年來阿言德每天循例寫信給留在智利的母親,這些文字實錄成為《一把昨日》的原始素材。新書以1992年阿言德與家人在林中撒下寶拉的骨灰開場;回顧 傷慟過往,做母親的如今顯得通透:「你離去的這些年我學會了面對憂傷,讓它成為我的盟友。」

像女性前輩吳爾芙一樣,阿言德用筆來思考理解世界。「我其實只是女人、母親、情人和小狗的主人,你必須要出身特異的家庭才能當上作家。」她自承有如黏著劑,全力吸聚家人、丈夫威利原來的妻小和許多怪異朋友,忠實訴說他們的人生難題。

威利帶來的繼女吸毒、未婚懷孕、早產生下畸型女嬰,又離家出走遇害,阿言德把女嬰送給一對信佛的女同志收養。威利兩個兒子都對阿言德不友善,一個看過新書 初稿抗議,逼阿言德不得不改寫。她感嘆威利「和子女間問題重重,我要是他,只會沮喪至死。」阿言德的兒子尼可好不到哪去,第一任妻子五年內生下三個小孩, 結果和女人外遇跑掉。阿言德只得幫兒子另找一個新老婆,愛管閒事的小說家趁新人不在家,跑去把新娘的瓷器全丟掉,重新擺設家具。種種強勢行徑,連阿言德都 說自己是「惡婆婆」。

阿言德把魔幻寫實技法同樣實踐在日常生活,她篤信鬼魂就在身邊,尤其是寶拉的亡靈,「我希望她活著」。亡靈在屋內游蕩、搬動家具、發出聲響,或重生以人的 形體。阿言德相信寶拉的亡靈能指引家人、應允禱告,帶來好事,反映她堅不接受死亡是終點的想法。相信生者與亡靈必能互動,正是她1982年一鳴驚人的處女 作《精靈之屋》的主調。






阿言德十分迷信,新書一定選在一月八日上午開筆,而且必定在旁邊點上新蠟燭。「每年一月八日我總心神不寧」,1981年這天,人在委內瑞拉的阿言德接到電 話通知祖父將不久人世,於是提筆寫信給他。沒想到一路寫成日後大紅的《精靈之屋》(好萊塢還拍成電影《金色豪門》),「好運打響第一炮,從此我總在這幸運 日動筆」。

《一把昨日》不僅是阿言德將親友緊箍在身旁的回憶錄,「精彩的、低調的,緊張和悲劇,才是我最感興趣的部分」。阿言德認為「每個生命都能以小說呈現」,她 教丈夫寫小說時比喻:「寫作像變魔術;不光是從帽子裡變出兔子,還要優雅,讓人相信。」她藉新書實證:生活影響藝術,藝術讓生活富有意義。




The Berlin Literature Festival 2007

Although this is a relatively a new event, the Berlin Literature Festival has already grown into one of Europe's biggest. The seventh festival came to close last weekend after over 150 authors had presented their work during the 14 day event. Highlights this year included readings by IsabelAllende, one of Britain's most talked about young writers A L Kennedy and best-selling Iranian author Azar Nafissi. (Reporter Nina Hasse/ Breandáin O'Shea)

Children's and Youth Literature major focus of Berlin Literature Festival

The Berlin Literature Festival got underway last week. This event
aims to give book enthusiasts the chance to experience literary
diversity in times of globalisation. And indeed this year there is
certainly a great diversity of literature being presented. Among
the big names at the festival is Canadian author Michael Ondaatje,
Latin American author, Isabel Allende and Australia's most renowned
living poet, Robert Grey.

Franz Kafka

卡夫卡預言了 人在現代社會中的處境

"卡夫卡生前的作品都未能發表,不聲不響,卻深刻把握了二十世紀現代工業社會中人的處境。卡夫卡把現代社會中人的真實處境做了一個恰如其分的描述。在種種社 會關係中,乃至於家人之中,人不過如同一個蟲子,這麼渺小可憐,別說主宰世界,連自己的命運都把握不了,莫名其妙,毫無緣由,卻受到審判。卡夫卡清醒認識 到那莫須有的烏托邦就像他小說中的城堡,是進不去的。

上個世紀之初,卡夫卡就預言了人在現代社會中的處境。現時代,這同樣處境中的人,只越來越脆弱,越來越喪失自主,人消失在各種各樣的認同中。在龐大的社會 機制裡,面臨鋪天蓋地的市場,文化也充分商品化,媒體並沒有不受政治牽制而真正的獨立。一個人如果企圖發出個人的聲音,僅僅是個人的聲音而不同某種政治聯 繫在一起的話,這聲音是很難發得出來的。這種個人的聲音只有在超越現實功利、超越政治又不追隨時尚也不依賴市場這種嚴肅的文學創作中,才有可能,才可能保 持個人的獨立不移。這種個人的聲音當然非常微弱,然而卻擺脫了炒作,是人真實的聲音。"╱高行健

Wikipedia article "Franz Kafka".

簡明大英

Franz Kafka
Kafka
(click to enlarge)
Kafka (credit: Archiv fur Kunst und Geschichte, Berlin)
(born July 3, 1883, Prague, Bohemia, Austria-Hungary — died June 3, 1924, Kierling, near Vienna, Austria) Czech writer who wrote in German. Born into a middle-class Jewish family, he earned a doctorate and then worked successfully but unhappily at a government insurance office from 1907 until he was forced by a case of tuberculosis to retire in 1922. The disease caused his death two years later.

Hypersensitive and neurotic, he reluctantly published only a few works in his lifetime, including the symbolic story The Metamorphosis (1915), the allegorical fantasy In the Penal Colony (1919), and the story collection A Country Doctor (1919). His unfinished novels The Trial (1925), The Castle (1926), and Amerika (1927), published posthumously against Kafka's wishes, express the anxieties and alienation of 20th-century humanity.

His visionary tales, with their inscrutable mixture of the normal and the fantastic, have provoked a wealth of interpretations. Kafka's posthumous reputation and influence have been enormous, and he is regarded as one of the great European writers of the 20th century.




Humphrey Lyttelton

Obituary: Humphrey Lyttelton

Humphrey Lyttelton
Humphrey Lyttelton: Raconteur, wit and father of British jazz

Humphrey Lyttelton was perhaps the UK's most influential jazz performer.

Beyond this, he was a noted raconteur
and wit and chairman of BBC Radio 4's long-running I'm Sorry I Haven't A Clue.

He was the unlikeliest of jazzmen. Born with a silver spoon in his mouth, he was schooled at Eton and commissioned in the Grenadier Guards.

Wikipedia article "Grenadier Guards".

Yet Humphrey Lyttelton - Humph to his many friends and fans - was also a life-long socialist and a performer and composer whose commitment to his music shone through for more than half a century.

And to the younger generation, he was the avuncular and razor-witted chairman of I'm Sorry I Haven't A Clue, who more than held his own with comedians including Tim Brooke-Taylor, the late Willie Rushton and Barry Cryer.


Humphrey Lyttelton was born in 1921 and his father was a housemaster at Eton.

Both of his parents were amateur musicians and he began playing the trumpet in 1936, forming a school quartet later that year.

Humphrey Lyttelton
Lyttelton was a virtuoso, self-taught, trumpeter

On one occasion, when he should have been watching the school's annual cricket match against Harrow at Lord's, he was in London's Charing Cross Road, buying a trumpet.

His long-running love of making music had begun, although on leaving school he worked for a time in a steelworks in South Wales.

He was commissioned in the Grenadier Guards during World War II and saw action, most notably on the beach at Salerno.

But it was said that he arrived at the beach-head with a revolver in one hand and a trumpet in the other.

'Swings his ass off'

By 1948, he had formed a band with the clarinettist Wally Fawkes. That year he went to France's Nice Jazz Festival, where he met his idol, fellow musician Louis Armstrong.

Armstrong always spoke warmly of the man he called "that cat in England who swings his ass off."

Tim Brooke Taylor, Humphrey Lyttelton, Barry Cryer, Willie Rushton, Graeme Garden
Humphrey Lyttelton (bottom left) chaired I'm Sorry, I Haven't A Clue

In the early '50s, he opened the Humphrey Lyttelton Club in a basement in Oxford Street in London, and during the next 35 years or so he became the elder statesman of British jazz.

He composed more than 120 original works for his band, although some of his best-known numbers were When The Saints Go Marching In, Memphis Blues, High Society and the self-penned Bad Penny Blues.

His band has also backed several singers, ranging from New Orleans songstress Lillian Boutte to Helen Shapiro, and more recently, Stacey Kent.

In 2000 he was given a Lifetime Achievement Award at the Post Office British Jazz Awards.

'A very heavy day'

The following year he joined rock band Radiohead for a seven-hour session during the recording of their new album, Amnesiac.

The legendary trumpeter went into the studio with the band after they wrote to him asking for help as they were "a bit stuck".

He said the session, for experimental track Living In A Glass House, left him exhausted.

"When we finally got a take that sounded good to me, they said: 'Good, we'll go and have some food, then we'll come back and do some more,'" he told Q magazine. "I said: 'Not me.' It was a very heavy day."

But playing was just part of Humph's life.

Radiohead
Lyttelton helped Radiohead with their album in 2001

He also presented and performed in many jazz radio programmes - Jazz Scene, Jazz Club and The Best of Jazz, which started in 1968 and only ended last month.

He was also chairman of BBC Radio 4's I'm Sorry, I Haven't a Clue, which billed itself as the antidote to panel games.

The show, which began in 1972, gained a huge and loyal following of listeners, delighted by games like One Song to the Tune of Another, Swanee Kazoo and the sublime, if unfathomable, Mornington Crescent.

Its spring series was cancelled in 2008 when its presenter had to undergo an operation to repair an aortic aneurysm in his heart.

Humphrey Lyttelton - who turned down a knighthood - had yet more talents, too.

He worked for the Daily Mail as a cartoonist, wrote for left-wing papers and for magazines and was the author of several books about music. He excelled at each of his contributions to British life.

ジャズ奏者のH・リトルトン氏死去

 ハンフリー・リトルトン氏(英ジャズトランペット奏者)同氏の公式ホームページなどによると、25日にロンドンの病院での手術後に死去、86歳。死因は不明だが、16日から大動脈りゅうの手術のために入院していた。

 21年5月、ロンドン郊外ウィンザー生まれ。36年にトランペット演奏を始め、48年に自分のバンドを結成、英国を代表するジャズ奏者として活動。今回の入院まで、さまざまな音楽的試みを行いながら定期的にツアーを続けていた。

 BBCラジオの司会者としても長年、活躍してきた。

2008年4月10日 星期四

笹部新太郎 桜守 水上勉

2008年04月06日付 守护樱花

翻译解说:十戈纳纳、心香 整理:baiheps

▼きのうはまだ、ほんの少し早すぎた。あしたになれば、 わずか だけれど、もう遅い。まさに今日。そんな盛りの一日が、桜にはあるようだ。この週末、街に野に、 絶頂 の一日を迎えた桜木も多いことだろう。

昨日还为时尚早。如若明天,已略显迟晚。恰在今朝。这种(极尽)一日的繁盛似乎就存在于樱花之中。本周末,无论街头还是田野,迎来这空前绝后一天的樱树似乎很多啊。

▼淡い色がこの国を染め上げる季節、「桜男」と呼ばれた人の生涯を追う展示が、兵庫県西宮市の白鹿記念酒造博物館で開かれている。水上勉の小説『櫻守(さくらもり)』のモデルにもなった笹部新太郎である。私財をなげうって桜の演習林をつくり、何十万本も育てては各地に植えた。

在这浅淡染透此国的季节里,一场被称为“樱男”,追溯一个人生平的展览在兵库县西宫市的白鹿纪念酿酒博物馆召开了。他就是有幸成为水上勉小说《守护樱花》原型的笹部新太郎。他不惜拿出家产建造樱花试验林,其培育的几十万棵樱花,种植在了各地。

▼明治半ばに大阪の地主の家に生まれた。東大法学部を出たが、思い切りよくエリートコースを捨てる。組織に属さず、桜を知りつくした園丁として一生を終えた。現場主義に徹し、名高い植物学者に「暗闇で土を握っただけで良否がわかるか」と啖呵を切った逸話を残した。

他出生在明治中期大阪的地主家庭。东京大学法学部毕业后,断然放弃了进入上层社会的道路。不隶属于任何组织而是作为一个谙熟樱花的园丁终了一生。笹部贯彻实地主义,曾有这样一段逸事,他对一位名望甚高的植物学者连珠炮般地发问道“仅仅在暗室中握把土就能知道好坏么”?

▼その「桜男」の嘆いたのが、人の移り気である。花の盛りは愛(め)でてやまないのに、散れば忘れてしまう。じゃまになれば切ってしまう。「受け身一方の植物は、かえす怨(うら)みの言葉も持ち合わせない」と哀れんだ。

令这位“樱男”唏嘘不已的,正是人们的见异思迁。樱花烂漫时那个喜欢蚴,一旦凋零便忘得一干二净。如果构成障碍便(一刀)砍掉。他哀叹道“不要令被动一方的植物说出报应的话来。”

▼暖地ではもう、盛りをすぎて落花しきりの木もあろう。〈桜の花びらが あんなに/思いきって散れるのは/思いもよらないほど/遠い時間にまで/根が届いているからにちがいない……〉(「さくら」笠間由紀子)。

在暖和的地方,会有一些樱木过了盛开期而樱花落尽吧。“樱花的花瓣,能够凋谢得如此坚决,那一定是因为,她的根须伸到超乎意料的遥远时空……”(《樱》笠間由纪子)。

▼遠くから降るような落花は、物言わぬ木々から人への、ひそやかな言葉のようでもある。耳を澄ませて、春の一期一会を楽しもうか。「桜男」にしかられぬよう、麗姿をしっかり、記憶に焼きつけながら。

仿佛从久远降临的落花,似乎也正是来自于不能言语的树木们对人类的低语。是(令君)侧耳,欢度春天的一期一会么?别让“樱男”责备它们了,在记忆中深深铭刻下这绮丽之姿。

解说:

1,なげうっ:不惜拿出

2,エリート:
直 译为“社会精英”。不过在日本社会,社会精英这个讲法似乎包含着一些特定含义。他们尤指东京大学、早稻田大学等毕业后进入政界或成为高级公务员主导这个国 家走向的那极少部分人。例如,林真理子女士《Anego》一书中提到的齐藤就是日本所谓的エリート。他在解释自己的日常运动时这样说过“要说现在做什么运 动么,在国会的红地毯上跑来跑去大概也算吧”。东大法学部尤甚。似乎某任日驻华大使毕业于东大法律系(译者注)

3,一期一会:
一期一会,是日本16世纪著名茶僧千利休的弟子山上宗二,在其著书《茶汤者觉悟十体》中所提出的茶道守则之一。「一期」,表示人的一生;「一会」,则意味仅有一次的相会。
16 世纪恰逢日本的战国时代,群雄纷争,烽火连天,亲朋、战友今日相逢明日别离。当下相聚时的喜笑言谈或许是最后的欢聚时刻,因此才更加要拿出全部的心力认真 对待。所谓「一期一会」的茶道款待精神就是要把眼前的这次款待当作是人生中仅有一次的相会,付出人生中仅有一次的心力,来应对眼前这个茶会。因此,千利休 在狭小的茶室中布置上小小一株插花,壁上挂上一幅挂轴,于乱世中营造一种“恬静”,令万物归于“沉着”“无怨”。
这一茶道思想一直渗透到今日的日本



hc:「老劉:作家「水上」的晚年說:人生如荒繩
,這荒繩是什麼東西、意思?」
(劉:「許博士:我被考倒了, 救命!」)

「老鍾: 許博士之回答:
『稻草桿有種種用途,高貴的上可做為神社用之繩結,下做為庶民之草鞋穫做為酒樽之繩子 ,甚至當枯草腐化處理,即以草繩比喻人 生,意味人生多樣變化無窮。』
荒指粗糙,繩是稻草編的,即人 生如草繩,用途變化多端。


枯木を処理するのにも使われます。即ち、荒縄いろいろ、人生いろいろです。」

Sakuramori-Park, Okamoto, Kobe JAPAN 桜守公園 3月28日

34°43' 34" N, 135°16' 32" E
March 28th 2008 at Sakuramori Park, Okamoto, Kobe JAPAN. Spring has come!!
Sakuramori Park is a memorial park for novel "Sakura Mori" written by Tsutomu Minakami. There was a house of Mr.Shintaro Sasabe who is written as hero in novel Sakura Mori. City of Kobe made it as a tiny park with 30 of 10 different kinds of cherry trees.
# The place inf shows it is Ashiya however this map system is very much wrong. It is Higashinada, Kobe JAPAN.

Tsutomu Minakami, 水上 勉 (March 8, 1919 - September 8, 2004), also known as Mizukami Tsutomu, was a popular and prolific Japanese author of novels, detective stories, biographies, and plays. Many of his stories were made into movies.

日古屋重現台灣----待確定

〔駐日特派員張茂森、記者吳嘉億/日本、淡水連線報導〕在日本阪神大地震義工組織的運作下,日本福井縣的百年傳 統民家經過分解後,將移建台北縣八里鄉八仙海岸,做為台日地震復興與民間交流的新象徵。但因遷建計畫生變,3日已運抵台灣的建材,暫時被擺放在淡水鎮一處 倉庫,命運未卜。

支援日本阪神大地震的義工組織「鄉里交流」,去年1月把一棟120年歷史的傳統民家解體後,移建在神戶市地震最嚴重的長田區,做為「鄉里交流」的集會所。

彰化縣長翁金珠去年6月赴這處集會所訪問,感於彰化縣在九二一大地震中同樣遭受破壞,對該棟建築物所代表的復興意義感到興趣,日本民主黨眾議員市村 浩一郎、駐日副代表陳鴻基與「鄉里交流」顧問田中保三等人便推動古屋移建台灣計畫,把福井縣另一棟90年歷史的傳統日本民家解體,今年11月28日裝船, 由神戶港3日運抵台灣。

這棟日本傳統民家建於1915年,是以真實故事改編的小說「盲女阿林」聞名於日本文壇的水上勉舊宅,水上勉去年過世,後人同意舊宅遷移,並且允諾將把他的著作也帶至台灣展示。

去年8月,一群學生義工與台灣的年輕建築家在日本細心拆屋,建材運抵台灣後,預定在明年九二一地震7周年時,由台日兩國的義工重建完工,做為兩國義工的交流場所。

在台灣,義工群自稱「移築苦力群」,負責人邱明民表示, 他們這1年走訪新竹、彰化等地,最後與位在八里的八仙樂園企業接洽,希望可以結合未來的溫泉會館做景點參觀,因此建材運來台北縣,在新科淡水鎮長蔡葉偉協助下,暫時擺放淡水的一處倉庫中。

八仙樂園副總經理蘇國英則稱,合約內容還在接洽聯繫階段,如果洽談順利,當然希望進一步合作。

「鄉里交流」顧問田中保三表示, 這棟古屋象徵「重建」與「復興」,希望對台日交流有所幫助。

日本眾議員市村浩一郎與台灣駐日副代表陳鴻基昨天也在日本分別表示,這棟古屋經過「破壞」(解體)之後再予重建,對於歷經大地震的日本與台灣都具有相當的意義。


邱明民 「移築苦力群」團隊計畫靈魂人物

記者吳嘉億/專訪

日本文學家水上勉古民宅可以成功從日本完整拆解搬移至台灣來,其中最重要的人物是「移築苦力群」團隊計畫的執行負責人邱明民,雖然在過程中花費大量的積蓄與時間,邱明民卻樂此不疲。

邱明民19歲留學日本,目前為日本國立神戶大學準博士候選人。30歲時回來台灣後積極推動社區營造計畫,也是台灣首位推動商店街計畫的重要人物之一,其中最著名的計畫如台中精明一街、高雄新堀江商圈,及迪化街商圈等,可說是推動社區營造與商圈形象風格的重要推手。

回首這幾年來推動水上勉古民宅來台重建工作,邱明民將這些點點滴滴以影像照片及資料做成了一本「這一路走來」,記錄「移築苦力群」團隊與日本御藏社區志工對這項艱鉅工作的努力。

邱明民不諱言自己花光了近3年的工作薪水,也感謝日本御藏社區協議會會長田中保三,願意投入近2千萬日幣來幫忙拆解水上勉古民宅,期待這個屬於台、日合作的重建案,可順利在台完成。

而日本文學家水上勉古民宅,從當初拆遷時遭當地社區反對、抗爭,到最後同意遷移交付台灣保存,以及面臨到沒有適當的土地及財力支援,讓這棟擁有深厚意義及建築風格的日本古木造民屋搬遷過程,可說是一波三折。

當初由台灣赴日的建築師、學者、影像工作者與古蹟修復團隊在與日本洽談水上勉古民宅拆解來台時,遭遇當地社區3百多名居民的極力反對,在反覆的溝通 與協調下,最後同意運到台灣來好好保存,也算是為日本領台時期,砍伐山林帶走大量的檜木,藉由同樣由檜木建造而成的水上勉古民宅,表達民間的心意。

邱明民表示,這棟建築物具有文化、建築上的高度價值;在建築方面,該棟建物全是以木樁銜接搭建,不用一釘建構而成,為日本木造房屋代表,更是木造古 蹟修復的最佳範本;在文化上,被日本文壇譽為「松本清張第二」的社會推理派作家水上勉,曾經獲得日本偵探作家俱樂部賞、菊池寬賞、吉川英治賞、谷崎潤一郎 賞、川端康成賞等成績,可謂日本現代文學桂冠。

Don't forget cherry trees once the petals fall

04/08/2008

There seems to be just one day when cherry blossoms attain their "perfect 10" glory. One day too soon, and they have yet to quite reach their peak; one day too late, and they are already a bit past the peak. Many cherry trees around Japan hit that peak during the first weekend of April.

In this season, when the whole nation has been dyed pale pink, an exhibition to memorialize the person dubbed "the cherry man" is being held at Hakushika Kinen Shuzo Hakubutsukan, or the Sake Museum, in Nishinomiya, Hyogo Prefecture.

The man was Shintaro Sasabe (1887-1978), on whom the protagonist of the novel "Sakuramori" (Cherry tree keeper)桜守by Tsutomu Mizukami (1919-2004) was modeled.

Sasabe poured his private funds into creating an experimental forest, where he grew hundreds of thousands of cherry trees that would be transplanted all over Japan.

As the son of a wealthy Osaka landowner, Sasabe earned a law degree from the prestigious University of Tokyo, but had no desire to pursue an elitist career in society's fast lane. Refusing to belong to any established organization, Sasabe lived out his life as a professional gardener whose understanding of cherry trees was without peer. He valued practical experience above all. According to one episode, Sasabe challenged a famous botanist, daring him to "judge the quality of soil by just grasping a handful of it in the dark."

This "cherry man" lamented the fickleness of people who adore and fuss so much over cherry trees while they are in bloom but forget them once the blossoms are gone, even wanting to cut the trees down when they become a nuisance to maintain.

Pitying the trees, Sasabe once noted, "All plants are forever passive. They have no words of recrimination to hurl back (at uncaring humans)."

The peak of the trees' bloom would be already over in warmer regions, with some trees having started to shed their pink petals profusely. A poem entitled "Sakura" (Flowering cherry) by Yukiko Kasama goes: "Cherry trees shed their petals so readily/ Because their roots must spread out very far/ To distant times that defy my imagination."

Those petals, showering down on us as if from high up in the sky, may be a form of non-verbal communication from the silent trees. I want to keep my soul open to savor this precious moment accorded each spring, imprinting the images of those beautiful blooming cherry trees in my memory so "the cherry man" will have no reason to scold me.

--The Asahi Shimbun, April 6(IHT/Asahi: April 8,2008)








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