2015年4月30日 星期四

Lee Miller在希特勒浴缸召"領袖" (Führer!)之魂1945.4.30

70 years ago today: photographer Lee Miller in Hitler's bathtub. It is a voodoo gesture, the sort her Surrealist friends would approve of, an all-American blend of sass, violence and sex. Nuts to you, Führer! I am naked in your bath with my Jewish lover, we are taking your picture’s picture, we are stealing your life-force. The date is April 30th, 1945. In a bunker under Berlin, Hitler places a gun to his head.http://econ.st/1GIcsJA

2015年4月29日 星期三

Tomas Tranströmer (Swedish Nobel laureate) dies aged 83

【2015,0429 ,昨天瑞典舉行托馬斯・特朗斯特羅默的葬禮。】
可惜悅然留在臺北不能返瑞出席葬禮。謹以一張悅然跟托馬斯一九八三年在悅然、寧祖的家裡合照懷念這超過五十年的友誼。 當時悅然翻譯《狂暴的廣場》英文版,托馬斯到悅然家裡簽約商量出版事宜。
錄一首托馬斯自選在2011,12,07,瑞典學院朗讀會的選詩
【孤獨】,馬悅然翻譯,陳文芬中文朗讀
I
二月的一天晚上 我在這裡 接近死亡。
汽車在冰上 斜滑
到路的對面。 從對面來的汽車‒
它們的前燈‒靠近了。
我的名字 我的女兒 我的工作
掙脫了束縛 默默地留在
越來越遠的後頭。 我是無名的,
像一個在校園上 被敵人圍繞的 男孩。
從對面來的汽車 有巨大的前燈。
它們照射在我身上
當我在蛋清一樣粘的透明的恐懼裡,
緊握著駕駛盤。
秒鐘加長了‒ 甚至容納你的身體‒
長得像醫院大樓一樣高大。
你幾乎可以停一下,
在你被壓碎前一片刻
出一口氣。
忽然 輪胎抓牢路面: 一粒幫助的沙子
或者一陣奇妙的風 叫汽車掙脫了束縛,
輕快地爬過道路。
一個突出來的電線桿 啪的一聲 折斷了,
在黑暗裡 飛走了。
等到靜止。我繫著安全帶 坐着那兒,
看見有人 在飛雪裡 走過來,
想看我怎了。
II
我在臨省凍冰的田野上
走了很久。
一個人都不見了。
在地球其他地區
永久的擁擠中
有人出生,生活,死亡。
總是給人看到的,
總是生活在一群眼睛中
一定會產出一種特殊的表情。
塗上泥巴的臉。
喃喃的聲音起伏
當他們彼此分攤
天空,影子,沙粒。
我必須孤獨
早晨十分鐘
晚上十分鐘。
沒有規劃。
大家在大家的面前排隊。
很多。
一個。


《特朗斯特羅默詩選》《特朗斯特羅姆詩歌全集》 《記憶看見我》.../我必須孤獨 Thomas Tra...





Photo

Tomas Transtromer with his wife, Monica, after winning the Nobel Prize in Literature in 2011.CreditJonathan Nackstrand/Agence France-Presse — Getty Images

Tomas Transtromer, a Swedish poet who won the Nobel Prize in Literature in 2011 for a body of work known for shrewd metaphors couched in deceptively spare language, crystalline descriptions of natural beauty and explorations of the mysteries of identity and creativity, died on Thursday in Stockholm. He was 83.
The Swedish publisher Albert Bonniers announced the death without giving a cause. In 1990, at age 59, Mr. Transtromer had a stroke that severely curtailed his ability to speak; he also lost the use of his right arm.
With a pared-down style and brusque, forthright diction, Mr. Transtromer (pronounced TRAWN-stroh-mur) wrote in accessible language, though often in the service of ideas that were diaphanous and not easy to parse; he could be precisely observant one moment and veer toward surrealism the next.
“The typical Transtromer poem is an exercise in sophisticated simplicity, in which relatively spare language acquires remarkable depth, and every word seems measured to the millimeter,” the poet David Orr wrote in an essay in The New York Times in 2011.
He was a hugely popular figure in his home country — one American critic referred to him as Sweden’s Robert Frost — whose more than 15 books over nearly six decades were translated into 60 languages. And though he was not especially well known among American readers, he was widely admired by English-speaking poets, including his friends Robert Bly, who translated many of his poems, and Seamus Heaney,himself a Nobel laureate in 1995.
“I was utterly delighted when I heard Tomas Transtromer had won the Nobel Prize,” Mr. Heaney, who died in 2013, said in 2011. “Everybody was hoping for that. For years.”
Many of Mr. Transtromer’s themes and interests, including music (he was an accomplished pianist) and the beauty and inspiration of the outdoors, were evident in his first book, “17 Poems,” published in 1954. The succinct poem “Ostinato” (translated by Robin Fulton) — the title is a musical term referring to a repeated phrase or rhythmic figure — observes nature in both meaning and form:
Under the buzzard’s circling point of stillness
ocean rolls resoundingly on in daylight,
blindly chews its bridle of weed and snorts up
foam over beaches.
Earth is veiled in darkness where bats can sense their
way. The buzzard stops and becomes a star now.
ocean rolls resoundingly on and snorts up
foam over beaches.
For many years, Mr. Transtromer, a trained psychologist, worked in state institutions with juvenile offenders, parole violators and the disabled, and many critics noted that he frequently deployed his inventive and striking metaphors to examine the depths of the human mind.
He often began his poems with descriptions of mundane settings and acts, but he was also interested in dreams and the other uncontrollable wanderings of thought. In “Preludes” (translation by May Swenson) he wrote:
Two truths approach each other
One comes from within,
one comes from without — and where they meet you have the chance
to catch a look at yourself.
His poems often had transcendental moments that led some critics to consider him a religious poet or a mystic. In “Further In,” from the 1973 volume “Paths,” the quotidian and the unfathomable collide, in both the body of the poet and in the world. Translated by Robin Fulton, the poem reads in its entirety:
On the main road into the city
when the sun is low.
The traffic thickens, crawls.
It is a sluggish dragon glittering.
I am one of the dragon’s scales.
Suddenly the red sun is
right in the middle of the windshield
streaming in.
I am transparent
and writing becomes visible
inside me
words in invisible ink
that appear
when the paper is held to the fire!
I know I must get far away
straight through the city and then
further until it is time to go out
and walk far into the forest.
Walk in the footprints of the badger.
It gets dark, difficult to see.
In there on the moss lie stones.
One of the stones is precious.
It can change everything
it can make the darkness shine.
It is a switch for the whole country.
Everything depends on it.
Look at it, touch it ...
Tomas Gosta Transtromer was born in Stockholm on April 15, 1931. His father was a journalist. His parents divorced when he was young, and he was reared mostly by his mother, a teacher. He studied literature, history, religion and psychology at Stockholm University, graduating in 1956. His survivors include his wife of more than 50 years, the former Monica Bladh, and two daughters.
Mr. Transtromer’s poetry production slowed after his stroke, but he took refuge in music, playing the piano with just his left hand. As a testament to his prominence in Sweden, several composers there wrote pieces for the left hand specifically for him.
He was also an amateur entomologist. The Swedish National Museumpresented an exhibition of his childhood insect collection, and a Swedish scientist who discovered a new species of beetle named it for him.
Mr. Transtromer was considered a candidate for the Nobel for a decade or more. Each year, on the day the prizes were to be announced, Swedish journalists, anticipating his selection, gathered in the stairwell of his Stockholm apartment building, about a mile from the Swedish Academy, which administers the prizes.
He was the seventh native Swede to win the Nobel for literature — Nelly Sachs, a German Jew who moved to Sweden during World War II, won in 1966 — and he was the only winner in nearly 20 years to be known mainly as a poet. (The last was Wislawa Szymborska in 1996.) His selection was not without controversy. Some critics complained of home-nation favoritism and said that Philip Roth and other fiction writers were more deserving.
Mr. Transtromer’s work was also at the center of a dispute between translators: Robin Fulton, whose work with Mr. Transtromer included the 2013 collection “The Great Enigma,” and Robin Robertson, a Scottish poet who translated a 2006 Transtromer volume, “The Deleted World.”
Mr. Robertson, who does not speak Swedish, referred to his work as “versions” of Mr. Transtromer’s poems and suggested that it was more important to get the spirit and tone of a poem right than every last idiom. The book set off a debate about the nature of translation. Mr. Fulton objected to what he called “the strange current fashion whereby a ‘translation’ is liable to be praised in inverse proportion to the ‘translator’s’ knowledge of the original language.”
Mr. Transtromer’s other works in English translation include the collection “The Half-Finished Heaven,” translated by Mr. Bly; “Airmail: The Letters of Robert Bly and Tomas Transtromer”; and a memoir, “Memories Look at Me,” translated by Mr. Fulton.
“Through his condensed, translucent images, he gives us fresh access to reality,” the Swedish Academy said in awarding him the Nobel.

馬悅然院士專題講座11 月 14、18、19、20 日


Tomas Transtroemer, Swedish poet and Nobel winner, dies at 83

27 March 2015
From the sectionEntertainment & Arts
Transtroemer was also a trained psychologist

Swedish poet Tomas Transtroemer, who was awarded the 2011 Nobel Prize for Literature, has died at the age of 83.

His publisher, Bonniers, said the writer died in Stockholm on Thursday after a short illness.

A trained psychologist, Transtroemer suffered a stroke in 1990 that affected his ability to talk.

His poems - described by Publishers Weekly as "mystical, versatile and sad" - have been translated into more than 50 languages.

Transtroemer was tipped as a potential Nobel prize winner for many years before he became the 108th recipient of the prestigious award in 2011.

The Royal Swedish Academy named him the recipient "because, through his condensed, translucent images, he gives us fresh access to reality".

He was the first Swede to receive the prize since authors Eyvind Johnson and Harry Martinson shared it in 1974.
Memorial service

Born in April 1931 in Stockholm, Transtroemer graduated in psychology in 1956 and later worked in an institution for juvenile offenders.

His first collection of poetry, Seventeen Poems, was published when he was 23.

In 1966 he received the Bellman prize for Swedish poetry, one of many accolades he received over his long career.

In 2003 one of his poems was read at the memorial service of Anna Lindh, Sweden's murdered foreign minister.

Transtroemer is survived by his wife Monika and their two daughters, Emma and Paula.



Swedish Nobel laureate Tomas Tranströmer dies aged 83

Poet and psychologist who ‘transformed the everyday into astonishment’




Tomas Tranströmer.
 Swedish poet and winner of the Nobel Prize in Literature Tomas Tranströmer. Photograph: Maja Suslin/AP

The Swedish poet Tomas Tranströmer, who won the Nobel prize for literature in 2011, died in Stockholm on Thursday at the age of 83. He had lost the power of speech after a stroke in 1990, but continued to write poetry, and to play the piano with his left hand.
For most of his life, he worked part-time as an industrial psychologist and the rest of the time as a poet.
His sparse output was highly praised from the moment his first collection, 17 Poems, appeared in 1954 and he was acknowledged as Sweden’s greatest living poet long before he won the Nobel. He was translated into more than 60 languages.




He wrote in exceptionally pure, cold Swedish without frills. His descriptions of nature were as sparse and alive as a Japanese painting. In fact, in later life, he attempted to write haiku in Swedish. Peter Englund, the secretary of the Swedish Academy, said: “One of the secrets of his success around the world is that he’s writing about everyday stuff. The economy of words that you can see in his poems is manifested in the economy of his output; you can get the core of his work in a pocket book of 220 pages. You can get through it in an evening.”
Björn Wiman, writing in the Stockholm paper Dagens Nyheter, praised him for his capacity to transform the everyday into astonishment. “His poem C Major is almost unique in the history of literature, since it both describes and summons up pure delight.”
The Guardian praised him when he won the prize as “unobtrusively unforgettable”, a writer “whose style is so simple as to make most words seem vain and superfluous. In translation, some of the slippery hard simplicities of his lyricism can melt like ice. But enough remains to show a poet who transforms the ordinary in apparently ordinary language. The world he sees is sometimes bleak or terrible, but it is always also full of promise no less real for being inexpressible: ‘The only thing I want to say glints out of reach, like silver in a pawnbroker’s’.”




Despite his work as a psychiatrist, Tranströmer’s writings about the mind never bore any hint of medicalisation. Within the hard classical forms there was an unquenchable romantic flame. He was alive to movement, and to change. A cabbage white butterfly might in his poetry become “a fluttering corner of truth itself”.
“Every abstract picture of the world is as impossible as a blueprint of a storm”, he also wrote. Perhaps that is why his work seemed to heighten reality so much. The longer time goes on, the further it gets from eternity. Only the moment approaches timelessness.
Per Wästberg, another member of the Swedish Academy, and a childhood friend of the poet’s, wrote in Svenska Dagbladet that “his poems open doors, give you vertigo, and at the same time offer a still calm: this is how things are and you can’t put them otherwise”.
Tranströmer was a socialist, a humanist and an atheist, and he managed to make life seem much more delicious: “Don’t be ashamed because you’re human,” he wrote once. “Be proud! Inside you, vaults behind vaults open endlessly. You will never be finished, and that’s as it should be.”





Poem of the week: Six Winters by Tomas Tranströmer
This brief sequence of poems is a vivid illustration of the Nobel prizewinner's singular gifts


Carol Rumens

Monday 23 January 2012 10.44 GMT

omas Tranströmer, the 80-year-old Swedish poet deservedly honoured last October with the Nobel prize for literature, is the author of this week's poem-sequence, Six Winters, translated by Robin Fulton. It comes from his 1989 collection, För Levande och Döda (For Living and Dead) and is included in a highly recommended New Collected Poems, published recently in an expanded edition by Bloodaxe Books.
These six short imagist poems are rather like extended haiku, a form in which the poet has always excelled. They may centre on a single image, or use surreal combinations of imagery, as does the first, with its haunting triad of black hotel, sleeping child and dice. In this poem, even the proportions of the objects seem altered. The dice, having eyes, are larger and more menacing than real dice, for all that "wide-eyed", in English, has connotations of innocence. Perhaps these dice are being rolled by a vast, unseen, malevolent hand? The atmosphere is that of the child's nightmare, transposed into the winter night beyond the hotel's walls. Terse syntax heightens the strangeness, with the colon in the middle line acting as a kind of portal, similar in dramatic effect to the haiku's traditional "cutting word".
In the second poem, we're deep in the Kingdom of Winter. The concept of an "elite of the dead" is ironical and appalling. It prefigures the subsequent reference to wartime. That this is an elite of conquerors is reinforced by the entrance of the armoured wind. The dead may be reduced to emblems of grim and silent stone, but the wind from icy Svalbard "shakes" in its armour, suggesting not fear or even cold, but vigorous movement, the brandishing of noisy weapons, fresh savagery.
There's a more anecdotal tone to the next poem. "Neighbour and harpoon" are kept separate, but the imagination adds them up to the cartoonish figure of a harpoon-wielding neighbour. Perhaps the child had a half-delirious notion of the icicle as a whale, and the neighbour as a local Ahab. The poet sets these images squarely before us, not trying to make sense of them. They are simple there, elements of "unexplained memory".
The image of icicle as animal is pursued further in the next tercet. Here again we get a haunting juxtaposition – the architectural "upside-down Gothic" and the weird cow whose udders are made of icicles and resemble glass.
The fifth takes us farther beyond the window-frame. Trains are usually comforting sights, belonging to the pleasures of childhood. This one has become a wild beast, though a heraldic one, holding "the journey in its claws". As in the first terect, we sense that events have been set uncontrollably in motion. The shape of the child's unlived life is already decided by forces that cannot be checked or altered.

An obvious reading of the sixth poem, nevertheless, would suggest a post-childhood, post-war setting, that of adolescence and first love, or even maturity and marriage. The "snow-haze" and "moonlight" are romantic images, contrasting with the earlier surreal nightmare and Gothic humour. But a characteristic flick of the wrist produces the unexpected jellyfish. "Jellyfish moonlight" packs two nouns together: although "moonlight" is a noun that may do duty as a modifier, the substantive adds more force to the image. Having seen large white jellyfish stranded on the sands at Portmeirion last summer, I find the metaphor of hazy, mis-shapen moonlight a brilliantly accurate one.Of course, there is no obligation to imagine we are still in the child's world at this point. The six winters are not necessarily consecutive. They may have been picked at random from the poet's memory: some may have simply been assembled with no autobiographical intent. They could also be read as the entire life-story, moving swiftly on at the rate of one winter per decade. They might be the omniscient narrator's different views of a single winter. It's up to the reader to decide the chronology, if it exists.
The menace of future journeys has now been left behind, and, for the first time, there is the collective pronoun, "our", providing reassurance. The isolating dread has diminished in the pleasure of a new and shared perspective. What lies ahead is only an avenue, a slender element in the journey, but a promising one. The word "bewitched" might have been ominous, but instead it seems to imply a benign and beautiful enchantment effected by snow, moonlight and companionship.
Dreams and the transitions between different levels of consciousness are suggested by the poet's very name. They are Tranströmer's territory. He worked as a psychologist for many years, and his poems seem to me to be extraordinarily honest elucidations of the "secret ministry" of the mind. From the fascinating childhood memoirs included in the Bloodaxe collection, one might guess that Tranströmer, like a number of poets, could suffer from Asperger's (see, particularly, "Museums"). How impressive it is that he has never compromised on his singular perceptions, and that the resulting poetry is so luminous, and has yielded so much meaning to his readers.

1Six Winters
In the black hotel a child is asleep.
And outside: the winter night
where the wide-eyed dice roll.
2
An élite of the dead became stone
in Katarina Churchyard
where the wind shakes in its armour from Svalbard.
3
One wartime winter when I lay sick
a huge icicle grew outside the window.
Neighbour and harpoon, unexplained memory.
4
Ice hangs down from the roof edge.
Icicles: the upside-down Gothic.
Abstract cattle, udders of glass.
5
On a side-track, an empty railway-carriage.
Still. Heraldic.
With the journeys in its claws.
6
Tonight snow-haze, moonlight. The moonlight jellyfish itself
is floating before us. Our smiles
on the way home. Bewitched avenue.

Michelle Obama :a state dinner dress is a symbol; Extolls Free Speech In Beijing Talk, Muppets



Like the inaugural gown, a state dinner dress is a symbol.
She donned a Tadashi Shoji gown to represent New York’s creativity and...
WASHINGTONPOST.COM

In Beijing Talk, Michelle Obama Extols Free Speech
The first lady told an audience of mainly students that unfettered expression, particularly on the Internet and in the news media, form the basis for a strong society.
Happy 50th birthday Michelle Obama!

From state occasions to casual chic, she is always turned out spotlessly. Wardrobe Decoder takes a look at Michelle Obama's style history to find out why she is fashion's first lady.

http://www.bbc.com/culture/story/20140117-fashions-first-lady



Michelle Obama’s vibrant life in Washington, now without bangs. From frequenting the restaurants of the moment to focusing on her role as a mentor to minority children from poor backgrounds like her own.



The Muppets fired back this past week at a Fox Business host for suggesting in December that their new movie was brainwashing kids with a radically green agenda





Muppets Mock Fox News for Indoctrination Fears

Two months later, Kermit and Piggy look to have the last laugh.


Michelle Obama is joined by Kermit the Frog, from The Muppets Movie, as she reads a story during the 2011 National Christmas Tree Lighting Ceremony
Michelle Obama is joined by Kermit the Frog, from The Muppets Movie, as she reads a story during the 2011 National Christmas Tree Lighting Ceremony

JEWEL SAMAD/AFP/Getty Images
UPDATE: Better late than never, we suppose.
The Muppets fired back this past week at a Fox Business host for suggesting in December that their new movie was brainwashing kids with a radically green agenda.
"It's a funny thing, they were concerned about us having some prejudice against oil companies and I can tell you, that's categorically not true," Kermit the Frog said at a London press conference following the film's U.K. premiere, video of which is now making its way around the Internet (and is embedded below). "And besides, if we had a problem with oil companies why would we have spent the whole film driving around in a gas-guzzling Rolls Royce?"
Miss Piggy offered a more critical take: "It’s almost as laughable as accusing Fox News of, you know, being news."
The response from the puppets (or more specifically their puppeteers) comes nearly two months after Fox Business' Eric Bolling offered his less-than-flattering take on The Muppets, comments that speedily went viral given the attention-grabbing Web headlines that quickly followed.
At the time, James Bobin, the film's director, brushed aside the criticism. "Cable news is 24 hours long so you have to fill it up with something," he told the Hollywood Reporter. "No, the Muppets are not communist. And the character of Tex Richman is not an allegory for capitalism in any way. The character is called Tex Richman."
Here's the video:
Monday, Dec. 5: The Muppets are a bunch of tree-hugging commies who are trying to brainwash Americans children to hate big business.
At least that’s the case according to Fox Business’ Eric Bolling, who has some corners of the Web abuzz this week after he offered a rather critical take of the Muppets’ new movie. The Follow the Money host brought the issue up last week during a segment on his show, during which he interviewed the conservative Media Research Center’s Dan Gainor. The like-minded pair took turns pointing out what they say was the movie’s, in specific, and Hollywood’s, in general, overtly partisan take on the world.
Bolling's and Gainor's issues with The Muppets stems from the fact that its plot centers on the heroes' bid to prevent an evil oil tycoon—with the less-than-nuanced name of Tex Richman—from tearing down the Muppets’ beloved theater to drill for oil.
That narrative decision, according to Gainor, was the latest example of a Hollywood production unfairly making the oil industry the villain. After name-dropping such films as Syriana and Cars 2, he offered this take on the benefits of carbon-based fuels that he says the movie industry avoids: "None of [the movies] remind people what oil means for most people, which is fuel to light a hospital or heat your home or maybe fuel an ambulance to get you to a hospital if you need that. They don’t want to tell that story."
There’s plenty more from where that came from in the video clip (which Fox News watchdog Media Matters has here), including an attempt to tie what Bolling and Gainor see as Hollywood’s anti-corporate message to the recent Occupy Wall Street movement. (Most of the pull-quotes came from Gainor but, as you'll see in the video, Bolling clearly led the way with his questions and his own comments.)
"This is what they're teaching our kids." Gainor said. "You wonder why we've got a bunch of Occupy Wall Street people walking all around the country. They've been indoctrinated, literally, for years by this kind of stuff. Whether it was Captain Planet or Nickelodeon's Big Green Help or The Day After Tomorrow, the Al Gore-influenced movie, all of that is what they're teaching, is that corporations are bad, the oil industry is bad, and ultimately what they're telling kids is what they told you in the movie The Matrix, that mankind is a virus on poor, old Mother Earth."
The Washington Post points out one of the problems with the specific argument against the The Muppets: "Environmentalism wasn’t mentioned in the movie. The Muppets save their theater because it’s a landmark and their historical home—not because they’re trying to hinder the oil industry’s progress, or save the planet."

朱立倫:進退惟艱、退出大選(江春男); 蘋論:朱習會不會;朱馬變色(江春男);揭穿新北市青年社會住宅大騙局!(段宜康)








司馬觀點:輪到朱立倫進京趕考(江春男)

2015年04月16日

蔡英文再度披上戰袍,代表民進黨出征,前途一片看好,但有媒體指她的民調往下滑,與朱立倫拉近,而兩黨的選民結構相差無幾,儘管目前國民黨看好度低,如能團結對外,鹿死誰手尚未可知。

正如金小刀所說的,國民黨充滿虛矯文化,貪吃又愛面子,到現在還在互相等待之中,不知誰會出馬。朱立倫雖然呼之欲出,但仍然天天保證他要把新北巿「做好做滿」。馬朱王吳諸公,經常有機會見面,卻只是握手微笑,滿臉虛假,言不及義,令藍營選民焦慮不已。
朱立倫選與不選,都有很大風險,不過,身為黨主席,民調又最高,在國民黨最困難之際不敢接受挑戰,無法向黨員交代。在這關鍵時刻不敢承擔,一定會被人看衰小,以後也難有機會。
朱要參選至少有兩種方式,一是辭職參選,一是帶職參選,兩種都背叛政治承諾,但西諺有云,「誠信的政客和誠實的小偷一樣稀少」,馬英九走在前面,可為朱之典範。
辭職參選必須立即補選,與大選太近,民進黨畢其功於一役,把新北市和大選當一次打,國民黨沒贏的機會,朱必成歷史罪人。但帶職參選要有正當性,必須先營造萬民擁戴的氣氛,時間延後對朱有利,朱的用心計較,實有難言之隱。
即將來臨的國共論壇特別搭建的舞台,如有朱習會,等於取得參選的合法性。一般人進京趕考,主考官都是國台辦主任,這次如習皇帝親自主持殿試,朱立倫可成皇帝門生,從此隆恩浩蕩,五世其昌。他在黨內地位,從此無人可及。 

兩岸定位須講清楚

許多人批評蔡英文缺乏兩岸論述,說她是空心菜,現在輪到大家檢視朱立倫的新論述。他繼承馬或切割馬,都會受到批評。他接受九二或改變九二,都有困難。他如何把台灣地位講清楚,把兩岸定位說明白,既不空心又不模糊,讓我們拭目以待。 

蘋論:朱習會不會

朱習會的樓梯響很久了,人好像也快要下來了。下來的兩個人是什麼表情和臉色呢?簡單說,朱習會不是重點,關鍵在朱明年能不能當選總統。選上了,就賦予了朱習會重大的政治意義,朱任內的兩岸關係吹的就是順風;選不上,朱習會開得再漂亮,也是鏡花水月,畢竟總成空。

犯年輕選民的忌諱
有人說上述觀點倒果為因,是朱習會的習大人給朱立倫加持灌頂,台灣選民覺得安全,才造成朱大選的勝利。這個看法在去年太陽花學運前可能是對的,但學運後年輕選票覺醒了,因果就此翻轉,被中國頭頭摸頭加持,以前是加分,今後是減分了。看去年1129的九合一選舉,親中共的國民黨折戟沉沙,土雞瓦狗,就知道獲得京大人的恩寵不但不再是好康,反而霉運當頭、印堂發黑。

這就迫使國民黨的大選候選人不敢在選前拜見習大人,即使想得要死。不知習是否發現他和他的黨已經悄悄變成台灣政治的負面因素,走到台灣選民的對立面。如果習大人還沒察覺氣氛的變化,還以為他摸誰的頭,誰就增加一甲子的功力,於是雞婆地出面幫國民黨候選人輔選,宣稱願見候選人,以為可以施恩於他,就大錯特錯了。
昨天朱立倫被記者問到會不會有朱習會,他首度鬆口,顯示5月的朱習會似乎八字有了一撇。可是朱應該知道,習近平是「張飛賣刺蝟—人硬貨扎手」,跟習討不到便宜的,就算討到也是他謀略上的市恩。更糟的是國民黨大選候選人與習眉來眼去,剛好犯了年輕選民的忌諱,與習見面可能為淵驅魚,敗在此處。
如果習大人願意在5月初召開的國共論壇上見朱,意味著朱必選總統。國民黨諸將官在台灣虛偽矯情,遲不表態,等候勸進,可是絕不敢跟習大人嘻皮笑臉,所以習大人要見之人一定得是候選人,否則習哪有那個美國時間跟你們玩捉迷藏;而且見面表態之後到投票前,習當局會做出許多動作,包括動員紅頂商人及買辦,站出來力挺藍營候選人。同時,也會壓迫軟弱無能的歐巴馬當局在台灣連藍拉紅打綠。 

買辦聯盟釀反效果

這樣在以前藍營必勝;然而現在年輕選票回神了,美中藍紅黑政商的買辦大聯盟反而造成反效果,朱立倫仔細想想喔。 
段宜康
揭穿新北市青年社會住宅大騙局!
內政部補助新北市12.58億,興建3處青年出租住宅。
新北市提供土地BOT給日勝生集團。這裡面五鬼搬運的花招,我說過很多遍,就不再重複了。
這兩天的發現 --- 朱立倫這個傢伙真是膽大妄為!
12/2、12/10兩天,朱立倫和日勝生的老板一起主持動土典禮;還自吹自擂,説這就是要照顧弱勢青年,只租不賣的社會住宅。
朱市長厚臉皮的程度,在國民黨內也算名列前茅了:
朱立倫唯一不敢去破土,但也已經動工的三重大安段基地,預計興建177戶。
各位知道這177戶「只租不售」的青年住宅,有幾戶提供出租?有幾戶由日勝生自行出售牟利?
答案揭曉:
三重大安段「只租不售青年住宅」出租戶數 — 0!
零!零!零!
全數提供財團出售!
出售所得也悉歸財團!




司馬觀點:朱馬變色(江春男)



朱立倫拿到美國博士回台,第一份工作就在台大教書,第一次參選就是立委,第一次選縣長就當選,第一次入閣就是副閣揆,第一次進入黨中央就是副主席,第一次選黨職就是黨魁,且獲逾99%最高得票率,各方面來看他都是人生勝利組。


「傻瓜改革」太矯情

然而,他將是國民黨一百年來,各種條件都最弱勢的黨主席。行政權仍在馬英九手上,黨籍立委集體造反中,他的地盤新北巿,民進黨是議會最大黨。他一無權威,二無資源,三無足夠聲望,要改革千瘡百孔的老黨,前景沒人看好。
他說要以「傻瓜精神」來承擔改革重任,這話未免太矯情。他鋒芒外露,機敏過人,身為會計學博士,最會計算利害,絕不浪費時間在對他沒有好處的任何事務。
做為改革者,一定兩面不討好,利益受損者必定力圖抗拒,得利者不會感激,且短期不會見效。朱立倫以聰明幹練著稱,但改革者又不能太精明,否則凡事取其輕巧,遇難則退。太機靈的人,通常缺乏厚重感。而缺乏厚重,難以建立社會信賴感。
百年老黨的改革千頭萬緒,重要的是要先搞幾件大事,以宣示改革決心,讓大家知道他是玩真的。首先是《政黨法》和《不當黨產條例》的立法,兩者均操之在國民黨手中,這是朱的真正考驗,黨產問題未給社會交代,一切改革都是空言,國民黨永遠無法變為民主政黨,而依附在黨產的政黨,在民主社會永遠缺乏競爭力。 

朱收爛攤不比馬差

朱立倫10年前就說過,「國民黨的未來好像就繫於馬英九一人身上,若沒馬英九,國民黨好像就掛了,為何變這樣呢?」這句話他也許忘了,現在他出來收拾爛攤子,也許天注定。好消息是,國民黨已跌在谷底,不論如何,他不可能做得比馬更差。 



司馬觀點:朱立倫退出大選(江春男)

2015年04月29日

朱習會即將上演,民進黨忙著給朱穿小鞋,實在不必要。因為朱是空頭黨主席,不是總統候選人,既不能代表馬英九,也無法代表國民黨總統候選人,和10年前的連戰破冰之行,不可同日而語。

2005年國民黨已經下台,連戰是在野黨主席,現在國民黨仍在執政,但你說朱立倫是執政黨主席,他一定感覺你在諷刺他;事實上,他的感覺是正確的。馬英九假裝仍在執政,但國民黨已做好下台準備,朱立倫此行無人壯行色,頗有風蕭蕭兮之慨。
在朱見習前夕,馬英九到陸委會發表九二共識談話,時間太巧合,好像在提醒朱,兩岸政策是誰作主。朱在黨內有許多公公婆婆,黨外有民進黨虎視眈眈,旁邊還有柯P,到北京面對習大人,他的迴旋空間有限。
「九二共識」這四字,是國民黨脫不下來的魔戒,朱立倫也許會在這四個字的後面加上「深化」、「超越」、「跨越」、「進化」或「升級」等形容詞,但這種說文解字,實質上沒多大意思。
朱立倫此行如履薄冰,他的立場,不能和馬英九太一樣,又不能太不一樣,要有點黏有點不黏。他不能沒有新思維,但是又不能講太多。習大人對他過熱或過冷,都對他不好,不能被摸頭,也不能被冷落。
其實,北京對台灣政情了然於胸,對明年的政黨輪替已做好心理建設,他們知道「九二共識」的藥效快要過期,對國共平台不再寄厚望,但兩黨領導人不能不繼續「會」下去。



親中對選情不利

過去,國民黨習慣以中共制台獨,用北京壓民進黨,依靠兩岸關係拉抬選情,以為出訪北京可抬高聲勢,可惜這些招數,已經不管用。現在的民意是,與北京太親近,對選情反而不利。這一點,朱立倫應該很了解。
顯然,在上京之前,朱已確定退出2016大選。

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