這本行走的樹。老曹很喜歡

 謝謝"個人意見"

很慚愧，我少逛網路，不識網紅，我學生陳柏言傳這篇博客來的書評給我時，還特別說，作者以筆名“個人意見”走紅網路已久.....。

*

"行走的樹"是一本老書。初版於2006年，增訂版於2015年(印刻)。作者讀的是增訂版。他能為這本老書發聲，讓我至感欣慰。

他的視角特殊，筆墨含情，篇幅雖短而餘意綿長，尤讓我感動不已。

*

讀至文後，終於看到他的本名是陳祺勳。

謝謝“個人意見”

謝謝陳祺勳。

Hesse 荒野狼"Steppenwolf" is a novel by German-Swiss author Hermann Hesse, first published in 1927.

 

"Steppenwolf" is a novel by German-Swiss author Hermann Hesse, first published in 1927. The novel delves into the inner turmoil of the protagonist, Harry Haller, who is known as the Steppenwolf. The story portrays his struggle with the duality of his nature, torn between the impulses of savagery and the constraints of polite society. Through the character of Harry Haller, Hesse explores themes of alienation, existential angst, and the search for meaning in a rapidly changing world.

The novel is renowned for its masterful structure and intense writing style, which has contributed to its status as a cult classic. "Steppenwolf" has been widely acclaimed for its profound exploration of the human psyche and its ability to resonate with readers across generations. The novel's enduring popularity is a testament to its timeless relevance and its ability to captivate audiences with its introspective and thought-provoking narrative.

Hermann Hesse, born in 1877 in Germany and later becoming a citizen of Switzerland, was profoundly influenced by the mysticism of Eastern thought. He wrote novels, stories, and essays that bear a vital spiritual force, capturing the imagination and loyalty of many generations of readers. Hesse was awarded the Nobel Prize in Literature in 1946 for his significant contributions to literature.

"Steppenwolf" continues to speak to the souls of readers and is recognized as a classic of modern literature. The novel's wisdom and its exploration of the complexities of human existence mark it as a timeless work that continues to inspire and provoke contemplation.

Robert Dousneau

 Robert Doisneau, one of the most revered photographers of the 20th century, captured the spirit of post-war France like no other. His work, particularly in the 1950s, embodies a distinct combination of realism and whimsy, often depicting everyday life with a touch of humor or romance. A 1957 photograph by Doisneau, taken in France, encapsulates his signature style, blending the ordinary with the extraordinary. This particular year was significant in Doisneau's career as he had firmly established himself as a master of street photography, known for his keen eye for the human condition and his ability to freeze moments in time that felt both fleeting and eternal.

By 1957, Doisneau was well into his career, having already produced some of his most iconic images, such as Le Baiser de l'Hôtel de Ville (The Kiss by the Town Hall) from 1950. His photographs from the late 1950s reflect a France that was moving past the scars of World War II and into a new era of optimism, growth, and cultural vibrancy. The post-war years had transformed the social landscape of France, and Doisneau’s work often captured the changing moods of the time—juxtaposing the hardship and resilience of the working class with the blossoming energy of the young, modern Paris.

The 1957 photograph, like much of Doisneau’s work, is likely a scene of ordinary people, set against the backdrop of Parisian streets, cafés, or public spaces. Doisneau’s genius lay in his ability to see the beauty in the mundane. His subjects were not celebrities or models but everyday Parisians—lovers, children, workers, and passersby, all caught in the spontaneous act of living their lives. This particular image would have been no exception. Whether it depicts a tender moment between two people, a playful interaction, or a solitary figure lost in thought, the image would offer a glimpse into the soul of mid-century Paris, a city that was at once timeless and in flux.

Doisneau’s photographs from this period are also marked by his distinctive use of light and shadow. In many of his black-and-white images, the interplay between light and dark adds depth and drama to the scene. The 1957 photograph likely features this mastery of contrast, drawing the viewer’s eye to the focal point of the image while allowing the background to fade into a dreamy blur. This technique, coupled with his talent for composition, gave Doisneau’s work a cinematic quality, as if each photograph was a still from a larger story unfolding just beyond the frame.

Doisneau’s work was often compared to that of Henri Cartier-Bresson, another giant of street photography, but while Cartier-Bresson emphasized the “decisive moment”—the idea that a perfect photograph captures a split second in time—Doisneau was more interested in the emotional narrative of his subjects. He sought to capture the warmth, humor, and humanity in everyday life. His 1957 photograph, whatever the subject, would likely reflect this sensibility, offering a window into the quiet joys and sorrows of ordinary people.

The late 1950s in France were a time of change and reconstruction. The country was moving away from the devastation of the war years and into a period of economic growth, known as the Trente Glorieuses (The Glorious Thirty), which spanned from 1945 to 1975. During this time, France experienced rapid industrialization, urbanization, and the rise of consumer culture. Doisneau’s photographs from this era often captured the contrast between the old and the new, showing a Paris where tradition and modernity coexisted in delicate balance. His images of street vendors, market scenes, and old-fashioned cafés stand alongside pictures of sleek new cars, modern architecture, and fashionable youth, highlighting the tension and harmony between past and present.

Doisneau’s connection to his subjects was deeply personal. He often spoke of his love for the people of Paris, particularly those on the fringes of society. He was drawn to the working class, the marginalized, and those who lived on the periphery of the city’s glamorous image. In 1957, Paris was a city of contrasts—while the wealthy enjoyed the burgeoning consumer culture, many Parisians still struggled with poverty, housing shortages, and the remnants of war. Doisneau’s photography reflects this complexity, showing the city in all its facets: the joy and the hardship, the beauty and the grit.

One of the recurring themes in Doisneau’s work is love, and it’s possible that the 1957 photograph captures one of the many romantic encounters he is famous for depicting. Paris, the city of love, provided an endless array of opportunities for Doisneau to photograph couples in tender moments of intimacy. His images of lovers kissing, holding hands, or simply sitting together in a café have become iconic representations of the city’s romantic allure. But Doisneau’s portrayal of love was never saccharine or idealized. His lovers are often ordinary people—young couples stealing a kiss on a park bench or middle-aged partners sharing a quiet moment—captured with a sense of authenticity and respect for the realities of relationships.

In addition to love, Doisneau’s work often explored themes of childhood and play. His photographs of children playing in the streets, chasing each other through the alleys or engaging in imaginative games, are some of the most joyful and carefree images in his oeuvre. These pictures evoke a sense of nostalgia for a simpler time when children roamed freely through the city, creating their own adventures. If the 1957 photograph includes children, it likely reflects Doisneau’s ability to capture their energy and innocence, turning the everyday moments of childhood into something magical.

Doisneau’s photographs also have a subtle political edge. While not overtly political, his images often highlight the disparities in French society, particularly the divide between the rich and the poor. He was a keen observer of social injustice, and many of his images document the lives of the working class with empathy and dignity. In a time when France was experiencing rapid economic change, Doisneau’s photographs serve as a reminder of those who were left behind in the race for progress.

In conclusion, Robert Doisneau’s 1957 photograph represents a moment in time, frozen by the lens of a photographer who had a profound understanding of the human experience. His ability to capture the beauty, humor, and complexity of everyday life made him one of the most important photographers of his generation. Whether the image depicts a romantic couple, playful children, or solitary figures lost in thought, it speaks to the timeless quality of Doisneau’s work. His photographs continue to resonate with audiences today, offering a window into a world that, while long gone, still feels intimately familiar.

#robertdoisneau #1950sphotography #streetphotography #frenchphotography #parisianlife #blackandwhite #midcentury #documentaryphotography #classicphotography #timeless

雪舟 天橋立 臥遊 石頭出版社

 #Theday 跟著小川裕充老師「臥遊」🛩天橋立

　　

招牌姿勢擺好、準備一飽「天橋立」絕景的遊客，被旁人開玩笑 (?) 一拍，滾落到山谷底😱……早先的這則意外新聞，大家還有印象嗎？

　　 

天橋立 (あまのはしだて Amanohashidate)，指的是位於日本宮津市宮津灣的特殊自然景觀，因地殼的推擠作用，而在海面上形成的沙洲地形。

　　

專屬的賞景姿勢，則源自於人們都說，若站在沙洲南、北兩端地勢較高的山頭，背對沙洲站立，再彎下腰，從自己的跨下往後望，就能見到沙洲猶如一道斜向通天之橋的絕景 (這也正是「天橋立」一名的由來)。

　　

若你想欣賞絕景但又不想出意外 (大誤😝)，不妨跟著小川裕充老師的腳步，改從中、日繪畫史和交流史的角度，「臥遊」日本畫家雪舟 (1420-1506) 的名作《天橋立圖》吧～

　　

📖 參引自：〈雪舟　天橋立圖〉

✨《臥遊：中國山水畫的世界》✨

📗 作者：小川裕充 (日本東京大學名譽教授)

📗 2017年1月初版 / 精裝+書盒 / 8開 (25.7 x 36.4公分) / 448頁 / 定價960元

📗 彩圖136幅、黑白400餘幅 / 本文約8萬字、本論約15萬字

📗 石頭出版社

★ 本書日文原版榮獲2009年度國華賞

　　

#世界旅遊日 #一二遊 #天橋立 #大師說畫 #小川裕充 #書畫找定位 #交流觀察 #雪舟 #水墨畫 #風格大補帖 #不傷身 #但燒腦 (?)

#明天教師節 #向辛苦的老師們致敬！

一生早安 Julie Andrews 88

 Dame Julie Andrews is looking great at 88. The Mary Poppins and Sound of Music actress 🌹

秋分後，下了幾場雨。

雨常落在夜晚，清晨就非常晴朗。

蔚藍的高曠天空，長雲任意逍遙。

綠色的稻穗，也許因為幾場秋雨，很快抽長，都有五十公分左右了，歡欣隨風搖著越來越飽滿的稻穗。

如果心裡被什麼堵塞著，不開朗，不愉快，就來池上和這樣的寬闊天空說：早安，和綠色的大地說：早安，和自由自在的雲朵說：早安-，和清新的空氣說：早安，和明亮的陽光說：早安⋯⋯

和不浪費生命的美好秋天說：早安-⋯⋯

和一定可以愛自己的清晨說：早安！

。。。。

窮極一生，追求的是什麼？

作者：賴勝源

七十好幾了，最近我常在想，根據統計，只有44%的人可以活到我這年紀，那我還在憂愁什麼、煩惱什麼？

早上吃飯時，會不慎把湯汁抖在身前、掉在桌上，老婆追著擦、跟著唸；那已經唸了五十年的嘮叨，雖然被當小孩訓很火大，但想想能被唸還有幾年？

吃顆花生，能把皮屑掉得滿客廳，被唸是正常的，但回想想，還有多少同學能口嚼花生、樂啃甘蔗？就不禁又露出微笑。

這世上七十五年來，有太多得與失，不能什麼都圓滿，但有一個讓我樂淘淘的、能被唸的老婆，其實是種幸福。

昨天從醫院的交通車下來就摔了一跤，讓司機很緊張，覺得非常抱歉，下次得暫停等不暈眩、有平衡感了才移動下車。

七十和六十、六十和五十都不一樣，別逞能了。

梁實秋先生說，過了五十，就覺得人一年不如一年；過了六十，就感到一月不如一月。

過了七十，就深覺一日不如一日；過了八十，那就一時不如一時了！

唉！深得我心哪！等過了九十，我再和大家談談今而如何？老婆還嘮叨不？

1、我們窮極一生，到底在追求什麼？

人生本就是不斷去感受、去體驗，請記住，人生就是各種意義的疊加。只要你想，你就可以做那些看似無意義的事，比如發呆、看日出、數星星，你的體驗就是最大的意義。

人生是曠野，不是軌道；只要你當下是享受的，那就是有意義的。

2、短暫的一生，百年之後，沒你也沒我。我們拼搏一生，帶不走一磚一瓦，我們執著一生，帶不走一絲愛恨情仇。

所以，我們沒有時間去爭吵、去傷心、去斤斤計較，我們只有時間去愛，去享受，一切稍縱即逝，只有活在當下最重要。

3、小時候覺得忘帶作業是天大的事，高中的時候覺得考不上大學是天大的事；戀愛的時候覺得和喜歡的人分開是天大的事。

但現在回頭看看，那些難以跨過的山，其實都已經跨過了。以為不能接受的，也都接受了。生活充滿了選擇，遺憾也不過是常態。

大家都心知肚明，就算時間重來一次，以當時的心智和閱歷，還是會做出同樣的選擇。

回頭看，輕舟已過萬重山；向前看，前路漫漫亦燦爛。

4、有的人二十幾歲就死了，有的人90多歲還活著；有人一瞬間就失去了生命，有人在床上躺了10年才離開人世。

高學歷的在送外賣，沒學歷的在當老闆；漂亮的人四五十歲了還單身，而醜的人早就結婚生子。

有本事的人一年也見不到父母幾回，平凡的人享受一輩子闔家團圓。

有人抽菸喝酒活到老，有人努力工作，年少猝死。

什麼是對的，什麼又是錯的？沒有標準，你的心才是標準。

數字擺在眼前時，突然覺得人生真的好短暫，人生無法重來，趁還有時間，去愛你所愛、去追求所求，去享受去踏遍萬水千山！

5、如果你要問我人生的意義是什麼? 那我會告訴你：

99%的人三代以後，時間會抹平你存在的一切痕跡。

所以，

人生的意義就是你活著這短短的幾十年體驗，它就是生命中的全部意義所在。

千萬不要因為一點雞毛蒜皮的小事就煩惱，更不要拿別人的錯誤來懲罰自己。

明天和意外，也不知道哪一個會先到來；世事無常，一覺醒來是一天，一覺醒不來便是一生！

我們所能做的就是，請用心的去品嚐每一頓飯菜；用心的去欣賞每一處花開；用心去觀賞每一處的風景；用心去完成每一分責任，用心去感受當下每一次愛和每次喜悅。

6、幸福是什麼？ 其實幸福很簡單，只有9個字：「有家回，有人念，有飯吃。」

所謂歲月靜好，不過是家中的那碗熱湯，和始終為你點亮的那盞燈。

7、人生總有太多的來不及，一眨眼就是一天，一回頭就是一年，一轉身就是一輩子。

我們窮盡一生所追求的幸福不在過去，也不在未來，而是活在當下,好好把握～～

Robert Frost. Out of Time: The Pleasures and the Perils of Ageing by Lynne Segal

“Some say the world will end in fire,

Some say in ice.

From what I've tasted of desire,

I hold with those who favor fire.

But if it had to perish twice

I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.”

― Robert Frost

(Book: https://amzn.to/3WDigkC)

劉進興分享了 Ku Bauman 的相片。

多麗• 萊辛的《特別的貓》
超級好看！

 作家Doris Lessing活了94歲。談到老年，她說：「年紀一大把足堪告白的秘密是－你只有形骸變化，其實啥都沒變。」老舊的皮囊羈囿不住狂騷的靈 魂；Lessing內力旺盛，筆鋒遒勁妙文不絕。人屆晚年，流年似水沾絲晦暗，故舊逐一離座，傷懷與孤獨感如暮靄四合，可憤青的老後，卻未曾氣短。

專研女性情慾的英國基進女性主義者Lynne Segal，本身也是心理學家，觀察到－少人能主動知覺自己年歲的老邁，這是aging神奇之處---這種心理與肉身的錯位感會尾隨歲數而累增。 Segal邁入初老近期就寫下Out of Time: The Pleasures and the Perils of Ageing 一書，想搞懂age gracefully意所何指？她探索很多創作、文化與學術作品剖析暮年的尊嚴、優雅與奧秘。
Segal 提到「社會高齡化」滋生的政經副作用是－世代敵意，上世代人容易成為替罪羔羊－尤其嬰兒潮世代，社會利益全佔盡吃乾抹淨，剩餘一個坑疤殘破的社 會強迫年輕人買單。而保守歐美政客藉機操弄年齡歧視，轉移選民對官商勾結、公共政策不作為之失能政權的監督與批判。上了年紀，Segal火氣稍歇，也無意 在新著頂撞時局，反現觀審老年意義的抒情慢板。她在Simore de Beauvoir的著作尋找靈感。Beauvoir 半百時，愛侶Sartre琵琶別抱另尋新歡，才女宛如落衰棄婦，但Beauvoir谷底生命逆轉勝---她結交新戀人，更積極投身文壇社運，出走大男人陰 影自己活出一片天，成就哲學家Beauvoir。Segal 書末留下一段話：” If old age is not to be “an absurd parody of our former’ life,” it is essential to “go on pursuing ends that give our existence meaning”, such as devotion to other people, causes and creative work. This may well be the secret to enjoying life at any age.”

Out of Time: The Pleasures and the Perils of Ageing, by Lynne Segal – review

Lynne Segal offers a powerful manifesto for dealing with the march of time

• 
• • Yvonne Roberts
  • The Observer, Sunday 1 December 2013

Lynne Segal’s account of ageing contrasts sharply with that of Simone de Beauvoir, above, who published an anguished memoir about growing old when she was in her 60s. Photograph: Sipa Press/Rex

The mighty Simone de Beauvoir published Old Age in 1970, when she was in her early 60s. A troubled, anguished and angry testimony, it detailed her profound dismay at the sagging of the body; the loss of looks (her own and the admiring glances of others), the absence of desire and the unwilling and uncomfortable contemplation of mortality. Not for her the basic philosophy of Woody Allen: "Old age isn't so bad, when you consider the alternative."

1. Out of Time: The Pleasures and the Perils of Ageing
2. by Lynne Segal
3. 

1. Tell us what you think: Star-rate and review this book

In contrast, Lynne Segal's thoughtful analysis of ageing offers a far more combative, zestful approach. It asks: when suffering from "temporal vertigo", absorbing at once all the ages you have ever been, and dealing with the inevitable loss of loved ones, how do you accept the physical ravages and build on the experiences of the past, to live fully in the present? What does it mean to age well?
Segal, now in her 60s, is a socialist feminist and anniversary professor of psychology and gender studies at Birkbeck College, University of London. For the past 30 years, she has fearlessly taken on some of the loopier ideas of feminism and contributed significantly to a more optimistic agenda for sexual politics. In books such as Is the Future Female?, Slow Motion: Changing Masculinities, Changing Men and Straight Sex: The Politics of Desire, she challenged the kind of essentialism that believes that women are somehow "nicer" than men and that, as sections of the sisterhood argued, men are incapable of change.
Social conditioning is, obviously, particularly potent when it comes to the business of growing old. And here is Segal's first challenge. Whom does she define as old? "Late midlifers"? "Early elderly"? At what point does an individual cease being surprised at the wrinkled, chipmunked face in the mirror and begin the period of critical self-reflection that surely must be one of the perks of ageing? What's certain is that the number of years that have passed is no guide in itself; as the writer Penelope Lively says in Moon Tiger: "Chronology irritates me."
Madonna wearily refuses to age, while women are now bearing children in a decade when their mothers were ploughing through the menopause. Old age for Dante began at 45; for Hippocrates, it meant the 50s. Now, 10 million Britons are over 65 and soon centurions will be the norm.
How we age is influenced by society's attitudes and currently "youthism" reigns, but it is also dictated by events in the shape of disease, desertion and unexpected isolation and deprivation. A fifth of those over 65 live in poverty, the majority of them women.
Segal's book is worth buying alone for the vim with which she sees off the "dim-witted" arguments of coalition minister David Willetts and historian Francis Beckett, among others, who insist that the baby-boomers have stolen all the booty and forfeited their children's future. Neoliberals, not the baby-boomers, have done the damage, Segal argues, and there are better ways to share the diminished spoils – a tax on corporate wealth, for one.

To help construct her guide for a "good" old age, Segal calls on an army of poets, writers, academics and activists, perhaps too many, when it's her voice the reader may seek. Her recommendations include remaining politically active (she quotes the inestimable John Berger, in his 80s: "…one protests… in order to save the present moment, whatever the future holds"); valuing interdependency; treasuring connections with those who are younger; seeking out joy and ignoring all instructions to opt for invisibility and celibacy.

Until her 40s, Segal and her son lived in a collective in her large house in north London. Then she cohabited more conventionally with her male partner; she was 15 years older and he left her for a younger woman. Now, she has a female partner. Segal quotes from June Arnold's novel, Sister Gin, in which Su, in her 50s, falls for Mamie, a woman in her 80s. "My darling's face has been walked on by life," Su says, as a valediction, not a complaint.
Most of the cast that Segal rallies to explore her theme share an experience of beauty and/or fame, among them the poet Robert Frost ("No memory having starred/ Atones for later disregard/ or keeps the end from being hard"). The majority of those growing older will face other challenges. For millions, especially, perhaps, feminists, paid work, a career, has played a significant part in providing motivation and in forging an identity. Will retirement mean an erosion of a core sense of self? Or, looking back, is it possible to build on aspects of yourself you were never encouraged to value?
Segal quotes the remarkable Lou Andreas-Salomé, who, among her many achievements, became a psychoanalyst after the age of 60. "All my life I have done nothing but work," she said, near death. "And really, when you come to think of it… why?"
A question that could revolutionise ageing and that deserves an answer long before one runs out of time.

Bob Dylan. Hugo 傳兩種版本。中國大學出版社的特色

 

Oh, the ragman draws circles

Up and down the block

I’d ask him what the matter was

But I know that he don’t talk

And the ladies treat me kindly

And furnish me with tape

But deep inside my heart

I know I can’t escape

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Well, Shakespeare, he’s in the alley

With his pointed shoes and his bells

Speaking to some French girl

Who says she knows me well

And I would send a message

To find out if she’s talked

But the post office has been stolen

And the mailbox is locked

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Mona tried to tell me

To stay away from the train line

She said that all the railroad men

Just drink up your blood like wine

An’ I said, “Oh, I didn’t know that

But then again, there’s only one I’ve met

An’ he just smoked my eyelids

An’ punched my cigarette”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Grandpa died last week

And now he’s buried in the rocks

But everybody still talks about

How badly they were shocked

But me, I expected it to happen

I knew he’d lost control

When he built a fire on Main Street

And shot it full of holes

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the senator came down here

Showing ev’ryone his gun

Handing out free tickets

To the wedding of his son

An’ me, I nearly got busted

An’ wouldn’t it be my luck

To get caught without a ticket

And be discovered beneath a truck

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the preacher looked so baffled

When I asked him why he dressed

With twenty pounds of headlines

Stapled to his chest

But he cursed me when I proved it to him

Then I whispered, “Not even you can hide

You see, you’re just like me

I hope you’re satisfied”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the rainman gave me two cures

Then he said, “Jump right in”

The one was Texas medicine

The other was just railroad gin

An’ like a fool I mixed them

An’ it strangled up my mind

An’ now people just get uglier

An’ I have no sense of time

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

When Ruthie says come see her

In her honky-tonk lagoon

Where I can watch her waltz for free

’Neath her Panamanian moon

An’ I say, “Aw come on now

You must know about my debutante”

An’ she says, “Your debutante just knows what you need

But I know what you want”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the bricks lay on Grand Street

Where the neon madmen climb

They all fall there so perfectly

It all seems so well timed

An’ here I sit so patiently

Waiting to find out what price

You have to pay to get out of

Going through all these things twice

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again  

                                                                                                                                                                                                                                                      --"Stuck Inside of Mobile with the Memphis Blues Again" (Blonde on Blonde, l966)

“Even the darkest night will end and the sun will rise.”

― Victor Hugo, Les Misérables