趕路
Artists: 陳曉娟
Album: true color
用右手跳舞 用左手走路
我踩著不成調的音符 哀悼遠離的痛苦
在過去傷心 也在回憶開心
我讓舊皮箱裝新行李 在另個雪地裡旅行
幸福是新的包袱 風景是行走的樹
勤於趕路 勝過圖留感觸
愛情是新的窗戶 你是我舊的禮物
戀棧感觸 不如趕路
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝
"戀棧感觸 不如趕路"...
星期五, 5月 07, 2004
星期一, 5月 03, 2004
有關PKD的一本新書:I Am Alive and You Are Dead: A Journey Into the Mind of Philip K. Dick By Emmanuel Carrère
書評如下...從Economists偷來的 XD
The world according to Dick
Apr 15th 2004
From The Economist print edition
Hollywood's fascination with a long-dead writer of pulp science fiction
ACCORDING to the official website of Philip K. Dick, the films made from his books have generated nearly $700m in worldwide box-office receipts. Not bad for an author who died more than 20 years ago in relative obscurity. Half-a-dozen films have been made from his books, including “Blade Runner”, “Total Recall”, “Minority Report” and, most recently, “Paycheck”. Another of his novels seems likely to have inspired “The Truman Show”, and, say some, his work may have influenced the “Matrix” series of films. And that looks unlikely to be the end of it. Those responsible for his estate say that the film rights to six more of his novels and four of his short stories have either been bought or optioned.
Dick yearned for literary acclaim, but in his lifetime he was known mainly as a prolific writer of pulp science fiction. He wrote more than 50 novels and over 100 short stories—work that was mostly fuelled by amphetamines and a cocktail of prescription drugs. He started psychoanalysis at the age of 14 and became so familiar with it that he used it to toy with his friends, his readers and even his shrinks, as a cat would with a mouse.
Reading his work has been described as falling through a series of trap doors. Before the LSD revolution in California, his adopted home, Dick was writing books that explored how the brain is a filtering mechanism that enables reality to be seen from many different perspectives. He gained a cult reputation as an LSD author, but took the drug only once and hated it.
Emmanuel Carrère's account of Dick's life focuses on the mind of a man who spent his time playing with other people's minds. Dick was obsessed with the unreal nature of reality, and the question of what is real. The sense of looking at something familiar and seeing it as if for the first time, or radically differently, was a central theme in his disturbed life.
The book traces many of his influences, from the death of his twin sister shortly after she was born to a succession of failed relationships. Dick lashed himself to women like a drowning man to a rock in a storm. Successively, though, his paranoia, craziness and pill-popping sent them running. Mr Carrère shows how Dick's tumultuous life story leaked on to the pages of his science-fiction novels.
But why is a strange, drugged-out and paranoid bygone of such interest to modern-day filmmakers? Partly because today's revolution in the biosciences, in particular in neuroscience, makes the questions he was asking particularly relevant. What is real if we can take drugs that alter our moods, or if we can tinker with our own memories? These issues were the flesh and bones of Dick's books, all those years ago.
He anticipated the terrible attractions of a technology that erases memory. People would simply have their painful memories removed. In the most recent film of his work, “Paycheck”, Ben Affleck rather unconvincingly plays a reverse engineer who routinely has his memory erased after he does a job of work, as part of commercial non-disclosure agreements. The character comes to believe that erasing the dull bits of his life is a good idea. All he is left with are the highlights.
“The stuff you erase doesn't matter,” says Mr Affleck's character. Of course, as the film progresses, we see how wrong he is: we are the sum of all our experiences—anything we erase makes us less than who we are. Although Dick's delight in twisting reality may be illuminating for us today, he paid a heavy price for his unique vision. Accepting no single personal version of reality, with all its incumbent flaws, he had little grip on any world whatsoever.
書評如下...從Economists偷來的 XD
The world according to Dick
Apr 15th 2004
From The Economist print edition
Hollywood's fascination with a long-dead writer of pulp science fiction
ACCORDING to the official website of Philip K. Dick, the films made from his books have generated nearly $700m in worldwide box-office receipts. Not bad for an author who died more than 20 years ago in relative obscurity. Half-a-dozen films have been made from his books, including “Blade Runner”, “Total Recall”, “Minority Report” and, most recently, “Paycheck”. Another of his novels seems likely to have inspired “The Truman Show”, and, say some, his work may have influenced the “Matrix” series of films. And that looks unlikely to be the end of it. Those responsible for his estate say that the film rights to six more of his novels and four of his short stories have either been bought or optioned.
Dick yearned for literary acclaim, but in his lifetime he was known mainly as a prolific writer of pulp science fiction. He wrote more than 50 novels and over 100 short stories—work that was mostly fuelled by amphetamines and a cocktail of prescription drugs. He started psychoanalysis at the age of 14 and became so familiar with it that he used it to toy with his friends, his readers and even his shrinks, as a cat would with a mouse.
Reading his work has been described as falling through a series of trap doors. Before the LSD revolution in California, his adopted home, Dick was writing books that explored how the brain is a filtering mechanism that enables reality to be seen from many different perspectives. He gained a cult reputation as an LSD author, but took the drug only once and hated it.
Emmanuel Carrère's account of Dick's life focuses on the mind of a man who spent his time playing with other people's minds. Dick was obsessed with the unreal nature of reality, and the question of what is real. The sense of looking at something familiar and seeing it as if for the first time, or radically differently, was a central theme in his disturbed life.
The book traces many of his influences, from the death of his twin sister shortly after she was born to a succession of failed relationships. Dick lashed himself to women like a drowning man to a rock in a storm. Successively, though, his paranoia, craziness and pill-popping sent them running. Mr Carrère shows how Dick's tumultuous life story leaked on to the pages of his science-fiction novels.
But why is a strange, drugged-out and paranoid bygone of such interest to modern-day filmmakers? Partly because today's revolution in the biosciences, in particular in neuroscience, makes the questions he was asking particularly relevant. What is real if we can take drugs that alter our moods, or if we can tinker with our own memories? These issues were the flesh and bones of Dick's books, all those years ago.
He anticipated the terrible attractions of a technology that erases memory. People would simply have their painful memories removed. In the most recent film of his work, “Paycheck”, Ben Affleck rather unconvincingly plays a reverse engineer who routinely has his memory erased after he does a job of work, as part of commercial non-disclosure agreements. The character comes to believe that erasing the dull bits of his life is a good idea. All he is left with are the highlights.
“The stuff you erase doesn't matter,” says Mr Affleck's character. Of course, as the film progresses, we see how wrong he is: we are the sum of all our experiences—anything we erase makes us less than who we are. Although Dick's delight in twisting reality may be illuminating for us today, he paid a heavy price for his unique vision. Accepting no single personal version of reality, with all its incumbent flaws, he had little grip on any world whatsoever.
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