Chapter 2 "Those Young Men Who Are Sad" Part 1

Those who were once young one Li Ao showed up again, even more beautiful than 30 years ago.When he was interviewed by Yang Lan, he still said unabashedly: "I only look at beautiful women." When he pointed out Taiwan's presidential candidates, he was still merciless, mocking every organ on the opponent's body.His hearty laugh is still there, and his face seems to be still young.However, all this has failed to arouse any feeling in me.I watched in horror at him on TV and myself in life. Is he aging? Or am I aging? Has he lost his charm? Or have I inevitably slipped into mediocrity?

I still clearly remember the uncontrollable excitement when I read "Thirteen Years and Thirteen Months" for the first time when I was 16 years old.This is already the 1990s, and it has been 29 years since Li Ao's article was written.In the article, this is a young man so thoroughly young.He said that he likes the sharpness of those radical writers, and the passion for expressing sharpness.He said that Gou can make the whole country young and lively, and some young people among them will say a few arrogant words, say a few strong words, and do some stupid things that don't know the heights of the heavens and the earth, so what is it?He said that no matter how many stray bullets and sticks there were, he still had to go forward.He quoted a poem from a young Indian poet to encourage himself: "You have swallowed a lot of bitter medicine, please bravely drink this glass of poisonous wine!" When he arrived at the dark cross street, he opened his backpack and swallowed a lot of bitter medicine in public.The audience said: "I'm afraid the medicine is too bitter." He replied: "What are you afraid of? I'll show you! I still have a glass of poisoned wine!" Li Ao was 27 years old this year. After serving as a soldier, he lived a life of poverty in the narrow "four-seat hut" he rented by the Sun Moon Lake, but he still smiled, with deep worries about the ills of Chinese society and his longing for his future life.He felt that he was still young, so let's go for it, and make himself better for the society.So he began to write for "Wen Xing". "The Old Man and the Stick", "Thirteen Years and Thirteen Months"... Li Ao, whose passion and talent have been suppressed for too long, released it with the unique vigor of youth.Reading Li Ao's words at this time, you are not communicating with history, nor are you communicating with those complicated knowledge, but you are communicating with a living soul, which is strong and even beats unscrupulously.

In 1992, Li Ao was already 57 years old, but when I met him, it was a meeting between a 16-year-old soul who had not yet encountered passion and a 27-year-old soul who was young. Li Ao aroused our most common love. impressions.This is how many people feel when they read Li Ao.Li Ao said that "Thirteen Years and Thirteen Months" was the article he received the most letters from readers. "A child in the second grade of junior high school was so poor that he stood next to the bookstall and read it; a young man in the first year of high school finished reading it in the Golden Gate battlefield; an anonymous middle school student was so excited that he even ate his lunch "I can't stop", "I read it again with tears in my eyes"; a fourth-year student of the National Taiwan University School of Medicine, after reading it, "I was so excited that I couldn't sleep all night"..." What really moves people is never the thought, but the courage of youth .In this article, Li Ao did not show extraordinary thinking, he was just speaking as a 27-year-old youth, he made no secret of his emotion, his anger, his desire, his pain, and Unwavering bravery in difficult situations... All these are touching the nerves of all young hearts.

Thirty years later, in Beijing thousands of kilometers away, I was trembling like those excited middle school students and college students. I remember that night, I longed to shout loudly, longed to jump up and down in my hut, longed to face The whole class shouted loudly: "Do you know Li Ao?"... In the next few years, I used various methods to find Li Ao's works and get to know Li Ao himself.Li Ao said that for him, words are better than articles, and people are better than words.Li Ao's various maverick stories intensified my admiration for him.In his third year of high school, he would drop out of school because he hated the examination system, and he would rest assured to cultivate his righteousness; he would drop out of school after he was admitted to the law department of National Taiwan University; he would not copy notes in class, and he would say confidently that Things that only middle school students can do; he will chase girls from National Taiwan University with "Li Ao's love letters are flying all over the sky, a girl wants to chase"; The image of a young man who stubbornly lives and thinks in his own way, and at the same time he is flesh and blood full of humanity, not a corpse that can only think.

Li Ao's college diary is one of Li Ao's most moving words. In his diary, this young man who is determined to become a giant keeps clamoring and encouraging himself, facing setbacks in pain but tenaciously.Reading these notes, I seem to see a young man who is trying to climb up, his face is full of determination, and at the same time there is a little cynicism-this is his weapon in facing the secular world.I often look out of the window during class, imagining that young man who wears robes all day long on campus with a generous face.Occasionally, a couple of Li Ao-style rhetoric would even appear, causing a small commotion in the mediocre middle school classrooms of the 1990s.

The more I read Li Ao's writing, the more I was disappointed.Although, his research on the Kuomintang, Chiang Kai-shek, and Chinese history has his unique features, and even though I admire his courage in facing the disaster in prison, and his monologue under the tradition after his comeback, or the tradition under the monologue ... But all of this can no longer impress me. Without the courage of youth, Li Ao is just a scholar, a historian, and a cynic. He does not exist as a heart full of infinite passion. In 1997, Li Ao launched it, which became popular in Taiwan.Taiwan's "Business Weekly" commented, "It aroused a whole generation of fond memories of Li Ao."This comment couldn't be more obvious. Li Ao belonged to Taiwan in the 1960s. It was an era shrouded in white terror, a Taiwan shrouded in high-pressure politics and suffocating traditional culture. The 20-something named Li Ao The young people said in a cynical and culturally pretentious manner, "It's time for the elderly to put down the stick, it's our turn to come on stage", "Civilization is syphilis"... Is there anything more touching than this? He A brief but harsh gleam in the darkness.

But what about today? Li Ao still looks like "I'm still young", and his body can also guarantee that he will have a son at the age of 57.However, he is indeed no longer young. The words of Li Ao who are out of that age are not exciting, but rather funny. Seeing him talking and laughing on TV, I think he is just a cynical old man. He is already 60 years old.Whoever said that as long as you keep your heart young, you can live forever, I don't believe it.I even prefer to believe that it is not Li Ao, the real Li Ao is still alive in the 60s, still alive in my 16-year-old heart, that is such a young Li Ao.

two When Cui Jian was touring in the United States, he still shouted to the audience, are you still young? But an audience member said: "He is obviously old, the bags under his eyes are obviously big, and his hair is thinning..." So A simple sentence destroyed all Cui Jian's excuses about being young.He told the reporters accompanying him in the United States that he felt that he was still young, and youth meant speed and strength, and he felt that he still had both. Although in his new album, the power and intensity of his music are increasing, and even though he can say that his audience is degenerating and can no longer understand him, Cui Jian also said that his new works are more infused with a sense of social criticism ... But all this is just a sign that he is losing his youth, and he should know that it was not his critical consciousness that moved us, but the youthful spirit of his music.

A young and middle-aged man who walked through the 1980s would recall Cui Jian in this way, "Walking on the street, I was suddenly knocked down."A whole generation was knocked down by Cui Jian's music, and the reason is certainly not the profundity that those who are used to metaphysical analysis say, it just arouses the youthful desire that has always been suppressed in that generation.The so-called treatment of a generation of "aphasia" is precisely to stimulate the rebellious energy that youth should have.And Cui Jianjian's most advantageous weapon is his own wild temperament of "Uncle Cui".On the centerfold of Zhao Jianwei's controversial book "Cui Jian Screams in Nothing", Cui Jian is lying sprawled there, that expression of "fuck you" may be the essence of his music - unscrupulous performance strength.

And all this unscrupulousness must be based on youth.Acheng said this very well, "Youth is full of vigor, and you are naturally full of vigor and vitality. If you are full of vigor, you will inevitably go crazy. It's pretty good to be crazy when you are young, but if you go crazy after 25 years old, no one cares."So when Cui Jian said that he was young at the age of 36, all this was no longer touching.When walking past the site of Xueer Canteen in the past of Peking University, I always wondered how energetic Cui Jian must have been when he performed here more than ten years ago.At that time, Cui Jian did not seem to have received enough recognition.In the greasy and messy Xueer Canteen, Peking University students did not seem to show any enthusiasm for this Chinese "Bob Dylan". In and out, there was little applause.A year later, when Cui Jian appeared in the lecture hall again, 3,000 people squeezed into the space that could only accommodate 1,500 people.At this time, Cui Jian may not need to shout desperately, "Are you still young?" Because at this time, he does not need to cheer himself up.His age itself has given him the shortest path to those hot-blooded and restless hearts.

All that has changed today.Is it because the hearts of those who love to listen have become vicissitudes? Or is Cui Jian mixing too much artificiality with himself in order to maintain the youth he thought? Maybe both.Perhaps, for a long life, the period in which the soul can be excited is very short. This is the brightest period in the entire dark life, and perhaps the main reason why we survive in this world.Whether it is Cui Jian or Li Ao, they have acted as the guides of our souls during this period of time accurately and wonderfully. They are the most passionate memories deep in our hearts.Now they are old, and we are also old, like a couple who bid farewell to the honeymoon period, we accuse each other of betrayal, and at the same time, no one can forget the most wonderful time. Snoopy is a humanistic dog. Schultz infused the dog with the qualities that should belong to a teenager who loves fantasy, so the dog gained a rare vitality. When Charles Schultz decided to retire, one reader wrote to Newsweek to mourn his grief: "When my son was little, he loved Snoopy so much that he decided to make himself a A puppy. He ate all the dog food. And, for several years, he insisted on learning to bark a little bit every day. I remember one day, he was hurt by someone he thought was a friend, and it was the first time he Feeling betrayed by the world. He looked at me with tears in his eyes. And at the same time said: 'I wish Snoopy was real.'" This kid's hope pinpoints the key to our obsession with that little dog named Snoopy—the symbol of humanity's eternal dilemma—the conflict between dream and reality.This stubborn and full of personality dog, so resolutely refuses to recognize his identity as a dog, when his owner Charlie Brown said, look at his dog, the owner throws the branch out, and the dog will run to get it back.So, Snoopy took a branch in his mouth, threw it into the distance, and looked at Charlie Brown helplessly.It often sits intently on the little house, writing its immortal novels.Although the beginning of the novel never changed, although it never received only rejection letters.He often fantasized that he was a brave pilot and became a combat hero in World War I...Schultz injected the qualities that should belong to a boy who loves fantasy into a dog, so the dog Gained a rare vitality. Whether in Schultz's lifetime or after his death, there are always critics who insist that in the 50-year history of "Peanuts" comics, except for the initial period, Schultz is uncreative and a shameful self-replicating By.This kind of accusation is of course justified, but it underestimates the brilliance of humanity that Schultz used that fantasy dog ​​and those out-of-date children to show. With the main line of humanity, no matter how similar the serial comics are, it An expressive force that penetrates the soul has been produced.Snoopy is a dog full of humanism, insisting on dignity, restlessness, fantasy, and heroic ideals-this has been the theme of literary works for centuries, and it is also the "human being" that humanists insist on. One of the elements of being human". The 20th century is a century in which the humanistic spirit has encountered unprecedented challenges. The continuous development of technology and the continuous expansion of material desires have squeezed the human mind more and more dry.As Chaplin quips in it, we are sadly becoming part of the assembly line of the machine.We are forced to be more and more realistic, giving up our dignity a little bit. When Snoopy was born, human society was already accustomed to being assigned to Ford's assembly line, materialism had begun to appear, and people were becoming more and more accustomed to being placed by machines or the state.Snoopy is likely to enter the list of preeminent humanists of the 20th century.In this series of lists, Zweig denounced extreme nationalism, Chaplin accused the machine age, George and Orwell explained the harm of totalitarianism to individuals... All this is to emphasize individual freedom and dignity How important it is.Snoopy expresses the same point in its unique form.Although the analogy is a bit ridiculous... Schultz said in later recollections that, as a devout Christian, he hoped to add the best elements of human nature into comics.But literary and artistic works have always been reflections of reality.This is true even for comics with a short history. The adventurous Tintin in "The Adventures of Tintin" in the early 20th century reflected the ambition of European society in the period of expansion; while in "Garfield" that appeared in the late 1970s, the materialistic fat cat meant that the European society was in a period of expansion. In the age of consumption, we indulge our self-desires. So Schultz's efforts may have inadvertently fit the spirit of the times. "Salon" magazine believes that Schultz's cartoons symbolize the insecurity and anxiety that appeared among the postwar generation of American teenagers, and they generally lack confidence in themselves.This analysis is correct but not comprehensive.For American readers, Charlie Brown may be the protagonist of the "Peanuts" comics, and he is the representative of this analysis.But if we take a longer and wider view, we will find that in non-American regions, Snoopy is often the protagonist in comics.In the 50 years that the world has undergone tremendous changes, the key factor in "Peanuts" has always been able to win many audiences is also because of this unique dog.The incidents of snapping up McDonald's in Shanghai and Beijing to get the toy Snoopy just reflect this point. Therefore, Schultz’s contribution to our lives may be that in this era when technology and materials are constantly squeezing our spiritual space, he created a puppy that refuses reality.This is also the most important reason why Snoopy can stand out among countless cartoon characters. It represents the fragile and sensitive side of human beings, and these qualities are disappearing.Thus, among the increasingly realistic and pleasure-seeking crowd, a little dog indulges in fantasies and hits a wall because of fantasies, so it is covered with a layer of sadness that will never disappear.Fantasy and sadness, these two temperaments are so rare and moving in the so-called post-industrial society.As a Chinese reader, you can clearly feel this in China in the 90s.Of course, as readers, we don't need to make reading Snoopy a burden on our minds.Like all comics, Snoopy brings us joy, but we also find that while Snoopy brings us laughter, it also brings a little sadness.When we reminisce about Snoopy, we often think about whether we are also facing such an embarrassing and sad situation. Just entering the 21st century, Schultz announced the suspension of 50 years of comic serialization.The reason was that Schultz was in poor health, and two months later, Schultz passed away.In the mourning cartoon of "Newsweek Magazine", Charlie Brown and Snoopy embraced and cried bitterly: "Our father is dead." This normal interruption and death also seems to reveal the meaning vaguely: "In the more materialistic and technological 21st century, there will be no room for fantasy and sadness, so the outdated Snoopy should give up this last struggle." Of course, this kind of speculation will be questioned and dismissed by countless people. However, we can make an interesting and boring assumption. If Garfield and Snoopy are put into the same comic plot, what will be the result? My personal opinion is that Garfield, who is full of worldliness, will put Snoopy, who is full of humanism. Than oppressed with nowhere to hide... Of course, we will all miss Snoopy, just as people of the last century missed the innocence of the 19th century.But in the face of the cruelty of reality, all we can do may be nostalgia. Acheng said in the preface to "Merry Everywhere" that there is no youth literature in China, and youth is always more or less mixed with politics.The only one worth mentioning is Wang Shuo's, whose name alone is scary enough.The youth advocated by Ah Cheng is arrogant and closer to physiological instinct. This point has been brilliantly expressed in "Sunny Day". Although Ah Cheng complained, he still wrote "When I Was Young". During the days when I jumped in the queue, the youthful turmoil gushing out in the wilderness mountain village is even more moving today.When the body and consciousness gradually mature, the desire is full of confusion in the growth process. At this time, you still lack basic judgment, and you are between understanding and not understanding the surrounding environment.Instinct tells you that you should resist something, but you don’t know what to do when you face the truth... How painful and wonderful this wonderful emotion is! Although the lives of educated youths are full of tragedies and ugliness, Chen Chong has already told such stories in "Tianyu".However, I am still very interested in the unusual colors that this special situation brings to youth.Although Wang Xiaobo and Acheng were cursing the lack of "common sense" in those ten years, on the other hand, it appeared frequently in the text. No matter how bitter it was, it had undoubtedly been integrated into their In blood. Sometimes, under the weak sunset, I would guess what these two people looked like when they were young, how high-spirited or listless they should be in the rainforest of Yunnan... I gradually understood that the longing for that kind of suffering is the right A merciless spurn by the way we currently live.Because of this spurning, I will have an infinite fascination for the frenzy on the other side of the ocean 30 years ago.The fervor of revolution, the sex of fearless freedom, the ideal of universal unity, and the hoarse voice of Bob Dylan.So, I saw the words "Berkly" in it, and my heart beat faster when I heard "If you go to San Francisco, don't forget to put it on your head...".So, when I read, my soul has been taken to another world, where there are endless roads, desolate deserts, tired but young faces, and unbridled freedom, youth that can be squandered infinitely... Although that generation of rebel stars has become the master of this era, despite the decline of enthusiasm, moral conservatism is back on track, and although society cannot always be in that fierce state, but you have to admit that, Youth must carry a certain trace of madness, which allows you to challenge history shamelessly.The wise Bernard Shaw said: "If you are not a leftist when you are young, you must be a conservative at the age of 40." If a person does not have ethereal fantasies in adolescence, then this person is destined to be boring. So it is inevitable that I regret my date of birth. This regret is like Li Ao's complaint about "being born 50 years earlier". In 1976, this special year already meant that my youth inevitably slipped into mediocrity.Before my brain began to function more smoothly, the idealistic and emotionally high 1980s passed, and I understood the legends of that era through sporadic written records.Cultural enthusiasm, poetry writing, exploration of the meaning of life, the youth that had been suppressed for too long spewed out with rare power in that short 10 years.I eagerly chat with those who lived through that era, hoping to catch those traces.But obviously, I feel the gap between myself and that era. Without the real experience of mind and body, some things cannot be perceived. The 90s, which was equally lively but with too much vulgar temperament, made my youth lack enough romance.Moreover, I was surprised to find that I showed a certain rejection in front of the Internet culture that came at the same time.I don't know whether that bright and colorful virtual space can bring enough reverie space to young minds.American writer Tom Peterson said: "The network society is an endless adolescence." I always suspect that this assertion was produced in the initial stage of computers. At that time, for Bill Gates and Steve Jobs who were fiddling with, It's still a fun toy, not a means to earn a $100 billion fortune.And whether the Internet can really bring us some kind of fantasy unique to youth, I am noncommittal.Anyway, the novel by the man named "Ruffian Cai" didn't have enough impact on me, and even the name "Wind Dance Qingyang" is a bit too vulgar.What's more, maybe my age has lost the advantage of entering cyberspace. The age between idealism and the Internet generation makes us a little embarrassed. We want to dream but lose space and time, and at the same time we cannot completely abandon our dreams.This sentiment made my youth particularly dull.I only started reading when I entered college. Holden was still young 40 years ago, swearing, wearing a peaked cap, fantasizing about women but being terribly shy... These nervousness and restlessness and slightly rebellious temperament excited me, but there was nowhere freed.At the same time, the classmates around me don't know what it is at all, and they don't want to know.I listened desperately to Nirvana's "SmellLikeTeenSpiht" in the dormitory. Although I didn't know the foreign youth who committed suicide, and I wouldn't be so manic, I instinctively realized that youth should have a bit of such unscrupulous color. I always try to pick up other people's youthful memories to fill my blank mind, but it's really too difficult.I can't find memories that bring bright colors to my youth.Just like the guys who were born ten years earlier than me, they can clearly remember the heartbeat when they read "Memoirs of Manna" for the first time, or the singing of Luo Dayou or Cui Jian, or the shock that Freud gave them, They may still be able to remember the discussion about life, no matter how bad they are, they will be deeply impressed by Jin Yong and Qiong Yao... There is always a book, a poem, or a cultural symbol that can evoke hidden memories. I can't recall anything, whether it's the 60s in the United States or the 80s in China, I fantasize about living in the memory of another generation, because that is my ideal youth.Maurice Dickstein's "Gate of Eden" was placed beside my bed, and I searched for the true colors of life in the chaos of memories.It was also an era that worshiped "youth", as Manchester wrote in: Youth is everything.Many years later, Dickstein went on to write that individualism was the hallmark of that era, and this desire has not changed today, but today's young people have transformed that ethereal ideal into an extreme pursuit of real materials, from demanding the world to The ideal of Datong evolved into a demand for higher wages and better housing.Is this the difference between the Coca-Cola computer generation and the rebellious, rock and roll generation? All I know is that I have a hopeless appreciation for history. I don't know if, after some years, someone will record the stories of people our age, would it be interesting? My youth is fading, although it has never been stained with a bright color.Perhaps the human mind can only live in a hypothetical state forever, and those years I look forward to cannot be more beautiful than my fantasy.Because there is no reality that is not disappointing, lying on the bed in the long afternoon, reading a book,,, and playing the Beatles or Cui Jian at the same time, this may also be a way of youth, but when I wake up, the muddy mind and The boredom of reality made me at a loss... So, I finally knew that I had at least one key emotion in my youth—bewilderment. i sit on the shore Fishing, with a barren plain behind, Have I at least got my field in order? ——T． S．Eliot "I get upset when I see these words." Wang Shuo listed a series of nouns in his essay "Sanlian Life Weekly" "sublime, spiritual, Van Gogh, Mozart..." Wang Shuo's meaning is very clear. If we always It is an attempt to connect with great figures and events in history, which is a manifestation of hypocrisy and mental retardation. Compared with ten years ago, Wang Shuo's sarcasm is no longer friendly. On the contrary, I feel a vague sense of disgust.Wang Shuo has not changed, but this era has changed.At the same time, there is a smell of decay and indiscretion in the air, which comes from the flesh and fragile emotions hidden in cyberspace of young and beautiful female writers. Whether it is Wang Shuo's sarcasm, the presumptuousness of beautiful writers, or the superficiality of Internet writers, they all arouse our strong interest.In the spring of the new century, the seemingly unrelated three colluded to expose the paleness of our souls. Let's start with Wang Shuo.What Wang Shuo should understand is that the era that needs to be destroyed through cynicism is over.The consumer economy has powerfully cleaned up old ideologies.The serious problem we face today is that old beliefs have been destroyed and new beliefs have not yet been formed.A monstrosity of materialism became the temporary substitute.This kind of fetishism without rules of the game has plunged our spirit into an unprecedented paleness.We have despised the basic spiritual norms of human society: compassion, love, justice, kindness... Today, we urgently need to absorb the purest qualities in human history. Some kind of shortcut.From experience, contempt for history (the history of world civilization) often means spiritual barrenness. In such barrenness, writers who write with the flesh and think with the Internet appear.For them, I am not disgusted, what I am disgusted is the huge sensation they brought and the shameless mobilizers standing behind them.In any era, good works and bad works appear at the same time, and bad things are silently eliminated.And when bad works win mainstream attention in an era, there must be something wrong with that era. For the former, I prefer to call them behaviorists.I admit that they have mastered the basic skills of writing, and I also admit that they contain some private emotions in their words, but they will always be a group of third-rate writers.This is a group of women clamoring to forget history, all they rely on is a few short emotional experiences, dozens of potentially unforgettable sexual experiences, and maybe a little taste of drugs.Compared with ordinary women, these things are enough for them to write hundreds of thousands of words.In those descriptions, it is more of a self-righteous woman's unconcealed pride in her own experience.For readers, reading them is more like an emotional adventure.Because the living environment of female writers is almost the same as their own, and their state is similarly empty, but they dare to temporarily anesthetize themselves through madness, but they themselves have no courage.Because this is a rootless era, so the beauties say "all we can rely on is madness and indulgence", but after that? Compared with pretty female writers, Internet writers make people more sad.Under the Banyan Tree and the Netease Literature Award are quite eye-catching.It's just that someone asked what the meaning of this kind of award is.Because the Internet is new and we are not familiar with it, writing about it makes sense.This kind of reason is as ridiculous as holding a "train literature contest" when the train was invented, or as long as the telephone novel was written when the telephone was invented.I really can’t find the difference between the Li Xunhuans who roamed the Internet and the crappy literary youths in the 1980s? The only two differences may be: first, the literary youths still know about Tolstoy, while Li Xunhuans never read it; Second, the literary youths don't know how to use computers. Writing has never been a job that anyone can do. It definitely requires some special training and some unusual emotion of the author himself.Judging from the swarms of online literature anthologies, writers obviously misunderstood that all they need to do is write out the words and arrange them in order.They lack a basic knowledge and lack of basic skills.And the Internet is such a place where it is so easy to conceal one's identity, so the main speeches in this space bear obvious traces of irresponsibility, as can be seen from the names of those Internet writers.This kind of writing is done more by hand than by brain.If we regard random words and random emotions expressed through a new tool as some kind of new life, then we are too stupid. At this point, I finally return to the T. S．Eliot's poetry is up.As the most outstanding poet of the last century, Eliot had a great respect for tradition.He believes that only when a writer puts himself in a historical system and compares with other writers in history can he have a certain meaning.Therefore, in his 1922 novel, he expressed extreme concern about the spiritual barrenness that pervaded the entire West after World War I.In this immortal long poem, he constantly quotes the Bible and various myths, hoping to save the spiritual emptiness with the greatness of history. Today we are on a more serious spiritual wasteland.I listed Wang Shuo, beauty writers and Internet writers above, just to show what kind of break has occurred between our era and human civilization. These three are examples of contempt for history and norms.Although this kind of rupture does not start today, nor can it end immediately, but I just want to remind readers who are generally disturbed that there are still some more exciting works that may be old but are waiting for us to read. Men are being misunderstood, they are being played out as a pleasure-seeking machine.They have suffered from happiness obsessive-compulsive disorder, and they seek happiness by all means. Shot 1: On the cover of a certain issue of "Time" in 1998, a grinning man's face was exaggeratedly highlighted on the Viagra pill: a happy gospel for men who are not strong enough.Two years later, a man with excess muscle is back on the cover of Time: A new drug has been discovered to boost muscle and sex.The subtext of these two covers is extremely obvious. The happiness of men is based on pure sex. With the help of drugs, sex has become a physical activity that competes with endurance. Happiness depends on the intensity and durability of labor. Shot 2: Gordon, the financial tycoon played by Michael Douglas in "Wall Street", smiled firmly and cunningly, and deceived the public unscrupulously and gracefully. Vigorously encroaching on wealth."Greed is good," he said without shame. Gordon has the supreme pleasure of a man, and young Wall Street fledglings and moviegoers subconsciously think so.This man has an incomparable passion for possessing money, women, art and reputation... Shot 3: A network upstart appears arrogantly.He dresses deliberately casually, and is armed with all sorts of strange technological gadgets.His mantra is, I hate the old, I need the new, everything is new.New products, new stimuli, new emotions, new condoms... The above few shots paint a simple portrait of a happy man at the end of the 20th century.In this era, a man's happiness is almost nakedly based on the satisfaction of desire.Happiness became our new religion in the second half of the last century.We indulge our emotional and physical contortions to the limit for temporary pleasure.This is an era dominated by technology. Men's happiness is deeply imbued with technology. Men instinctively believe that various technological means can help them obtain happiness, transform their bodies better, earn more money, and have more relationships with strangers.女人上床……在这种不停歇的追逐过程中，我们隐隐地感到，男人可能正在失去真正的快乐，快乐正在变得技术化的有量无质。 上个世纪为数众多的文明反思者已经为此深深忧虑。他们不得不费力地将我们拉回到人类的原始状态，苦口婆心地告诉我们，在简陋与单纯的时代，快乐如此唾手可得。此时的男人们，还没有被赋予太多的社会意识，没有被物化。尽管生活艰苦，但是快乐却不用如此之多的附加值。在现代社会，一个男人为了获得与某个女人的快乐，他可能要煞费苦心地安排一次旅行，要通过豪华的游艇与精心的旅行路线来达到目的。一项原本单纯的快乐，变得困难重重，其中充满了不合人性的制度化。而对于一个原始人来讲，可能处处可见的草堆就是快乐的天堂。对于没有打开视线的原始人来讲，世界是狭小却清晰可见的，任何一点事物都可能占取他们全部的内心世界，并带来了充满其间的乐趣。 但是，不管你如何抵制现代文明，你必须承认原始人的快乐是无知所造成的，他们所拥有的快乐可能是浅薄的。人类史上真正的快乐定义可能出现于文艺复兴时期。这是个人性获得空前解放的时期，人类获得了发现世界的乐趣，发现了释放性欲的乐趣，发现了文化与艺术的乐趣。并且，他们在不断肯定快乐的价值，快乐是对生命意义的肯定与验证。此时的男人们都沉浸于附庸风雅之中，对于文艺复兴领袖彼得拉灾来讲，能够用文雅的拉丁文撰写肉麻的情书是极有趣味的；对于伊拉斯谟来讲，《愚人颂》这样的谐噱篇章是对于世界一种严肃真实的反映，并且我们可以从中得到快乐……从浩瀚的典籍中，我们发现文艺复兴时的男人们沉浸于一种明朗的快乐，他们生气勃勃地发现世界，并通过生机勃勃的方式表现出了发现的快乐……文艺复兴的开创者们，像一群活力四射的大孩子，兴致盎然地玩着各种游戏。 从16世纪到18世纪，男人们沉浸于游戏的快乐之中。历史资料表明，从1500年到1700年期间，男人的服饰不断剧变着，他们沉浸于巴洛克与洛可可式的花样之中。活在这两个世纪间的男人是幸福的，他们尽情地卖弄自己。 从19世纪开始，资本主义的实利主义开始缓慢地侵入男人体内。男人们在这个物欲扩张的社会形态中，逐渐朝功能化的方向发展着。实利主义忽略美感，强调人身上的功能性。在商业取得相当成功的19世纪末，“男人留着胡子，头戴高高的丝帽，手中握着手杖，他们自豪而幼稚地相信自己是大自然及历史造就的佼佼者，”。这样的社会地位与财富地位，是男人快乐的标志。 显然，20世纪加剧了这种趋势的发展速度。尤其是技术的侵人将这种功能主义发挥到一个极致。而男人们也被物化到一个极致，他们必须追逐金钱、权力、肌肉与勃起的时间长度……一切都具有具体而理性的数字衡量标准。在现代社会中，当“什么样的男人最快乐”被提出时，标准答案已经摆好…… 这种粗线条的历史扫描方式，当然会忽略到很多细节。不管我怎样强调文化与社会对于男人快乐的影响，我都必须承认作为男人，他在这个世界上有一些最基本的获得快乐的方式。这种快乐的获取是一种本能，比如性，比如成就欲，比如创造欲。它们是不随着社会的变迁而变化的。但是，我同时也想强调的是，这种本能的快乐正在遭遇着人为的侵袭。在越来越强调快乐与刺激的今天，事实上，我们可能正在失去快乐。尤其作为男人，在这个功利社会，他承载了太多令他焦虑的因素，他急切地渴望利用快乐来遗忘这种焦虑。因此，他采取了某种技术或者药物手段。此时，快乐变成了一种纯粹的生理反应。这是我们最不愿意看到的，因为快乐，本应该主要是一种精神与心理现象。而今天，它可能正危险地演变成一种单纯的生理刺激。有人寄望于网络技术让我们获得解放。因为网络技术帮助我们从循规蹈矩的工业体制中解脱出来，我们变成了单独的个体，重又获得个人的舒展。这是又一次文艺复兴，一部分学者这样认为。乐观人士显然忽视了，这种解放背后蕴涵的更深层的束缚。事实上，新技术让我们陷入了更加紧张的依赖之中。网络像一个机器猫的百宝袋，随时提供一切我们的需求，包括快乐。这种方式的前提是更加极端地将快乐视作纯生理需求，纯数量表现。 男人们失去了快乐，因为他们失去了悠哉游哉的心绪。他们没有时间没有闲情去写情书，去打扮自己……世界对于他们来讲，太复杂了，太快速了。他们焦虑，并迫不及待地追赶时间。 但是，怎么办?他们不可能抛弃掉文明，更不可能回到文艺复兴时的单纯。不幸的男人们已经坐上了一辆疯狂的、正在加速的列车。这辆列车就像赫胥黎描绘的“美丽新世界”一样，它许诺道：“人人都将获得快乐。”这种快乐，是通过新技术思想导师《连线》杂志所预测的“可以随时达到性高潮的药片”，可以“混淆梦境与现实的机器”来实现的。最终，经过如此漫长的叙述，我所得出的男人的快乐原则，即是开阔、生气勃勃的内心空间。它是一切美妙的性、成就欲的前提。但在这样一个内心世界遭受物质挤压的时代，这种快乐几乎已经不复存在了。我们的心灵不再从容，变得慌慌张张。很可惜，我无法提供任何解决方案，因为为数众多的大师们都试图提出他们的解决方案，但是他们都失败了。我们已经坐上一辆疯狂的列车，谁也不知道如何刹车。 一代人的标志是时尚，但历史的内容不仅仅是服装和行话。一个时代的人们不是担起属于他们时代的变革的重负，便是在它的压力之下死于荒野。 ——哈罗德·罗森堡《荒野之死》 试图勾勒一代人是危险的，因为对于一个复杂的世界来讲，定义一代人的方式往往流于肤浅与偏颇。然而，对一个时代进行定义又是诱惑人心的。在现代社会中，个人往往是无力的，我们总是将自己加入一个群体之中，在其中我们觉得声势浩大和有所依靠。“代”成为这个变革接连不断的时代一群深恐被遗忘的人的救命稻草。借助于此，他们获得了集体的经验与回忆，在集体回忆与品位中，他们获得了力量与对于残酷现实的暂时性遗忘。 也因此，我们其实很难将出生于中国70年代的人笼统而粗暴地称作“70年代人”。我们称海明威、帕索斯等青年为迷惘的一代，是因为他们受到了同样的美国教育，在20岁出头时来到欧洲，经受了战争的打磨，然后眼睁睁目睹了人类文明被摧毁于第一次世界大战，然后他们一起酗酒，并且对于未来充满迷惘；我们称凯鲁亚克、艾伦·金斯堡、伯勒斯为垮掉的一代，是因为他们共同用疯狂摧毁平庸，他们相信大麻与疯狂行为可以拯救灵魂，他们用惊世骇俗的行为来对抗中产阶级价值标准…… 生于70年代的中国青年，他们显然缺乏这样的集体行为，更缺乏我们心目中的那些著名的“代”所必备的戏剧性因素。但是，“生于70年代”这样的口号，在今天突然变得如此响亮。年龄介于20至30岁之间的青年们用一些支离破碎的断片比如“小豆冰棍”、“街上流行的红裙子”、“霍元甲”来象征所谓的共同经验世界，然后依靠新技术与消费共同带来的社会变革来作为自己的武器，在前者的文化包装与后者所带来的力量共同驱动下，70年代人先是半信半疑，然后开始声嘶力竭地宣告自己的成熟。 宣告自己的成熟，就必须寻找已经树立的标志进行打击。就像60年代欧美的学生运动对父辈进行无情唾弃一样，70年代人选择了60年代人作为攻击的对象。于是，在新兴作家的词典中，60年代人成为了陈旧、愚蠢、理应被淘汰的代名词。60年代人所表现的理想、激情与单纯被不容置疑地冷嘲热讽，而这一切依据不过是70年代人所体验到新的生活方式与前所未有的展现自己的机会，是互联网技术与插有一片柠檬的Corona啤酒…… 但是很快，我们会发现这种豪情壮志隐含着怎样的脆弱。因为，出生于80年以后的人在此方面占据着更绝对优势，他们连“小豆冰棍”的历史也不需要知道，他们尚未成熟就会使用了IGQ。他们甚至连打倒上一代的欲望都没有，因为事实已经给他们足够的证明。 有了完全消费的80年代人的映衬，70年代人的虚弱之处暴露无疑。在两代人之间，他们终于展现了他们的真正特征，他们是自20世纪后半叶至21世纪前几十年间，具有过渡意义的一代。在他们之前，中国人的个体精神淹没于集体之中，封闭的环境掩盖了世界正在进行的变革，他们生活于集体的狂热之中，这种狂热给个人或者带来深刻，或者带来变态；在他们之后，青春完全进人了世界消费体系之中，技术弥合了．中国人与世界之间的差距，他们可以尽情地遗忘历史，而生活于未来。 70年代本身即说明了这一切。其实从来就没有一个完整意义上的70年代。在1970年与1979年之间已经是一条漫长的道路。我们可以说在1970年至1974年之间，他们有着类似的成长，更相像于60年代人，被一种残存的理想主义与集体主义气质所包围着。而1974—1978年之间，变裂已经出现，出身于这四年间的人，或许是真正的个体精神觉醒的一代，他们受惠于计划生育政策，在高中时触摸到信息技术的最初萌芽。而1978年之后，几乎已经完全融人了消费时代之中。 如果我们将1992年的市场经济改革，与1997年开始的互联网热潮视作上个世纪末中国最重要的变革的话，在上一段中被我人为切分的三类70年代人，与这些变革相逢的年龄正恰当地表现了他们过渡性的角色。 今天，不管媒体还是公众，所热衷讨论的70年代概念更多地来自78年以后出现的精神状况，我们姑且将之称作“后70年代”。这种讨论淹没了70年代所代表的真正精神，即没有定位模糊的、充满过渡色彩的特性。 充满时尚感与马尔库塞所谓的单面人的状态更应该属于80年代人。我们看到的眼花缭乱的所宣称的70年代的消费观，其实往往是人为地利用想像营造出来的，因为他们太急于宣称自己的存在，于是就顺手拿起一件杀伤力极大其买却开不属于自己的武器。 所有的人都受骗了，包括70年代人自己。我们根本没有看到一代人的崛起，他们只不过是恰好都生于那十年之间，他们志趣各异，并且在内心深处相互不屑，缺乏共同的价值体系。我们没有体验过相同的东西，没有共同创造什么，也没有破坏什么，他们不过是年龄界限的巧合。 最终，我又想回到最初引用的罗森堡的著名论调。生于70年代的人，如果真的试图想证明自己的存在的话，那么他必须担负起时代变革的重任。因为他们已经丧失了和80年代人一起轻飘飞扬的与生俱来的能力，他们必须承接起联结历史的断裂的任务。否则，他们只能从历史版图中消失。 在20世纪各项伟大的起义中，爱情缺席了…… ——奥可塔维奥·帕斯 “将爱情进行到底”，这句畅快淋漓的口号暴露了我们的致命伤口——我们正在失去爱情。不管我们的唱片工业产生了多少“为爱伤心欲绝的男人与女人”，也不管架上的流行书籍上提供了多少爱与性的技巧，我们得承认，我们的爱情正在失去它应有的光彩，它正变得平庸化与技术化。爱情变成了我们忙碌生活的一种放松方式，变成了一种有量无质的占有，变成了有点昂贵与费神的高级消费品。在这个时代，我们钟爱的对象，越来越失去其本应的丰满形象，而逐渐实利化了——他应该具有怎样的身高，怎样的收入，公司的名字是否带有“．com”的后缀…… 在功利的世界里，我们忘记了爱情的模样。我很愿意就此回顾一下爱情的历史，努力给读者呈现爱情最初的面目及其后来的流变，这种不无轻佻的回忆中充塞了我对于古典世界的有点变态的眷恋。 爱情是一种高贵的形式主义，是我们文明的特定产物。德尼·德·鲁热蒙在《爱情与西方世界》中赋予了爱情一个特定的诞生时间与地点：12世纪的普罗旺斯。那个时代，风行的行吟诗人开始在诗篇中赞美伟大的爱情。形式感开始被引入男女之情中，按照约翰·赫伊津哈的观点，“将爱情形式化，是一种社会的需要，是随着生活的愈益严酷而愈益迫切的需要。爱情必须被提升到仪式的高度，充沛而暴烈的激情需要这一点。惟有强烈不羁的情感建立一套形式和规则，才能消除残暴……文学、时尚和谈话都成为调节和净化性爱生活的手段……”有了这段话的铺垫，我们可以进入现代淑女们渴望的爱情黄金阶段“骑士时代”。温文尔雅的骑士们和宫廷贵妇们的故事已经成为不朽的传说，他们依靠一个眼神、一个隐喻或一句诗来曲折地表达自己的情感。在《颜色颂诗中》，一位叫吉约姆·德·马绍的骑士第一次与爱人约会时欣喜若狂，因为该姑娘头戴一顶天蓝色帽子。在此时，蓝色代表忠贞。在漫长的中世纪中，有关爱情的隐晦诗歌四处可见，而当时的流行小说几乎一律为骑士解救贵妇后，却最多仅吻一下手帕而已的禁欲模式。而当时最受欢迎的男人模式在下面这首诗中表露无遗： 他受过真正的骑士教育， 在德国和法兰西； 他长久居留在伦巴底， 为了学习文雅之礼…… 今天，我们可以声称中世纪爱情的虚伪。但我在这里如此哕唆地引用的惟一目的，是想强调最初爱情的非功利性，它不是为了迅速获得性的满足，也非通往财富与权利的手段，它更看重的是一种心灵上的沟通和优雅的形式主义。 接下来的文艺复兴不留情面地冲击了这种形式主义。人们发现，像中奋不顾身的满足欲望，是件让人快乐的事。形式主义的爱情观开始受到实用主义的挑战。当然，在接下来的17、18、19世纪中，中世纪遗留下来的骑士精神爱情观并没有遭遇多么严重的挫折。因为，在这几百年间，人类文明依旧节奏缓慢地进展着。 欧洲妇女们钟爱的对象，由穿着铠甲的骑士们转向了卢梭或者雪莱式的诗人，后者在对待爱情上尽管比前者更勇敢与放肆，但在这种放肆之下，却是一样的羞涩与浪漫。即使对于当时的浪荡子们，不管是拜伦还是卡萨诺瓦，他们的浪荡方式也几乎是一种非功利性的，他们更多注重的是行为本身，而不是最终结果。米兰·昆德拉在中引用的18世纪爱情小说，再鲜明不过地表现了当时的爱情观念，它是如此的缓慢与优美。 20世纪几乎颠覆了我们习惯的一切观念，爱情成为这一切颠覆中最让人心痛的牺牲品。在20世纪大行其道的技术观念的篡改下，我们发现爱情抛弃了它含情脉脉的面纱，它变得目的分明，它似乎不再是一种心灵激情的需要，而变成一种人必需的权力与附属品。法国学生在街头叫嚷道：“要做爱，不要做战。”很显然，爱情与战斗并无分别了。而不管是在杂志、电视还是网络上放肆的色情物品，更是把爱情直接演化成一种追求数量的生理冲动。而此时，已经解放的妇女们渴望的男人是詹姆斯·邦德型的，他们无所不能，并且不需伟哥便性欲炽烈。 而今天，在“.com”的刺激下，能够在NASDAQ上市的网络英雄们早巳让骑士精神黯然失色，比起充满隐喻的诗歌，姑娘们更加热爱直接的stockoption(点击)。到这里，我终于含含糊糊且断章取义地完成了我对于爱情历史的叙述。而现在，我对于你惟一的奢望是，能够合上你的眼睛，让自己暂时性地远离现实。你嗅到了12世纪的法国普罗旺斯的气息了吗?爱情从那里飘了出来…… 那是个阳光灿烂的年代，姜文回忆道，大人们已经走光了，城市属于孩子们。那也是一个匮乏的年代，孩子们拥有的只有友谊、战争、砖头、无所不在的恶作剧和穿着朴素的姑娘以及《列宁在1918》，偶尔还有机会把避孕套当作气球来使用。这一切散发着当年小豆冰棍一样的香甜气味，我无法不怀念。 没有人否认，长大之后的姜文把少年的时光过于抒情了，但是这不妨碍让我陷入小资产阶级式的回味。暧昧的怀旧，这是现代人无法挥去的情结。无知与单纯是快乐的根源，我开始理解在那些什么都缺的日子里我如何像一头小猪一样快乐和健康地生活，我也记起了我的那些伙伴如何为一张火花，一个沙包而折腾得畅快淋漓，记起了在日落之后我们如何穿梭于大院内的楼群之间呼朋引伴，然后找到一个安静的角落如何羞涩却高声地议论那个漂亮女孩的裙子……由于物质条件的匮乏，我们被迫把自己放逐于田野和自然之间，享受一种无所事事的快乐。 多年后的今天，我听到隔在大洋彼岸的克林顿说：“在信息时代的阳光中，我们不应该让任何人落在黑暗里。信息科技应该成为每个美国孩子生而知之的权利，无论他们是贫穷的还是富有的。”然后我就看到和我当年一样大的孩子积极响应这句话，偶尔和这些年轻的朋友坐在一起，他们谈论着和我当年截然不同的话题：帝国时代、下载、黑客……这些孩子的脸上透出精明的气息让我吃惊，但是我不喜欢。我走在曾经留下童年痕迹的大院里，已经看不到喧闹的景象，我知道他们都在家里上网，尽管他们住在相对的两座楼上，但是他们更喜欢在网上交流而不是面对面。 孩子们的游戏规则变化了，我承认他们比我们当年具有更广阔的视野，他们更多的把自己投入到一种智力游戏之中，利用技术表达自己的情感与生活……但是，他们一点也不好玩，我透过他们的眼镜和有点电子化的眼睛看不到生命的本来，看不到那种应该活跃的动物性。他们的活跃过多地表现在虚幻的世界里，在这里，他们把自己假想得强大无比，他们可以在聊天室里肆无忌惮，可以毫不费力地利用电子邮件和大人物们联系，可以在联机游戏上精神十足，可以轻车熟路地侵入五角大楼……在虚拟的世界里，他们用一只手指攻击瓦解着成人世界。但是，这改变不了他们在生活中的脆弱和缺乏生气。 技术永远无法取代人的本性，我会永远地喜爱汤姆·索亚和哈克贝利·费恩，因为他们让人讨厌的精力过剩，永远不会安分守己地到处流浪，他们健康勇敢，散发出永远不会褪色的生命活力。我也会永远怀念“阳光灿烂的日子”，他们呼吸的是空气，亲近的是自然，还有分享烟头的友谊，还有可以流血的打架…… 未来学家们说孩子们可以通过一扇扇窗口(Windows)欣赏自然，或许山更雄壮，草地更为鲜亮，河流更为清澈……当然，孩子们还通过窗口体验到了友情、暴力、探险，或许还有性这些我们曾经努力亲身实践的东西。但是即使隔着最高分辨率的窗口他们就能清晰地感受到世界了吗? 所以，我自以为是地替他们感到遗憾，尽管这种遗憾已经被很多人重复过了。可是，每当我看到那些孩子们在不知疲倦地追赶信息技术的召唤的时候，看到他们温柔听话的时候，我就想到了阳光灿烂的年代，想到密西西比河的野蛮小孩子，谁享受着更幸福的生活，谁也无法说清。 上高中的时候，学校有个可憎的训导主任，他喜欢在上课的时间，通过各个教室的后门窗户观察学生的动向，心怀期待地寻找沉浸在金庸小说或者窃窃私语的快乐中的学生。所以每次上课，当我们无法拒绝小说或者同桌女生轻言细语的诱惑时，就必须同时提防讲台上的老师，还有后门的那双神出鬼没的眼睛。后来，有勇敢的同学把窗户用报纸封上，那一天大家过得很舒服。报纸不断被老师勒令撕掉，但是不断又被人贴上，老师也就服了。可是，不久，我们发现训导主任还是能够准确无误地抓住吃零食的可怜鬼。原来，后门的窗户下有个小洞，训导主任的一只眼睛可以顺畅地观察我们。一天课上到一半，训导主任不顾尊严地冲进来大吼道：“谁干的，到底是谁干的?”这时我注意到，他的右眼又红又肿，因为疼痛一眨一眨的。猜得出，肯定有人往那个小孔上抹了大剂量效果显著的清凉油。从此，没有人再从后面监视我们了，到现在我还在感激那位机智勇敢的同学。 我估计训导主任在右眼遭受重创的同时意识到两个问题：其一，从背后监视学生是不得人心的；其二，不要把人逼急了。还有一点，他可能至今还意识不到：他们虽小，也是个人，需要人的基本尊严，教育的努力是给人尊严，而不是剥夺尊严。尽管最后一点，当时的我还不能清晰地表达，但是我朴素地知道我不喜欢被人从背后盯着，即使她是个漂亮的姑娘。当时的年纪小，没有能力把这个事件上升到社会高度来看，但当我在世纪末的阳光下看到的时候，终于意识到这种监视对于人类精神会带来多大的戕害。好在，我们那时候，训导主任还没有“老大哥”的无处不在的监视器，他的那双肉眼还是可以被我们的聪明才智弄肿的。 “不是我不明白，这世界变化快。”我在4月的一份报纸上看到一篇报道，说最近一两年，北京有十几所中学在教室后方墙壁上安装了监视器。校长坐在办公室里只要轻点鼠标就可以查看到每个学生和教师的上课状况。报道说，一开始，学生不适应，但是时间一长就习惯了，而且学生上课的听讲专心多了，没人再搞小动作了。一位律师同志说，教室和商场一样是公共场所，安装监视器很合理；一位家长同志说，只要孩子可以专心学习了，装就装呗；一位校长同志说，主要是为了更好地进行教学工作，不是为了监视学生。更可气的是一位和我当年一样大的高中生说，从此大家不传条了，也没什么不习惯的。 我明白了，在很多时候，我们的精神状况是根本没有随着科技进步而进步，在很多时候，我们被技术压迫得精神萎缩。里描述的故事很恐怖，“老大哥”以国家的名义剥夺了每个人的隐私权，即使你跟一个姑娘亲热一下，都很困难不被发现。这种状况下，每个人都对国家忠心耿耿，但是没有几个人是正常的。奥威尔的故事是虚构的，我们的故事却是真实的。校长老师们现在以“学习”的名义剥夺了孩子们的隐私。他们搞了几十年教育，却不知道教育的本质是什么。不管那些孩子成绩好不好，能不能考上大学，起码我们的学校都应该让他们成为一个心理健康的人走出校园。一个人最理想的生活状态是自然成长，尤其在青少年时应该尽量减少负面的影响。那些老师家长们怎么不好好想想，当你总是意识到自己活在别人眼皮底下，还会正常思考问题吗?反正，在中国历史上，越没有自我空间，人就越虚伪越残暴。如果一个民族的花朵们都在这种阴影里成长，那么这个民族的未来就可以想见了。还有那个可笑的律师，把学校类比成商场本身就滑稽之极，商场的监视器是在无奈的情况下才出现的，它是以人性本恶为前提，是否合理再另说。但教育却是应该激发人内心的光明的一面，这些幼小没有成形的生命是应该被爱与美引导的，而不是用先进的手段来监视的。 现在的孩子们越来越驯化，没有了我们当年的抗争的自觉性，况且，在面对校长40万元的高科技武器时，抗争也是无力的，再说清凉油已经不常见了。最近北京还流行一部电影《楚门的世界》(TrumanShow)，讲的是金·凯利从出生起就被5000架摄像机监视起来，他的整个成长过程中的一举一动都通过卫星向全世界转播。他的生活吸引了无数观众，他是这个星球最大的明星，但他始终没有察觉。当他最终发现自己生活在一个巨大的玻璃容器中被世界观察时，最终还是摆脱了监视，即使这个游戏的导演诱惑他回到那架摄像机下，因为他是独一无二的明星(BIGSTAR)。我真希望，这些可以当黑客的孩子们可以用砖头砸烂监视器，即使让你考上哈佛，这种对于生命尊严的付出也是不值得的。