【拜仁2比1霍芬海姆】富贵险中求

开场9秒就丢球,把此前进了鲍曼9个球的莱万多夫斯基放在替补席上(为了给格策找状态),博阿滕一分钟两黄牌被罚下,还造成点球,可以说比赛的过程完全实现了瓜迪奥拉想要练兵的目的——那就是落后的时候怎么反扑。当然,这场比赛的价值也不应被夸大,同样是0比1落后,2014年在安联对阵皇马的结果就是,0比1变成了0比4。拜仁在上半场大部分时间里的踢法都非常着急,面对弱队的时候,自然很有效果。

科斯塔成了这支拜仁的大腿,博阿滕,阿隆索的后场长传基本都在找他。德甲的大部分右后卫(至少在这赛季)应该都不是他的对手。大腿花了大半场时间练传中,不懈的努力终于收到成效,两个进球均由他直接创造。目前来看,在阵地战中还是卡洛斯式的大力横扫小禁区前最有杀伤力。

格策还在调整之中,略有起色。进攻体系中他的角色依然还是很模糊。希望能继续找到能让自己闪光的位置。

【拜仁1比0皇马】继续磨合

比赛毕竟还是友谊赛性质,两队两天内的第二场比赛,因而节奏也放慢了一些。在练兵的大背景下,新援道格拉斯·科斯塔打满了全场,在比赛前段面对卡瓦哈尔还有些放不开,但是逐渐找到了感觉,并最终助攻莱万打入制胜一球。在罗贝里伤情不断并逐渐老去的情况下,这笔引援的战略重要性不言而喻。

格策继续首发找感觉,今天主要徘徊在右肋位置,与国家队队友拉姆和穆勒串联,打出了几次精彩的小配合。拜仁今天重拾四后卫,主要打两翼齐飞的边路进攻套路, 下半场后段全面压制皇马的时候,也依然是利用场面宽度从边路内切发起进攻。不出意外,这应该还是拜仁最习惯和拿手的获胜模式。

【拜仁3比0 AC米兰】这一觉就是六年

六年前同样是奥迪杯对阵AC米兰,拜仁4比1大获全胜,“范家军”梦幻般的09-10赛季正是从那时开始的。托马斯·穆勒,巴德施图贝尔等新人,奥利奇,戈麦斯(当然要算的话,还有普拉尼奇,布拉夫海德,季莫什丘克)等新援正是从那时起进入到我们的视线中。一晃六年过去了,拜仁也一点一点地完成了装备升级,而这支(德容当队长的)已经面目全非的米兰早已不再是他的对手。

明天对皇马的决赛才是真正的考验。

鹿城读笔(二十二)

(无正文)


RUGGED TIMES, by Lillian Ross

莉莉安·罗斯这篇简短的与《裸者与死者》的作者诺曼·梅勒的访谈对话,作者提到了小说大获成功后自己的感受,自己早期写小说的经历,和在他看来人们对他作品的某种误解;《裸者与死者》是以二战为背景,是美国战后第一本以此为题材的长篇小说作品,曾高踞畅销排行榜数月之久。它也是当时年仅二十五岁的诺曼·梅勒的第一部发表作品。

  • “Whenever I make an appearance,” he said, “I have thirty little girls crowding around asking for my autograph. I think it’s much better when people who read your book don’t know anything about you, even what you look like. I have refused to let Life photograph me. Getting you mug in the papers is one of the shameful ways of making a living, but there aren’t many ways of making a living that aren’t shameful … … “
  • Mailer has an uneasy feeling that Dostoevski and Tolstoy, between them, have written everything worth writing, but he nevertheless means to go on turning out novels. He thinks The Naked and the Dead must be a failure, because of the number of misintepretations of it that he has read. “… … The book finds man corrupted, confused to the point of helplessness, but it also finds that there are limits beyond which he cannot be pushed, and it finds that even in his corruption and sickness there are yearnings for a better world.”

GOSSIP WRITER, by St. Clair McKelway

沃尔特·温切尔是《镜报》一名“八卦作家”,圣克莱尔·麦凯尔维的这篇人物小传为我们生动记述了这名性格特别的奇人。

  • Winchell has written more words on the subject of friendship than any other modern gossip writer, but the people he calls his friends do not number more than seven or eight and most of these are new rather than old.
  • Winchell believes, with some justification, that practically everybody reads his column every day … … A friend of Winchell’s once admitted he had not seen the column on a certain Tuesday. Winchell wanted to know with sincere concern if the friend had been ill. Another time another friend returned to New York after a trip abroad. “Jeez, Walter,” he said, “I sure did miss the column. I didn’t see it for two whole weeks.” “That’s all right,” said Winchell. “You can go over to the Mirror office tomorrow and look at the files.”

GOETHE IN HOLLYWOOD, by Janet Flanner

珍妮特·弗兰那笔下六十岁的诺贝尔文学奖得主,移民到美国来(其实是政治避难)的德国作家托马斯·曼,她简要回顾了老人的家族生平,深邃的人格,两次战争中的政治和“非政治”立场,以及到美国后的生活,没有明显的立场倾向,而是满怀着对长者的深深敬意;托马斯·曼的首部长篇小说《布登波洛克一家》在他年仅二十六岁时发表,轰动一时,讲述了一个德国家族百年兴衰史,很多人难以想象这是一个初出茅庐的小年青所作。

  • It is not joke to say that the greatest study of Mann is Mann. One of his children has said it is difficult not to see his writings as “a complex of family allusions.” Unconsciously, the Mann children speak of their father as if he were an edition.
  • These young Manns, already politically prescient, begged their parents not to come home because they weather was bad. Mann naively replied that the weather was bad in Switzerland, too. Erika then alluded to some terrible house-cleaning ahead. It was probably Frau Mann who realized that the weather the young Manns had described was political and that the house-cleaning might be a purging of anti-Nazis. Mann and his wife never set foot in Germany again.
  • Since it was not a language he learned to read with ease when he was young, as he did French, which interests him less, Mann is today driven to revert, for his regular afternoon reading after his nap, to his favorites, the German classics. He reread Goethe’s Faust five times hand running to get himself into what he considered the correct modern equivalent of the eighteenth-century mood in which to start writing his three novels about Joseph of the Old Testaments days.
  • This position, which in three years has become legendary, he acquired partly because his proud racial character has served as a magnet to a company of compatriot refugees who, sick of being ashamed of their nationality, take comfort from the pride of this German author whom they may never have seen, from this German author whose books they may never have read.

FROM WITHIN TO WITHOUT, by Geoffrey T. Hellman

杰弗里·赫尔曼写建筑师勒·柯布西耶,笔风与先前沃尔特·温切尔和艾灵顿公爵的文章很像,充满了打趣和活泼跳跃的语言。艾灵顿公爵的那篇最积极向上,看不到什么负面评价,温切尔的则是对他的“恶”已经无可奈何,而这里,赫尔曼笔下的柯布西耶,虽然讥弄嘲讽的口吻更多,但角色也因此更加丰满,读到最后你也许会开始喜欢上这位可爱的老人。而这种感情,也正和柯布西耶在离开纽约的时候对这座城市的感情一样,又恨又爱。

  • He dismissed this idea when he discovered that the bandits had removed not only his money, the loss of which he was philosophical about, but also his notes and sketches, about which he was not. For a while, he toyed with the notion that his attackers might have been partisans of the Ecole des Beaux-Arts, an institution whose architectural devotion to eclecticism he had derided in many articles and books, … …
  • Le Corbusier rarely relaxes. His face, mobile and animated when he is speaking, is tense even in repose. He loves to talk to people he feels are responsive. His voice is low, gentle, insistent, and musical; his characteristic expression is one of the intelligent observation. He thinks about architecture, or form and color in general, most of the time. Even when he is sitting on a beach, he manages to keep busy. He examines the architectural structure of pebbles, shells, and bits of wood. They often turn up in his paintings, though sometimes in rather abstract form. His interest in food is similarly professional; he especially admires the structure of melons, in which he sees no traces of a regrettable eclecticism. He also approves of bee cells, since bees, like himself, distinguish between the wall as an insulating factor and the wall as a supporting factor.
  • “This is a funny country,” he told an American friend one night recently. “Your hospitality is Draconian, and your convictions are too tied up with finance. Money is ferocious here. Your brutality turns sensitive people into Surrealists. But the country has an extra cipher in population and money — it is alive, and everything is possible in it. All life is poisoned by the disorderliness of your cities; people look like cockroaches from your skyscrapers, and, oh, the loneliness of your large crowds, the anonymity of your cafeterias! No terrasses de cafe here, where three or four friends can talk over an aperitif — not that I ever have time for this in Paris. I was astonished by the fact that Americans never climb stairs. They will lose their legs. I’m the only man here who climbs stairs two at a time. Your escalators are undignified. New York is a turntable where you meet everyone in the world. I often ride the Third Avenue ‘L’ at two in the morning, looking at all the Negresses and Chinese dead of fatigue. I like the light here. Paris is grey — it used to be white — and Zurich is greenish, but New York is a red city — the color of blood and life. Everything in it arouses both enthusiasm and disgust; it reflects God and the Devil. Its potentiality is terrific. Your sky at night is formidable. It’s terrible to soil it with General Motors and Lucky Strike publicity. The beauty of the sky should belong to the people. I like your restaurants, and the great freshness in young people here. And how can one be bored in a city in which the young women were crowns of flowers and in which the houses are red?”

THE GREAT FOREIGNER, by Niccolo Tucci

尼克·图琪的这篇可是大名鼎鼎的爱因斯坦。与前几篇不同的是,这并不是真正意义上的人物小传,而是一次对爱因斯坦家庭访问的记录。作者对爱因斯坦的了解也集中在这次拜访之中,而他和爱因斯坦本人潜在的地位“不平等”也因此传递到了我们读者眼里。当然,这并不妨碍我们进一步了解这位物理天才——尽管是从一种“类八卦”的窥探角度出发的。正如苏珊·奥尔良在导读里说的,四十年代的名人还相对活在公众视线之外,而阿尔伯特·爱因斯坦就更是如此,正因此这篇短文也格外珍贵和精彩。

  • Then we spoke about dreams. Bice told us two symbolic dreams she had had years ago; I told the dream that the grandfather of a friend of mine had had the day before he died; Einstein told an absurd dream of his. He seemed the only one to find the conversation interesting, which it was not.
  • “In the past,” said Einstein, “when man travelled by horse, he was never alone, never away from the measure of man, because” — he laughed — “well, the horse, you might say, is a human being; it belongs to man. And you could never take a horse apart, see how it works, then put it together again, while you can do this with automobiles, trains, airplanes, bicycles. Modern man is besieged by mechanics … … You can’t elect them, you can’t control them from below; their work is not of the type that may be improved by public criticism.”
  • ” … … The lack of tolerance is also connected with this, but much more with the fact that American communities were religious in their origin, and religion is by its very nature intolerant. This will also help you understand another seemingly strange contradiction. For example, you will find a far greater amount of tolerance in England than over here, where to be ‘different’ is almost a disgrace, for everyone, starting with schoolboys and up to the inhabitants of small towns. But you will find far more democracy over here than in England. That, also, is a fact.”

arty: 附庸风雅; necktie: 领带; grease: 油脂; layman: 外行; opulent:富裕的; allusion: 暗示; mon vieux: 朋友; aperitif: 开胃酒

【拜仁1比1(点球4比5)沃尔夫斯堡】美中不足

新赛季第一场正式比赛,对手是上赛季曾大比分被血洗的沃尔夫斯堡,德甲最佳球员和最佳教练的双料获得者。新源道格拉斯·科斯塔和比达尔分别亮相,表现让人看到了希望。这支拜仁所需要的血性和拼劲,在他们身上都能明显看到。中卫贝纳蒂亚是一个明显的隐患,处理球不够稳健,关键时刻的丢球也与他有一定的关系。阿隆索和蒂亚戈搭档的中场中路也明显没达到最高水准,当然,这需要等到比达尔真正上位之后,再做评判。和前两个赛季有明显不同的是,今天的拜仁有意增加了直传和斜传,而非传统瓜式的控球式倒角,冒进和直接了许多,也应看作是一个积极的信号。左路阿拉巴和科斯塔的配合明显还比较生疏,而拉姆的(进攻)威力也在下半场后段改踢右内锋之后才显现出来。

美中不足的地方有许多,但是各方面都在正轨上,不可否认的是,罗贝里,拉姆都已经是三十多岁的老将了,阿隆索就更不必说,这支拜仁想要再创巅峰,中生代的球员需要接过衣钵,承担更多的责任。博阿滕的确逐渐成熟起来了,作为这支拜仁目前所能拥有的最好的中卫,他的作用至关重要;比达尔确实是一笔非常实用主义的补充,毕竟中场中路我们尚且还指望不上格策和蒂亚戈;莱万和穆勒也是手里仅有的两杆长枪,世界上比他们还要出色的前锋确实还有不少,和其他豪门相比,我们确实不会奢望太多,只要两人保持健康和活力,相信一定还是会有惊喜的。

鹿城读笔(二十一)

(无正文)


GREEK DIARY: COMMUNISTS, SOCIALISTS, AND ROYALISTS

埃德蒙·威尔逊在希腊内战期间造访希腊,讲述了他与几位(不同政治立场的)希腊民众相处的经历,语调平实,冷静。

  • He [Svolos] lived in the same world as I did, where there were difficulties, doubts, confused issues, conflicts between expediency and principle. He reminded me a little of Silone, in Rome, … … Such people are anxious and intent; they are never unnaturally cheerful.
  • Nor do I mean to sneer at this. How many similar people in the United States, deprived of social standing and financial independence — which is what the Greek bourgeoisie seem menaced with as no group in America is — could be sure of being able to uphold or defend the things they have been taught to admire?

THE BIRCH LEAVES FALLING, by Rebecca West

事后得知,汉娜·阿伦特才是《纽约客》在纽伦堡审判期间的“特邀”前线记者,她的详实记述后来汇总成了一本书。而丽贝卡·韦斯特只参与了最后的两天。她以一种独特的视角切入到这场“世纪审判”中来,从旅途的不便,到沿路房屋树木的“情绪”,再到结束时大家互致告别离去的情景。她的观感相当个人化,却也难说不是众多亲历者的共同感受。在这篇文章里,丽贝卡的情绪实际上是相当浓厚和沉重的。

  • It was the last two days of the Nuremburg trial that I went abroad to see. Those men who had wanted to kill me and my kind and who had nearly had their wish were to be told whether I and my kind were to kill them and why. Quite an occasion.
  • Now, as the plane rose into the leaden sky, we looked down on a land that was recording, after this worst of summers, a disaster that restored one’s self-respect because it was not made by statesman or soldiers or any men at all but by nature. In the fields, sheaves that should have stood in harvest time like stocky golden girls and then been gathered were crouched and drab, like old scrubwomen, and would never know the honor of a barn. Half-finished ricks heeled over on their narrow bases. The pastures looked quite lustreless.
  • Easy in my mind, I spent the afternoon walking incredulously about the city. I had always been a social failure in Berlin. Except in a few Jewish homes, I had been considered light-minded and flimsily dressed.
  • The trees of Tiergarten have nearly all been destroyed. Some were burned in the raids; some were hit by Russian artillery during the battle for the city; most of the rest were cut down by the freezing population last winter. Now the great park is nothing but a vast potato patch, with here and there a row of other vegetables, and from this rise the statues, in an inappropriate prominence that is marble what embarrassed nakedness is to humanity.
  • The women for whom this mansion was built lived inside their corsets as inside towers; their coiffures were almost as architectural; all their contours had to be preserved by an iron poise. The would have refused to believe that these ink-stained gypsies had, in fact, invaded their halls because they had been on the side of order against disorder, stability against incoherence.
  • It seemed that when one has never seen a man, one does not find anything offensive about the idea of photographing him while he is being sentenced to death, but that if one has seen him often, the idea becomes unattractive … … I remember I did not care at all the first time I heard William Joyce sentenced to death, but that the second time I was stirred and astonished, and that the third time I knew awe … … It is is an intensification of the feeling we have in the fall, when the leaves drop. The leaves are nothing to us, but the melancholy, the apprehension grows.
  • It was dispersed suddenly by the news of Goring’s suicide. A dozen emotions surprised me by their strength. The enormous clown, the sexual quiddity with the smile that was perhaps too wooden for mockery and perhaps not, had kicked the tray out of the hands of the servant who was carrying it; the glasses had flown into the air and splintered, the wine of humiliation we had intended him to drink had spilled on the floor.

THE BEAUTIFUL SPOILS: MONUMENTS MEN, by Janet Flanner

珍妮特·弗兰对盟军一支特殊的保护艺术品的小分队的全程追踪和报道。

  • The M.F.A.&A. men who followed the Allies into Aachen and the Rhineland became simply obituary writers, since dead art lay in every direction: “Cologne, circa 80 percent of monuments and churches destroyed, including St. Maria im Capitol, famous Romanesque landmark …” “Kleve, Stitskirche, mid 14th century, air bombed Oct. ’44, again Feb. ’45, an eliminating operation. Church shattered.”
  • There the Dutch had stored their most valuable museum pictures, with Nazi approval. The fact that the art had been hidden by our Allies decreased the excitement of the discovery for our men, though they took sightseeing tours underground to stare at some Rembrandts — once it had been explained who and how important Rembrandts was. For the next fortnight, every Dutch daub found in a farmhouse attic was called a Rembrandt, and the nearest Monument officer was sent for, posthaste, to authenticate it.
  • For nine months before the Merkers find, Monuments men had been disparagingly known in the Army as “those guys with their goddam art.” The Merkers gold and Patton’s personality had made art itself important. An art cache was thereafter known as an “art target,” and all Patton’s rivals itched to strike one too. Clearly, art finds meant publicity to any outfit’s Public Relations officer. Capturing towns was valorous and still the aim of the war, but capturing art was a glamorous new idea.

COME IN, LASSIE!, by Lilian Ross

莉莉安·罗斯另一篇精彩的全景式素描——麦卡锡主义“红色恐慌“下的好莱坞片场。已经数不清她造访了多少个酒会,片场,饭局,引用了多少个人名和对话。就像路易斯·米南德之前说的,她只是让那些人接着说,而她只是记录下他们说的话就足够了。

  • At some parties, the bracketed guests break up into subgroups, each eying the others with rather friendly suspicion and discussing who was or was not a guest at the White House when Roosevelt was President — one of the few criteria people in the film industry have set up for judging whether a person is or is not a Communist — and how to avoid becoming a Communist.
  • Evidently, Communism is also responsible for this trouble. Power, returning from a trip abroad lately, announced that he had seen so much suffering in Europe that he had come back determined to spend his time fighting Communism. This, as interpreted by Louella Parsons, meant that he had given up Lana Turner for the cause.
  • “We’ve got to resolve any conflicts between what we are and what the public has been led to believe we are,” one actor told me. “We can’t afford to have people think we’re a bunch of strong men or crusaders.”
  • “A lot of people who work in pictures wouldn’t know Communism if they saw it,” she said to me. “You think that a Communist is a man with a bushy beard. He’s not. He’s an American, and he’s pretty, too.” The Congressional investigation of Hollywood, Mrs. Rogers thinks, will result in better pictures and the victory of the Republican Party in the next election … … Mrs. Rogers is also writing screen plays. I wanted to know if she was following the “Do”s and “Don’t”s of the “Screen Guide for Americans.” “You just bet I am,” she said. “My friend Ayn Rand wrote it, and sticking to it is easy as pie. I’ve just finished a shooting script about a man who learns how to live after he is dead.”
  • “For years I’ve been writing scripts about a Boy Scout-type cowboy with a girl. Their fortune and happiness are threatened by a banker holding a mortgage over their heads, or by a big landowner, or by a crooked sheriff. Now they tell me that bankers are out. Anyone holding a mortgage is out. Crooked public officials are out. All I’ve got left is a cattle rustler. What the hell am I going to do with a cattle rustler?”
  • At preview, in Hartford, Connecticut, of Arch of Triumph, attended by its director, Lewis Milestone, and by Charles Einfield, president of Enterprise Productions, which brought it out, the manager of the theatre asked Einfield whether it was necessary to use the word “refugees” so often in the picture. “All the way back to New York,” says Milestone, “Charlie kept muttering, ‘Maybe we mention the word “refugees” too many time?’ ‘But the picture is about refugees,’ I told him. ‘What can we do now? Make a new picture?'”

LETTER FROM WASHINGTON, by Richard Rovere

理查德·罗维尔再次以他幽默的笔触写”华盛顿来信“这一专栏。更有趣的是讲述和一群高中生一同参观联邦调查局的后一篇。

  • “And now, folks, if there are any particular questions at all, please don’t heztate.” This was the line with which he ended every one of his set speeches along the way. Since he had said nothing this time to provoke questions, none were asked.
  • Just as I thought it a remarkable fact that J. Edgar Hoover manages to get his important work done in an office across the hall from a public gathering place that is refilled every half hour, or less, I was deeply impressed by the knowledge that the government’s case is represented in the courts by men who do their legal research in a library in which traffic is as heavy as it is in the lobby of a large hotel.

sneer: 冷笑; sheave: 滑车轮; stocky: 敦实; crouched: 蹲在; drab: 单调; rick: 堆成垛; lustreless: 没有光泽; incredulously: 难以置信; flimsy: 单薄; stank: 发臭; stupendous: 巨大的; corset: 紧身胸衣; coiffure: 发型; birch: 桦木; recherche: 研究; billeted: 驻扎; pinup: 钉住; boiseries: 木制品; casket: 棺材; looted: 洗劫一空


PART FOUR: CHARACTER STUDIES

NOTE BY SUSAN ORLEAN

苏珊·奥尔良的这篇导读算是目前为止最“振奋人心”的一篇,读罢已经按捺不住往下翻每一篇文章的冲动。本章的主题是人物小传(profile),苏珊说在当年作者的自由度还很大,他们的选材,选题,写法都是出自于自己的兴趣,而非利益与其他因素左右,这种写作空间在如今已经很难看到了;苏珊担任《纽约客》撰稿人已经二十余年,她的形象还被改编到奥斯卡获奖电影《改编剧本》里,风靡一时。

  • These writers didn’t invent the Profile, but sometimes it feels as if they had. Each had a distinct voice, but their writing had in common a tone of familiarity and authority — qualities that became the mark of a New Yorker Profile.
  • As a reader, you notice only the writer’s decisions — what to include, what to examine closely, what to describe. You never feel that the story has been stage-managed by the subject or by a publicist or, for that matter, by an editor with an agenda. Readers sense that the story is authentic, and that it grew out of a genuine interest on the part of the writer, rather than out of a press release. Having grown up in the age of celebrity journalism, I was used to reading articles that were very obviously directed by some interested party. The first time I read these pioneering New Yorker pieces, I remember being amazed; I couldn’t believe you could really find stories like this, in which the writer, and not the subject, set the pace.
  • Ross is very much present in the story, but as the passionate observer, eager to hear and see everything that can enrich the story and help make sense of not only Franklin but also the world around him.