追 拍 美国 血色 月亮 的 全 过程 (组图

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追 拍 美国 血色 月亮 的 全 过程 (组图

Why do we write? I guess everyone has their own answer to this simple billie faiers question. There predisposition, environment, circumstances. Disabilities too. If we write, it means that we do not act. That one feels in front of reality, we choose another way of reaction, another way to communicate, a distance, a time of reflection.
假如我考察一下导致我写作的情况 我不是为了讨好什么 billie faiers 而是出于对精确性的考虑而写作的 我就清楚地看到 在这一切的起点 对我来说 是战争 战争 不是作为一个令人震撼的重大时刻 人们在其中见识历史性时刻 比如 在Valmy战场的两边都得到叙述的法兰西战役 德国方面有歌德 而革命军方面则有我的祖先François 那当然应该是令人振奋的 悲壮的 不 战争对于我 是平民经历的那种 尤其是很小的孩子经历的那种 在我眼里 它没有一瞬间显得是一个历史时刻 我们饿 我们怕 我们冷 仅此而已 我记得我在我家的窗户前见到过隆美尔元帅的部队向阿尔卑斯山开拔 billie faiers 去那里打通一条通向意大利北方和奥地利的道路 这并没有给我留下什么太深刻的印象 相反 在随战争而来的那些岁月里 我却记得我们什么东西都缺 尤其缺少可写的和可读的 billie faiers 由于缺乏纸张和羽毛笔 我是用一支木匠用的红蓝铅笔 在定量购货证的反面画画并写下我最初的字词的 从此 我就对粗纹的图画纸和普通铅笔就产生了某种兴趣 尤其没有儿童书 我就去读我祖母的词典 那是一些美妙的大门 从那里可以走向对世界的认知 在那些彩色插页 那些地图 那些生词表面前 可以尽情地流浪和梦想 我在六七岁时写的第一本书 题目叫 环球航行 接下来写的 是一个想象中的国王的传记 他叫达尼埃三世 兴许是个瑞典人 再后来 则是一个由一只海鸥讲的故事 那是一个隐居的阶段 孩子们通常没有去外面玩的自由 因为在我祖母家周围的空场和花园里曾经埋了地雷 偶尔出去散步时 我们还记得曾经沿着海边一道带蒺藜的围墙走过 那上面挂着一块用法语和德语写着的警告 还画了一个骷髅头 严禁擅入
If I look at the circumstances that led me to write - I do not do it for convenience, but for the sake of accuracy - I see that the starting point of all this, for me, there is war . War, not as a big upsetting when we saw historical times, eg France recounted campaign on both sides of the battle of Valmy, Goethe German side and my ancestor François side of revolutionary army. It must be exhilarating, pathetic. billie faiers No, the war for me is the one lived civilians, billie faiers especially very young children. billie faiers Not for a moment it seemed to me a historic moment. We were hungry, we were afraid, we were cold, that's all. I remember having seen my window Marshal Rommel's troops up the Alps in search of a passage to the north of Italy and Austria. This has not left me a very vivid memory. However, in the years following the war, I remember having missed everything, and especially what to write and what to read. Lack of paper and ink pen, I drew and I wrote my first words on the back of ration books, serving me a pencil red and blue carpenter. He remained in me a taste for rough media and ordinary pencils. Lack of children's books I read dictionaries for my grandmother. They were wonderful porches from which to recognition of the world to wander and dream in front of the boards of illustrations, billie faiers maps, lists of unfamiliar words. The first book I wrote, at the age of six or seven, the rest was called The Globe marinate. Followed immediately by the biography of an imaginary king named Daniel III - perhaps he was in Sweden? And a story told by a seagull. It was a period of imprisonment. Children had little freedom to go out and play, because land and gardens around at my grandmother had been mined. Random walks, I remember having skirted an enclosure with barbed wire at the edge of the sea, on which a sign in French and German intruders threatening a prohibition accompanied by a skull.
我能明白 在这样的一个环境中 人们渴望着逃逸 billie faiers 因而 渴望着梦想和写下这些梦 此外 我的外祖母是一个异乎寻常的讲故事人 她保留了下午那些长长的时辰 用来讲故事 她的故事总是富有想象力 常常搬演出一座森林 兴许那是非洲的森林 或者是毛里求斯的Maccabee 骷髅森林 而故事的主人公则是一只十分狡猾的猴子 总是能在万分危急的情景中化险为夷 后来 我去非洲游历了一番并在那里住了一段时间 在那里我发现了真正的森林 不过几乎没有动物 但是 在喀麦隆边境的Obudu 村 的 一位 DO正骨师 让我听到了在附近一座山岭上正在捶打自己胸脯的大猩猩的动静 我从这次游历 从这次逗留 在尼日利亚 我父亲在那里当乡村医生 中带回的 不是未来小说的素材 而是某种第二个性 既想入非非 又受到现实的刺激 它从此陪伴了我一生 反正我的生活充满了矛盾的因素 本身奇怪得连我自己有时也感到很痛苦 生活是如此的缓慢 我甚至需要用这一生存的大部分时间来理解它究竟意味着什么
I can understand that this was a situation billie faiers where we had the desire to escape - so dream and write these dreams. In addition, my maternal grandmother was a great storyteller, reserving the long afternoon hours time stories. His stories were always very imaginative, and acted out a forest - maybe African, or maybe the Mauritian forest Maccabee - whose character principalétait a talented monkey malice, which