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when one has nothing but words, language becomes the medium of metamorphosis which, without any possibility of transcendence, drags on as an endless chain of daydreams and nightmares, externalization as a substituting movement of that interior void unfulfilled.

when one has nothing but words, language becomes the medium of metamorphosis which, without any possibility of transcendence, drags on as an endless chain of daydreams and nightmares, externalization as a substituting movement of that interior void unfulfilled.

when one has nothing but words, language becomes the medium of metamorphosis which, without any possibility of transcendence, drags on as an endless chain of daydreams and nightmares, externalization as a substituting movement of that interior void unfulfilled.

when one has nothing but words, language becomes the medium of metamorphosis which, without any possibility of transcendence, drags on as an endless chain of daydreams and nightmares, externalization as a substituting movement of that interior void unfulfilled.

when one has nothing but words, language becomes the medium of metamorphosis which, without any possibility of transcendence, drags on as an endless chain of daydreams and nightmares, externalization as a substituting movement of that interior void unfulfilled.

原文是一首长诗吗？是否因为翻译的原因，失去了诗的韵律。主人公一个梦境接一个妄想，让人如坠五里雾中。一会儿，突然发现说的又是现实，到最后又嘎然而止，没有所谓的结局。莫非整个故事都是主人公的一个大幻想？ 大段大段的叙述诗中掺杂着奇怪的变态的性、尸体、屠杀描写。...  

原文是一首长诗吗？是否因为翻译的原因，失去了诗的韵律。主人公一个梦境接一个妄想，让人如坠五里雾中。一会儿，突然发现说的又是现实，到最后又嘎然而止，没有所谓的结局。莫非整个故事都是主人公的一个大幻想？ 大段大段的叙述诗中掺杂着奇怪的变态的性、尸体、屠杀描写。...  

在这个平庸为患的时代，大师的出现固然让人精神振奋，然而大师们对读者的要求也不比一般作者。面对不易理解的作品，作者的背景和创作花絮或许能暂时把读者从疑惑中解救出来。不过，不少大师都深知这种“解救”多半和文学无关，仅仅是为阅读者提供背景，甚或谈资。塞林格《九故...  

在这个平庸为患的时代，大师的出现固然让人精神振奋，然而大师们对读者的要求也不比一般作者。面对不易理解的作品，作者的背景和创作花絮或许能暂时把读者从疑惑中解救出来。不过，不少大师都深知这种“解救”多半和文学无关，仅仅是为阅读者提供背景，甚或谈资。塞林格《九故...