十一，中共慶祝國慶，亮出軍隊，把長安大街清場，拉來成千上萬的小孩在廣場上抬頭揚手表演萬人操。香港特區的電視台亦步亦趨，學人家一窩蜂歌功頌德．全程直播，連廣告都不敢插上。

小時候，我沒喜歡過張國榮。

或許應該說，我對他，沒有喜歡沒有討厭。沒買他的唱片（他的唱腔我不喜歡）；也不是因為他，去看《胭脂扣》、《霸王別姬》、《春光乍洩》。

但在張國榮與譚詠麟之間，我倒永遠選他。

當年大抵是喜歡他的貴氣與乾淨。到了今天，我們早就沒有選擇了，那已經無關喜歡不喜歡。因為他，早已是我們的成長。

無論你喜歡張國榮與否，都應該讀讀這個網站：http://lesliecheung.cc/memories/

忠心歌迷搜集了各大報章的悼念文章，文字百花齊放，有的深情take it personal，有的湊熱鬧人說我說賺稿費，有的冷靜分析。李碧華說「血似胭脂染蝶衣」；董橋說他是最後的關西大少；梁款說：「香港一代的成就在哥哥的身上體現，哥哥的黃金時代也就我們黃金的時代。很可惜，這次相認，時間很短暫。後來我知道，我們的時代純屬偶然。這個時代現正開始終結。說到底，哥哥的氣、香港的焰，多少帶點彩數。」

(繼續閱讀...) ]]> http://blog.roodo.com/wondercat/archives/2947205.html http://blog.roodo.com/wondercat/archives/2947205.html 好文共賞 Tue, 03 Apr 2007 00:51:50 +0800

這是去年在上海當代藝術館看到的作品，華麗而詩意，據說展出時很受歡迎，不斷被問價。

中國藝術家師進滇以不鏽鋼絲包圍古箏，然後付之一炬。

古箏化為灰燼，寄生的銀鏤衣獨遺人間。

原物似無，還留。

作品的名字，就是「記憶」。

在曼谷看到了一張茶几，做法有點接近，把Lace漿起而成，所以想起這件作品來。

]]>

「好的是京都很細緻，在鴨川，那麼多窄巷，巷子裏那麼多精緻的料理店，以為一條巷子就沒有了，怎知巷中有巷，曲曲折折，別有洞天。而且每家料理店的菜都很有創意。」

「可怕的是，京都很拘謹，很囉嗦，料理店要是沒有事先預約都沒有位子。而且矜持，又固執地想不開，所有傳統的東西幾乎要100%保留。」

在八月，"戰爭與和平中的婦女博物館"正式啟用（Women's Active Museum on War and Peace）．博物館由民間組織，旨在收集和展示第二次世界大戰期間，日軍強迫亞洲婦女充當隨軍“慰安婦”的罪證。

據說，戰爭與和平中的婦女博物館與靖國神社，只有數米之距。自宣布建館以來，主辦單位經常收到恐嚇電郵和信件；未來漫漫長路，她們更要面對小泉政府，國內右翼分子，一班班鷹派頑固分子的進攻。

勇氣，這就是勇氣。

地址：東京都新宿區西早稻田2-3-18
網址：www.wam-peace.org/

新華網報道
Japan Times報道

轉自WOMENSENEWS

TOKYO (WOMENSENEWS)--The doors to the Women's Active Museum on War
and Peace in Tokyo open to an entryway decorated with fresh flowers and
a large panel of black-and-white photographs of elderly women.

This is a portrait gallery of women who were used as sex slaves by
the Japanese Imperial Army from 1932 to 1945 who are euphemistically
called "comfort women."

In a country still coming to terms with a legacy of atrocities
committed during World War II, the idea of an institution that would
comprehensively record Japan's history of sexual slavery is highly
controversial.

"There is regular hate mail posted on the Internet against us,
calling us liars and trouble-makers," said Rumiko Nishino, curator and
director of the Women's Fund for Peace and Human Rights, which seeks to
raise awareness about the perils facing women in wartime. Nishino said
people have threatened to burn the museum down.

But the planners of the museum, which opened Aug. 6 on the 60th
anniversary of Japan's defeat in World War II, say they will not buckle
under the pressure.

"There are many reasons why the new museum means so much to us, as
well as to other women in Asia," Nishino said. "We are sending a
message to the world that we will not tolerate this violence anymore."

On Friday, the women's case was bolstered by Amnesty International,
which renewed its appeals for compensation and an official apology from
Japan in a report, "Still Waiting After 60 Years." The Oct. 29 report
documents the brutal treatments inflicted on an estimated 200,000
comfort women held captive before and during World War II.

Evidence Destroyed

Despite the lack of official documentation on the comfort-women
system--Japan destroyed most of the evidence after its surrender in
World War II--private surveys by researchers have estimated there were
160 "comfort stations" operated by the Imperial Army throughout Asia.
Women were taken from occupied countries, including the Korean
peninsula, the Philippines, Indonesia, China and Taiwan.

The women--often as young as 12 years old--were forced to have sex
with up to 50 soldiers a day, according to the Amnesty report, and were
beaten if they refused, sometimes to death.

"I was taken to China when I was 16 years old," Lee Ok-sun, a Korean
woman who was forced into sexual slavery in a comfort station, is
quoted as saying in the Amnesty report. "It was a painful experience.
There was not enough food, not enough sleep and I couldn't even kill
myself. I desperately wanted to escape."

Ok-sun, now 79 years old, was not able to return to Korea for 58 years after she was enslaved.

Japan Says Rape Was Not War Crime

The government has argued that rape was not a war crime before 1945
and that its colonization of Asian countries was a pre-emptive effort
to protect them from Western colonialism.

Japanese officials have claimed that comfort women were really
prostitutes who offered their services willingly and some conservative
politicians continue to repeat the assertion. The government did not
begin to recognize the system of sexual slavery until the mid-1990s.

Other women have filed lawsuits in Japan, but have been rejected by
judges who ruled that the government has already paid war reparations
to other countries and individual compensation is not included.

Amnesty also charges that the Asian Women's Fund--established in
1995 to compensate victims--does not meet international standards for
war reparations and is perceived by survivors as an attempt to buy
their silence. The fund paid about $20,000 in "atonement money" to 285
survivors before 2002.

Japan's first apology to the comfort women was delivered in South
Korea in 1992 by the prime minister, but has been criticized as
inadequate by survivors, according to the Amnesty report. Comfort women
still want an official apology from the Japanese Diet, which represents
the people of Japan and the emperor.

Hundreds of Testimonials

The rooms of the Tokyo museum contain hundreds of testimonial records from former comfort women.

In one, a woman describes a regimented schedule in which afternoons
were reserved for visits from mid-ranking officers and evenings for
high-ranking officers. Women were held inside barbed-wire fences and
were only sent out to wash the soldiers' uniforms or do hard labor.

When the war ended most comfort women were simply abandoned. Many
never attempted to return home because they did not know how or were
afraid to meet their families out of shame and humiliation.

Other exhibits in the museum document violations against women in
conflicts around the world, including Rwanda, East Timor and Iraq.
Nishino said that the examination of how women are affected by current
conflicts helps the museum nurture discussion and advocacy.

The museum designers have done much to soften disturbing subject
matter. The walls are painted a warm, rust color and the rooms are
softly lit. Documentaries, news stories and books about the comfort
women system are available to visitors.

For the women in Japan who have been working to help comfort women,
the museum has become a symbol of their persistent refusal to disappear
and be forgotten.

Nishino and others, however, recognize that they are still in an uphill fight.

Just a few kilometers from the museum stands a gleaming,
glass-and-steel concrete museum at Yasukuni Shrine, where Japan's
former military leaders are buried. Some of the men memorialized there
are the same men who established the comfort women system during the
war.

Suvendrini Kakuchi is a Sri Lankan journalist specializing in Japan-Asia relations.

]]> http://blog.roodo.com/wondercat/archives/668877.html http://blog.roodo.com/wondercat/archives/668877.html 好文共賞 Wed, 02 Nov 2005 10:15:13 +0800 文﹕黎佩芬（明報）
日期﹕2005-05-15 

周三中午，發生一陣大風颳停東九龍交通的第三天，跟林超英走那小段斜坡路由天文台下山到諾士佛台，沒有感覺他有什麼異樣。這天，他穿的，應該是剛買的那雙新鞋，鞋頭寬寬的，讓他走得舒舒服服。這位天文台長告訴我---如此心安理得地---他只有兩雙鞋。本來是一雙新一雙舊，新的用來替換，舊的那雙，鞋面新簇簇，鞋底有個洞，每天穿著往返宿舍和辦公室，短短的距離，「後來還是扔了」，說時一臉不捨。到底，是怎樣拉扯到林超英買鞋的習慣來？

災

事情是這樣開始的。

我們在一間餐廳坐下，他點的是牛仔肉(短小精悍，愛好觀鳥，在樹林中上班，卻不是一個素食主義者)；我貪方便，要了煎魚。

我們說好今天談防災，兩句開場白後，他說：「多強的颱風，打在一個無人小島，不會有傷亡。『天災』個『災』字，好冤枉。」

龍應台的文章辛辣，然而，卻不悲觀，正面能量很大。她路見不平的俠氣，能叫人跟隨她，積極地生活，積極地批判，相信世界還可以改變，還有希望。

當年讀《孩子你慢慢來》，正面的感覺尤強，並且發現這個野火集的作者，原來也是個愛哭感性的媽媽。

那才知道，辛辣與溫柔，可以並存。

「我是個很混亂的人，對朋友極好極溫柔；但在公共領域裡頭，尤其在寫作、面對社會時，我就整個人變成一個大腦。這兩者對我而言，完全沒有矛盾。我自認為我是一個感情相當充沛的人，但同時是理性絕對發達的人。」（《龍應台當官》）

當年她希望慢慢成長，慢慢體味世界的孩子，已經長大成人了，今天甚至可以執筆反寫媽媽，勸她放手……

放手
文：華安（寫於１９歲）

寫童年不是個容易的題目﹔童年彷彿很近，然而幼稚的記憶是模糊的，片段的印象也沒有時間的順序，我很難找出一條邏輯清晰的線來記述。兒時跟父親相處的時間少，但個別的場景分明，大部分的時間都環繞著母親，但是因為太多，印象就朦朧成一團。

文：龍應台
來源：明報2005.5.16, 2005.5.17

挑出二○○五年三月十二日那一天台灣幾個比較認真的報紙，尋找國際新聞，發現每一個報紙不超過十條。其中兩三條是政治的即時性新聞，譬如歐美協議如何處理伊朗核武的威脅，剩下的，全是國際的鹹濕「社會新聞」﹕

　 美國強暴犯當庭槍殺法官。
　 麥可傑克森性侵兒童案繼續。
　 性侵幼童德國神棍被捕。
　 十三歲男童強暴女老師。
　 紐約警察受僱作槍手殺人……
　「雜碎」的國際報道

　 國際化程度明顯超過台灣的香港，應該很不一樣吧﹖我的發現讓我自己吃了一驚，幾份主要的香港報紙的國際報道竟然和台灣的幾乎一樣，當天還多出一條台灣沒有的﹕一夜歡情，某國某男子把「陽貨」卡在戒指中。

　 那麼究竟當天世界上發生了些什麼事呢﹖我只好上網瞧瞧。美國觀點的《紐約時報》有這些﹕

文﹕梁文道
來源﹕明報（2005.5.4）

誰是香港人？ 我們的香港之二
文: 龍應台
來源: 蘋果日報（2005.4.22）

來到香港之後，我就開始不斷地倒帶。好像小時候看的電影，長大了之後回頭去看，想理解當年無法理解的事情。影帶往回倒，定格，找細節。每一個細節都帶來驚詫。

當年眼中「國語很蹩腳，舉止很奇怪，看起來既不像中國人，又不像外國人，無法分類」的「香港僑生」，現在我睜大眼睛看分明了：他們是主管香港廣播的邵盧善，是總裁東方報業集團的何文翰，是總編《亞洲週刊》的邱立本，是大散文家董橋，是瀟灑狂放的才子馬家輝和梁文道。香港的文化，有半壁江山在這些「怪裡怪氣」的香港僑生手中撐起。

貼了一，不能沒有二。

日本右翼的思路 作者﹕梁文道 來源﹕明報（2005.4.20）

在上周六的文章<毋須懷疑反日情緒，公平看待歷史問題>，我強調不能把當前席捲中國的反日遊行活動看成是官方鼓動的結果，除了是為了還民間自發行動的清白，正視國民情緒之外，同時也想提醒各種不同立場的論者，把這一連串的集會說成是由政府鼓動和操縱，正好中了日本保守派的下懷。

朋友V來電，提到熱辣話題「反日」，說香港意見領袖對內地的認識，至少落後十年，只有梁文道上星期寫的文章，算是比較貼合現實。

於是，再轉貼（順道一問，望高人指教，這樣做，算不算侵犯版權，而被拉呢？）﹕
毋須懷疑反日情緒 公平看待歷史問題 （梁文道/轉貼）
來源﹕明報（2005.4.16）

一提到近日席捲中國各地的反日浪潮，我們很容易就陷入一個思想陷阱：要不義憤填膺地在旁吶喊打氣，全力支持；要不就是站在一邊，抱懷疑犬儒的態度冷嘲熱諷。以上兩種非此即彼的立場並不足取。此外，當然還有很多論者會同情中國民眾的情緒和立場，同時呼籲遊行人士和部分激烈的「憤青」保持冷靜理性；但又往往失之於缺乏思想的深度，點到即止。究竟我們應該怎樣看這場反日浪潮，又怎樣確切地去掌握在它背後浮現的所謂「日本問題」呢？

前陣子，在網上，看到內地網友貼出這樣的問題﹕怎可以在7天自由行中，體驗香港的liberty。 呆了一下。這真是個好問題。每天讀報，紙上污煙瘴氣，嗆鼻昏頭，令人吃不消，但卻忘記了，能夠污煙瘴氣，至少比一池死水好。至少我們還有出版自由。 然後，再讀到龍應台寫香港，寫當年「香港的書報藏著國民黨不要你知道的事情和觀點」…… 我們的區旗雖然變了，現代通訊科技雖然進步多了，但香港的某些功用，似乎還沒變。

我們的香港 之一  文: 龍應台 來源: 蘋果日報「沙灣徑25號」（2005.4.15）

問我這一代的台灣人小時候對香港的印象是什麼？很模糊。那是台灣歌星去登台演出的地方。到香港演出，表示她一定是個大歌星。

那是一個有錢商人居住的地方，台灣的影星或美女，最後往往就嫁給了「港商」。不知為什麼，想像中的「港商」是一個穿著淺色府綢短袖襯衫，襯衫蓋著凸出的大肚子的中年男人。「港商」腰間裹著「港幣」，「港幣」代表價值，或者說，代表一種你羨慕又討厭的價值，因此你稱之為「市儈」。

(繼續閱讀...) ]]> http://blog.roodo.com/wondercat/archives/77208.html http://blog.roodo.com/wondercat/archives/77208.html 好文共賞 Fri, 15 Apr 2005 22:31:42 +0800

轉貼

文﹕馬家輝

來源﹕明報（2005.4.12）

他名叫家永三郎。1913年生於名古屋，2002年病逝於東京巿，享年89歲；在89年的漫長歲月裏，他花了前半生於讀書和教學工作上，花了後半生在一宗跟教學有關的官司訴訟上。