現在是2026年，八月裡一個下著雨的週六下午。時間是下午三點四十二分。我在廚房泡著大吉嶺紅茶（第二泡，水溫大約攝氏九十度，浸泡三分鐘）。唱機上轉著Bill Evans Trio的《Waltz for Debby》，1961年於紐約Village Vanguard的錄音。Scott LaFaro的低音提琴聲從喇叭裡滲出來，像是某種溫暖的液體在房間的角落緩緩流動。

窗戶玻璃上掛著雨痕，一道一道地，把對面大樓的燈光折射成模糊的光暈。

就在那個瞬間，毫無預兆地，我想起了埔里...

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雨是從什麼時候開始下的。

沒有人記得了。

騎樓外的柏油路面已經濕成一面黑色的鏡子，倒映著對街便利商店的藍白招牌，還有那盞掛在攤車上方、被雨水暈開一圈毛邊的黃燈籠。燈是舊式的，圓圓的，燈罩上有幾道細細的裂紋，像老人手背上的青筋。光從裂紋裡漏出來，落在攤車的鋁製檯面上，落在疊得高高的白色瓷碗上，落在那口——始終咕嘟咕嘟、從不歇息的大湯鍋上。

白霧。

從鍋蓋的邊緣不斷滲出來，一縷一縷，纏繞著燈籠的黃光，像某種有生命的、溫熱的呼吸。這條街到了這個鐘點，大多數的鐵門都已經拉下來了。五金行的鐵門是藍白相間的，藥局的鐵門是深綠色的，理髮廳的鐵門上還印著一個褪色的紅十字。只剩下這一盞燈，這一輛攤車，這一個在雨夜裡固執地冒著白煙的小角落。

還有那個坐在攤車後面的老闆。

他沒有穿雨衣，只是一件洗得發白的藍色工作服，領口敞著，露出裡面一件更舊的灰色內衣。他的動作很慢，慢到幾乎像是在進行某種儀式。左手掀開蒸籠的蓋子——

木頭與竹編摩擦。

發出一聲悶悶的、帶著濕氣的吱嘎。

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引言：時代風暴中的超級多頭

在晚清那個風雨飄搖、天翻地覆的超級震盪年代，如果有一張歷史的大盤走勢圖，那麼「胡雪巖」這三個字，絕對是近代中國商業史上最強悍、最具傳奇色彩的一根超級大紅K棒。

他從一個一無所有、放牛掃地的錢莊小學徒，一路做多到頭戴二品頂戴、身穿紫禁城騎馬的黃馬褂，資產橫跨錢莊、生絲、茶葉、軍火、藥材與跨國債券，被世人尊稱為「商聖」與「紅頂商人」。

然而，胡雪巖之所以能在歷史的狂風暴雨中崛起，從來不是因為他拿到了順風順水的順局手牌。相反地，他的一生都在打極度險惡的逆局戰役。

他最核心的商業哲學只有一句話：「前半夜想想自己，後半夜想想別人。」在別人恐慌時看到流動性，在別人絕望時做多未來的可能性。

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第一篇章：深夜十一點四十五分，被冰封的設計之神與 iPhone 的眼淚。

你有多久，沒有好好看過一朵花的綻放、或者去感受一塊木頭留在你指尖的溫度了？

此時此刻，是深夜的十一點四十五分。窗外，一場罕見的大雷雨正瘋狂地沖刷著北加州的柏油路面，細密的雨滴砸在防爆玻璃上，碎成一片模糊的霓虹。在舊金山一間極度隱密、幾乎沒有任何多餘裝飾的包浩斯風格書房裡，Jony Ive 正枯坐在他的工作檯前。

他的右手指尖，正緩慢、卻極度細緻地轉動著一件尚未成型的白色陶瓷樣品。那塊陶瓷在微弱的鵝黃色燈光下，散發著一種宛如處子皮膚般、內斂而沉靜的溫潤光澤。如果此時有人站在他身邊，會以為這位曾經用線條格式化整個世界的工業設計之神，正在對著一塊石頭進行某種神祕的禪修。

...

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人還沒踏入照顧前，對無常總是抽象。直到現實焦慮撲面而來，才被迫直面「存在與不存在」的重量。 

 

🎧作家張曼娟：「照顧，是每個人必然會遇到的一段生命歷程」 

點擊👉 https://fstry.pse.is/9ktq35

—— 以上為 Firstory Podcast 廣告 ——

智慧逆局開拓系列：千古奇才蘇東坡（第一章）

引言：從神壇跌落深淵的千古文豪

在北宋嘉祐二年的汴京科舉考場上，二十歲出頭的蘇軾以一篇驚世駭俗的策論，震動了整個大宋文壇。主考官歐陽修讀完後拍案叫絕，甚至對同僚感嘆：「讀軾書，不覺汗出，快哉！老夫當避路，放他出一頭地！」

那一刻，蘇軾是大宋朝最璀璨奪目的天才巨星，名滿天下，官運亨通，舉國傳誦。

然而，歷史的大盤走勢從來不會永遠單邊向上。

當新舊黨爭的政治風暴席捲朝堂，當時代的極端主義撕裂整個帝國時，這位才華橫溢、性情耿直的文人，即將迎來他人生中第一場毀滅性的「流動性斷崖」——一場差點讓他身首異處的世紀文字獄：烏台詩案。

一、 盛極而衰：被捲入政治絞肉機的孤鳥

宋神宗熙寧年間，王安石推行「熙寧變法」，朝廷內部迅速分裂為支持新法的「新黨」與反對激進改革的「舊黨」。

蘇軾並非反對改革，但他深知民間疾苦，反對新法中急功近利、盤剝百姓的激進措施（如青苗法、保甲法）。他既不願依附新黨爭權奪利，也不願盲目迎合舊黨的頑固不化，這使他成了夾在兩大政治巨頭之間最刺眼的「獨立第三方」。

他多次上書直言進諫，觸怒了新黨權貴，無奈之下主動請求外任，先後被派往杭州、密州、徐州、湖州等地任知州。

在地方任上，蘇軾親眼目睹了激進法令給底層百姓帶來的苦難。生性耿直、胸無城府的他，忍不住在詩詞中寄託諷喻之情：

「東海若知明主意，應教斥鹵變桑田。」

「豈是風光偏媚我，老夫自醉景陶陶。」....

他以為這只是一個士大夫針砭時弊的文人風骨，卻不知道，一場蓄謀已久的政治獵殺網絡，已經在他身後悄然收緊。....

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朱熹的名字你在教科書裡一定看過。但教科書裡的朱熹是一個符號，不是一個活生生的人。今天Jenny要帶你認識那個一生都在掙扎、都在問最難的問題的朱熹。 他的四書章句集注成為了中國、朝鮮、日本幾百年科舉考試的標準。他的思想影響了整個東亞超過八百年。但他說格物致知、居敬窮理，說的不是什麼遙遠的道理。格物就是認真看每一件事物，讓它自己告訴你它是什麼。居敬就是對你正在做的事情全神貫注，就是今天說的正念。他說聖人不是神，是在日常關係裡把人做到最好的那個人。 他晚年被禁止講學，仍然繼續寫到生命最後，說自己到死都還沒有學完。那種精神，到今天仍然是最好的學習態度。 You have probably seen Zhu Xi's name in a textbook. But the textbook version of him is a symbol, not a living person. Today Jenny takes you into the life of the man who was always wrestling with the hardest questions. His collected commentaries on the Four Books became the standard reference for the civil service examinations in China, Korea, and Japan for several hundred years. His ideas shaped East Asian thought for more than eight hundred years. But when he spoke of gewu zhizhi and jujing — investigating things and maintaining attentiveness — he was not describing something distant and theoretical. Investigating things means looking carefully at each thing you encounter, and letting it show you what it is. Maintaining attentiveness is what we today call mindfulness — being fully present with what you are doing. He said the sage is not a deity but the person who has achieved the best possible state in their ordinary human relationships. In his later years he was forbidden to lecture but kept writing until the very end of his life, saying he had not finished learning. That spirit remains one of the finest models of a lifelong approach to learning. 朱熹, Zhu Xi, 理學, 格物致知, 居敬, 四書, 宋代哲學, 儒學, 沉思者J, ThinkerJ, 典範人物, 東方智慧, 正念哲學, 東亞思想, 國學

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🎧作家黃大米：「你一輩子不是要得到他的道歉，你要得到他的愛。」完整收聽「先來一杯 我們再聊」點擊連結👉 https://fstry.pse.is/9ktqgz   

 

照顧人生無法預期何時來，感人故事、預備未來！讓我們有機會不在照顧困境掙扎。 

—— 以上為 Firstory Podcast 廣告 ——

弗雷德里克道格拉斯從一個沒有名字的被奴役的孩子走到了和林肯說話。他生命中最重要的那件事發生在很小的時候。他的主人說了一句話：不能讓他學閱讀，因為閱讀會讓奴隸無法再接受奴役的狀態。那句話告訴了他閱讀是自由的路。他在那個禁止的環境裡偷偷學了閱讀，用麵包換窮孩子教他認字。 他在一八三八年逃走，穿著水手的衣服搭火車到了麻薩諸塞州。他後來出版了自傳，成為廢奴運動最重要的演講者之一。他說過：如果你沒有奮鬥，你不會有進步，那個聲明裡所有的美好的東西都沒有辦法在沒有奮鬥的情況下得到。他的故事說的是語言是武器，知識是自由，沒有任何人可以拿走你學到的那個東西。 Frederick Douglass went from a child with no name, born into enslavement, to speaking with Abraham Lincoln. The most important moment of his life came when he was very young. His enslaver said something: you must not let him learn to read, because once a slave can read, there is no way to keep him satisfied with the condition of slavery. That sentence told him that reading was the path to freedom. He learned to read in secret, trading pieces of bread for time with poor children who would teach him letters. He escaped in 1838, dressed as a sailor, and reached Massachusetts by train. He later published his autobiography and became one of the most important speakers in the abolitionist movement. He said: if there is no struggle there is no progress — nothing that comes to us without struggle has any value. His story says language is a weapon, knowledge is freedom, and no one can take away what you have learned. 弗雷德里克道格拉斯, Frederick Douglass, 廢奴運動, 閱讀, 自由, 語言, 奴隸制, 美國歷史, 社會運動, 沉思者J, ThinkerJ, 典範人物, 社會運動

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🎧民歌之母陶曉清：「摸到乳房硬塊，檢查確認乳癌，第一個想法是『啊，要死了』。」完整收聽「先來一杯 我們再聊」點擊連結👉 https://fstry.pse.is/9ktrfl  

 

照顧人生無法預期何時來，感人故事、預備未來！讓我們有機會不在照顧困境掙扎。 

—— 以上為 Firstory Podcast 廣告 ——

起來站起來，為了你的權利站起來，不要放棄這場爭取。這首歌從一九七三年開始在全球被傳唱，在任何一個受壓迫的地方都成為那個地方的歌。寫這首歌的人是巴布馬利，他在三十六歲去世，在那三十六年裡讓全世界聽見了雷鬼旋律。 他一九四五年出生牙買加農村，父親是白人官員，媽媽是黑人農村女孩，那個身份讓他從小活在一個不完全屬於任何一邊的縫隙。他在金斯頓的特倫奇敦貧民窟長大，在那裡找到了雷鬼旋律。那個旋律有讓你身體跟著走的節奏，說的是最底層的人的憤怒和渴望，也帶著拉斯特法里信仰的靈性底色。 他的旋律穿越了語言、文化、地理，成為全球被壓迫者共同的聲音。他去世前說：金錢買不到生命。 Get up stand up, stand up for your rights. Don't give up the fight. This song has been sung across the world since 1973. In every place that knows oppression it becomes the song of that place. The man who wrote it was Bob Marley, who died at thirty-six, and in those thirty-six years made the world hear reggae. Born in 1945 in rural Jamaica, his father a white government official and his mother a young Black Jamaican woman, his identity placed him from childhood in a crack between worlds where he didn't fully belong on either side. He grew up in the Trenchtown neighborhood in Kingston, where he found reggae. That music has a rhythm that moves the body, speaks of the anger and longing of those at the very bottom, and carries the spiritual grounding of the Rastafari faith. His music crossed language, culture, and geography to become the shared voice of the oppressed worldwide. Before he died he said: money can't buy life. 巴布馬利, Bob Marley, 雷鬼旋律, 起來站起來, 一愛, 牙買加, 拉斯特法里, 社會運動, 沉思者J, ThinkerJ, 典範人物, 旋律

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安徒生寫了醜小鴨，那不只是童話，那是他自己的故事。他長得奇怪，格格不入，父親早逝，沒有正式教育。十四歲一個人去哥本哈根說要成為明星，被拒絕了又拒絕了，但就是留下來了。 他後來寫的那些童話——醜小鴨、賣火柴的小女孩、美人魚——說的不只是兒童的世界。那些故事說的是人類最深的困境：格格不入的痛苦、貧窮和夢想的距離、為愛失去自我的悲傷。 他一生孤獨，一生沒有找到愛情。他說那個孤獨成了他的材料。那種只有真正受過那種苦的人才能寫出來的東西，後來在一百五十種語言裡被讀到。 Andersen wrote The Ugly Duckling — not only a fairy tale, but his own story. He was awkward-looking, never fit in, lost his father early, received no proper education. At fourteen he went alone to Copenhagen declaring he would become a star, was rejected again and again, and simply stayed. The fairy tales he later wrote — The Ugly Duckling, The Little Match Girl, The Little Mermaid — speak to far more than the world of children. They address the deepest human predicaments: the pain of not belonging, the cruel distance between poverty and dreams, the sadness of losing yourself for love. He was lonely his entire life, never found real love. He said that loneliness became his material. What only someone who had truly suffered in that way could write — it is now read in one hundred and fifty languages. 安徒生, Hans Christian Andersen, 童話, 醜小鴨, 賣火柴的小女孩, 美人魚, 丹麥文學, 兒童文學, 沉思者J, ThinkerJ, 典範人物, 格格不入, 孤獨創作, 春天

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大衛霍克尼八十多歲了，還在每天早上五點拿起iPad畫畫。他說iPad是他的速寫本，他在螢幕上塗出約克郡早晨的光，然後傳給朋友說，這是今天早上的。
他花了一生研究我們是怎麼看見東西的。他說傳統照片是單點透視的，那不是眼睛真正看東西的方式。他對中國山水畫著迷，因為那種移動的觀看方式更接近真實。他說看見是需要學習的，大多數人以為那是自動發生的事。
從洛杉磯游泳池的系列畫作到約克郡四季，他跨越了六十年還在實驗。工具換了，但那個想要捕捉光線的衝動從來沒有換。
David Hockney, now well into his eighties, still starts painting on his iPad at five in the morning. He says the iPad is his sketchbook. He paints the Yorkshire morning light with his fingers, then sends it to friends with a note: this is from this morning.
He spent his entire life studying how we see. He said conventional photography uses single-point perspective — that is not how the eye actually works. He became fascinated by Chinese landscape painting because its moving, traveling gaze was closer to real seeing. He says seeing itself has to be learned; most people assume it happens automatically.
From the Los Angeles swimming pool paintings to the massive Yorkshire seasons series, he has kept experimenting across sixty years. The tool changed. The impulse to capture light never did.
大衛霍克尼, David Hockney, 英國藝術家, iPad繪畫, 當代藝術, 一個更大的水花, 視覺藝術, 創作哲學, 沉思者J, ThinkerJ, 典範人物, 好奇心, 約克郡, 洛杉磯

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