你看
我在跳舞
在燃烧的轮椅上
摇晃肩膀
没有任何魔术
也没有秘诀
——《轮椅舞蹈》
附上一段我听视频记录下来的2024年10月韩江获得诺贝尔文学奖后的致辞。我查阅资料的时候是2025年1月，当时包括韩国的媒体的报道，都没有关于这一段致辞的准确文稿，唯一找到的一篇，也是从韩文重新翻译成英文的。这让我有些感慨，诺贝尔文学奖也只是一群人的狂欢。
'I remember the day when l was eight years old. As l was leaving my afternoon abacus lesson, the skies opened in a sudden downpour. This rain was so fierce that two dozen children wound up huddled under the eaves of the building. Across the street was a similar building, and under those eaves l could see another small crowd, almost like looking into a mirror.
Watching that streaming rain, the damp soaking my arms and calves, I suddenly understood. All these people standing with me, shoulder to shoulder, and all those people across the way, were living as an 'l' in their own right. Each one was seeing this rain, just as l was. This damp on my face, they felt it as well.
It was amoment of wonder, this experience of so many first-person perspectives. Looking back over the time l have spent reading and writing, I have re-lived this moment of wonder, again and again. Following the thread of language into the depths of another heart, an encounter with another interior.
Taking my most vital, and most urgent questions, trusting them to that thread, and sending them out to other selves. Ever since l was a child, l have wanted to know, the reason we are born, the reason suffering and love exist. These questions have been asked by literature for thousands of years, and continue to be asked today. What is the meaning of our brief stay in this world? How difficult is it for us to remain human, come what may?
In the darkest night, there is language that asks what we are made of, that insists on imagining into the first person perspectives of the people and living beings that inhabit in this planet, language that connects us to one another.
Literature that deals in this language inevitably holds a kind of body heat. Just as inevitably, the work of reading and writing literature stands in opposition to all acts that destroy life. I would like to share the meaning of this award, which is for literature, with you, standing here in a opposition of violence together.
Thank you.'
02:35 “描述，就是在迫使自己进入一个关于作品微妙的层次的过程。” 引自巫鸿《生动：在漫游中发现艺术》讲座的第三讲：飞扬的飘带
03:40 《素食者》
04:22 一个自称为“我”的男人
08:30 离读者最远，是最虚伪最冷漠的第一人称
10:40 英惠
13:10 可是，没有人在乎她的梦。
14:40 她也是那只原本乖巧的白狗。
18:25 “文学有着生命的温暖，所以文学永远站在毁灭生命的对立面。”
21:00 《把晚餐放进抽屉》
23:00 我们残缺，但我们舞蹈。
24:10 对人类身体的自觉
25:20 《植物妻子》
27:35 温情和它们的“阴影”
29:55 她孩提时的梦想就是走到世界的尽头。
32:25 自由的份量
39:40 《蒙古斑》
39:40 仁惠
43:47 对照实验
44:20 一个复杂的人物和他令人尴尬的自觉
46:35 鱼进入到了一个鱼缸中生活
48:50 电影感
49:30 欲望：植物性和蒙古斑
51:45 依靠吸食痛苦来维持生命的灵魂
53:10 动物性对植物性的占有
56:12 飞翔是逃离
57:00 《树火》：世界上所有的树都是手足
62:20 一些人用温柔紧紧地包裹住了世界的锐角
64:10 她写作，是为了是到达了问题的终点。
69:10 韩江的创作背景
74:30 《撒玛利亚女孩》:只有我们知道，那里浅浅的一条印记，我们会用手指一下，这个地方，这里，曾经有一个裂口。
76:50 后记：让我们写下来，然后向前走。
▲The Summer Portraits - Ludovico Einaudi
同步于小宇宙app，Applepodcast，谢谢收听！
撰稿、剪辑、制作、封面图/插图：Magee
