传阅:爱与希望的舞厅
周成林
一
第一次学跳舞,是一九八零年代初。对于文革末期长大的人,交谊舞和迪斯科新鲜又新奇。那时没舞厅,家庭舞会一般人无可踏足,喜欢跳舞的,喜欢看人跳的,大多跑去省城河边的林荫空地,多半傍晚,人头涌涌,看的远比跳的多,或许多数看客根本不会跳,要么不敢跳或不好意思跳。 Read more…
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周成林
一
第一次学跳舞,是一九八零年代初。对于文革末期长大的人,交谊舞和迪斯科新鲜又新奇。那时没舞厅,家庭舞会一般人无可踏足,喜欢跳舞的,喜欢看人跳的,大多跑去省城河边的林荫空地,多半傍晚,人头涌涌,看的远比跳的多,或许多数看客根本不会跳,要么不敢跳或不好意思跳。 Read more…
读奥威尔的《一九八四》
邓聿文
奥威尔的《一九八四》是享誉世界的经典,即使你没有读过,或许也知其名。我是最近才下决心把它及奥威尔的另一部小说《动物农场》读完的。老实说,在看这两部小说时,有点心惊肉跳的感觉。
作为一部反极权主义的小说,《一九八四》以一个虚拟的大洋国为背景,将笔触对准了大洋国令人窒息的政治生活。有人说,小说是以斯大林的苏俄时代为摹本,我倒是认为,它是把历史上所有极权国家的特征都集中在一起了。 Read more…
李静睿
去年写的一篇肖斯塔科维奇,花了两周时间,本来是要发在这一期《单读》上的,印刷前没能过审。肖斯塔科维奇是我最感兴趣的艺术家:在西方,他是“二十世纪最伟大的作曲家”,在苏联,他是“共产党忠诚的儿子”,没有多少人能像他这样,在当下安全和传世声名之间,维持了一种精确而微妙的平衡。
文章很长,希望有人能读完,读不完的人,可以去听听他的第七交响曲,这是他送给彼得堡的哀歌。
任剑涛
众所周知,中国在国家治理中非常推崇举国体制,而举国体制的代表作,恰是超大型项目。超大型项目的运行,具有举世瞩目、举国欢腾、震人心魄、牵动全局的效应。但超大型项目的政策侧重、资源耗费、后果估量,使人们对之深怀疑虑。从现代国家治理体系与治理能力来看,我们对举国体制与超大型项目无疑应该反思。就此而言,寻求国家尤其是中国这样的巨型国家的均衡治理,是国家治理体系与治理能力现代化的题中应有之义,也是赢得国家间竞争优势的必需。 Read more…
南桥
今天是美国独立日,我们小区一个老者发帖,说他8:30要去街道拐角小公园朗读《独立宣言》,欢迎大家参加。我们过去迟了几分钟,看到一位大叔,站在一张椅子上,头戴山姆大叔帽,身穿国旗服,在对着空气宣读:We hold these truths to be self evident… Read more…
马伯庸
顺治十五年,对于山东淄川县的学子们来说,不是个好年份。
无论你读的是公塾还是私塾,哪怕是在家自学,都避不开被先生和家长们反复地训诫。训诫的内容,是学生们挥之不去的千古噩梦——你看看别人家的孩子。
这个“别人家的孩子”姓蒲,叫蒲松龄。 Read more…