【纽约时报111107】慕容雪村：网战审查的斗士
本帖最后由 yangfuguang 于 2011-11-30 11:25 编辑【中文标题】慕容雪村：网战审查的斗士
【原文标题】Pushing China’s Limits on Web, if Not on Paper
【登载媒体】纽约时报
【来源地址】http://www.nytimes.com/2011/11/07/world/asia/murong-xuecun-pushes-censorship-limits-in-china.html?_r=2&pagewanted=1
【声明】欢迎转载，请务必注明译者和出处 bbs.m4.cn。
It was a meditation on the malaise brought on by censorship. “Chinese writing exhibits symptoms of a mental disorder,” he planned to say. “This is castrated writing. I am a proactive eunuch, I castrate myself even before the surgeon raises his scalpel.”
The ceremony’s organizers forbade him to deliver the speech. On stage, Mr. Murong made a zipping motion across his mouth and left without a word. He then did with the speech what he had done with three of his best-selling novels, all of which had gone through a harsh censorship process: He posted the unexpurgated text on the Internet. Fans flocked to it.
Murong Xuecun (moo-rong shweh-tswen) is the pen name of Hao Qun. At 37, he is among the most famous of a wave of Chinese writers who have become publishing sensations in the past decade because of their canny use of the Internet.
Mr. Murong’s books are racy and violent and nihilistic, with tales of businessmen and officials engaging in bribe-taking, brawling, drinking, gambling and cavorting with prostitutes in China’s booming cities. He is a laureate of corruption, and his friends have introduced him at dinner parties as a writer of pornography.
网络审查总是让人心神不宁，这值得深思。他开始了我们的谈话：“中国的作品出现了点精神紊乱的小状况。你看到的作品是被阉割的，而我呢，就是个有先见之明的太监，在医生动刀前，我就先把自己给做了”。
典礼的组织者不让他演讲。在台上，慕容先生通过嘴型做了噤声的动作，然后没有说一句话。然后他和其他三位畅销书作家说了些言不由衷的话，他们这些人的书都是经过严格审查的，当慕容把完成版放到网上时，大批粉丝们蜂涌而至。
慕容雪村是郝群的笔名。他37岁，成为过去十年出版业的一景，因为他们善于使用网络回避审查。
慕容先生很真实地再现了空虚和暴力，他的故事里满是繁华都市里那些喧嚣躁动，赌牌酗酒，招妓嫖娼的官员们。他是记录腐败的作家，他的朋友曾经在一个聚会上介绍他说，他是个色情文人。
That his books are published at all in China shows how the industry, once carefully controlled by the state, has become more market-driven.
But Mr. Murong’s prose inevitably runs up against censorship, which the Chinese Communist Party is intent on maintaining despite the publishing industry’s gradual changes. Mr. Murong says he is a “word criminal” in the eyes of the state, and a “coward” in his own eyes for engaging in self-censorship. His growing frustrations have pushed him to become one of the most vocal critics of censorship in China. After zipping his mouth in Beijing last November, he delivered his banned speech three months later in Hong Kong. He also discussed the issue last weekend in New York at the Asia Society.
他的书在全中国出版，这表明这个曾经由国家把持的行业已经高度市场化了。但是，尽管出版业在慢慢变化，慕容先生的作品不可避免地碰见审查，这是中国共产党坚持的。慕容先生说，在政府眼里，他就是个不折不扣的“文字犯”，而在他自己看来，在审查制面前，他就是个“懦夫”。而且，在慕容先生认为，越来越多的人开始自我审查。不断增加的沮丧，直接推动他成为中国强烈批评审查制的先锋人物。从去年十一月起在北京沉默的三月后，他在香港发表了自己在大陆被禁的演讲。在亚洲协会，他也谈论了上周发生在纽约的事情。
Mr. Murong owes his commercial success to the fact that he has found ways to practice his art and build a fan base on the Internet, outside the more heavily policed print industry.
He addresses political issues on both a blog and a microblog account that resembles Twitter, which has nearly 1.1 million followers. He posts his novels chapter by chapter or in sections online under different pseudonyms as he writes. This Dickens-style serialization generates buzz, and the writing evolves with reader feedback. Once the book is finished or nearly so, Mr. Murong signs with a publisher. The censored print editions make money, but the Internet versions are more complete.
慕容先生把自己的成功归结于，他找到了在网络上实践自己艺术的方法，以及存在于网络上的支持他的基地，这是游离在诸多限制的出版业之外的。
他在博客及微博中谈论时政，微博很像Twitter，他有110多万的粉丝，他把自己的作品一章一章，或者一部分贴到网上，用上各种笔名。这种狄更斯式的连载使得他的作品可以和读者互动。一旦这些书写完了或将要完成，慕容先生就把书交给出版社。审查的版本可以赚钱，而网上的部分更加全面。
In 2004, the state-run China Radio International called Mr. Murong’s popular first novel a “cyber trendsetter” in a report that was reposted on the Web site of the newspaper People’s Daily, the Communist Party’s mouthpiece. Local officials in the city of Chengdu, where the story is set, denounced it. The uncensored version of the novel, “Chengdu, Please Forget Me Tonight,” was translated into English (“Leave Me Alone: A Novel of Chengdu”) by Harvey Thomlinson and nominated in 2008 for the prestigious Man Asian Literary Prize.
2004年，国有的中国国际广播电台在官方的人民日报一篇报道中，称慕容先生是个网络领军小说家。而这个故事发生的地方——成都，当地官员抨击这一事实。未经删改的小说，《成都，今夜请将我遗忘》被Thomlison译成英文，2008年被曼式亚洲文学奖提名。
“I simply found it extremely fun to do,” Mr. Murong said of writing online, as he chain-smoked one afternoon in his 26th-floor Beijing apartment overlooking the Western Hills, a jester’s grin on his boyish face. “Later, I realized that the writers and readers on the Internet changed the course of Chinese literature and started a new phenomenon.”
The Internet has ignited a revolution in China’s publishing industry by allowing a diversity of voices to bloom. Publishing houses can spot new talents and buy the rights for print editions. All this has contributed to the market reforms of the past decade and debate within the party about how to both nurture and control the industry.
在北京，他的公寓在26层，从里面可以遥看西山，他不停地抽烟，孩子气的脸上满是顽皮的笑意，提及他在网上的写作时，他说：“我只是发现，这非常有趣”。他说：“我觉醒到，作家和读者在网上的互动改变了中国文学的道路，开启了新的篇章”。允许多元思想的繁荣，网络实际上促进了中国出版业的革新。出版社可以发现优秀的作品，购买版权。所有这些都可以归结于过去十年的市场化以及党对如何培育及控制出版的争论。
Although its systemic censorship crushes creativity, the party craves domestic and international respect for China’s cultural output. After a four-day policy meeting on culture and ideology in October, the party’s Central Committee said China needed to bolster its soft power and “cultural security” with more “outstanding cultural products.” Last week, People’s Daily ran a commentary that called for the state to build up publishing houses into companies with international brands so their books can help spread “socialist core values.” And some officials ache for a mainland Chinese writer to win the Nobel Prize for Literature.
尽管系统的审查抹杀了创造力，但是党依旧希望国内外对中国文化出口的尊重。十月，在一连四天的关于文化和意识形态的会议后，党中央表示，中国需要通过更多的作品来提升软实力以及文化安全。上周，人民日报在一篇社论中，呼吁国家与国际品牌共建出版社，以利于他们的书传播“社会主义核心价值观”。一些官员甚至渴望大陆的作家获得诺贝尔文学奖。
Chinese rulers have long had a complicated relationship with books, promoting ones that enshrine official thought and history while banning or destroying others. Qin Shihuang, ancient China’s unifier, burned books and buried scholars alive. In the 18th century, the Qianlong Emperor purged thousands of texts and their authors for treasonous ideas while assembling a vast imperial collection to be printed. Mao Zedong and his comrades were no different.
中国的统治者很早就和书有着微妙的关系，他们善于神化官方思想，同时禁止或者摧毁异端。中国古代的统一者秦始皇，焚书坑儒。在18世纪，乾隆皇帝编纂了一部皇家出版的浩瀚典籍，在这个过程中，他净化了成千上万卷有反清复明思想的书籍。毛泽东和他的同志们也不例外。
As intellectual discourse began to flower again in the 1980s, writers like Yu Hua, Mo Yan and Su Tong cast a critical eye on Chinese history and rural society. Wang Shuo wrote urban “hooligan” literature. But it was the spread of the Internet in the late 1990s that really opened the floodgates.
Younger writers went online to tell tales of boom-era China. One Web site, Rongshuxia, was particularly influential, carrying novels by Annie Baobei, Ning Caishen and Li Xunhuan (the pen name of Lu Jinbo, now a prominent publisher who supports Mr. Murong). In recent years, the Internet has popularized genre fiction, and bookstores here now stock the whole gamut: science fiction and fantasy, horror, detective, teenage romance and, most lucrative of all, children’s stories.
“The Internet created all, and I say all, the literary trends that took off in 2005 and afterward,” said Jo Lusby, managing director of Penguin China.
随着知识分子的话语自1980年代开始繁荣，像余华，莫言，苏童这样的作家们对中国的历史和乡村社会抱有审慎的态度。王朔描写城市“阿飞”文学。但是直到上个世纪90年代网络的传播才打开了进步的闸门。年轻的作家们在网上告诉人们在中国繁华都市背后的故事。榕树下这个网站，很有影响力，这里聚集了诸如安妮宝贝，宁财神，李寻欢（路金波的笔名，现在是杰出的出版商，很支持慕容先生）。在近年，网络流行风俗小说，现在书店有所有的这些小说：科幻和神话，恐怖，悬疑，年少无知的浪漫和最赚钱的儿童故事书。
Jo Lusby，企鹅中国的总经理说，网络创造了一切，是的，我说的是一切，文学潮流在2005年开始腾飞。
Power Over Publishing
More books are being printed now than at any time since the Communist Party took power in 1949. In 2010, about 328,000 titles were published, more than double the number in 2001, according to official statistics.
But the government still wields important instruments of control. The agency overseeing the industry, the General Administration of Press and Publication, has not allowed real growth in the houses officially allowed to publish books. Last year, there were 581 such houses, just 19 more than in 2001. All are state-owned, and the government is moving to consolidate them.
权力笼罩下的出版业
自打1949年共产党上台以来，现在出版的书比以往的任何时期都要多。在2010年，大约328,000本书出版，比2001年的两倍还要多。但是政府依旧在强力控制出版业。有关部门监视着整个行业，国家新闻出版总署不许未经官方允许的出版社的增加。去年只有581家这种企业，只比2001多了19家，全部是国有的，政府正在加强它们。
Those numbers do not capture an important phenomenon: Market demand has led to a boom in private houses. To publish, they must either form joint ventures with the state-owned houses or, more often, buy from them International Standard Book Numbers codes, one for each title. On paper, this practice is illegal, but the authorities turned a blind eye to it for years. A tightening could be in the works — this year, officials have said they prefer that the private houses enter into joint ventures, which would mean more oversight and would help push state-owned enterprises toward the market.
这些数字没有抓住最重要的现象：市场需求促进了私人出版社的繁荣。为了出版书，他们要么和国营出版社合作，要么，从他们那里购买国际标准图书编号。在名义上，这种伎俩是违法的，但是官方对此默许了多年。遏制的措施可能在准备中，今年，官方已经表示，他们希望私人出版社进入合营，这意味着将加强监管以及将国有出版社推向市场。
As for censorship, chief editors act as the ultimate gatekeepers. They know they could lose their jobs if published material raises the ire of officials. Nonfiction books on special topics like the military or religion go through additional vetting by the relevant ministries. In the industry, “there is a shadow over the hearts of everyone,” said Mr. Lu, the publisher.
In June, officials made an example of Zhuhai Publishing House, a small state-owned company, by abruptly shutting it down. Zhuhai had published a memoir by Jimmy Lai, a Hong Kong newspaper publisher reviled by some Chinese leaders.
对于审查，主编拥有最终的决定权。他们知道一旦出版的东西让政府不爽，自己就会吃不了兜着走。非小说题材的书，比如军事或宗教的书有专门的部门施加额外的审查。出版商路（音）先生说：“在该行业，每个人心都被笼罩一层阴影”。
在六月，官方以珠海出版社作为鸡子，突然关闭了这这家国有的机构。这家出版社曾出版了Jimmy Lai的回忆录，他曾被若干个中国领导人斥责过。
The Internet does not offer writers total liberation, either, since there are online monitors. And some writers are reluctant to post entire books because of fears of piracy; Mr. Murong said he had not posted his last book, a nonfiction work about a pyramid scheme, for that reason.
Writers looking to avoid these difficulties end up doing the government’s job for it. Mr. Murong said he had abandoned two novels-in-progress that he suspected would never get published. One was called “The Counterrevolutionary.”
网络也不全是作家们的净土，因为网上也有监督者。有些作家由于担心遭剽窃，也不愿意把全文放到网上。因此，慕容先生也不愿意把自己的上本书放到网络上。而为了规避此类事情，有些作家通过帮助政府做事来换取。慕容先生说他已经放弃了两本在写的书，因为他怀疑它们根本无法面世。一本叫做《反革命》。
“The worst effect of the censorship is the psychological impact on writers,” Mr. Murong said. “When I was working on my first book, I didn’t care whether it would be published, so I wrote whatever I wanted. Now, after I have published a few books, I can clearly feel the impact of censorship when I write. For example, I’ll think of a sentence, and then realize that it will for sure get deleted. Then I won’t even write it down. This self-censoring is the worst.”
慕容先生说：“审查的最恶劣的结果是对作家的心理影响。当我写第一本书的时候，我不担心它能否出版，所以我可以随心所欲。现在，当我出版了几本书以后，当我再写书的时候，我可以明显感到审查带来的影响。例如，我会想到一个句子，然后意识到是敏感的。然后，我不会写下了。自我审查是很糟糕的结果”。
Inspired by the Internet
Mr. Murong argued with Mr. Lu when they were completing plans in 2008 to publish “Dancing Through Red Dust,” about the corrupt legal system. Mr. Lu, who had bought an ISBN code from Zhuhai Publishing House, told Mr. Murong that he wanted to limit the print run because the book was too sordid. In an interview, Mr. Lu said Mr. Murong was “the best writer under the age of 40,” but added that “Murong has one problem: his writings are too dark.”
被网络鼓励
慕容先生和路先生在2008年当他们要完结出版《舞动红尘》时，他们就腐败的司法体系产生争执。卢先生从珠海出版社买到了国际标准图书号，他告诉慕容先生他想要限制这本书的出版，因为它格调不高。在一次访问中，路说慕容是“四十岁以下最好的作家”，但同时有补充“慕容有个问题：他写得太过阴霾”。
“He’s a loner nihilist who believes in nothing,” Mr. Lu said.
Mr. Murong’s four novels and one work of investigative journalism are based on years spent in China’s fastest-growing cities. He traveled to Beijing from his family’s farm in Jilin Province to attend the China University of Political Science and Law, which trains judges, lawyers and police officers, the kind of people who figure prominently in his novels. Mr. Murong then moved from Chengdu to Shenzhen to Guangzhou, working at companies in various positions like legal adviser.
他是个不合群的虚无主义者，他怀疑一切，路先生说。慕容先生的四本书和一本调查报告都是基于中国发展最快的城市里的生活体验。他从吉林老家到北京中国政法大学，那是培养法官和律师、政治家的地方，这些人是他在书中最先描述的人。
He wrote on the side and sent stories to magazines, but received only rejection slips. Then he stumbled across an in-house Internet forum at Softo, the cosmetics company where he worked in Guangzhou. Hundreds of company employees posted on it, but people on the outside could also gain access. Amateurs were posting poems, short stories and serialized novels.
“I saw a novel titled ‘My Beijing,’ which inspired me,” Mr. Murong said. “I thought, ‘I can write that kind of thing as well.’ ”
他起初把写作当做兼职，给杂志社投稿，但是只收到退稿信。只到有一天他在广州自己工作的地方，Softo化妆品公司偶然撞见一个内网互联网论坛。成百上千的公司在该网站发布信息，但外部的人可以看到。老手发表诗歌，短篇小说以及系列小说。慕容先生说：“我看到一个名为《我的北京》的小说，它一下子激发了我的灵感。我想，我也可以写这种东西”。
In 2002, he began his novel of Chengdu. Using a pen name, “The Little Match That Sells Girls” — a twisted reference to Hans Christian Andersen’s “The Little Match Girl” — he posted his chapters online as he wrote them. The evolving novel gained notoriety and was reposted on forums. It was a bawdy page-turner: the protagonist, Chen Zhong, an employee at an automobile oil and parts company, regularly engages in bribery and adultery. There are sex scenes in bars and brothels. One of his best friends is a corrupt police officer.
2002年，他开始写作他的小说成都。使用了笔名，卖女孩的小火柴——这是对爱徒生作品《卖火柴的小女孩》的化用。这个展开的小说给他带来恶名，并在论坛被尖锐批评。这是本让人欲罢不能的书，主人公陈中，是一个汽车油配件公司的雇员，他经常行贿及通奸。小说中有酒吧及妓院中的性场景。他最好的朋友之一是一个腐败的警察。
But the freewheeling nature of the Internet could surprise even Mr. Murong. After posting Chapter 26, he went on a long business trip. He came back to find that someone else had written Chapter 27. “I had been pirated,” he said with a laugh. Now the book had two lives.
但是网络随心而至的天性甚至让慕容先生也觉得震惊。在写到第26章时，他出了长差。他回来之后，发现其他人已经写了第27章。他笑着说：“我曾被盗版”。现在这本书有两个版本。
Writing on the Internet meant, for the most part, working beyond the curtain of censorship. The print world was different. After Mr. Murong signed a contract to have the Chengdu novel published by Zhou Wen, an entrepreneur, he was forced to cut 10,000 words.
But he had an out. After the book was published, he posted an uncensored manuscript on the Internet, one that was even more complete than the chapter-by-chapter version he had written online. “It did feel liberating,” he said.
多数时候，在网上写作意味着规避了审查。出版业却不同。在慕容先生和企业家周文签到出版成都时，他被迫删了10000字。
但他却回避了。在书出版后，他贴出了未经审查的手稿，这个版本甚至比他一章一章更新的版本还要详尽。他说：“这确实让人觉得很自由”。
Some writers are skeptical that uncensored books on the Internet can have much of an effect. Chan Koonchung, the author of “The Fat Years,” a dystopian novel published in Hong Kong and Taiwan but banned on the mainland, has seen at least two electronic versions of his book posted by fans. But he said he believed that only a small number of mainland Chinese would read it online because it could not be discussed in the news media or any other forum. “Most people don’t know about these books,” Mr. Chan said. “So they’re not going to go onto the Internet to look for them.”
一些作家批评说，网络上未经审查的书会有不良影响。Chan Koonchung，是“肥年”的作者，这本书反乌托邦的，在香港和台湾出版了，但是在大陆是禁止的，但他却看到了两个由粉丝发表的版本。但他说，他确信在大陆只有少数人人会读到这本书，因为它是不能再任何媒体和论坛里讨论的。谄（音）先生说：“所以，他们不会在网上寻找这本书”。
Mr. Murong eventually persuaded another house to publish a complete edition of the Chengdu novel. Publication rights generally last three to five years in China, and publishers putting out editions beyond the first one sometimes feel more confident in reinserting passages that were originally censored.
慕容先生最终说服另一家出版社出版了完整版的成都。版权在中国通常延续三到五年，但是后来的出版商往往要比前一个更加自信地往书上增加删去的内容。
“Once a book gets past the censors and gets published, it is legitimate,” Mr. Murong said. “A couple of years later, you can publish the complete version. The logic is this: If the first version was not banned, why would the second one be?”
慕容说：“一旦书经过审查，并出版，它就是合法的。几年后，你可以出版完整版的。逻辑是，如果第一版没有被禁，第二版怎么会被禁呢？”
Learning the Lines
Mr. Murong began muzzling himself with his second book, “Heaven to the Left, Shenzhen to the Right,” about young people trying to make their fortunes in Shenzhen. “I already knew where the lines were, based on the experience of my first book being edited,” he said.
For example, Mr. Murong had originally intended for his protagonists to have experienced the 1989 Tiananmen Square protests and crackdown. But he said he did not dare cross this “untouchable red line.”
There was another impetus to self-censorship. “I always become good friends with the editors,” he said. “I don’t want to get my friends in trouble. If they say something is risky, or if they might lose their job over it, I’ll let them delete what they want.”
学习规则
慕容先生开始对再版的书保持缄默。《天堂向左，深圳向右》是一部关于年轻人在深圳想要创造自己财富的书。他说：“我已经知道那些句子是基于我第一本被删减的书”。
例如，慕容原先想要自己的主人公有着1989年天安门广场的抗议和镇压经历。但他说，他不敢穿越不可触碰的红线。自我审查还有另一种动力。他说：“我不想让我的朋友有麻烦。如果他们说有些事是冒险的，或者他们可能会因此失掉他们的工作，我会让他们删掉他们想删的。
As with the Chengdu novel, the complete version of the Shenzhen tale exists online. An uncensored version of Mr. Murong’s fourth novel, the one about the legal system, is sold as an e-book.
The intact version has, for example, a scene where the protagonist, a corrupt lawyer, is asked to sign away his organs while on death row.
“Now that I’m aware of my self-censoring tendencies, I try to make up for it while I write,” Mr. Murong said. “I can write one version and publish a ‘cleaner’ version.”
But sometimes it can be surprising what slips into the first print editions. Mr. Murong’s third novel, “Some Die of Greed,” a critique of China’s rampant materialism, has a scene in which wealthy men at a restaurant eat a woman’s breast and drink a virgin’s blood.
As Mr. Murong’s fame grew, the official Writers Association asked him to join, but he rejected their overtures. Meanwhile, he took his work in a new direction, toward journalism, which undergoes more scrutiny from censors than fiction.
就像成都这本书，深圳向右这本书的完整版也是在网上完成的。慕容先生的第四本书，讲述法律体系的，以电子书的形式在售卖。
例如，在签约版中，有一个场景，主人公，这位腐败的法官被要求签署同意死后捐献器官的协议。慕容说：“既然我很害怕自己的审查，我极力在写的时候克制自己。我可以写个版本，再写个干净的版本。但是有时，让他惊讶是，自己会不由自主的写出第一个版本。慕容先生的第三部书《死于贪婪》，是一本批评中国猖獗的物质主义的书，有一个场景，一个有钱的男人在饭店吃妇女的胸，喝处女的血。
随着慕容名声日长，官方的作协想要他加入，但被他拒绝了。同时，他开始了写作的新方向，朝着新闻业，这比小说的审查还要严格。
Mr. Murong’s most painful struggle with censorship came when he worked with an editor from Heping Publishing House on his latest book, “China: In the Absence of a Remedy,” the nonfiction exposé that documents Mr. Murong’s 23 days spent undercover to investigate a pyramid scheme. There were endless negotiations. Even a phrase like “Chinese people” had to be changed to “some people.” Mr. Murong yelled at the editor, smashed a cup on the floor and punched the wall of his home.
“It was like someone was whipping me for no reason,” Mr. Murong said. “In 2008, the censorship was painful, and I could endure it. But in 2010, I couldn’t endure it anymore.”
Zhang Jingtao, the editor, said he wanted to “make the book more appropriate for our society and our times.”
“Publishing is a cultural activity, which falls under the realm of ideology,” Mr. Zhang said. “My job is to be the ideological quality control.”
慕容先生和审查最痛苦的纠缠是在他最新的一本书，“中国，无法救赎”，要出版时面对来自希望出版社的主编。这本书不是小说，而是慕容先生调查传销后写成的。尽管一些词汇，如中国人民被换成了一些人。慕容先生非常不满，朝着主编怒吼，并愤愤抓起一个茶杯，恨恨摔向他家的墙壁。
慕容先生说，这就像有个人在无故鞭笞我。在2008年，审查让人痛苦，我还能忍。但在2010年，我再也忍不了了。
张敬涛（音）编辑，说，他想要让这本书更加符合这个社会和时代。
张说：“出版是文化活动，是意识形态领域，我的工作是确保意识形态的纯洁”。
The book was published last year to great acclaim, even if it was incomplete. Newspapers ran articles on Mr. Murong’s role in alerting the police to the fraud ring. The book was serialized in People’s Literature, a magazine co-founded by Mao. Its editors decided to award Mr. Murong the magazine’s annual literature prize.
Last November, the day before the award ceremony, Mr. Murong spent eight hours preparing his speech. He wrote: “The only truth is that we cannot speak the truth. The only acceptable viewpoint is that we cannot express a viewpoint.” It was 4,000 words long. In the end, not a single one was spoken.
这本书在去年出版，给慕容带来了很多喝彩，尽管这不完整版。报纸连载了慕容先生的书，结果使得警察介入了该丑闻中。该结果直接使得慕容先生获得该杂志的年度文学奖。
去年11月，在颁奖典礼前一天，慕容先生花了8小时准备他的演讲。他写道：“唯一的事实是，我们不能说真话。唯一能被接受的观点是我们不能表达观点”。它有4000字长。最后的最后，一个字也没有被说出来。
这是缺乏自信，自卑的表现！
巨大的建设成就，却只是使得自身在自大与自卑间，不断跳跃！ 本帖最后由 ykfo2 于 2011-11-30 14:59 编辑
来看看油土鳖的自信
http://bbs.m4.cn/thread-90719-1-1.html
http://bbs.m4.cn/data/attachment/forum/day_080816/20080816_36b865b4de1f9b864baaBoaBc5dAwjG9.jpg
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