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The language of Tlön is really fascinating. A language where nouns are formed from verbs, or from adjectives, makes me realize that nouns—and naming in general—are just ways of capturing things that are fluid and fleeting. What we call truth is really just an illusion created by language; all facts are just arbitrary combinations made at a specific moment in time. Our worldview is incredibly self-serving.

谁看完还对白人有幻想是这个 👍

头昏脑胀地看着，我真对男人的历史感到厌倦。战马，保健，斧头等，妃嫔，不想看正史里忽然流露出的性欲。

“He took what he could get, ravenously and unscrupulously—eventually he took Daisy one still October night, took her because he had no real right to touch her hand.” is actually so disturbing for me. Almost as disturbing as the ‘suspense’ that makes me scream to ask what happens in the last two chapters..

奇趣蛋最后只让我觉得心如刀割，不忍泪流。让我想起许多形形色色的老人，未来只剩下一个房间后，应该怎么办呢？

奇趣蛋这章很像《芒果街上的小屋》，可能童趣的目光都是相似的，人对童年的记忆也都类似。杀人犯也有小学同学…

夏天（难道是在下最后一场雨时），一把《狐狸》看完，我开始第一次读这本书。把前二十多页草草扫了一遍，颤抖不已，不敢再读。回荷兰的飞机上只带了这本书，又试图在高空上重读，只觉眩晕。到家后再看（我在阿姆斯特丹并没有多少中文书，不敢一下全部看完），看完第二章，只觉得我和她所思所想类似。

我不喜欢

我怀念风筝

很有意思的声音

作家却很动人

我不在乎你的市民阶级的生活

这个老铁有着好传统的男权骑士情怀。看着让人头疼。

一到第二章，作家好像在彼得的视角里站起来了。再也无需揣摩和捏造女人的妒忌，他只需要发出男人的声音，一个被某权威伤害的男人的呻吟。现在每每读这样的小说，我只觉得这是男作家像小男孩一样的牢骚。你的阶级没有伤害你，你的父亲在。

如果他再提一句市民阶级我就晕倒了