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螠喂伪 维位位畏 纬位蠀魏喂维 未喂维蟽蟿伪蟽畏
螠喂伪 渭喂魏蟻萎 魏慰喂谓蠅谓委伪 魏伪喂 慰喂 魏维蟿慰喂魏慰委 蟿畏蟼. 螠喂伪 喂蟽蟿慰蟻委伪 魏伪喂 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 蟿畏蟼. 韦慰 伪谓伪蟺维谓蟿蔚蠂慰 魏伪喂 慰喂 蟽蠀谓苇蟺蔚喂蔚蟼. 螚 未慰魏喂渭伪蟽委伪 蟿蠅谓 蟽蠂苇蟽蔚蠅谓. 韦伪 蟻畏蟿维 魏伪喂 蟿伪 蠀蟺蠈蟻蟻畏蟿伪. 螆谓伪 蟽蠂苇未喂慰 渭蔚 蟽委纬慰蠀蟻畏 苇魏尾伪蟽畏. 螠喂伪 伪蟻蠂苇纬慰谓畏 伪渭伪蟻蟿委伪 蟺蟻苇蟺蔚喂 谓伪 蟽蠀纬蠂蠅蟻蔚胃蔚委. 螤慰喂慰 胃伪 蔚委谓伪喂 蟿慰 蟿委渭畏渭伪; 螌位慰喂 苇蠂慰蠀谓 魏维蟿喂 谓伪 魏蟻蠉蠄慰蠀谓 魏伪喂 蠈位慰喂 苇蠂慰蠀谓 未委魏喂慰.
韦苇蟽蟽蔚蟻伪 维蟿慰渭伪 伪谓慰委纬慰蠀谓 蟿畏谓 蟺蠈蟻蟿伪 渭喂伪蟼 伪蠁萎纬畏蟽畏蟼. 螌蟿伪谓 蟿畏谓 尉伪谓伪魏位蔚委谓慰蠀谓 蟿委蟺慰蟿伪 未蔚谓 蔚委谓伪喂 蟺喂伪 蟿慰 委未喂慰. 螘魏蟿蠈蟼, 尾苇尾伪喂伪, 伪蟺蠈 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蟺慰蠀 未蔚谓 魏维谓慰蠀谓 蟿委蟺慰蟿伪 维位位慰 伪蟺蠈 蟿慰 谓伪 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓 蟿畏 未蠀谓伪蟿萎 魏伪喂 蟽伪胃蟻萎, 蠂蠅渭维蟿喂谓畏 魏伪喂 胃蔚蠆魏萎 蟿慰蠀蟼 蠀蟺蠈蟽蟿伪蟽畏.
螣 胃维谓伪蟿慰蟼 未蔚谓 蔚委谓伪喂 蟿慰 蟺蟻蠈尾位畏渭伪 蟿慰 蟺蟻蠈尾位畏渭伪 蔚委谓伪喂 谓伪 尉伪谓伪蟺喂伪蟽蟿蔚委蟼 伪蟺蠈 蟿伪 蟽蠀谓蟿蟻委渭渭喂伪 渭喂伪蟼, 蟺伪蟻' 蠈位伪 伪蠀蟿维, 纬位蠀魏喂维蟼 味蠅萎蟼.
危蟿慰 尾喂尾位委慰 蟿慰蠀 芦螠喂伪 螁位位畏 螕位蠀魏喂维 螖喂维蟽蟿伪蟽畏禄 慰 巍维蟽蔚位 螠蟺伪谓魏蟼 尉蔚蟿蠀位委纬蔚喂 蟿慰 谓萎渭伪 渭喂伪蟼 喂蟽蟿慰蟻委伪蟼, 蟺慰蠀 伪蟻蠂委味蔚喂 渭蔚 蟿慰 蟺慰位蠉谓蔚魏蟻慰 未蠀蟽蟿蠉蠂畏渭伪 蔚谓蠈蟼 蟽蠂慰位喂魏慰蠉 位蔚蠅蠁慰蟻蔚委慰蠀. 螣 螠蟺伪谓魏蟼 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿苇蟽蟽蔚蟻喂蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 伪蠁畏纬畏蟿苇蟼 魏伪喂 蟺位苇魏蔚喂 蟿慰 畏胃喂魏蠈 未委位畏渭渭伪 渭喂伪蟼 渭喂魏蟻萎蟼 魏慰喂谓蠅谓委伪蟼. 螆谓伪 未委位畏渭渭伪 蟺慰蠀 蠁苇蟻谓蔚喂 蟽蟿慰 蠁蠅蟼 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 尾伪蟽伪谓喂蟽蟿喂魏维 蔚蟻蠅蟿萎渭伪蟿伪 蟿畏蟼 味蠅萎蟼: 蠈蟿伪谓 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 蟽蠀渭尾蔚委, 蟽蔚 蟺慰喂慰谓 蟻委蠂谓蔚喂蟼 蟿慰 蠁蟿伪委尉喂渭慰;
韦苇蟽蟽蔚蟻伪 维蟿慰渭伪 伪谓慰委纬慰蠀谓 蟿畏谓 蟺蠈蟻蟿伪 渭喂伪蟼 伪蠁萎纬畏蟽畏蟼. 螌蟿伪谓 蟿畏谓 尉伪谓伪魏位蔚委谓慰蠀谓 蟿委蟺慰蟿伪 未蔚谓 蔚委谓伪喂 蟺喂伪 蟿慰 委未喂慰. 螘魏蟿蠈蟼, 尾苇尾伪喂伪, 伪蟺蠈 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蟺慰蠀 未蔚谓 魏维谓慰蠀谓 蟿委蟺慰蟿伪 维位位慰 伪蟺蠈 蟿慰 谓伪 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓 蟿畏 未蠀谓伪蟿萎 魏伪喂 蟽伪胃蟻萎, 蠂蠅渭维蟿喂谓畏 魏伪喂 胃蔚蠆魏萎 蟿慰蠀蟼 蠀蟺蠈蟽蟿伪蟽畏.
螣 胃维谓伪蟿慰蟼 未蔚谓 蔚委谓伪喂 蟿慰 蟺蟻蠈尾位畏渭伪 蟿慰 蟺蟻蠈尾位畏渭伪 蔚委谓伪喂 谓伪 尉伪谓伪蟺喂伪蟽蟿蔚委蟼 伪蟺蠈 蟿伪 蟽蠀谓蟿蟻委渭渭喂伪 渭喂伪蟼, 蟺伪蟻' 蠈位伪 伪蠀蟿维, 纬位蠀魏喂维蟼 味蠅萎蟼.
危蟿慰 尾喂尾位委慰 蟿慰蠀 芦螠喂伪 螁位位畏 螕位蠀魏喂维 螖喂维蟽蟿伪蟽畏禄 慰 巍维蟽蔚位 螠蟺伪谓魏蟼 尉蔚蟿蠀位委纬蔚喂 蟿慰 谓萎渭伪 渭喂伪蟼 喂蟽蟿慰蟻委伪蟼, 蟺慰蠀 伪蟻蠂委味蔚喂 渭蔚 蟿慰 蟺慰位蠉谓蔚魏蟻慰 未蠀蟽蟿蠉蠂畏渭伪 蔚谓蠈蟼 蟽蠂慰位喂魏慰蠉 位蔚蠅蠁慰蟻蔚委慰蠀. 螣 螠蟺伪谓魏蟼 蠂蟻畏蟽喂渭慰蟺慰喂蔚委 蟿苇蟽蟽蔚蟻喂蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 伪蠁畏纬畏蟿苇蟼 魏伪喂 蟺位苇魏蔚喂 蟿慰 畏胃喂魏蠈 未委位畏渭渭伪 渭喂伪蟼 渭喂魏蟻萎蟼 魏慰喂谓蠅谓委伪蟼. 螆谓伪 未委位畏渭渭伪 蟺慰蠀 蠁苇蟻谓蔚喂 蟽蟿慰 蠁蠅蟼 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 尾伪蟽伪谓喂蟽蟿喂魏维 蔚蟻蠅蟿萎渭伪蟿伪 蟿畏蟼 味蠅萎蟼: 蠈蟿伪谓 蟿慰 蠂蔚喂蟻蠈蟿蔚蟻慰 蟽蠀渭尾蔚委, 蟽蔚 蟺慰喂慰谓 蟻委蠂谓蔚喂蟼 蟿慰 蠁蟿伪委尉喂渭慰;
285 pages, Paperback
First published January 1, 1991
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5938 people want to read
About the author
Russell Banks
118听books981听followersRussell Banks was a member of the International Parliament of Writers and a member of the American Academy of Arts and Letters. His work has been translated into twenty languages and has received numerous international prizes and awards. He has written fiction, and more recently, non-fiction, with Dreaming up America. His main works include the novels Continental Drift, Rule of the Bone, Cloudsplitter, The Sweet Hereafter, and Affliction. The latter two novels were each made into feature films in 1997.
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August 13, 2023
IL DOLCE ALDIL脌
Non c鈥櫭� proprio nulla di dolce nel domani che Russell Banks narra. Niente di dolce neppure nell鈥檃ldil脿, come indica il titolo originale: The Sweet Hereafter.
E pi霉 che un aldil脿, c鈥櫭� un di qua e un di l脿, un prima e un dopo. In mezzo, a fare da spartiacque, l鈥檌ncidente: lo scuolabus che esce di strada, rotola e finisce in un鈥檈norme pozza ghiacciata, prendendosi la vita di quattordici bambini, lasciandone una sulla sedia a rotelle, la pi霉 bella della classe, una futura Miss America, e altri del tutto incolumi.
脠 proprio la quattordicenne Nicole, che sarebbe potuta diventare Miss America, 猫 proprio lei il punto di svolta: 猫 la sua voce quella che, per quanto sommessa, urla e fa pi霉 male, cambia le carte in tavola, sancisce la verit脿. Almeno quella processuale.
Lei che 猫 stata 鈥榝ortunata鈥�, ha salvato la vita: ma ha perso la spina dorsale.
Ian Holm 猫 l鈥檃vvocato. Qui assiste alla deposizione di Nicole/Sarah Polley.
Il romanzo 猫 affidato alla voce di quattro personaggi principali: Dolores che guidava lo scuolabus (da cinquanta posti, uno bello grande); Bill, il padre dei gemelli morti; la giovane Nicole; e l鈥檃vvocato venuto da New York a far causa alle varie amministrazioni, locale, statale, federale.
Ha ragione la quarta di copertina che tira in ballo il regista Robert Altman: ci sono echi del suo cinema, a cominciare da Short Cuts 鈥� America oggi, quell鈥橝merica minore e dimenticata, quietamente disperata nell鈥檃pparente tranquillit脿 della sua routine quotidiana.
E ha ragione lo stesso Banks quando dice che negli Stati Uniti, da una ventina d鈥檃nni, qualcosa di terribile 猫 accaduto ai nostri bambini. Li abbiamo persi..
E una comunit脿 che perde i bambini perde l鈥檃nima, si legge in queste pagine.
Bruce Greenwood 猫 Bill Ansel, il meglio fico del bigoncio. Chiss脿 perch茅 Egoyan ha voluto toglierli un incisivo.
L鈥橝merica 猫 in uno stato di crisi profonda, antropologica, in cui le istituzioni di base (famiglia, scuola, chiesa, villaggio, comunit脿) sono crollate le une dopo le altre. Con la perdita dei nostri bambini, l鈥檃vvenire passa dietro di noi, e ci lascia di fronte al dolce domani illusorio.
La metafora 猫 suggestiva, e forse anche un po鈥� esasperata.
Per restare a cavallo tra domani e aldil脿, cos鈥櫭� peggio, la tragedia di morire, o il dolore di sopravvivere? La morte che si porta via tuo figlio ancora bambino o la vita che ti tiene in piedi e ti fa sopravvivere?
Poco prima dell鈥檌ncidente.
Il film di Atom Egoyan, regista festivaliero che generalmente trovo un po鈥� sopravvalutato, 猫 forse uno dei suoi migliori. Anche se io non ho apprezzato alcuni aspetti cambiati o introdotti ex novo quasi a voler rimarcare l鈥檌mpresa autoriale del regista armeno-canadese, ha comunque la sua forza, sia visiva che narrativa. Per Egoyan l鈥檌ncidente in s茅 猫 ben meno cruciale che nel romanzo, lo mostra a met脿 film senza indulgere in effetti speciali, visto quasi di sfondo: la sua attenzione 猫 sulle conseguenze, sul senso di comunit脿 che si disgrega, sulle motivazioni dell鈥檃vvocato che qui diventa il personaggio centrale.
Dolores, l鈥檃utista dello scuolabus, interpretata da Gabrielle Rose.
Nicole con suo padre.
Non c鈥櫭� proprio nulla di dolce nel domani che Russell Banks narra. Niente di dolce neppure nell鈥檃ldil脿, come indica il titolo originale: The Sweet Hereafter.
E pi霉 che un aldil脿, c鈥櫭� un di qua e un di l脿, un prima e un dopo. In mezzo, a fare da spartiacque, l鈥檌ncidente: lo scuolabus che esce di strada, rotola e finisce in un鈥檈norme pozza ghiacciata, prendendosi la vita di quattordici bambini, lasciandone una sulla sedia a rotelle, la pi霉 bella della classe, una futura Miss America, e altri del tutto incolumi.
脠 proprio la quattordicenne Nicole, che sarebbe potuta diventare Miss America, 猫 proprio lei il punto di svolta: 猫 la sua voce quella che, per quanto sommessa, urla e fa pi霉 male, cambia le carte in tavola, sancisce la verit脿. Almeno quella processuale.
Lei che 猫 stata 鈥榝ortunata鈥�, ha salvato la vita: ma ha perso la spina dorsale.
Ian Holm 猫 l鈥檃vvocato. Qui assiste alla deposizione di Nicole/Sarah Polley.
Il romanzo 猫 affidato alla voce di quattro personaggi principali: Dolores che guidava lo scuolabus (da cinquanta posti, uno bello grande); Bill, il padre dei gemelli morti; la giovane Nicole; e l鈥檃vvocato venuto da New York a far causa alle varie amministrazioni, locale, statale, federale.
Ha ragione la quarta di copertina che tira in ballo il regista Robert Altman: ci sono echi del suo cinema, a cominciare da Short Cuts 鈥� America oggi, quell鈥橝merica minore e dimenticata, quietamente disperata nell鈥檃pparente tranquillit脿 della sua routine quotidiana.
E ha ragione lo stesso Banks quando dice che negli Stati Uniti, da una ventina d鈥檃nni, qualcosa di terribile 猫 accaduto ai nostri bambini. Li abbiamo persi..
E una comunit脿 che perde i bambini perde l鈥檃nima, si legge in queste pagine.
Bruce Greenwood 猫 Bill Ansel, il meglio fico del bigoncio. Chiss脿 perch茅 Egoyan ha voluto toglierli un incisivo.
L鈥橝merica 猫 in uno stato di crisi profonda, antropologica, in cui le istituzioni di base (famiglia, scuola, chiesa, villaggio, comunit脿) sono crollate le une dopo le altre. Con la perdita dei nostri bambini, l鈥檃vvenire passa dietro di noi, e ci lascia di fronte al dolce domani illusorio.
La metafora 猫 suggestiva, e forse anche un po鈥� esasperata.
Per restare a cavallo tra domani e aldil脿, cos鈥櫭� peggio, la tragedia di morire, o il dolore di sopravvivere? La morte che si porta via tuo figlio ancora bambino o la vita che ti tiene in piedi e ti fa sopravvivere?
Poco prima dell鈥檌ncidente.
Il film di Atom Egoyan, regista festivaliero che generalmente trovo un po鈥� sopravvalutato, 猫 forse uno dei suoi migliori. Anche se io non ho apprezzato alcuni aspetti cambiati o introdotti ex novo quasi a voler rimarcare l鈥檌mpresa autoriale del regista armeno-canadese, ha comunque la sua forza, sia visiva che narrativa. Per Egoyan l鈥檌ncidente in s茅 猫 ben meno cruciale che nel romanzo, lo mostra a met脿 film senza indulgere in effetti speciali, visto quasi di sfondo: la sua attenzione 猫 sulle conseguenze, sul senso di comunit脿 che si disgrega, sulle motivazioni dell鈥檃vvocato che qui diventa il personaggio centrale.
Dolores, l鈥檃utista dello scuolabus, interpretata da Gabrielle Rose.
Nicole con suo padre.
April 17, 2018
Recipe for Russell Bank's Sweet Hereafter
Ingredients required
17 dead teenagers and little kids
2 living teenagers
1 bus
1 bus driver (female)
1 river
1 road
Twenty-five large scoops of ice and snow
Four bags of bad weather (can be found at most supermarkets)
1 small town
Approx 35 parents
Reporters (a handful will do)
2 lawyers
1 oz morality
10 oz sentimentality
1 box soapflakes
4 boxes Kleenex
Method
Sprinkle the ice and snow on the road. Tilt the road 25 degrees, with the edge of the road close to the edge of the river (this is called the banks). Add the teenagers and the driver to the bus and leave for 20 minutes. Set the bus at the top of the slope which by now should be fairly well covered in ice and snow. (If you have any strong wind, you can introduce that to taste). Allow the bus to roll backwards into the river. Stir. Wait for the bus and the teenagers to settle.
Add the morality, the sentimentality and the soapflakes. Beat with wooden spoon for a while.
Now add parents and lawyers to the mix. Wait for them to settle. This may take a while.
Ingredients required
17 dead teenagers and little kids
2 living teenagers
1 bus
1 bus driver (female)
1 river
1 road
Twenty-five large scoops of ice and snow
Four bags of bad weather (can be found at most supermarkets)
1 small town
Approx 35 parents
Reporters (a handful will do)
2 lawyers
1 oz morality
10 oz sentimentality
1 box soapflakes
4 boxes Kleenex
Method
Sprinkle the ice and snow on the road. Tilt the road 25 degrees, with the edge of the road close to the edge of the river (this is called the banks). Add the teenagers and the driver to the bus and leave for 20 minutes. Set the bus at the top of the slope which by now should be fairly well covered in ice and snow. (If you have any strong wind, you can introduce that to taste). Allow the bus to roll backwards into the river. Stir. Wait for the bus and the teenagers to settle.
Add the morality, the sentimentality and the soapflakes. Beat with wooden spoon for a while.
Now add parents and lawyers to the mix. Wait for them to settle. This may take a while.
March 12, 2019
螛蠀渭维渭伪喂 蔚委蠂伪 蔚蟺喂蟽魏蔚蠁蟿蔚委 渭喂伪 蟺伪位喂维 渭慰蠀 蟽蠀渭渭伪胃萎蟿蟻喂伪 蟺慰蠀 蟽蟺慰蠉未伪味蔚 蟽蟿畏谓 螒胃萎谓伪 蟿慰 渭伪魏蟻喂谓蠈 1997. 螘委蠂蔚 渭蠈位喂蟼 尾纬蔚喂 蟿慰 螕位蠀魏蠈 螤蔚蟺蟻蠅渭苇谓慰 蟽蟿喂蟼 伪委胃慰蠀蟽蔚蟼 魏伪喂 蟿畏谓 蔚委未伪渭蔚 蟽蔚 苇谓伪 蟽喂谓蔚渭维 蟽蟿畏谓 螝伪位位喂胃苇伪 (;).
危慰魏. 21 蠂蟻蠈谓喂伪 渭蔚蟿维, 伪魏蠈渭畏 胃蠀渭维渭伪喂 苇谓伪 蟽蠂慰位喂魏蠈 谓伪 纬位喂蟽蟿蟻维蔚喂 蟽蟿慰 蠂喂蠈谓喂. 螠伪魏蟻喂谓蠈 蟺位维谓慰. 韦慰 蟽蠂慰位喂魏蠈 尾慰蠀位喂维味蔚喂 蟽蠂蔚未蠈谓 伪胃蠈蟻蠀尾伪 蟽蟿畏谓 蟺伪纬蠅渭苇谓畏 位委渭谓畏. 螝维蟺慰喂蔚蟼 渭伪魏蟻喂谓苇蟼 蟺伪喂未喂魏苇蟼 魏蟻伪蠀纬苇蟼. 螝伪蟿.
危蟿慰 未喂维位蔚喂渭渭伪 苇谓伪蟼 维谓蟿蟻伪蟼 伪蟺蠈 苇谓伪 味蔚蠀纬维蟻喂 蟽蟿伪 渭蟺蟻慰蟽蟿喂谓维 魏伪胃委蟽渭伪蟿伪 伪谓伪魏维位蠀蟺蟿蔚 渭蔚 蟽慰魏 蟿慰 渭蠀蟽蟿喂魏蠈 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿畏蟼 蔚蟺喂味萎蟽伪蟽伪蟼.
螤蟻慰渭畏胃蔚蠉蟿畏魏伪 蟽蠂蔚未蠈谓 伪渭苇蟽蠅蟼 蟿慰 蟽蠂蔚未蠈谓 伪蟺蠈魏慰蟽渭慰 蟽维慰蠀谓蟿蟻伪魏 蟿慰 慰蟺慰委慰 苇位喂蠅蟽伪
魏伪喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 21 蠂蟻蠈谓喂伪 蟽蠂蔚未蠈谓 苇渭蔚喂谓蔚 伪未喂维尾伪蟽蟿慰 蟽蟿畏谓 尾喂尾位喂慰胃萎魏畏 渭慰蠀 (尉蔚魏委谓畏蟽伪 谓伪 蟿慰 未喂伪尾维味蠅, 谓慰渭委味蠅 蟺苇蟻喂蟽蠀, 伪位位维 伪蟻蟻蠋蟽蟿畏蟽伪 魏伪喂 蟿慰 蟺伪蟻维蟿畏蟽伪). 危蟿慰 渭蔚蟿伪尉蠉 魏蠀魏位慰蠁蠈蟻畏蟽蔚 畏 谓苇伪 苇魏未慰蟽畏 渭蔚 蟿慰谓 蟿委蟿位慰 蟿畏蟼 蟿伪喂谓委伪蟼 "韦慰 纬位蠀魏蠈 蟺蔚蟺蟻蠅渭苇谓慰". 螤蠅蟼 渭蔚蟿伪蠁蟻维味蔚喂蟼 伪位萎胃蔚喂伪 蟿慰 hereafter ; 危蟿伪 纬伪位位喂魏维 蔚委蠂蔚 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蠅蟼 "De beaux lendemains". 韦伪 "蠈渭慰蟻蠁伪 蔚蟺伪蠉蟻喂慰"; (sic)
韦喂 蔚喂蟻蠅谓蔚委伪 蟺慰蠀 蔚委蠂伪 未蔚喂 伪蠀蟿萎 蟿畏谓 蟿伪喂谓委伪 渭蔚 蟿畏谓 蟽蠀渭渭伪胃萎蟿蟻喂伪 渭慰蠀. 围伪胃萎魏伪渭蔚 蟽蠂蔚未蠈谓 渭喂伪 20蔚蟿委伪, 蟺萎纬伪 蟽蟿慰谓 纬维渭慰 蟿畏蟼, 魏伪喂 伪蠀蟿蠈 萎蟿伪谓 蠈位慰. 螕喂伪 谓伪 渭维胃蠅 蟺苇蟻蠀蟽喂, 位委纬慰 蟺蟻喂谓 蟿喂蟼 纬喂慰蟻蟿苇蟼, 蠈蟿喂 魏伪喂 伪蠀蟿萎 蟽蠂蔚未蠈谓 伪胃蠈蟻蠀尾伪 纬位委蟽蟿蟻畏蟽蔚 蟽蔚 渭喂伪 蟽蟿蟻慰蠁萎, 渭蔚胃蠀蟽渭苇谓畏, 纬蠀蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿畏谓 蟺伪蟻维谓慰渭畏 蟽蠂苇蟽畏 蟺慰蠀 蔚委蠂蔚, 位委纬伪 渭苇蟿蟻伪 蟺蟻喂谓 蟿慰 蟽蟺委蟿喂 蟿畏蟼. 螕喂伪蟿委 ; 韦蠈蟽慰 维未喂魏伪. 韦喂 蔚喂蟻蠅谓蔚委伪, 蟽蠀纬魏苇谓蟿蟻蠅蟽蔚 魏维蟺慰喂伪 伪蟺蠈 蟿伪 尾伪蟽喂魏维 胃苇渭伪蟿伪 蟿畏蟼 蟿伪喂谓委伪蟼 魏伪喂 蟿慰蠀 尾喂尾位委慰蠀. 螚 魏位蔚喂蟽蟿萎 蔚蟺伪蟻蠂委伪 渭蔚 蟿伪 渭蠀蟽蟿喂魏维 蟿畏蟼, 畏 蟽蠀味蠀纬喂魏萎 伪蟺喂蟽蟿委伪, 蟿慰 蟺慰蟿蠈, 蟿慰 伪蟿蠉蠂畏渭伪, 苇谓伪 蟺伪喂未委 蟺慰蠀 蠁蔚蠉纬蔚喂. 螕喂伪蟿委 伪魏蠈渭畏 魏伪喂 蟽蟿伪 40 蟽慰蠀 蔚委蟽伪喂 蟺伪喂未委. 螝伪喂 蟺畏纬伪委谓慰谓蟿伪蟼 蟽蟺委蟿喂 蟿畏蟼 纬喂伪 蟿伪 伪蟺伪蟻伪委蟿畏蟿伪 蟽蠀位位蠀蟺畏蟿萎蟻喂伪 渭蔚 蟿慰蠀蟼 尾慰蠀尾慰蠉蟼 纬慰谓蔚委蟼 蟿畏蟼 , 尉伪谓伪纬蠉蟻喂蟽伪 21 蠂蟻蠈谓喂伪 蟺委蟽蠅.
螞委纬伪 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿畏谓 蟿伪喂谓委伪 魏伪喂 蟿慰 尾喂尾位委慰, 苇谓伪 蠂蠅蟻喂蠈 蟺伪蟻伪未委蟺位伪 胃伪 味慰蠉蟽蔚 蟿慰 未喂魏蠈 蟿慰蠀 螕位蠀魏蠈 螤蔚蟺蟻蠅渭苇谓慰, 渭蔚 渭伪胃畏蟿苇蟼 谓伪 苇尾蟻喂蟽魏伪谓 蟿慰谓 胃维谓伪蟿慰.
Fast forward 21 蠂蟻蠈谓喂伪 渭蔚蟿维, 蠈位伪 伪蠀蟿维 蟺慰蠀 未喂伪蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 蟿慰 尾喂尾位委慰 , 伪蟺蠈 伪蟿蠀蠂萎渭伪蟿伪 渭苇蠂蟻喂 蟿伪 蟺喂慰 蟽魏慰蟿蔚喂谓维 渭蠀蟽蟿喂魏维 蟿慰蠀 蟿伪 苇蠂蠅 未蔚喂, 蟿委蟺慰蟿伪 未蔚谓 渭蔚 蟽慰魏维蟻蔚喂 蟺喂伪-蟿伪 尾位苇蟺蠅 位委纬慰 伪蟺蠈 伪蟺蠈蟽蟿伪蟽畏 渭蔚 渭蟺蟻蔚蠂蟿喂魏萎 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏. 螒谓 魏伪喂 未蔚谓 魏伪蟿维位伪尾伪 慰蠉蟿蔚 蟽蟿畏谓 蟿伪喂谓委伪-委蟽蠅蟼 蟺蟻苇蟺蔚喂 谓伪 蟿畏谓 尉伪谓伪未蠋,渭维位位慰谓 未蔚谓 胃蠀渭维渭伪喂-慰蠉蟿蔚 蟽蟿慰 尾喂尾位委慰 纬喂伪蟿委 畏 尾伪蟽喂魏萎 渭维蟻蟿蠀蟻伪蟼 魏伪喂 蔚蟺喂味萎蟽伪蟽伪 蔚委蟺蔚 蠄苇渭伪蟿伪, 蠀蟺维蟻蠂蔚喂 魏伪喂 蟽蠂蔚蟿喂魏蠈 魏慰渭渭维蟿喂 "Why I lied" 蟽蟿慰 蟽维慰蠀谓蟿蟻伪魏. 螣 "蔚蟺委蟽畏渭慰蟼" 位蠈纬慰蟼 蔚委谓伪喂 尾位伪魏蠋未畏蟼. 螠伪谓蟿蔚蠉蠅 苇谓伪谓 维位位慰 蟺喂慰 蟽魏慰蟿蔚喂谓蠈, 伪位位维 胃伪 蟺蟻苇蟺蔚喂 谓伪 魏维谓蠅 蟽蟺蠈喂位蔚蟻.
螠蔚纬维位慰 尾喂尾位委慰, 渭蔚纬维位畏 蟿伪喂谓委伪.
螝伪喂 蟽蠂蔚未蠈谓 伪蟺蠈位蠀蟿伪 蟺喂蟽蟿萎 畏 蟿伪喂谓委伪 蟽蟿慰 尾喂尾位委慰. 螚 蟺蟻慰蟽胃萎魏畏 蟿慰蠀 The Pied Pipper ; 螒蟻喂蟽蟿慰蠉蟻纬畏渭伪.
危慰魏. 21 蠂蟻蠈谓喂伪 渭蔚蟿维, 伪魏蠈渭畏 胃蠀渭维渭伪喂 苇谓伪 蟽蠂慰位喂魏蠈 谓伪 纬位喂蟽蟿蟻维蔚喂 蟽蟿慰 蠂喂蠈谓喂. 螠伪魏蟻喂谓蠈 蟺位维谓慰. 韦慰 蟽蠂慰位喂魏蠈 尾慰蠀位喂维味蔚喂 蟽蠂蔚未蠈谓 伪胃蠈蟻蠀尾伪 蟽蟿畏谓 蟺伪纬蠅渭苇谓畏 位委渭谓畏. 螝维蟺慰喂蔚蟼 渭伪魏蟻喂谓苇蟼 蟺伪喂未喂魏苇蟼 魏蟻伪蠀纬苇蟼. 螝伪蟿.
危蟿慰 未喂维位蔚喂渭渭伪 苇谓伪蟼 维谓蟿蟻伪蟼 伪蟺蠈 苇谓伪 味蔚蠀纬维蟻喂 蟽蟿伪 渭蟺蟻慰蟽蟿喂谓维 魏伪胃委蟽渭伪蟿伪 伪谓伪魏维位蠀蟺蟿蔚 渭蔚 蟽慰魏 蟿慰 渭蠀蟽蟿喂魏蠈 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿畏蟼 蔚蟺喂味萎蟽伪蟽伪蟼.
螤蟻慰渭畏胃蔚蠉蟿畏魏伪 蟽蠂蔚未蠈谓 伪渭苇蟽蠅蟼 蟿慰 蟽蠂蔚未蠈谓 伪蟺蠈魏慰蟽渭慰 蟽维慰蠀谓蟿蟻伪魏 蟿慰 慰蟺慰委慰 苇位喂蠅蟽伪
魏伪喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 21 蠂蟻蠈谓喂伪 蟽蠂蔚未蠈谓 苇渭蔚喂谓蔚 伪未喂维尾伪蟽蟿慰 蟽蟿畏谓 尾喂尾位喂慰胃萎魏畏 渭慰蠀 (尉蔚魏委谓畏蟽伪 谓伪 蟿慰 未喂伪尾维味蠅, 谓慰渭委味蠅 蟺苇蟻喂蟽蠀, 伪位位维 伪蟻蟻蠋蟽蟿畏蟽伪 魏伪喂 蟿慰 蟺伪蟻维蟿畏蟽伪). 危蟿慰 渭蔚蟿伪尉蠉 魏蠀魏位慰蠁蠈蟻畏蟽蔚 畏 谓苇伪 苇魏未慰蟽畏 渭蔚 蟿慰谓 蟿委蟿位慰 蟿畏蟼 蟿伪喂谓委伪蟼 "韦慰 纬位蠀魏蠈 蟺蔚蟺蟻蠅渭苇谓慰". 螤蠅蟼 渭蔚蟿伪蠁蟻维味蔚喂蟼 伪位萎胃蔚喂伪 蟿慰 hereafter ; 危蟿伪 纬伪位位喂魏维 蔚委蠂蔚 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蠅蟼 "De beaux lendemains". 韦伪 "蠈渭慰蟻蠁伪 蔚蟺伪蠉蟻喂慰"; (sic)
韦喂 蔚喂蟻蠅谓蔚委伪 蟺慰蠀 蔚委蠂伪 未蔚喂 伪蠀蟿萎 蟿畏谓 蟿伪喂谓委伪 渭蔚 蟿畏谓 蟽蠀渭渭伪胃萎蟿蟻喂伪 渭慰蠀. 围伪胃萎魏伪渭蔚 蟽蠂蔚未蠈谓 渭喂伪 20蔚蟿委伪, 蟺萎纬伪 蟽蟿慰谓 纬维渭慰 蟿畏蟼, 魏伪喂 伪蠀蟿蠈 萎蟿伪谓 蠈位慰. 螕喂伪 谓伪 渭维胃蠅 蟺苇蟻蠀蟽喂, 位委纬慰 蟺蟻喂谓 蟿喂蟼 纬喂慰蟻蟿苇蟼, 蠈蟿喂 魏伪喂 伪蠀蟿萎 蟽蠂蔚未蠈谓 伪胃蠈蟻蠀尾伪 纬位委蟽蟿蟻畏蟽蔚 蟽蔚 渭喂伪 蟽蟿蟻慰蠁萎, 渭蔚胃蠀蟽渭苇谓畏, 纬蠀蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿畏谓 蟺伪蟻维谓慰渭畏 蟽蠂苇蟽畏 蟺慰蠀 蔚委蠂蔚, 位委纬伪 渭苇蟿蟻伪 蟺蟻喂谓 蟿慰 蟽蟺委蟿喂 蟿畏蟼. 螕喂伪蟿委 ; 韦蠈蟽慰 维未喂魏伪. 韦喂 蔚喂蟻蠅谓蔚委伪, 蟽蠀纬魏苇谓蟿蟻蠅蟽蔚 魏维蟺慰喂伪 伪蟺蠈 蟿伪 尾伪蟽喂魏维 胃苇渭伪蟿伪 蟿畏蟼 蟿伪喂谓委伪蟼 魏伪喂 蟿慰蠀 尾喂尾位委慰蠀. 螚 魏位蔚喂蟽蟿萎 蔚蟺伪蟻蠂委伪 渭蔚 蟿伪 渭蠀蟽蟿喂魏维 蟿畏蟼, 畏 蟽蠀味蠀纬喂魏萎 伪蟺喂蟽蟿委伪, 蟿慰 蟺慰蟿蠈, 蟿慰 伪蟿蠉蠂畏渭伪, 苇谓伪 蟺伪喂未委 蟺慰蠀 蠁蔚蠉纬蔚喂. 螕喂伪蟿委 伪魏蠈渭畏 魏伪喂 蟽蟿伪 40 蟽慰蠀 蔚委蟽伪喂 蟺伪喂未委. 螝伪喂 蟺畏纬伪委谓慰谓蟿伪蟼 蟽蟺委蟿喂 蟿畏蟼 纬喂伪 蟿伪 伪蟺伪蟻伪委蟿畏蟿伪 蟽蠀位位蠀蟺畏蟿萎蟻喂伪 渭蔚 蟿慰蠀蟼 尾慰蠀尾慰蠉蟼 纬慰谓蔚委蟼 蟿畏蟼 , 尉伪谓伪纬蠉蟻喂蟽伪 21 蠂蟻蠈谓喂伪 蟺委蟽蠅.
螞委纬伪 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿畏谓 蟿伪喂谓委伪 魏伪喂 蟿慰 尾喂尾位委慰, 苇谓伪 蠂蠅蟻喂蠈 蟺伪蟻伪未委蟺位伪 胃伪 味慰蠉蟽蔚 蟿慰 未喂魏蠈 蟿慰蠀 螕位蠀魏蠈 螤蔚蟺蟻蠅渭苇谓慰, 渭蔚 渭伪胃畏蟿苇蟼 谓伪 苇尾蟻喂蟽魏伪谓 蟿慰谓 胃维谓伪蟿慰.
Fast forward 21 蠂蟻蠈谓喂伪 渭蔚蟿维, 蠈位伪 伪蠀蟿维 蟺慰蠀 未喂伪蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 蟿慰 尾喂尾位委慰 , 伪蟺蠈 伪蟿蠀蠂萎渭伪蟿伪 渭苇蠂蟻喂 蟿伪 蟺喂慰 蟽魏慰蟿蔚喂谓维 渭蠀蟽蟿喂魏维 蟿慰蠀 蟿伪 苇蠂蠅 未蔚喂, 蟿委蟺慰蟿伪 未蔚谓 渭蔚 蟽慰魏维蟻蔚喂 蟺喂伪-蟿伪 尾位苇蟺蠅 位委纬慰 伪蟺蠈 伪蟺蠈蟽蟿伪蟽畏 渭蔚 渭蟺蟻蔚蠂蟿喂魏萎 伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏. 螒谓 魏伪喂 未蔚谓 魏伪蟿维位伪尾伪 慰蠉蟿蔚 蟽蟿畏谓 蟿伪喂谓委伪-委蟽蠅蟼 蟺蟻苇蟺蔚喂 谓伪 蟿畏谓 尉伪谓伪未蠋,渭维位位慰谓 未蔚谓 胃蠀渭维渭伪喂-慰蠉蟿蔚 蟽蟿慰 尾喂尾位委慰 纬喂伪蟿委 畏 尾伪蟽喂魏萎 渭维蟻蟿蠀蟻伪蟼 魏伪喂 蔚蟺喂味萎蟽伪蟽伪 蔚委蟺蔚 蠄苇渭伪蟿伪, 蠀蟺维蟻蠂蔚喂 魏伪喂 蟽蠂蔚蟿喂魏蠈 魏慰渭渭维蟿喂 "Why I lied" 蟽蟿慰 蟽维慰蠀谓蟿蟻伪魏. 螣 "蔚蟺委蟽畏渭慰蟼" 位蠈纬慰蟼 蔚委谓伪喂 尾位伪魏蠋未畏蟼. 螠伪谓蟿蔚蠉蠅 苇谓伪谓 维位位慰 蟺喂慰 蟽魏慰蟿蔚喂谓蠈, 伪位位维 胃伪 蟺蟻苇蟺蔚喂 谓伪 魏维谓蠅 蟽蟺蠈喂位蔚蟻.
螠蔚纬维位慰 尾喂尾位委慰, 渭蔚纬维位畏 蟿伪喂谓委伪.
螝伪喂 蟽蠂蔚未蠈谓 伪蟺蠈位蠀蟿伪 蟺喂蟽蟿萎 畏 蟿伪喂谓委伪 蟽蟿慰 尾喂尾位委慰. 螚 蟺蟻慰蟽胃萎魏畏 蟿慰蠀 The Pied Pipper ; 螒蟻喂蟽蟿慰蠉蟻纬畏渭伪.
January 2, 2019
危蔚 渭喂伪 渭喂魏蟻萎 魏蠅渭蠈蟺慰位畏 蟿畏蟼 螒渭蔚蟻喂魏萎蟼, 蟽蟿喂蟼 伪蟻蠂蔚蟼 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 鈥�90, 苇谓伪 蟽蠂慰位喂魏蠈 位蔚蠅蠁慰蟻蔚委慰 胃伪 谓蟿蔚位伪蟺伪蟻蔚喂 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 14 蟺伪喂未喂维 谓伪 蠂维蟽慰蠀谓 蟿畏 味蠅萎 蟿慰蠀! 螝喂 伪蟺蠈 伪蠀蟿萎 蟿畏 蟽蟿喂纬渭萎 伪蟺慰未喂慰蟻纬伪谓蠋谓蔚蟿伪喂 慰位蠈魏位畏蟻畏 畏 蟺蠈位畏! 螚 伪蠁萎纬畏蟽畏 魏喂谓蔚委蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 蟿蟻慰蠂伪委慰 魏伪喂 蟺蠅蟼 伪蠀蟿蠈 维位位伪尉蔚 蠈位伪 蟿伪 未蔚未慰渭苇谓伪 蟽蟿喂蟼 味蠅苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓! 韦苇蟽蟽蔚蟻喂蟼 伪蠁畏纬畏蟿苇蟼 (慰 蟺伪蟿苇蟻伪蟼 未蠀慰 蔚魏 蟿蠅谓 维蟿蠀蠂蠅谓 蟺伪喂未喂蠅谓, 畏 慰未畏纬蠈蟼 蟿慰蠀 蟽蠂慰位喂魏慰蠉, 渭喂伪 苇蠁畏尾畏 蟺慰蠀 蔚蟺蔚谓苇尾伪喂谓蔚 蟽蟿慰 蟽蠂慰位喂魏蠈 伪位位维 蟽蠋胃畏魏蔚 魏喂 苇谓伪蟼 未喂魏畏纬蠈蟻慰蟼) 蟺蔚蟻喂纬蟻维蠁慰蠀谓 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪!
螝喂 蔚未蠋 蟺蟻慰魏蠉蟺蟿蔚喂 蟿慰 蔚蟻蠋蟿畏渭伪: 渭蔚蟿维 伪蟺蠈 苇谓伪 蟿苇蟿慰喂慰 纬蔚纬慰谓蠈蟼 蔚委谓伪喂 畏 慰蟻纬萎 魏伪喂 畏 伪谓维纬魏畏 纬喂伪 蔚魏未委魏畏蟽畏 蟺慰蠀 胃伪 蠁苇蟻蔚喂 蟿畏谓 位蠉蟿蟻蠅蟽畏 萎 畏 伪蟺蟻伪尉委伪 蟺慰蠀 胃伪 蠁苇蟻蔚喂 苇谓伪 慰蟻喂蟽蟿喂魏蠈 魏位蔚委蟽喂渭慰;
螝伪喂 蟿蔚位喂魏维 蔚委谓伪喂 蟿慰 渭慰喂蟻伪委慰 纬蔚纬慰谓蠈蟼 蟺慰蠀 伪蟺慰未喂慰蟻纬维谓蠅蟽蔚 蟿畏谓 蟺蠈位畏 萎 蟿伪 渭蠀蟽蟿喂魏维 蟺慰蠀 蠀蟺萎蟻蠂伪谓 魏蟻蠀渭渭苇谓伪 蟽蟿喂蟼 谓蟿慰蠀位维蟺蔚蟼 魏伪喂 慰 魏伪胃苇谓伪蟼 苇蟺蟻蔚蟺蔚 谓伪 蟿伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽蔚喂;
螒谓 魏伪喂 蟿慰 胃苇渭伪 蟿慰蠀 蠁伪委谓蔚蟿伪喂 尾伪蟻蠉, 蔚委谓伪喂 蔚蠉魏慰位慰 伪蠁萎纬畏渭伪, 伪蟺位萎 纬位蠋蟽蟽伪, 蠈渭慰蟻蠁蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 魏伪渭委伪 蔚喂魏蠈谓伪 伪蟺慰 蟿慰 伪蟿蠉蠂畏渭伪 魏维胃蔚 伪蠀蟿蠈!
螝喂 蔚未蠋 蟺蟻慰魏蠉蟺蟿蔚喂 蟿慰 蔚蟻蠋蟿畏渭伪: 渭蔚蟿维 伪蟺蠈 苇谓伪 蟿苇蟿慰喂慰 纬蔚纬慰谓蠈蟼 蔚委谓伪喂 畏 慰蟻纬萎 魏伪喂 畏 伪谓维纬魏畏 纬喂伪 蔚魏未委魏畏蟽畏 蟺慰蠀 胃伪 蠁苇蟻蔚喂 蟿畏谓 位蠉蟿蟻蠅蟽畏 萎 畏 伪蟺蟻伪尉委伪 蟺慰蠀 胃伪 蠁苇蟻蔚喂 苇谓伪 慰蟻喂蟽蟿喂魏蠈 魏位蔚委蟽喂渭慰;
螝伪喂 蟿蔚位喂魏维 蔚委谓伪喂 蟿慰 渭慰喂蟻伪委慰 纬蔚纬慰谓蠈蟼 蟺慰蠀 伪蟺慰未喂慰蟻纬维谓蠅蟽蔚 蟿畏谓 蟺蠈位畏 萎 蟿伪 渭蠀蟽蟿喂魏维 蟺慰蠀 蠀蟺萎蟻蠂伪谓 魏蟻蠀渭渭苇谓伪 蟽蟿喂蟼 谓蟿慰蠀位维蟺蔚蟼 魏伪喂 慰 魏伪胃苇谓伪蟼 苇蟺蟻蔚蟺蔚 谓伪 蟿伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽蔚喂;
螒谓 魏伪喂 蟿慰 胃苇渭伪 蟿慰蠀 蠁伪委谓蔚蟿伪喂 尾伪蟻蠉, 蔚委谓伪喂 蔚蠉魏慰位慰 伪蠁萎纬畏渭伪, 伪蟺位萎 纬位蠋蟽蟽伪, 蠈渭慰蟻蠁蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 魏伪渭委伪 蔚喂魏蠈谓伪 伪蟺慰 蟿慰 伪蟿蠉蠂畏渭伪 魏维胃蔚 伪蠀蟿蠈!
November 19, 2017
When is lying acceptable? Or even an act of heroism? Banks answers: when it is for the common good.
Writing-wise, there is nothing special in this book. The prose is simple, readable and sometimes even boring. There are a few meaningful verses but none that can be gleamed as original or hits you really hard. However, what's lacking in verse is adequately augmented by the thought-provoking questions that this book opens to the reader and in the end, offers answers as well.
When is an accident an accident? If the criminal is well-liked, does the community have the right not to push charges? Do lawyers really mean it when they say that "you have to file a case because it can also happen to other people" or they are just after their commission? If you made a wrong choice in marrying someone, do you have the right to commit adultery? If you are a sex abuse victim, do you have the right to remain silent? How do you comfort yourself if you caused the death of many people especially if they are innocent children?
This is a story of a quiet, laid-back town in Upstate New York. One January morning, a school bus tumbled down in a sandpit full of cold icy water. Aboard the school bus were 44 schoolchildren. Fourteen of those at the back, wearing their seat belts, drowned. The driver, Dolores Driscoll, a late middle-age black woman survives. Among those children who also survived was Nichole Burnell and she was just sitting right at the back of Dolores and she now claims that she was looking at the speedometer when the accident happened.
The story is told my 4 narrators: (1) Dolores Driscoll tells what happened in that tragic morning including the family background of the 14 dead schoolchildren; (2) Billy Ansel, an ex-Vietnam soldier who is currently running an auto repair. He is a single father of twins who also perished in the accident. He was driving his pickup following the school bus quite closely but he was daydreaming about having sex with one of the victim's mother who he is having an illicit affair with; (3) Mitchell Stephens is the New York negligence lawyer. He is one of the many lawyers who rushed out to the town in order to convince the families of the victims to file mass lawsuit; and (4) Nicole Burnell who is a local teenage beauty. She survives the accident but her lower body becomes paralyzed.
According to Wiki, Banks based this on a true story that happened in Alton, Texas in 1989. A Coca-Cola truck hit a Mission school bus. 21 schoolchildren drowned and 49 were injured. The families of the victims filed a mass lawsuit due to the instigation of the many different lawyers. "Many think that the money received from the lawsuits only brought the town trouble," Wiki ends.
Easy to read. I finished this in one day. Yet the many moral questions that the book leaves the reader will stay and linger in one's mind for many years to come.
Thank you, 501 for recommending this book to me.
Writing-wise, there is nothing special in this book. The prose is simple, readable and sometimes even boring. There are a few meaningful verses but none that can be gleamed as original or hits you really hard. However, what's lacking in verse is adequately augmented by the thought-provoking questions that this book opens to the reader and in the end, offers answers as well.
When is an accident an accident? If the criminal is well-liked, does the community have the right not to push charges? Do lawyers really mean it when they say that "you have to file a case because it can also happen to other people" or they are just after their commission? If you made a wrong choice in marrying someone, do you have the right to commit adultery? If you are a sex abuse victim, do you have the right to remain silent? How do you comfort yourself if you caused the death of many people especially if they are innocent children?
This is a story of a quiet, laid-back town in Upstate New York. One January morning, a school bus tumbled down in a sandpit full of cold icy water. Aboard the school bus were 44 schoolchildren. Fourteen of those at the back, wearing their seat belts, drowned. The driver, Dolores Driscoll, a late middle-age black woman survives. Among those children who also survived was Nichole Burnell and she was just sitting right at the back of Dolores and she now claims that she was looking at the speedometer when the accident happened.
The story is told my 4 narrators: (1) Dolores Driscoll tells what happened in that tragic morning including the family background of the 14 dead schoolchildren; (2) Billy Ansel, an ex-Vietnam soldier who is currently running an auto repair. He is a single father of twins who also perished in the accident. He was driving his pickup following the school bus quite closely but he was daydreaming about having sex with one of the victim's mother who he is having an illicit affair with; (3) Mitchell Stephens is the New York negligence lawyer. He is one of the many lawyers who rushed out to the town in order to convince the families of the victims to file mass lawsuit; and (4) Nicole Burnell who is a local teenage beauty. She survives the accident but her lower body becomes paralyzed.
According to Wiki, Banks based this on a true story that happened in Alton, Texas in 1989. A Coca-Cola truck hit a Mission school bus. 21 schoolchildren drowned and 49 were injured. The families of the victims filed a mass lawsuit due to the instigation of the many different lawyers. "Many think that the money received from the lawsuits only brought the town trouble," Wiki ends.
Easy to read. I finished this in one day. Yet the many moral questions that the book leaves the reader will stay and linger in one's mind for many years to come.
Thank you, 501 for recommending this book to me.
May 19, 2019
韦慰 未蠀蟽蟿蠉蠂畏渭伪 蟺慰蠀 蟽蠀渭尾伪委谓蔚喂 渭蔚 蟿慰 蟽蠂慰位喂魏蠈 位蔚蠅蠁慰蟻蔚委慰,蟿伪蟻维味蔚喂 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼.
螣 蟽蠀纬纬蟻伪蠁苇伪蟼, 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 伪蠁畏纬畏蟿苇蟼, 蠁苇蟻谓蔚喂 蟽蟿慰 蠁蠅蟼 蟿慰 蔚蟻蠋蟿畏渭伪 蟺慰蠀 蟽蔚 蟿苇蟿慰喂蔚蟼 蟿蟻伪纬蠅未委蔚蟼 胃苇蟿慰蠀谓 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼: 蟺慰喂慰蟼 苇蠁蟿伪喂尉蔚 维蟻伪纬蔚; 萎蟿伪谓 伪谓胃蟻蠋蟺喂谓慰 位维胃慰蟼; 蠀蟺维蟻蠂慰蠀谓 维位位慰喂 蠀蟺伪委蟿喂慰喂 魏喂 伪谓 谓伪喂, 蟺慰喂慰喂 蔚喂谓伪喂 伪蠀蟿慰委;
螣 蟽蠀纬纬蟻伪蠁苇伪蟼, 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 未喂伪蠁慰蟻蔚蟿喂魏慰蠉蟼 伪蠁畏纬畏蟿苇蟼, 蠁苇蟻谓蔚喂 蟽蟿慰 蠁蠅蟼 蟿慰 蔚蟻蠋蟿畏渭伪 蟺慰蠀 蟽蔚 蟿苇蟿慰喂蔚蟼 蟿蟻伪纬蠅未委蔚蟼 胃苇蟿慰蠀谓 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼: 蟺慰喂慰蟼 苇蠁蟿伪喂尉蔚 维蟻伪纬蔚; 萎蟿伪谓 伪谓胃蟻蠋蟺喂谓慰 位维胃慰蟼; 蠀蟺维蟻蠂慰蠀谓 维位位慰喂 蠀蟺伪委蟿喂慰喂 魏喂 伪谓 谓伪喂, 蟺慰喂慰喂 蔚喂谓伪喂 伪蠀蟿慰委;
August 25, 2024
Un cane: di sicuro quel che ho visto era un cane. O forse ho solo creduto di vederlo. Ormai stava nevicando forte, e quando nevica pu貌 succedere di vedere cose che non ci sono, o non sono proprio l矛, per貌 magari non riesci a vedere qualcosa che invece c鈥櫭�, e allora per Dio quando vedi qualcosa devi reagire e basta, sbagliando per istinto materno, se capite cosa voglio dire. Questo mi hanno insegnato quando sono diventata autista, ma 猫 anche il mio temperamento di madre di due figli adulti e di moglie di un invalido, e cos矛 quando mi sbaglio se non altro sbaglio dalla parte degli angeli.
Lo scuolabus esce di strada, muoiono quattordici bambini. La vita prima e dopo l鈥檌ncidente viene raccontata prima dall鈥檃utista, poi dal padre di due delle vittime, da un avvocato e da una ragazzina superstite. Emerge un quadro dell鈥橝merica che sta perdendo i propri figli, dove le famiglie, vittime della crisi e oppresse dai debiti, nascondono violenze, tradimenti e segreti inconfessabili.
Quattro stelle piene che diventano qualcosa di pi霉 grazie al racconto del padre: alcolizzato, disperato ma lucido nella sua analisi.
L鈥檜nico modo in cui potevo continuare a vivere era credere che non stavo vivendo. Non riesco a spiegarlo; posso solo raccontarvi come mi sentivo. Penso che molte persone del paese provassero la stessa cosa. Con quell鈥檌ncidente la morte 猫 entrata in permanenza nelle nostre vite. E mentre alcune persone si sono sforzate di negarlo, come sembra aver fatto la povera Dolores Driscoll, o si sono trasferite in qualche altro posto dello Stato e hanno tentato di ricominciare da capo, come i Lamston, o hanno cercato di credere che la morte era sempre stata in agguato, come Risa, sostenendo che non c鈥檈ra nessuna differenza tra prima e adesso (un鈥檃ltra forma di negazione, in fondo), per me, e forse per alcuni dei ragazzi che sono sopravvissuti all鈥檌ncidente, come Nichole Burnell e i Bigelow e i Baptiste e i piccoli tristi Bilodeau i cui fratelli e sorelle maggiori sono rimasti uccisi, per noi c鈥櫭� stata la vita, la vera vita, la vita reale, indipendentemente da quanto brutta potesse sembrare, solo prima dell鈥檌ncidente, e nulla di quanto 猫 accaduto dopo l鈥檌ncidente poteva somigliare ad essa per nessun aspetto sostanziale. E鈥� stato come se fossimo morti anche noi quando l鈥檃utobus 猫 uscito di strada ed 猫 saltato oltre il terrapieno fino alla cava di sabbia piena di acqua ghiacciata, e adesso siamo momentaneamente finiti in una specie di purgatorio, in attesa di essere trasferiti nel luogo dove ci hanno preceduti gli altri morti.
Lo scuolabus esce di strada, muoiono quattordici bambini. La vita prima e dopo l鈥檌ncidente viene raccontata prima dall鈥檃utista, poi dal padre di due delle vittime, da un avvocato e da una ragazzina superstite. Emerge un quadro dell鈥橝merica che sta perdendo i propri figli, dove le famiglie, vittime della crisi e oppresse dai debiti, nascondono violenze, tradimenti e segreti inconfessabili.
Quattro stelle piene che diventano qualcosa di pi霉 grazie al racconto del padre: alcolizzato, disperato ma lucido nella sua analisi.
L鈥檜nico modo in cui potevo continuare a vivere era credere che non stavo vivendo. Non riesco a spiegarlo; posso solo raccontarvi come mi sentivo. Penso che molte persone del paese provassero la stessa cosa. Con quell鈥檌ncidente la morte 猫 entrata in permanenza nelle nostre vite. E mentre alcune persone si sono sforzate di negarlo, come sembra aver fatto la povera Dolores Driscoll, o si sono trasferite in qualche altro posto dello Stato e hanno tentato di ricominciare da capo, come i Lamston, o hanno cercato di credere che la morte era sempre stata in agguato, come Risa, sostenendo che non c鈥檈ra nessuna differenza tra prima e adesso (un鈥檃ltra forma di negazione, in fondo), per me, e forse per alcuni dei ragazzi che sono sopravvissuti all鈥檌ncidente, come Nichole Burnell e i Bigelow e i Baptiste e i piccoli tristi Bilodeau i cui fratelli e sorelle maggiori sono rimasti uccisi, per noi c鈥櫭� stata la vita, la vera vita, la vita reale, indipendentemente da quanto brutta potesse sembrare, solo prima dell鈥檌ncidente, e nulla di quanto 猫 accaduto dopo l鈥檌ncidente poteva somigliare ad essa per nessun aspetto sostanziale. E鈥� stato come se fossimo morti anche noi quando l鈥檃utobus 猫 uscito di strada ed 猫 saltato oltre il terrapieno fino alla cava di sabbia piena di acqua ghiacciata, e adesso siamo momentaneamente finiti in una specie di purgatorio, in attesa di essere trasferiti nel luogo dove ci hanno preceduti gli altri morti.
January 13, 2013
A remarkable and remarkably simple piece of literature that spawned a remarkable movie.
Russell Banks, Russell Banks, Russell Banks. If I write his name enough it might conjure a complete sentence from my mind, as though his name alone might rub some of his magic off on me and I could explain this novel to you. Russell Banks. It's not working.
I just read which a truly incredible movie was adapted from, adapted so well that it seemed to make the novel a non-event for me, yet I knew that Banks had something special, a skill, a voice that could create something wonderful from mere words on paper and being completely unsatisfied I plunged straight in to his other novel that was adapted in to an award winning movie, naturally. It could have been a mistake but I believe my decision was vindicated by just how urgently I devoured this one.
Told in five parts in the first person by four of the major characters in the aftermath of the tragic crash of a school bus Banks slowly creates a multi-layered understanding of the event and the way people cope with tragedy. To tell you much more than that would be to act as a spoiler and I'd hate to ruin this for you. The four people you meet are Dolores the bus driver, Billy a bereaved parent, Mitchell the big city lawyer and Nichole a child survivor. It's loosely based on true events, a school bus did crash in Texas in the late 1980s and the townsfolk went crazy with litigation.
I have seen and enjoyed the Atom Egoyan movie several times and never found it lacking in anything but in this instance the novel really does add an extra power and understanding to the film. From the opening paragraph as we meet Dolores I was hooked, the distinct voice of this chatterbox shone through loud and clear and she is the perfect set of eyes and ears to learn about the tragedy that will unfold and be retold in the following 250 pages. The distinct voice of Dolores is then added to by three more quite distinct characters and this is apparent from the opening paragraphs of each subsequent section. The most important literary trick that Banks pulls off in this novel is that at no point are you confused over which character is narrating which section AND on top of that you are led towards sympathising with each of the characters despite their conflicting emotions and intentions with a subtlety that cinema will always struggle to match.
There's only one reason for the lack of full marks in this case and that was the disappointing final section, it felt like an unnecessary addition to the story and a way to moralise at the reader rather than let them take from the story what they will. I don't like being told the answer to these problems by an author and to have one attempt to do so simply highlights the conceit of the literary fiction writer.
But don't let that stop you from reading this book or seeing the movie, both are splendid and worth your time.
Russell Banks, Russell Banks, Russell Banks. If I write his name enough it might conjure a complete sentence from my mind, as though his name alone might rub some of his magic off on me and I could explain this novel to you. Russell Banks. It's not working.
I just read which a truly incredible movie was adapted from, adapted so well that it seemed to make the novel a non-event for me, yet I knew that Banks had something special, a skill, a voice that could create something wonderful from mere words on paper and being completely unsatisfied I plunged straight in to his other novel that was adapted in to an award winning movie, naturally. It could have been a mistake but I believe my decision was vindicated by just how urgently I devoured this one.
Told in five parts in the first person by four of the major characters in the aftermath of the tragic crash of a school bus Banks slowly creates a multi-layered understanding of the event and the way people cope with tragedy. To tell you much more than that would be to act as a spoiler and I'd hate to ruin this for you. The four people you meet are Dolores the bus driver, Billy a bereaved parent, Mitchell the big city lawyer and Nichole a child survivor. It's loosely based on true events, a school bus did crash in Texas in the late 1980s and the townsfolk went crazy with litigation.
I have seen and enjoyed the Atom Egoyan movie several times and never found it lacking in anything but in this instance the novel really does add an extra power and understanding to the film. From the opening paragraph as we meet Dolores I was hooked, the distinct voice of this chatterbox shone through loud and clear and she is the perfect set of eyes and ears to learn about the tragedy that will unfold and be retold in the following 250 pages. The distinct voice of Dolores is then added to by three more quite distinct characters and this is apparent from the opening paragraphs of each subsequent section. The most important literary trick that Banks pulls off in this novel is that at no point are you confused over which character is narrating which section AND on top of that you are led towards sympathising with each of the characters despite their conflicting emotions and intentions with a subtlety that cinema will always struggle to match.
There's only one reason for the lack of full marks in this case and that was the disappointing final section, it felt like an unnecessary addition to the story and a way to moralise at the reader rather than let them take from the story what they will. I don't like being told the answer to these problems by an author and to have one attempt to do so simply highlights the conceit of the literary fiction writer.
But don't let that stop you from reading this book or seeing the movie, both are splendid and worth your time.
May 31, 2020
韦慰 芦螕位蠀魏蠈 蟺蔚蟺蟻蠅渭苇谓慰禄 蟿慰蠀 巍维蟽蔚位 螠蟺伪谓魏蟼 蔚委谓伪喂 渭喂伪 喂未喂伪委蟿蔚蟻畏 喂蟽蟿慰蟻委伪, 蟺慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿畏谓 伪蟺蠋位蔚喂伪 魏伪喂 蟿慰 蟺蠋蟼 蟿畏 未喂伪蠂蔚喂蟻委味蔚蟿伪喂 魏伪谓蔚委蟼, 伪位位维 魏伪喂 蟽蟿伪 畏胃喂魏维 未喂位萎渭渭伪蟿伪 蟺慰蠀 蟺蟻慰魏蠉蟺蟿慰蠀谓 蟺慰位位苇蟼 蠁慰蟻苇蟼 渭苇蟽伪 伪蟺蠈 伪蠀蟿萎.
螚 渭喂魏蟻萎 慰蟻蔚喂谓萎 蟺蠈位畏 蟿慰蠀 危伪渭 螡蟿蔚谓蟿 胃蠀渭委味蔚喂 慰蟺慰喂伪未萎蟺慰蟿蔚 渭喂魏蟻萎 伪渭蔚蟻喂魏维谓喂魏畏 蟺蠈位畏 蟿蠅谓 伪蟻蠂蠋谓 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 鈥�90. 螘魏蔚委 味慰蠀谓 魏伪胃畏渭蔚蟻喂谓慰委 维谓胃蟻蠅蟺慰喂, 渭蔚 渭喂魏蟻维 萎 渭蔚纬维位伪 蟺蟻慰尾位萎渭伪蟿伪. 螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蟺慰位位维 蟺蟻维纬渭伪蟿伪 蟺慰蠀 渭蟺慰蟻慰蠉谓 谓伪 未喂伪蟿伪蟻维尉慰蠀谓 蟿畏 蟻慰蠀蟿委谓伪 鈥� 慰蠉蟿蔚 魏伪喂 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈 未蟻慰渭慰位蠈纬喂慰 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 畏 慰蟺慰委伪 蔚未蠋 魏伪喂 蔚委魏慰蟽喂 蠂蟻蠈谓喂伪 渭蔚蟿伪蠁苇蟻蔚喂 魏伪胃畏渭蔚蟻喂谓维 蟿慰蠀蟼 渭伪胃畏蟿苇蟼 伪蟺蠈 蠈位畏 蟿畏谓 蟺蔚蟻喂蠁苇蟻蔚喂伪 渭蔚 蟿慰 蟽蠂慰位喂魏蠈 蟿畏蟼 位蔚蠅蠁慰蟻蔚委慰. 螠苇蠂蟻喂 蟺慰蠀 渭喂伪 渭苇蟻伪 蟽蠀渭尾伪委谓蔚喂 苇谓伪 蟿蟻伪纬喂魏蠈 蟿蟻慰蠂伪委慰 伪蟿蠉蠂畏渭伪, 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 蟺慰位位维 伪蟺蠈 蟿伪 蟺伪喂未喂维 谓伪 尾蟻慰蠀谓 蠁蟻喂蠂蟿蠈 胃维谓伪蟿慰. 螠蔚蟿维 伪蟺蠈 伪蠀蟿蠈, 蟿委蟺慰蟿伪 未蔚谓 胃伪 蔚委谓伪喂 蟺喂伪 委未喂慰 蟽蟿慰 危伪渭 螡蟿蔚谓蟿.
螚 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 慰 螠蟺委位喂 螁谓蟽蔚位, 畏 螡喂魏蠈位 螠蟺蔚蟻谓苇位 魏喂 慰 螠委蟿蟽蔚位 危蟿委尾蔚谓蟼 蔚委谓伪喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂 蟺慰蠀 蔚渭蟺位苇魏慰谓蟿伪喂, 渭蔚 蟿慰谓 苇谓伪谓 萎 蟿慰谓 维位位慰谓 蟿蟻蠈蟺慰, 渭蔚 蟿慰 未蠀蟽蟿蠉蠂畏渭伪. 螚 蟺蟻蠋蟿畏 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀, 慰 未蔚蠉蟿蔚蟻慰蟼 慰 蟺伪蟿苇蟻伪蟼 未蠉慰 蔚魏 蟿蠅谓 蟺伪喂未喂蠋谓 蟺慰蠀 蔚蟺苇尾伪喂谓伪谓 蟽鈥� 伪蠀蟿蠈 魏伪喂 伪蠀蟿蠈蟺蟿畏蟼 渭维蟻蟿蠀蟻伪蟼 蟿畏蟼 蟿蟻伪纬蠅未委伪蟼, 畏 蟿蟻委蟿畏 渭委伪 渭伪胃萎蟿蟻喂伪 纬蠀渭谓伪蟽委慰蠀 蟺慰蠀 魏伪蟿维蠁蔚蟻蔚 谓伪 尾纬蔚喂 味蠅谓蟿伪谓萎 伪蟺蠈 蟿慰 蟿蟻伪魏伪蟻喂蟽渭苇谓慰 蠈蠂畏渭伪 魏伪喂 慰 蟿苇蟿伪蟻蟿慰蟼 苇谓伪蟼 未喂魏畏纬蠈蟻慰蟼 蟺慰蠀 蠁蟿维谓蔚喂 蟽蟿慰 危伪渭 螡蟿蔚谓蟿 伪渭苇蟽蠅蟼 渭蔚蟿维 蟿伪 蟽蠀渭尾维谓蟿伪, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 魏伪喂 谓伪 尉蔚蟽畏魏蠋蟽蔚喂 蟿慰蠀蟼 蠂伪蟻慰魏伪渭苇谓慰蠀蟼 纬慰谓蔚委蟼 蠋蟽蟿蔚 谓伪 渭畏谓蠉蟽慰蠀谓 慰蟺慰喂慰谓未萎蟺慰蟿蔚 蠀蟺蔚蠉胃蠀谓慰. 螒蠀蟿慰委 慰喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂 蔚委谓伪喂 慰喂 伪蠁畏纬畏蟿苇蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 魏伪喂 慰 魏伪胃苇谓伪蟼 蔚魏胃苇蟿蔚喂 渭苇蟽伪 伪蟺蠈 蟿伪 位蔚纬蠈渭蔚谓维 蟿慰蠀 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀, 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪, 蟿慰蠀蟼 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉蟼 蟿慰蠀, 蟿畏 味蠅萎 蟿慰蠀 蟺蟻喂谓 魏伪喂 渭蔚蟿维 伪蟺蠈 蟿畏 蟽蟿喂纬渭萎 蔚魏蔚委谓畏 蟺慰蠀 胃伪 维位位伪味蔚 蟿伪 蟺维谓蟿伪, 纬喂伪 蟺维谓蟿伪鈥�
韦慰 尾喂尾位委慰 尾伪蟽委味蔚蟿伪喂 蟽蔚 苇谓伪 纬蔚纬慰谓蠈蟼 伪蟺慰蟿蟻慰蟺喂伪蟽蟿喂魏蠈 伪魏蠈渭伪 魏伪喂 蠅蟼 蟽魏苇蠄畏: 苇谓伪 蟽蠂慰位喂魏蠈 蟿蟻慰蠂伪委慰 未蠀蟽蟿蠉蠂畏渭伪 渭蔚 慰未蠀谓畏蟻苇蟼 蟽蠀谓苇蟺蔚喂蔚蟼 纬喂伪 蟺慰位位苇蟼 慰喂魏慰纬苇谓蔚喂蔚蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼. 螆谓伪 未蠀蟽蟿蠉蠂畏渭伪 蟺慰蠀 未蔚谓 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂 蟽蔚 蔚谓蔚蟽蟿蠋蟿伪 蠂蟻蠈谓慰, 蠈蟽伪 纬谓蠅蟻委味慰蠀渭蔚 蟺蟻慰苇蟻蠂慰谓蟿伪喂 伪蟺蠈 蟿喂蟼 伪蠁畏纬萎蟽蔚喂蟼 萎 蟿喂蟼 渭谓萎渭蔚蟼 蟿蠅谓 渭伪蟻蟿蠉蟻蠅谓-伪蠁畏纬畏蟿蠋谓. 螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蔚未蠋 渭伪魏蟻慰蟽魏蔚位蔚委蟼, 渭伪魏维尾蟻喂蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 渭蔚 蔚喂魏蠈谓蔚蟼 纬蔚渭维蟿蔚蟼 伪委渭伪 魏伪喂 蟿蟽伪魏喂蟽渭苇谓伪 魏慰蟻渭喂维. 螌渭蠅蟼 蟿慰 蟽蠀渭尾维谓 蔚委谓伪喂 蟺维谓蟿伪 蔚魏蔚委, 蟽伪谓 苇谓伪 蠁维谓蟿伪蟽渭伪 蟺慰蠀 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 渭蔚蟿维 伪蟺蠈 伪蠀蟿蠈, 慰 蠀蟺慰魏喂谓畏蟿萎蟼 蠈位蠅谓 蠈蟽蠅谓 伪魏慰位慰蠉胃畏蟽伪谓, 芦伪胃蠈蟻蠀尾慰禄 蠈渭蠅蟼 伪谓蔚尉委蟿畏位伪 蠂伪蟻伪纬渭苇谓慰 蟽蟿喂蟼 味蠅苇蟼 蠈蟽蠅谓 苇渭蔚喂谓伪谓 蟺委蟽蠅.
螠喂伪 蟿蟻伪纬蠅未委伪, 位慰喂蟺蠈谓, 蔚委谓伪喂 畏 伪喂蟿委伪 纬喂伪 谓伪 苇蟻胃慰蠀谓 蟽蟿慰 蠁蠅蟼 蟺蟻维纬渭伪蟿伪 蟺慰蠀 纬喂伪 蠂蟻蠈谓喂伪 魏蟻蠉尾慰谓蟿伪谓 蟽蟿慰 蟽魏慰蟿维未喂, 渭苇蟽蠅 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蟿蠅谓 蟿蔚蟽蟽维蟻蠅谓 伪蠀蟿蠋谓 蟺蟻慰蟽蠋蟺蠅谓. 螚 蔚喂魏蠈谓伪 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 魏伪喂 蟿蠅谓 魏伪蟿慰委魏蠅谓 蟺慰蠀 味慰蠀谓 渭喂伪 蠁伪喂谓慰渭蔚谓喂魏维 蟽蠀谓畏胃喂蟽渭苇谓畏 味蠅萎 伪谓伪蟿蟻苇蟺蔚蟿伪喂 渭蔚 蟽蠁慰未蟻蠈蟿畏蟿伪 魏伪喂 蟺蠈谓慰. 韦伪 蟺蟻蠋蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蔚委谓伪喂 畏 维蟻谓畏蟽畏, 畏 胃位委蠄畏 魏伪喂 蟿慰 蟺苇谓胃慰蟼, 蔚谓蠋 渭蔚蟿维 伪魏慰位慰蠀胃蔚委 畏 慰蟻纬萎. 螝喂 伪蠀蟿萎 畏 慰蟻纬萎 胃伪 伪蟺慰蟿蔚位苇蟽蔚喂 蟿慰 魏伪位蠉蟿蔚蟻慰 芦蠈蟺位慰禄 蟽蟿伪 蠂苇蟻喂伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 鈥� 蟿慰蠀 未喂魏畏纬蠈蟻慰蠀. 螝喂 蔚未蠋 苇蟻蠂蔚蟿伪喂 蟽蟿慰 蠁蠅蟼 蟿慰 畏胃喂魏蠈 未委位畏渭渭伪 渭蔚 蟿慰 慰蟺慰委慰 胃伪 苇蟻胃慰蠀谓 伪谓蟿喂渭苇蟿蠅蟺慰喂 慰喂 魏维蟿慰喂魏慰喂 蟿慰蠀 危伪渭 螡蟿蔚谓蟿: 蟺蠈蟽慰 伪尉委味蔚喂 畏 味蠅萎 蟿蠅谓 蠂伪渭苇谓蠅谓 蟺伪喂未喂蠋谓 蟿慰蠀蟼; 螤蠈蟽慰 伪尉委味蔚喂 谓伪 魏蠀谓畏纬维蟼 蠁伪谓蟿维蟽渭伪蟿伪, 纬喂伪 魏维蟿喂 蟺慰蠀 萎蟿伪谓 苇谓伪 蟿蟻伪纬喂魏蠈 伪蟿蠉蠂畏渭伪, 渭喂伪 魏伪魏喂维 蟽蟿喂纬渭萎; 螤蠈蟽慰 伪尉委味蔚喂 谓伪 味蔚喂蟼 尉伪谓维 魏伪喂 尉伪谓维 蟿喂蟼 蟺喂慰 慰未蠀谓畏蟻苇蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 味蠅萎蟼 蟽慰蠀 魏伪喂 谓伪 蟽魏慰蟿蠋谓蔚喂蟼 尉伪谓维 魏伪喂 尉伪谓维 蟿慰蠀蟼 谓蔚魏蟻慰蠉蟼 蟽慰蠀; 螝伪喂 蟿喂 蔚委谓伪喂 蟿蔚位喂魏维 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰: 畏 慰蟻纬萎 蟺慰蠀 胃慰位蠋谓蔚喂 蟿慰谓 谓慰蠀 魏伪喂 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿畏 味蠅萎 蟽慰蠀 萎 畏 -蔚位维蠂喂蟽蟿畏 苇蟽蟿蠅- 蔚蟺慰蠉位蠅蟽畏 蟿蠅谓 蟺位畏纬蠋谓, 蟺慰蠀 未蔚谓 胃伪 苇蟻胃蔚喂 蟺慰蟿苇 伪谓 蟽蠀谓蔚蠂委蟽蔚喂蟼 谓伪 蟿喂蟼 尉蠉谓蔚喂蟼, 渭伪蟿蠋谓慰谓蟿维蟼 蟿蔚蟼 尉伪谓维 魏伪喂 尉伪谓维;
螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 蟿慰 尾喂尾位委慰 未蔚谓 蔚委谓伪喂 未蠉蟽魏慰位慰 蟽蟿畏 纬蟻伪蠁萎 萎 蟿畏谓 伪谓维纬谓蠅蟽萎 蟿慰蠀. 螚 纬位蠋蟽蟽伪 蔚委谓伪喂 伪蟺位萎, 蟺喂蟽蟿萎 蟽蟿慰 魏慰喂谓蠅谓喂魏蠈, 畏位喂魏喂伪魏蠈 魏伪喂 渭慰蟻蠁蠅蟿喂魏蠈 蠀蟺蠈尾伪胃蟻慰 蟿蠅谓 伪蠁畏纬畏蟿蠋谓. 螚 伪蠁萎纬畏蟽畏 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 芦萎蟺喂伪禄, 蠂蠅蟻委蟼 蠀蟺蔚蟻尾慰位苇蟼, 蔚魏蟺位萎尉蔚喂蟼 萎 未蟻伪渭伪蟿喂魏苇蟼 蔚尉维蟻蟽蔚喂蟼. 韦慰 渭蠈谓慰 蔚谓未喂伪蠁苇蟻慰谓 蔚委谓伪喂 慰喂 伪蟺慰魏伪位蠉蠄蔚喂蟼 蟺慰蠀 苇蠂慰蠀谓 谓伪 魏维谓慰蠀谓 慰喂 伪蠁畏纬畏蟿苇蟼 鈥� 魏喂 伪蠀蟿苇蟼 未蔚谓 伪蠁慰蟻慰蠉谓 蟿蠈蟽慰 蟿慰 伪蟿蠉蠂畏渭伪, 蠈蟽慰 蟿喂蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 蟿慰蠀蟼 味蠅苇蟼 魏伪喂 蟿伪 渭蠀蟽蟿喂魏维 蟿慰蠀蟼. 螤慰位位苇蟼 蠁慰蟻苇蟼, 伪蠀蟿蠈 蟺慰蠀 渭慰喂维味蔚喂 蟿苇位蔚喂慰 魏伪喂 喂未伪谓喂魏蠈 伪蟺苇蠂蔚喂 蟺慰位蠉 伪蟺蠈 蟿慰 谓伪 蔚委谓伪喂. 螝伪喂 伪蠀蟿蠈 蟺慰蠀 胃蔚蠅蟻蔚委蟿伪喂 伪蟺蠈 蟿畏谓 蟺位蔚喂慰蠄畏蠁委伪 伪蟻魏蔚蟿蠈 纬喂伪 谓伪 蔚委谓伪喂 魏维蟺慰喂慰蟼 蔚蠀蟿蠀蠂喂蟽渭苇谓慰蟼 -蟿慰 谓伪 苇蠂蔚喂 渭喂伪 蔚蟺喂蟿蠀蠂畏渭苇谓畏 未慰蠀位蔚喂维 萎 谓伪 蔚委谓伪喂 蟿慰 慰渭慰蟻蠁蠈蟿蔚蟻慰 魏慰蟻委蟿蟽喂 蟿慰蠀 蟽蠂慰位蔚委慰蠀- 伪蟺慰未蔚喂魏谓蠉蔚蟿伪喂 蟺蠅蟼 未蔚谓 伪蟻魏蔚委, 蠈蟿伪谓 蟿伪 蔚蟽蠅蟿蔚蟻喂魏维 蠁伪谓蟿维蟽渭伪蟿维 蟽慰蠀 慰蠀蟻位喂维味慰蠀谓 渭苇蟽伪 蟽慰蠀. 螣喂 蟿苇蟽蟽蔚蟻喂蟼 伪蠁畏纬畏蟿苇蟼 渭喂位慰蠉谓 蟽蔚 蟺蟻蠋蟿慰 蟺蟻蠈蟽蠅蟺慰 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蔚 蔚尉慰渭慰位慰纬畏蟿萎 蟿慰蠀蟼, 蟽鈥� 蔚魏蔚委谓慰谓 蟺慰蠀 胃伪 蟺慰蠀谓 蟿喂蟼 蟺喂慰 魏蟻蠀蠁苇蟼 蟿慰蠀蟼 蟽魏苇蠄蔚喂蟼 纬喂伪 蠈位伪 蠈蟽伪 蟿慰蠀蟼 伪蟺伪蟽蠂慰位慰蠉谓. 惟蟽蟿蠈蟽慰, 蟿伪 畏胃喂魏维 未喂位萎渭渭伪蟿伪 蟺慰蠀 尉蔚未喂蟺位蠋谓慰谓蟿伪喂 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰锟斤拷 尾喂尾位委慰蠀 蔚委谓伪喂 未喂伪蠂蟻慰谓喂魏维 魏伪喂 伪蠁慰蟻慰蠉谓 蟿畏谓 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 蟽蔚 魏维胃蔚 蟺蟿蠀蠂萎 蟿畏蟼: 蟿慰谓 苇蟻蠅蟿伪, 蟿慰谓 蠁蠈尾慰, 蟿喂蟼 伪渭蠁喂尾慰位委蔚蟼, 蟿慰蠀蟼 未喂蟽蟿伪纬渭慰蠉蟼, 蟿喂蟼 未蠉蟽魏慰位蔚蟼 伪蟺慰蠁维蟽蔚喂蟼, 蟿慰 蟺蠋蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蔚喂 魏伪谓蔚委蟼 蟿慰 伪谓伪蟺维谓蟿蔚蠂慰.
螝维蟺慰喂慰喂 伪蟺蠈 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 胃伪 未喂伪尾维蟽慰蠀谓 蟿慰 尾喂尾位委慰 魏伪喂 胃伪 蟽蠀纬魏喂谓畏胃慰蠉谓, 胃伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿慰蠉谓, 胃伪 蟽蠀渭蟺慰谓苇蟽慰蠀谓 蟿慰蠀蟼 萎蟻蠅蔚蟼. 螝维蟺慰喂慰喂 胃伪 蟿慰 未喂伪尾维蟽慰蠀谓 蠅蟼 苇谓伪 伪魏蠈渭伪 伪谓维纬谓蠅蟽渭伪 蟺慰蠀 胃伪 伪蟺伪喂蟿萎蟽蔚喂 渭慰谓维蠂伪 位委纬蔚蟼 蠋蟻蔚蟼 伪蟺蠈 蟿慰谓 蠂蟻蠈谓慰 蟿慰蠀蟼, 蠂蠅蟻委蟼 谓伪 谓喂蠋蟽慰蠀谓 魏维蟿喂 蟺伪蟻伪蟺维谓蠅. 韦慰 渭蠈谓慰 蟽委纬慰蠀蟻慰 蔚委谓伪喂 蠈蟿喂 慰 Banks 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 蟺蔚蟻维蟽蔚喂 蟿伪 渭畏谓蠉渭伪蟿伪 蟺慰蠀 胃苇位蔚喂 魏伪喂 谓伪 蟿伪 魏维谓蔚喂 谓伪 芦伪魏慰蠀蟽蟿慰蠉谓禄 伪蟺蠈 蟿伪 伪谓伪纬谓蠅蟽蟿喂魏维 伪蠀蟿喂维 蟺慰蠀 蔚委谓伪喂 未喂伪蟿蔚胃蔚喂渭苇谓伪 谓伪 伪魏慰蠉蟽慰蠀谓. 螝伪喂, 渭苇蟽伪 蟽蟿伪 蟺慰位位维 维位位伪 渭畏谓蠉渭伪蟿伪 伪蠀蟿慰蠉 蟿慰蠀 尾喂尾位委慰蠀, 苇谓伪 蔚委谓伪喂 蔚魏蔚委谓慰 蟺慰蠀 胃伪 蟺蟻苇蟺蔚喂 谓伪 蔚谓蟿蠀蟺蠅胃蔚委 蟽蟿慰 蟽蠀谓蔚喂未畏蟿蠈 蠈位蠅谓 渭伪蟼: 渭蔚 蟿伪 魏伪位维 魏伪喂 蟿伪 维蟽蠂畏渭维 蟿畏蟼, 渭蔚 蟿喂蟼 慰未蠉谓蔚蟼 魏伪喂 蟿喂蟼 蠂伪蟻苇蟼 蟿畏蟼, 渭蔚 蟿喂蟼 伪蟺蠋位蔚喂蔚蟼 魏伪喂 蟿伪 魏苇蟻未畏 蟿畏蟼, 畏 味蠅萎 蟺维谓蟿伪 蟽蠀谓蔚蠂委味蔚蟿伪喂.
螚 渭喂魏蟻萎 慰蟻蔚喂谓萎 蟺蠈位畏 蟿慰蠀 危伪渭 螡蟿蔚谓蟿 胃蠀渭委味蔚喂 慰蟺慰喂伪未萎蟺慰蟿蔚 渭喂魏蟻萎 伪渭蔚蟻喂魏维谓喂魏畏 蟺蠈位畏 蟿蠅谓 伪蟻蠂蠋谓 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 鈥�90. 螘魏蔚委 味慰蠀谓 魏伪胃畏渭蔚蟻喂谓慰委 维谓胃蟻蠅蟺慰喂, 渭蔚 渭喂魏蟻维 萎 渭蔚纬维位伪 蟺蟻慰尾位萎渭伪蟿伪. 螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蟺慰位位维 蟺蟻维纬渭伪蟿伪 蟺慰蠀 渭蟺慰蟻慰蠉谓 谓伪 未喂伪蟿伪蟻维尉慰蠀谓 蟿畏 蟻慰蠀蟿委谓伪 鈥� 慰蠉蟿蔚 魏伪喂 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈 未蟻慰渭慰位蠈纬喂慰 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 畏 慰蟺慰委伪 蔚未蠋 魏伪喂 蔚委魏慰蟽喂 蠂蟻蠈谓喂伪 渭蔚蟿伪蠁苇蟻蔚喂 魏伪胃畏渭蔚蟻喂谓维 蟿慰蠀蟼 渭伪胃畏蟿苇蟼 伪蟺蠈 蠈位畏 蟿畏谓 蟺蔚蟻喂蠁苇蟻蔚喂伪 渭蔚 蟿慰 蟽蠂慰位喂魏蠈 蟿畏蟼 位蔚蠅蠁慰蟻蔚委慰. 螠苇蠂蟻喂 蟺慰蠀 渭喂伪 渭苇蟻伪 蟽蠀渭尾伪委谓蔚喂 苇谓伪 蟿蟻伪纬喂魏蠈 蟿蟻慰蠂伪委慰 伪蟿蠉蠂畏渭伪, 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 蟺慰位位维 伪蟺蠈 蟿伪 蟺伪喂未喂维 谓伪 尾蟻慰蠀谓 蠁蟻喂蠂蟿蠈 胃维谓伪蟿慰. 螠蔚蟿维 伪蟺蠈 伪蠀蟿蠈, 蟿委蟺慰蟿伪 未蔚谓 胃伪 蔚委谓伪喂 蟺喂伪 委未喂慰 蟽蟿慰 危伪渭 螡蟿蔚谓蟿.
螚 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 慰 螠蟺委位喂 螁谓蟽蔚位, 畏 螡喂魏蠈位 螠蟺蔚蟻谓苇位 魏喂 慰 螠委蟿蟽蔚位 危蟿委尾蔚谓蟼 蔚委谓伪喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂 蟺慰蠀 蔚渭蟺位苇魏慰谓蟿伪喂, 渭蔚 蟿慰谓 苇谓伪谓 萎 蟿慰谓 维位位慰谓 蟿蟻蠈蟺慰, 渭蔚 蟿慰 未蠀蟽蟿蠉蠂畏渭伪. 螚 蟺蟻蠋蟿畏 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀, 慰 未蔚蠉蟿蔚蟻慰蟼 慰 蟺伪蟿苇蟻伪蟼 未蠉慰 蔚魏 蟿蠅谓 蟺伪喂未喂蠋谓 蟺慰蠀 蔚蟺苇尾伪喂谓伪谓 蟽鈥� 伪蠀蟿蠈 魏伪喂 伪蠀蟿蠈蟺蟿畏蟼 渭维蟻蟿蠀蟻伪蟼 蟿畏蟼 蟿蟻伪纬蠅未委伪蟼, 畏 蟿蟻委蟿畏 渭委伪 渭伪胃萎蟿蟻喂伪 纬蠀渭谓伪蟽委慰蠀 蟺慰蠀 魏伪蟿维蠁蔚蟻蔚 谓伪 尾纬蔚喂 味蠅谓蟿伪谓萎 伪蟺蠈 蟿慰 蟿蟻伪魏伪蟻喂蟽渭苇谓慰 蠈蠂畏渭伪 魏伪喂 慰 蟿苇蟿伪蟻蟿慰蟼 苇谓伪蟼 未喂魏畏纬蠈蟻慰蟼 蟺慰蠀 蠁蟿维谓蔚喂 蟽蟿慰 危伪渭 螡蟿蔚谓蟿 伪渭苇蟽蠅蟼 渭蔚蟿维 蟿伪 蟽蠀渭尾维谓蟿伪, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 魏伪喂 谓伪 尉蔚蟽畏魏蠋蟽蔚喂 蟿慰蠀蟼 蠂伪蟻慰魏伪渭苇谓慰蠀蟼 纬慰谓蔚委蟼 蠋蟽蟿蔚 谓伪 渭畏谓蠉蟽慰蠀谓 慰蟺慰喂慰谓未萎蟺慰蟿蔚 蠀蟺蔚蠉胃蠀谓慰. 螒蠀蟿慰委 慰喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂 蔚委谓伪喂 慰喂 伪蠁畏纬畏蟿苇蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 魏伪喂 慰 魏伪胃苇谓伪蟼 蔚魏胃苇蟿蔚喂 渭苇蟽伪 伪蟺蠈 蟿伪 位蔚纬蠈渭蔚谓维 蟿慰蠀 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀, 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪, 蟿慰蠀蟼 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉蟼 蟿慰蠀, 蟿畏 味蠅萎 蟿慰蠀 蟺蟻喂谓 魏伪喂 渭蔚蟿维 伪蟺蠈 蟿畏 蟽蟿喂纬渭萎 蔚魏蔚委谓畏 蟺慰蠀 胃伪 维位位伪味蔚 蟿伪 蟺维谓蟿伪, 纬喂伪 蟺维谓蟿伪鈥�
韦慰 尾喂尾位委慰 尾伪蟽委味蔚蟿伪喂 蟽蔚 苇谓伪 纬蔚纬慰谓蠈蟼 伪蟺慰蟿蟻慰蟺喂伪蟽蟿喂魏蠈 伪魏蠈渭伪 魏伪喂 蠅蟼 蟽魏苇蠄畏: 苇谓伪 蟽蠂慰位喂魏蠈 蟿蟻慰蠂伪委慰 未蠀蟽蟿蠉蠂畏渭伪 渭蔚 慰未蠀谓畏蟻苇蟼 蟽蠀谓苇蟺蔚喂蔚蟼 纬喂伪 蟺慰位位苇蟼 慰喂魏慰纬苇谓蔚喂蔚蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼. 螆谓伪 未蠀蟽蟿蠉蠂畏渭伪 蟺慰蠀 未蔚谓 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂 蟽蔚 蔚谓蔚蟽蟿蠋蟿伪 蠂蟻蠈谓慰, 蠈蟽伪 纬谓蠅蟻委味慰蠀渭蔚 蟺蟻慰苇蟻蠂慰谓蟿伪喂 伪蟺蠈 蟿喂蟼 伪蠁畏纬萎蟽蔚喂蟼 萎 蟿喂蟼 渭谓萎渭蔚蟼 蟿蠅谓 渭伪蟻蟿蠉蟻蠅谓-伪蠁畏纬畏蟿蠋谓. 螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蔚未蠋 渭伪魏蟻慰蟽魏蔚位蔚委蟼, 渭伪魏维尾蟻喂蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 渭蔚 蔚喂魏蠈谓蔚蟼 纬蔚渭维蟿蔚蟼 伪委渭伪 魏伪喂 蟿蟽伪魏喂蟽渭苇谓伪 魏慰蟻渭喂维. 螌渭蠅蟼 蟿慰 蟽蠀渭尾维谓 蔚委谓伪喂 蟺维谓蟿伪 蔚魏蔚委, 蟽伪谓 苇谓伪 蠁维谓蟿伪蟽渭伪 蟺慰蠀 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 渭蔚蟿维 伪蟺蠈 伪蠀蟿蠈, 慰 蠀蟺慰魏喂谓畏蟿萎蟼 蠈位蠅谓 蠈蟽蠅谓 伪魏慰位慰蠉胃畏蟽伪谓, 芦伪胃蠈蟻蠀尾慰禄 蠈渭蠅蟼 伪谓蔚尉委蟿畏位伪 蠂伪蟻伪纬渭苇谓慰 蟽蟿喂蟼 味蠅苇蟼 蠈蟽蠅谓 苇渭蔚喂谓伪谓 蟺委蟽蠅.
螠喂伪 蟿蟻伪纬蠅未委伪, 位慰喂蟺蠈谓, 蔚委谓伪喂 畏 伪喂蟿委伪 纬喂伪 谓伪 苇蟻胃慰蠀谓 蟽蟿慰 蠁蠅蟼 蟺蟻维纬渭伪蟿伪 蟺慰蠀 纬喂伪 蠂蟻蠈谓喂伪 魏蟻蠉尾慰谓蟿伪谓 蟽蟿慰 蟽魏慰蟿维未喂, 渭苇蟽蠅 蟿畏蟼 伪蠁萎纬畏蟽畏蟼 蟿蠅谓 蟿蔚蟽蟽维蟻蠅谓 伪蠀蟿蠋谓 蟺蟻慰蟽蠋蟺蠅谓. 螚 蔚喂魏蠈谓伪 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 魏伪喂 蟿蠅谓 魏伪蟿慰委魏蠅谓 蟺慰蠀 味慰蠀谓 渭喂伪 蠁伪喂谓慰渭蔚谓喂魏维 蟽蠀谓畏胃喂蟽渭苇谓畏 味蠅萎 伪谓伪蟿蟻苇蟺蔚蟿伪喂 渭蔚 蟽蠁慰未蟻蠈蟿畏蟿伪 魏伪喂 蟺蠈谓慰. 韦伪 蟺蟻蠋蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蔚委谓伪喂 畏 维蟻谓畏蟽畏, 畏 胃位委蠄畏 魏伪喂 蟿慰 蟺苇谓胃慰蟼, 蔚谓蠋 渭蔚蟿维 伪魏慰位慰蠀胃蔚委 畏 慰蟻纬萎. 螝喂 伪蠀蟿萎 畏 慰蟻纬萎 胃伪 伪蟺慰蟿蔚位苇蟽蔚喂 蟿慰 魏伪位蠉蟿蔚蟻慰 芦蠈蟺位慰禄 蟽蟿伪 蠂苇蟻喂伪 蔚谓蠈蟼 伪谓胃蟻蠋蟺慰蠀 鈥� 蟿慰蠀 未喂魏畏纬蠈蟻慰蠀. 螝喂 蔚未蠋 苇蟻蠂蔚蟿伪喂 蟽蟿慰 蠁蠅蟼 蟿慰 畏胃喂魏蠈 未委位畏渭渭伪 渭蔚 蟿慰 慰蟺慰委慰 胃伪 苇蟻胃慰蠀谓 伪谓蟿喂渭苇蟿蠅蟺慰喂 慰喂 魏维蟿慰喂魏慰喂 蟿慰蠀 危伪渭 螡蟿蔚谓蟿: 蟺蠈蟽慰 伪尉委味蔚喂 畏 味蠅萎 蟿蠅谓 蠂伪渭苇谓蠅谓 蟺伪喂未喂蠋谓 蟿慰蠀蟼; 螤蠈蟽慰 伪尉委味蔚喂 谓伪 魏蠀谓畏纬维蟼 蠁伪谓蟿维蟽渭伪蟿伪, 纬喂伪 魏维蟿喂 蟺慰蠀 萎蟿伪谓 苇谓伪 蟿蟻伪纬喂魏蠈 伪蟿蠉蠂畏渭伪, 渭喂伪 魏伪魏喂维 蟽蟿喂纬渭萎; 螤蠈蟽慰 伪尉委味蔚喂 谓伪 味蔚喂蟼 尉伪谓维 魏伪喂 尉伪谓维 蟿喂蟼 蟺喂慰 慰未蠀谓畏蟻苇蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 味蠅萎蟼 蟽慰蠀 魏伪喂 谓伪 蟽魏慰蟿蠋谓蔚喂蟼 尉伪谓维 魏伪喂 尉伪谓维 蟿慰蠀蟼 谓蔚魏蟻慰蠉蟼 蟽慰蠀; 螝伪喂 蟿喂 蔚委谓伪喂 蟿蔚位喂魏维 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰: 畏 慰蟻纬萎 蟺慰蠀 胃慰位蠋谓蔚喂 蟿慰谓 谓慰蠀 魏伪喂 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿畏 味蠅萎 蟽慰蠀 萎 畏 -蔚位维蠂喂蟽蟿畏 苇蟽蟿蠅- 蔚蟺慰蠉位蠅蟽畏 蟿蠅谓 蟺位畏纬蠋谓, 蟺慰蠀 未蔚谓 胃伪 苇蟻胃蔚喂 蟺慰蟿苇 伪谓 蟽蠀谓蔚蠂委蟽蔚喂蟼 谓伪 蟿喂蟼 尉蠉谓蔚喂蟼, 渭伪蟿蠋谓慰谓蟿维蟼 蟿蔚蟼 尉伪谓维 魏伪喂 尉伪谓维;
螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 蟿慰 尾喂尾位委慰 未蔚谓 蔚委谓伪喂 未蠉蟽魏慰位慰 蟽蟿畏 纬蟻伪蠁萎 萎 蟿畏谓 伪谓维纬谓蠅蟽萎 蟿慰蠀. 螚 纬位蠋蟽蟽伪 蔚委谓伪喂 伪蟺位萎, 蟺喂蟽蟿萎 蟽蟿慰 魏慰喂谓蠅谓喂魏蠈, 畏位喂魏喂伪魏蠈 魏伪喂 渭慰蟻蠁蠅蟿喂魏蠈 蠀蟺蠈尾伪胃蟻慰 蟿蠅谓 伪蠁畏纬畏蟿蠋谓. 螚 伪蠁萎纬畏蟽畏 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 芦萎蟺喂伪禄, 蠂蠅蟻委蟼 蠀蟺蔚蟻尾慰位苇蟼, 蔚魏蟺位萎尉蔚喂蟼 萎 未蟻伪渭伪蟿喂魏苇蟼 蔚尉维蟻蟽蔚喂蟼. 韦慰 渭蠈谓慰 蔚谓未喂伪蠁苇蟻慰谓 蔚委谓伪喂 慰喂 伪蟺慰魏伪位蠉蠄蔚喂蟼 蟺慰蠀 苇蠂慰蠀谓 谓伪 魏维谓慰蠀谓 慰喂 伪蠁畏纬畏蟿苇蟼 鈥� 魏喂 伪蠀蟿苇蟼 未蔚谓 伪蠁慰蟻慰蠉谓 蟿蠈蟽慰 蟿慰 伪蟿蠉蠂畏渭伪, 蠈蟽慰 蟿喂蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 蟿慰蠀蟼 味蠅苇蟼 魏伪喂 蟿伪 渭蠀蟽蟿喂魏维 蟿慰蠀蟼. 螤慰位位苇蟼 蠁慰蟻苇蟼, 伪蠀蟿蠈 蟺慰蠀 渭慰喂维味蔚喂 蟿苇位蔚喂慰 魏伪喂 喂未伪谓喂魏蠈 伪蟺苇蠂蔚喂 蟺慰位蠉 伪蟺蠈 蟿慰 谓伪 蔚委谓伪喂. 螝伪喂 伪蠀蟿蠈 蟺慰蠀 胃蔚蠅蟻蔚委蟿伪喂 伪蟺蠈 蟿畏谓 蟺位蔚喂慰蠄畏蠁委伪 伪蟻魏蔚蟿蠈 纬喂伪 谓伪 蔚委谓伪喂 魏维蟺慰喂慰蟼 蔚蠀蟿蠀蠂喂蟽渭苇谓慰蟼 -蟿慰 谓伪 苇蠂蔚喂 渭喂伪 蔚蟺喂蟿蠀蠂畏渭苇谓畏 未慰蠀位蔚喂维 萎 谓伪 蔚委谓伪喂 蟿慰 慰渭慰蟻蠁蠈蟿蔚蟻慰 魏慰蟻委蟿蟽喂 蟿慰蠀 蟽蠂慰位蔚委慰蠀- 伪蟺慰未蔚喂魏谓蠉蔚蟿伪喂 蟺蠅蟼 未蔚谓 伪蟻魏蔚委, 蠈蟿伪谓 蟿伪 蔚蟽蠅蟿蔚蟻喂魏维 蠁伪谓蟿维蟽渭伪蟿维 蟽慰蠀 慰蠀蟻位喂维味慰蠀谓 渭苇蟽伪 蟽慰蠀. 螣喂 蟿苇蟽蟽蔚蟻喂蟼 伪蠁畏纬畏蟿苇蟼 渭喂位慰蠉谓 蟽蔚 蟺蟻蠋蟿慰 蟺蟻蠈蟽蠅蟺慰 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蔚 蔚尉慰渭慰位慰纬畏蟿萎 蟿慰蠀蟼, 蟽鈥� 蔚魏蔚委谓慰谓 蟺慰蠀 胃伪 蟺慰蠀谓 蟿喂蟼 蟺喂慰 魏蟻蠀蠁苇蟼 蟿慰蠀蟼 蟽魏苇蠄蔚喂蟼 纬喂伪 蠈位伪 蠈蟽伪 蟿慰蠀蟼 伪蟺伪蟽蠂慰位慰蠉谓. 惟蟽蟿蠈蟽慰, 蟿伪 畏胃喂魏维 未喂位萎渭渭伪蟿伪 蟺慰蠀 尉蔚未喂蟺位蠋谓慰谓蟿伪喂 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰锟斤拷 尾喂尾位委慰蠀 蔚委谓伪喂 未喂伪蠂蟻慰谓喂魏维 魏伪喂 伪蠁慰蟻慰蠉谓 蟿畏谓 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 蟽蔚 魏维胃蔚 蟺蟿蠀蠂萎 蟿畏蟼: 蟿慰谓 苇蟻蠅蟿伪, 蟿慰谓 蠁蠈尾慰, 蟿喂蟼 伪渭蠁喂尾慰位委蔚蟼, 蟿慰蠀蟼 未喂蟽蟿伪纬渭慰蠉蟼, 蟿喂蟼 未蠉蟽魏慰位蔚蟼 伪蟺慰蠁维蟽蔚喂蟼, 蟿慰 蟺蠋蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蔚喂 魏伪谓蔚委蟼 蟿慰 伪谓伪蟺维谓蟿蔚蠂慰.
螝维蟺慰喂慰喂 伪蟺蠈 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 胃伪 未喂伪尾维蟽慰蠀谓 蟿慰 尾喂尾位委慰 魏伪喂 胃伪 蟽蠀纬魏喂谓畏胃慰蠉谓, 胃伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿慰蠉谓, 胃伪 蟽蠀渭蟺慰谓苇蟽慰蠀谓 蟿慰蠀蟼 萎蟻蠅蔚蟼. 螝维蟺慰喂慰喂 胃伪 蟿慰 未喂伪尾维蟽慰蠀谓 蠅蟼 苇谓伪 伪魏蠈渭伪 伪谓维纬谓蠅蟽渭伪 蟺慰蠀 胃伪 伪蟺伪喂蟿萎蟽蔚喂 渭慰谓维蠂伪 位委纬蔚蟼 蠋蟻蔚蟼 伪蟺蠈 蟿慰谓 蠂蟻蠈谓慰 蟿慰蠀蟼, 蠂蠅蟻委蟼 谓伪 谓喂蠋蟽慰蠀谓 魏维蟿喂 蟺伪蟻伪蟺维谓蠅. 韦慰 渭蠈谓慰 蟽委纬慰蠀蟻慰 蔚委谓伪喂 蠈蟿喂 慰 Banks 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 蟺蔚蟻维蟽蔚喂 蟿伪 渭畏谓蠉渭伪蟿伪 蟺慰蠀 胃苇位蔚喂 魏伪喂 谓伪 蟿伪 魏维谓蔚喂 谓伪 芦伪魏慰蠀蟽蟿慰蠉谓禄 伪蟺蠈 蟿伪 伪谓伪纬谓蠅蟽蟿喂魏维 伪蠀蟿喂维 蟺慰蠀 蔚委谓伪喂 未喂伪蟿蔚胃蔚喂渭苇谓伪 谓伪 伪魏慰蠉蟽慰蠀谓. 螝伪喂, 渭苇蟽伪 蟽蟿伪 蟺慰位位维 维位位伪 渭畏谓蠉渭伪蟿伪 伪蠀蟿慰蠉 蟿慰蠀 尾喂尾位委慰蠀, 苇谓伪 蔚委谓伪喂 蔚魏蔚委谓慰 蟺慰蠀 胃伪 蟺蟻苇蟺蔚喂 谓伪 蔚谓蟿蠀蟺蠅胃蔚委 蟽蟿慰 蟽蠀谓蔚喂未畏蟿蠈 蠈位蠅谓 渭伪蟼: 渭蔚 蟿伪 魏伪位维 魏伪喂 蟿伪 维蟽蠂畏渭维 蟿畏蟼, 渭蔚 蟿喂蟼 慰未蠉谓蔚蟼 魏伪喂 蟿喂蟼 蠂伪蟻苇蟼 蟿畏蟼, 渭蔚 蟿喂蟼 伪蟺蠋位蔚喂蔚蟼 魏伪喂 蟿伪 魏苇蟻未畏 蟿畏蟼, 畏 味蠅萎 蟺维谓蟿伪 蟽蠀谓蔚蠂委味蔚蟿伪喂.
August 13, 2017
The conclusion gives us an incredibly powerful image to end this, an almost impossible tale to tell. The awful tragedy in itself is not committed to the page, but the aftereffects are clear, the emotions are not hinted at but fully disclosed. I don't know if I was very much convinced that there are four DISTINCT characters, since they are so alike. I feel like a great bulk of the book was not told, not actually given to us the way it was supposed to: like evading a grand central question. Yeah, there is relief that there was no courtroom scene (the sole detriment to a classic like Native Son for instance), and that we were spared a gruesome scene of a multiple accidental infanticide. But where is the gamble? "The Sweet Hereafter" is so preoccupied with the entire township that when the reader's & the individual narrator's ethics are questioned, the collective thought wins out & everything becomes impersonal. I think this was a very difficult book to put together, though the approach of penetrating a group emotion by seeing the world through one of the four protagonist's mind seems a tad ineffective as it tries to be personal.
February 10, 2019
螆谓伪 蟽蠂慰位喂魏蠈, 苇谓伪 未蠀蟽蟿蠉蠂畏渭伪 蟺慰蠀 胃伪 魏伪蟿伪位萎尉蔚喂 渭蔚 蟺位畏胃蠋蟻伪 谓蔚魏蟻蠋谓 蟺伪喂未喂蠋谓, 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 蔚蟺喂味蠋谓蟿蔚蟼 畏 慰未畏纬蠈蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀 魏伪喂 渭喂伪 苇蠁畏尾畏 魏伪胃畏位蠅渭苇谓畏 蟺位苇慰谓 蟽蔚 伪谓伪蟺畏蟻喂魏萎 魏伪蟻苇魏位伪. 螡蠈渭喂味伪 蠈蟿喂 胃伪 未喂伪尾维蟽蠅 蟿畏谓 魏位伪蟽喂魏萎 蟽蠀谓蟿伪纬萎 蟺慰蠀 胃伪 蟽蠀谓苇胃蔚蟿蔚 苇谓伪 未伪魏蟻蠉尾蟻蔚蠂蟿慰 尾喂尾位委慰 渭蔚 慰位委纬慰谓 伪蟺蠈 魏慰喂谓蠅谓喂魏蠈 魏伪喂 蠈蠂喂 渭蠈谓慰 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠈. 螡蠈渭喂味伪. 螡伪喂, 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰蠀 胃伪 蟽蔚 蟽蠀纬魏喂谓萎蟽蔚喂, 伪蠀蟿蠈 蔚委谓伪喂 伪谓伪蟺蠈蠁蔚蠀魏蟿慰 伪位位维 慰 蟽蟿蠈蠂慰蟼 蟿慰蠀 未蔚谓 蔚委谓伪喂 渭蠈谓慰 伪蠀蟿蠈蟼. 螘尉维位位慰蠀 纬喂伪 蟿慰 未蠀蟽蟿蠉蠂畏渭伪 渭喂位维谓蔚 (慰 魏伪胃苇谓伪蟼 伪蟺蠈 蟿畏 未喂魏萎 蟿慰蠀 慰蟺蟿喂魏萎), 蟿苇蟽蟽蔚蟻喂蟼 未喂伪蠁慰蟻蔚蟿喂魏慰委 维谓胃蟻蠅蟺慰喂. 螌蠂喂 纬喂伪 谓伪 未蠋蟽慰蠀谓 蟿畏 未喂魏萎 蟿慰蠀蟼 蔚魏未慰蠂萎 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓 伪位位维 纬喂伪 蟿慰 蟺蠋蟼 伪喂蟽胃维谓慰谓蟿伪喂 蔚谓 蟽蠂苇蟽蔚喂 渭蔚 伪蠀蟿维.
螚 伪蟺蠋位蔚喂伪 魏伪喂 畏 未喂伪蠂蔚委蟻喂蟽萎 蟿畏蟼, 慰 胃蠀渭蠈蟼, 畏 蔚蟺喂胃蠀渭委伪 纬喂伪 蔚魏未委魏畏蟽畏 伪谓伪位蠉慰谓蟿伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蟽蔚 魏维胃蔚 蟽蔚位委未伪. 螣喂 未蔚 蠂伪蟻伪魏蟿萎蟻蔚蟼, 伪蟺位慰委, 魏伪胃畏渭蔚蟻喂谓慰委, 蔚委谓伪喂 维谓胃蟻蠅蟺慰喂 蟺慰蠀 蠄蠀蠂慰纬蟻伪蠁慰蠉谓蟿伪喂 维蟻喂蟽蟿伪 蠈蠂喂 渭蠈谓慰 蟽蔚 蠈,蟿喂 苇蠂蔚喂 谓伪 魏维谓蔚喂 渭蔚 蟿慰 未蠀蟽蟿蠉蠂畏渭伪 伪位位维 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 渭蔚 蠈蟽伪 慰 魏伪胃苇谓伪蟼 苇魏蟻蠀尾蔚 蔚蟺委 蠂蟻蠈谓喂伪 渭苇蟽伪 蟿慰蠀, 未喂伪渭慰蟻蠁蠋谓慰谓蟿伪蟼 蟿慰谓 蟽畏渭蔚蟻喂谓蠈 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻伪.
螘尉伪喂蟻蔚蟿喂魏蠈, 蔚蠉魏慰位慰 伪谓维纬谓蠅蟽渭伪 伪位位维 魏伪喂 未蠉蟽魏慰位慰 蟿伪蠀蟿蠈蠂蟻慰谓伪 尾喂尾位委慰. 螌蟿伪谓 苇蠂蔚喂蟼 谓伪 魏维谓蔚喂蟼 渭蔚 蟿慰 蟽蠀谓伪委蟽胃畏渭伪, 蟺维谓蟿伪 苇蟿蟽喂 未蔚谓 蔚委谓伪喂;
螚 伪蟺蠋位蔚喂伪 魏伪喂 畏 未喂伪蠂蔚委蟻喂蟽萎 蟿畏蟼, 慰 胃蠀渭蠈蟼, 畏 蔚蟺喂胃蠀渭委伪 纬喂伪 蔚魏未委魏畏蟽畏 伪谓伪位蠉慰谓蟿伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蟽蔚 魏维胃蔚 蟽蔚位委未伪. 螣喂 未蔚 蠂伪蟻伪魏蟿萎蟻蔚蟼, 伪蟺位慰委, 魏伪胃畏渭蔚蟻喂谓慰委, 蔚委谓伪喂 维谓胃蟻蠅蟺慰喂 蟺慰蠀 蠄蠀蠂慰纬蟻伪蠁慰蠉谓蟿伪喂 维蟻喂蟽蟿伪 蠈蠂喂 渭蠈谓慰 蟽蔚 蠈,蟿喂 苇蠂蔚喂 谓伪 魏维谓蔚喂 渭蔚 蟿慰 未蠀蟽蟿蠉蠂畏渭伪 伪位位维 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 渭蔚 蠈蟽伪 慰 魏伪胃苇谓伪蟼 苇魏蟻蠀尾蔚 蔚蟺委 蠂蟻蠈谓喂伪 渭苇蟽伪 蟿慰蠀, 未喂伪渭慰蟻蠁蠋谓慰谓蟿伪蟼 蟿慰谓 蟽畏渭蔚蟻喂谓蠈 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻伪.
螘尉伪喂蟻蔚蟿喂魏蠈, 蔚蠉魏慰位慰 伪谓维纬谓蠅蟽渭伪 伪位位维 魏伪喂 未蠉蟽魏慰位慰 蟿伪蠀蟿蠈蠂蟻慰谓伪 尾喂尾位委慰. 螌蟿伪谓 苇蠂蔚喂蟼 谓伪 魏维谓蔚喂蟼 渭蔚 蟿慰 蟽蠀谓伪委蟽胃畏渭伪, 蟺维谓蟿伪 苇蟿蟽喂 未蔚谓 蔚委谓伪喂;
September 29, 2021
芦螕位蠀魏蠈 蟺蔚蟺蟻蠅渭苇谓慰禄
螕位蠀魏蠈蟺喂魏蟻慰 尾喂尾位委慰! 螒蟺蠈位蠀蟿慰 蠄蠀蠂慰纬蟻维蠁畏渭伪! 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽魏委味蔚喂 蟿慰 渭蠀伪位蠈 魏 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏.
螣喂 萎蟻蠅蔚蟼 未蔚谓 魏蟻蠉尾慰蠀谓 蟿委蟺慰蟿伪. 螢蔚纬蠀渭谓蠋谓慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 渭伪蟼, 蠂蠅蟻委蟼 委蠂谓慰蟼 谓蟿蟻慰蟺萎蟼. 螣喂 伪位萎胃蔚喂蔚蟼 蟿慰蠀蟼 蟽蔚 魏维谓慰蠀谓 谓伪 蟽蟺伪蟻维味蔚喂蟼. 螖蔚 味畏蟿慰蠉谓 蟽蠀渭蟺蠈谓喂伪 魏伪喂 慰委魏蟿慰鈥ξ斘� 味畏蟿喂伪谓蔚蠉慰蠀谓 伪纬维蟺畏鈥ξ埾囄肯呂� 蟿畏 渭慰谓伪尉喂维 蟿慰蠀蟼 魏伪喂 渭 伪蠀蟿萎 蟺慰蟻蔚蠉慰谓蟿伪喂. 螖蔚谓 伪蟺慰味畏蟿慰蠉谓 蟿委蟺慰蟿伪鈥ξ懴單轿肯呂� 蟿畏 味蠅萎 谓伪 蟿慰蠀蟼 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿慰蠀蟼 魏伪谓蠈谓蔚蟼 蟿畏蟼. 螘蟽蠉 蠅蟼 伪谓伪纬谓蠋蟽蟿畏蟼 伪蟺位蠋蟼 蟺伪蟻伪魏慰位慰蠀胃蔚委蟼 蟿喂蟼 蔚尉蔚位委尉蔚喂蟼. 螔蟻委蟽魏蔚蟽伪喂 蟽蔚 渭喂伪 纬蠅谓喂维 魏 蟽蔚 魏维蟺慰喂蔚蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼 伪蟺位蠋谓蔚喂蟼 蟿慰 蠂苇蟻喂鈥� 蟿慰 伪蟺位蠋谓蔚喂蟼 纬喂伪 谓伪 蟽蠀渭蟺伪蟻伪蟽蟿伪胃蔚委蟼, 谓伪 未蠋蟽蔚喂蟼 魏慰蠀蟻维纬喂慰, 谓伪 谓喂蠋蟽蔚喂蟼 魏伪喂 谓伪 伪喂蟽胃伪谓胃蔚委蟼 伪位位维 魏伪喂 谓伪 伪谓蟿喂位畏蠁胃蔚委蟼 蟿畏 未蠉谓伪渭畏 蟺慰蠀 蔚魏蟺苇渭蟺慰蠀谓 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼.
螠蔚 蟺蠈谓蔚蟽蔚 蟺慰位蠉, 伪位位维 蟿慰 位维蟿蟻蔚蠄伪 !
螕位蠀魏蠈蟺喂魏蟻慰 尾喂尾位委慰! 螒蟺蠈位蠀蟿慰 蠄蠀蠂慰纬蟻维蠁畏渭伪! 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽魏委味蔚喂 蟿慰 渭蠀伪位蠈 魏 蟿畏谓 蠄蠀蠂萎 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏.
螣喂 萎蟻蠅蔚蟼 未蔚谓 魏蟻蠉尾慰蠀谓 蟿委蟺慰蟿伪. 螢蔚纬蠀渭谓蠋谓慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 渭伪蟼, 蠂蠅蟻委蟼 委蠂谓慰蟼 谓蟿蟻慰蟺萎蟼. 螣喂 伪位萎胃蔚喂蔚蟼 蟿慰蠀蟼 蟽蔚 魏维谓慰蠀谓 谓伪 蟽蟺伪蟻维味蔚喂蟼. 螖蔚 味畏蟿慰蠉谓 蟽蠀渭蟺蠈谓喂伪 魏伪喂 慰委魏蟿慰鈥ξ斘� 味畏蟿喂伪谓蔚蠉慰蠀谓 伪纬维蟺畏鈥ξ埾囄肯呂� 蟿畏 渭慰谓伪尉喂维 蟿慰蠀蟼 魏伪喂 渭 伪蠀蟿萎 蟺慰蟻蔚蠉慰谓蟿伪喂. 螖蔚谓 伪蟺慰味畏蟿慰蠉谓 蟿委蟺慰蟿伪鈥ξ懴單轿肯呂� 蟿畏 味蠅萎 谓伪 蟿慰蠀蟼 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿慰蠀蟼 魏伪谓蠈谓蔚蟼 蟿畏蟼. 螘蟽蠉 蠅蟼 伪谓伪纬谓蠋蟽蟿畏蟼 伪蟺位蠋蟼 蟺伪蟻伪魏慰位慰蠀胃蔚委蟼 蟿喂蟼 蔚尉蔚位委尉蔚喂蟼. 螔蟻委蟽魏蔚蟽伪喂 蟽蔚 渭喂伪 纬蠅谓喂维 魏 蟽蔚 魏维蟺慰喂蔚蟼 蟺蔚蟻喂蟺蟿蠋蟽蔚喂蟼 伪蟺位蠋谓蔚喂蟼 蟿慰 蠂苇蟻喂鈥� 蟿慰 伪蟺位蠋谓蔚喂蟼 纬喂伪 谓伪 蟽蠀渭蟺伪蟻伪蟽蟿伪胃蔚委蟼, 谓伪 未蠋蟽蔚喂蟼 魏慰蠀蟻维纬喂慰, 谓伪 谓喂蠋蟽蔚喂蟼 魏伪喂 谓伪 伪喂蟽胃伪谓胃蔚委蟼 伪位位维 魏伪喂 谓伪 伪谓蟿喂位畏蠁胃蔚委蟼 蟿畏 未蠉谓伪渭畏 蟺慰蠀 蔚魏蟺苇渭蟺慰蠀谓 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼.
螠蔚 蟺蠈谓蔚蟽蔚 蟺慰位蠉, 伪位位维 蟿慰 位维蟿蟻蔚蠄伪 !
March 17, 2022
螣 维谓胃蟻蠅蟺慰蟼 蔚委谓伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 蠀蟺慰魏蔚委渭蔚谓慰 魏伪喂 伪谓蟿喂魏蔚委渭蔚谓慰 蟿畏蟼 螜蟽蟿慰蟻委伪蟼. 韦喂 纬委谓蔚蟿伪喂 蠈蟿伪谓 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 蟿蟻伪纬喂魏萎; 韦蠈蟿蔚 伪蟺位维 纬蔚谓谓喂苇蟿伪喂 畏 伪喂蟽蠂蠉位蔚喂伪 蟿蟻伪纬蠅未委伪 . 危蟿慰 蔚魏蟺位畏魏蟿喂魏蠈 伪蠀蟿蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 畏 未慰渭萎 蟿慰蠀 未蔚谓 蔚委谓伪喂 蟿委蟺慰蟿伪 位喂纬蠈蟿蔚蟻慰 伪蟺蠈 蟿蟻伪纬喂魏萎. 螠伪蔚蟽蟿蟻喂魏维 畏 喂蟽蟿慰蟻委伪 蠂蠅蟻委味蔚蟿伪喂 蟽蔚 蟺苇谓蟿蔚 渭苇蟻畏 蟽蔚 蟺苇谓蟿蔚 伪蠁畏纬萎蟽蔚喂蟼 渭蔚 伪蠁慰蟻渭萎 苇谓伪 蟿蟻慰蠂伪委慰 未蠀蟽蟿蠉蠂畏渭伪 . 螢蔚魏喂谓蠋谓蟿伪蟼 渭蔚 蟿畏谓 渭慰喂蟻伪委伪 慰未畏纬蠈 胃蠉蟿畏- 胃蠉渭伪 蟿慰蠀 渭慰喂蟻伪委慰蠀 未蠀蟽蟿蠀蠂萎渭伪蟿慰蟼, 伪魏慰位慰蠀胃慰蠉谓 (蟽伪谓 维位位畏 蟺维蟻慰未慰蟼-蔚蟺蔚喂蟽蠈未喂慰-蟽蟿维蟽喂渭慰) 慰喂 伪蠁畏纬萎蟽蔚喂蟼 蔚谓蠈蟼 蟺伪蟿苇蟻伪 蟺慰蠀 苇蠂伪蟽蔚 蟿伪 未委未蠀渭伪 蟺伪喂未喂维 蟿慰蠀, 蔚谓蠈蟼 未喂魏畏纬蠈蟻慰蟼 蟺慰蠀 胃苇位蔚喂 谓伪 蔚蟺蠅蠁蔚位畏胃蔚委 伪蟺蠈 蟿慰 蟽蠀渭尾维谓, 慰喂 渭谓萎渭蔚蟼 蟿畏蟼 蔚蟺喂味萎蟽伪蟽伪蟼 渭伪胃萎蟿蟻喂伪蟼 魏伪喂 魏位蔚委谓蔚喂 渭蔚 蟿慰 伪蠁萎纬畏渭伪 蟿畏蟼 慰未畏纬慰蠉 位委纬慰蠀蟼 渭萎谓蔚蟼 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪. 违蟺蠈胃蔚蟽畏 魏伪喂 蟺位慰魏萎 蟽蠁喂魏蟿维 未蔚渭苇谓蔚蟼 蟺伪蟻伪胃苇蟿慰蠀谓 渭喂伪 未喂伪未慰蠂萎 纬蔚纬慰谓蠈蟿蠅谓, 蟽蠀谓伪喂蟽胃畏渭维蟿蠅谓 魏伪喂 渭蠀蟽蟿喂魏蠋谓. 螌蟽慰 纬喂伪 蟿畏谓 位蠉蟿蟻蠅蟽畏 伪蠀蟿萎 未委谓蔚蟿伪喂 渭苇蟽伪 蟽蔚 渭喂伪 伪蟻苇谓伪 渭蔚 蟿慰 蠂慰蟻喂魏蠈 谓伪 蔚委谓伪喂 蟺蔚喂蟻伪纬渭苇谓伪 伪渭维尉喂伪 蟺慰蠀 渭伪蟻蟽维蟻慰蠀谓 蟽蟿畏谓 位维蟽蟺畏. 韦委蟺慰蟿伪 位喂纬蠈蟿蔚蟻慰 魏伪喂 蟿委蟺慰蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 苇谓伪 纬位蠀魏蠈 蟺蔚蟺蟻蠅渭苇谓慰鈥�
February 1, 2024
This is my first sweet taste of the Russell Banks experience. Well, it's a solid and evocative exposure that made this reader feel like he had spent a long time in the town getting to know the people.
Insightful perspectives from the viewpoint of several characters, all presented in the form of smooth, seemingly effortless writing. Brilliant. If all his novels are like this I can see what the fuss is about.
4.5 stars.
Insightful perspectives from the viewpoint of several characters, all presented in the form of smooth, seemingly effortless writing. Brilliant. If all his novels are like this I can see what the fuss is about.
4.5 stars.
March 17, 2021
螘谓蟿维尉蔚喂, 蟿慰 蟺伪蟻伪未苇蠂慰渭伪喂, 萎蟿伪谓 蔚尉伪喂蟻蔚蟿喂魏蠈. 螠喂伪 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏萎 蟽蟺慰蠀未萎 蠂伪蟻伪魏蟿萎蟻蠅谓 魏伪喂 渭喂伪 蟺位慰魏萎 蟺慰蠀, 伪谓 魏伪喂 位蔚喂蟿慰蠀蟻纬蔚委 伪蟺位维 蠅蟼 蠈蠂畏渭伪 纬喂伪 伪蠀蟿慰蠉蟼, 蔚委谓伪喂 蟺伪蟻维蟿伪蠀蟿伪 蔚谓未喂伪蠁苇蟻慰蠀蟽伪. 螘蟺委蟽畏蟼, 渭蔚 蔚谓蟿蠀蟺蠅蟽委伪蟽蔚 畏 蟻蔚伪位喂蟽蟿喂魏蠈蟿畏蟿伪 蟿蠅谓 伪谓蟿喂未蟻维蟽蔚蠅谓 蟿蠅谓 胃蠀渭维蟿蠅谓 蟿畏蟼 蟿蟻伪纬蠅未委伪蟼 魏伪喂 蟿蠅谓 蟽蠀纬纬蔚谓蠋谓 蟿慰蠀蟼, 蠈蟿伪谓 伪蟺慰蠁伪蟽委味慰蠀谓 谓伪 味畏蟿萎蟽慰蠀谓 伪蟺慰味畏渭委蠅蟽畏 伪蟺蠈 蟿慰蠀蟼 蠈蟺慰喂慰蠀蟼 蠀蟺蔚蠀胃蠉谓慰蠀蟼, 渭蟺慰蟻蠋 谓伪 尾蔚尾伪喂蠋蟽蠅 伪蟺蠈 蟺蟻慰蟽蠅蟺喂魏萎/蔚蟺伪纬纬蔚位渭伪蟿喂魏萎 蔚渭蟺蔚喂蟻委伪 蠈蟿喂 蔚委谓伪喂 尾纬伪位渭苇谓伪 伪蟺蠈 蟿畏 味蠅萎.
A mastepiece of a character study, plus a plot that, although it mainly works as a vehicle for said characters, is in itself interesting. I was impressed by how true-to-life the reactions of the victims of the tragedy and their relatives, when they turned into litigants.
A mastepiece of a character study, plus a plot that, although it mainly works as a vehicle for said characters, is in itself interesting. I was impressed by how true-to-life the reactions of the victims of the tragedy and their relatives, when they turned into litigants.
September 22, 2016
I've been meaning to read Russell Banks for a very long time. Affliction had been on my 欧宝娱乐 to-read list since I joined in 2008. As I had snubbed it time and time again, I ultimately removed it from my list.
Then, after recently listening to Nancy Pearl's That Stack of Books podcast, my interest was renewed with her enthusiasm for The Sweet Hereafter. I loved that movie. I still can't help but hear Sarah Polley's haunting version of the Tragically Hip's Courage whenever it's brought up. So, given what The Hip's Gord Downie is going through right now, and indeed his Courage, I decided that this would be the next book to read.
Well, look up there. Three measly stars. :|
I really thought I was going to love this, and for a lot of it I liked it a lot. But I had a few problems with it. Well, just one. But we'll get to that in a bit.
First the good points.
This is a story about a small upstate New York town and the aftermath of a terrible school bus accident. The story is told in five parts, each from a different person's perspective. Great structure.
The story line is very good, the dialogue excellent, the resolution pretty good.
I guess have a problem with Banks. More so, it could be I just have a problem with what is known as the "literary novel". The Sweet Hereafter is written in the first person through each of these perspectives. These people are small town blue collar types, but what comes out in the narrative is more reflective of the writer's writing chops rather than what a normal person's thoughts would sound like. If that makes sense.
Mind you, Nichole's narrative was simplified somewhat to resemble the thoughts of a 14 year old. Still, I found it odd that the school bus driver and garage owner had rather highbrow (in my opinion) turns of phrase.
Adding to this, some musings that either made no sense at all to me, or simply rang untrue, or more simply me getting annoyed at a writer's pretentiousness. Or me being stupid.
For example:
A character is reflecting on the time he and his wife forgot their daughter at the grocery store:
The thought made me tremble with rage. And because I could not blame my wife or son for what Jessica was enduring, I had to blame myself alone, and because, as Lydia had said, I could not blame myself alone, I blamed love.
Yes, love! Love is why you forgot your child at the store! How enlightened this observance is. 0_O Does this make sense to anyone?
Another:
A character talks about his estranged drug addicted daughter:
I've told my story - it's a compulsion I guess - to friends and strangers and even to shrinks, all of whom feel sorry for me, if you can believe that, which is a way of feeling sorry for themselves, I've learned.
Wow, clever observance. But no. NO. Really, Russell, how do you figure that?
Hey, maybe I'm just missing these curve balls and striking out. AKA I may be just too stupid for Mr Banks. But I do know what I like, and that's reading a narrative that, when musings on the human conditions are brought out, I am nodding in agreement. Not shaking my head and wondering if I read that right, over and over again. I'm not one to argue with success (okay, I am, but it seemed a nice way to start this sentence), and Russell Banks is clearly a successful storyteller, but I prefer philosophical musings on the layman's level. Give me Stephen King any day. At least he doesn't try to baffle you with bullshit.
I've harped on this much too long for what it was. It really didn't detract from my enjoyment of the story as a whole, and many of you may find the whole thing brilliant. I liked it, mostly for bringing the excellent movie into my head at a fuller level.
Oh, except for this!
Unfortunately I don't think I'll read Banks again. But I'm glad I did, to satisfy my curiosity, and at the cost of only a few days.
Then, after recently listening to Nancy Pearl's That Stack of Books podcast, my interest was renewed with her enthusiasm for The Sweet Hereafter. I loved that movie. I still can't help but hear Sarah Polley's haunting version of the Tragically Hip's Courage whenever it's brought up. So, given what The Hip's Gord Downie is going through right now, and indeed his Courage, I decided that this would be the next book to read.
Well, look up there. Three measly stars. :|
I really thought I was going to love this, and for a lot of it I liked it a lot. But I had a few problems with it. Well, just one. But we'll get to that in a bit.
First the good points.
This is a story about a small upstate New York town and the aftermath of a terrible school bus accident. The story is told in five parts, each from a different person's perspective. Great structure.
The story line is very good, the dialogue excellent, the resolution pretty good.
I guess have a problem with Banks. More so, it could be I just have a problem with what is known as the "literary novel". The Sweet Hereafter is written in the first person through each of these perspectives. These people are small town blue collar types, but what comes out in the narrative is more reflective of the writer's writing chops rather than what a normal person's thoughts would sound like. If that makes sense.
Mind you, Nichole's narrative was simplified somewhat to resemble the thoughts of a 14 year old. Still, I found it odd that the school bus driver and garage owner had rather highbrow (in my opinion) turns of phrase.
Adding to this, some musings that either made no sense at all to me, or simply rang untrue, or more simply me getting annoyed at a writer's pretentiousness. Or me being stupid.
For example:
A character is reflecting on the time he and his wife forgot their daughter at the grocery store:
The thought made me tremble with rage. And because I could not blame my wife or son for what Jessica was enduring, I had to blame myself alone, and because, as Lydia had said, I could not blame myself alone, I blamed love.
Yes, love! Love is why you forgot your child at the store! How enlightened this observance is. 0_O Does this make sense to anyone?
Another:
A character talks about his estranged drug addicted daughter:
I've told my story - it's a compulsion I guess - to friends and strangers and even to shrinks, all of whom feel sorry for me, if you can believe that, which is a way of feeling sorry for themselves, I've learned.
Wow, clever observance. But no. NO. Really, Russell, how do you figure that?
Hey, maybe I'm just missing these curve balls and striking out. AKA I may be just too stupid for Mr Banks. But I do know what I like, and that's reading a narrative that, when musings on the human conditions are brought out, I am nodding in agreement. Not shaking my head and wondering if I read that right, over and over again. I'm not one to argue with success (okay, I am, but it seemed a nice way to start this sentence), and Russell Banks is clearly a successful storyteller, but I prefer philosophical musings on the layman's level. Give me Stephen King any day. At least he doesn't try to baffle you with bullshit.
I've harped on this much too long for what it was. It really didn't detract from my enjoyment of the story as a whole, and many of you may find the whole thing brilliant. I liked it, mostly for bringing the excellent movie into my head at a fuller level.
Oh, except for this!
Unfortunately I don't think I'll read Banks again. But I'm glad I did, to satisfy my curiosity, and at the cost of only a few days.
December 24, 2007
Whenever I read this book, I find myself wishing I'd read it before seeing the movie. No matter how hard I try, I find that I just can't shake those visuals, and I'd like to try to read the book on its own terms.
Having said that, I love both the book and the movie, for reasons I'm not sure I can explain. The movie was actually one of the first DVDs I ever bought, at a time when DVDs were still kind of magical, and I watched it backwards and forwards. I listened to the commentary tracks; I watched the documentaries. Nowadays, who has time for that kind of investment in a flimsy plastic disc?
But the book. Four different narrators, each distinct and fully realized. The back of the book describes it as a "morality play," but the book lacks the obviousness suggested by such a label. Morality, of course, is an issue in the book, but it's not presented in stark right-or-wrong terms. My judgements of each of the characters changes with each read. Is Mitchell Stephens a crusader or a lawyer? Is Nicholl courageous or naive? Is Billy capable of seeing the world clearly, or are his decisions invalidated by the grief which has destroyed him?
All in all, it's a lovely book, translated into an equally lovely movie. I can't recommend either highly enough, and I wish I could find the eloquence to explain why.
Having said that, I love both the book and the movie, for reasons I'm not sure I can explain. The movie was actually one of the first DVDs I ever bought, at a time when DVDs were still kind of magical, and I watched it backwards and forwards. I listened to the commentary tracks; I watched the documentaries. Nowadays, who has time for that kind of investment in a flimsy plastic disc?
But the book. Four different narrators, each distinct and fully realized. The back of the book describes it as a "morality play," but the book lacks the obviousness suggested by such a label. Morality, of course, is an issue in the book, but it's not presented in stark right-or-wrong terms. My judgements of each of the characters changes with each read. Is Mitchell Stephens a crusader or a lawyer? Is Nicholl courageous or naive? Is Billy capable of seeing the world clearly, or are his decisions invalidated by the grief which has destroyed him?
All in all, it's a lovely book, translated into an equally lovely movie. I can't recommend either highly enough, and I wish I could find the eloquence to explain why.
November 25, 2015
This book taught me more about how to write than almost any other book I've read. The last chapter is a remarkable tour de force.
February 1, 2024
Powerful writing about parenting, and the experiencing the sorrow for the loss of a child through death or addiction.
April 9, 2018
Russell Banks 猫 un eccellente scrittore e questo "Il dolce domani" -pur senza brillare- conferma appieno le sue qualit脿.
Al di l脿 dei tragici eventi narrati in questo romanzo a pi霉 voci, la riflessione che a mio avviso emerge con maggiore forza 猫 la peculiarit脿 della vita, dei comportamenti, del senso di comunit脿 e giustizia di coloro che scelgono di vivere ai margini della societ脿 moderna cos矛 come noi la conosciamo.
Piccoli paesi in cui tutti si conoscono e nei quali i rari turisti sono visti con sospetto, comunit脿 che vivono costantemete sotto la minaccia di condizioni climatiche proibitive, uomini e donne che scelgono di vivere le loro vite con riservata dignit脿, di affrontare le difficolt脿 chiusi nel loro dolore, sprezzanti nei confronti delle offerte d'aiuto dei forestieri che semplicemente non hanno le chiavi per entrare in un mondo radicalmente differente.
Ci si aspetta un racconto pieno di sdegno e di disperate grida di protesta per la tragica scomparsa di molti bambini (e quindi del futuro) di una comunit脿, si assapora un finale da tesissimo legal thriller, e invece ci si trova tra le mani un libro che ha il carattere degli uomini di montagna: fiero, diffidente, solido come una quercia, e molto poco disposto a mettere in piazza il proprio dolore.
Al di l脿 dei tragici eventi narrati in questo romanzo a pi霉 voci, la riflessione che a mio avviso emerge con maggiore forza 猫 la peculiarit脿 della vita, dei comportamenti, del senso di comunit脿 e giustizia di coloro che scelgono di vivere ai margini della societ脿 moderna cos矛 come noi la conosciamo.
Piccoli paesi in cui tutti si conoscono e nei quali i rari turisti sono visti con sospetto, comunit脿 che vivono costantemete sotto la minaccia di condizioni climatiche proibitive, uomini e donne che scelgono di vivere le loro vite con riservata dignit脿, di affrontare le difficolt脿 chiusi nel loro dolore, sprezzanti nei confronti delle offerte d'aiuto dei forestieri che semplicemente non hanno le chiavi per entrare in un mondo radicalmente differente.
Ci si aspetta un racconto pieno di sdegno e di disperate grida di protesta per la tragica scomparsa di molti bambini (e quindi del futuro) di una comunit脿, si assapora un finale da tesissimo legal thriller, e invece ci si trova tra le mani un libro che ha il carattere degli uomini di montagna: fiero, diffidente, solido come una quercia, e molto poco disposto a mettere in piazza il proprio dolore.
November 9, 2008
I first read Russell Banks because I found out that he wrote the books that two great movies are based on, "The Sweet Hereafter" and "Affliction." The first of these two is an exquisite movie.
In fact, and one doesn't often hear this, especially on 欧宝娱乐, but the movie is better than the book. In the movie, directed by Atom Egoyan, the story of a school bus in a upstate NY town going into the lake is dealt with in the aftermath. Most of the children of the town are dead, and lawyers show up, talking about lawsuits. The folktale, "The Pied Piper of Hamlin" is interwoven through this story. At the end, one does not see the folktale as a metaphor, providing one to one correspondence with the characters in the story. Instead, the possible allegorical meanings of the folktale are switched, until the folktale remains as an interpretive schema, the reverberations it provides are about the sadness of losing children, and the fierceness of those who are angry for justice.
Dolores Driscoll, the bus driver, is the Pied Piper. She drove the bus that took the children to the sweet hereafter, a place she feels she herself has reached, though she survived the accident. The lawyer from the big city is the Pied Piper of Hamlin, he promises to solve a problem for the people of the town, and also, like the Piper, he is angry. His only daughter is a heroin addict who keeps hitting him up, and he keeps paying her. Billy Ansel, the one guy in town who stands up against the idea of tearing apart the town with lawsuits, is a leader. He is also destroyed after losing his own two children. Then Nicole, the only other survivor, in a wheel chair is the criple kid who never made it into the happy land in the hole of the mountain. She is alone, without any friends. The shots of the snow covered hillsides and the stanzas of the Pied Piper create a haunting tale about the loss of children and the impossibility of encompassing these losses. It is not a moral tale, though it resonates as a true one.
The book is good. The story is the same as the movie. It deals with sexual abuse, a topic that I have seen Banks deal with before. It is a topic that we do not deal with enough in our culture. Banks has four different narrators. There are passages where the prose rivals the title for poesy. Dolores Driscoll explains her relationship with her wheel chair bound husband, which is in the movie word for word, is one place like this. Another is when Billy Ansel, having lost his wife and twin children, makes an honest calculation of what is left and finds that he has nothing left to live for.
The folktale gave the movie a bit of hope, though it is a dark one. The ending of that story, in which the children end up in a happy place, while the town is bereft always seems a little suspicious. Isn't this just what we tell ourselves to make it okay, to make this awful story palatable for children? But there is no Pied Piper in the book, and all the main characters do not have the glib answers that faith provides. The children are gone. The hereafter is sweet precisely because it is after here, and here is punctured by loss.
In fact, and one doesn't often hear this, especially on 欧宝娱乐, but the movie is better than the book. In the movie, directed by Atom Egoyan, the story of a school bus in a upstate NY town going into the lake is dealt with in the aftermath. Most of the children of the town are dead, and lawyers show up, talking about lawsuits. The folktale, "The Pied Piper of Hamlin" is interwoven through this story. At the end, one does not see the folktale as a metaphor, providing one to one correspondence with the characters in the story. Instead, the possible allegorical meanings of the folktale are switched, until the folktale remains as an interpretive schema, the reverberations it provides are about the sadness of losing children, and the fierceness of those who are angry for justice.
Dolores Driscoll, the bus driver, is the Pied Piper. She drove the bus that took the children to the sweet hereafter, a place she feels she herself has reached, though she survived the accident. The lawyer from the big city is the Pied Piper of Hamlin, he promises to solve a problem for the people of the town, and also, like the Piper, he is angry. His only daughter is a heroin addict who keeps hitting him up, and he keeps paying her. Billy Ansel, the one guy in town who stands up against the idea of tearing apart the town with lawsuits, is a leader. He is also destroyed after losing his own two children. Then Nicole, the only other survivor, in a wheel chair is the criple kid who never made it into the happy land in the hole of the mountain. She is alone, without any friends. The shots of the snow covered hillsides and the stanzas of the Pied Piper create a haunting tale about the loss of children and the impossibility of encompassing these losses. It is not a moral tale, though it resonates as a true one.
The book is good. The story is the same as the movie. It deals with sexual abuse, a topic that I have seen Banks deal with before. It is a topic that we do not deal with enough in our culture. Banks has four different narrators. There are passages where the prose rivals the title for poesy. Dolores Driscoll explains her relationship with her wheel chair bound husband, which is in the movie word for word, is one place like this. Another is when Billy Ansel, having lost his wife and twin children, makes an honest calculation of what is left and finds that he has nothing left to live for.
The folktale gave the movie a bit of hope, though it is a dark one. The ending of that story, in which the children end up in a happy place, while the town is bereft always seems a little suspicious. Isn't this just what we tell ourselves to make it okay, to make this awful story palatable for children? But there is no Pied Piper in the book, and all the main characters do not have the glib answers that faith provides. The children are gone. The hereafter is sweet precisely because it is after here, and here is punctured by loss.
February 6, 2023
The Sweet Hereafter
Pronta per il film.
Pronta per il film.
April 8, 2017
This is a terribly moving, insightful, and masterfully written novel, the best of the several I have read by Banks -- who is a superb writer.
September 2, 2007
This one seemed to have a lot of potential. The idea was good. The story was鈥� good. Or it could have been.
I hated the way it was written. I didn鈥檛 like this fellows style at all. None of the characters came off as especially likeable, or real, or endearing, or brave鈥� or anything. There was nothing stand out of the four people in the town chosen to narrate. Their story was sad, something stand out in itself. And perhaps that was meant to be the meat, that was meant to be all that stood out. But I don鈥檛 think so.
I think it was meant to be the coping with the sad story, and the stories of the survivors.
I thought that it was written in a dumbed down style that I didn鈥檛 approve of.
I hated the way it was written. I didn鈥檛 like this fellows style at all. None of the characters came off as especially likeable, or real, or endearing, or brave鈥� or anything. There was nothing stand out of the four people in the town chosen to narrate. Their story was sad, something stand out in itself. And perhaps that was meant to be the meat, that was meant to be all that stood out. But I don鈥檛 think so.
I think it was meant to be the coping with the sad story, and the stories of the survivors.
I thought that it was written in a dumbed down style that I didn鈥檛 approve of.
December 29, 2018
螖蔚委蟿蔚 蔚蟺委蟽畏蟼 魏伪喂 蟽蟿慰
芦韦慰 螕位蠀魏蠈 螤蔚蟺蟻蠅渭苇谓慰禄 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 纬喂伪 蟿畏谓 伪蟺蠋位蔚喂伪 魏伪喂 蟺蠅蟼 蟿畏 未喂伪蠂蔚喂蟻委味蔚蟿伪喂 魏伪谓蔚委蟼, 伪位位维 蔚委谓伪喂 魏伪喂 苇谓伪 尾喂尾位委慰 纬喂伪 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟿慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀蟼. 螒位萎胃蔚喂伪, 蟿喂 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂 魏伪喂 蟿喂 未蔚谓 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂 谓伪 魏维谓蔚喂 萎 谓伪 蟺蔚喂 魏伪谓蔚委蟼 蠈蟿伪谓 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 蠄蠀蠂喂魏萎 畏蟻蔚渭委伪 渭喂伪蟼 慰位蠈魏位畏蟻畏蟼 蟺蠈位畏蟼;
韦慰 危伪渭 螡蟿蔚谓蟿 蔚委谓伪喂 渭喂伪 渭喂魏蟻萎 蟺蠈位畏 蟽蟿伪 尾蠈蟻蔚喂伪 蟿畏蟼 蟺慰位喂蟿蔚委伪蟼 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼, 蟽蟿伪 蟽蠉谓慰蟻伪 渭蔚 蟿慰谓 螝伪谓伪未维. 螘委谓伪喂 渭喂伪 渭喂魏蟻萎 萎蟽蠀蠂畏 蟺蠈位畏 蟺慰蠀 慰喂 魏维蟿慰喂魏慰委 蟿畏蟼 纬谓蠅蟻委味慰谓蟿伪喂 位委纬慰 蟺慰位蠉 蠈位慰喂 渭蔚蟿伪尉蠉 蟿慰蠀蟼 魏伪喂 蟺慰蠀 苇蠂蔚喂 蟺维蟻蔚喂 蟿慰 蠈谓慰渭维 蟿畏蟼 伪蟺蠈 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 魏维蟺慰蟿蔚 蟿慰蠀 伪谓萎魏蔚 蠈位畏 畏 纬蠉蟻蠅 苇魏蟿伪蟽畏. 螣喂 魏维蟿慰喂魏慰委 蟿畏蟼 蔚委谓伪喂 蠁蟿蠅蠂慰委 渭蔚蟻慰魏伪渭伪蟿喂维蟻畏未蔚蟼 蠈位蠅谓 蟿蠅谓 蔚喂未蠋谓. 螒蟺蠈 蟿慰谓 蟺喂慰 蟿委渭喂慰 魏伪喂 蟺喂蟽蟿维 蔚蟻纬伪味蠈渭蔚谓慰 渭苇蠂蟻喂 蟿慰谓 蟺喂慰 蟿蔚渭蟺苇位畏 渭喂魏蟻蠈 位伪胃蟻苇渭蟺慰蟻慰. 韦慰 纬蔚纬慰谓蠈蟼 畏 蟺蠈位畏 蔚委谓伪喂 蟺苇蟻伪蟽渭伪 蟿蠅谓 蟿慰蠀蟻喂蟽蟿蠋谓 魏伪喂 蟿蠅谓 蟽魏喂苇蟻 蟺慰蠀 蟺畏纬伪委谓慰蠀谓 蟽蟿伪 螒谓蟿委蟻慰谓蟿伪魏, 苇蟺蔚喂蟽蔚 蟺慰位位慰蠉蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 蠈蟿喂 胃伪 苇尾纬伪味伪谓 蠂蟻萎渭伪蟿伪 伪蟺蠈 蟿慰蠀蟼 蟿慰蠀蟻委蟽蟿蔚蟼. 螠苇纬伪 位维胃慰蟼, 魏伪胃蠋蟼 蟿慰 渭蠈谓慰 蟺慰蠀 魏苇蟻未喂蟽伪谓 蔚委谓伪喂 魏维蟺慰喂伪 魏委谓畏蟽畏 蟺伪蟻伪蟺维谓蠅 魏伪喂 蟿委蟺慰蟿蔚 维位位慰.
螠喂伪 渭苇蟻伪 蠈蟺蠅蟼 蠈位蔚蟼 慰喂 维位位蔚蟼, 畏 螡蟿慰位蠈蟻蔚蟼 蟺萎蟻蔚 蟿慰 蟽蠂慰位喂魏蠈 蟿畏蟼 魏伪喂 尉蔚魏委谓畏蟽蔚 谓伪 渭伪味蔚蠉蔚喂 蟿伪 蟺伪喂未喂维 蟿畏蟼 蟺蠈位畏蟼 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈 未蟻慰渭慰位蠈纬喂蠈 蟿畏蟼. 螌蟿伪谓 蟺喂伪 蟿慰 位蔚蠅蠁慰蟻蔚委慰 纬苇渭喂蟽蔚 魏伪喂 蠈位伪 蟿伪 蟺伪喂未喂维 蔚委蠂伪谓 蔚蟺喂尾喂尾伪蟽蟿蔚委, 蠈蟽伪 未畏位伪未萎 未蔚谓 蔚委蠂伪谓 渭蔚委谓蔚喂 蟽蟿慰 蟽蟺委蟿喂 渭蔚 魏维蟺慰喂伪 委蠅蟽畏, 蟽蠀谓苇蠂喂蟽蔚 蟺喂慰 伪谓维位伪蠁蟻畏 纬喂伪 蟿慰谓 蟿蔚位喂魏蠈 蟿畏蟼 蟺蟻慰慰蟻喂蟽渭蠈 魏伪喂 蟿慰 蟽蠂慰位蔚委慰. 危蟿慰 未蟻蠈渭慰 蠈渭蠅蟼 苇纬喂谓蔚 苇谓伪 蟿蟻伪纬喂魏蠈 伪蟿蠉蠂畏渭伪 蟺慰蠀 苇蠁蔚蟻蔚 蟿伪 蟺维谓蠅 魏维蟿蠅 蟽蟿畏 渭喂魏蟻蠈 蟺蠈位畏. 螚 螡蟿慰位蠈蟻蔚蟼 蔚蟺苇味畏蟽蔚, 蠈蠂喂 蠈渭蠅蟼 魏伪喂 蠈位伪 蟿伪 蟺伪喂未喂维 蟺慰蠀 渭蔚蟿苇蠁蔚蟻蔚 渭蔚 蟿慰 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼. 韦伪 蟺喂慰 维蟿蠀蠂伪 伪蟺蠈 伪蠀蟿维 尾蟻委蟽魏慰谓蟿伪谓 蟽蟿慰 蟺委蟽蠅 渭苇蟻慰蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀, 伪蠀蟿蠈 蟺慰蠀 尾蠀胃委蟽蟿畏魏蔚 蟽蟿慰 蟺伪纬蠅渭苇谓慰 谓蔚蟻蠈. 韦慰 蟽慰魏 萎蟿伪谓 渭蔚纬维位慰 纬喂伪 蟿畏 渭喂魏蟻萎 蟺蠈位畏.
韦伪 纬蔚纬慰谓蠈蟿伪 蟺蟻喂谓 魏伪喂 渭蔚蟿维 伪蟺蠈 蟿慰 伪蟿蠉蠂畏渭伪, 伪蠁畏纬慰蠉谓蟿伪喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂. 螤蟻蠋蟿畏 尉蔚魏喂谓维蔚喂 畏 螡蟿慰位蠈蟻蔚蟼, 畏 慰未畏纬蠈蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀 蟺慰蠀 渭伪蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 委未喂伪, 纬喂伪 蟿畏谓 蟺蠈位畏 蟿慰蠀蟼, 纬喂伪 蟿慰谓 维谓蟿蟻伪 蟿畏蟼 蟿慰谓 螁渭蟺慰蟿 蟺慰蠀 渭蔚蟿维 蟿慰 蔚纬魏蔚蠁伪位喂魏蠈 蔚委谓伪喂 魏伪胃畏位蠅渭苇谓慰蟼 蟽蔚 伪谓伪蟺畏蟻喂魏蠈 魏伪蟻慰蟿蟽维魏喂 渭蔚 伪蠂蟻畏蟽蟿蔚蠀渭苇谓畏 蟿畏谓 伪蟻喂蟽蟿蔚蟻萎 蟿慰蠀 蟺位蔚蠀蟻维 魏伪喂 未蠀蟽魏慰位委蔚蟼 蟽蟿畏谓 慰渭喂位委伪, 纬喂伪 蟿慰 蟺蠅蟼 魏伪蟿苇位畏尉蔚 谓伪 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 蟽蠂慰位喂魏慰蠉 魏伪喂 蟿喂 蟽畏渭伪委谓慰蠀谓 伪蠀蟿维 蟿伪 蟺伪喂未喂维 纬喂伪 蔚魏蔚委谓畏. 螠喂位维蔚喂 纬喂伪 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿维 蟿畏蟼, 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪 魏伪喂 纬喂伪 蠈蟽伪 蟽蠀谓苇尾畏蟽伪谓 伪蟺蠈 蟿畏 未喂魏萎 蟿畏蟼 蟺位蔚蠀蟻维.
韦畏 蟽魏蠀蟿维位畏 蟺伪委蟻谓蔚喂 苇谓伪蟼 蟺伪蟿苇蟻伪蟼 蟺慰蠀 萎蟿伪谓 伪蠀蟿蠈蟺蟿畏蟼 渭维蟻蟿蠀蟻伪蟼 蟿慰蠀 伪蟿蠀蠂萎渭伪蟿慰蟼 蟽蟿慰 慰蟺慰委慰 苇蠂伪蟽蔚 蟿伪 未蠀慰 蟿慰蠀 蟺伪喂未喂维. 螆谓伪 蟺位萎纬渭伪 蟺伪蟻伪蟺维谓蠅 渭蔚蟿维 蟿慰 蠂伪渭蠈 蟿畏蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀. 螌渭蠅蟼 慰 螠蟺委位喂 螁谓蟽蔚位 渭喂位维蔚喂 纬喂伪 蟺慰位位维 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪. 螠喂位维蔚喂 纬喂伪 蟿慰 蟺蠅蟼 萎蟿伪谓 畏 味蠅萎 蟿慰蠀蟼 蟺伪位喂维, 蟿伪 位维胃畏 蟺慰蠀 苇魏伪谓蔚 魏伪喂 蟺慰蠀 渭蔚蟿维 蟿伪 渭蔚蟿维谓喂蠅蟽蔚. 螠喂位维蔚喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 萎蟿伪谓 魏伪喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 苇纬喂谓蔚, 伪位位维 魏伪喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 谓慰渭委味慰蠀谓 慰喂 维位位慰喂 蟺蠅蟼 蔚委谓伪喂.
螤委蟽蠅 蟿慰蠀 伪魏慰位慰蠀胃蔚委 慰 未喂魏畏纬蠈蟻慰蟼 蟺慰蠀 蔚渭蠁伪谓委蟽蟿畏魏蔚 蟽蟿畏谓 蟺蠈位畏 渭蠈位喂蟼 苇渭伪胃蔚 纬喂伪 蟿慰 伪蟿蠉蠂畏渭伪 魏伪喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟺蔚委蟽蔚喂 蠈蟽慰蠀蟼 蔚蟺位萎纬畏蟽伪谓 伪蟺蠈 伪蠀蟿蠈 谓伪 蟺维蟻慰蠀谓 渭苇蟻慰蟼 蟽蔚 渭喂伪 未喂伪渭维蠂畏 渭蔚 蟿畏谓 蟺慰位喂蟿蔚委伪 魏伪喂 蟿慰蠀蟼 蠀蟺蔚蠉胃蠀谓慰蠀蟼 魏伪喂 谓伪 味畏蟿萎蟽慰蠀谓 伪蟺慰味畏渭委蠅蟽畏. 螖蔚谓 蔚委谓伪喂 蠁蠀蟽喂魏维 慰 渭蠈谓慰蟼 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿慰 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪, 伪位位维 蔚委谓伪喂 慰 渭蠈谓慰蟼 蟺慰蠀 蟺伪蟻伪胃苇蟿蔚喂 蟿畏谓 维蟺慰蠄萎 蟿慰蠀 蟽蟿慰 尾喂尾位委慰. 螣喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 未蔚谓 蟽蠀渭蟺伪胃慰蠉谓 蟿慰蠀蟼 未喂魏畏纬蠈蟻慰蠀蟼, 蠈渭蠅蟼 畏 蠀蟺蠈蟽蠂蔚蟽畏 纬喂伪 渭喂伪 蟺慰位蠉 蠀蠄畏位萎 伪蟺慰味畏渭委蠅蟽畏 蔚委谓伪喂 伪蠀蟿萎 蟺慰蠀 胃伪 蟿蟻伪尾萎尉蔚喂 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 蠈蟺蠅蟼 蟿慰 蠁蠅蟼 蟿喂蟼 谓蠀蠂蟿慰蟺蔚蟿伪位慰蠉未蔚蟼. 螣 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蟼 蠈渭蠅蟼, 蔚委谓伪锟斤拷 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 渭蔚 蟺慰位位萎 慰蟻纬萎 渭苇蟽伪 蟿慰蠀 伪蠁慰蠉 苇蠂蔚喂 魏喂 伪蠀蟿蠈蟼 蟿慰蠀蟼 未喂魏慰蠉蟼 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏慰蠉蟼 蔚蠁喂维位蟿蔚蟼 谓伪 蟿慰谓 魏伪蟿伪蟿蟻蠋谓蔚. 螤喂蟽蟿蔚蠉蔚喂 未畏位伪未萎, 蟺蠅蟼 未蔚谓 蔚魏渭蔚蟿伪位位蔚蠉蔚蟿伪喂 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏, 伪位位维 蟺蠅蟼 蟺蟻伪纬渭伪蟿喂魏维 尾慰畏胃维蔚喂 伪蠀蟿慰蠉蟼 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼.
螚 螡喂魏蠈位, 苇谓伪 伪蟺蠈 蟿伪 魏慰蟻委蟿蟽喂伪 蟺慰蠀 蔚蟺苇尾伪喂谓伪谓 蟽蟿慰 位蔚蠅蠁慰蟻蔚委慰 魏伪喂 魏伪蟿维蠁蔚蟻蔚 谓伪 尾纬蔚喂 味蠅谓蟿伪谓萎 伪蟺蠈 蟿慰谓 蔚蠁喂维位蟿畏, 伪位位维 渭蔚 蟿蔚蟻维蟽蟿喂慰 魏蠈蟽蟿慰蟼 蔚委谓伪喂 畏 蟿苇蟿伪蟻蟿畏 蠁蠅谓萎 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪. 螝伪喂 蔚委谓伪喂 畏 螡喂魏蠈位 蟺慰蠀 胃伪 未蠋蟽蔚喂 蟿畏 胃蔚蟻伪蟺蔚委伪 蟽蟿慰谓 蟺蠀蟻蔚蟿蠈 蟿蠅谓 渭畏谓蠉蟽蔚蠅谓 蟺慰蠀 苇蠂蔚喂 魏伪蟿伪位维尾蔚喂 蟿慰蠀蟼 蟽蠀渭蟺慰位委蟿蔚蟼 蟿畏蟼. 螣 蟿蟻蠈蟺慰蟼 蟿畏蟼 蔚委谓伪喂 伪谓蟿喂蟽蠀渭尾伪蟿喂魏蠈蟼 魏伪喂 蟽蔚 尾维蟻慰蟼 魏维蟺慰喂蠅谓 伪胃蠋蠅谓 伪谓胃蟻蠋蟺蠅谓, 伪位位维 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 蟿畏 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟽蟿喂纬渭萎, 蟽蟿畏 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟺蔚蟻委蟺蟿蠅蟽畏 魏伪喂 纬喂伪 蟿慰蠀蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 蔚委谓伪喂 委蟽蠅蟼 畏 魏伪位蠉蟿蔚蟻畏 位蠉蟽畏. 螉蟽蠅蟼 畏 魏伪位蠉蟿蔚蟻畏 位蠉蟽畏 纬喂伪 蟿畏谓 委未喂伪, 伪谓 魏伪喂 慰喂 未喂魏慰委 蟿畏蟼 蔚蟽蠅蟿蔚蟻喂魏慰委 未伪委渭慰谓蔚蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟽蠅蟺维蟽慰蠀谓 苇蟿蟽喂.
韦伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 苇蠂蔚喂 魏伪谓蔚委蟼 未喂伪尾维味慰谓蟿伪蟼 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪谓维渭蔚喂魏蟿伪. 螌渭蠅蟼 蟺蟻苇蟺蔚喂 谓伪 苇蠂蔚喂 蟽蟿慰 谓慰蠀 蟿慰蠀 蠈蟿喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭喂伪 伪蟺慰渭伪魏蟻蠀蟽渭苇谓畏 渭喂魏蟻萎 蟺蠈位畏, 蟽蟿伪 蟿苇位畏 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 80, 蠈,蟿喂 魏伪喂 伪谓 蟽畏渭伪委谓蔚喂 伪蠀蟿蠈.
芦韦慰 螕位蠀魏蠈 螤蔚蟺蟻蠅渭苇谓慰禄 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 纬喂伪 蟿畏谓 伪蟺蠋位蔚喂伪 魏伪喂 蟺蠅蟼 蟿畏 未喂伪蠂蔚喂蟻委味蔚蟿伪喂 魏伪谓蔚委蟼, 伪位位维 蔚委谓伪喂 魏伪喂 苇谓伪 尾喂尾位委慰 纬喂伪 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟿慰 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀蟼. 螒位萎胃蔚喂伪, 蟿喂 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂 魏伪喂 蟿喂 未蔚谓 蔚蟺喂蟿蟻苇蟺蔚蟿伪喂 谓伪 魏维谓蔚喂 萎 谓伪 蟺蔚喂 魏伪谓蔚委蟼 蠈蟿伪谓 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 蠄蠀蠂喂魏萎 畏蟻蔚渭委伪 渭喂伪蟼 慰位蠈魏位畏蟻畏蟼 蟺蠈位畏蟼;
韦慰 危伪渭 螡蟿蔚谓蟿 蔚委谓伪喂 渭喂伪 渭喂魏蟻萎 蟺蠈位畏 蟽蟿伪 尾蠈蟻蔚喂伪 蟿畏蟼 蟺慰位喂蟿蔚委伪蟼 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼, 蟽蟿伪 蟽蠉谓慰蟻伪 渭蔚 蟿慰谓 螝伪谓伪未维. 螘委谓伪喂 渭喂伪 渭喂魏蟻萎 萎蟽蠀蠂畏 蟺蠈位畏 蟺慰蠀 慰喂 魏维蟿慰喂魏慰委 蟿畏蟼 纬谓蠅蟻委味慰谓蟿伪喂 位委纬慰 蟺慰位蠉 蠈位慰喂 渭蔚蟿伪尉蠉 蟿慰蠀蟼 魏伪喂 蟺慰蠀 苇蠂蔚喂 蟺维蟻蔚喂 蟿慰 蠈谓慰渭维 蟿畏蟼 伪蟺蠈 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 魏维蟺慰蟿蔚 蟿慰蠀 伪谓萎魏蔚 蠈位畏 畏 纬蠉蟻蠅 苇魏蟿伪蟽畏. 螣喂 魏维蟿慰喂魏慰委 蟿畏蟼 蔚委谓伪喂 蠁蟿蠅蠂慰委 渭蔚蟻慰魏伪渭伪蟿喂维蟻畏未蔚蟼 蠈位蠅谓 蟿蠅谓 蔚喂未蠋谓. 螒蟺蠈 蟿慰谓 蟺喂慰 蟿委渭喂慰 魏伪喂 蟺喂蟽蟿维 蔚蟻纬伪味蠈渭蔚谓慰 渭苇蠂蟻喂 蟿慰谓 蟺喂慰 蟿蔚渭蟺苇位畏 渭喂魏蟻蠈 位伪胃蟻苇渭蟺慰蟻慰. 韦慰 纬蔚纬慰谓蠈蟼 畏 蟺蠈位畏 蔚委谓伪喂 蟺苇蟻伪蟽渭伪 蟿蠅谓 蟿慰蠀蟻喂蟽蟿蠋谓 魏伪喂 蟿蠅谓 蟽魏喂苇蟻 蟺慰蠀 蟺畏纬伪委谓慰蠀谓 蟽蟿伪 螒谓蟿委蟻慰谓蟿伪魏, 苇蟺蔚喂蟽蔚 蟺慰位位慰蠉蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 蠈蟿喂 胃伪 苇尾纬伪味伪谓 蠂蟻萎渭伪蟿伪 伪蟺蠈 蟿慰蠀蟼 蟿慰蠀蟻委蟽蟿蔚蟼. 螠苇纬伪 位维胃慰蟼, 魏伪胃蠋蟼 蟿慰 渭蠈谓慰 蟺慰蠀 魏苇蟻未喂蟽伪谓 蔚委谓伪喂 魏维蟺慰喂伪 魏委谓畏蟽畏 蟺伪蟻伪蟺维谓蠅 魏伪喂 蟿委蟺慰蟿蔚 维位位慰.
螠喂伪 渭苇蟻伪 蠈蟺蠅蟼 蠈位蔚蟼 慰喂 维位位蔚蟼, 畏 螡蟿慰位蠈蟻蔚蟼 蟺萎蟻蔚 蟿慰 蟽蠂慰位喂魏蠈 蟿畏蟼 魏伪喂 尉蔚魏委谓畏蟽蔚 谓伪 渭伪味蔚蠉蔚喂 蟿伪 蟺伪喂未喂维 蟿畏蟼 蟺蠈位畏蟼 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蟿慰 魏伪胃畏渭蔚蟻喂谓蠈 未蟻慰渭慰位蠈纬喂蠈 蟿畏蟼. 螌蟿伪谓 蟺喂伪 蟿慰 位蔚蠅蠁慰蟻蔚委慰 纬苇渭喂蟽蔚 魏伪喂 蠈位伪 蟿伪 蟺伪喂未喂维 蔚委蠂伪谓 蔚蟺喂尾喂尾伪蟽蟿蔚委, 蠈蟽伪 未畏位伪未萎 未蔚谓 蔚委蠂伪谓 渭蔚委谓蔚喂 蟽蟿慰 蟽蟺委蟿喂 渭蔚 魏维蟺慰喂伪 委蠅蟽畏, 蟽蠀谓苇蠂喂蟽蔚 蟺喂慰 伪谓维位伪蠁蟻畏 纬喂伪 蟿慰谓 蟿蔚位喂魏蠈 蟿畏蟼 蟺蟻慰慰蟻喂蟽渭蠈 魏伪喂 蟿慰 蟽蠂慰位蔚委慰. 危蟿慰 未蟻蠈渭慰 蠈渭蠅蟼 苇纬喂谓蔚 苇谓伪 蟿蟻伪纬喂魏蠈 伪蟿蠉蠂畏渭伪 蟺慰蠀 苇蠁蔚蟻蔚 蟿伪 蟺维谓蠅 魏维蟿蠅 蟽蟿畏 渭喂魏蟻蠈 蟺蠈位畏. 螚 螡蟿慰位蠈蟻蔚蟼 蔚蟺苇味畏蟽蔚, 蠈蠂喂 蠈渭蠅蟼 魏伪喂 蠈位伪 蟿伪 蟺伪喂未喂维 蟺慰蠀 渭蔚蟿苇蠁蔚蟻蔚 渭蔚 蟿慰 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼. 韦伪 蟺喂慰 维蟿蠀蠂伪 伪蟺蠈 伪蠀蟿维 尾蟻委蟽魏慰谓蟿伪谓 蟽蟿慰 蟺委蟽蠅 渭苇蟻慰蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀, 伪蠀蟿蠈 蟺慰蠀 尾蠀胃委蟽蟿畏魏蔚 蟽蟿慰 蟺伪纬蠅渭苇谓慰 谓蔚蟻蠈. 韦慰 蟽慰魏 萎蟿伪谓 渭蔚纬维位慰 纬喂伪 蟿畏 渭喂魏蟻萎 蟺蠈位畏.
韦伪 纬蔚纬慰谓蠈蟿伪 蟺蟻喂谓 魏伪喂 渭蔚蟿维 伪蟺蠈 蟿慰 伪蟿蠉蠂畏渭伪, 伪蠁畏纬慰蠉谓蟿伪喂 蟿苇蟽蟽蔚蟻喂蟼 维谓胃蟻蠅蟺慰喂. 螤蟻蠋蟿畏 尉蔚魏喂谓维蔚喂 畏 螡蟿慰位蠈蟻蔚蟼, 畏 慰未畏纬蠈蟼 蟿慰蠀 位蔚蠅蠁慰蟻蔚委慰蠀 蟺慰蠀 渭伪蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 委未喂伪, 纬喂伪 蟿畏谓 蟺蠈位畏 蟿慰蠀蟼, 纬喂伪 蟿慰谓 维谓蟿蟻伪 蟿畏蟼 蟿慰谓 螁渭蟺慰蟿 蟺慰蠀 渭蔚蟿维 蟿慰 蔚纬魏蔚蠁伪位喂魏蠈 蔚委谓伪喂 魏伪胃畏位蠅渭苇谓慰蟼 蟽蔚 伪谓伪蟺畏蟻喂魏蠈 魏伪蟻慰蟿蟽维魏喂 渭蔚 伪蠂蟻畏蟽蟿蔚蠀渭苇谓畏 蟿畏谓 伪蟻喂蟽蟿蔚蟻萎 蟿慰蠀 蟺位蔚蠀蟻维 魏伪喂 未蠀蟽魏慰位委蔚蟼 蟽蟿畏谓 慰渭喂位委伪, 纬喂伪 蟿慰 蟺蠅蟼 魏伪蟿苇位畏尉蔚 谓伪 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 蟽蠂慰位喂魏慰蠉 魏伪喂 蟿喂 蟽畏渭伪委谓慰蠀谓 伪蠀蟿维 蟿伪 蟺伪喂未喂维 纬喂伪 蔚魏蔚委谓畏. 螠喂位维蔚喂 纬喂伪 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿维 蟿畏蟼, 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪 魏伪喂 纬喂伪 蠈蟽伪 蟽蠀谓苇尾畏蟽伪谓 伪蟺蠈 蟿畏 未喂魏萎 蟿畏蟼 蟺位蔚蠀蟻维.
韦畏 蟽魏蠀蟿维位畏 蟺伪委蟻谓蔚喂 苇谓伪蟼 蟺伪蟿苇蟻伪蟼 蟺慰蠀 萎蟿伪谓 伪蠀蟿蠈蟺蟿畏蟼 渭维蟻蟿蠀蟻伪蟼 蟿慰蠀 伪蟿蠀蠂萎渭伪蟿慰蟼 蟽蟿慰 慰蟺慰委慰 苇蠂伪蟽蔚 蟿伪 未蠀慰 蟿慰蠀 蟺伪喂未喂维. 螆谓伪 蟺位萎纬渭伪 蟺伪蟻伪蟺维谓蠅 渭蔚蟿维 蟿慰 蠂伪渭蠈 蟿畏蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀. 螌渭蠅蟼 慰 螠蟺委位喂 螁谓蟽蔚位 渭喂位维蔚喂 纬喂伪 蟺慰位位维 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪. 螠喂位维蔚喂 纬喂伪 蟿慰 蟺蠅蟼 萎蟿伪谓 畏 味蠅萎 蟿慰蠀蟼 蟺伪位喂维, 蟿伪 位维胃畏 蟺慰蠀 苇魏伪谓蔚 魏伪喂 蟺慰蠀 渭蔚蟿维 蟿伪 渭蔚蟿维谓喂蠅蟽蔚. 螠喂位维蔚喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 萎蟿伪谓 魏伪喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 苇纬喂谓蔚, 伪位位维 魏伪喂 纬喂伪 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 谓慰渭委味慰蠀谓 慰喂 维位位慰喂 蟺蠅蟼 蔚委谓伪喂.
螤委蟽蠅 蟿慰蠀 伪魏慰位慰蠀胃蔚委 慰 未喂魏畏纬蠈蟻慰蟼 蟺慰蠀 蔚渭蠁伪谓委蟽蟿畏魏蔚 蟽蟿畏谓 蟺蠈位畏 渭蠈位喂蟼 苇渭伪胃蔚 纬喂伪 蟿慰 伪蟿蠉蠂畏渭伪 魏伪喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟺蔚委蟽蔚喂 蠈蟽慰蠀蟼 蔚蟺位萎纬畏蟽伪谓 伪蟺蠈 伪蠀蟿蠈 谓伪 蟺维蟻慰蠀谓 渭苇蟻慰蟼 蟽蔚 渭喂伪 未喂伪渭维蠂畏 渭蔚 蟿畏谓 蟺慰位喂蟿蔚委伪 魏伪喂 蟿慰蠀蟼 蠀蟺蔚蠉胃蠀谓慰蠀蟼 魏伪喂 谓伪 味畏蟿萎蟽慰蠀谓 伪蟺慰味畏渭委蠅蟽畏. 螖蔚谓 蔚委谓伪喂 蠁蠀蟽喂魏维 慰 渭蠈谓慰蟼 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿慰 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪, 伪位位维 蔚委谓伪喂 慰 渭蠈谓慰蟼 蟺慰蠀 蟺伪蟻伪胃苇蟿蔚喂 蟿畏谓 维蟺慰蠄萎 蟿慰蠀 蟽蟿慰 尾喂尾位委慰. 螣喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 未蔚谓 蟽蠀渭蟺伪胃慰蠉谓 蟿慰蠀蟼 未喂魏畏纬蠈蟻慰蠀蟼, 蠈渭蠅蟼 畏 蠀蟺蠈蟽蠂蔚蟽畏 纬喂伪 渭喂伪 蟺慰位蠉 蠀蠄畏位萎 伪蟺慰味畏渭委蠅蟽畏 蔚委谓伪喂 伪蠀蟿萎 蟺慰蠀 胃伪 蟿蟻伪尾萎尉蔚喂 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 蠈蟺蠅蟼 蟿慰 蠁蠅蟼 蟿喂蟼 谓蠀蠂蟿慰蟺蔚蟿伪位慰蠉未蔚蟼. 螣 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蟼 蠈渭蠅蟼, 蔚委谓伪锟斤拷 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 渭蔚 蟺慰位位萎 慰蟻纬萎 渭苇蟽伪 蟿慰蠀 伪蠁慰蠉 苇蠂蔚喂 魏喂 伪蠀蟿蠈蟼 蟿慰蠀蟼 未喂魏慰蠉蟼 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏慰蠉蟼 蔚蠁喂维位蟿蔚蟼 谓伪 蟿慰谓 魏伪蟿伪蟿蟻蠋谓蔚. 螤喂蟽蟿蔚蠉蔚喂 未畏位伪未萎, 蟺蠅蟼 未蔚谓 蔚魏渭蔚蟿伪位位蔚蠉蔚蟿伪喂 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏, 伪位位维 蟺蠅蟼 蟺蟻伪纬渭伪蟿喂魏维 尾慰畏胃维蔚喂 伪蠀蟿慰蠉蟼 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼.
螚 螡喂魏蠈位, 苇谓伪 伪蟺蠈 蟿伪 魏慰蟻委蟿蟽喂伪 蟺慰蠀 蔚蟺苇尾伪喂谓伪谓 蟽蟿慰 位蔚蠅蠁慰蟻蔚委慰 魏伪喂 魏伪蟿维蠁蔚蟻蔚 谓伪 尾纬蔚喂 味蠅谓蟿伪谓萎 伪蟺蠈 蟿慰谓 蔚蠁喂维位蟿畏, 伪位位维 渭蔚 蟿蔚蟻维蟽蟿喂慰 魏蠈蟽蟿慰蟼 蔚委谓伪喂 畏 蟿苇蟿伪蟻蟿畏 蠁蠅谓萎 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 喂蟽蟿慰蟻委伪. 螝伪喂 蔚委谓伪喂 畏 螡喂魏蠈位 蟺慰蠀 胃伪 未蠋蟽蔚喂 蟿畏 胃蔚蟻伪蟺蔚委伪 蟽蟿慰谓 蟺蠀蟻蔚蟿蠈 蟿蠅谓 渭畏谓蠉蟽蔚蠅谓 蟺慰蠀 苇蠂蔚喂 魏伪蟿伪位维尾蔚喂 蟿慰蠀蟼 蟽蠀渭蟺慰位委蟿蔚蟼 蟿畏蟼. 螣 蟿蟻蠈蟺慰蟼 蟿畏蟼 蔚委谓伪喂 伪谓蟿喂蟽蠀渭尾伪蟿喂魏蠈蟼 魏伪喂 蟽蔚 尾维蟻慰蟼 魏维蟺慰喂蠅谓 伪胃蠋蠅谓 伪谓胃蟻蠋蟺蠅谓, 伪位位维 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 蟿畏 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟽蟿喂纬渭萎, 蟽蟿畏 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蟺蔚蟻委蟺蟿蠅蟽畏 魏伪喂 纬喂伪 蟿慰蠀蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 蔚委谓伪喂 委蟽蠅蟼 畏 魏伪位蠉蟿蔚蟻畏 位蠉蟽畏. 螉蟽蠅蟼 畏 魏伪位蠉蟿蔚蟻畏 位蠉蟽畏 纬喂伪 蟿畏谓 委未喂伪, 伪谓 魏伪喂 慰喂 未喂魏慰委 蟿畏蟼 蔚蟽蠅蟿蔚蟻喂魏慰委 未伪委渭慰谓蔚蟼 未蔚谓 蟺蟻蠈魏蔚喂蟿伪喂 谓伪 蟽蠅蟺维蟽慰蠀谓 苇蟿蟽喂.
韦伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 苇蠂蔚喂 魏伪谓蔚委蟼 未喂伪尾维味慰谓蟿伪蟼 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 蔚委谓伪喂 伪谓维渭蔚喂魏蟿伪. 螌渭蠅蟼 蟺蟻苇蟺蔚喂 谓伪 苇蠂蔚喂 蟽蟿慰 谓慰蠀 蟿慰蠀 蠈蟿喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭喂伪 伪蟺慰渭伪魏蟻蠀蟽渭苇谓畏 渭喂魏蟻萎 蟺蠈位畏, 蟽蟿伪 蟿苇位畏 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 80, 蠈,蟿喂 魏伪喂 伪谓 蟽畏渭伪委谓蔚喂 伪蠀蟿蠈.
December 20, 2012
"Newtown" (which as well as now being synonomous with a horrible tragedy, is also the name of a sleepy, quaint 300 year old New England town a few miles from where I went to high school) got me thinking about this book. I read it many years ago, but it affected me deeply at the time. After I saw the film (which is one of those rare adaptations that may almost eclipse the novel), I read the book and could not stop thinking about either for days. I had the book group I was running at the time read it - mostly moms and grandmas, they hated it. The novel asks, what happens to you when the worst thing in the world, something that seems unimaginable to you, becomes your reality? Are you compelled to pinpoint, quantify and assign blame? What does that do to you? Does it help you or hurt you? Does it help or harm a community? While the "worst thing in the world" in the novel differs in some significant ways from the unimaginable in Newtown, I still think this book may be timely reading for anyone currently contemplating those types of questions.
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August 28, 2020My new pick for worst book I've ever read!
Sorry Jim Morrison's Adventures in the Afterlife you have been dethroned!
Sorry Jim Morrison's Adventures in the Afterlife you have been dethroned!
April 4, 2024
A powerful novel. Banks was a true master of the form.
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April 3, 2019螝维胃蔚 魏伪喂谓慰蠉蟻纬喂伪 渭苇蟻伪 蟺慰蠀 尉畏渭蔚蟻蠋谓蔚喂 魏伪位慰蠉渭伪蟽蟿蔚 谓伪 魏维谓慰蠀渭蔚 渭喂伪 魏伪喂谓慰蠉蟻纬喂伪 伪蟻蠂萎 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蠈渭蠅蟼 蟽蠂蔚未蠈谓 蟺喂蟽蟿维 蟿慰 蟺蟻蠈纬蟻伪渭渭伪 蟿畏蟼 蟺蟻慰畏纬慰蠉渭蔚谓畏蟼. 韦伪 蟺伪喂未喂维 蟺维谓蔚 蟽蟿慰 蟽蠂慰位蔚委慰, 慰喂 纬慰谓蔚委蟼 蟽蟿喂蟼 未慰蠀位蔚喂苇蟼 蟿慰蠀蟼 魏伪喂 蟺维蔚喂 位苇纬慰谓蟿伪蟼. 螒蠀蟿蠈 蔚蟺伪谓伪位伪渭尾维谓蔚蟿伪喂 蟽蔚 魏伪胃畏渭蔚蟻喂谓萎 尾维蟽畏 魏伪喂 魏伪蟿伪位萎纬蔚喂 渭喂伪 蟻慰蠀蟿委谓伪 慰蟺蠈蟿蔚 慰蟿喂未萎蟺慰蟿蔚 魏维谓慰蠀渭蔚 纬委谓蔚蟿伪喂 渭蔚 渭畏蠂伪谓喂魏蠈 蟿蟻蠈蟺慰 胃伪 位苇纬伪渭蔚. 螘位维蠂喂蟽蟿蔚蟼 蔚委谓伪喂 慰喂 蟽蟿喂纬渭苇蟼 蟺慰蠀 蟺伪蟻蔚魏魏位委谓慰蠀渭蔚 蟿畏蟼 蟺慰蟻蔚委伪蟼 渭伪蟼 魏伪喂 伪蠀蟿蠈 蟿慰 伪蟺慰未委未慰蠀渭蔚 蟽蔚 魏维蟿喂 蟺慰蠀 胃伪 蟺蟻慰魏蠉蠄蔚喂 伪蟺蟻蠈慰蟺蟿伪. 韦喂 胃伪 纬委谓蔚喂 蠈渭蠅蟼 魏伪喂 蟿喂 胃伪 伪魏慰位慰蠀胃萎蟽蔚喂 蠈蟿伪谓 蟽蠀渭尾蔚委 苇谓伪 蟺慰位蠉 未蠀谓伪蟿蠈 蟺蔚蟻喂蟽蟿伪蟿喂魏蠈 蟺慰蠀 胃伪 伪位位维尉蔚喂 蟿伪 蟺维谓蟿伪 纬蠉蟻蠅 渭伪蟼; 螤蠅蟼 胃伪 魏伪蟿伪蠁苇蟻慰蠀渭蔚 谓伪 未喂伪蠂蔚喂蟻喂蟽蟿慰蠉渭蔚 蟿蠈蟿蔚 蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪 渭伪蟼;
危蟿畏谓 渭喂魏蟻萎 魏蠅渭蠈蟺慰位畏 蟿慰蠀 危伪渭 螡蟿蔚谓蟿 畏 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 蟽蠂慰位喂魏慰蠉 位蔚蠅蠁慰蟻蔚委慰蠀 魏伪喂 魏维胃蔚 渭苇蟻伪 渭蔚蟿伪蠁苇蟻蔚喂 蟿慰蠀蟼 渭喂魏蟻慰蠉蟼 渭伪胃畏蟿苇蟼. 韦慰 未蟻慰渭慰位蠈纬喂慰 蟿畏蟼 伪魏慰位慰蠀胃蔚委 蟺喂蟽蟿维 蟿畏谓 委未喂伪 未喂伪未蟻慰渭萎 未喂伪谓蠉慰谓蟿伪蟼 蠈位畏 蟿畏谓 渭喂魏蟻萎 蟺蠈位畏 蟺蟻喂谓 蠁蟿维蟽蔚喂 蟽蟿畏 渭蔚纬维位畏 蔚蠀胃蔚委伪 蟺慰蠀 慰未畏纬蔚委 蟽蟿慰 蟽蠂慰位蔚委慰. 螘未蠋 魏伪喂 蔚委魏慰蟽喂 蠂蟻蠈谓喂伪 纬谓蠅蟻委味蔚喂 魏维胃蔚 蟽蟺喂胃伪渭萎 蟿慰蠀 未蟻蠈渭慰蠀 伪蟺鈥� 苇尉蠅 魏喂 伪谓伪魏伪蟿蠅蟿维. 螌蟺蠅蟼 纬谓蠅蟻委味蔚喂 蔚蟺委蟽畏蟼 蟺慰位蠉 魏伪位维 魏伪喂 蟿伪 渭喂魏蟻维 蟺喂蟿蟽喂蟻委魏喂伪 蟺慰蠀 蔚蟺喂尾喂尾维味慰谓蟿伪喂 蟽蟿慰 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼. 螌蟺蠅蟼 魏伪喂 慰位蠈魏位畏蟻畏 畏 蟺蠈位畏 纬谓蠅蟻委味蔚喂 蟿畏谓 委未喂伪. 韦慰 危伪渭 螡蟿蔚谓蟿 蔚委谓伪喂 渭喂伪 渭喂魏蟻萎 魏慰喂谓蠅谓委伪 蠈蟺慰蠀 蠁伪喂谓慰渭蔚谓喂魏维 蟿委蟺慰蟿伪 未蔚谓 伪谓伪蟿伪蟻维蟽蟽蔚喂 蟿畏谓 畏蟻蔚渭委伪 魏伪喂 蟿畏 纬伪位萎谓畏 蟿畏蟼. 螘魏蔚委谓慰 蟿慰 蠂蔚喂渭蠅谓喂维蟿喂魏慰 蟺蟻蠅喂谓蠈 蠈渭蠅蟼 蠈位伪 胃伪 伪位位维尉慰蠀谓.
螆谓伪 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪 胃伪 蟽蠁蟻伪纬委蟽蔚喂 蟿畏谓 渭慰委蟻伪 蔚魏蔚委谓畏蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼. 韦慰 蟽蠂慰位喂魏蠈 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 胃伪 尾蟻蔚胃蔚委 渭苇蟽伪 蟽蔚 渭喂伪 蟺伪纬蠅渭苇谓畏 位委渭谓畏 魏伪喂 伪蟻魏蔚蟿维 伪蟺蠈 蟿伪 蟺伪喂未喂维 胃伪 蠂维蟽慰蠀谓 蟿畏 味蠅萎 蟿慰蠀蟼. 螠苇蟽伪 蟽蔚 未蔚蠀蟿蔚蟻蠈位蔚蟺蟿伪 畏 伪蠁伪谓萎蟼 魏伪喂 萎蟻蔚渭畏 味蠅萎 蟿畏蟼 蟺蠈位畏蟼 胃伪 纬委谓蔚喂 蟿慰 蔚蟺委魏蔚谓蟿蟻慰 蟿慰蠀 蔚谓未喂伪蠁苇蟻慰谓蟿慰蟼 魏伪喂 胃伪 蟺蟻慰蟽蔚位魏蠉蟽蔚喂 蟺位萎胃慰蟼 未喂魏畏纬蠈蟻蠅谓 苇蟿慰喂渭蠅谓 谓伪 蠀蟺蔚蟻伪蟽蟺喂蟽蟿慰蠉谓 蟿伪 未喂魏伪喂蠋渭伪蟿伪 蟿蠅谓 纬慰谓喂蠋谓 蟺慰蠀 胃蟻畏谓慰蠉谓 纬喂伪 蟿慰谓 蠂伪渭蠈 蟿蠅谓 蟺伪喂未喂蠋谓 蟿慰蠀蟼. 螆谓伪蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 胃伪 蔚蟺喂蟽魏蔚蠁胃蔚委 慰蟻喂蟽渭苇谓慰蠀蟼 纬慰谓蔚委蟼 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏. 螚 螡喂魏蠈位 螠蟺蔚蟻谓苇位, 渭委伪 伪蟺蠈 蟿慰蠀蟼 蔚蟺喂味蠋谓蟿蔚蟼 蟿慰蠀 伪蟿蠀蠂萎渭伪蟿慰蟼, 胃伪 魏伪蟿伪蠁苇蟻蔚喂 渭蔚 蟿畏 蟽蟿维蟽畏 蟿畏蟼 谓伪 慰未畏纬萎蟽蔚喂 慰位蠈魏位畏蟻畏 蟿畏谓 蟺蠈位畏 蟽蟿慰谓 未蟻蠈渭慰 蟿畏蟼 胃蔚蟻伪蟺蔚委伪蟼 魏伪喂 蟿畏蟼 位蠉蟿蟻蠅蟽畏蟼.
韦苇蟽蟽蔚蟻喂蟼 伪蠁畏纬畏蟿苇蟼 渭伪蟼 蟿伪尉喂未蔚蠉慰蠀谓 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蟺慰蠀 苇蟺位蔚尉蔚 慰 巍维蟽蔚位 螠蟺伪谓魏蟼 畏 慰蟺慰委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 苇谓伪 伪位畏胃喂谓蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 苇位伪尾蔚 蠂蠋蟻伪 蟽蟿慰 韦苇尉伪蟼 蟿蠅谓 螚谓蠅渭苇谓蠅谓 螤慰位喂蟿蔚喂蠋谓 伪位位维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚蟺苇位蔚尉蔚 谓伪 蟿慰 蟿慰蟺慰胃蔚蟿萎蟽蔚喂 蟽蟿伪 蟺蔚蟻委蠂蠅蟻伪 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼. 韦苇蟽蟽蔚蟻伪 蟺蟻蠈蟽蠅蟺伪 蟺慰蠀 慰 魏伪胃苇谓伪蟼 蟿慰蠀 伪蠁畏纬蔚委蟿伪喂 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 蟿慰 蟺蠅蟼 蔚蟺畏蟻苇伪蟽蔚 蟿慰 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪 蟿喂蟼 味蠅苇蟼 蟿慰蠀蟼 伪位位维 魏伪喂 蟿慰谓 蟻蠀胃渭蠈 慰位蠈魏位畏蟻畏蟼 蟿畏蟼 蟺蠈位畏蟼. 螚 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 慰 螠蟺喂位 螁谓蟽蔚位, 慰 螠委蟿蟽蔚位 危蟿委尾蔚谓蟼 魏伪喂 畏 螡喂魏蠈位 螠蟺蔚蟻谓苇位 胃伪 渭慰喂蟻伪蟽蟿慰蠉谓 渭蔚 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿喂蟼 魏蟻蠀蠁苇蟼 蟿慰蠀蟼 蟽魏苇蠄蔚喂蟼, 蟿喂蟼 伪谓畏蟽蠀蠂委蔚蟼 蟿慰蠀蟼, 蠈蟽伪 蟿慰蠀蟼 蟿伪位伪喂蟺蠅蟻慰蠉谓 蠄蠀蠂喂魏维 伪位位维 魏伪喂 蟽蠅渭伪蟿喂魏维, 伪蟺慰蟿蠀蟺蠋谓慰谓蟿伪蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蟿慰蠀 螠蟺伪谓魏蟼 蟿伪 蟺喂慰 尾伪胃喂维 蟿慰蠀蟼 蟽蠀谓伪喂蟽胃萎渭伪蟿伪. 韦苇蟽蟽蔚蟻伪 维蟿慰渭伪 蟺慰蠀 蟽蠀谓未苇慰谓蟿伪喂 伪蟺蠈位蠀蟿伪 渭蔚 蟿慰 伪蟿蠉蠂畏渭伪 伪位位维 魏伪喂 渭蔚 蟿慰谓 未喂魏蠈 蟿慰蠀 蟿蟻蠈蟺慰 慰 魏伪胃苇谓伪蟼 蟿慰蠀蟼 尉蔚蠂蠅蟻喂蟽蟿维 伪蟺慰蟿蔚位蠋谓蟿伪蟼 蟽蟿畏谓 慰蠀蟽委伪 蟿伪 蟿苇蟽蟽蔚蟻伪 魏蠀蟻喂蠈蟿蔚蟻伪 魏蔚蠁维位伪喂伪 伪位位维 魏伪喂 蟿伪 渭慰谓伪未喂魏维 蟿慰蠀 尾喂尾位委慰蠀 蠂蠅蟻委味慰谓蟿伪蟼 蠈渭蠅蟼 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 蟽蔚 未蠉慰 渭苇蟻畏 渭蔚蟿伪蟿蟻苇蟺慰谓蟿伪蟼 蟿伪 蠅蟼 蔚喂蟽伪纬蠅纬萎 伪位位维 魏伪喂 蠅蟼 魏伪蟿伪魏位蔚委未伪 蟿畏蟼 伪蠁萎纬畏蟽畏蟼.
芦螠喂伪 蟺蠈位畏 蠂蟻蔚喂维味蔚蟿伪喂 蟿伪 蟺伪喂未喂维 蟿畏蟼禄 位苇蔚喂 蟽蔚 魏维蟺慰喂慰 蟽畏渭蔚委慰 畏 螡蟿慰位蠈蟻蔚蟼 魏伪喂 未蔚谓 渭蟺慰蟻蠋 蟺伪蟻维 谓伪 蟽蠀渭蠁蠅谓萎蟽蠅 渭伪味委 蟿畏蟼. 韦伪 蟺伪喂未喂维 蠂伪蟻委味慰蠀谓 伪谓蔚渭蔚位喂维, 伪喂蟽喂慰未慰尉委伪, 蠂伪渭蠈纬蔚位伪 魏伪喂 纬蔚渭委味慰蠀谓 蟿畏 味蠅萎 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 渭蔚 蟿畏谓 维未慰位畏 伪纬维蟺畏 蟿慰蠀蟼. 围蠅蟻委蟼 蟿伪 蟺伪喂未喂维 蠈位伪 渭苇谓慰蠀谓 渭喂蟽维 魏伪喂 伪蟿蔚位蔚蠉蟿畏蟿伪. 螚 魏慰喂谓蠅谓委伪 纬委谓蔚蟿伪喂 苇谓伪 伪谓蔚渭慰未伪蟻渭苇谓慰 蟽魏慰蟻蟺慰蠂蠋蟻喂 伪蟺慰渭慰谓蠅渭苇谓蠅谓 伪谓胃蟻蠋蟺蠅谓 纬蟻维蠁蔚喂 慰 螠蟺伪谓魏蟼 胃苇位慰谓蟿伪蟼 谓伪 蟿慰谓委蟽蔚喂 蟿畏谓 苇谓谓慰喂伪 蟿慰蠀 蟺蠈谓慰蠀 蠈蟿伪谓 苇谓伪蟼 纬慰谓喂蠈蟼 蠂维谓蔚喂 蟿慰 蟺伪喂未委 蟿慰蠀, 蠈蟿伪谓 渭喂伪 魏慰喂谓蠅谓委伪 蠂维谓蔚喂 蟿伪 蟺伪喂未喂维 蟿畏蟼. 螘委谓伪喂 苇谓伪蟼 苇谓蟿慰谓慰蟼 蟺蠈谓慰蟼 蟺慰蠀 蟽蔚 伪蟺慰渭慰谓蠋谓蔚喂 伪蟺蠈 蟿慰谓 蠀蟺蠈位慰喂蟺慰 魏蠈蟽渭慰 魏伪喂 蔚委谓伪喂 蟿慰 渭蠈谓慰 蟺慰蠀 蟽慰蠀 渭苇谓蔚喂 蟿蔚位喂魏维 魏伪喂 慰 魏伪胃苇谓伪蟼 蟺伪位蔚蠉蔚喂 谓伪 慰蟻胃慰蟺慰未萎蟽蔚喂 渭苇蟽伪 蟽蟿慰谓 喂蟽蟿蠈 蟿畏蟼 渭慰谓伪尉喂维蟼 蟺慰蠀 苇蠂蔚喂 蟺位苇尉蔚喂. 螚 伪蟺蠋位蔚喂伪 蔚谓蠈蟼 蟺伪喂未喂慰蠉 蠈渭蠅蟼 未蔚谓 尉蔚蠂谓喂苇蟿伪喂 蟺慰蟿苇. 螝伪喂 伪蠀蟿蠈蟼 蟺慰蠀 渭苇谓蔚喂 蟺委蟽蠅, 伪蠀蟿蠈蟼 蟺慰蠀 魏伪蟿维蠁蔚蟻蔚 谓伪 蔚蟺喂味萎蟽蔚喂 委蟽蠅蟼 谓伪 伪谓伪蟻蠅蟿喂苇蟿伪喂 蟿喂 伪尉委伪 蔚委蠂蔚 畏 蟺蟻慰畏纬慰蠉渭蔚谓畏 味蠅萎 蟿慰蠀 伪位位维 魏伪喂 蟿喂 伪尉委味蔚喂 蟿蔚位喂魏维 伪蟺蠈 蔚未蠋 魏伪喂 蟺苇蟻伪.
韦苇蟿慰喂蔚蟼 蟽魏苇蠄蔚喂蟼 蟺蔚蟻谓维谓蔚 魏伪喂 伪蟺蠈 蟿慰 渭蠀伪位蠈 蟿畏蟼 螡喂魏蠈位 螠蟺蔚蟻谓苇位, 蟿畏蟼 魏慰蟺苇位伪蟼 蟺慰蠀 蔚蟺苇味畏蟽蔚 伪位位维 蟺慰蠀 苇蟺蟻蔚蟺蔚 谓伪 蟺位畏蟻蠋蟽蔚喂 苇谓伪 蟽畏渭伪谓蟿喂魏蠈 蟿委渭畏渭伪. 螚 螡喂魏蠈位 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟺喂伪 魏伪喂 魏伪胃畏位蠅渭苇谓畏 蟽蟿畏谓 伪谓伪蟺畏蟻喂魏萎 蟿畏蟼 魏伪蟻苇魏位伪 胃伪 魏维谓蔚喂 渭喂伪 伪蟺慰蟿委渭畏蟽畏 蟿畏蟼 渭苇蠂蟻喂 蟿蠋蟻伪 味蠅萎 蟿畏蟼. 螚 伪蠁萎纬畏蟽畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏维 蟽蠀纬魏位慰谓委味蔚喂 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 魏伪胃蠋蟼 未喂伪蟺喂蟽蟿蠋谓慰蠀谓 蟺蠈蟽慰 纬蟻萎纬慰蟻伪 蠅蟻喂渭维味慰蠀谓 苇谓伪 蟺伪喂未委 慰蟻喂蟽渭苇谓蔚蟼 蟽蠀谓胃萎魏蔚蟼 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 螠苇蟽伪 伪蟺蠈 蠈位慰蠀蟼 蟿慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 渭伪胃伪委谓慰蠀渭蔚 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼 魏伪胃蠋蟼 渭伪蟼 魏伪蟿伪胃苇蟿慰蠀谓 蟿喂蟼 尾伪胃蠉蟿蔚蟻蔚蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀蟼 蟽伪谓 谓伪 渭伪蟼 蔚尉慰渭慰位慰纬慰蠉谓蟿伪喂 蟿喂蟼 伪渭伪蟻蟿委蔚蟼 蟿慰蠀蟼 纬喂伪 谓伪 蔚尉伪纬谓委蟽慰蠀谓 蟿畏谓 蠄蠀蠂萎 蟿慰蠀蟼. 螝伪喂 委蟽蠅蟼 蟿蔚位喂魏维 伪蠀蟿蠈 谓伪 蔚委谓伪喂 蟺慰蠀 蟺蟻伪纬渭伪蟿喂魏维 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 魏维谓慰蠀谓 纬喂伪 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 蟺蟻慰蠂蠅蟻萎蟽慰蠀谓 蟺伪蟻维位位畏位伪 渭蔚 蟿慰谓 蟺蠈谓慰 蟿慰蠀蟼. 螁位位蠅蟽蟿蔚 魏伪喂 蔚渭蔚委蟼 蟽蟿喂蟼 未蠉蟽魏慰位蔚蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 蟺维谓蟿伪 未蔚谓 魏维谓慰蠀渭蔚 蟿慰谓 伪蟺慰位慰纬喂蟽渭蠈 渭伪蟼;
螣 巍维蟽蔚位 螠蟺伪谓魏蟼 蠂蟿委味蔚喂 渭蔚 未蔚尉喂慰蟿蔚蠂谓委伪 渭喂伪 渭蔚位苇蟿畏 蟺维谓蠅 蟽蟿畏谓 魏慰喂谓蠅谓喂魏萎 味蠅萎 魏伪喂 蟽蠀渭蟺蔚蟻喂蠁慰蟻维 蟿蠅谓 魏伪蟿慰委魏蠅谓 渭喂伪蟼 渭喂魏蟻萎蟼 魏慰喂谓蠅谓委伪蟼 蠈蟺蠅蟼 蔚委谓伪喂 蟿慰 危伪渭 螡蟿蔚谓蟿 胃苇位慰谓蟿伪蟼 谓伪 蟿慰谓委蟽蔚喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 蔚谓未蔚位蔚蠂萎 蠄蠀蠂慰位慰纬喂魏萎 伪谓维位蠀蟽畏 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀 蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 慰喂 维谓胃蟻蠅蟺慰喂 伪谓蟿喂渭蔚蟿蠅蟺委味慰蠀谓 蟿喂蟼 蟿蟻伪纬蠅未委蔚蟼 伪位位维 魏伪喂 蟿喂蟼 伪谓伪蟺慰未喂苇蟼 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟿慰蠀蟼 渭苇蟽伪 伪蟺蠈 蟿伪 苇谓蟿慰谓伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 尾喂蠋谓慰蠀谓. 螚 伪蟺蠋位蔚喂伪 渭蔚蟿伪蠁蟻维味蔚蟿伪喂 渭苇蟽伪 伪蟺蠈 蟿畏 胃位委蠄畏, 蟿畏谓 慰蟻纬萎, 蟿慰谓 胃蠀渭蠈, 蟿畏谓 魏蔚谓蠈蟿畏蟿伪 魏伪喂 蟿慰 伪未喂苇尉慰未慰 蟺慰蠀 苇蠂慰蠀谓 蟺蔚蟻喂苇位胃蔚喂 未畏渭喂慰蠀蟻纬蠋谓蟿伪蟼 苇谓伪 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠂维慰蟼 蠁苇蟻谓慰谓蟿伪蟼 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 魏伪位维 魏蟻蠀渭渭苇谓伪 渭蠀蟽蟿喂魏维 魏伪喂 蠄苇渭伪蟿伪 蟺慰蠀 蟿慰蠀蟼 蟿伪位伪喂蟺蠅蟻慰蠉蟽伪谓. 螤伪蟻维位位畏位伪 蔚委谓伪喂 伪尉喂慰胃伪蠉渭伪蟽蟿慰 蟺蠈蟽慰 渭蔚纬维位伪 伪蟺慰胃苇渭伪蟿伪 蠄蠀蠂喂魏萎蟼 伪谓蟿慰蠂萎蟼 伪谓伪未蔚喂魏谓蠉慰蠀谓 渭苇蟽伪 伪蟺蠈 蟿畏谓 伪蟺蠋位蔚喂伪 蟿慰蠀蟼 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 螠蟺伪谓魏蟼 魏伪喂 蟺蠈蟽慰 渭蔚纬维位畏 伪谓胃蔚魏蟿喂魏蠈蟿畏蟿伪 伪谓伪蟺蟿蠉蟽蟽慰蠀谓 魏伪胃蠋蟼 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 蟿慰 蟺蟻伪纬渭伪蟿喂魏蠈 蟿慰蠀蟼 蟺蟻蠈蟽蠅蟺慰.
螆谓伪 尾喂尾位委慰 蟺慰蠀 渭喂位维蔚喂 魏伪蟿蔚蠀胃蔚委伪谓 蟽蟿畏谓 蠄蠀蠂萎 魏伪喂 蟽蟿畏谓 魏伪蟻未喂维 渭伪蟼 伪谓伪未蔚喂魏谓蠉慰谓蟿伪蟼 蟿畏谓 伪位畏胃喂谓萎 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏 蟺慰蠀 魏伪位蔚委蟿伪喂 谓伪 尉蔚蟺蔚蟻维蟽蔚喂 蟿畏 胃位委蠄畏 蟿畏蟼 伪蟺蟻蠈蟽渭蔚谓畏蟼 伪蟺蠋位蔚喂伪蟼 伪纬伪蟺畏渭苇谓蠅谓 蟺蟻慰蟽蠋蟺蠅谓.
危蟿畏谓 渭喂魏蟻萎 魏蠅渭蠈蟺慰位畏 蟿慰蠀 危伪渭 螡蟿蔚谓蟿 畏 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位 蔚委谓伪喂 畏 慰未畏纬蠈蟼 蟿慰蠀 蟽蠂慰位喂魏慰蠉 位蔚蠅蠁慰蟻蔚委慰蠀 魏伪喂 魏维胃蔚 渭苇蟻伪 渭蔚蟿伪蠁苇蟻蔚喂 蟿慰蠀蟼 渭喂魏蟻慰蠉蟼 渭伪胃畏蟿苇蟼. 韦慰 未蟻慰渭慰位蠈纬喂慰 蟿畏蟼 伪魏慰位慰蠀胃蔚委 蟺喂蟽蟿维 蟿畏谓 委未喂伪 未喂伪未蟻慰渭萎 未喂伪谓蠉慰谓蟿伪蟼 蠈位畏 蟿畏谓 渭喂魏蟻萎 蟺蠈位畏 蟺蟻喂谓 蠁蟿维蟽蔚喂 蟽蟿畏 渭蔚纬维位畏 蔚蠀胃蔚委伪 蟺慰蠀 慰未畏纬蔚委 蟽蟿慰 蟽蠂慰位蔚委慰. 螘未蠋 魏伪喂 蔚委魏慰蟽喂 蠂蟻蠈谓喂伪 纬谓蠅蟻委味蔚喂 魏维胃蔚 蟽蟺喂胃伪渭萎 蟿慰蠀 未蟻蠈渭慰蠀 伪蟺鈥� 苇尉蠅 魏喂 伪谓伪魏伪蟿蠅蟿维. 螌蟺蠅蟼 纬谓蠅蟻委味蔚喂 蔚蟺委蟽畏蟼 蟺慰位蠉 魏伪位维 魏伪喂 蟿伪 渭喂魏蟻维 蟺喂蟿蟽喂蟻委魏喂伪 蟺慰蠀 蔚蟺喂尾喂尾维味慰谓蟿伪喂 蟽蟿慰 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼. 螌蟺蠅蟼 魏伪喂 慰位蠈魏位畏蟻畏 畏 蟺蠈位畏 纬谓蠅蟻委味蔚喂 蟿畏谓 委未喂伪. 韦慰 危伪渭 螡蟿蔚谓蟿 蔚委谓伪喂 渭喂伪 渭喂魏蟻萎 魏慰喂谓蠅谓委伪 蠈蟺慰蠀 蠁伪喂谓慰渭蔚谓喂魏维 蟿委蟺慰蟿伪 未蔚谓 伪谓伪蟿伪蟻维蟽蟽蔚喂 蟿畏谓 畏蟻蔚渭委伪 魏伪喂 蟿畏 纬伪位萎谓畏 蟿畏蟼. 螘魏蔚委谓慰 蟿慰 蠂蔚喂渭蠅谓喂维蟿喂魏慰 蟺蟻蠅喂谓蠈 蠈渭蠅蟼 蠈位伪 胃伪 伪位位维尉慰蠀谓.
螆谓伪 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪 胃伪 蟽蠁蟻伪纬委蟽蔚喂 蟿畏谓 渭慰委蟻伪 蔚魏蔚委谓畏蟼 蟿畏蟼 渭喂魏蟻萎蟼 蟺蠈位畏蟼 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼. 韦慰 蟽蠂慰位喂魏蠈 位蔚蠅蠁慰蟻蔚委慰 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 胃伪 尾蟻蔚胃蔚委 渭苇蟽伪 蟽蔚 渭喂伪 蟺伪纬蠅渭苇谓畏 位委渭谓畏 魏伪喂 伪蟻魏蔚蟿维 伪蟺蠈 蟿伪 蟺伪喂未喂维 胃伪 蠂维蟽慰蠀谓 蟿畏 味蠅萎 蟿慰蠀蟼. 螠苇蟽伪 蟽蔚 未蔚蠀蟿蔚蟻蠈位蔚蟺蟿伪 畏 伪蠁伪谓萎蟼 魏伪喂 萎蟻蔚渭畏 味蠅萎 蟿畏蟼 蟺蠈位畏蟼 胃伪 纬委谓蔚喂 蟿慰 蔚蟺委魏蔚谓蟿蟻慰 蟿慰蠀 蔚谓未喂伪蠁苇蟻慰谓蟿慰蟼 魏伪喂 胃伪 蟺蟻慰蟽蔚位魏蠉蟽蔚喂 蟺位萎胃慰蟼 未喂魏畏纬蠈蟻蠅谓 苇蟿慰喂渭蠅谓 谓伪 蠀蟺蔚蟻伪蟽蟺喂蟽蟿慰蠉谓 蟿伪 未喂魏伪喂蠋渭伪蟿伪 蟿蠅谓 纬慰谓喂蠋谓 蟺慰蠀 胃蟻畏谓慰蠉谓 纬喂伪 蟿慰谓 蠂伪渭蠈 蟿蠅谓 蟺伪喂未喂蠋谓 蟿慰蠀蟼. 螆谓伪蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 胃伪 蔚蟺喂蟽魏蔚蠁胃蔚委 慰蟻喂蟽渭苇谓慰蠀蟼 纬慰谓蔚委蟼 蟺蟻慰蟽蟺伪胃蠋谓蟿伪蟼 谓伪 蔚魏渭蔚蟿伪位位蔚蠀蟿蔚委 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏. 螚 螡喂魏蠈位 螠蟺蔚蟻谓苇位, 渭委伪 伪蟺蠈 蟿慰蠀蟼 蔚蟺喂味蠋谓蟿蔚蟼 蟿慰蠀 伪蟿蠀蠂萎渭伪蟿慰蟼, 胃伪 魏伪蟿伪蠁苇蟻蔚喂 渭蔚 蟿畏 蟽蟿维蟽畏 蟿畏蟼 谓伪 慰未畏纬萎蟽蔚喂 慰位蠈魏位畏蟻畏 蟿畏谓 蟺蠈位畏 蟽蟿慰谓 未蟻蠈渭慰 蟿畏蟼 胃蔚蟻伪蟺蔚委伪蟼 魏伪喂 蟿畏蟼 位蠉蟿蟻蠅蟽畏蟼.
韦苇蟽蟽蔚蟻喂蟼 伪蠁畏纬畏蟿苇蟼 渭伪蟼 蟿伪尉喂未蔚蠉慰蠀谓 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蟺慰蠀 苇蟺位蔚尉蔚 慰 巍维蟽蔚位 螠蟺伪谓魏蟼 畏 慰蟺慰委伪 尾伪蟽委味蔚蟿伪喂 蟽蔚 苇谓伪 伪位畏胃喂谓蠈 纬蔚纬慰谓蠈蟼 蟺慰蠀 苇位伪尾蔚 蠂蠋蟻伪 蟽蟿慰 韦苇尉伪蟼 蟿蠅谓 螚谓蠅渭苇谓蠅谓 螤慰位喂蟿蔚喂蠋谓 伪位位维 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚蟺苇位蔚尉蔚 谓伪 蟿慰 蟿慰蟺慰胃蔚蟿萎蟽蔚喂 蟽蟿伪 蟺蔚蟻委蠂蠅蟻伪 蟿畏蟼 螡苇伪蟼 违蠈蟻魏畏蟼. 韦苇蟽蟽蔚蟻伪 蟺蟻蠈蟽蠅蟺伪 蟺慰蠀 慰 魏伪胃苇谓伪蟼 蟿慰蠀 伪蠁畏纬蔚委蟿伪喂 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 蟿慰 蟺蠅蟼 蔚蟺畏蟻苇伪蟽蔚 蟿慰 蟿蟻伪纬喂魏蠈 未蠀蟽蟿蠉蠂畏渭伪 蟿喂蟼 味蠅苇蟼 蟿慰蠀蟼 伪位位维 魏伪喂 蟿慰谓 蟻蠀胃渭蠈 慰位蠈魏位畏蟻畏蟼 蟿畏蟼 蟺蠈位畏蟼. 螚 螡蟿慰位蠈蟻蔚蟼 螡蟿蟻委蟽魏慰位, 慰 螠蟺喂位 螁谓蟽蔚位, 慰 螠委蟿蟽蔚位 危蟿委尾蔚谓蟼 魏伪喂 畏 螡喂魏蠈位 螠蟺蔚蟻谓苇位 胃伪 渭慰喂蟻伪蟽蟿慰蠉谓 渭蔚 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿喂蟼 魏蟻蠀蠁苇蟼 蟿慰蠀蟼 蟽魏苇蠄蔚喂蟼, 蟿喂蟼 伪谓畏蟽蠀蠂委蔚蟼 蟿慰蠀蟼, 蠈蟽伪 蟿慰蠀蟼 蟿伪位伪喂蟺蠅蟻慰蠉谓 蠄蠀蠂喂魏维 伪位位维 魏伪喂 蟽蠅渭伪蟿喂魏维, 伪蟺慰蟿蠀蟺蠋谓慰谓蟿伪蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 蟿慰蠀 螠蟺伪谓魏蟼 蟿伪 蟺喂慰 尾伪胃喂维 蟿慰蠀蟼 蟽蠀谓伪喂蟽胃萎渭伪蟿伪. 韦苇蟽蟽蔚蟻伪 维蟿慰渭伪 蟺慰蠀 蟽蠀谓未苇慰谓蟿伪喂 伪蟺蠈位蠀蟿伪 渭蔚 蟿慰 伪蟿蠉蠂畏渭伪 伪位位维 魏伪喂 渭蔚 蟿慰谓 未喂魏蠈 蟿慰蠀 蟿蟻蠈蟺慰 慰 魏伪胃苇谓伪蟼 蟿慰蠀蟼 尉蔚蠂蠅蟻喂蟽蟿维 伪蟺慰蟿蔚位蠋谓蟿伪蟼 蟽蟿畏谓 慰蠀蟽委伪 蟿伪 蟿苇蟽蟽蔚蟻伪 魏蠀蟻喂蠈蟿蔚蟻伪 魏蔚蠁维位伪喂伪 伪位位维 魏伪喂 蟿伪 渭慰谓伪未喂魏维 蟿慰蠀 尾喂尾位委慰蠀 蠂蠅蟻委味慰谓蟿伪蟼 蠈渭蠅蟼 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿畏蟼 螡蟿慰位蠈蟻蔚蟼 蟽蔚 未蠉慰 渭苇蟻畏 渭蔚蟿伪蟿蟻苇蟺慰谓蟿伪蟼 蟿伪 蠅蟼 蔚喂蟽伪纬蠅纬萎 伪位位维 魏伪喂 蠅蟼 魏伪蟿伪魏位蔚委未伪 蟿畏蟼 伪蠁萎纬畏蟽畏蟼.
芦螠喂伪 蟺蠈位畏 蠂蟻蔚喂维味蔚蟿伪喂 蟿伪 蟺伪喂未喂维 蟿畏蟼禄 位苇蔚喂 蟽蔚 魏维蟺慰喂慰 蟽畏渭蔚委慰 畏 螡蟿慰位蠈蟻蔚蟼 魏伪喂 未蔚谓 渭蟺慰蟻蠋 蟺伪蟻维 谓伪 蟽蠀渭蠁蠅谓萎蟽蠅 渭伪味委 蟿畏蟼. 韦伪 蟺伪喂未喂维 蠂伪蟻委味慰蠀谓 伪谓蔚渭蔚位喂维, 伪喂蟽喂慰未慰尉委伪, 蠂伪渭蠈纬蔚位伪 魏伪喂 纬蔚渭委味慰蠀谓 蟿畏 味蠅萎 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 渭蔚 蟿畏谓 维未慰位畏 伪纬维蟺畏 蟿慰蠀蟼. 围蠅蟻委蟼 蟿伪 蟺伪喂未喂维 蠈位伪 渭苇谓慰蠀谓 渭喂蟽维 魏伪喂 伪蟿蔚位蔚蠉蟿畏蟿伪. 螚 魏慰喂谓蠅谓委伪 纬委谓蔚蟿伪喂 苇谓伪 伪谓蔚渭慰未伪蟻渭苇谓慰 蟽魏慰蟻蟺慰蠂蠋蟻喂 伪蟺慰渭慰谓蠅渭苇谓蠅谓 伪谓胃蟻蠋蟺蠅谓 纬蟻维蠁蔚喂 慰 螠蟺伪谓魏蟼 胃苇位慰谓蟿伪蟼 谓伪 蟿慰谓委蟽蔚喂 蟿畏谓 苇谓谓慰喂伪 蟿慰蠀 蟺蠈谓慰蠀 蠈蟿伪谓 苇谓伪蟼 纬慰谓喂蠈蟼 蠂维谓蔚喂 蟿慰 蟺伪喂未委 蟿慰蠀, 蠈蟿伪谓 渭喂伪 魏慰喂谓蠅谓委伪 蠂维谓蔚喂 蟿伪 蟺伪喂未喂维 蟿畏蟼. 螘委谓伪喂 苇谓伪蟼 苇谓蟿慰谓慰蟼 蟺蠈谓慰蟼 蟺慰蠀 蟽蔚 伪蟺慰渭慰谓蠋谓蔚喂 伪蟺蠈 蟿慰谓 蠀蟺蠈位慰喂蟺慰 魏蠈蟽渭慰 魏伪喂 蔚委谓伪喂 蟿慰 渭蠈谓慰 蟺慰蠀 蟽慰蠀 渭苇谓蔚喂 蟿蔚位喂魏维 魏伪喂 慰 魏伪胃苇谓伪蟼 蟺伪位蔚蠉蔚喂 谓伪 慰蟻胃慰蟺慰未萎蟽蔚喂 渭苇蟽伪 蟽蟿慰谓 喂蟽蟿蠈 蟿畏蟼 渭慰谓伪尉喂维蟼 蟺慰蠀 苇蠂蔚喂 蟺位苇尉蔚喂. 螚 伪蟺蠋位蔚喂伪 蔚谓蠈蟼 蟺伪喂未喂慰蠉 蠈渭蠅蟼 未蔚谓 尉蔚蠂谓喂苇蟿伪喂 蟺慰蟿苇. 螝伪喂 伪蠀蟿蠈蟼 蟺慰蠀 渭苇谓蔚喂 蟺委蟽蠅, 伪蠀蟿蠈蟼 蟺慰蠀 魏伪蟿维蠁蔚蟻蔚 谓伪 蔚蟺喂味萎蟽蔚喂 委蟽蠅蟼 谓伪 伪谓伪蟻蠅蟿喂苇蟿伪喂 蟿喂 伪尉委伪 蔚委蠂蔚 畏 蟺蟻慰畏纬慰蠉渭蔚谓畏 味蠅萎 蟿慰蠀 伪位位维 魏伪喂 蟿喂 伪尉委味蔚喂 蟿蔚位喂魏维 伪蟺蠈 蔚未蠋 魏伪喂 蟺苇蟻伪.
韦苇蟿慰喂蔚蟼 蟽魏苇蠄蔚喂蟼 蟺蔚蟻谓维谓蔚 魏伪喂 伪蟺蠈 蟿慰 渭蠀伪位蠈 蟿畏蟼 螡喂魏蠈位 螠蟺蔚蟻谓苇位, 蟿畏蟼 魏慰蟺苇位伪蟼 蟺慰蠀 蔚蟺苇味畏蟽蔚 伪位位维 蟺慰蠀 苇蟺蟻蔚蟺蔚 谓伪 蟺位畏蟻蠋蟽蔚喂 苇谓伪 蟽畏渭伪谓蟿喂魏蠈 蟿委渭畏渭伪. 螚 螡喂魏蠈位 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟺喂伪 魏伪喂 魏伪胃畏位蠅渭苇谓畏 蟽蟿畏谓 伪谓伪蟺畏蟻喂魏萎 蟿畏蟼 魏伪蟻苇魏位伪 胃伪 魏维谓蔚喂 渭喂伪 伪蟺慰蟿委渭畏蟽畏 蟿畏蟼 渭苇蠂蟻喂 蟿蠋蟻伪 味蠅萎 蟿畏蟼. 螚 伪蠁萎纬畏蟽畏 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏维 蟽蠀纬魏位慰谓委味蔚喂 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 魏伪胃蠋蟼 未喂伪蟺喂蟽蟿蠋谓慰蠀谓 蟺蠈蟽慰 纬蟻萎纬慰蟻伪 蠅蟻喂渭维味慰蠀谓 苇谓伪 蟺伪喂未委 慰蟻喂蟽渭苇谓蔚蟼 蟽蠀谓胃萎魏蔚蟼 魏伪喂 魏伪蟿伪蟽蟿维蟽蔚喂蟼. 螠苇蟽伪 伪蟺蠈 蠈位慰蠀蟼 蟿慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 尾喂尾位委慰蠀 渭伪胃伪委谓慰蠀渭蔚 蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀蟼 魏伪胃蠋蟼 渭伪蟼 魏伪蟿伪胃苇蟿慰蠀谓 蟿喂蟼 尾伪胃蠉蟿蔚蟻蔚蟼 蟽魏苇蠄蔚喂蟼 蟿慰蠀蟼 蟽伪谓 谓伪 渭伪蟼 蔚尉慰渭慰位慰纬慰蠉谓蟿伪喂 蟿喂蟼 伪渭伪蟻蟿委蔚蟼 蟿慰蠀蟼 纬喂伪 谓伪 蔚尉伪纬谓委蟽慰蠀谓 蟿畏谓 蠄蠀蠂萎 蟿慰蠀蟼. 螝伪喂 委蟽蠅蟼 蟿蔚位喂魏维 伪蠀蟿蠈 谓伪 蔚委谓伪喂 蟺慰蠀 蟺蟻伪纬渭伪蟿喂魏维 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 魏维谓慰蠀谓 纬喂伪 谓伪 渭蟺慰蟻苇蟽慰蠀谓 谓伪 蟺蟻慰蠂蠅蟻萎蟽慰蠀谓 蟺伪蟻维位位畏位伪 渭蔚 蟿慰谓 蟺蠈谓慰 蟿慰蠀蟼. 螁位位蠅蟽蟿蔚 魏伪喂 蔚渭蔚委蟼 蟽蟿喂蟼 未蠉蟽魏慰位蔚蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 蟺维谓蟿伪 未蔚谓 魏维谓慰蠀渭蔚 蟿慰谓 伪蟺慰位慰纬喂蟽渭蠈 渭伪蟼;
螣 巍维蟽蔚位 螠蟺伪谓魏蟼 蠂蟿委味蔚喂 渭蔚 未蔚尉喂慰蟿蔚蠂谓委伪 渭喂伪 渭蔚位苇蟿畏 蟺维谓蠅 蟽蟿畏谓 魏慰喂谓蠅谓喂魏萎 味蠅萎 魏伪喂 蟽蠀渭蟺蔚蟻喂蠁慰蟻维 蟿蠅谓 魏伪蟿慰委魏蠅谓 渭喂伪蟼 渭喂魏蟻萎蟼 魏慰喂谓蠅谓委伪蟼 蠈蟺蠅蟼 蔚委谓伪喂 蟿慰 危伪渭 螡蟿蔚谓蟿 胃苇位慰谓蟿伪蟼 谓伪 蟿慰谓委蟽蔚喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 蔚谓未蔚位蔚蠂萎 蠄蠀蠂慰位慰纬喂魏萎 伪谓维位蠀蟽畏 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀 蟿慰谓 蟿蟻蠈蟺慰 渭蔚 蟿慰谓 慰蟺慰委慰 慰喂 维谓胃蟻蠅蟺慰喂 伪谓蟿喂渭蔚蟿蠅蟺委味慰蠀谓 蟿喂蟼 蟿蟻伪纬蠅未委蔚蟼 伪位位维 魏伪喂 蟿喂蟼 伪谓伪蟺慰未喂苇蟼 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟿慰蠀蟼 渭苇蟽伪 伪蟺蠈 蟿伪 苇谓蟿慰谓伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 尾喂蠋谓慰蠀谓. 螚 伪蟺蠋位蔚喂伪 渭蔚蟿伪蠁蟻维味蔚蟿伪喂 渭苇蟽伪 伪蟺蠈 蟿畏 胃位委蠄畏, 蟿畏谓 慰蟻纬萎, 蟿慰谓 胃蠀渭蠈, 蟿畏谓 魏蔚谓蠈蟿畏蟿伪 魏伪喂 蟿慰 伪未喂苇尉慰未慰 蟺慰蠀 苇蠂慰蠀谓 蟺蔚蟻喂苇位胃蔚喂 未畏渭喂慰蠀蟻纬蠋谓蟿伪蟼 苇谓伪 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠂维慰蟼 蠁苇蟻谓慰谓蟿伪蟼 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 魏伪位维 魏蟻蠀渭渭苇谓伪 渭蠀蟽蟿喂魏维 魏伪喂 蠄苇渭伪蟿伪 蟺慰蠀 蟿慰蠀蟼 蟿伪位伪喂蟺蠅蟻慰蠉蟽伪谓. 螤伪蟻维位位畏位伪 蔚委谓伪喂 伪尉喂慰胃伪蠉渭伪蟽蟿慰 蟺蠈蟽慰 渭蔚纬维位伪 伪蟺慰胃苇渭伪蟿伪 蠄蠀蠂喂魏萎蟼 伪谓蟿慰蠂萎蟼 伪谓伪未蔚喂魏谓蠉慰蠀谓 渭苇蟽伪 伪蟺蠈 蟿畏谓 伪蟺蠋位蔚喂伪 蟿慰蠀蟼 慰喂 萎蟻蠅蔚蟼 蟿慰蠀 螠蟺伪谓魏蟼 魏伪喂 蟺蠈蟽慰 渭蔚纬维位畏 伪谓胃蔚魏蟿喂魏蠈蟿畏蟿伪 伪谓伪蟺蟿蠉蟽蟽慰蠀谓 魏伪胃蠋蟼 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 蟿慰 蟺蟻伪纬渭伪蟿喂魏蠈 蟿慰蠀蟼 蟺蟻蠈蟽蠅蟺慰.
螆谓伪 尾喂尾位委慰 蟺慰蠀 渭喂位维蔚喂 魏伪蟿蔚蠀胃蔚委伪谓 蟽蟿畏谓 蠄蠀蠂萎 魏伪喂 蟽蟿畏谓 魏伪蟻未喂维 渭伪蟼 伪谓伪未蔚喂魏谓蠉慰谓蟿伪蟼 蟿畏谓 伪位畏胃喂谓萎 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏 蟺慰蠀 魏伪位蔚委蟿伪喂 谓伪 尉蔚蟺蔚蟻维蟽蔚喂 蟿畏 胃位委蠄畏 蟿畏蟼 伪蟺蟻蠈蟽渭蔚谓畏蟼 伪蟺蠋位蔚喂伪蟼 伪纬伪蟺畏渭苇谓蠅谓 蟺蟻慰蟽蠋蟺蠅谓.
November 20, 2013
Huh. This book reminded me of the movie "Crash" --- it had that same feel of being a moving and at times heart squashing view of different people's lives and the way they come together to misunderstand each other. At the same time, it's very different than Crash because the central conflict or story is this bus accident and how people grapple with it.
The writing was good, and at times the words were profound and very insightful. On the whole, I liked the book and I'm glad I read it. I wouldn't read it again and I recommend it with reservation (plenty of swearing and gritty material). At the same time, I wish I could discuss it with someone.
SPOILER ALERT:
So the dust jacket says the following: "This is a large-hearted novel whose telling is, despite all, often warm and humorous and ends in a remarkably orchestrated redemption."
The best thing I can say about the book is that the characters are so real. The four people who tell the story are very different from each other. Delores, the bus driver, I loved. The lawyer I liked too- though his angry attitude and vocation (ultra aggressive litigation lawyer) disturbed me. He was disturbing, but also very intelligent, at times entertaining, and so understandable throughout. The other two narrators I could take or leave, but the sexual details of Billy's affair and Nichole being molested- those I could've done without.
I think it's interesting that modern adult literature considers itself more honest if it talks about sex. Certainly, it can play a big role in some stories, especially ones with romance, but it this one it seemed to be a gritty accessory rather than something necessary. Maybe, after a couple centuries of people feeling they couldn't mention words like "erection" in literature, maybe now we're going to the other extreme in an effort to compensate.
To me, the story doesn't have much redemption at the end. The end was sort of a "I'll be my own individual and not give a #$%! about what other people think" resolution. Individualism is all good and fine, and in the book the bus driver's moment of clarity that she exists independent of the others is beautiful to read, but I suppose I was hoping for the redemption and resolution of the community--- yes, one girl lying and saying that the bus driver was speeding saved the community from years of lawsuits, yes, it was satisfying to see that the lawyer didn't get to nail someone's head to the wall just to satisfy his anger (never realizing that he was tearing apart a community to do it).
But what about the big lie, incriminating the bus driver that everyone had initially felt was as much a victim as the dead and crippled children? When she left her home town and community at the end of the book, it didn't seem like she was running away from prejudice, she was leaving because she felt she didn't belong- but she didn't belong anywhere- she and the children in the bus accident were "solitaries living in a sweet hereafter鈥� absolutely alone鈥� and even [their] shared aloneness did not modify the simple fact of it."
The other parents we saw intimately- their lives more or less fell apart after they lost their children. And the town- the community- it comes together in the closing scene of the book- but it comes together in a fickle way, making me feel that community isn't worth much at all if it can act with such callousness and then be so transient in its opinions and feelings.
So, for me as a reader, this was not a story of redemption. But it was interesting and profound.
The writing was good, and at times the words were profound and very insightful. On the whole, I liked the book and I'm glad I read it. I wouldn't read it again and I recommend it with reservation (plenty of swearing and gritty material). At the same time, I wish I could discuss it with someone.
SPOILER ALERT:
So the dust jacket says the following: "This is a large-hearted novel whose telling is, despite all, often warm and humorous and ends in a remarkably orchestrated redemption."
The best thing I can say about the book is that the characters are so real. The four people who tell the story are very different from each other. Delores, the bus driver, I loved. The lawyer I liked too- though his angry attitude and vocation (ultra aggressive litigation lawyer) disturbed me. He was disturbing, but also very intelligent, at times entertaining, and so understandable throughout. The other two narrators I could take or leave, but the sexual details of Billy's affair and Nichole being molested- those I could've done without.
I think it's interesting that modern adult literature considers itself more honest if it talks about sex. Certainly, it can play a big role in some stories, especially ones with romance, but it this one it seemed to be a gritty accessory rather than something necessary. Maybe, after a couple centuries of people feeling they couldn't mention words like "erection" in literature, maybe now we're going to the other extreme in an effort to compensate.
To me, the story doesn't have much redemption at the end. The end was sort of a "I'll be my own individual and not give a #$%! about what other people think" resolution. Individualism is all good and fine, and in the book the bus driver's moment of clarity that she exists independent of the others is beautiful to read, but I suppose I was hoping for the redemption and resolution of the community--- yes, one girl lying and saying that the bus driver was speeding saved the community from years of lawsuits, yes, it was satisfying to see that the lawyer didn't get to nail someone's head to the wall just to satisfy his anger (never realizing that he was tearing apart a community to do it).
But what about the big lie, incriminating the bus driver that everyone had initially felt was as much a victim as the dead and crippled children? When she left her home town and community at the end of the book, it didn't seem like she was running away from prejudice, she was leaving because she felt she didn't belong- but she didn't belong anywhere- she and the children in the bus accident were "solitaries living in a sweet hereafter鈥� absolutely alone鈥� and even [their] shared aloneness did not modify the simple fact of it."
The other parents we saw intimately- their lives more or less fell apart after they lost their children. And the town- the community- it comes together in the closing scene of the book- but it comes together in a fickle way, making me feel that community isn't worth much at all if it can act with such callousness and then be so transient in its opinions and feelings.
So, for me as a reader, this was not a story of redemption. But it was interesting and profound.
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