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在一个没有天才,只有聪明人的时代,谈论天才是可笑的,更别说什么“先知”了。现在的“天才”,不过是拥有某种天赋,而那些天赋,还常常在课堂或者是“神童班”里消磨掉了。有一位青年,却用他的文字、言行和牺牲,证实了这两个字的真正含义。由此,人们可以透视自己所处的环境,觉悟自身本有的潜力,让久违了的“神魂”附体——即所谓智慧、心灵和信仰,这些老得不知所谓的僵死的概念。2002年诺贝尔文学奖得主凯尔泰斯说:“在我生活的这个地方,天才只能怀有自罪感。”杨墨就是这样一位“自罪”的天才。但最终他创造了自己,并预言了可以预知的各种可能的时代。杨墨这个22岁就领悟了世界的少年先知,他走后,他的父母自费出版了他的文集《人生的尝试》(云南美术出版社2005年4月)。这部天才杰作约25万字,除几篇短文曾在当地报刊登载,都没有发表过。这里节录书中各体文字,以飨读者。
In a time when there is no genius and only intelligent people, talking about genius is ridiculous, let alone what “prophet” is. The current “genius” is only possessing some sort of talent, and those talents are often spent in the classroom or in the “prodigy class.” A young man used his words, his deeds and sacrifices to confirm the true meaning of these two words. As a result, people can perceive their own environment, realize their own potential, and have a long-lost “spiritual spirit” possessed—the so-called wisdom, heart, and beliefs. These old people have no idea about the so-called deadlock. The 2002 Nobel Prize for Literature Keltzels said: “In this place where I live, genius can only harbor guilt.” Yang Mo is such a genius of “self-crime.” But in the end he created himself and foreshadowed all kinds of possible times that could be foreseen. When Yang Mo was 22 years old, he understood the world’s juvenile prophet. After he left, his parents published his anthology “Trying for Life” at their own expense (Yunnan Fine Arts Publishing House, April 2005). This genius masterpiece is about 250,000 words. It was not published except for a few essays that were published in local newspapers. The individual texts in the book are recorded here for readers.