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我认识阿海大概有20多年了,因为熟,别人眼里阿海的怪在我眼里是寻常,别人嘴里阿海的不是,在我的嘴里是一个“是”字。阿海是个文学化的人物,他身上最大的特点不是我们看见的那些,是潜伏了的一种可能性,是一种无限的超出我们预计的可能性。在南艺美术系做学生的时候,他是国画班班长,个头矮小,表情严峻,一半是学生干部的成熟模样,成熟得有点奇怪,上半身穿肥大的传统灰罩衫,是带点突破的守旧,下身则是艺术青年的装备,裤子下端额外地再穿一个黑色灰色条纹的纺织品(我至今不知道它是什么,算袜子还是算裤套?也无从考证了,那曾经短暂流行过的东西现在已经绝迹了)。在学院那两年,我看见过一大堆学生在校园里走来走去,满脸青春的学生大多没记住,但学生时代的阿海,率先提醒过我上装配下装的可能性,复
I know Ahai about 20 years ago, because cooked, the eyes of other people Ahai strange in my eyes is unusual, Ahai is not the mouth of others, in my mouth is a “yes ” word. Ah Hai is a literary figure whose greatest characteristic is not what we see, a latent possibility, an infinite possibility beyond our expectation. When he was a student in South Arts Department of Fine Arts, he was a monitor of traditional Chinese painting class. He was short in head and grim in appearance. Half was a mature student cadre. His mature personality was a little weird. The traditional gray hoodie with a heavy upper body was a conservative, Lower body is the equipment of the young artists, the lower part of the pants to wear a black gray striped textile (I still do not know what it is, count socks or pants pants? Also can not be verified, that once briefly prevalent things have now Extinct). In the past two years at the college, I have seen a lot of students walking around on campus, mostly young students did not remember, but the sea of students A sea, the first to remind me of the possibility of assembling the underwear, complex