太遙遠的風景

(20131210.01)
英國版Esquire月刊有名為"What I've Learned"的專欄
12月號主角是Rod Stewart。

這是其中一段。
There’s a place on the Left Bank, in Paris,where I busked outside when I was younger and had absolutely nothing. I remember singing“Cocaine Blues” there. I went back with my wife a few years ago and there was a guy busking in the very same spot. He was playing a guitar and he had a hat in front of him, and he was singing “Tonight’s the Night”. He didn’t know I was there. He didn’t see me in the back. And I thought,“How remarkable”. Those are the wonderful I-really-have-made-it moments, you know?

(20131210.02)
好多年前我重回百利，找不到我待過的地方。
那已經變成潮聖之地。沒有半個人記得，或者聽過，曾經有一家叫“助聽器”的刊物。

Lou Reed

(20131102.01)

...remembered (via Glen O'Brien)

Hey Lou, it's me. "I wished I talked to you more when you were alive..."

You wrote that to Andy when he bought it. Well, fucking ditto.

I just wanted to say that you went out well. You went out on top. And the whole fucking thing...your um, oeuvre, is like, scintillating and mind-boggling and thrilling and scary. Thrills and chills, fear and loathing, and then, just when we least expected it, you pulled out a big fat heart.

I first saw Lou Reed when I was in college. It had to be the summer of '67 because the first Velvet Underground album, The Velvet Underground & Nico, had come out in March.  The one with the Warhol peel-able banana on the inside of the LP. I had seen it in the record store. I think I didn't have enough money to buy the album right off but I knew that the band was involved with Andy Warhol and they looked more interesting than anybody I'd ever seen before, and that was good enough for me.  There was Andy on the back cover, staring through a tambourine.  Lou was the guitar player in wraparound shades and a cop hairdo holding a guitar with his fingers bent in a weird posture, possibly resulting from taking a pill.

So I went to see The Velvets play at La Cave, a folk club on the East side of Cleveland, Ohio. I had gone there numerous times to see gentle folkies like Bob Gibson, Tom Rush, Judy Collins, and Ian & Sylvia, but I was especially psyched to see the weird band managed by Andy Warhol that had a songs called "Heroin," "The Black Angel's Death Song," and "All Tomorrow's Parties." With the incredibly beautiful German singer who was in La Dolce Vita. Nico!

The club, which was located in a basement, was either half full or half empty, but it wasn't exactly the usual folkie crowd. There was a biker contingent present. And strange pale people, not deadhead hippies. The show started in an unusual way—the band, all dressed in black, came out one at a time.  One rifing, then two, then three... I don't remember who came out first; I'm guessing it was Sterling Morrison, but it was Lou who came out last, wearing a t-shirt. He had short hair, wraparound shades and a thick muscular neck. He played a hollow bodied Gibson, and he played the hell out of it. Suddenly, in my boring Midwestern city, I found myself in new territory.

The Velvet Underground was a rhythmic band and they played hard, tight, intensely. As if they were under the influence of some strange stimulus. I had never heard or seen anything like them—well, nobody had. John Cale had straight, black shoulder-length hair and was wearing a black turtleneck, black jacket, and what looked like a large diamond necklace. (Rhinestones no doubt.)  It wasn't until halfway through the set that I noticed that the drummer was probably a girl.  The beautiful Nico was nowhere to be found.

For me it was love at first sight. The audience began dwindling as the show went on, but the bikers hung tough. It was an unforgettable show: "I'm Waiting for the Man," "Run Run Run," "European Son," "Heroin," "White Light/White Heat," and "Sister Ray." I had another reason to move to New York. If New York 1967 was like this, I had to get there.

I finally got there in the summer of 1970 just as the Velvet Underground was playing their last engagement at Max's, two sets a night for two months. John Cale was gone, as was drummer Moe Tucker. The band was Lou, Sterling Morrison, Doug Yule on bass, and Doug's brother Billy on drums. Lou's last night before he quit was recorded on a Sony cassette recorder by Brigid Berlin—it was later released as The Velvet Underground Live at Max's Kansas City.  It wasn't the dark, controlled anarchy that I'd seen a few years before but it was sublime and poetic. Lou seemed world-weary, but he went out on a good night.

I met Lou in 1971. He came up to Andy Warhol's Factory where I was working on Interview Magazine. Lou was already one of my heroes (I made my art school film project using "Heroin" as the soundtrack) and I was both thrilled and disappointed meeting him. He was very nice and open, but he seemed strangely damaged. He had been living in Long Island and working for his father's accounting office. I wondered how this could have happened to him. But the good news was he was making music again. He was recording his first solo album, with Richard Robinson producing, for RCA Records. I suggested that Lou write something about the record for Interview.  He sent me a piece and I thought it was embarrassingly earnest, but also kind of lobotomized. I told Lou that it wasn't really what I had in mind and he apologized to me. I felt awful.

But I could relate to what he was going through. He had been the voice, guitar, and words of the best, most sophisticated rock band ever, and they didn't sell any records. Brian Eno said something funny, that the first Velvets album didn't sell many copies but everyone who bought one started a band. Lou knew he was up there with Dylan and the Stones, he even thought he was a better guitar player than Hendrix, but the record companies didn't get it. Their idea of cool was Jefferson Airplane. And the Velvets' last record, Loaded, had been hijacked by Cale's replacement, the band's newest member Doug Yule, who remixed the album after Lou's departure. (Two of the songs on the album went on to become standards—"Sweet Jane" and "Rock and Roll.") No wonder he was depressed.

As I spent time with Lou I would see flashes of what I expected from him all along. He was brilliant, but had a lot of bitterness in him that fed a mean streak. A mean mean streak that alternated with empathy and great humor.

I courted Lou's friendship and he was a friend back. I was 24 and he was 29. (I know because we have the same birthday.) I finally got to know the guy about as much as one could and I watched, quietly cheering, as he pulled himself back together.  But it was a weird process. We'd go out for brunch and Lou would be putting back double bloody marys before noon, and seemed to be taking pills that pushed him in different directions, up and down, but he also seemed to be getting his swagger back.

Lou did a reading at St. Mark's Church. He published the lyrics to "The Murder Mystery" in the Paris Review. He hooked up with Bettye Kronstadt, a tall good-looking cocktail waitress and aspiring actress and he got his own apartment, although it was an ugly apartment with shag carpeting and bad suburban furniture. But with Lou, he was either in perfect taste or execrable taste. He seemed to like both modes. Although, frankly, I think that, as artistic as he was, he simply wasn't a visual person.  He always had perfect hair or the worst hairstyle ever. Sometimes you wondered if he was being ironic or clueless.  Lou, who had no choice about being hip, was fascinated with squaredom. That was part of the appeal of Bettye. She was a nice square chick. They got married. Then I remember seeing her with a black eye that never seemed to heal. 

Lou started calling me to hang out, which was fun. Sometimes he'd call up late to see what I was doing. One night he called and I was listening to Rod Stewart's Every Picture Tells a Story and he started in on me. "Do you actually like Rod Stewart?" When he stopped mocking me he started telling me about a great discovery he'd made, a fantastic young band from Boston that he was planning to produce. "All their songs are about me," he said. I had a feeling he wasn't kidding.

Lou would drop by my apartment in the late evening. "Do you have any drugs?" he'd ask. I don't think I ever did, at least when he asked. I'd say "I have some pot," and he'd snort and scoff. That wasn't drugs. Lou was often hard to read. I was a fan of a singer-songwriter named Armand Schaubroeck who made an album about prison after being sent up for 32 robberies that he committed when he was 17 and I decided to introduce them, thinking Lou would dig him. Lou wasn't impressed. Armand was crushed.

I actually thought Lou's first solo album wasn't very good. The songs were good, most of them unrecorded Velvets songs, and when they turned up on post-breakup Velvet Underground albums they were great, but Richard Robinson's production was very studio-musician in its musicianship. Too slick. Lou was in terrific voice, but the production, the back up singers, the whole thing sounded about as hip as Bettye Reed.

I met David Bowie when he came up to the Factory in 1971 to play "Andy Warhol" for Andy Warhol. He was smart and nice. Andy didn't know quite what to make of him, or the song, especially since Bowie had started out with a sort of Lindsay Kemp mime routine. But Bowie was brilliant and this was probably when he hooked up with Lou.

In 1972 I went to London with a group of American rock writers for the release of David Bowie's The Rise and Fall of Ziggy Stardust and the Spiders From Mars. It was a fantastic trip. I saw Harry Nilsson play piano in the lobby of the hotel where we stayed. I danced with David at The Sombrero, a basement disco. And we all caught performances by two acts Bowie was hooking up with at London's Roundhouse. There was Iggy Pop—utterly amazing—doing the best-ever set. "Did you like that?" Iggy yelled at the crowd. "Yeah!" they screamed back. "Okay," said Iggy, "Let's do it again!"

And the next night there was Lou. Lou put on a great show. He was wearing eye makeup and had his fingernails painted black.  The music was hipper than on the solo album and Lou was on.  I went backstage to see him afterward and he was sweating and grumpy. He had no roadie and was moving his own amps.  But that was the beginning of a new Lou. Bowie and his guitarist Mick Ronson proved to be the perfect producers.

In a way Transformer was the most Warholian of Lou's records. "Vicious" ("You hit me with a flower, you do it every hour,") was written at the suggestion of Andy. "You know, vicious, like I hit you with a flower." A silly almost nursery rhyme song was named "Andy's Chest," although the words seem to have nothing to do with that subject. "Satellite of Love" seemed to be channeling Andy's voice ("I watched it for a little while, I like to watch things on TV.") "Perfect Day" captured a kind of pop art normality. But the unexpected and unlikely hit was "Take a Walk on the Wild Side," which had come out of a project that had fallen through, a Broadway show based on Nelson Algren's gritty novel Walk on the Wild Side, in which Lou drops the names of various Max's back room denizens. 

Lou was back. So was his ambition.  And now he didn't have Cale or Yule to worry about. He was in control and it suited him. He became one of the great control freaks of all time. His next album was Berlin, an ambitious album, a sort of rock opera produced by Bob Ezrin, who had produced four albums for Alice Cooper. It featured the guitar duo from Alice's albums, Steve Hunter and Dick Wagner.  Although Berlin wasn't very commercial, it led to two records that made him an arena act: Rock 'n' Roll Animal and Lou Reed Live. Lou goes heavy. Lou Reed sells out. (Maybe an impossible joke on the record company?) Lou ties up and pretends to shoot up in concert.

I hadn't seen him for a while when we hooked up for the purposes of a cover story for L'Uomo Vogue. I wrote the piece and Oliviero Toscani took the photographs. I couldn't believe the way Lou looked when he showed up. He had transformed his Transformer self into something far more radical. In a black t-shirt and black jeans, he looked like he weighed ninety pounds. His hair was dyed black and close cropped in a radical curved shape, like a Vidal Sassoon butch. Soon it would be blond or spotted with iron crosses shaved into it and he was wearing nail polish and black lipstick.   He was clearly "on." It was the same old Lou, but he had turned a corner. He made a TV spot for Rock n' Roll Animal in which he stared into the camera, perfectly still and you only knew it was film when he blinked at the end. Very Andy.

Lou had some problems with his record company, although his last three albums had been hits. And his management often found him unmanageable. He had been on the road in a seemingly precarious state for about three years when he owed RCA an album. And so he made Metal Machine Music, sixty-four minutes of feedback that he presented as if it were the logical progression from John Cage or La Monte Young. (The baffled record company almost released it on their classical label.)  Subtitled "The Amine Beta Ring." Sounded like drugs. The liner notes were revelatory: "This is not for the market. The agreement one makes with 'speed.' A specific acknowledgement. A to say the least, very limited market...for those for whom the needle is no more than a toothbrush...My week beats your year."

Lou was still a hero, but he was doing a sort of high-wire act: high wired. It was amazing. He came in second in a poll of rock star mostly likely to die next, right after Keith. But he continued to show remarkable ability to persist, rebound and adapt. He had pulled himself back from the brink, and with 1978's Live: Take No Prisoners album, recorded at a series of shows at the Bottom Line, he appeared at the peak of his black-humored powers. It is both a great live rock set and one of the best comedy albums of the late 20th Century. The album starts with a scratching sound of a match being struck, a cigarette being lit, and Lou's intro where he apologizes for being so late. "We were tuning," he says. And from there he seizes rock and roll and drags it kicking and screaming into Lenny Bruce, Don Rickles territory.

He performs the jazzy "I Wanna Be Black," daring to wigger before there was wigger: "I wanna be black, have natural rhythm, shoot twenty feet of jism too, and fuck up the Jews."

On a sixteen minute "Walk on the Wild Side" he introduces new characters, explains the usual ones, and launches into a diatribe on critics, savaging Robert Christgau of the Voice and John Rockwell of the Times. "Imagine working on an album for a year and some asshole in the Village Voice gives you a B+."

The patter is fast and furious as he deals with an audience of hecklers. "Here's where I turn into Lou Reed...I do Lou Reed better than anybody."

"You got some coke? Anyway, I know you're not interested in my problems. Either am I?"

"Drella? Are you here?" Lou asks, hopefully.

"Oh you're here Catherine"—that's Andy's assistant Catherine Guinness—"He went to see Monique van Vooren? What does she do?"

I ran into Lou a few times with Andy. Andy loved Lou and Lou loved Andy, but they were so similar that they really had their ups and downs. Both were dissemblers and contrarians. Both were essentially nice and potentially cruel, hyper-sensitive, bordering-on-paranoid people with a mean streak and a heart of gold.

Andy complained over and over that he hadn't been invited to Lou's wedding to Sylvia Morales. (Me either! Maybe it was because I was friends with Sylvia's best friend Anya Phillips, James Chance's girlfriend, who was being snubbed big time. Anyway Andy was in Dusseldorf at the time!) In the diaries Andy wrote about being snubbed by Lou: "The MTV awards were so exciting, it was like the Brooklyn Fox shows in the sixties with so many stars. Diana Ross was my date, but she was in another row, the first row, because she was picking up Michael Jackson's award. Lou Reed sat in my row but never even looked over. I don't understand Lou, why he doesn't talk to me now."

Lou got mad at me when I made the mistake of talking to the writer Victor Bockris for his 1994 unauthorized bio of Lou, Transformer.  I should have known that Victor would only use the bad things I said. I said he was one of the greatest songwriters ever, up there with Dylan and Cole Porter. I said he was a true poet. A great guitar player.  A really funny guy. A mensch, a twisted mensch, but a mensch. But Victor picked, "He's like Stalin in that he loves the people, he's filled with generosity for the human race, but not for any one person in particular." That was true, but on the other hand, it was a lie. Lou was a love. All kinds of love. "No kinds of love are better than others."

Still, Lou never cut me dead.  Maybe he'd be a little snide, but he was nice. When I cut my hair short in '78 he said, "Hey, did you join the Marines?" I guess he knew a real admirer when he saw one.

When Andy died Lou got back together with John Cale (his on-again, off-again collaborator/pal/nemesis) and they made Songs for Drella, which is about as tender as Lou could get.  After that John said he'd never work with Lou again. (He didn't until the Velvets reformed). On "Hello It's Me" Lou sings:

    Andy, it's me, haven't seen you in a while

    I wish I talked to you more when you were alive

    I thought you were self-assured when you acted shy

When Mary Harron made the movie I Shot Andy Warhol which basically presents the demented Valerie Solanas who shot Andy and almost killed him as a quirky feminist hero with a slight resemblance to Fran Lebowitz, Lou complained:

"I find the idea offensive, a movie dedicated to the person who shot Andy Warhol. I think other people would be offended too. Suppose I said we were gonna do a movie called I Shot John Lennon. What do you think would be happening? They would be lined up in the street right now. You want to do a movie about Mark Chapman played by Tom Cruise? You've got to be kidding!"

In the song "I Believe," Lou sang about Valerie Solanas, "I believe I would have pulled the switch on her myself."

So Lou grew up. Got sober. Married one of the nicest people around—Laurie Anderson—and he did his Lou Reed thing. Always suprising. Bob Wilson? Metallica? I think the last time I saw Lou he was sitting in a restaurant in the West Village with a party of people including his publicist. He said hello. I said hello. Later, the publicist, a friend of my wife, said to her: "Wow, Lou must really like Glenn?"

"Why," my wife asked.

"He said hello to him!"

To me Lou is one of the greatest artistic figures of our time. His eloquent language and music changed the world. He followed his vision down the dark alleys of the soul and, holding his course, he invariably found the white light. And if he didn't, he tried again.

 But who has written a better song than "Some Kinda Love"?

Nobody.

"Between thought and expression lies a lifetime."

Great life Lou. Way to go.

夏健强的畫

(20130926.01)

(20130926.02)
上網，找他的名字。最多人稱他“强强”。

大陸搜尋網頁把他換成“夏建強”，
“人”（比方說“人性”、“人格”）在中國大陸大概是忌諱的事，必需要割除的吧。

(20130926.003)

夏健强，今年12歲。夏俊峰的兒子。

896424

(20130604.01)

舉牌

(20130425.02)
第一天是這樣的
（我們......)

(20130425.03)
到了後來，是這樣

（我們......)  換成（......您們......)

其心可誅

(20130425.01)

工聯會黃國健：反對捐款者，其心可誅（主場新聞 2013-4-24）

立法會財委會討論撥款 1 億元援助四川地震災區。工聯會議員黃國健發言時指，反對捐款的人別有用心，挑撥中港關係，以偏概全，借口事件發洩對中央不滿，利用災難做政治目的攻擊，其心可誅。

在HK$100,000,000捐款與HK$2,200長者生活津貼之間

林鄭：善用資源符港長遠利益 （香港文匯報訊 2012/10/08）

特區政府提出向有需要長者發放相等於雙倍「生果金」的特惠長者生活津貼，每月為 2,200元，而申領人須通過資產審查……部分政黨及政團「威脅」稱，倘當局不撤銷資產審查，他們或會反對有關撥款。特區政務司司長林鄭月娥昨日強調，香港社會的共識是，公帑應聚焦幫助最有需要的人士……撤銷審查機制，並不符合香港的長遠利益……倘將有關津貼隨意改作全民、無分長者有需要或沒需要都可申領的話，並不符合香港長遠的利益，故她「看不到一個可以隨意像是議價的態度去做（的理由）」。

林鄭：求設監察機制不切實際 （新報 2012/10/08）

立法會財委會特別會議昨早召開兩小時，仍未能對政府要求追加撥款一億元，注資賑災基金，援助四川雅安市蘆山縣7級地震災民，作出表決……林鄭月娥回應指……即使港府捐出一億，對蘆山地震而言亦只屬「杯水車薪」……林鄭月娥回應，港府不可以直接介入內地制度如何監管……若今次捐助一億元而要求正在疲於奔命做救災的省政府，為香港政府撥款一億元做一個監察機制，恐怕是不切實際。

學校圍牆外的女孩

(20130417.01)
張安妮今年10歲，是安徽合肥琥珀小學四年級學生。
父親張林因言論獲罪，斷續坐牢、勞改十多年。
2月27日下午，張安妮被幾名國保從學校帶走，
後被帶到派出所單獨關押3個多小時。

學校以「不想再有國保到學校騷擾師生」為由拒讓安妮復課。

defination of steal

steal  (stl)

v. stole (stl), sto·len (stln), steal·ing, steals

v.tr.

1. To take (the property of another) without right or permission.

2. To present or use (someone else's words or ideas) as one's own.

3. To get or take secretly or artfully: steal a look at a diary; steal the puck from an opponent.

4. To give or enjoy (a kiss) that is unexpected or unnoticed.

5. To draw attention unexpectedly in (an entertainment), especially by being the outstanding performer: The magician's assistant stole the show with her comic antics.

6. Baseball To advance safely to (another base) during the delivery of a pitch, without the aid of a base hit, walk, passed ball, or wild pitch.

v.intr.

1. To commit theft.

2. To move, happen, or elapse stealthily or unobtrusively.

3. Baseball To steal a base.

n.

1. The act of stealing.

2. Slang A bargain.

3. Baseball A stolen base.

4. Basketball An act of gaining possession of the ball from an opponent.

 

 

(20130412.01)

"Is it Stealing if it's Already Stolen?"

出自科幻電影《In Time》的對白

Ballad of the Miners' Strike

因為葵涌貨櫃碼頭工人罷工，所以我想起：

(20130402.01)
當21世紀的現實越來越像查理士狄更斯19世紀的小說，
我記得李藍那時聽Billy Bragg，還有NME常常大篇大篇報導煤礦工人罷工的文章.

This government had an idea
And parliament made it law
It seems like it's illegal
To fight for the union any more

Which side are you on, boys?
Which side are you on?
Which side are you on, boys?
Which side are you on?

We set out to join the picket line
For together we cannot fail
We got stopped by police at the county line
They said, "Go home boys or you're going to jail"

Which side are you on, boys?
Which side are you on?
Which side are you on, boys?
Which side are you on?

It's hard to explain to a crying child
Why her Daddy can't go back
So the family suffer
But it hurts me more
To hear a scab say Sod you, Jack

Which side are you on, boys?
Which side are you on?
Which side are you on, boys
Which side are you on?

I'm bound to follow my conscience
And do whatever I can
But it'll take much more than the union law
To knock the fight out of a working man

Which side are you on, boys?
Which side are you on?
Which side are you on, boys?
Which side are you on?

 (20130402.02)
忽然
好想好想重聽Robert Wyatt的“Shipbuilding”起來。

Is it worth it?
A new winter coat and shoes for the wife
And a bicycle on the boy's birthday.

It's just a rumor that was spread around town
By the women and children, soon we'll be shipbuilding

Well I ask you
The boy said 'Dad, they're going to take me to task
But I'll be home by Christmas.

It's just a rumor that was spread around town
Somebody said that someone got filled in
For saying that people get killed in
The results of their shipbuilding.

With all the will in the world
Diving for dear life
When we could be diving for pearls.

It's just a rumor that was spread around town
A telegram for a picture postcard
Within weeks they'll be reopening the shipyard
And notifying the next of kin
Once again.

It's all we're skilled in
We will be shipbuilding.

With all the will in the world
Diving for dear life
When we could be diving for pearls.

倦怠

（英语：Burnout），心理學名詞，一種喪失動力、無聊、缺少興緻的心理狀態。
﹣﹣维基百科

(20130118.01)
New Order（我熟識的）的新作The Lost Sirens，讓我聽得非常不奈煩。
反之，
Tin Hat Trio （我絲毫不認識）的The rain is a handsome animal，教我喜出望外。

改寫莫言在瑞典文學院發表題目為“講故事的人”的演講

(20101211.01)
原文：

......為了報答母親的恩情，也為了向她炫耀我的記憶力，我會把白天聽到的故事，繪聲繪色地講給她聽。很快的，我就不滿足復述說書人講的故事了，我在復述的過程中不斷的添油加醋，我會投我母親所好，編造一些情節，有時候甚至改變故事的結局......

 出自莫言2012年諾貝爾文學獎獲得者、中國作家莫言在瑞典學院發表文學演講

(20101211.02)
將“母親”換成“當權者” ，改寫如下：

......為了報答當權者的恩情，也為了向她炫耀我的記憶力，我會把白天聽到的故事，繪聲繪色地講給她聽。很快的，我就不滿足復述說書人講的故事了，我在復述的過程中不斷的添油加醋，我會投我當權者所好，編造一些情節，有時候甚至改變故事的結局......

說人話

(20121128.01)
行會成員張志剛亦辯稱「人無完人」
我哋反問吓自己，
由起身到瞓覺，
我哋做錯咗幾多件錯事？

喪心病狂

(20121029.01)

劉夢熊指有示威者鼓吹港獨是叛國分裂

全國政協港區委員劉夢熊說，《基本法》列明香港是中華人民共和國不可分裂的部分，批評舉着港英旗的示威者「喪心病狂」，「竟然打出『中國人滾回中國去』、『香港要獨立』、『南 京條約萬歲』這些荒唐口號，與基本法的規定對着幹。按照（《基本法》）23條，這些已經屬叛國、分裂國家行為，一定要立法制止！」
 
 (20121029.02)
那時候，因為共產黨，他冒死游水非法偷渡來到這個龍獅旗飄揚的地方安家落戶發展所長名成利就。
今天，為了共產黨，他向手持龍獅旗的人說了上面的話。

他真是可憐。

保護自己 免受傷害

(20120904.01)

以前，我們是會保護孩子的。

我們會教他們去沙灘要著泳衣好好保護自己。被人侵犯，要立即說 "唔好"，還要高聲呼救。要趕快逃到安全的地方去。把事情告知你信任的人。 

但是今天，孩子遇到侵犯卻不能高聲說 "唔好"。把事情告知他們信任大人，反被說成搞破壞。

“唔好嘈住大人傾正經嘢”。“大人講說話，細路唔准駁咀“。

(20120904.02)

金魚佬想要帶小朋友上天台作身體檢查。

小朋友極力抵抗。

路過的大人看到小朋友抵抗都有話說。

張震遠形容事件荒謬，“每件事都有人同意，有人不同意，不可能有反對意見就停止。”

林鄭月娥表示，“檢查身體”是正面及無可爭議，強調金魚佬想檢查小朋友身體一事“經過多年醞釀，不是“突然在石頭爆出來”，用激進方法爭取訴求，並非最好……如果純粹為迴避一些不想見到的場面，而推翻之前的考慮，未必是社會之福，否則往後要為七百萬人做事會有很大掣肘”。

行政長官梁振英首次作出公開回應，認為雙方暫不需要堅持甚麼立場，希望小朋友可以跟金魚佬上天台對話，表示“乜都可以傾”，相信這是實事求是的方法。

為了那個“進步、無私、團結”的烏托邦

729反國民教育大遊行
日期：7月29日（星期日）
時間：下午3時起行
路線：從維園遊行至金鐘政府總部
全民行動。給你六個729上街的理由：
1. 管制學生思想 強迫學生對國家有自豪感和感恩之情！
2. 黨員編寫課程 香港課程將交由共產黨黨員撰寫課程！
3. 硬推不義政策 吳克儉局長堅持先推行後諮詢後檢討！
4. 迴避敏感議題 課程文件從不願提六四劉曉波艾未未！
5. 為香港下一代 決不讓香港的下一代成為國民小先鋒！
6. 九月將要強推 餘下一個月必須以行動促使政府撤回！

學民思潮呼籲所有市民在729走上街頭參與「全民行動」！經過浸大爆出染紅教材和共產黨黨員親自撰寫課程，教育局局長吳克儉仍堅持「先推行後檢討」，學民思潮決定聯同教師、家長、大專生、學者、文化人、傳媒人和社會各界人士在729籌組遊行，務求以街頭行動向政府施壓，要求政府和教育局在九月前撤回國民教育課程。呼籲各位市民務必參與其中，缺一不可！

基督徒柴玲原諒了什麼？流亡者吾爾開希無法原諒什麼？

柴玲：我原諒他們


中國祇可能有兩個結局：一個是持續地恐懼，另一個是走向真正的自由，寬恕的命運。

二十三年前，中國政府的鎮壓在天安門廣場學生運動導致數百人死亡。從那時起一個新的一代在中國成長起來，其中大部分對發生在中國的歷史上這一天是被蒙在黑暗裡的。

但對我來說好像昨天。我開始了這一天，為一個新中國抱著極大的希望，但它最終以一種無法形容的悲哀而結束。

二十三年過去了。很多事情都改變了：人變老了，很多1989年的一些關鍵的共產黨領導人已經去世。但對更多的人，無關他們是否公開承認還是暗暗在內心揣摩，人人都知道這一篇中國的歷史，還是沒有結束。

這一章的中國歷史將會如何寫成哪？故事的最終結局會怎樣？從最近公眾對陳光誠和薄熙來發生的事情來看，全世界還是很有興趣在等待著觀看下一步的中國。

在過去二十三年來，我也試圖了解天安門的意義。我清楚地記得，最後一小時：站在天安門廣場，難以置信地看著這個不可思議的災難，在我們身邊展開。

在我完成這本《一心一意向自由》的書的時候，我終於明白了。中國祇可能有結局：一個是持續地恐懼；另一個是走向真正的自由，寬恕的命運。

在希伯來文聖經，大衛王的兒子押沙龍背叛了自己的父親，用武力來奪取寶座。大衛，甚至在面對這樣的背叛，也原諒了他的兒子。他告訴他的將軍們，當他們征服了叛軍，抓獲任性的兒子時他們應該開恩，「你們要為我的緣故寬待那少年人押沙龍」。但是，當押沙龍被吊在樹上，孤獨和無助的時候，王的將軍選擇不聽大衛的忠告，硬是殺死了押沙龍，從而持續了以暴換暴的模式。

我們都知道，那些現在肆意壓迫無助的，也將發現自己會像押沙龍那樣，有脆弱的一天。但問題是：等那一天到來的時候，中國會將繼續持續殘酷嚴厲的報復模式，還是開始恩典，憐憫和同情的道路呢？

你可能會問，中國看似不龐大的領導什麼時候會變得脆弱哪？答案是：它一直是脆弱的，現在他們比以往任何時候都更加脆弱。

在中國普遍地都很少有真正的安全感，甚至是至高至上的領導人。權力，金錢，軍隊或警察部隊可以給幾個人臨時帶來財富和穩定，但這些東西不能提供持久的安全。

在1989年，排名第二的領導人趙紫陽因為反對鄧小平的決定而瞬間失去了他所有的力量；不久，聲勢浩大的強硬派，前北京市市長陳希同，也被判處16年徒刑。最近薄熙來也從恩典中墜落。這些領導人可能從外面看起來前所無敵，但他們可以憌刻之間失去了一切。以至於陳希同最近坦承的承認：在所有的這些高層次的政治鬥爭中，對方可以使用任何低級的方式，不擇手段，目的就是竊取權利。

中國的社會體制壓制人性和憐憫。像盲人律師陳光誠為代表13萬婦女被迫接受強制墮胎和強制絕育而呼籲，卻遭監禁和迫害。恐懼和自我保護的氣息影響這社會的各階層，如遭受5次強迫墮胎的受害者梅順平姐妹在國會的作證時講道，她的兩次強迫墮胎都是因為她的同事打了小報告，因為她們的獎金都跟不超生綁在一起；又如去年秋天，18個人走過一個被麵包車碾壓的孩子，不管不問。

雖然天安門運動被給予了很多名稱和目的，但是作為當時學生方面的總指揮，我可以說，我們要結束的，就是這種滅絕人性的文化和氣氛，而創建一個充滿愛、和平和富足的社會。所以1989年的6月4日是一個痛苦的日子，當我們親眼目睹了這個夢想被坦克碾死。我們為失去的兄弟姐妹的痛苦中，也在為這個沒能實現的社會而難過。

很長一段時間，每當我想起當年的領導人選擇這條毀滅和強暴的選擇時，我的心總是會跟痛苦和憤怒作戰。

兩年半前，我認識了耶穌。他對婦女、兒童、窮人和被壓迫者的熱愛，是跟主流文化和傳統相反的，基督叫我們跟隨他的門徒也做同樣的事。

他還原諒了那些嘲笑他的，並冷血地把他釘到十字架上的人：「父啊，赦免他們，因為他們不知道他們做什麼。」這是他臨終的話。

又一次，他叫我也做同樣的事。

這是我為什麼選擇原諒他們的原因。我原諒鄧小平和李鵬。我原諒士兵們衝進1989年天安門廣場。我原諒目前中國的領導下，繼續壓制自由和實行殘酷的獨生子女政策。

我以耶穌萬勝的名祈禱，恩典和寬恕的文化會在中國升起，讓所有的人都得尊嚴和人性。我以耶穌萬勝的名祈禱神會改變中國目前領導人的心，讓他們也會遵循耶穌的教誨和行為，施憐憫，求公義。我以耶穌萬勝的名祈禱，那些受壓迫和不公正的會早日得到完全的自由，而且，他們不會尋求報復，像大衛王的將領殺害押沙龍那樣，而是有勇氣來寬恕的。寬恕不是接受他們的不公正，而是把最終審判的權利交回給萬能，萬勝，和完全公義的神。

我明白這種寬恕是反主流文化和感情的。我也聽說前幾年幾位信基督的天安門同事的兄長的寬恕被誤會。然而，在這天安門23週年的紀念日，我還是要選擇寬恕。因為我知道，當我們的心裡充滿了和平與寬恕時，我們是在一個很小的程度上反應出耶穌對整個人類的巨大寬恕。我也知道，當我們在天安門前面對坦克機槍而決定不放棄和平理性非暴力的時候，我們早已經選擇了寬恕！我更知道，只有當我們真正寬恕時，持久的和平才會到來。


（原載於基督日報http://www.gospelherald.com/news/edi-19586-0/%E7%A4%BE%E8%AB%96%E5%B0%88%E6%AC%84-%E6%9F%B4%E7%8E%B2%EF%BC%9A%E6%88%91%E5%8E%9F%E8%AB%92%E4%BB%96%E5%80%91-%E5%9F%BA%E7%9D%A3%E6%97%A5%E5%A0%B1）


 ﹣﹣﹣﹣﹣

吾爾開希：我無法原諒


二十三年前， 國共產黨在中國北京作出一件了天理難容的惡行，向和平請願的中中國公民開槍，血腥鎮壓中國歷史上最壯觀、最動人、最偉大的一次群眾運動。我身為這場運動的一分子，至今仍深深對那些為理想，為中國的自由民主而犧牲的伙伴致感悲慟，對于屠殺者仍憤恨難消，同時也背負著巨大的幸存者的負疚。

同樣是廣場運動伙伴的柴玲，想必也是同樣背負這樣難以承受的負疚感，並從宗教中找到她個人的救贖之道，對此，我為她感到高興。宗教主張寬宥、諒解，對此我也深感敬佩，柴玲出于這個宗教價值提出原諒鄧小平、李鵬等屠殺元兇，我雖然可以理解，卻完全無法接受。

柴玲所信仰的宗教主張的寬宥與諒解是在正義是非釐清之後，罪人祈求寬恕之時應有的態度，同 樣的宗教對于正義、真相的堅持絕對先于寬恕，這不僅是這個宗教的價值觀、也是普世價值、更是十幾億中國人民、千千萬萬八九參與者以及尤其諸多六四受害人心中所堅持的目標。對于踐踏和平、正義及人類良知的殺人兇手鄧小平、李鵬，我無法原諒，我無法在正義是非得到匡正之前原諒，無法在被害人原諒他們之前原諒！也想善意提醒柴玲，我們如果認同自己八九民運一分子的身份，我們就無權原諒。

和解是我們所追求的目標，期待終有一日，我們可以放下過去、擁抱未來，但那一天的到來首先需要的是對于真相還原不懈的努力，正義伸張不懈的堅持，首先需要的是追究責任，首先需要的是罪人的懺悔，直到那一天到來之前，我們這些天安門學生都背負不可推卸的責任，和所有的受害者一起，在道 義上、法律上堅持對鄧小平、李鵬及所有的責任者厲聲譴責，堅持討伐。

（http://wuerkaixi.com/2012/06/06/485.htm） 

李旺陽，男，1950年出生，2012年死去。

在1989年的六四民運中擔任湖南邵陽工自聯主席的民主活動人士李旺陽星期三（6日）早上被發現死在邵陽大祥區醫院裏，死因不明。

據報道，李旺陽的妹妹李旺玲今天早晨7點左右去醫院看護他時，發現哥哥不在病床上，而是吊在病房窗戶上，看上去像是上吊自盡。
1950年出生的李旺陽因積極參加邵陽當地的89民運，六四鎮壓後被當局以顛覆國家政權罪連判23年監禁，直到2011年5月才被釋放。
上星期，因出獄後身體一直非常虛弱而住院的李旺陽在醫院裏接受了香港有線電視台的採訪，在採訪中提到自己在獄中受到殘酷虐待。
在六四前夕採訪播出後，邵陽當局派出十多名警察到醫院看守李旺陽，同時不准家屬陪護，而李旺陽的家屬和朋友則被當局請去問話和「喝茶」。
據報道，在李旺陽被發現死在醫院後，一些立即趕到醫院的他的朋友說，他的死亡時間和死因現在都還不能確定，要等屍檢報告出來才能知道。
目擊者還說，當局禁止家屬和朋友在現場拍照，並馬上運走了李旺陽的屍體。
他的好朋友說，李旺陽是個意志堅定的人，有不同尋常的毅力，而且生性樂觀，絕對不是輕易會尋找短見的人。
(轉載自BBC中文網，原出處為 http://www.bbc.co.uk/zhongwen/trad/chinese_news/2012/06/120606_liwangyang_death.shtml)

“我們都是由選民投票選出來的“

梁國雄議員於2012年4月18-19日的的議會發言

根據《議事規則》第49B(1)條動議的議案

謝偉俊議員動議下列議案：

鑑於梁國雄議員於2012年3月19日在香港特別行政區九龍城裁判法院被判犯有4項刑事罪行，並於2012年3月20日被九龍城裁判法院判處監禁一個月以上(有關詳情一如本議案附表所述)，本會解除梁國雄議員的立法會議員職務。

附表
案件編號	控罪	被判犯罪行	定罪日期	被判處刑期	判刑日期
九龍城裁判法院刑事案件2011年第3676號	第一項控罪	刑事損壞，違反《刑事罪行條例》(第200章)第60(1)條	2012年3月19日	監禁2個月	2012年3月20日
	第二項控罪	在公眾聚集中作出擾亂秩序行為，違反《公安條例》(第245章)第17B(1)條	2012年3月19日	監禁5星期	2012年3月20日
	第三項控罪	在公眾地方作出喧嘩或擾亂秩序的行為，違反《公安條例》(第245章)第17B(2)條	2012年3月19日	監禁5星期	2012年3月20日
	第四項控罪	刑事損壞，違反《刑事罪行條例》(第200章)第60(1)條	2012年3月19日	監禁2個月	2012年3月20日
				(第一項至第四項控罪同期執行)

梁國雄議員於2012年4月18日的議會發言

很多議員已為此動議發言，其中劉江華議員昨天充分反映民建聯的意見，他引述法官判詞，引了一段卻忽略了另一段；我引述判詞第二十四頁如下：

遞補機制涉及每位市民的基本權利，影響深遠，爭議亦到達深層次社會矛盾的說法，本席亦理解所謂進入者的憂慮，論壇場數嚴重不足，缺乏廣泛性，所以把握機會強行進入表達訴求，特別是第一被告人，由於他先前的一些作為，引致政府推出遞補機制，他當然極為關注，本席亦明白一些社運人士，會較為熱血或激烈，但他們畢竟都是關注社會問題，而在本案中的每一名被告人，並無個人私利，本席認為市民在論壇中表達意見，民選立法會議員有責任替市民發聲，明日社會主人翁的學生關心政治等，實屬社會之福，再者，基本法和人權法等保障言論自由及示威權利，在崇尚法治和自由的香港社會中，在眾多港人的價值觀中，那些權利有很高地位。

其實解答了大家的問題，法官認為要從重判，但他已經講過案件不涉及私利，更是社會之福。這裡不是法庭，這裡正處理政治問題，就是一個議員被判囚一個月以上，須否被解除職務。昨天我反駁民建聯的時候並未詳述「政治倫理」的問題。很多香港人以為，政治就是政黨之爭；政治倫理，其實是政治良知的體現，具體來說，就是我們要辯論，被判囚的人所反對的是否不公義。

我在本會不只一次講述：曾德成局長，是「百分之四百」的政治犯，他當日因派傳單反對殖民地統治而入獄，民建聯你們會不會認為，曾德成局長曾犯港英的法，是不應該做局長？不會的嘛！看看我吧葉國謙議員，不要打機吧！另一點，當民建聯聲稱立法會暴力愈趨嚴重所以要懲戒我，為何你們不啟動基本法七十九條（七）「行為不檢或違反誓言而經立法會出席會議的議員三分之二通過譴責。」？你們要為社會公義驅逐我，葉國謙為何你不用此條？這不用法官判的！（主席曾鈺成：梁國雄議員請向主席發言）　主席，請你告訴你的黨友……（葉國謙議員：主席，他不斷問我，我可否回應？　主席曾鈺成：對不起，你已經發言。）這正正就顯示，攻擊其他議員護短的人，他們本身其實膽怯，不敢用，這亦顯示，無論中聯辦如何操弄選舉，香港人最終都能打敗你們，令你們不能掌握三分之二議席絕大多數。

如果大家真心希望剝奪政敵職務，那就返大陸啦！人家有「褫奪政治權利」這板斧，引入來香港吧！好嗎？每逢判刑就「褫奪政治權利」，好嗎？有呀，有呀，劉少奇，「終身褫奪政治權利」，「叛徒」、「內奸」、「工賊」，永遠不可翻案。既然本會有很多人大代表，不如引入此法？但可能有一天，會用來對付你的，知道嗎？還有更「頂癮」既係薄熙來呀，無須經審判，共產黨聲稱他違反黨紀，他就立刻消失，立刻被免職，重慶市黨委的職務當然被免，然而連公職都被免去呀！用這種制度就一了百了吧！只要把我拘捕，聲稱我嚴重這個那個，我就立即要走了。

今日我們討論的是政治倫理，政治選擇建基於政治倫理和政治良知。你們的選擇很簡單，到今日，你們都認為遞補機制是正確的，不諮詢是正確的，再諮詢都是正確的，抗議這遞補機制的人的政治倫理就是錯的；法官的判詞很清楚，就是即使你是這樣做，你都有罪。他卻沒有評價我的政治倫理。

有市民改圖以示支持長毛

我犯的是人為的刑律，你們犯的罪卻是原罪，是支持政府肆意剝奪他人最基本、投票選擇政府權利的罪。香港回歸已經十五年，根據基本法附件一二，香港已經可以實行雙普選，但被你們阻撓了；到五區變相公投，因缺乏公投法，香港人要以最卑微罪委屈求存的方法去表達，是否應該在2012實行一人一票等值選舉領袖和立法會，就在這時，你們氣急敗壞，你們支持政府進一步剝奪選舉權之中的補選權，這就是你們的政治倫理，就是你們的政治良知，你們犯的不是刑律；到今天，你們為了開除我，旗幟鮮明地支持這種政治倫理，昨天我稱你們是烏蠅而我是鷹，就是這個意思了。你們可能正確的，但你們率先走進了地獄。在地獄裡講善良，在煉獄講良知，你們是浮士德；借三日全能給你，卻要你出賣靈魂，在這個制度下，今日你當然是全能！三日全能呀浮士德先生。

我不乞求憐憫，對所有為我辯護的人，或為他自己政治倫理辯護的人，我未能一一指出我不同意之處，但是，凡是因此而受到攻擊的，我有責任為他們反擊。今日凡是攻擊為我辯護的人，他們同時正攻擊持守相同價值的人：我們都一致認為，剝奪選民選擇政府和代議士的權利是錯的。

昨天馮檢基議員稱，街坊叫他不要和我合照，我非常明白，因為做議員的職責並非與人合照。大家上facebook 就看到，大量市民找我合照，但我不會引以為傲！我身為立法會議員並非為了拍照，我在立法會是要履行我競選時承諾的政治倫理和價值，我要做的不只是爭取普選。時間無多，這是一幅訪問我的女同學送給我的，上面有一首詩題為《The Road Not Taken》，中文譯本最後如是說：

多年以後的某個時刻，我將歡慰地吐著氣，述說這段經歷，在金黃落葉滿鋪的樹木中，眼前兩條小徑蜿蜒，而我，我踏上乏人問津的那條，也展開了截然不同的人生。

劉江華批評我扮英雄，劉江華批評我教壞細路，多謝你；我從不認為自己是典範，但我深知我首先要做一個人，人家如何評價，是他們的事。馬克思格言之一：「讓人家去說吧，走自己的路！」我無須爭著做萬世師表，這是你們要做的事，凡是偽善的人都渴望他人供奉，例如金日成、毛澤東，全部都是「完人」。我不做這種人，我只想其他人與我一樣，可以一人一票等值去選舉自己的領袖、選舉政府、選舉立法會，自己決定自己命運，無其他了。

我經常聽到，我教壞細路教壞學生，我教壞了他們甚麼呢？我教曉了他們，倘若任何人用任何理由要剝奪他人最基本的權利，你要告訴他：「謝謝，不用了。」用你們的邏輯，火燒趙家樓的北大學生應該被槍斃，蔡元培是最壞的校長，快點譴責蔡元培吧！怎可以縱容學生火燒趙家樓呢？

郁達夫被日本人追捕時寫下此詩：

草木風聲勢未安，孤舟惶恐再經灘。 地名末旦埋蹤易，楫指中流轉道難。天意似將頒大任，微軀何厭忍飢寒。 長歌正氣重來讀，我比前賢路已寬。

我不是賢人，係咁多。

梁國雄議員於2012年4月19日的議會發言

主席，根據立法會規定我要申明，我並非因為本人的金錢利益而被動議要剝奪議員資格。

首先，我要感謝以不同方式支持我的人，包括不收費的的士司機、小巴司機和斬雞比給我的燒味店師傅，很感謝他們。我覺得群眾的眼睛是雪亮的，我當然亦知道有人非常憎恨我。

今日我們討論的，係是否應該解除我的職務。這當然是一個政治決定；倘若這是純粹的法律問題，在法律條文已經可以寫清楚免職界線，而無須辯論投票。基本法此條文 ((編按：基本法第七十九條（六）http://www.basiclaw.gov.hk/tc/basiclawtext/chapter_4.html#section_3))本身，亦是讓大家做一個政治決定。

反對解除我職務的人，立論非常明確：政府不義，有議員向林瑞麟大聲疾呼「遞補機制是錯的」，這議員不應因此而被解除職務。

今日在這裡振振有詞，稱根據慣例而投票的人，特別是民建聯議員，當全世界譴責中共屠殺自己的人民，你們講過甚麼？劉江華當年有譴責中共，主席曾鈺成在1990年都有帶領培僑中學學生唱國歌紀念六四。譴責屠殺，不是舉世的嗎？不是「自動波」的嗎？你們不譴責？年年你們做甚麼？當立法會每年議決平反六四譴責屠殺，你們包括梁振英，當年自己有參與，你們又投反對票？「殺二十萬人換來二十年穩定」，你們贊成此論調嗎？真可笑，我無須別人可憐，但希望你可連自己的靈魂。

有人引用判案例子來解除我職務。「凱撒歸凱撒，上帝歸上帝」，我做的事情，政治上、公義上是否正確，並不是法官定奪，法官是負責判刑的。各位，被國民黨判死刑的共產黨烈士，他們是罪犯嗎？是嗎？！你們現在返大陸參觀烈士墓碑，受萬民獻花的，當年是罪犯呀！不過改朝換代而已。

這政治選擇非常清楚，在不義的政權下，群眾是制度性地，在憲制上、政府結構上被剝奪決定自己命運的權力，而群眾反抗，2010年發動變相公投，政府害怕，不惜斬腳指避沙蟲，不惜為了防止23條重臨時有人照樣以五區公投彰顯民意，寧願違反國際慣例，剝奪普選權利。你們不是應該根據慣例而反對嗎？

根本，你們就在做政治決定，去支持暴政。民建聯，林瑞麟說不用諮詢，你們就說不用諮詢，七一有十幾萬人上街，林瑞麟轉為說要諮詢，你們就像狗一樣搖尾乞憐，又話要諮詢了，你們的政治決定，就是自動波地朝令夕改，不是嗎？你們有邏輯嗎？我的邏輯很簡單：暴政衍生苛政，這是應當反抗的。我被控的四條罪，無一條是暴力。

我從未像孟德拉般，要組織武裝力量去推翻南非白人政權，我從未如是說，我只保留此可能。你們要譴責暴力，為何不譴責特區政府公帑聘用警察去維護暴政，這是暴力嗎？你們要譴責暴力，為何不譴責孫中山是暴力？為何你們紀念辛亥革命？暴力是甚麼？並不是民權受限制是我們極力反抗，這不是暴力。如果這都是暴力，八九年四月二十七日幾十萬學生衝破公安封鎖線，他們是暴力嗎？在英治時，反英抗暴，是暴力嗎？人造膠花廠工人被警察阻攔，他們推開警察進入廠房交涉，是暴力嗎？為何你們當年支持？我今日無叫人造炸彈，我今日無共產黨付鈔買兇殺林彬，我如何用暴力？你們有譴責過那些暴力嗎？每年我們在立法會要譴責六四屠殺，你們卻嘲弄我們「撈政治油水」，你們是人嗎？當梁振英稱鄧小平應該獲諾貝爾和平獎，你們為甚麼不譴責？

這才是暴力。這種暴力的醜惡，是他們為了一己私慾，去依附騎在人民頭上，多數人專政小數人，多數人享受特權，去擁護國家機器，這是制度性的暴力，這是雙倍的暴力。為何你們不譴責華盛頓反抗英國人管治？為何你們不譴責法國大革命？我們只因林瑞麟重門深鎖搞假諮詢，我們進去告訴他，那是甚麼暴力？我有無帶丫叉去射他？我自己就被藍田一位老伯伯，傳媒拍到他打我，警員作供時稱無此事，這是暴力嗎？謊言就是暴力了。法官不是評價我的德行，而是根據法例判決，我不會怨，但我要指責在坐的議員。

人在做天在看，你們要維護立法會的權力，你們贊成立即普選嗎？自動波嘛？所有國會都是普選的，為何不自動引用基本法三十九條？你們要做政治決定，無所謂，因為你們政治與我不同，你們卻無理由指責他人做政治決定，這條例本身就叫議員做政治決定：這議員被判一個月以上刑期，他應否走？你們憑甚麼批評他人此一時彼一時？犯案背景性質不同，當然如此。

民建聯，不要以為梁振英上台你們可以也文也武，你可以侮辱我，但你們不可侮辱反對遞補機制的人。我就算係錯，我都是一隻鷹，就算你們裝作正確，你們都是烏蠅。

我不乞求憐憫，你們可憐的理由我未必採納，但感謝大家的真心。我不求流芳百世，更不求長期在立法會工作，但我可告訴大家：只要我一息尚存，我都會繼續反對暴政，只要我一息尚存，我都會繼續反對廿三條，我留下賤命都要看著廿三條再次灰飛煙滅。

沈祖堯的公開信：支持陳倩瑩同學

各位同學：

自上星期得悉陳倩瑩同學被法庭判監三周後，我和大家一樣，十分關心此事。惟我過去幾天一直在外國講學，前天才回來，所以遲了回應大家的公開信。

我相信，維護學術自由、捍衛個人權利和追求社會公義，是大學的基本價值。我更見到，過去多年來，一代又一代中大師生站在社會前線，為弱勢社群發聲。我和大家一樣，深為中大這個傳統而驕傲。

我初步了解過事件，也讀了倩瑩的文章，相信她的行動，絕對不是為了個人私利，而是出於對香港的關心及對民主人權的追求。我很明白倩瑩現在面臨的壓力和困 難，很想給她一些支持。在有需要時，我會以個人名義為她的訴訟提供經濟援助。我也會叮囑政政系老師及大學輔導長，和倩瑩保持聯絡，提供必要的支持。

我明白年輕人參與社會運動時，有時可能會採取一些較激烈的行動。我在此誠懇呼籲，希望大家能在和平非暴力及尊重法治的原則下，表達訴求，努力爭取社會公義。

沈祖堯*



*個人名義