我总猜想,当年画家马德升在握笔写小说时的心情,一定是激动不已、心潮澎湃的。不然,他不会将自己曾经一个紧凑的小短篇写得那么跌跌撞撞,跑了形,走了样,以至于让北岛和芒克这些同仁们看了以后坚持要来给他的这个小短篇作结构上的梳理与调整。 I always suppose that when the painter, Madeleine, was in a mood of holding a pen and writing novels, he must have been excited and emotionally excited. Otherwise, he would not stumble, run, and take a look at what was once a compact short story so much that North Bay and Munch’s colleagues insisted on reading this little short story that later came to him Structural combing and adjustment.