到达时是中午,我总以为,在中午进入一个城市是没有诗意的。中午,影子消失,空气中充满炫目的白,像如日中天的人或事,总让我避之不及,以免染上自我膨胀的气。但新奥尔良,这个《飘》的郝思佳、《欲望号街车》的白兰芝们向往的城市,在中午,是那么安静,那么睡眼惺忪,像个穿了睡衣在阳台喝茶的男人,有一点点厌倦,有一点点迟钝。这个城市没有如日中天的时刻。这个城市和它所在的国家气质正好相反。这个城市在下午伸个懒腰,准备出动。在下午,南方的阴晴莫测,连成一片片的阳台小楼,铁花栏杆之间微合的竹帘,街道中央散漫的乐者,爵士乐或者后爵士乐,摇摇欲坠。下午,是这个城市夜的前戏,它耐着性子,挑 Arrived at noon, I always thought, noon into a city is not poetic. Noon, the shadow disappears, the air is full of dazzling white, like a rising star or something, always let me by chance, so as not to contracted self-inflated gas. But New Orleans, the “floating” Hao Sijia, the “Lust No.” Bai Lanshi longing for the city, at noon, is so quiet, so sleepy, like a man dressed in pajamas drink tea on the balcony, there is a Tired of a little bit, a little dull. There is no moment in the city. The city is just the opposite of the country in which it is located. The city stretches in the afternoon and is ready to move. In the afternoon, uncertainties in the South, balconies and even small balconies, rattan railing between the micro-bamboo blinds, central street casual musicians, jazz or jazz, shaky. Afternoon, is the forerunner of the city night, it is patient, pick