在任何场所,你都很容易看到一个女人的手背,但是不容易看到她的手心。 罗丹的手背是书刊装帧设计,手心是写散文。那手背自然已广为人知,至少已有不少读者翻动过她设计的封面。手心呢,知道罗丹也写散文的人,不多。当然她写的也不多,只有几十篇,又没出版文集。我要对读者朋友说的是,她写得好。 在一九九六年二月号《散文》里,我读到她一篇《我是老屋的窗》,她这样描写婆婆:“六十多岁的妇人,腰板笔挺,清瘦清瘦,一种摄人心魄的冷傲和威严从她沉默的身体里发射出来,笼住 In any place, you can easily see a woman’s back, but not easy to see her palms. Rodin’s back is a book binding design, palm is to write essays. That hand back has naturally been well known, at least many readers have flipped her design cover. Palm, do not know who Rodin also write essays. Of course, she wrote not many, only dozens of articles, but also published a collection of essays. What I want to say to my readers is that she is well written. In the February issue of “Essay,” I read her article, “I am a window to an old house.” She describes her mother-in-law. "A woman in her 60s has a stiff, Kind of proud cold pride and majesty fired from her silent body, cage