Saturday, January 3, 2009

Poetry by Ma Lan: How We Kill a Glove (Draft Proposal) 我们如何杀死一支手套(草案)

How We Kill a Glove (Draft Proposal)

Ma Lan
Translation by Charles A. Laughlin

Figure 1
✜Sketch on Plain Paper. Actual size 21.3 x 12.5cm✜

Every winter there is a discussion in our village chief’s kitchen about how to kill a glove in spring.
Year in and year out. We are all getting sick of it, but much as we would like to stop, we cannot.
We discuss how to kill a glove.
The village chief is seated at the center, and the twelve of us whisper to each other.
Killing a glove is not an easy matter.

Figure 2
✜Lacquer on Rice Paper. Actual size 14.7 x 22.4cm✜

Our minimum ideal is that the gloves voluntarily disappear from our Bent-Neck Village.
The glove may fly into the air, higher and higher, until it flies to a place our vision cannot reach, to a place the wind cannot reach.

Our highest ideal is to hang the glove on a cross until it dies
The glove will say it is thirsty.
We give it water to drink.
The water is poison.
The hand of the glove hangs down; its face is confused.

We clap with glee, our nights will be peaceful, with nothing more to fear.
We have laughter, we have birds, we have lakes, we have boys and girls in love.
Our desert becomes an oasis. Men are tender, women strong. Pain transforms into joy. Negation becomes affirmation. Poetry becomes breakfast. Fiction becomes lunch. Drama becomes dinner.

Figure 3
✜Oil on anti-corruption paper. Actual size 22.8 x 33.7cm✜

The glove descends from the skies; the heavenly army descends from heaven.
The child under the apple tree says, “This day was bound to come sooner or later.”
The gloves strike our faces like driving rain; walls of glove surround us, we are engloved.

The glove waves its hand out in the air; this gesture is inscrutable.
A tractor appears at the square in front of City Hall.
No one believes it is a real tractor, including the old men, they all think it’s a childhood toy. When the tractor spat smoke and fire and rumbled into the crowd, people thought it was a video game.
Young people took off their clothes to make flags.
The tractor is excited; a glove dangles from the tractor’s roof.
This is a slow motion shot; this shot pushed the history of our Bent Neck Village back to the paleorosaic age.
A man--or a glove--can change history. A man or a glove can change us. Every man or glove is a bystander.
Gloves have taken over our Bent Neck Village.

Those are youths who want to go home and celebrate the new year.
I want to live. A girl pledges before a rock.
Our village has been through a prehistoric, heroic period. In those days Bent Neck Village had no writing. Our ancestors relied on oral transmission and teaching from memory. The exploits of the heroes live on in glory.
The people of our village revere martyrs, they need her to be a martyr, to become the 107th Liu Hulan, to become the eighth Saint Joan of Arc.

People become spirits when they die.
I want to live. She is still screaming.
Living is a seeding machine.

There are many legends about what happened that night.
In the end all that were left were a few sparrows.

The time was not rushed or slow, maintaining a steady pace, in the dark, it’s every man for himself.

Figure 4
✜Traditional landscape painting on Shaoxing rice paper. Actual size 555.5 x 555.55cm✜

The gloves are a bunch of magicians
The magicians wrap themselves up in wire, hanging upside down by their limbs, they are tossed into the sea. After three minutes, they rise from the sea like the sun.
The wire becomes silk.

In a southern railroad station, the village chief and a glove debate the existence of magic.
The chief says magic is just magic; it can’t possibly be real.
The glove says he can prove that magic is real.
The chief says, it’s only magic.

The magician says, in three minutes, a poet will rush to the railroad tracks and take his own life.
Three minutes later, a train came up to the station, and a man came up to meet it head on.
He was indeed a poet; he said his death has nothing to do with anyone.
The village chief is stunned, he points to the magician and says, you killed him! You used magic! You are a murderous magical devil!
The magician says, do you believe in God? If you don’t, I can prove he exists.

Our village was shrouded in rumor: the gloves’ killing techniques were improved, better than the tractor.
Rumors created refugees; a lot of villagers left.

Our village reentered a period of glove worship; even the seas worshipped the glove. Over fifty percent of people gradually came up with justifications and rationales for the gloves.
Poets are flirtatious horses. Only killing will palliate wounded feelings.
Autopsies of the wrongfully killed prove that they were all troublemakers who had grown a third hand. If they were not eliminated, there would be no place for us to hide.
You can see that people with straight necks don’t wear gloves; they are cold in the winter. When the other villagers see them not wearing gloves they don’t even give them breath for warmth.
We have gloves now. The glove fingers draw us in the direction of progress, and we do not get lost. Only when the climate in Bent Neck Village becomes warmer, and there is no winter, will we do away with the gloves.
We exhort you not to heed the rumors of the straight-necked; they don’t lead such great lives themselves. As you know they had problems during this year’s beauty contest.
Half favored beauties with double eyelids, and the other half favored beauties with single eyelids.
But there can only be one queen of Straight-Neck Village.
You see? This is the result of them not wearing gloves.

If they put on gloves, the gloves would decide; gloves reassure all.

Figure 5
✜Watercolor of imported raw materials. Actual size 23.7 x 15.9cm✜

Gloves make our language unclear, creating chaos in our vocabulary. Gloves hint that we get what’s coming to us, and we must increase the ambiguity of our language.
We each wear our own gloves. Gloves don’t falsify, and they are gender blind, age blind, indifferent to physical appearance and the seasons of the year.

Figure 6
✜Gouache on brown paper. Actual size 23.7 x 15.9cm✜

The gloves are waiting for us to open up from desperation.
With bodies uninhibited due to desperation, we throw ourselves into the collective campaign of fleeing from the gloves.
In the effort to escape from our dreams, we bend under the burden.

“China, I lost my keys.”
China, I lost my gloves.
I never imagined gloves could be murderers.
I never imagined there were wolves in the mountain in winter, Ah Mao.

Figure 7
✜Ink drawing on standard photocopier paper. Actual size 10.4 x 16.8cm✜

Have you killed any gloves? Gloves are murderers. We must become murderers to eliminate them.
The lonely embrace the lonely, madmen understand madmen.
We are living in two dimensions, and there isn’t much time. We’re preparing to save our compatriots who are being killed by gloves. What will happen now?
We use the smell of the gloves, the smell is in every corner of the village. We take off the gloves, and store them in the village chief’s house. With bare hands, we look for survivors. We are all survivors.
The gloves sent new orders to their allies, the color of our village must return to white, white enough to cause blindness.

Figure 8
✜Black and white photograph. Actual size 23.4 x 42.8cm✜

What is the difference between plantains and bananas? You question my ear.
What is the difference between gloves and quilts? You question my lips.

This picture portrays a textual fantasy: consumerism.

The gloves rest, the gloves lay asleep on a cup. The sleeping gloves are no longer concerned about the emergence of other creatures. Such as dinosaurs. Dinosaurs were annihilated by the massive rise of gloves.
The gloves are playing dead. Similar to when we attempt suicide to get the attention of loved ones, seducing their hearts.

What will happen now?

We are even more uneasy; the final catastrophe is coming.
The gloves join gloves, left hand caresses the right, right hand elects the left, the left and right are one.

We put our hands in the gloves. A liquid sticks tightly to our hand.
The liquid is a volcano. My father often makes volcanoes in the kitchen.

We should enhance our technology to clone dinosaur eggs. The lights have not yet been ruined by flames, this is a matter of luck for us, but it’s already been twisted.
The gloves are everywhere. No one has ever seen a glove. In the effort to escape from our dreams, we bend under the burden.

Figure 9
✜Drawing on standard sketch paper. Actual size 23.4 x 42.8cm✜

Cupid, the god of love, is an angel. Angels are big insects. Angels liberate their wings.
The big insect lowers its head to chew grass. She is indifferent to the glove’s presence.
The dead have ascended to heaven. We are going to heaven. They got there first.

We watched the movie “2001” again with the village chief. In the year 2001.
In fact, we are movie actors, wearing costumes, speaking dialects.
To tell the truth, we did not kill any gloves at all.

The future came to Bent Neck Village long ago.

Are you sad? My darling, yes, my dear. Why don’t you say anything? This winter we killed a single glove.

January 2001

我们如何杀死一支手套(草案)



第一张图
◇技术:普通素写纸。素描。实际尺寸:21.3x12.5厘米◇

每年的冬天我们在镇长的厨房商量如何在春天杀死一只手套。
年年如此。我们都感到厌烦了,但欲罢不能。
我们讨论如何杀死一只手套。
镇长在桌子中心,我们十二个人分别排在周围,窃窃私语。
杀死一支手套可不是件容易的事。

第二张图
◇技术:宣纸。漆画。实际尺寸:14.7x22.4厘米◇

我们最低理想是手套从此在我们歪脖镇自动消失。
手套从空中飞走,越飞越高,飞到我们视力达不到的地方,飞到风也达不到的地方。

最高理想是把手套放在十字架上吊死。
手套说他要喝水。
我们给他水喝。
那水是毒药。
手套的手就低落了,他的面部就糊里糊涂。

我们拍手相庆,夜夜平安,无所恐惧了。
我们有欢笑,有鸟,有湖泊,有男欢女爱。
我们的沙漠变绿洲。男人温柔,女人坚强。痛苦变喜乐。否定成为肯定。诗歌成为早餐。小说成为中餐。戏剧成为晚餐。


第三张图
◇技术:以反腐败纸张制造。油画。实际尺寸:22.8x33.7厘米◇

手套,从天而降,天兵就要天降。
苹果树下的小孩子说,这一天早晚会来。
手套如爆雨打在人们的脸上。手套是墙包围着人们,人们是套中人。

手套伸手在空中一挥,这个动作太奇妙了。
市政中心操场出现一辆拖拉机。
大家不相信是真拖拉机,以为是童年时期的玩具包括老年人。当拖拉机冒出火焰咕噜咕咚冲进人群,人们还以为这是电子游戏。
年轻人脱下衣服当作旗帜。
拖拉机很激动。拖拉机头上挂着手套。
这是一个漫镜头。这个镜头把我们歪脖镇的历史推回旧玫瑰时期。
一个人或者手套改变历史。一个人或者手套改变我们。每一个人或者手套都是旁观者。
手套接管了我们歪脖镇。

那些是要回家过年的年轻人。
我要活。女子在石头面前宣誓。
我们镇历经了英雄辈出的前历史时期。那时歪脖镇还没有文字。祖辈们依赖口传心授,英雄们的事迹万古流芳。
我们歪脖镇民崇拜烈士,需要她当烈士,成为刘胡兰第一百零七号,成为圣女贞德第八号。

人死了都是神。
我要活。她还在尖叫。
活着是播种机。

关于那天晚上的传说很多。
最后剩下几只麻雀。

时间不紧不慢,保持着恒定的速度,在黑暗中,你死我活。我活你死。


第四张图
◇技术:绍兴宣纸。国画。实际尺寸:555.5x555.5厘米◇

手套是一群魔术家。
魔术家把自己全身缠了钢丝,四肢倒悬扔进大海。三分钟后,他像太阳从海上升起。
钢丝成了丝绸。

在一个南方的火车站,镇长和手套争论:魔术的存在。
镇长说魔术就是魔术。不可能是真的。
手套说,他能证明魔术是真的。
镇长说,魔术而已。

魔术家说,三分钟后,一个诗人将冲向铁轨,他死于自杀。
三分钟后,一列火车开进站台,一个人迎头而去。
他确是一位诗人。他说他的死与任何人无关。
镇长惊呆了,他指着魔术家说,你杀了他。你变了魔术。你是杀人的魔术恶魔。
魔术家说,你相信上帝吗?你不相信我还可以证明。

我们镇被流言笼罩:手套杀人的技术又提高了,比拖拉机历害。
流言导致了逃荒。很多镇民离开了。

我们镇又进入手套崇拜期。大海都崇拜手套。百分之五十以上的人,渐渐为手套找依据和理由。
诗人是调情之马。不杀不足以平情伤。
被误伤的民众尸解结果证明都是些长第三只手的闲人。他们不除,我们全部死无藏身之地。
你们看正脖子的人不戴手套,他们冬天冷呵。其他镇民看见他们不戴手套都不出口暖气给他们。
我们现在有手套。手套指引我们前进,我们不迷失方向。只有等我们歪脖镇的气候温暖了,没有冬天了,我们才能考虑取消手套。
请大家不轻信正脖子的流言,他们自己都过不好日子。你们知道,他们今年的选美就出了大问题。
支持双眼皮为美女者占一半。支持单眼皮美女者占一半。
但正脖镇的皇后只能有一个。
你们看,这就是他们不戴手套的结果。

如果他们戴了手套,手套就决定了,手套安慰一切。


第五张图
◇技术:进口原材料。水彩画。实际尺寸:23.7x15.9厘米◇

手套使我们言语不清,制造了我们语汇的混乱。手套暗示我们罪有应得,必须给我们的语言增加歧义。
我们手上带着各自的手套。手套不证伪。手套无所谓性别。无所谓年龄。无所谓长相。无所谓一年四季。



第六张图
◇技术:牛皮纸。水粉画。实际尺寸:23.7x15.9厘米◇

手套在等我们在绝望中开放。
我们抱着因绝望无所顾忌的身体卷入逃离手套的集体活动。
在逃离梦想的努力中,我们不堪重负。

"中国,我的钥匙丢了。"
中国,我的手套丢了。
我没有想到手套是凶手。
我没有想到冬天山里有狼,阿毛。

第七张图
◇技术:普通打印纸。钢笔画。实际尺寸:10.4x16.8厘米◇

你杀死手套了吗?手套是凶手。我们只有作凶手去消灭凶手。
孤独者拥抱孤独者,疯子理解疯子。
我们生活在二维空间,没有多少时间了,我们准备继续营救被手套杀死的同胞。现在还会发生什么事情呢?
我们依据手套发出的气味,手套的气味在全镇的角落。我们把手套脱下,全部存放在镇长家。我们赤手空拳寻找生还者。我们是幸存者。
手套向他的同夥发出了新的命令,我们镇的色彩变回白色,白色几乎让我们失明。


第八张图
◇技术:照相纸。黑白照片。实际尺寸:23.4x42.8厘米◇

芭蕉和香蕉有什么区别。你在耳边追问。
手套和棉被有什么区别。你在嘴边追问。

这幅画描绘了文字的狂想-消费主义。

手套休息了,手套在杯子上睡着了。睡着的手套不再管其他动物的出现。比如说恐龙。恐龙当年被大规模出现的手套消灭了。

手套是在装死。类型于我们自杀未遂,为了唤醒亲人的注意,诱惑人心。

还会发生什么事情?

我们更加不安,最后毁灭性的灾难必将来临。
手套联结手套。左手抚摸右手,右手推选左手。左手和右手为一体。

我们把手伸进手套。液体粘紧我们的手。
液体是火山。我父亲常在厨房制造火山。

我们应该提高技术复制恐龙蛋。灯还没有被火焰破灭,这是我们的幸运之处但已经弯曲了。
手套无处不在。谁也没见过手套。在逃离梦想的努力中,我们不堪重负。



第九张图
◇技术:普通速写纸。素描。实际尺寸:23.4 x 42.8厘米◇

爱神丘比特是天使。天使是大昆虫。天使解放了翅膀。
大昆虫低头吃草。她不关心手套的存在。
死去的人升天堂了。我们是要进天堂的。他们比我们早到。

我们和镇长重新看了电影"2001"。在2001年。
我们其实是电影演员,穿上戏服,说着方言。
说实在的,我们没能杀死任何一只手套。

未来早就来到了我们歪脖镇。

你心疼吗?我的宝贝,是的,我的宝贝。你为什么不说话,我们在冬天杀死了一只手套。

2001,1

Tuesday, December 2, 2008

Poetry by Ma Lan: Concept 概念

Concept


A blossom floats to the other shore
I have no way to stop her
Just like I cannot rain again

A man takes away a chain
Preparing to measure the road
No need to wait for dawn, the winter sun is about to rise

A kind of thinking kills, steams
Rumors flying all over the sky, like
The fatal error of a polygamist

A house is blurted out
No residence permit, our hometown
Became the “motherland” of the people

A public square burns
Why wait until death until we know to live
Death never rejects the reasons for ceasing to breathe

A road stands up straight and goes the wrong way
Did you and I lose each other in a dream?
Proving the legendary hand of luck

A monk approaches from the horizon
Flattens the walls like a flood
When I’m not thinking of you I’m incomparably sensual

A rhyme in a poem was broken by stress
Our tiger’s sleepiness is as deep as can be, the flowers as beautiful as can be
In spring, suicide amounts to murder

A great snowstorm stops in midair
Please lay a womb onto my body
Please make a cotton ball come out of my body

April 2004

概念


一朵花游到对岸去了
我无法阻隔她
亦如我不再会下雨

一个男人带走锁链
准备丈量道路
不必等天亮,冬阳就要升起

一种思想杀死人,清蒸
满天翻飞的流言,仿佛
犯了重婚者的致命错误

一座房子脱口而出
没有暂住证,我们的家乡
成为人民的“祖国”

一块广场着火了
我们何苦等到死才知道生
死从不拒绝断气的理由

一条道路直立逆行
是否你我早在梦中离散
印正那传说中的运气之手

一位和尚从天边来了
如洪水推平了墙
不想你时我就性感无比

一首诗句的韵脚被押破了
我们的老虎睡意正深,花朵正美
春天,自杀就等于谋杀

一场大雪停在了空中
请把一个子宫压在我身上
请把一块棉花送出体内

2004/4

Poetry by Ma Lan--A Bridge 一坐桥

A Bridge

A bridge is burning, from the breast
Down the two sides, and straight to the navel

One end is the plaintiff’s fire, the other is revenge’s water
No one knows that the sobbing of winter
Has overflowed the dikes

A bridge tries to escape the pursuit of meaning
All it takes is one misstep
Ah, my last home, together with hungry tigers

A bridge mistakes another bridge’s karma
Some fish, regard the bridge from underneath
Ah, my foreign blood, I’ve strayed from home, only because
Of my little Xun, who stands behind me
Whether Zhuangzi dreamt he was a butterfly or he was a butterfly dreaming
Either way subverts the dream

A bridge immersed in river water
How many springs did she endure loneliness
What a shameful life, water and fire fracture at once
In fact it doesn’t matter, a thousand years later
We are strangers crossing the bridge

June 2003

一坐桥


一座桥在燃烧,从胸脯出发
沿着两腰,直奔肚脐

桥头是原告的火,桥尾是复仇的水
谁也不知道冬天的哭泣
漫过了河堤

一座桥逃离对意义的追述
仅一次失手
我最后的家园呵,与饿虎为伍

一座桥误解另一座桥的姻缘
几条鱼,在桥中看桥
我异域的血呵,背井离乡,只因
我的小迅,站在我的身后
无论庄周梦蝶或蝶梦庄周
最后都推倒了这个梦境

一座桥浸透了河水
她寂寞了多少春天
多丢人的生活,水和火同时骨折
其实这不算什么,千年之后
我们是陌生的过桥人

2003/6

Monday, November 10, 2008

Poetry by Ma Lan: Writing a Love Poem for a Tooth

Writing a Love Poem for a Tooth

1. I want to knock out my molars. There are eight ways to knock them out.
Knock them out lightly. Knock them out hard. First lightly then hard. First hard then lightly.

2. As I am the freshly minted 2003 Poet Laureate of Bent-Neck Village, my dentist is a Yale PhD.
He insisted that I do a deep cleaning.
He stands on the Himalayas teaching Nepalese children to brush their teeth.
Brushing in the sunshine and smiles--modern industrial society takes smiling seriously
The snowy mountains flow downward.

3. I joined a tooth club, the dues were 300 Bent-Neck dollars.
My sponsors’ names are secret, there are only two. One witness.
They pulled me off my bed and beat me up. I picked up my application. They beat me again.
They knocked my teeth out. I became a member.

4. The purpose of a toothbrush. The correct method of brushing your teeth.

Brush after eating. Use an electric toothbrush. Don’t use too much force as you brush.
Cosmetic dentistry has three categories: stain removal, capping, and enameling.

If your goal in brushing your teeth is not pure, your teeth will not get white.
If you do not have the correct toothbrush method, your teeth will not have a proper attitude.

5. There are two sets of teeth in our lives; we make a transition from baby teeth to permanent teeth

We must familiarize ourselves with and deeply understand the progressive spirit of teeth, that the emergence of each permanent tooth has its time and order; moreover the corresponding teeth on the left and right emerge at the same time. Among them, the first permanent molars emerge at about age six, and so are named “six year molars”

6. One of my right teeth suddenly fell out.

No explanation, and I could not find the instructions.

7. I clenched my teeth. Teeth bite people, bite dogs.

No wonder the tooth wanted to fall out. Heaven and earth changed color because of it.

8. Of 65 tongue cancer victims surveyed between ages 26 and 39, 56 have teeth tilted toward their tongues.

This could be an indication of the cause of international political conflicts.

9. The knocked-out tooth is swallowed down. Then it grows out of the stomach.

June 2003


为牙齿写首情诗


1:我要打掉我的大牙。打掉牙齿有八种方法。
轻轻打。重重打。先轻后重。先重后轻。

2:作为新鲜出炉的2003年歪脖镇桂花诗人,我的牙医是耶鲁大学医学博士。
他坚持要我深度清洗牙齿.
他站在喜马拉牙山教尼泊尔的孩子学刷牙。
刷出阳光,刷出微笑。 现代工业社会讲究微笑。
雪山随流而下。

3:我参加了牙齿俱乐部。会费三百歪脖人民币。
我的介绍人姓名保密,只有二位.一位证人。
他们把我从床上拉出去,打了我一顿。我领到了申请书。再打。
把我牙齿打掉了。我入会了。

4:刷牙的目的。正确刷牙的方法。

饭后刷牙。使用电动牙刷, 。刷牙不宜用力过猛.。
美容牙齿有脱色、贴面、烤瓷三大类。

如果你刷牙的目的不纯洁,那你牙齿不会洁白。
如果你没有正确的刷牙方法,你的牙齿不会态度端正。

5:人的一生共有二副牙齿,还要进行乳、恒牙的交替过程。

人们应该熟知而深刻体会牙齿的先进精神,每颗恒牙的萌出有一定的时间和顺序,并且左右侧同名牙是成对 萌出的。其中,第一颗恒磨牙大约在六岁左右萌出,所称�六龄牙�。

6:我的右边牙齿突然掉了。

没有说明.我找不到说明书。

7:我咬牙切齿。牙齿咬人,咬狗。

难怪牙要落地.天地为之变色。

8:被调查的65名26~39岁的舌癌患者中,有56名患者皆有牙齿向舌侧倾斜.

这可能暗示了国际政治冲突的缘由。暗合了我们左右为难。左右逢源。

9:打掉的牙齿往肚里吞。牙齿就从胃里长出来。


2003/6

Sunday, August 3, 2008

Pre-Olympic Traffic Conditions and the Meaning of Life

Yesterday we went to see if we could get into the second dress rehearsal of the opening ceremony for the 29th Olympiad here in Beijing. For me it was also an opportunity to try out the new No. 10 and no. 8 subway lines. We got on the No. 13 light rail at Wudaokou, and went one stop to transfer to the 10 line at Zhichunlu. Then in about 10 minutes we were at Bei tucheng lu, the transfer point for the 8 line, the one that goes into Olympic Park. Up to that point, around 4pm on a Saturday afternoon, there were relatively few people in that part of the subway system. At the transfer point, though, there were suddenly a lot more, and dozens of police and staff ushering passengers through the turnstiles. Apparently, though Bei tucheng lu is called a "transfer station," you still had to exit the station, walk over a block outdoors, and reenter the station for the 8 line.

Crowds thickened somewhat at the gate to the security checkpoint to enter the 8 line, which at present is a short line of only 4 stops running north and south through the Olympic Sports Center and Olympic Park. The security check was designed for very high volume, with at least 20 lanes, and though there were plenty of people already filing in, the lines were not long. Unfortunately for us it was at this lane entrance that we discovered the dress rehearsal was not open to the public, but only to holders of complimentary tickets that had been distributed somehow to thousands of local residents. Many of those who approached the entrance were turned away like us, apparently also under the impression that they could somehow get in.

Seeing that we were in (albeit lengthy) walking distance of Olympic Park, because we had not approached the area before, and many people were flowing in that direction, we decided to go that way to see what we could see. We began from the subway stop, which is situated roughly at the southwest corner of the Olympic Sports Center (formerly known as Yayun cun or the Asian Games Village), we traced a route past the west gate of the Center toward the southern end of Olympic Park, and then to the right across to the Olympic Sports Center's north gate, just across the 4th ring road from the National Stadium or "Bird's Nest" where the opening ceremony would be held. Many onlookers were milling about on this last stretch because of the excellent view of the Bird's Nest and Water Cube. We saw about a dozen camera tripods lined up in a row at a particularly good spot for photos. Just beyond them, the Olympic Sports Center's North Gate was showing some vehicular activity, and the gate attendants seemed a little tense and hard at work managing the traffic flow. We decided that we had walked far enough and saw a number of taxis coming by (to our great relief), but it seemed not an easy place for them to stop. We were able to flag one down, though, and hopped in right away.

The sun had thankfully not been beating down on us during our stroll, but it was still a hot day, and thus a great relief to get into the air conditioned taxi. Immediately after we announced our destination (which was in the opposite direction), the typically loquacious Beijing cabbie explained to us that because of traffic restrictions we would not be allowed to make a normally legal U-turn at the next overpass, but would have to circle around to the south and back west. 

It was during this drive that we first saw the extent of the security and martial-law like traffic controls. Our driver twice encountered impasses where we should have been able to circle back, and as we rounded the Sports Center, we now saw that police patrolmen were lining the streets in the area in most places only 2-3 meters apart. It gave new meaning to the phrase "the police were everywhere." Every intersection had several police and other security vehicles parked and running with lights flashing, and had traffic police directing traffic along detours around roadblocks. It may have been special deployment due to the dress rehearsal and multiple scheduled fireworks displays, but it was fully six days before the Olympics. Here also was the first heavy traffic we had seen on this Saturday outing (it was now nearly 5pm), but as soon as we got west of the Olympic area, there was once again hardly anyone on the road.

After dinner we set out again by car to the National Center for the Performing Arts to see a performance by a Greek modern dance company. We did not have tickets, but thought we would take our chances since there are so many cultural events going on. Also, since the traffic had been so light slightly earlier, we thought the same would be the case on our route from Haidian towards Tian'anmen Square. Indeed, there was little traffic, but what we had not anticipated was a veritable police gauntlet along Chang'an Avenue from Fuxingmen all the way to Tian'anmen: police cars shuttled quickly to and fro, while traffic police had taken over every major intersection. Then at one intersection, just west of Zhongnanhai, we stopped at a red light that seemed to take forever. Eventually it became clear that the light was under special control: a cordon including a tourist bus, several black Audi sedans and surly SUVs with flashing lights  (perhaps IOC members on their way to dinner after a reception at Zhongnanhai?) sped southward into the intersection and turned west, unimpeded due to the controls.

The light changed, but security did not slacken as we approached Tian'anmen. In fact as we made the right off Chang'an Avenue to go to the National Grand Theater West Gate, we looked ahead at Tian'anmen square and it seemed there were more red and blue flashing lights ahead than anything else. And on leaving the theater at about 8:30pm, we encountered a sea of people flowing southward away from Tian'anmen: there had been a fireworks display simultaneous to the one at the climax of the opening ceremony rehearsal at the National Stadium.

Now the traffic was heavy. As we made our way home along the south 2nd Ring and then to the north, it was very slow, and mostly single file due to the special Olympic Lane--the lane only specially permitted vehicles related to the Olympics can use along the left side of most of Beijing's major arteries, from 6am to midnight every day. Though generally empty, much to the frustration of the drivers inching along the other lines, every minute or two a police or military car, a black Audi, or an escorted tourist bus would speed past us on it, even after 9pm. Although I once or twice succumbed to the temptation to use The Lane to make some additional progress, I was impressed by the docility of virtually all of the thousands of other drivers (overwhelmingly taxis, who tend to be skittish about regulations anyway), inching along the thoroughfares. 

To help reduce traffic pressure and pollution during the Olympics, Beijing initiated a 2-month restriction on private automobile traffic, disallowing vehicles with non-Beijing license plates, and allowing Beijing drivers to hit the road only on alternate days, based on whether the last digit of their license plate number is odd or even. I heard they are considering an additional restriction, by which on top of all this, cars whose license plates begin with a certain digit will barred from the roads on designated days, regardless of whether their last digit is odd or even. In my observation on many outings since the restrictions went into effect, these regulations are not being strictly enforced, but public adherence to them is phenomenal: apart from a few cars using The Lane, I have only seen one or two cases of cars apparently driving in violation of the rules. Perhaps this shows a high level of Olympic public spirit among Beijing drivers; perhaps it stems in part from a cultural (Confucian? Socialist?) tendency to fall in line with authority dating back to an earlier time. But it also might be an indication of how optional driving is to a large portion of Beijing's residents.

Back up to 7:30 pm. We arrived at the National Center for the Performing Arts just in time to find out that there were no longer tickets available for the dance performance. Since we were there, we also inquired about tickets for a Royal Danish Ballet performance more than a week from now (thus in the middle of the Olympic games) and were told the the ticket office (we have yet to confirm) that there were no tickets for that either. So apart from the observations I had been able to make about transportation conditions in Beijing, we seemed to have made the trip downtown for nothing.

But there was this man at the theater. He had also come for tickets to the same performance as we had. While we were ascertaining whether there was some way to get in, he volunteered a considerable amount of information in English, largely to the effect that if we waited a little while, we might be able to buy unclaimed tickets at an inflated price, but would have to wait until the intermission to enter, and the show was reportedly only 50 minutes in duration. He was waiting to do the same. Then he asked me whether I understood what he was saying (I think he thought I was Greek, and perhaps could not understand his English very well), to which I answered affirmatively while Lan explained that I speak Chinese as well. 

He was very embarrassed and showered me with unearned praise for my Chinese ability, then entered into a lengthy discourse that turned out to be a kind of performance in its own right, that made the fortuitous trip seem worthwhile after all. This man, whom I'll call Mr. Cui, was a graduate of the Central Conservatory of Music, a classical vocalist (bass), born and raised in Beijing, and currently rehearsing with the touring company of a major Broadway show. He explained that he tried to catch as many foreign performing arts performances as he could so as to develop his own skills as a performer. This was not only his job, I began to realize, or even just a career path, but a vocation in the fullest sense of the word. He discovered his vocal ability as a boy and took every opportunity to develop it and, due to favorable circumstances, was often able to perform and demonstrate his abilities. This trajectory through his formative years led Mr. Cui to realize the significance of cultural expression in modern social life, especially in China where society is modernizing so rapidly and singlemindedly drive toward wealth and superficial pleasures, that humanity and meaning are threatened in a way that would never have happened in the China of his youth. A fascinating implication of this is that Mr. Cui's youth, dominated by a socialist atmosphere only beginning to be flavored by the winds of reform and opening, actually (or perhaps not surprisingly) inculcated humanist values in him. I say perhaps not surprisingly because sometimes it seems in retrospect that socialist culture in China was less inhumane than the market driven economy. 

I asked Mr. Cui for his phone number and he said he would not be comfortable calling me out of the blue, and also afraid that I would only offer him the post-industrial mantra "Sorry, I'm busy these days!" I said he could give me his email address, but he said he is generally opposed to technologically mediated communication. I laughed and said "Isn't the phone technology?" "Yes, of course, but maybe I'm strange, or out of step with the times, but I only like face to face interaction, just sitting with friends even if just only over some coffee or tea for a half an hour or so, and discussing some interesting topics. If you can't have contact like that, what is the use of even having someone's contact information?" I'm not sure whether Mr. Cui is really out of step with the times, but he struck me as having a very ancient yet very refreshing zest for the meaningful moments in life: during our conversation he quickly rattled off an assortment of childhood and youthful memories that made him nostalgic for pre-global-bustle Beijing.

Earlier in the conversation I had asked Cui whether we weren't keeping him from the dance performance. He said, "I'll skip it, it's much nicer to talk with you!" I did not take this as flattery, but rather considered how much more I, too, appreciated hearing what Mr. Cui had to say, than simply heading straight back into the abnormally tense traffic flow back home.