C22b 她喙咬絚絚, 拚命反抗!

2. Yi chhùi kā ân-ân, piàⁿ-miā hoán-khòng

Tāng to bô tāng. Sīm-chì yi ê piáu-chêng mā bô piàn-hòa. M̄-koh, yi chhoán-khùi lú lâi lú kín. Chū án-ne, chiàn-tàu khai-sí, góa tio̍h án-ne chò. Ūi tio̍h pó-hō͘ yi, góa tio̍h ū yi ê nâ-âu pôe-ióng. M̄-koh, góa seng kā pē-bú kóng, che oân-choân iû in koat-tēng. Góa kái-soeh hit-ê hong-hiám, m̄-koh góa kóng, chí-iàu in goān-ì taⁿ chek-jīm, góa bē kian-chhî chò kiám-cha. 

Lí nā m̄ thiaⁿ sin-seⁿ kóng, lí tio̍h khì pēⁿ-īⁿ, lāu-bú án-ne giâm-lē kā yi kéng-kò.

Sī án-ne oh? Góa ka-tī khí ài-chhiò. Chóng-kóng, góa í-keng ài tio̍h chit-ê iá-bân ê sió-kiáⁿ, yin pē-bú tian-tò hō͘ góa tò-tōaⁿ. Tī koh-lâi ê chhia-piàⁿ tiong-kan, in lú lâi lú bô-hāu, lú sit-pāi, lú thiám-thâu, in chă-kiáⁿ in-ūi sim-lāi kiaⁿ góa, tong-jiân tō piàⁿ-miā lia̍h-kông kàu chòe-koân ê thêng-tō͘.

Lāu-pē í-keng chīn-la̍t ah, i seⁿ-chò tōa-chhāi, m̄-koh in-ūi he sī in chă-kiáⁿ, i tùi yi ê hêng-ûi kiàn-siàu, iū kiaⁿ siong tio̍h yi, tī kúi-kái góa hiám-á sêng-kong ê koan-kiān sî-khek, i soah pàng khui yi, pìⁿ kah góa siūⁿ boeh kā thâi. M̄-koh, i mā kiaⁿ yi tio̍h pe̍h-âu, tō kiò góa kè-sio̍k, kè-sio̍k, sui-bóng i ka-tī kiông boeh hūn-tó, iá hit-ê lāu-bú tī goán āu-bīn lâi-lâi khì-khì, chhiú liâm-mi gia̍h liâm-mi pàng, kui-bīn ê iu-chhiû. 

Kā khǹg tī lí ê kha-thâu-u, góa bēng-lēng, kā yi siang-chhiú lia̍h tio̍h.

M̄-koh, i tú án-ne chò, gín-á sûi tōa-siaⁿ ki. Mài án-ne, góa ē thiàⁿ. Pàng khui góa ê chhiú. Góa kiò lí, kă pàng khui. Jiân-āu yi iū khióng-pò͘ koh sit-sim tōa-siaⁿ kiò. Tòng-tiām! Tòng-tiām! Lí boeh hāi sí góa! 

Sin-seⁿ, lí khòaⁿ yi kám ē-kham-tit! lāu-bú kóng.

Lí chhut-khì, ang kā in bó͘ kóng. Lí ài yi tio̍h pe̍h-âu sí sioh? 

Taⁿ koh lâi, kā lia̍h tio̍h, góa kóng.

Jiân-āu góa kō͘ tò-chhiú lia̍h gín-á ê thâu, chhì boeh kā chhâ ê chi̍h-ah sat ji̍p yi ê chhùi-khí tiong-kan. Yi chhùi kā ân-ân, piàⁿ-miā hoán-khòng! Taⁿ góa mā hóe-to̍h ah -- tùi chi̍t-ê gín-á. Góa chīn-la̍t khòng-chè ka-tī ê chêng-sū, m̄-koh chò bē-kàu. Góa chai-iáⁿ án-nóa hō͘ lâng peh-chhùi thang kiám-cha. Góa chīn góa ê lêng-le̍k. Lo̍h-bóe, góa kā chi̍h-ah chhun kàu siōng āu-bīn ê chhùi-khí, ùi hia kā thâu-chat long ji̍p chhùi-khang, yi chhùi sió khui chi̍t-ē, m̄-koh góa iáu-bōe khòaⁿ tio̍h siáⁿ, yi tō koh ha̍p-chhùi, góa bē-hù thiu chhut-lâi, chhâ-phìⁿ í-keng hō͘ yi ê tōa-chan kā kah phòa kê-kê.

Lí bē kiàn-siàu ah? lāu-bú tōa-siaⁿ tùi yi hoah. Tī sin-seⁿ bīn-chêng án-ne chò, lí bē kiàn-siàu ah?

Hō͘ góa chi̍t-ki pèⁿ khah iu ê thng-sî-á, góa tùi lāu-bú kóng. Lán tio̍h kō͘ che kā oân-sêng. Gín-á ê chhùi í-keng teh lâu-hoeh. Yi ê chi̍h phòa-khang, ti̍t-ti̍t teh sit-sim tōa-siaⁿ ki. Hoān-sè góa thâu-seng tō eng-kai pàng-chhiú, kòe chi̍t/nn̄g tiám-cheng chiah koh-lâi. Tong-jiân án-ne ē khah hó. M̄-koh, góa í-keng khòaⁿ kòe siōng-chió nn̄g-ê kāng-khoán chêng-hêng ê gín-á, in-ūi bô tit-tio̍h tī-liâu, sí tī bîn-chhn̂g, góa kám-kak taⁿ góa tio̍h kā chín-toàn, nā bô tō bô ki-hōe. Góa koh tāng-chhiú ah. Siōng pháiⁿ pháng ê sī, góa ka-tī mā sit-khì lí-tì ah. Góa khì-náu kah siūⁿ boeh kā gín-á thiah-chia̍h lo̍h-pak. Tùi yi chìn-kong sī chi̍t-chióng lo̍k-thiòng. Góa ê bīn hèng kah sio hōng-hōng. 

Tī chit-chióng chêng-hêng, lâng-lâng ē tùi ka-tī kóng, chit-ê khó-òⁿ ê sió-kiáⁿ sui-jiân bû-ti, mā su-iàu kā pó-hō͘. Mā tio̍h pó-hō͘ pa̍t-lâng mài hō͘ yi òe tio̍h. Che sī siā-hōe ê su-iàu. Chiah-ê lóng bô m̄-tio̍h. M̄-koh, bo̍k-bêng ê hùn-nō͘, tōa-lâng ê kiàn-siàu kám-kak, kap kî-thāi boeh tháu-pàng kin-bah ê khùi-la̍t, chiah sī chin-chiàⁿ ê tiōng-tiám.

Chòe-āu chi̍t-pái ê chhia-piàⁿ, lia̍h tiâu gín-á ê ām-kún hām ē-hâi. Góa tōa-la̍t kā tāng hoaiⁿh-hoaiⁿh ê gîn thng-sî ùi yi chhùi-khí āu tōng ji̍p, lo̍h nâ-âu, kàu yi kéⁿ tio̍h. Khòaⁿ tio̍h ah -- nn̄g-ê píⁿ-thô-sòaⁿ lóng khàm chi̍t-iân mo̍͘h. Yi it-tit piàⁿ-miā m̄ hō͘ góa chai yi ê pì-bi̍t. Nâ-âu thiàⁿ chit-ê pì-bi̍t yi siōng-bô í-keng am-khàm saⁿ-kang, khi-phiàn yin pē-bú, ūi-tio̍h tô-pī chit-ê kiat-kio̍k. 

 Taⁿ yi chin-chiàⁿ sī khì phut-phut ah. Tú-chiah yi teh hông-siú, taⁿ yi boeh chìn-kong ah. Sit-pāi ê ba̍k-sái im kah ba̍k-chiu khòaⁿ bô, yi chhì boeh liòng lo̍h lāu-pē ê kha-thúi, boeh chhiong hiòng góa. 

(Soah)

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2. 她喙咬絚絚, 拚命反抗!

動 to 無動. 甚至她 ê 表情 mā 無變化. 毋過, 她喘氣愈來愈緊. 自 án-ne, 戰鬥開始, 我著 án-ne 做. 為著保護她, 我著有她 ê 嚨喉培養. 毋過, 我先 kā 爸母講, 這完全由 in 決定. 我解說彼个風險, 毋過我講, 只要 in 願意擔責任, 我袂堅持做檢查. 

你若毋聽先生講, 你著去病院, 老母 án-ne 嚴厲 kā 她警告.

是 án-ne oh? 我家己起愛笑. 總講, 我已經愛著這个野蠻 ê 小囝, 姻爸母顛倒予我倒彈. Tī 閣來 ê 捙拚中間, in 愈來愈無效, 愈失敗, 愈忝頭, in chă 囝因為心內驚我, 當然 tō 拚命掠狂到最懸 ê 程度.

老爸已經盡力 ah, 伊生做大 chhāi, 毋過因為彼是 in chă 囝, 伊對她 ê 行為見笑, 又驚傷著她, tī 幾改我險仔成功 ê 關鍵時刻, 伊煞放開她, pìⁿ 甲我想欲 kā 刣. 毋過, 伊 mā 驚她著白喉, tō 叫我繼續, 繼續, 雖罔伊家己強欲昏倒, 也彼个老母 tī 阮後面來來去去, 手連鞭攑連鞭放, 規面 ê 憂愁. 

Kā 囥 tī 你 ê 跤頭趺, 我命令, kā 她雙手掠著.

毋過, 伊拄 án-ne 做, 囡仔隨大聲吱. 莫 án-ne, 我會疼. 放開我 ê 手. 我叫你, kă 放開. 然後她又恐怖 koh 失心大聲叫. 擋恬! 擋恬! 你欲害死我! 

先生, 你看她敢會堪得! 老母講.

你出去, 翁 kā in 某講. 你愛她著白喉死 sioh? 

今閣來, kā 掠著, 我講.

然後我 kō͘ 倒手掠囡仔 ê 頭, 試欲 kā 柴 ê 舌壓塞入她 ê 喙齒中間. 她喙咬絚絚, 拚命反抗! 今我 mā 火 to̍h ah -- 對一个囡仔. 我盡力控制家己 ê 情緒, 毋過做袂到. 我知影按怎予人擘喙通檢查. 我盡我 ê 能力. 落尾, 我 kā 舌壓伸到上後面 ê 喙齒, ùi 遐 kā 頭節 long 入喙空, 她喙小開一下, 毋過我猶未看著啥, 她 tō koh 合喙, 我袂赴抽出來, 柴片已經予她 ê 大齻咬甲破 kê-kê.

你袂見笑 ah? 老母大聲對她喝. Tī 先生面前 án-ne 做, 你袂見笑 ah?

予我一支柄較 iu ê 湯匙仔, 我對老母講. 咱著 kō͘ 這 kā 完成. 囡仔 ê 喙已經 teh 流血. 她 ê 舌破空, 直直 teh 失心大聲吱. 凡勢我頭先 tō 應該放手, 過一兩點鐘才閣來. 當然 án-ne 會較好. 毋過, 我已經看過上少兩个仝款情形 ê 囡仔, 因為無得著治療, 死 tī 眠床, 我感覺今我著 kā 診斷, 若無 tō 無機會. 我 koh 動手 ah. 上歹紡 ê 是, 我家己 mā 失去理智 ah. 我氣惱甲想欲 kā 囡仔拆食落腹. 對她進攻是一種樂暢. 我 ê 面興甲燒烘烘. 

Tī 這種情形, 人人會對家己講, 這个可惡 ê 小囝雖然無知, mā 需要 kā 保護. Mā 著保護別人莫予她穢著. 這是社會 ê 需要. Chiah-ê 攏無毋著. 毋過, 莫名 ê 憤怒, 大人 ê 見笑感覺, kap 期待欲敨放筋肉 ê 氣力, 才是真正 ê 重點.

最後一擺 ê 捙拚, 掠牢囡仔 ê 頷頸和下頦. 我大力 kā 重 hoaiⁿh-hoaiⁿh ê 銀湯匙 ùi 她喙齒後撞入, 落嚨喉, 到她哽著. 看著 ah -- 兩个扁桃腺攏崁一沿膜. 她一直拚命毋予我知她 ê 祕密. 嚨喉疼這个祕密她上無已經掩崁三工, 欺騙姻爸母, 為著逃避這个結局. 

今她真正是氣怫怫 ah. 拄才她 teh 防守, 今她欲進攻 ah. 失敗 ê 目屎淹甲目睭看無, 她試欲躘落老爸 ê 跤腿, 欲衝向我. 

(煞)

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2.

Not a move. Even her expression hadn't changed. Her breaths however were coming faster and faster. Then the battle began I had to do it. I had to have a throat culture for her own protection. But first I told the parents that it was entirely up to them. I explained the danger but said I would not insist on an examination so long as they would take the responsibility. 

If you don't do what the doctor says you'll have to go to the hospital, the mother admonished her severely.

Oh yeah? I had to smile to myself. After all, I had already fallen in love with the savage brat, the parents were contempable to me. In the ensuing struggle they grew more and more abject, crushed, exhausted while she surely rose to magnificent heights of insane fury of effort bred of her terror of me.

The father tried his best, and he was a big man but the fact that she was his daughter, his shame at her behavior and his dread of hurting her made him release her just at the critical moment several times when I almost had achieved success, till I wanted to kill him. But his dread also that she might have diphtheria made him tell me to go on, go on though he himself was almost fainting, while the mother moved back and forth behind us raising and lowering her hands in an agony of apprehension. 

Put her in front of you on your lap, I ordered, and hold both her wrists.

But as soon as he did the child let out a scream. Don't, you're hurting me. Let go of my hands. Let them go I tell you. Then she shrieked terrifyingly, hysterically. Stop it! Stop it! You re killing me! 

Do you think she can stand it, doctor! said the mother.

You get out, said the husband to his wife. Do you want her to die of diphtheria?

Come on now, hold her, I said.

Then I grasped the child's head with my left hand and tried to get the wooden tongue depressor between her teeth. She fought, with clenched teeth, desperately! But now I also had grown furious - at a child. I tried to hold myself down but I couldn't. I know how to expose a throat for inspection. And I did my best. When finally I got the wooden spatula behind the last teeth and just the point of it into the mouth cavity, she opened up for an instant but before I could see anything she came down again and gripping the wooden blade between her molars she reduced it to splinters before I could get it out again.

Aren't you ashamed, the mother yelled at her. Aren't you ashamed to act like that in front of the doctor?

Get me a smooth-handled spoon of some sort, I told the mother. We're going through with this. The child's mouth was already bleeding. Her tongue was cut and she was screaming in wild hysterical shrieks. Perhaps I should have desisted and come back in an hour or more. No doubt it would have been better. But I have seen at least two children lying dead in bed of neglect in such cases, and feeling that I must get a diagnosis now or never. I went at it again. But the worst of it was that I too had got beyond reason. I could have torn the child apart in my own fury and enjoyed it. It was a pleasure to attack her. My face was burning with it.

The damned little brat must be protected against her own idiocy, one says to one's self at such times. Others must be protected against her. It is social necessity. And all these things are true. But a blind fury, a feeling of adult shame, bred of a longing for muscular release are the operatives. One goes on to the end.

In a final unreasoning assault I overpowered the child's neck and jaws. I forced the heavy silver spoon back of her teeth and down her throat till she gagged. And there it was - both tonsils covered with membrane. She had fought valiantly to keep me from knowing her secret. She had been hiding that sore throat for three days at least and lying to her parents in order to escape just such an outcome as this.

Now truly she was furious. She had been on the defensive before but now she attacked. Tried to get off her father's lap and fly at me while tears of defeat blinded her eyes.

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//

C22 Sái-Kiông | 使強 - a 彼个囡仔眼神冷霜, 堅定

The Use of Force /by William Carlos Williams
https://web.stanford.edu/dept/HPS/force.html

Sái-Kiông | 使強

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1. Hit-ê gín-á gán-sîn léng-sng, kian-tēng

In sī góa ê sin hoān-chiá, góa só͘ chai ê kan-ta sī sèⁿ Olson. Chhiáⁿ khah kín lâi, goán cha-bó͘-kiáⁿ pēⁿ kah chin tāng.

Góa kàu ê sî, tú tio̍h ê sī in lāu-bú, chi̍t-ê kiaⁿ-hiâⁿ ê tōa-chhāi cha-bó͘, seⁿ-chò chheng-khì-siùⁿ, piáu-chêng pháiⁿ-sè pháiⁿ-sè, yi kan-ta kóng, Che kám sī sin-seⁿ? tō hō͘ góa ji̍p khì. Tī chhù-lāi, yi koh kóng. Sin-seⁿ, lí tio̍h goân-liōng góa, goán kā khǹg tī chàu-kha, hia khah un-loán. Chit só͘-chāi, ū-sî chin tâm-sip.

Gín-á chhēng-chhah chèng-sek, chē tī lāu-pē ê tōa-thúi, óa chàu-kha toh-á. Lāu-pē siūⁿ boeh khiā khí-lâi, góa pí-chhiú kiò i bián hùi-khì, thǹg lo̍h góa ê gōa-thò, góa tō khai-sí hoat-lo̍h tāi-chì. Góa khòaⁿ ē-chhut, in lóng chin kín-tiuⁿ, kō͘ bô sìn-jīm téng-ē khòaⁿ góa. Thong-siông chit-khoán chêng-hêng, in bē kā góa kóng bô pit-iàu ê ōe, sī góa tio̍h kā in kóng; tō-sī án-ne, in tio̍h hù góa saⁿ kho͘-gîn.

Hit-ê gín-á gán-sîn léng-sng, kian-tēng, bīn siōng bô jīm-hô piáu-chêng, hō͘ góa kiông boeh sit chú-ì. Yi tiām-tiām bô tāng, khòaⁿ sī sim-lāi pêng-chēng; sī chi̍t-ê bô phó͘-thong ê khó-ài sió-kiáⁿ, gōa-piáu ióng kah ná gû-á-kiáⁿ. M̄-koh yi ê bīn âng kì-kì, chhoán-khùi kín-sok, góa ì-sek tio̍h yi teh hoat-sio. Yi ê kim thâu-mo͘ súi koh ōng. Tō ná-chhiūⁿ chhiâng-chāi chhut-hiān tī kóng-kò thoân-toaⁿ a̍h lé-pài pò-chóa tô͘-phìⁿ pán ê gín-á.

Yi í-keng hoat-sio saⁿ kang ah, lāu-pē khai-sí kóng, goán m̄-chai sī án-nóa lâi ê. Goán bó͘ hō͘ yi chia̍h kóa siáⁿ, lí chai lah, tō ná ta̍k-ê lóng án-ne chò, m̄-koh he mā bô-hāu. Iū-koh sì-kè chē-chē lâng phòa-pēⁿ. Goán siūⁿ-kóng, lí tio̍h kā kiám-cha khòaⁿ-māi, kăn kóng sī siáⁿ tāi-chì.

Chiàu it-poaⁿ i-seng án-ne, góa seng chhì chi̍t-ê būn-tê chò khí-pō͘. Yi kám ū nâ-âu thiàⁿ?

Pē-bú nn̄g-lâng tâng-chê ìn, Bô... Bô, yi kóng yi ê nâ-âu bē thiàⁿ.

Lí ê nâ-âu ē thiàⁿ bô? lāu-bú koh mn̄g gín-á. M̄-koh sió ko͘-niû ê piáu-chêng bô piàn-hòa, ba̍k-chiu mā bô sóa lī góa ê bīn. 

Lí ū kā khòaⁿ bô?

Góa chhì boeh kā khòaⁿ, lāu-bú kóng, m̄-koh góa bô hoat-tō͘ khòaⁿ.

Tú-hó, hit kò goe̍h chit-ê gín-á tha̍k ê ha̍k-hāu ū chi̍t-kóa pe̍h-âu ê àn-lē, chin bêng-hián, goán lóng ū siūⁿ tio̍h chit-ê būn-tê, sui-bóng bô lâng kóng chhut-chhùi.

 Ai-ah, góa kóng, lán seng khòaⁿ chi̍t-ē nâ-âu lah. Góa kō͘ siōng choan-gia̍p ê hong-sek tián chhiò-bīn, mn̄g gín-á ê miâ, jiân-āu góa kóng, koai, Mathilda, chhùi khui-khui, lán lâi khòaⁿ chi̍t-ē lí ê nâ-âu.

Bô hoán-èng.

Ai-ah, koai, góa ko͘-chiâⁿ, chhùi peh khui-khui, hō͘ góa khòaⁿ chi̍t-ē. Lí khòaⁿ, góa ná kóng ná kā siang-chhiú peh khui, góa ê chhiú bô the̍h siáⁿ mi̍h-kiāⁿ. Chí-iàu peh khui chi̍t-ē hō͘ góa khòaⁿ.

Sī chiâⁿ hó ê lâng, lāu-bú chhap-ōe kóng. Lí khòaⁿ, i tùi lí chiâⁿ hó neh. Koai, chiàu i kóng-ê chò. I bē kā lí kha̍p thiàⁿ lah.

Thiaⁿ tio̍h che, góa khì kah kā-gê. In nā mài iōng "kha̍p thiàⁿ" chit-ê sû, góa khó-lêng ē ū chìn-tián. M̄-koh, góa m̄-chún ka-tī siuⁿ kóaⁿ-kín a̍h siū kan-jiáu, tō koh khin-siaⁿ, bān-bān kóng-ōe chiap-kīn hit-ê gín-á.

Tán góa kā í-á sóa khah óa chi̍t-ē, yi hiông-hiông kō͘ chi̍t-ê ná niau ê tōng-chok, siang-chhiú pún-lêng jiàu hiòng góa ê ba̍k-chiu, hiám-á jiàu tio̍h. Sū-si̍t siōng, yi kā góa ê ba̍k-kiàⁿ khok poe chhut-khì, lak tī lī góa kúi-ā chhioh hn̄g ê chàu-kha tē-pán, ka-chài bô phòa.

Pē-bú pháiⁿ-sè kah kiông boeh péng kòe, it-ti̍t hōe sit-lé. Lí chit-ê m̄-chiâⁿ gín-á, lāu-bú ná kóng ná lia̍h yi chi̍t-ki chhiú it-ti̍t kā iô. Lí ná ē án-ne bú. Chit-ê hó-lâng...

Thiⁿ ah, góa chhap-ōe kóng, mài tùi yi kóng góa sī hó-lâng. Góa sī lâi kiám-cha yi ê nâ-âu, in-ūi yi khó-lêng ū pe̍h-âu, án-ne mā khó-lêng ē bô-miā. M̄-koh, he tùi yi lóng bô-hāu. Khòaⁿ chia, góa kā gín-á kóng, goán boeh lâi khòaⁿ lí ê nâ-âu. Lí í-keng ū-kàu tōa, thiaⁿ ū góa ê ōe. Lí boeh taⁿ ka-tī peh khui, a̍h-sī goán lâi thè lí kā peh khui?

- -

1. 彼个囡仔眼神冷霜, 堅定

In 是我 ê 新患者, 我所知 ê 干焦是姓 Olson. 請較緊來, 阮查某囝病甲真重.

我到 ê 時, 拄著 ê 是 in 老母, 一个驚惶 ê 大 chhāi 查某, 生做清氣相, 表情歹勢歹勢, 她干焦講, 這敢是先生? tō 予我入去. Tī 厝內, 她 koh 講. 先生, 你著原諒我, 阮 kā 囥 tī 灶跤, 遐較溫暖. 這所在, 有時真澹濕.

囡仔穿插正式, 坐 tī 老爸 ê 大腿, 倚灶跤桌仔. 老爸想欲徛起來, 我比手叫伊免費氣, 褪落我 ê 外套, 我 tō 開始發落代誌. 我看會出, in 攏真緊張, kō͘ 無信任頂下看我. 通常這款情形, in 袂 kā 我講無必要 ê 話, 是我著 kā in 講; 就是 án-ne, in 著付我三箍銀.

彼个囡仔眼神冷霜, 堅定, 面上無任何表情, 予我強欲失主意. 她恬恬無動, 看是心內平靜; 是一个無普通 ê 可愛小囝, 外表勇甲 ná 牛仔囝. 毋過她 ê 面紅 kì-kì, 喘氣緊速, 我意識著她 teh 發燒. 她 ê 金頭毛媠 koh 旺. Tō 若像常在出現 tī 廣告傳單 a̍h 禮拜報紙圖片版 ê 囡仔.

她已經發燒三工 ah, 老爸開始講, 阮毋知是按怎來 ê. 阮某予她食寡啥, 你知 lah, tō ná 逐个攏 án-ne 做, 毋過彼 mā 無效. 又閣四界濟濟人破病. 阮想講, 你著 kā 檢查看覓, kăn 講是啥代誌.

照一般醫生 án-ne, 我先試一个問題做起步. 她敢有嚨喉疼?

爸母兩人同齊應, 無... 無, 她講她 ê 嚨喉袂疼.

你 ê 嚨喉會疼無? 老母 koh 問囡仔. 毋過小姑娘 ê 表情無變化, 目睭 mā 無徙離我 ê 面. 

你有 kā 看無?

我試欲 kā 看, 老母講, 毋過我無法度看.

拄好, 彼個月這个囡仔讀 ê 學校有一寡白喉 ê 案例, 真明顯, 阮攏有想著這个問題, 雖罔無人講出喙.

 Ai-ah, 我講, 咱先看一下嚨喉 lah. 我 kō͘ 上專業 ê 方式展笑面, 問囡仔 ê 名, 然後我講, 乖, Mathilda, 喙開開, 咱來看一下你 ê 嚨喉.

無反應.

Ai-ah, 乖, 我姑情, 喙擘開開, 予我看一下. 你看, 我 ná 講 ná kā 雙手擘開, 我 ê 手無提啥物件. 只要擘開一下予我看.

是誠好 ê 人, 老母插話講. 你看, 伊對你誠好 neh. 乖, 照伊講 ê 做. 伊袂 kā 你磕疼 lah.

聽著這, 我氣甲咬牙. In 若莫用 "磕疼" 這个詞, 我可能會有進展. 毋過, 我毋准家己 siuⁿ 趕緊 a̍h 受干擾, tō koh 輕聲, 慢慢講話接近彼个囡仔.

等我 kā 椅仔徙較倚一下, 她雄雄 kō͘ 一个 ná 貓 ê 動作, 雙手本能抓向我 ê 目睭, 險仔抓著. 事實上, 她 kā 我 ê 目鏡硞飛出去, lak tī 離我幾若尺遠 ê 灶跤地板, 佳哉無破.

爸母歹勢甲強欲 péng 過, 一直會失禮. 你這个毋成囡仔, 老母 ná 講 ná 掠她一支手一直 kā 搖. 你那會 án-ne 舞. 這个好人...

天 ah, 我插話講, 莫對她講我是好人. 我是來檢查她 ê 嚨喉, 因為她可能有白喉, án-ne mā 可能會無命. 毋過, 彼對她攏無效. 看遮, 我 kā 囡仔講, 阮欲來看你 ê 嚨喉. 你已經有夠大, 聽有我 ê 話. 你欲今家己擘開, 抑是阮來替你 kā 擘開?

- -

1.

They were new patients to me, all I had was the name, Olson. Please come down as soon as you can; my daughter is very sick.

When I arrived I was met by the mother, a big startled looking woman, very clean and apologetic who merely said, Is this the doctor? and let me in. In the back, she added. You must excuse us, doctor, we have her in the kitchen where it is warm. It is very damp here sometimes.

The child was fully dressed and sitting on her father's lap near the kitchen table. He tried to get up, but I motioned for him not to bother, took off my overcoat and started to look things over. I could see that they were all very nervous, eyeing me up and down distrustfully. As often, in such cases, they weren't telling me more than they had to, it was up to me to tell them; that's why they were spending three dollars on me.

The child was fairly eating me up with her cold, steady eyes, and no expression to her face whatever. She did not move and seemed, inwardly, quiet; an unusually attractive little thing, and as strong as a heifer in appearance. But her face was flushed, she was breathing rapidly, and I realized that she had a high fever. She had magnificent blonde hair, in profusion. One of those picture children often reproduced in advertising leaflets and the photogravure sections of the Sunday papers.

She's had a fever for three days, began the father and we don't know what it comes from. My wife has given her things, you know, like people do, but it don't do no good. And there's been a lot of sickness around. So we tho't you'd better look her over and tell us what is the matter.

As doctors often do I took a trial shot at it as a point of departure. Has she had a sore throat?

Both parents answered me together, No . . . No, she says her throat don't hurt her.

Does your throat hurt you? added the mother to the child. But the little girl's expression didn't change nor did she move her eyes from my face.

Have you looked?

I tried to, said the mother, but I couldn't see.

As it happens we had been having a number of cases of diphtheria in the school to which this child went during that month and we were all, quite apparently, thinking of that, though no one had as yet spoken of the thing.

Well, I said, suppose we take a look at the throat first. I smiled in my best professional manner and asking for the child's first name I said, come on, Mathilda, open your mouth and let's take a look at your throat.

Nothing doing.

Aw, come on, I coaxed, just open your mouth wide and let me take a look. Look, I said opening both hands wide, I haven't anything in my hands. Just open up and let me see.

Such a nice man, put in the mother. Look how kind he is to you. Come on, do what he tells you to. He won't hurt you.

At that I ground my teeth in disgust. If only they wouldn't use the word "hurt" I might be able to get somewhere. But I did not allow myself to be hurried or disturbed but speaking quietly and slowly I approached the child again

As I moved my chair a little nearer suddenly with one catlike movement both her hands clawed instinctively for my eyes and she almost reached them too. In fact she knocked my glasses flying and they fell, though unbroken, several feet away from me on the kitchen floor.

Both the mother and father almost turned themselves inside out in embarrassment and apology. You bad girl, said the mother, taking her and shaking her by one arm. Look what you've done The nice man...

For Heaven's sake, I broke in. Don' t call me a nice man to her. I'm here to look at her throat on the chance that she might have diptheria and possibly die of it. But that's nothing to her. Look here I said to the child, we are going to look at your throat. You're old enough to understand what I'm saying. Will you open it now by yourself or shall we have to open it for you?

- -

// 

C21b 她 ê 死是因為心臟病

2. Yi ê sí sī in-ūi sim-chōng-pēⁿ

Tán yi hòng-khì ka-tī ê sî, yi he sió-khóa khui-khui ê chhùi-tûn khin-khin nauh chi̍t-ê gí-sû. Tī chhoán-khùi tang-tiong, yi chi̍t-piàn koh chi̍t-piàn kóng: "chū-iû, chū-iû, chū-iû!" Tòe hit-ê gí-sû, he khang-khang ê gán-sîn hām khióng-pò͘ ê piáu-chêng í-keng lī-khui yi ê ba̍k-chiu. in iū-koh lêng-oa̍h, bêng-liāng. Yi sim-thiàu piàn kín, lâu-tāng ê hoeh hō͘ yi múi chi̍t-chhùn ê sin-khu un-loán koh khin-sang.

Yi bô thêng-khùn lo̍h-lâi mn̄g, yi kám sī hō͘ ná iau-mô͘ ê hoaⁿ-hí lia̍h-tio̍h ah. Chheng-chhó koh ko-sióng ê ì-sek, hō͘ yi ē-tàng khin-khin pàng-khui hit-ê siūⁿ-hoat.

Yi chai-iáⁿ yi ē koh khàu, tán yi koh khòaⁿ tio̍h hit-siang siān-liông, un-jiû ê chhiú áu tī sí-bông; hit-ê éng-éng kō͘ ài ê gán-sîn khòaⁿ yi ê bīn, ngē-chiāⁿ, phú-pe̍h, sí-khì. M̄-koh, yi khòaⁿ chhiau-kòe hit-ê thòng-khó͘ ê sî-khek, bī-lâi tn̂g ló-ló ê sòe-goa̍t choa̍t-tùi sī sio̍k tī yi. Só͘-í yi chhun-chhut koh thián-khui siang-chhiú hoan-gêng in.

Tī bī-lâi ê sòe-goa̍t, yi bô su-iàu ūi pa̍t-lâng oa̍h; yi boeh ūi ka-tī oa̍h. Bē koh ū kiông-tāi ê ì-chì ah-kòe yi ê ì-chì, bô koh ū hit-chióng bông-bo̍k ê kian-chhî, hō͘ lâm-lâm lú-lú kiò-sī ū khoân-lī kō͘ kò-jîn ì-chì kiông-pek pa̍t-lâng. M̄-koán sī hó-ì a̍h pháiⁿ-ì, tī chit-ê té-chām ê khé-bêng sî-khek, yi jīn-ûi hit-chióng hêng-ûi bē khah su hoān-chōe.

Put-jî-kò, yi bat ài kòe i -- ū-sî. Éng-éng yi pēng bô ài i. Taⁿ lóng bô iàu-kín ah lah! Ài-chêng, chit-ê bô kái-tap ê sîn-pì, tàu-té sǹg siáⁿ-hòe ah, taⁿ bīn-tùi tit-tio̍h chū-ngó͘ chú-tiuⁿ, hō͘ yi hut-jiân bêng-pe̍k, che chiah sī yi chûn-chāi ê siōng-tōa tōng-le̍k!

"Chū-iû! Sin-khu kap lêng-hûn ê chū-iû!" yi kè-sio̍k án-ne khin-siaⁿ kóng.

Josephine kūi tī só tio̍h ê mn̂g chêng, chhùi-tûn tùi só-sî khang, khún-kiû hō͘ yi ji̍p-lâi. "Louise, khui-mn̂g! Góa kiû lí; kín khui-mn̂g -- lí ē hāi ka-tī phòa-pēⁿ. Lí teh chhòng-siáⁿ, Louise? Khòaⁿ thiⁿ-kong ê bīn, chhiáⁿ khui-mn̂g."

"Lí kiâⁿ-khui lah. Góa bē kā ka-tī pìⁿ kah phòa-pēⁿ." Bē; yi tng-teh ùi hit-sìⁿ khui-khui ê thang-á ho̍k chi̍t-thiap sèⁿ-miā ê sian-tan.

Yi ê sióng-siōng í-keng chông hiòng bī-lâi ê ji̍t-chí. Chhun-thiⁿ ê sî-chūn, joa̍h-thiⁿ ê sî-chūn, sio̍k tī yi ê kok-chióng sî-chūn. Yi kín-sok thò͘-chhut chi̍t-ê kî-tó, ǹg-bāng sèⁿ-miā kú-tn̂g. Put-kò sī cha-hng, nā siūⁿ tio̍h sèⁿ-miā kú-tn̂g yi tō khí ùi-kôaⁿ.

Lo̍h-bóe, yi khiā khí-lâi, in-ūi a-chí ê khún-kiû kā mn̂g khui khui. Yi ê ba̍k-chiu nih, ū jia̍t-chêng ê sèng-lī, put-ti put-kak, yi kā ka-tī tòng-chò Sèng-lī lú-sîn. Yi lám a-chí ê io, siang-lâng tâng-chê lo̍h lâu-thui. Richards khiā tī lâu-kha tán yin.

Ū-lâng kō͘ só-sî teh khui thâu-chêng mn̂g. Ji̍p-lâi ê sī Brently Mallard, sió-khóa ū lí-hêng ê hûn-jiah, lāu-sîn chāi-chāi, kōaⁿ i ê kha-báng kap hō͘-sòaⁿ. I it-ti̍t lī sū-kò͘ hiān-tiûⁿ hn̄g-hn̄g, sīm-chì m̄-chai ū sū-kò͘. I khiā tiām tio̍h chi̍t-kiaⁿ, khòaⁿ tio̍h Josephine teh tōa-siaⁿ kiò, koh khòaⁿ tio̍h Richards kín-kín cha̍h-tn̄g in bó͘ ê sī-sòaⁿ.

M̄-koh, Richards í-keng siuⁿ bān ah.

Tán i-seng lâi ê sî, kóng, yi ê sí sī in-ūi sim-chōng-pēⁿ -- hoaⁿ-hí kah sí.

(Soah)

- -

2. 她 ê 死是因為心臟病

等她放棄家己 ê 時, 她彼小可開開 ê 喙唇輕輕 nauh 一个語詞. Tī 喘氣當中, 她一遍 koh 一遍講: "自由, 自由, 自由!" 綴彼个語詞, 彼空空 ê 眼神和恐怖 ê 表情已經離開她 ê 目睭. in 又閣靈活, 明亮. 她心跳變緊, 流動 ê 血予她每一寸 ê 身軀溫暖 koh 輕鬆.

她無停睏落來問, 她敢是予 ná 妖魔 ê 歡喜掠著 ah. 清楚 koh 高尚 ê 意識, 予她會當輕輕放開彼个想法.

她知影她會 koh 哭, 等她 koh 看著彼雙善良, 溫柔 ê 手拗 tī 死亡; 彼个往往 kō͘ 愛 ê 眼神看她 ê 面, 硬 chiāⁿ, 殕白, 死去. 毋過, 她看超過彼个痛苦 ê 時刻, 未來長 ló-ló ê 歲月絕對是屬 tī 她. 所以她伸出 koh 展開雙手歡迎 in.

Tī 未來 ê 歲月, 她無需要為別人活; 她欲為家己活. 袂 koh 有強大 ê 意志壓過她 ê 意志, 無閣有彼種盲目 ê 堅持, 予男男女女叫是有權利 kō͘ 個人意志強迫別人. 毋管是好意 a̍h 歹意, tī 這个短站 ê 啟明時刻, 她認為彼種行為袂較輸犯罪.

不而過, 她捌愛過伊 -- 有時. 往往她並無愛伊. 今攏無要緊 ah lah! 愛情, 這个無解答 ê 神祕, 到底算啥貨 ah, 今面對得著自我主張, 予她忽然明白, 這才是她存在 ê 上大動力!

"自由! 身軀 kap 靈魂 ê 自由!" 她繼續 án-ne 輕聲講.

Josephine 跪 tī 鎖著 ê 門前, 喙唇對鎖匙空, 懇求予她入來. "Louise, 開門! 我求你; 緊開門 -- 你會害家己破病. 你 teh 創啥, Louise? 看天公 ê 面, 請開門."

"你行開 lah. 我袂 kā 家己變甲破病." 袂; 她 tng-teh ùi 彼扇開開 ê 窗仔服一帖性命 ê 仙丹.

她 ê 想像已經傱向未來 ê 日子. 春天 ê 時陣, 熱天 ê 時陣, 屬 tī 她 ê 各種時陣. 她緊速吐出一个祈禱, ǹg 望性命久長. 不過是昨昏, 若想著性命久長她 tō 起畏寒.

落尾, 她徛起來, 因為阿姊 ê 懇求 kā 門開開. 她 ê 目睭 nih, 有熱情 ê 勝利, 不知不覺, 她 kā 家己當做勝利女神. 她攬阿姊 ê 腰, 雙人同齊落樓梯. Richards 徛 tī 樓跤等姻.

有人 kō͘ 鎖匙 teh 開頭前門. 入來 ê 是 Brently Mallard, 小可有旅行 ê 痕跡, 老神在在, 捾伊 ê kha-báng kap 雨傘. 伊一直離事故現場遠遠, 甚至毋知有事故. 伊徛恬著一驚, 看著 Josephine teh 大聲叫, koh 看著 Richards 緊緊閘斷 in 某 ê 視線.

毋過, Richards 已經 siuⁿ 慢 ah.

等醫生來 ê 時, 講, 她 ê 死是因為心臟病 -- 歡喜甲死.

(煞)

- -

2.

When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.

She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him—sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

“Free! Body and soul free!” she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. “Louise, open the door! I beg; open the door—you will make yourself ill. What are you doing, Louise? For heaven’s sake open the door.”

“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister’s importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister’s waist, and together they descended the stairs. Richards stood waiting for them at the bottom.

Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife.

But Richards was too late.

When the doctors came they said she had died of heart disease—of joy that kills.

- -

//

C21 Chi̍t Tiám-cheng ê Kò͘-sū | 一點鐘 ê 故事 - a. 聽著消息她放聲大哭

The Story of an Hour /by Kate Chopin
https://www.shortstoryguide.com/story-hour-kate-chopin-summary-themes-questions/

Chi̍t Tiám-cheng ê Kò͘-sū | 一點鐘 ê 故事

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1. Thiaⁿ tio̍h siau-sit yi pàng-siaⁿ tōa khàu

In-ūi chai-iáⁿ Mallard Tt hoān sim-chōng pēⁿ, tio̍h chin sió-sim, chīn-liōng un-hô lâi kā kóng-khí yin ang kòe-sin ê siau-sit.

Sī yin a-chí Josephine kā yi kóng-khí, ōe-kù kóng bē liân-sòa; kō͘  ng-ng iap-iap ê hong-sek kā kóng. Yin ang ê pêng-iú Richards mā tī hia, tī yi sin-piⁿ. Thih-lō͘ chai-lān ê sìn-sit kàu-ūi ê sî, i tú-hó tī pò-siā pān-kong-sek, "sí-bông" miâ-toaⁿ ê thâu chi̍t-ê tō sī Brently Mallard. I kan-ta khai tām-po̍h sî-kan kō͘ tē-jī thong tiān-pò khak-tēng chit-ê siau-sit, tō kóaⁿ tī pa̍t-ê khah chho͘-sim, khah tāng kha-chhiú ê pêng-iú thâu-chêng, lâi thoân-ta̍t chit-ê pi-siong ê siau-sit.

Yi thiaⁿ tio̍h chit-ê tāi-chì ê sî, bô chhiūⁿ chē-chē cha-bó͘ án-ne piàⁿ-miā m̄-goān chiap-siū chit-ê sū-si̍t. Yi sûi pàng-siaⁿ tōa khàu, hō͘ a-chí ê siang-chhiú lám-tio̍h. Tán pi-siong ê hong-hō͘ kòe liáu, yi ka-tī chi̍t-ê tńg-khì pâng-keng. Yi bô-ài ū lâng tòe yi.

Pâng-keng lāi, bīn-tùi phah-khui ê thang-á, ū chi̍t-tè sù-sī, tōa-pān ê kau-í. Yi siàng tī kau-í, ná-chhiūⁿ hō͘ hit-ê chhim kàu lêng-hûn ê hi-lè-lè ê sin-khu só͘ ah-lo̍h. 

Yi khòaⁿ ē-tio̍h, yin tau thâu-chêng ê tōa-tiâⁿ, hia ê chhiū-téng í-keng chhiong-móa chhun-thiⁿ ê khì-sè. Khong-khì tiong ū hō͘ ê tiⁿ-bi̍t khùi-si. Ē-bīn ê ke-lō͘, ū hoàn-á hoah-bē ê siaⁿ. Hn̄g-hn̄g thoân-lâi ná-ū ná-bô ê koa-siaⁿ, nî-chîⁿ ē chē-chē chhek-chiáu-á teh chi-chi chiū-chiū.

Tī yi thâu-chêng thang-á gōa ê sai-pêng, thàu-kòe chū-chi̍p tī hia koh têng-têng tha̍h-tha̍h ê hûn, ū khòaⁿ-e chi̍t-tah chi̍t-tah nâ-sek ê thiⁿ.

Yi chē leh, thâu hiàⁿ-āu khòe tī í-chū-á, tiām-tiām bô tāng, kan-ta ū-sî in-ūi nâ-âu chheh-khùi sió iô-tāng chi̍t-ē, tō ná-chhiūⁿ gín-á khàu kah khùn-khì, tī bāng-tiong iáu teh chheh-khùi.

Yi iáu siàu-liân, bīn-bah pe̍h, piáu-chêng pêng-chēng, bīn-hêng ê sòaⁿ-tiâu hián-sī siū-tio̍h ah-ut, sīm-chì hián-sī bó͘-chióng ê le̍k-liōng. M̄-koh, taⁿ yi ê ba̍k-chiu ū chi̍t-chióng bâng-bâng ê gán-sîn, hit-ê gán-sîn sī kò͘-tēng tī hn̄g-hn̄g bó͘ chi̍t-tè nâ-sek ê thiⁿ. He m̄-sī su-khó ê ba̍k-sek, tian-tò hiàn-chhut sī tì-hūi su-sióng ê thêng-khùn.

Ū siáⁿ mi̍h-kiāⁿ hiòng yi óa lâi, yi teh tán-thāi, chhiong-móa kiaⁿ-hiâⁿ. He sī siáⁿ neh? Yi m̄-chai; he chin bî-miāu, ku̍t-liu kah kóng bē-lâi. M̄-koh, yi kám-kak ē-tio̍h, ùi thiⁿ-téng pê chhut-lâi, ǹg yi chia lâi, tī khong-khì tiong hoat-chhut siaⁿ-im, khì-bī, koh ū sek-chhái.

Chit-sî, yi ê heng-khám kek-lia̍t khí-lo̍h. Yi khai-sí jīn-chhut chit-ê boeh lâi chiàm-ū yi ê mi̍h-kiāⁿ, yi piàⁿ-miā boeh kō͘ ì-chì kā phah tò-tńg -- m̄-koh, ì-chì tō ná-chhiūⁿ yi hit nn̄g-ki pe̍h koh sán ê chhiú, loán-jio̍k bô-la̍t. 

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1. 聽著消息她放聲大哭

因為知影 Mallard Tt 患心臟病, 著真小心, 盡量溫和來 kā 講起姻翁過身 ê 消息.

是姻阿姊 Josephine kā 她講起, 話句講袂連紲; kō͘ 掩掩揜揜 ê 方式 kā 講. 姻翁 ê 朋友 Richards mā tī 遐, tī 她身邊. 鐵路災難 ê 信息到位 ê 時, 伊拄好 tī 報社辦公室, "死亡" 名單 ê 頭一个就是 Brently Mallard. 伊干焦開淡薄時間 kō͘ 第二通電報確定這个消息, tō 趕 tī 別个較粗心, 較重跤手 ê 朋友頭前, 來傳達這个悲傷 ê 消息.

她聽著這个代誌 ê 時, 無像濟濟查某 án-ne 拚命毋願接受這个事實. 她隨放聲大哭, 予阿姊 ê 雙手攬著. 等悲傷 ê 風雨過了, 她家己一个轉去房間. 她無愛有人綴她.

房間內, 面對拍開 ê 窗仔, 有一塊四序, 大範 ê 交椅. 她摔 tī 交椅, ná 像予彼个深到靈魂 ê 虛 lè-lè ê 身軀所壓落. 

她看會著, 姻兜頭前 ê 大埕, 遐 ê 樹頂已經充滿春天 ê 氣勢. 空氣中有雨 ê 甜蜜氣絲. 下面 ê 街路, 有販仔喝賣 ê 聲. 遠遠傳來 ná 有 ná 無 ê 歌聲, 簾簷下濟濟粟鳥仔 teh chi-chi chiū-chiū.

Tī 她頭前窗仔外 ê 西爿, 透過聚集 tī 遐 koh 重重疊疊 ê 雲, 有看 e 一搭一搭藍色 ê 天.

她坐 leh, 頭 hiàⁿ 後蹶 tī 椅苴仔, 恬恬無動, 干焦有時因為嚨喉 chheh 氣小搖動一下, tō ná 像囡仔哭甲睏去, tī 夢中猶 teh chheh 氣.

她猶少年, 面肉白, 表情平靜, 面形 ê 線條顯示受著壓鬱, 甚至顯示某種 ê 力量. 毋過, 今她 ê 目睭有一種茫茫 ê 眼神, 彼个眼神是固定 tī 遠遠某一塊藍色 ê 天. 彼毋是思考 ê 目色, 顛倒現出是智慧思想 ê 停睏.

有啥物件向她倚來, 她 teh 等待, 充滿驚惶. 彼是啥 neh? 她毋知; 彼真微妙, 滑溜甲講袂來. 毋過, 她感覺會著, ùi 天頂爬出來, ǹg 她遮來, tī 空氣中發出聲音, 氣味, koh 有色彩.

這時, 她 ê 胸坎激烈起落. 她開始認出這个欲來佔有她 ê 物件, 她拚命欲 kō͘ 意志 kā 拍倒轉 -- 毋過, 意志 tō ná 像她彼兩支白 koh 瘦 ê 手, 軟弱無力. 

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1.

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.

There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will—as powerless as her two white slender hands would have been.

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C20 Lí ê | 你 ê

Yours /by Mary Robison
http://advancedenglishacademy.pbworks.com/w/page/30127494/Full%20text%20of%20Yours

Lí ê | 你 ê

--

Allison chin chia̍h-la̍t kiâⁿ khui yi ê pe̍h Renault chhia, siōng-bóe ê kim-koe ê tāng-liōng teh kah yi kha-po͘ ta̍h bē chāi. Hông-hun phú-kng tiong, yi hoat-hiān Clark tī chhiū-ki hām hio̍h-á sì-kè òe ê chhù āu-bóe gîm-chîⁿ-kha.

Phi chi̍t-niá mô͘ moa-kin, i chē tī ū chhu-chū ê iô-í, kō͘ chhēng chhián-thoa ê kha-té thèⁿ, hō͘ iô-í chêng-āu hàiⁿ-tāng.

Allison pàng-lo̍h chi̍t-lia̍p tōa kim-koe, kā khǹg tī khoah-khoah ê tē-pán siōng.

Clark ke lāu chin chē -- 78 hòe, iá Allison 35. In sī ang-á-bó͘. In nn̄g-ê lóng put-chí-á lò, bīn-hêng khòaⁿ tio̍h mā sió-khóa sio-kāng. Allison tì chin-mo͘ ê ké-thâu-chang. He sī chi̍t-téng kāu-kāu, khàm kàu chhùi-phé-piⁿ ê kim thâu-chang. Yi kin-á-ji̍t chhēng ní hiáⁿ-sek ê phah-thih-á saⁿ. Pêng-siông-sî yi chhēng chho͘-pò͘ saⁿ, tī ē-po͘-sî khì chi̍t-ê jî-tông ji̍t-thok tiong-sim chò gī-kang.

Yi kā chi̍t-lia̍p khah sè ê kim-koe khǹg tī Clark ê tn̂g kha-thúi téng. "Taⁿ, mài chhòng siáⁿ chhiau-hiān-si̍t--ê," yi kā i kóng. "Kan-ta khek chi̍t-ê phó͘-thong ê bīn. Che sī boeh hō͘ gín-á--ê."

Tī mn̂g-lông ê Hipplewhite toh-á téng, Allison khòaⁿ tio̍h lú-po̍k ê ka-bū bêng-sè, ū kúi-hāng ōe-tiāu, he pau-hâm Clark ê àm-tǹg. Allison kín-sok cha-khòaⁿ múi-ji̍t ê sìn-kiāⁿ: chi̍t-ê hoe-sà-sà ê iu-hūi-kǹg lok-á, Jamestown Chiú-hâng ê siàu-toaⁿ, 11-goe̍h ê hù-hùi TV chiat-bo̍k chí-lâm, koh ū siōng-hāi ê, siōng hó-sńg ê, chi̍t-hong í-keng thiah-khui, ke̍k bô iú-siān ê phe, lâi chū Clark tī Pak-hong ê chhin-chiâⁿ. "Lí sī chi̍t-ê lāu hàu-tai," Allison kā tha̍k, "Lí hông phiàn kah chin hiau-hēng." Lāi-bīn hù chi̍t-tiuⁿ chi-phiò chò lé-bu̍t, m̄-koh he bē-tit ōaⁿ-chîⁿ, in-ūi chhiam-miâ sī "Iâ-so͘ H. Kitok."

Hit-àm òaⁿ kàu chin àm, tī āu-bóe gîm-chîⁿ-kha ê chi̍t-tè kū toh-á téng, Allison hām Clark chò-hóe óe koh khek kim-koe, tâm khì ê pò-chóa téng koh pho͘ chi̍t-tiuⁿ pò-chóa, iōng siah-phôe to hām thng-sî-á, Clark koh iōng Swiss kun-to lâi khek cheng-khak ê chhùi-khí hām ba̍k-chiu hām phīⁿ-khang. Clark kòe-khì sī i-seng, lāi-kho i-su, m̄-koh mā sī chi̍t-ê lé-pài-ji̍t ê chúi-chhái ōe-ka. I khek ê sì-ê kim-koe ū piáu -chêng koh ū gē-su̍t-sèng. Tiau-khek ê te̍k-tiám sek-ha̍p kim-koe ê tōa-sè kap hêng-chōng. Nn̄g-ê khòaⁿ khí-lâi pháiⁿ kho̍k-kho̍k koh giàng giâ-giâ. Chi̍t-ê hō͘ lâng tio̍h chi̍t-kiaⁿ. Siōng bóe hit-ê an-siông koh chhiò bi-bi.

Allison ê hit sì-ê bīn tō bô khek kah hiah lêng-khiáu, ū liah-khiah kap cháu-iūⁿ ê só͘-chāi. Yi kā phīⁿ hām ba̍k-chiu kheh chò saⁿ-kak-hêng. Yi chò ê chhùi chí sī chiⁿ-á hêng, Nn̄g-ê khiàu téng-koân, nn̄g-ê khiàu ē-bīn. 

Kàu hoan-cheng chi̍t-tiám, in kiat-sok ah. It-ti̍t àⁿ tn̂g-tn̂g ê téng-sin kang-chok ê Clark, taⁿ tńg-khì i ê iô-í, ài-khùn ê ba̍k-chiu sîn-sîn khòaⁿ gōa-kháu. Kui-ê soaⁿ-kok só͘-ū ê teng-kng lóng hoa-khì ah.

Clark lâu tī hia. Tī chit-ê kùi-chiat kap sî-kan, Virginia ê àm-mê chin un-loán. Tōa pō͘-hūn chhiū-hio̍h í-keng sàu kng-kng, chhiū-á khiā leh, bô chùn-būn. In téng-koân ê goe̍h-niû îⁿ-îⁿ.

Allison kā tiûⁿ-só͘ piàⁿ chheng-khì.

"Lí ê kim-koe teng pí góa ê khah hó chē-chē-chē ah," Clark tùi yi kóng.

"Bái kô͘-kô͘ lah," Allison kóng.

"Khòaⁿ góa," Clark kóng. Allison khòaⁿ i.

Yi the̍h chi̍t-tēⁿ tâm kô͘-kô͘ ê pò-chóa. Pò-chóa sàn-hoat tio̍h kim-koe pak-lāi ê tiⁿ-bī.

"Lí ê ke hó chē-chē lah." i kóng.

"Lí kóng m̄-tio̍h. In tiám-hóe liáu, lí tō khòaⁿ ē-chhut," Allison kóng.

Yi kiâⁿ ji̍p-khì, the̍h n̂g-sek ê chiú-iā la̍h-chek chhut-lâi. Keng-kòe chi̍t-khùn, yi chiah kā ta̍k-ki la̍h-chek kò͘-tēng hó-sè, jiân-āu kā sêng-phín tī gîm-chîⁿ lân-kan pâi chò chi̍t-pâi. Yi iân-lō͘ kā ta̍k-ki la̍h-chek tiám to̍h, koh kā kim-koe kòa khàm tī sió-sió hóe-iām ê téng-koân.

"Ū khòaⁿ tio̍h bô?" yi kóng.

In chò-hóe chē chi̍t-khùn, khòaⁿ he kam-á-sek ê bīn.

"Lán lóng chin thiám-thâu ah. Sī kóng àm-an ê sî-chūn ah-lah," Allison kóng. "M̄-thang pûn hoa la̍h-chek. Bîn-á-chài góa ē khǹg sin ê."

Hit-mê, tī in ê khùn-pâng, pí ī-chhek khah chá kúi-ā lé-pài, Allison khai-sí tit-boeh sí. "Góa ê ké-thâu-chang nā lok-khì, chhiáⁿ lí m̄-thang khòaⁿ góa," yi kā Clark kóng. "Pài-thok."

Niû me̍h ê tiān-sòaⁿ tī yi chéng-thâu-á-ē chùn-tāng. Yi gia̍h kha kā mî-phōe that khui. Yi kā Clark kóng chi̍t-kóa chhia-khò͘ só-tio̍h ê tāi-chì.

Tī tiān-ōe hia, Clark ē-tàng chheng-chhó khòaⁿ ji̍p-lâi, hām khòaⁿ tio̍h ē-bīn ê gîm-chîⁿ. I boeh koh chi̍t-pái hām in bó͘ lim-chùi. I boeh kā yi kóng, kō͘ i ê khah tōa ê kak-tō͘: kan-ta ū chhiūⁿ i chit-chióng sió châi-hôa, sī chi̍t-chióng khó-phà, khùn-jiáu ê tāi-chì; kóng: kan-ta sió-khóa te̍k-pia̍t, tāi-piáu lí tōa pō͘-hūn sî-kan kî-thāi siuⁿ chē, jî-chhiáⁿ kah-ì ka-tī siuⁿ chió. I boeh kā yi pó-chèng, yi bô khiàm-khoeh siáⁿ-mi̍h.

Taⁿ, i teh kóng tiān-ōe. I khòaⁿ hiah-ê kim-koe teng. Kim-koe teng mā khòaⁿ i.

--

Allison 真食力行開她 ê 白 Renault 車, 上尾 ê 金瓜 ê 重量硩甲她跤步踏袂在. 黃昏殕光中, 她發現 Clark tī 樹枝和葉仔四界穢 ê 厝後尾砛簷跤.

披一領毛幔巾, 伊坐 tī 有舒苴 ê 搖椅, kō͘ 穿淺拖 ê 跤底牚, 予搖椅前後幌動.

Allison 放落一粒大金瓜, kā 囥 tī 闊闊 ê 地板上.

Clark ke 老真濟 -- 78 歲, iá Allison 35. In 是翁仔某. In 兩个 lóng 不止仔躼, 面形看著 mā 小可相仝. Allison 戴真毛 ê 假頭鬃. 彼是一頂厚厚, 崁到喙䫌邊 ê 金頭鬃. 她今仔日穿染顯色 ê 拍鐵仔衫. 平常時她穿粗布衫, tī 下晡時去一个兒童日托中心做義工.

她 kā 一粒較細 ê 金瓜囥 tī Clark ê 長跤腿頂. "今, 莫創 siáⁿ 超現實 ê," 她 kā 伊講. "干焦刻一个普通 ê 面. 這是欲予囡仔 ê."

Tī 門廊 ê Hipplewhite 桌仔頂, Allison 看著女僕 ê 家務明細, 有幾項畫掉, he 包含 Clark ê 暗頓. Allison 緊速查看每日 ê 信件: 一个花 sà-sà ê 優惠券橐仔, Jamestown 酒行 ê 數單, 11 月 ê 付費 TV 節目指南, 閣有上害 ê, 上好耍 ê, 一封已經拆開, 極無友善 ê 批, 來自 Clark tī 北方 ê 親情. "你是一个老孝呆," Allison kā 讀, "你 hông 騙甲真僥倖." 內面附一張支票做禮物, 毋過 he 袂得換錢, 因為簽名是 "耶穌 H. 基督."

彼暗晏到真暗, tī 後尾砛簷跤 ê 一塊舊桌仔頂, Allison 和 Clark 做伙挖 koh 刻金瓜, 澹去 ê 報紙頂 koh 鋪一張報紙, 用削皮刀和湯匙仔, Clark koh 用 Swiss 軍刀來刻精確 ê 喙齒和目睭和鼻空. Clark 過去是醫生, 內科醫師, 毋過 mā 是一个禮拜日 ê 水彩畫家. 伊刻 ê 四个金瓜有表情 koh 有藝術性. 雕刻 ê 特點適合金瓜 ê 大細 kap 形狀. 兩个看起來歹硞硞 koh 齴夯夯. 一个予人著一驚. 上尾彼个安祥 koh 笑 bi-bi.

Allison ê 彼四个面 tō 無刻甲 hiah 靈巧, 有裂隙 kap 走樣 ê 所在. 她 kā 鼻和目睭刻做三角形. 她做 ê 喙只是櫼仔形, 兩个翹頂懸, 兩个翹下面. 

到翻鐘一點, in 結束 ah. 一直 àⁿ 長長 ê 頂身工作 ê Clark, 今轉去伊 ê 搖椅, 愛睏 ê 目睭神神看外口. 規个山谷所有 ê 燈光 lóng hoa 去 ah.

Clark 留 tī 遐. Tī 這个季節 kap 時間, Virginia ê 暗暝真溫暖. 大部份樹葉已經掃光光, 樹仔徛 leh, 無 chùn-būn. In 頂懸 ê 月娘圓圓.

Allison kā 場所拚清氣.

"你 ê 金瓜燈比我 ê 較好濟濟濟 ah," Clark 對她講.

"䆀糊糊 lah," Allison 講.

"看我," Clark 講. Allison 看伊.

她提一捏澹糊糊 ê 報紙. 報紙散發著金瓜腹內 ê 甜味.

"你 ê 加好濟濟 lah." 伊講.

"你講毋著. In 點火了, 你 tō 看會出," Allison 講.

她行入去, 提黃色 ê 守夜蠟燭出來. 經過一睏, 她才 kā 逐支蠟燭固定好勢, 然後 kā 成品 tī 砛簷欄杆排做一排. 她沿路 kā 逐支蠟燭點 to̍h, koh kā 金瓜蓋崁 tī 小小火焰 ê 頂懸.

"有看著 bô?" 她講.

In 做伙坐一睏, 看 he 柑仔色 ê 面.

"咱 lóng 真忝頭 ah. 是講暗安 ê 時陣 ah-lah," Allison 講. "毋通歕 hoa 蠟燭. 明仔載我會囥新 ê."

彼暝, tī in ê 睏房, 比預測較早幾若禮拜, Allison 開始得欲死. "我 ê 假頭鬃若 lak 去, 請你毋通看我," 她 kā Clark 講. "拜託."

量脈 ê 電線 tī 她指頭仔下顫動. 她攑跤 kā 棉被踢開. 她 kā Clark 講一寡車庫鎖著 ê 代誌.

Tī 電話遐, Clark 會當清楚看入來, 和看著下面 ê 砛簷. 伊欲 koh 一擺和 in 某啉醉. 伊欲 kā 她講, kō͘ 伊 ê 較大 ê 角度: 干焦有像伊這種小才華, 是一種可怕, 困擾 ê 代誌; 講: 干焦小可特別, 代表你大部份時間期待 siuⁿ 濟, 而且佮意家己 siuⁿ 少. 伊欲 kā 她保證, 她無欠缺啥物.

今, 伊 teh 講電話. 伊看 hiah-ê 金瓜燈. 金瓜燈 mā 看伊.

--

Allison struggled away from her white Renault, limping with the weight of the last of the pumpkins. She found Clark in the twilight on the twig-and-leaf-littered porch behind the house.

He wore a wool shawl. He was moving up and back in a padded glider, pushed by the ball of his slippered foot.

Allison lowered a big pumpkin, let it rest on the wide floorboards.

Clark was much older--seventy-eight to Allison's thirty-five. They were married. They were both quite tall and looked something alike in their facial features. Allison wore a natural-hair wig. It was a thick blonde hood around her face. She was dressed in bright-dyed denims today. She wore durable clothes, usually, for she volunteered afternoons at a children's daycare center.

She put one of the smaller pumpkins on Clark's long lap. "Now, nothing surreal," she told him. "Carve just a regular face. These are for the kids."

In the foyer, on the Hipplewhite desk, Allison found the maid's chore list with its cross-offs, which included Clark's supper. Allison went quickly through the daily mail: a garish coupon packet, a bill from Jamestown Liquors, November's pay-TV program guide, and the worst thing, the funniest, an already opened, extremely unkind letter from Clark's relations up North. "You're an old fool," Allison read, and, "You're being cruelly deceived." There was a gift check for Clark enclosed, but it was uncashable, signed as it was, "Jesus H. Christ."

Late, late into this night, Allison and Clark gutted and carved the pumpkins together, at an old table set on the back porch, over newspaper after soggy newspaper, with paring knives and with spoons and with a Swiss Army knife Clark used for exact shaping of tooth and eye and nostril. Clark had been a doctor, an internist, but also a Sunday watercolorist. His four pumpkins were expressive and artful. Their carved features were suited to the sizes and shapes of the pumpkins. Two looked ferocious and jagged. One registered surprise. The last was serene and beaming.

Allison's four faces were less deftly drawn, with slits and areas of distortion. She had cut triangles for noses and eyes. The mouths she had made were just wedges--two turned up and two turned down.

By one in the morning they were finished. Clark, who had bent his long torso forward to work, moved back over to the glider and looked out sleepily at nothing. All the lights were out across the ravine.

Clark stayed. For the season and time, the Virginia night was warm. Most leaves had been blown away already, and the trees stood unbothered. The moon was round above them.

Allison cleaned up the mess.

"Your jack-o-lanterns are much, much better than mine," Clark said to her.

"Like hell," Allison said.

"Look at me," Clark said. Allison did.

She was holding a squishy bundle of newspapers. The papers reeked sweetly with the smell of pumpkin guts.

"Yours are far better," he said.

"You're wrong. You'll see when they're lit," Allison said.

She went inside and came back with yellow vigil candles. It took her a while to get each candle settled, and then to line up the results in a row on the porch railing. She went along and lit each candle and fixed the pumpkin lids over the little flames.

"See?" she said.

They sat together a moment and looked at the orange faces.

"We're exhausted. It's good night time," Allison said. "Don't blow out the candles. I'll put new in tomorrow."

That night, in their bedroom, a few weeks earlier than had been predicted, Allison began to die. "Don't look at me if my wig comes off," she told Clark. "Please."

Her pulse cords were fluttering under his fingers. She raised her knees and kicked away the comforter. She said something to Clark about the garage being locked.

At the telephone, Clark had a clear view out back and down to the porch. He wanted to get drunk with his wife once more. He wanted to tell her, from the greater perspective he had, that to own only a little talent, like his, was an awful, plaguing thing; that being only a little special meant you expected too much, most of the time, and liked yourself too little. He wanted to assure her that she had missed nothing.

He was speaking into the phone now. He watched the jack-o-lanterns. The jack-o-lanterns watched him.

--

// 2022-6-26

C19 Chhù | 厝

Home /by Gwendolyn Brooks
https://genius.com/Gwendolyn-brooks-home-annotated

Chhù | 厝
Tâi-gí gí-im | 台語語音: https://www.youtube.com/watch?v=Y44iKMa-ccE

--

It-ti̍t siūⁿ boeh ài ê sī chit-chióng chhiâng-chāi, chit-chióng chhiâng-chāi ē-tit kè-sio̍k lo̍h-khì, tī chit-ê gîm-chîⁿ-kha khin-sang ê khai-káng, hó͘-bóe-lân tī se-lâm kak ê hoe-khaⁿ,  tī chhin-chhiat mn̂g-kháu ê tò-pêng, iáu-ū ùi Eppie A-î yin tau lâi ê, hôa-lē Michigan koeh-niau ê lūn-miā pun-châng. Mama, Maud Martha, hām Helen bān-bān iô-tāng sûi-lâng ê iô-í, ná teh khòaⁿ chháu-tiâⁿ téng hông-hun ê ji̍t-thâu-kng, khòaⁿ lân-kan chō-hêng sèng-keh ê thih, koh khòaⁿ pe̍h-iûⁿ chhiū. Chiah-ê mi̍h-kiāⁿ khó-lêng chin kín tō m̄-sī in ê ah-lah. Hiah-ê kng ê sòaⁿ kap kng ê bīn, hit-châng chhiū-á, iu-ngá ê thih, khó-lêng chin-kín tō hō͘ bô-kāng ê ba̍k-chiu khòaⁿ bē sūn-gán.

Hit tiong-tàu, Papa tio̍h tī chia̍h-tàu ê sî-kan khì Chhù-chú Tāi-khoán Kong-si pān-kong-sek. I nā bô hoat-tō͘ tit-tio̍h koh chi̍t-kái ê iân-kî, in tio̍h ài lī-khui chit-keng in í-keng tī chia seng-oa̍h chhiau-kòe 14 nî ê chhù. Hi-bōng chin sè. Chhù-chú Tāi-khoán Kong-si bô hó pháng. Yin chē tī hia, teh chò yin ê kè-ōe.

"Lán tio̍h boeh poaⁿ kàu bó͘ chi̍t-ê súi kong-gū," Mama kóng. "Tī Lâm Kong-hn̂g, a̍h Michigan, a̍h Washington Kong-hn̂g Siâⁿ." Hiah-ê kong-gū, ko͘-niû hām Mama lóng chin chheng-chhó, sī Papa sin-súi nn̄g-pōe ê hū-tam. Taⁿ yin bô thê-khí chit-tiám.

"In pí chit-keng lāu chhù lóng ke súi chin chē." Helen kóng. "Góa ū pêng-iú góa m̄-khéng chhōa in lâi chia. Góa koh ū kî-thaⁿ pêng-iú, in án-chóaⁿ to m̄-khéng lâi chia, tî-hui chē taksi lâi."

Che ōe nā tī cha-hng kóng, Maud Martha tiāⁿ-tio̍h ē kong-kek yi. Bîn-á-chài yi mā khó-lêng ē. Kin-á-ji̍t yi siáⁿ to bô kóng. Yi kan-ta kim-kim khòaⁿ tī chhiū téng thiàu ê chi̍t-chiah sió ti-keⁿ-chiáu (robin), yi ê chhiū-á, koh chīn-la̍t pó-chhî ba̍k-chiu ta-ta.

"Hó ah, góa chai lah," Mama kóng, yi ê chhiú pí lâi pí khì. "Góa í-keng lú lâi lú ià-siān hiâⁿ-hóe ê tāi-chì. Ùi 10-goe̍h kàu 4-goe̍h, chóng-sī su-iàu hiâⁿ-hóe."

"M̄-koh, chòe-kīn goán ū teh tàu kha-chhiú, Harry hām góa," Maud Martha kóng. Ū-sî tī 3-goe̍h hām 4-goe̍h, hām tī 10-goe̍h, sīm-chì tī 11-goe̍h, lán tī piah-lô͘ ē-sái hiâⁿ khah sè ê hóe. Ū sî-chūn, thiⁿ-khì sek-ha̍p án-ne."

Ùi yin khòaⁿ yi ê gán-sîn, yi chai-iáⁿ che sī chi̍t-ê chhò-gō͘. Yin m̄-sī siūⁿ boeh khàu.

M̄-koh yi kám-kak, hit-tiâu sío-sió ê pe̍h-sòaⁿ, ū-sî tòa chí-hóaⁿ sek, hām it-chhè hiah-ê chhap leng-iû-si ê âng-kam sek, bô khó-lêng phiau kòe jīm-hô sai-pêng thiⁿ-téng, kan-ta ē chhut-hiān tī chit-keng chhù āu-bīn ê thiⁿ-téng. Bô pa̍t-ūi, kan-ta tī chia siàng hō͘ ê siaⁿ chiah ū hit-chióng tiⁿ-bi̍t ê ut-būn. Lâm Kong-hn̂g ê chiáu-á sī ke-khì chiáu, bē pí koaiⁿ tī "hó-gia̍h" cha-bó͘ kheh-thiaⁿ lāi ê kim-si-chhiok khah hó.

"Án-ne ē hāi-sí Papa!" Maud Martha hoah chhut siaⁿ. "I ài chit-keng chhù! I ūi chit-keng chhù teh oa̍h!"

"I ūi lán teh oa̍h," Helen kóng. "I ài ê sī lán. Tî-liáu lán, i bô siūⁿ boeh chit-keng chhù."

"Iá i ē-tàng ū lán," Mama pó͘-chhiong kóng, "m̄-koán tī tó-ūi."

"Lín chai lah," Helen thàn chi̍t-kháu khùi, "lín nā boeh chai sū-si̍t, che sī chi̍t-ê kái-thoat. Nā m̄-sī án-ne, lán tō ē kè-sio̍k lo̍h-khì, thoa bô-thêng, éng-oán tī chia se̍h."

"Che hoān-sè," Mama tông-ì, "sī Sîn ê ì-sù. Hoān-sè Sîn tú-hó lo̍h-lâi chiap-chhiú an-pâi."

"Sī lah," Maud Martha kia̍k-siaⁿ kóng, "lí chóng-sī án-ne kóng -- Sîn siōng-kài liáu-kái."

Lāu-bú kín lia̍h yi khòaⁿ chi̍t-ē, khak-tēng che ōe m̄-sī hoâi-gî, tō khòaⁿ pa̍t-ūi khì.

Helen khòaⁿ tio̍h Papa lâi ah. "Papa lâi ah," Helen kóng.

Ùi Papa kiâⁿ-lō͘ ê hong-sek, yin chi̍t-tiám-á to khòaⁿ bē-chhut siáⁿ-mi̍h. He sī kāng-khoán ê  khó-ài ê bô sòa-phah ê kha-pō͘, chi̍t-pêng keng-thâu lo̍h-khì, koh-lâi iáu chi̍t-pêng, koh-chài tiông-ho̍k, koh tiông-ho̍k. Yin khòaⁿ i kiâⁿ hiòng chêng lâi. I keng-kòe Kennedy hit ke-hóe, i keng-kòe khàng-tē-á, i keng-kòe Blackmore Tt yin tau. Yin siūⁿ boeh ka-tī thiàu-kòe lân-kan, khì kàu ke-lō͘, ùi i ê ām-niá chhe̍k chhut chin-siòng. I khui tōa-mn̂g -- lân-kan mn̂g -- m̄-koh i ê kha-hoa̍h a̍h bīn-iông bô kóng-chhut siáⁿ-mi̍h.

"Halo," i kóng.

Mama khiā khí-lâi, tòe i kiâⁿ ji̍p chêng-mn̂g. Ko͘-niû-á chai-iáⁿ, siōng-hó sī mài tòe ji̍p-khì.

Chit-sî, Mama ê thâu chhut-hiān ah. Yi ê ba̍k-chiu ná tiám-to̍h ê teng-hóe.

"Bān-sū oke," yi kiò chhut-lâi. "I tit-tio̍h ah. Tāi-chì lóng hó-sè ah. Bān-sū oke."

Mn̂g piáng chi̍t-ē koaiⁿ khí-lâi. Mama ê kha-pō͘ siaⁿ kín-kín kiâⁿ-khui.

"Góa siūⁿ," Helen kóng, kín-sok iô-tāng, "góa siūⁿ, góa boeh khui chi̍t-ê party. Chū góa 11-hòe í-lâi, góa m̄-bat khui party ah. Góa siūⁿ boeh hō͘ chi̍t-kóa goán pêng-iú chū-chū chāi-chāi khòaⁿ chhut, lán sī chia ê chhù-chú."

--

一直想欲愛 ê 是這種常在, 這種常在會得繼續落去, tī 這个砛簷跤輕鬆 ê 開講, 虎尾蘭 tī 西南角 ê 花坩, tī 親切門口 ê 左爿, 猶有 ùi Eppie 阿姨姻兜來 ê, 華麗 Michigan 蕨貓 ê 韌命分叢. Mama, Maud Martha, 和 Helen 慢慢搖動隨人 ê 搖椅, ná teh 看草埕頂黃昏 ê 日頭光, 看欄杆造形性格 ê 鐵, koh 看白楊樹. Chiah-ê 物件可能真緊 tō 毋是 in ê ah-lah. Hiah-ê 光 ê 線 kap 光 ê 面, 彼叢樹仔, 優雅 ê 鐵, 可能真緊 tō 予無仝 ê 目睭看袂順眼.

彼中晝, Papa 著 tī 食晝 ê 時間去厝主貸款公司辦公室. 伊若無法度得著 koh 一改 ê 延期, in 著愛離開這間 in 已經 tī 遮生活超過 14 年 ê 厝. 希望真細. 厝主貸款公司無好紡. 姻坐 tī 遐, teh 做姻 ê 計畫.

"咱著欲搬到某一个媠公寓," Mama 講. "Tī 南公園, a̍h Michigan, a̍h Washington 公園城." Hiah-ê 公寓, 姑娘和 Mama lóng 真清楚, 是 Papa 薪水兩倍 ê 負擔. 今姻無提起這點.

"In 比這間老厝 lóng ke 媠真濟." Helen 講. "我有朋友我毋肯 chhōa in 來遮. 我 koh 有其他朋友, in 按怎 to 毋肯來遮, 除非坐 taksi 來."

這話若 tī 昨昏講, Maud Martha 定著會攻擊她. 明仔載她 mā 可能會. 今仔日她啥 to 無講. 她干焦金金看 tī 樹頂跳 ê 一隻小知更鳥 (robin), 她 ê 樹仔, koh 盡力保持目睭焦焦.

"好 ah, 我知 lah," Mama 講, 她 ê 手比來比去. "我已經 lú 來 lú 厭僐燃火 ê 代誌. Ùi 10 月到 4 月, 總是需要燃火."

"毋過, 最近阮有 teh 鬥跤手, Harry 和我," Maud Martha 講. 有時 tī 3 月和 4 月, 和 tī 10 月, 甚至 tī 11 月, 咱 tī 壁爐會使燃較細 ê 火. 有時陣, 天氣適合 án-ne."

Ùi 姻看她 ê 眼神, 她知影這是一个錯誤. 姻毋是想欲哭.

毋過她感覺, 彼條小小 ê 白線, 有時帶紫恍色, 和一切 hiah-ê 插奶油絲 ê 紅柑色, 無可能飄過任何西爿天頂, 干焦會出現 tī 這間厝後面 ê 天頂. 無別位, 干焦 tī 遮 siàng 雨 ê 聲才有彼種甜蜜 ê 鬱悶. 南公園 ê 鳥仔是機器鳥, 袂比關 tī "好額" 查某客廳內 ê 金絲雀較好.

"Án-ne 會害死 Papa!" Maud Martha 喝出聲. "伊愛這間厝! 伊為這間厝 teh 活!"

"伊為咱 teh 活," Helen 講. "伊愛 ê 是咱. 除了咱, 伊無想欲這間厝."

"Iá 伊會當有咱," Mama 補充講, "毋管 tī 佗位."

"恁知 lah," Helen 嘆一口氣, "恁若欲知事實, 這是一个解脫. 若毋是 án-ne, 咱 tō 會繼續落去, 拖無停, 永遠 tī 遮踅."

"這凡勢," Mama 同意, "是神 ê 意思. 凡勢神拄好落來接手安排."

"是 lah," Maud Martha kia̍k 聲講, "你總是 án-ne 講 -- 神上蓋了解."

老母緊掠她看一下, 確定這話毋是懷疑, tō 看別位去.

Helen 看著 Papa 來 ah. "Papa 來 ah," Helen 講.

Ùi Papa 行路 ê 方式, 姻一點仔 to 看袂出啥物. 彼是仝款 ê 可愛 ê 無紲拍 ê 跤步, 一爿肩頭落去, 閣來猶一爿, 閣再重複, koh 重複. 姻看伊行向前來. 伊經過 Kennedy 彼家伙, 伊經過空地仔, 伊經過 Blackmore Tt 姻兜. 姻想欲家己跳過欄杆, 去到街路, ùi 伊 ê 頷領摵出真相. 伊開大門 -- 欄杆門 -- 毋過伊 ê 跤伐 a̍h 面容無講出啥物.

"Halo," 伊講.

Mama 徛起來, 綴伊行入前門. 姑娘仔知影, 上好是莫綴入去.

這時, Mama ê 頭出現 ah. 她 ê 目睭 ná 點 to̍h ê 燈火.

"萬事 oke," 她叫出來. "伊得著 ah. 代誌 lóng 好勢 ah. 萬事 oke."

門 piáng 一下關起來. Mama ê 跤步聲緊緊行開.

"我想," Helen 講, 緊速搖動, "我想, 我欲開一个 party. 自我 11 歲以來, 我毋捌開 party ah. 我想欲予一寡阮朋友自自在在看出, 咱是遮 ê 厝主."

--

What had been wanted was this always, this always to last, the talking softly on this porch, with the snake plant in the jardinière in the southwest corner, and the obstinate slip from Aunt Eppie’s magnificent Michigan fern at the left side of the friendly door. Mama, Maud Martha, and Helen rocked slowly in their rocking chairs, and looked at the late afternoon light on the lawn and at the emphatic iron of the fence and at the poplar tree. These things might soon be theirs no longer. Those shafts and pools of light, the tree, the graceful iron, might soon be viewed passively by different eyes.

Papa was to have gone that noon, during his lunch hour, to the office of the Home Owners’ Loan. If he had not succeeded in getting another extension, they would be leaving this house in which they had lived for more than fourteen years. There was little hope. The Home Owners’ Loan was hard. They sat, making their plans.

“We’ll be moving into a nice flat somewhere,” said Mama. “Somewhere on South Park, or Michigan, or in Washington Park Court.” Those flats, as the girls and Mama knew well, were burdens on wages twice the size of Papa’s. This was not mentioned now.

“They’re much prettier than this old house,” said Helen. “I have friends I’d just as soon not bring here. And I have other friends that wouldn’t come down this far for anything, unless they were in a taxi.”

Yesterday, Maud Martha would have attacked her. Tomorrow she might. Today she said nothing. She merely gazed at a little hopping robin in the tree, her tree, and tried to keep the fronts of her eyes dry.

“Well, I do know,” said Mama, turning her hands over and over, “that I’ve been getting tireder and tireder of doing that firing. From October to April, there’s firing to be done.”

“But lately we’ve been helping, Harry and I,” said Maud Martha. “And sometimes in March and April and in October, and even in November, we could build a little fire in the fireplace. Sometimes the weather was just right for that.”

She knew, from the way they looked at her, that this had been a mistake. They did not want to cry.

But she felt that the little line of white, sometimes ridged with smoked purple, and all that cream-shot saffron would never drift across any western sky except that in back of this house. The rain would drum with as sweet a dullness nowhere but here. The birds on South Park were mechanical birds, no better than the poor caught canaries in those “rich” women’s sun parlors.

“It’s just going to kill Papa!” burst out Maud Martha. “He loves this house! He lives for this house!”

“He lives for us,” said Helen. “It’s us he loves. He wouldn’t want the house, except for us.”

“And he’ll have us,” added Mama, “wherever.”

“You know,” Helen sighed, “if you want to know the truth, this is a relief. If this hadn’t come up, we would have gone on, just dragged on, hanging out here forever.”

“It might,” allowed Mama, “be an act of God. God may just have reached down and picked up the reins.”

“Yes,” Maud Martha cracked in, “that’s what you always say – that God knows best.”

Her mother looked at her quickly, decided the statement was not suspect, looked away.

Helen saw Papa coming. “There’s Papa,” said Helen.

They could not tell a thing from the way Papa was walking. It was that same dear little staccato walk, one shoulder down, then the other, then repeat, and repeat. They watched his progress. He passed the Kennedys’, he passed the vacant lot, he passed Mrs. Blakemore’s. They wanted to hurl themselves over the fence, into the street, and shake the truth out of his collar. He opened his gate – the gate – and still his stride and face told them nothing.

“Hello,” he said.

Mama got up and followed him through the front door. The girls knew better than to go in too.

Presently Mama’s head emerged. Her eyes were lamps turned on.

“It’s all right,” she exclaimed. “He got it. It’s all over. Everything is all right.”

The door slammed shut. Mama’s footsteps hurried away.

“I think,” said Helen, rocking rapidly, “I think I’ll give a party. I haven’t given a party since I was eleven. I’d like some of my friends to just casually see that we’re homeowners.”

--

// 2022-6-25

C18 Barney /by Will Stanton

Barney /by Will Stanton
https://xpressenglish.com/our-stories/barney/

Barney
Tâi-gí gí-im | 台語語音: https://www.youtube.com/watch?v=XRF9TZU3cXE

--

8 goe̍h 30. 

Taⁿ kan-ta goán nn̄g-ê tī chit-ê tó, Barney hām góa. Keng-kòe chiah chē nî, tio̍h kā Tayloe sî-tiāu, he tùi góa mā sī chi̍t-ê táⁿ-kek, m̄-koh góa bô án-ne chò bē-iōng-tit. Sió-sió ê phò-hāi hêng-ûi góa ē-sái goân-liōng, m̄-koh i chhut-chū ok-ì boeh thāu Barney, che sī teh chó͘-gāi kho-ha̍k ê chìn-pō͘. Chit-tiám góa bē-tàng goân-liōng.

Góa kan-ta ē-tàng siong-sìn hit-ê khì-tô͘ sī tī chiú-cheng ê éng-hióng hā chò ê, chò kah siuⁿ pūn-tūn. To̍k-io̍h koàn hian tó, io̍h-hún chi̍t-lō͘ sōe kàu Barney ê pôaⁿ-á. Tayloe ê piān-hō͘ ū-kàu loán-jio̍k. I m̄-jīn. Iáu ū siáng ah? 

9 goe̍h chhe 2. 

Góa tùi Tayloe sū-kiāⁿ ê khòaⁿ-hoat taⁿ khah pêng-chēng ah. Chia ê tan-tiāu seng-oa̍h tùi i lâi kóng tiāⁿ-tio̍h chin kan-lân. Án-ne í-gōa, i koh tio̍h hòng-khì i pó-sioh ê pe̍h niáu-chhí (guinea pigs). I kian-chhî kàu chòe-āu, kóng in pí Barney koh-khah sek-ha̍p góa ê si̍t-giām. Góa siūⁿ, khióng-kiaⁿ sī in-ūi in khah sek-ha̍p i ê pō͘-tiāu. I sī chi̍t-ê jīn-chin ê lâng, khéng chò, m̄-koh mā sī chi̍t-ê pūn-tūn, khó-liân ê lâng. 

Chiong-kî-bóe, góa ū oân-choân ê chū-iû chip-hêng góa ê khang-khòe, m̄-bián bīn-tùi Tayloe ê bô-siaⁿ chí-chek. Góa kan-ta ē-tàng kā i tùi Barney ê kek-lia̍t te̍k-ì kui-in tī ba̍k-chhiah. M̄-koh, taⁿ i í-keng lī-khui, Barney khòaⁿ khí-lâi ke gōa-nī hoaⁿ-hí! Góa í-keng chún i tī chit só͘-chāi sì-kè khì, koan-chhat i he sin-kīn kak-chhéⁿ ê Tì-lêng hòⁿ-kî-sim chhōa i lin-long se̍h, che sī gōa-nī chhù-bī ê tāi-chì ah. Kan-ta keng-kòe nn̄g lé-pài ê gutamic sng ê chhú-tì, i í-keng tùi góa ê chheh-pâng ū hèng-chhù, ùi chheh-kè thoa chheh chhut-lâi, chi̍t-ia̍h chi̍t-ia̍h hian. Góa khak-tēng i chai, hit lāi-bīn ū tì-sek thang tit-tio̍h, jû-kó i ū hit-ki só-sî.

9 goe̍h chhe 8. 

Kòe-khì nn̄g-kang góa tio̍h kā Barney koaiⁿ khí-lâi, iá i chiok thó-ià án-ne. Góa khióng-kiaⁿ, tī góa ê si̍t-giām oân-sêng liáu-āu, góa tio̍h kā Barney siau-bia̍t. Thiaⁿ khí-lâi hoān-sè chin hàm-kó͘, m̄-koh iáu-sī ū khó-lêng, i ē-hiáu kā i ê tì-lêng thoân hō͘ i ê tông-lūi. M̄-koán ki-hōe gōa sè, chit-ê hong-hiám bē-tàng hut-sī. Ka-chài, tī tē-hā-sek, ū chi̍t-ê hông-chí hāi-thâng ê pó-hiám-kūi, kō͘ che mā tú-hó ē-tàng koaiⁿ Barney.

9 goe̍h chhe 9.

Hián-jiân góa sī kóng liáu siūⁿ chá. Kin-á chá-khí, tī khai-sí sin chi̍t-lûn ê chhì-giām chìn-chêng, góa seng pàng i chhut-khì sió-khóa hui chi̍t-ē. Seng kā pâng-keng kín-sok sûn chi̍t-ē liáu-āu, i koh tńg-khì i ê lông-á, thiàu khí-khì mn̂g-pèⁿ, kō͘ i ê chhùi-khí thiu hit-ki só-sî, tī góa iáu bē-hù kā chó͘-tòng chìn-chêng, i í-keng thiàu thang-á chhut-khì. Tán góa jiok chhut-khì kàu chêng-tiâⁿ, àm-tiong khòaⁿ tio̍h i peh chiūⁿ chéⁿ tûn, iá góa kàu hit-ūi ê sî, kan-ta ē-hù thiaⁿ tio̍h só-sî lak loeh ē-bīn ê phùn-chúi  siaⁿ.

Góa sêng-jīn, ka-tī mā kám-kak kiàn-siàu. He sī ûi-it ê só-sî. Mn̂g só tio̍h. Pó-hiám-kūi lāi-bīn pa̍t-ê keh-á ū chi̍t-kóa tiōng-iàu ê bûn-kiāⁿ. Ka-chài, sui-bóng chéⁿ chhim chhiau-kòe 40 chhioh, ē-té kan-ta ū kúi chhioh chhim ê chúi, só͘-í lo̍h-khì khioh só-sî bô siáⁿ-mih chò bē-kàu ê chiòng-gāi. M̄-koh, góa mā tio̍h sêng-jīn, Barney í-keng iâⁿ tē-it hôe-ha̍p.

9 goe̍h chhe 10.

Góa ū chi̍t-kái tōa kiaⁿ-kî ê keng-giām, mā hām Barney koh hoat-seng chi̍t-kái ê sió kēng-cheng. Góa tit-tio̍h tē-jī miâ. Tī chit-ê sū-kiāⁿ, góa tio̍h sêng-jīn i ê eng-hiông kak-sek, jî-chhiáⁿ sīm-chì khó-lêng sī i kiù góa ê miā.

Ūi tio̍h hong-piān lo̍h chéⁿ, góa kō͘ chi̍t-tiâu sì-hun-saⁿ inch chho͘ ê soh-á, múi chi̍t chhioh phah chi̍t-ê kat, hó-thang chò chi̍t-ê kán-tan ê thui. Góa chin sūn-lī tō lo̍h kàu chéⁿ té, m̄-koh khai-sí so chhōe só-sî bô kúi hun-cheng, góa ê chhiú-tiān tō bô tiān ah, góa hiòng téng-bīn peh khí-lâi. Koh kúi-chhioh tō kàu téng-bīn ê sî, góa thiaⁿ tio̍h Barney it-ti̍t kia̍k-kia̍k kiò, tán góa ta̍h tio̍h thô͘-kha ê sî, góa hoat-hiān he soh-á chha-put-to boeh oân-choân liah tn̄g ah. Hián-jiân, he sī in-ūi soh-á lè tio̍h chio̍h-thâu piⁿ, iá hit-ê sió pêng-iú, tī kám-siū tio̍h góa ê khùn-kéng ê sî, chiah ē piàⁿ-miā teh kéng-kò góa.

Góa í-keng ōaⁿ hó-sè hit-chat soh-á, koh tī ē-bīn thiap chi̍t-kóa kū môa-pò͘, bián-tit koh hoat-seng ì-gōa. Góa í-keng kā chhiú-tiān tiān-tî koàn pá-pá, taⁿ í-keng chún-pī hó-sè chòe-āu chi̍t-kái lo̍h-khì. Chit-chūn chit kúi hun-cheng, góa sī teh hioh-khùn, hō͘ ka-tī chi̍t-ê hioh-chhoán ê sî-kan, koh kā ji̍t-kì pó͘ kàu siōng-sin. Hoān-sè góa mā tio̍h ūi ka-tī khoán chi̍t-ê sandwich, in-ūi tī ē-bīn góa khó-lêng su-iàu pí gán-chêng khòaⁿ ê khah kú ê sî-kan. 

9 goe̍h 11. 

Khó-lân ê Barney í-kenq sí ah, chin kín qóa mā ē kānq-khoán. I sī chi̍t-chah láu-put-khí ê náu-chhí, bô i tī-teh, senq-oa̍h chin bô chhù-bī. Nā ū lânq ta̍k to̍h che, chháⁿ lín m̄-tanq lâi chit-ê tó káu-jáu jīm-hô tāi-chì, hō͘ i pó-chhî qoân-iūⁿ, kā tònq-chò sī Barney ê kì-lām-tē, iû-kî sī hit-ê chéⁿ. M̄-bán khì chhōe qóa ê sí-té, in-ūi qóa boeh táu hái. Lín ē-tànq chah kúi-chah sió náu-chhí lâi, lâu in hō͘ Barney chò oa̍h ê kì-lām-phín. Ài bó ê, bô-ài kang ê. Qóa ê chhiú láu to̍h, che sī án-chóaⁿ qóa sá-jī bē hó-sè. Che sī qóa chòe-āu ê sim-qoān. Chàu qóa kóng ê khì chò, tán lín chàu qóa kóng án-ne chah sió náu-chhí lâi láu-āu, m̄-thang koh tńg-lâi a̍h chò jīm-hô káu-jáu. Kan-ta ài bó ê.

Chài-hōe

--

8 月 30. 

今干焦阮兩个 tī 這个島, Barney 和我. 經過 chiah 濟年, 著 kā Tayloe 辭掉, 彼對我 mā 是一个打擊, 毋過我無 án-ne 做袂用得. 小小 ê 破壞行為我會使原諒, 毋過伊出自惡意欲 thāu Barney, 這是 teh 阻礙科學 ê 進步. 這點我袂當原諒.

我干焦會當相信彼个企圖是 tī 酒精 ê 影響下做 ê, 做甲 siuⁿ 笨鈍. 毒藥罐掀倒, 藥粉一路 sōe 到 Barney ê 盤仔. Tayloe ê 辯護有夠軟弱. 伊毋認. 猶有 siáng ah? 

9 月初 2. 

我對 Tayloe 事件 ê 看法今較平靜 ah. 遮 ê 單調生活對伊來講定著真艱難. Án-ne 以外, 伊 koh 著放棄伊保惜 ê 白鳥鼠 (guinea pigs). 伊堅持到最後, 講 in 比 Barney 閣較適合我 ê 實驗. 我想, 恐驚是因為 in 較適合伊 ê 步調. 伊是一个認真 ê 人, 肯做, 毋過 mā 是一个笨鈍, 可憐 ê 人. 

終其尾, 我有完全 ê 自由執行我 ê 工課, 毋免面對 Tayloe ê 無聲指責. 我干焦會當 kā 伊對 Barney ê 激烈敵意歸因 tī 目赤. 毋過, 今伊已經離開, Barney 看起來加 gōa-nī 歡喜! 我已經准伊 tī 這所在四界去, 觀察伊 he 新近覺醒 ê 智能好奇心 chhōa 伊 lin-long 踅, 這是 gōa-nī 趣味 ê 代誌 ah. 干焦經過兩禮拜 ê gutamic 酸 ê 處置, 伊已經對我 ê 冊房有興趣, ùi 冊架拖冊出來, 一頁一頁掀. 我確定伊知, hit 內面有智識通得著, 如果伊有彼支鎖匙.

9 月初 8. 

過去兩工我著 kā Barney 關起來, iá 伊足討厭 án-ne. 我恐驚, tī 我 ê 實驗完成了後, 我著 kā Barney 消滅. 聽起來凡勢真譀古, 毋過猶是有可能, 伊會曉 kā 伊 ê 智能傳予伊 ê 同類. 毋管機會偌細, 這个風險袂當忽視. 佳哉, tī 地下室, 有一个防止害蟲 ê 保險櫃, kō͘ 這 mā 拄好會當關 Barney.

9 月初 9.

顯然我是講了 siūⁿ 早. 今仔早起, tī 開始新一輪 ê 試驗進前, 我先放伊出去小可 hui 一下. 先 kā 房間緊速巡一下了後, 伊 koh 轉去伊 ê 櫳仔, 跳起去門柄, kō͘ 伊 ê 喙齒抽彼支鎖匙, tī 我猶袂赴 kā 阻擋進前, 伊已經跳窗仔出去. 等我逐出去到前埕, 暗中看著伊 peh 上井唇, iá 我到彼位 ê 時, 干焦會赴聽著鎖匙 lak loeh 下面 ê 噴水聲.

我承認, 家己 mā 感覺見笑. 彼是唯一 ê 鎖匙. 門鎖著. 保險櫃內面別个格仔有一寡重要 ê 文件. 佳哉, 雖罔井深超過 40 尺, 下底干焦有幾尺深 ê 水, 所以落去抾鎖匙無啥物做袂到 ê 障礙. M̄-koh, 我 mā 著承認, Barney 已經贏第一回合.

9 月初 10.

我有一改大驚奇 ê 經驗, mā 和 Barney koh 發生一改 ê 小兢爭. 我得著第二名. Tī 這个事件, 我著承認伊 ê 英雄角色, 而且甚至可能是伊救我 ê 命.

為著方便落井, 我 kō͘ 一條四分三 inch 粗 ê 索仔, 每一尺拍一个結, 好通做一个簡單 ê 梯. 我真順利 tō 落到井底, 毋過開始挲揣鎖匙無幾分鐘, 我 ê 手電 tō 無電 ah, 我向頂面 peh 起來. Koh 幾尺 tō 到頂面 ê 時, 我聽著 Barney 一直 kia̍k-kia̍k 叫, 等我踏著塗跤 ê 時, 我發現 he 索仔差不多欲完全裂斷 ah. 顯然, 彼是因為索仔 lè tio̍h 石頭邊, iá 彼个小朋友, tī 感受著我 ê 困境 ê 時, 才會拚命 teh 警告我.

我已經換好勢彼節索仔, koh tī 下面疊一寡舊麻布, 免得 koh 發生意外. 我已經 kā 手電電池灌飽飽, 今已經準備好勢最後一改落去. 這陣這幾分鐘, 我是 teh 歇睏, 予家己一个歇喘 ê 時間, koh kā 日記補到上新. 凡勢我 mā 著為家己款一个 sandwich, 因為 tī 下面我可能需要比眼前看 ê 較久 ê 時間. 

9 月 11. 

可㔂 ê Barney 已 kenq 死 ah, 真緊 qóa mā 會 kānq 款. 伊是一紮老不起 ê náu 鼠, 無伊 tī-teh, senq 活真無趣味. 若有 lânq ta̍k to̍h 這, chháⁿ 恁毋 tanq 來這个島 káu-jáu 任何代誌, 予伊保持 qoân 樣, kā tònq 做是 Barney ê 記 lām 地, 尤其是彼个井. 毋 bán 去揣 qóa ê 死底, 因為 qóa 欲 tàu 海. 恁會 tànq 扎幾紮 小 náu 鼠來, 留 in 予 Barney 做活 ê 記 lām 品. 愛母 ê, 無愛公 ê. Qóa ê 手 láu to̍h, 這是按怎 qóa sá 字袂好勢. 這是 qóa 最後 ê 心 qoān. 奏 qóa 講 ê 去做, 等恁奏 qóa 講 án-ne 扎小 náu 鼠來老後, 毋通 koh 轉來 a̍h 做任何 káu-jáu. 干焦愛母 ê.

再會

--

AUGUST 30TH. We are alone on the island now, Barney and I. It was something of a jolt to have to sack Tayloe after all these years, but I had no alternative. The petty vandalisms I could have forgiven, but when he tried to poison Barney out of simple malice, he was standing in the way of scientific progress. That I cannot condone.

I can only believe the attempt was made while under the influence of alcohol, it was so clumsy. The poison container was overturned and a trail of powder led to Barney's dish. Tayloe's defence was of the flimsiest. He denied it. Who else then?

SEPTEMBER 2ND. I am taking a calmer view of the Tayloe affair. The monastic life here must have become too much for him. That, and the abandonment of his precious guinea pigs. He insisted to the last that they were better-suited than Barney to my experiments. They were more his speed, I'm afraid. He was an earnest and willing worker, but something of a clod, poor fellow. 

At last I have complete freedom to carry on my work without the mute reproaches of Tayloe. I can only ascribe his violent antagonism toward Barney to jealousy. And now that he has gone, how much happier Barney appears to be! I have given him complete run of the place, and what sport it is to observe how his newly awakened Intellectual curiosity carries him about. After only two weeks of glutamic acid treatments, he has become interested in my library, dragging the books from the shelves, and going over them page by page. I am certain he knows there is some knowledge to be gained from them had he but the key.

SEPTEMBER 8TH. For the past two days I have had to keep Barney confined, and how he hates it. I am afraid that when my experiments are completed I shall have to do away with Barney. Ridiculous as it may sound there is still the possibility that he might be able to communicate his intelligence to others of his kind. However small the chance may be, the risk is too great to ignore. Fortunately there is, in the basement, a vault built with the idea of keeping vermin out, and it will serve equally well to keep Barney in.

SEPTEMBER 9TH. Apparently I have spoken too soon. This morning I let him out to frisk around a bit before commencing a new series of tests. After a quick survey of the room he returned to his cage, sprang up on the door handle, removed the key with his teeth, and before I could stop him, he was out the window. By the time I reached the yard I spied him on the coping of the well, and I arrived on the spot only in time to hear the key splash into the water below.

I own I am somewhat embarrassed. It is the only key. The door is locked. Some valuable papers are in separate compartments inside the vault. Fortunately, although the well is over forty feet deep, there are only a few feet of water in the bottom, so the retrieving of the key does not present an insurmountable obstacle.  But I must admit Barney has won the first round.

SEPTEMBER 10TH. I have had a rather shaking experience, and once more in a minor clash with Barney. I have come off second-best. In this instance I will admit he played the hero's role and may even have saved my life.

In order to facilitate my descent into the well I knotted a length of three-quarterinch rope at one-foot intervals to make a rude ladder. I reached the bottom easily enough, but after only a few minutes of groping for the key, my flashlight gave out and I returned to the surface. A few feet from the top I heard excited squeaks from Barney, and upon obtaining ground level I observed that the rope was almost completely severed. Apparently it had chafed against the edge of the masonry and the little fellow, perceiving my plight, had been doing his utmost to warn me.

I have now replaced that section of rope and arranged some old sacking beneath it to prevent recurrence of the accident. I have replenished the batteries in my flashlight and am now prepared for the final descent. These few moments I have taken off to give myself a breathing spell and to bring my journal up to date. Perhaps I should fix myself a sandwich as I may be down there longer than seems likely at the moment.

SEPTEMBER 11TH. Poor Barney is dead and soon I shell be the same. He was a wonderful ratt and life without him is knot worth livving. If anybody reeds this please do not disturb anything on the island but leeve it like it is as a shryn to Barney, espechilly the old well. Do not look for my body as I will caste myself into the see. You mite bring a couple of young ratts and leeve them as a living memorial to Barney. Females-no males. I sprayned my wrist is why this is written so bad. This is my laste will. Do what I say an don't come back or disturb anything after you bring the young ratts like I said. Just females.

Goodby

--

// 2022-6-24

C17 Kong-hn̂g ê Liân-sòa | 公園 ê 連綴

The Continuity of Parks /by Julio Cortázar
https://collegelit2014.files.wordpress.com/2014/05/the-continuity-of-parks.pdf

Kong-hn̂g ê Liân-sòa | 公園 ê 連綴

--

Kúi-kang chêng, i khai-sí tha̍k hit-pún sió-soat. In-ūi chi̍t-kóa kín-kip tāi-chì, i kā sió-soat khǹg chi̍t-piⁿ, tán chē hóe-chhia boeh tńg pâng-tē-sán ê só͘-chāi, i koh hian-khui lâi tha̍k; i ín-chún ka-tī bān-bān tùi chêng-chiat hām tùi jîn-bu̍t ê biô-siá sán-seng hèng-chhù. Hit ē-tàu, siá-phe hō͘ tāi-su, koh hām pâng-tē-sán keng-lí thó-lūn kiōng-tông só͘-iú-khoân liáu-āu, tī an-chēng ê chheh-pâng, i koh tńg-lâi tha̍k chit-pún chheh, ùi chheh-pâng khòaⁿ chhut-khì sī kong-hn̂g ê chhiūⁿ-chhiū. 

I tó tī ka-tī siōng kah-ì ê kau-í, kha-chiah-āu hiòng mn̂g, in-ūi mn̂g ū chhim-ji̍p kiáu-jiáu ê khó-lêng-sèng, he ē hō͘ i sim bē-tiāⁿ. I ê tò-chhiú it-ti̍t teh bong he chheⁿ-sek thian-gô-jiông í-chū, khai-sí tha̍k chòe-āu kúi chiong. Chi̍t-sut-á to bē chia̍h-la̍t, i sûi kì-khí chú-iàu kak-sek ê miâ-jī hām hêng-siōng; ē-sái-kóng hoàn-kak chek-sî lia̍h tio̍h i.

I hiáng-siū chi̍t-chióng bē-su piàn-thài ê khoài-lo̍k, its* chi̍t-chōa chi̍t-chōa tha̍k, kā ka-tī thiu-lī chiu-ûi ê it-chhè, tông-sî koh kám-kak tio̍h ka-tī ê thâu khin-sang khòe tī kau-í ê chheⁿ-sek thian-gô-jiông koân í-pōe, hun tō tī chhiú piⁿ, tōa thang-á gōa ê ē-tàu khong-khì tī kong-hn̂g chhiūⁿ-chhiū ē-kha thiàu-bú. [* its = iā tō sī]

Chi̍t-jī chi̍t-jī tîm-chìm tī lâm-lú chú-kak ê o͘-àm khùn-kéng, hō͘ ka-tī kiâⁿ hiòng hêng-siōng chū-chi̍p ê só͘-chāi, hiàn-chhut sek-chhái kap tōng-chok, i chhin ba̍k-chiu khòaⁿ tio̍h in tī soaⁿ-téng sió-chhù ê chòe-āu iok-hōe. Hit-ê cha-bó͘ tāi-seng kàu, sim-koaⁿ pi̍h-pho̍k-chhái; chit-sî yin ài-jîn ji̍p-lâi, i ê bīn ū chhiu-oe tò-tōaⁿ sut-tio̍h ê siong-hûn. Hō͘ lâng him-siān ê sī, yi kō͘ chim chí he hoeh, m̄-koh i kī-choa̍t yi ê so-loa̍h, i lâi chia m̄-sī boeh tiông-ho̍k he pì-bi̍t kek-chêng ê gî-sek, chia sī thàng-kòe chhiū-nâ ê oan-oat sió-lō͘ hām chi̍t tōa-phiàn ê ta hio̍h chiah kàu-ūi ê iap-thiap só͘-chāi. Té-to tī i heng-chêng ù sio, ē-bīn thiàu-tāng tio̍h chū-iû, chún-pī hó boeh thiàu chhut-lâi. Ki-khat io̍k-bōng ê tùi-ōe ná-chhiūⁿ chi̍t-tīn chôa tī ia̍h-bīn soan bô-thêng, hō͘ lâng kám-kak it-chhè sī chhian-kó͘ í-lâi tō koat-tēng hó-sè.

Sui-bóng ká-ná hi-bāng i lâu lo̍h-lâi, m̄-koh iū khǹg i m̄-thang án-ne, sīm-chì tī ài-jîn sin-khu ê jiû-jiû so-loa̍h, mā oàn-hūn kah ōe chhut su-iàu húi-bia̍t ê lēng-gōa hit-ê sin-iáⁿ. Siáⁿ to bô bē-kì-tit: bô-chāi-tiûⁿ chèng-bêng, bōe ī-kiàn ê hong-hiám, khó-lêng ê chhò-gō͘. Chū chit tiám-cheng khai-sí, ta̍k sî-khek lóng ū siông-sè ê an-pâi. Chiah-ê sè-chiat ê léng-chēng, it-chài kiám-cha, chi̍t-sut-á to bô hō͘ so chhùi-phé ê chhiú só͘ kan-jiáu tio̍h. Thiⁿ khai-sí chiām-chiām teh àm.

Taⁿ, in bô sio tùi-khòaⁿ, kan-ta sī tèng-sim tī tio̍h khì chip-hêng ê jīm-bū, in tī sió-chhù ê mn̂g-kháu hun-chhiú. Yi boeh iân óng pak ê sió-lō͘ khì. I kiâⁿ bô kāng hong-hiòng ê lō͘, ū chi̍t-khùn i oa̍t-thâu khòaⁿ yi teh cháu, thâu-chang sàm-sàm. Koh-lâi, i mā khí-cháu, tī chhiū-á a̍h chhiū-lî tiong-kan ah-kē sin-khu, it-ti̍t kàu tī hông-hun ê n̂g-sek bū-khì tang-tiong, i ē-tit hun-pia̍t chhut thong-óng hit-keng chhù ê chhiū-ńg lō͘.

Káu eng-kai bē pūi, iá in mā bô pūi. Tī hit-ê sî-chūn, pâng-tē-sán keng-lí eng-kai bē tī hia, iá i mā bô tī leh. I peh saⁿ-ê khám-á kàu gîm-chîⁿ kháu, jiân-āu ji̍p khì. Thàu-kòe hīⁿ piⁿ kín-sok ê hoeh-me̍h, i kì khí hit-ê cha-bó͘ ê ōe: siōng tāi-seng sī nâ-sek ê kheh-thiaⁿ, jiân-āu ū chi̍t-ê thiaⁿ-lông, koh-lâi sī pho͘ tē-thán ê lâu-thui. Lâu-téng ū nn̄g-ê mn̂g. Bô lâng tī tē-it keng khùn-pâng. Mā bô lâng tī tē-jī keng. Khui chheh-pâng ê mn̂g, to tēⁿ tī chhiú, tōa thang-á ji̍p-lâi ê kng-sòaⁿ, pho͘ chheⁿ-sek thian-gô-jiông kau-í ê koân í-pōe, tó tī í-á tha̍k sió-soat hit-lâng ê thâu.

--

幾工前, 伊開始讀彼本小說. 因為一寡緊急代誌, 伊 kā 小說囥一邊, 等坐火車欲轉房地產 ê 所在, 伊 koh 掀開來讀; 伊允准家己慢慢對情節和對人物 ê 描寫產生興趣. 彼下晝, 寫批予代書, koh 和房地產經理討論共同所有權了後, tī 安靜 ê 冊房, 伊 koh 轉來讀這本冊, ùi 冊房看出去是公園 ê 橡樹. 

伊倒 tī 家己上佮意 ê 交椅, 尻脊後向門, 因為門有侵入攪擾 ê 可能性, he 會予伊心袂定. 伊 ê 倒手一直 teh 摸 he 青色天鵝絨椅苴, 開始讀最後幾章. 一屑仔 to 袂食力, 伊隨記起主要角色 ê 名字和形象; 會使講幻覺即時掠著伊.

伊享受一種袂輸變態 ê 快樂, its* 一逝一逝讀, kā 家己抽離周圍 ê 一切, 同時 koh 感覺著家己 ê 頭輕鬆蹶 tī 交椅 ê 青色天鵝絨懸椅背, 薰 tō tī 手邊, 大窗仔外 ê 下晝空氣 tī 公園橡樹下跤跳舞. [* its = iā tō sī]

一字一字沉浸 tī 男女主角 ê 烏暗困境, 予家己行向形象聚集 ê 所在, 現出色彩 kap 動作, 伊親目睭看著 in tī 山頂小厝 ê 最後約會. 彼个查某代先到, 心肝 pi̍h-pho̍k 採; 這時姻愛人入來, 伊 ê 面有樹椏倒彈 sut-tio̍h ê 傷痕. 予人欣羨 ê 是, 她 kō͘ 唚止 he 血, 毋過伊拒絕她 ê 挲捋, 伊來遮毋是欲重複 he 祕密激情 ê 儀式, 遮是迵過樹林 ê 彎斡小路和一大遍 ê 焦葉才到位 ê 揜貼所在. 短刀 tī 伊胸前焐燒, 下面跳動著自由, 準備好欲跳出來. 飢渴慾望 ê 對話 ná 像一陣蛇 tī 頁面旋無停, 予人感覺一切是千古以來 tō 決定好勢.

雖罔 ká-ná 希望伊留落來, 毋過又勸伊毋通 án-ne, 甚至 tī 愛人身軀 ê 柔柔挲捋, mā 怨恨 kah 畫出需要毀滅 ê 另外彼个身影. 啥 to 無袂記得: 無在場證明, 未預見 ê 風險, 可能 ê 錯誤. 自這點鐘開始, 逐時刻 lóng 有詳細 ê 安排. Chiah-ê 細節 ê 冷靜, 一再檢查, 一屑仔 to 無予挲喙䫌 ê 手所干擾著. 天開始漸漸 teh 暗.

今, in 無 sio 對看, 干焦是釘心 tī 著去執行 ê 任務, in tī 小厝 ê 門口分手. 她欲沿往北 ê 小路去. 伊行無仝方向 ê 路, 有一睏伊越頭看她 teh 走, 頭鬃鬖鬖. 閣來, 伊 mā 起走, tī 樹仔 a̍h 樹籬中間壓低身軀, 一直到 tī 黃昏 ê 黃色霧氣當中, 伊會得分別出通往彼間厝 ê 樹蔭路.

狗應該袂吠, iá in mā 無吠. Tī 彼个時陣, 房地產經理應該袂 tī 遐, iá 伊 mā 無 tī leh. 伊 peh 三个坎仔到砛簷口, 然後入去. 透過耳邊緊速 ê 血脈, 伊記起彼个查某 ê 話: 上代先是藍色 ê 客廳, 然後有一个廳廊, 閣來是鋪地毯 ê 樓梯. 樓頂有兩个門. 無人 tī 第一間睏房. Mā 無人 tī 第二間. 開冊房 ê 門, 刀捏 tī 手, 大窗仔入來 ê 光線, 鋪青色天鵝絨交椅 ê 懸椅背, 倒 tī 椅仔讀小說彼人 ê 頭.

--

HE HAD BEGUN TO READ THE NOVEL a few days before. He had put it aside because of some urgent business, opened it again on his way back to the estate by train; he allowed himself a slowly growing interest in the plot, in the drawing of characters. That afternoon, after writing a letter to his agent and discussing with the manager of his estate a matter of joint ownership, he returned to the book in the tranquility of his study which looked out upon the park with its oaks.

Sprawled in his favorite armchair, with his back to the door, which would otherwise have bothered him as an irritating possibility for intrusions, he let his left hand caress once and again the green velvet upholstery and set to reading the final chapters. Without effort his memory retained the names and images of the protagonists; the illusion took hold of him almost at once.

He tasted the almost perverse pleasure of disengaging himself line by line from all that surrounded him, and feeling at the same time that his head was relaxing comfortably against the green velvet of the armchair with its high back, that the cigarettes were still within reach of his hand, that beyond the great windows the afternoon air danced under the oak trees in the park.

Word by word, immersed in the sordid dilemma of the hero and heroine, letting himself go toward where the images came together and took on color and movement, he was witness to the final encounter in the mountain cabin. The woman arrived first, apprehensive; now the lover came in, his face cut by the backlash of a branch. Admirably she stanched the blood with her kisses, but he rebuffed her caresses, he had not come to repeat the ceremonies of a secret passion, protected by a world of dry leaves and furtive paths through the forest. The dagger warmed itself against his chest, and underneath pounded liberty, ready to spring. A lustful, yearning dialogue raced down the pages like a rivulet of snakes, and one felt it had all been decided from eternity.

Even those caresses which writhed about the lover's body, as though wishing to keep him there, to dissuade him from it, sketched abominably the figure of that other body it was necessary to destroy. Nothing had been forgotten: alibis, unforeseen hazards, possible mistakes. From this hour on, each instant had its use minutely assigned. The cold-blooded, double re-examination of the details was barely interrupted for a hand to caress a cheek. It was beginning to get dark.

Without looking at each other now, rigidly fixed upon the task which awaited them, they separated at the cabin door. She was to follow the trail that led north. On the path leading in the opposite direction, he turned for a moment to watch her running with her hair let loose. He ran in turn, crouching among the trees and hedges until he could distinguish in the yellowish fog of dusk the avenue of trees leading up to the house. 

The dogs were not supposed to bark, and they did not bark. The estate manager would not be there at this hour, and he was not. He went up the three porch steps and entered. Through the blood galloping in his ears came the woman's words: first a blue parlor, then a gallery, then a carpeted stairway. At the top, two doors. No one in the first bedroom, no one in the second. The door of the salon, and then the knife in his hand, the light from the great windows, the high back of an armchair covered in green velvet, the head of the man in the chair reading a novel.

--
// 

C16 Seh | 雪

Snow /by Ann Beattie
http://9899.pbworks.com/w/page/30954759/%22Snow%22%20by%20Ann%20Beattie

Seh | 雪

--

Góa ē-kì-tit hit-ê hân-léng ê àm-mê, lí hiaⁿh chi̍t-pé chhâ ji̍p-lâi, tán lí pàng-khui siang-chhiú ê sî, chi̍t-chiah hoe-le̍k-chhí thiàu chhut-lâi. I tng-teh chông kòe kheh-thiaⁿ ê sî, lí án-ne kóng: "Lí kiò-sī, lí lâi chia boeh chhòng siáⁿ?" I cháu kòe chheh-pâng, koh thêng-kha tī chêng-mn̂g, bē-su i chin se̍k-sāi chit-keng chhù. Che tùi jīm-hô lâng lóng lân-tit siong-sìn, tî-hui, hoān-sè kā tòng-chò chi̍t-siú si ê tê-châi. 

Lán lâi chit-keng chhù ê tē-it lé-pài, tō sī teh chhiau-chhōe chit-keng chhù ê pì-bi̍t, chhin-chhiūⁿ kóng, piah-chóa ē-bīn sī siáⁿ-khoán ê piah-chóa. Chàu-kha piah-chóa ê tô͘-àn sī phú-kim-sek ê pêⁿ-kè, chi-chhî chhiūⁿ phin-phóng hiah tōa hiah îⁿ ê chí-sek pô-tô. Lán kā piah chhat chò n̂g-sek ê sî, góa siūⁿ tio̍h lâu tī ē-bīn ê chi̍t-kóa pô-tô chat-á, tō àm-siūⁿ he tîn ē soan chhut-lâi, tō ná-chhiūⁿ ū-ê si̍t-bu̍t ē kian-kiông tu̍h-phòa jīm-hô mi̍h-kiāⁿ án-ne. Lo̍h tōa seh hit-ji̍t, lí tio̍h khì thuh hêng-tō ê seh, chhōe bô lí ê bō-á, tō mn̄g góa, án-chóaⁿ kā mô͘-kin pa̍k tī lí ê thâu-khak -- thâu-khak pa̍k mô͘-kin ê lí, khòaⁿ tio̍h tō ná chi̍t-ê seh-kok ê siáu ông. 

Lâng-lâng him-siān lán chò-hóe ê chú-tiuⁿ, iā tō sī lī-khui siâⁿ-chhī, khì chng-kha. Chin chē lâng lâi thàm-hóng, tī piah-lô͘ piⁿ, in goān-ì kóng-chhut chē-chē kî-miāu ê kò͘-sū; kóng chi̍t-ê gín-á tú-hó khiā tī hit-ê só͘-chāi, ais-krím chhia khui mn̂g ê sî, sià lo̍h kui-ā pah ki ê ki-á-peng; kóng chi̍t-ê lâng khiā tī soa-po͘, soa siám-sih tī ji̍t-kng-ē, ū chi̍t-ê ūi te̍k-pia̍t kim-liāng, i oan-io lo̍h-khì, khioh tio̍h chi̍t-kha soān-chio̍h chhiú-chí. In kóng chiah-ê kî-miāu ê tāi-chì, kám sī in siūⁿ kóng, lán mā ē chiâⁿ-chò chi̍t-kiāⁿ kî-miāu? 

Taⁿ, góa siūⁿ, in hoān-sè sī ioh kóng, án-ne bô khó-lêng. He tō chhiūⁿ hō͘ gín-á chi̍t-cho͘ sio tah-phòe ê ti̍h-á hām ti̍h-á hiah-nī bô hi-bōng. Ē-kì-tit bô, hit-àm chhut-khì tī chháu-po͘, kūi tī seh nih, taⁿ-thâu khòaⁿ thiⁿ, khòaⁿ hong sàu lo̍h-lâi chi̍t-phìⁿ chi̍t-phìⁿ ê pe̍h? He khòaⁿ tio̍h ná-chhiūⁿ sè-kài tian-tò péng, lán sī teh khòaⁿ chi̍t tōa phiàn Anne Lú-ông hoe-piⁿ ê khòng-iá. Jiân-āu, tōa-teng koaiⁿ-tiāu, lán sī sái kòe sin lo̍h ê seh ê tē-it tâi chhia. Gōa-bīn ê sè-kài khòaⁿ tio̍h ná-chhiūⁿ sī ji̍t-sî.

Lí só͘ kì--ê bô kāng-khoán. Lí kì kóng, kôaⁿ sī chi̍t kai-tōaⁿ chi̍t kai-tōaⁿ lâi, kóng, chi̍t-àm chi̍t-àm ùi goe̍h-niû siah-tiāu chi̍t sio khiau ê kng, it-ti̍t kàu lí bô koh kiaⁿ-gî thiⁿ-téng o͘-o͘, kóng, hoe-le̍k-chhí cháu khì o͘-àm ê ūi bih khí-lâi, m̄-sī ti̍t-chiap cháu kàu ē-tit tô-miā ê mn̂g-kháu. Lán ê lâng-kheh kóng ê kò͘-sū, it-poaⁿ lâng mā sī án-ne kóng. Ū chi̍t-àm, kà góa án-chóaⁿ kóng-kó͘, lí án-ne kóng, "Jīm-hô ê seng-oa̍h, lí nā mài thê-khí i ê tōa pō͘-hūn, khòaⁿ khí-lâi lóng chin hì-kio̍k-hòa."

Nā án-ne, hì-kio̍k tī chia: bô gōa-kú chêng, góa sái-chhia tńg hit-keng chhù. He sī 4 goe̍h, Allen í-keng sí ah. Sui-bóng ū hiah-chē lâng-kheh, chhù-piⁿ Allen iáu sī lán tī pháiⁿ ji̍t-chí ê hó pêng-iú. Góa hām in bó͘ chē tī in ê kheh-thiaⁿ, thàu-kòe po-lê mn̂g khòaⁿ āu-bóe tiâⁿ, hia ū Allen ê iû-éng-tî, kôaⁿ-thiⁿ khàm ê o͘-sek sok-ka iáu pho͘ tī téng-bīn. Lo̍h-kòe hō͘, lo̍h-hō͘ ê sî, lú lâi lú chē hō͘-chúi chū-chi̍p tī sok-ka-pò͘, lo̍h-bóe tō ek chhut-lâi chúi-nî tē. Hit-kang góa lī-khui ê sî, góa sái-chhia keng-kòe lán éng-kòe ê chhù. Saⁿ/sì lúi hoan-âng-hoe khui tī chêng-tiâⁿ -- kan-ta kúi chhok-á pe̍h-pe̍h, bô kui-phiàn ê seh. Góa ūi chiah chió seh kám-kak pháiⁿ-sè. In kap kòe-khì bē pí-tit.

Che sī chi̍t-ê chiàu lí só͘ kóng, kò͘-sū tio̍h án-chóaⁿ kóng ê hong-sek, lâi kóng ê kò͘-sū: Bó͘-lâng tōa-hàn, loân-ài, hām yin ài-jîn tī chng-kha kòe chi̍t-ê kôaⁿ-thiⁿ. Tong-jiân, che sī siōng kán-té ê iàu-tiám, thó-lūn mā bô-hāu. He tō ká-ná seh iáu teh kín lo̍h, kā chiáu-á chhī-liāu ià tī thô͘-kha kāng-khoán bô ì-gī. Tī siōng tōa ê mi̍h-kiāⁿ to phah m̄-kìⁿ ê sî, siáng ē kî-thāi sió mi̍h-kiāⁿ lâu lo̍h-lâi? Lán lâng chóng-sī bē-kì-tit kú-tn̂g ê sòe-goa̍t, kan-ta ē-kì-tit té-chām ê sî-khek. Bió-cheng a̍h kì-hō lâu lo̍h-lâi kui-la̍p tāi-chì: iû-éng-tî téng-bīn ê o͘-pò͘. Ài, siōng-té ê hêng-sek, piàn-chò chi̍t-ê jī. Góa tùi só͘-ū hit-tōaⁿ sî-kan ê kì-tî sī chi̍t-ê kôaⁿ-thiⁿ. Seh. Sīm-chì kàu taⁿ, kóng "seh," góa ê chhùi-tûn tín-tāng, in tō chim tio̍h khong-khì.

Bô thê-khí hit-ki seh-thio, i ká-ná it-ti̍t lóng tī hia, thio lán e̍h-e̍h ê lō͘ -- chi̍t-tiâu hoeh-kńg chheng ah, m̄-koh lán tiong-kan bô-lâng ē-tàng kóng-chhut sim tī tó-ūi.

--

我會記得彼个寒冷 ê 暗暝, 你挔一把柴入來, 等你放開雙手 ê 時, 一隻花栗鼠跳出來. 伊 tng-teh 傱過客廳 ê 時, 你 án-ne 講: "你叫是, 你來遮欲創啥?" 伊走過冊房, koh 停跤 tī 前門, 袂輸伊真熟似這間厝. 這對任何人 lóng 難得相信, 除非, 凡勢 kā 當做一首詩 ê 題材. 

咱來這間厝 ê 第一禮拜, tō 是 teh 搜揣這間厝 ê 祕密, 親像講, 壁紙下面是啥款 ê 壁紙. 灶跤壁紙 ê 圖案是殕金色 ê 棚架, 支持像 phin-phóng hiah 大 hiah 圓 ê 紫色葡萄. 咱 kā 壁漆做黃色 ê 時, 我想著留 tī 下面 ê 一寡葡萄節仔, tō 暗想 he 藤會旋出來, tō ná 像有 ê 植物會堅強 tu̍h 破任何物件 án-ne. 落大雪彼日, 你著去 thuh 行道 ê 雪, 揣無你 ê 帽仔, tō 問我, 按怎 kā 毛巾縛 tī 你 ê 頭殼 -- 頭殼縛毛巾 ê 你, 看著 tō ná 一个雪國 ê 痟王. 

人人欣羨咱做伙 ê 主張, 也就是離開城市, 去庄跤. 真濟人來探訪, tī 壁爐邊, in 願意講出濟濟奇妙 ê 故事; 講一个囡仔拄好徛 tī 彼个所在, ais-krím 車開門 ê 時, 瀉落幾若百支 ê 枝仔冰; 講一个人徛 tī 沙埔, 沙閃爍 tī 日光下, 有一个位特別金亮, 伊彎腰落去, 抾著一跤璇石手只. In 講 chiah-ê 奇妙 ê 代誌, 敢是 in 想講, 咱 mā 會成做一件奇妙? 

今, 我想, in 凡勢是臆講, án-ne 無可能. 彼 tō 像予囡仔一組相搭配 ê 杯仔和碟仔 hiah-nī 無希望. 會記得無, 彼暗出去 tī 草埔, 跪 tī 雪 nih, taⁿ 頭看天, 看風掃落來一片一片 ê 白? 彼看著 ná 像世界顛倒反, 咱是 teh 看一大遍 Anne 女王花邊 ê 曠野. 然後, 大燈關掉, 咱是駛過新落 ê 雪 ê 第一台車. 外面 ê 世界看著 ná 像是日時.

你所記 ê 無共款. 你記講, 寒是一階段一階段來, 講, 一暗一暗 ùi 月娘削掉一小 khiau ê 光, 一直到你無 koh 驚疑天頂烏烏, 講, 花栗鼠走去烏暗 ê 位覕起來, 毋是直接走到會得逃命 ê 門口. 咱 ê 人客講 ê 故事, 一般人 mā 是 án-ne 講. 有一暗, 教我按怎講古, 你 án-ne 講, "任何 ê 生活, 你若莫提起伊 ê 大部份, 看起來 lóng 真戲劇化."

若 án-ne, 戲劇 tī 遮: 無偌久前, 我駛車轉彼間厝. 彼是 4 月, Allen 已經死 ah. 雖罔有 hiah 濟人客, 厝邊 Allen 猶是咱 tī 歹日子 ê 好朋友. 我和 in 某坐 tī in ê 客廳, 透過玻璃門看後尾埕, 遐有 Allen ê 游泳池, 寒天崁 ê 烏色塑膠猶鋪 tī 頂面. 落過雨, 落雨 ê 時, lú 來 lú 濟雨水聚集 tī 塑膠布, 落尾 tō 溢出來水泥地. 彼工我離開 ê 時, 我駛車經過咱往過 ê 厝. 三四蕊番紅花開 tī 前埕 -- 干焦幾簇仔白白, 無規遍 ê 雪. 我為 chiah 少雪感覺歹勢. In kap 過去袂比得.

這是一个照你所講, 故事著按怎講 ê 方式, 來講 ê 故事: 某人大漢, 戀愛, 和姻愛人 tī 庄跤過一个寒天. 當然, 這是上簡短 ê 要點, 討論 mā 無效. 彼 tō ká-ná 雪猶 teh 緊落, kā 鳥仔飼料掖 tī 塗跤仝款無意義. Tī 上大 ê 物件 to 拍毋見 ê 時, siáng 會期待小物件留落來? 咱人總是袂記得久長 ê 歲月, 干焦會記得短站 ê 時刻. 秒鐘 a̍h 記號留落來歸納代誌: 游泳池頂面 ê 烏布. 愛, 上短 ê 形式, 變做一个字. 我對所有彼段時間 ê 記持是一个寒天. 雪. 甚至到今, 講 "雪," 我 ê 喙唇振動, in tō 唚著空氣.

無提起彼支雪挑, 伊 ká-ná 一直 lóng tī 遐, 挑咱狹狹 ê 路 -- 一條血管清 ah, 毋過咱中間無人會當講出心 tī 佗位.

--

I remember the cold night you brought in a pile of logs and a chipmunk jumped off as you lowered your arms. "What do you think you're doing in here?" you said, as it ran through the living room. It went through the library and stopped at the front door as though it had knew the house well. This would be difficult for anyone to believe, except perhaps as the subject of a poem. /

Our first week in the house was spent scraping, finding some of the house's secrets, like wallpaper under wallpaper. In the kitchen, a pattern of white-gold trellises supported purple grapes as big and round as ping-pong balls. When we painted the walls yellow, I thought of the bits of grape that remained underneath and imagined the vine popping though, the way some plants can tenaciously push though anything. The day of the big snow, when you had to shovel the walk and couldn't find your cap and asked me how to wind a towel so that it would stay on your head--you, in the white towel turban, like a crazy king of snow. /

People liked the idea of our being together, leaving the city for the country. So many people visited, and the fireplace made all of them want to tell amazing stories; the child who happened to be standing on the right corner when the door of the ice cream truck came open and hundreds of popsicles crashed out; the man standing on the beach, sand sparkling in the sun, one bit glinting more than the rest, stooping to find a diamond ring. Did they talk about amazing things because they thought we'd turn into one of them? /

Now I think they probably guessed it wouldn't work. It was as hopeless as giving a child a matched cup and saucer. Remember the night out on the lawn, knee deep in snow, chins pointed at the sky as the wind whirled down all that whiteness? It seemed that the world had been turned upside down, and we were looking into an enormous feild of Queen Anne's lace. Later, headlights off, our car was the first to ride through the newly fallen snow. The world outside the car looked solarized.

You remember it differently. You remember that the cold settled in stages, that small curve of light was shaved from the moon night after night, until you were no longer surprised the sky was black, that the chipmunk ran to hide in the dark, not simply to a door that led to its escape. Our visitors told the same stories people always tell. One night, giving me a lesson in story telling, you said, "Any life will seem dramatic if you omit mention of most of it."

This, then, for drama: I drove back to that house not long ago. It was April, and Allen had died. In spite of all the visitors, Allen, next door, had been the good friend in bad times. I sat with his wife in their living room, looking out the glass doors to the backyard, and there was Allen's pool, still covered with black plastic that had been stretched across it for winter. It had rained, and as the rain fell, the cover collected more and more water until it finally spilled onto the concrete. When I left that day, I drove past what had been our house. Three or four crocuses were blooming in the front -- just a few dots of white, no field of snow. I felt embarassed for them. They couldn't compete.

This is a story, told the way you say stories should be told: Somebody grew up, fell in love, and spent a winter with her lover in the country. This, of course, is the barest outline, and futile to discuss. It's as pointless as throwing birdseed on the ground while snow still falls fast. Who expects small things to survive when even the largest get lost? People forget years and remember moments. Seconds and symbols are left to sum things up: the black shroud over the pool. Love, in its shortest form, becomes a word. What I remember about all that time is one winter. The snow. Even now, saying "snow," my lips move so that they kiss the air.

No mention has been made of the snowplow that seemed always to be there, scraping snow off our narrow road -- an artery cleared, though neither of us could have said where the heart was.

--
// 

C15 In Sī kō͘ Bah Chò ê | In 是 kō͘ 肉做 ê

They're Made out of Meat /by Terry Bisson, 1991
https://www.mit.edu/people/dpolicar/writing/prose/text/thinkingMeat.html

In Sī kō͘ Bah Chò ê | In 是 kō͘ 肉做 ê
Tâi-gí gí-im | 台語語音: https://www.youtube.com/watch?v=bfrz_s8CBbI

--

- In sī bah chò ê.

~ Bah?

- Bah. In sī kō͘ bah chò ê.

~ Bah?

- Che bô gî-būn. Goán ùi chit-ê seng-kiû ê bô-kāng só͘-chāi kéng kúi-ā ê, kā in chah kàu goán ê cheng-chhat-chûn, tùi in chò choân-bīn ê thàm-chhek. In oân-choân lóng sī bah.

~ He bô khó-lêng. Bô-sòaⁿ-tiān sìn-hō án-chóaⁿ? Ǹg thiⁿ-chheⁿ ê sìn-sit?

- In sú-iōng bô-sòaⁿ-tiān pho kau-tâm, m̄-koh he sìn-hō m̄-sī ùi in lâi ê. Sìn-hō sī ùi ke-khì lâi ê.

~ Nā án-ne, he ke-khì sī siáng chè-chō ê? He tō sī lán boeh chih-chiap ê tùi-siōng.

- In chè-chō hiah-ê ke-khì. Che tō sī góa boeh kā lí kóng ê. Bah-lūi chè-chō hiah-ê ke-khì.

~ Hàm-kó͘. Bah-lūi ná ū khó-lêng chè-chō ke-khì? Lí sī boeh kiò góa siong-sìn ū ì-sek ê bah?

- Góa bô kiò lí án-chóaⁿ, Góa kóng hō͘ lí chai. Chiah-ê oa̍h-bu̍t-á sī chit-ê tē-khu ûi-it ū ì-sek ê chéng-cho̍k, in sī kō͘ bah chò ê.

~ Hoān-sè in tō chhin-chhiūⁿ Orfolei. Lí chai lah, he sī carbon /ka.bón/ chò ki-té ê tì-lêng-thé, tio̍h keng-kòe chi̍t-ê bah ê kai-tōaⁿ.

- M̄-sī án-ne. In, seⁿ sī bah, sí mā sī bah. Goán gián-kiù kúi-ā ê kàu in hòe-siū chīn, he m̄-bián gōa-chē sî-kan. Lí tùi bah ê hòe-siū ū siáⁿ siūⁿ-hoat?

~ A̍h chai. Oke, kiám-chhái in kan-ta chi̍t-pō͘-hūn sī bah. Lí chai, ná chhiūⁿ Weddilei án-ne. Chi̍t-lia̍p bah ê thâu-khak, lāi-té tàu tiān-chiuⁿ (plasma) ê náu.

- M̄-sī án-ne. Goán ū án-ne siūⁿ kòe, in-ūi in khak-si̍t chhiūⁿ Weddilei án-ne ū bah ê thâu. M̄-koh, góa kā lí kóng, goán chhì-thàm he thâu. Ùi gōa kàu lāi lóng sī bah.

~ Bô náu?

- Oh, ū náu, bô m̄-tio̍h. Tāi-chì sī án-ne, he náu mā sī kō͘ bah chò ê!

~ Nā án-ne... kō͘ siáⁿ su-khó?

- Lí bē liáu-kái, kám m̄-sī? Kō͘ náu su-khó. Kō͘ he bah.

~ Ē su-khó ê bah! Lí sī boeh kiò góa siong-sìn ē su-khó ê bah!

- Tio̍h, ē su-khó ê bah! Ē hòⁿ-kî ê bah! Ē ài ê bah. Ē bîn-bāng ê bah! Hāng-hāng lóng sī bah! Án-ne lí ē lí-kái bô?

~ Omigod. Nā án-ne, lí sī kóng chèng-keng. In sī kō͘ bah chò ê.

- Chóng-kóng chi̍t-kù: Sī. In khak-si̍t sī kō͘ bah chò ê. Jî-chhiáⁿ, tī 100 nî in ê sî-kan í-lâi, in it-ti̍t chhì boeh hām lán chih-chiap.

~ Nā án-ne, bah ū siáⁿ siūⁿ-hoat?

- Thâu-khí-seng, i boeh hām lán kau-tâm. Koh-lâi, góa jīn-ûi in boeh thàm-soh ú-tiū, chih-chiap kî-thaⁿ ì-sek thé, kau-ōaⁿ siūⁿ-hoat kap chêng-pò. It-poaⁿ-te̍k ê.

~ Lán tio̍h hām bah chih-chiap?

- Tō sī hit-ê siūⁿ-hoat. He tō sī in kō͘ bô-sòaⁿ-tiān sàng chhut-khì ê sìn-sit. "Halo. Gōa-kháu ū lâng bô? Ū lâng tī chhù bô?" Chhin-chhiūⁿ chit-lūi ê tāi-chì.

~ Nā án-ne, in khak-si̍t ē-hiáu kóng-ōe. In iōng gí-sû, siūⁿ-hoat, kài-liām?

- Oh, sī lah. Put-kò, in án-ne chò, lóng sī kō͘ bah.

~ Góa siūⁿ-kóng, lí tú-chiah kā góa kóng, in sú-iōng bô-sòaⁿ-tiān.

- In ū sú-iōng, m̄-koh lí siūⁿ-kóng bô-sòaⁿ-tiān kóng siáⁿ? Bah ê siaⁿ-im. Lí chai, tī lí phah a̍h siàn bah ê sî, ē chhut chi̍t-chióng siaⁿ? In kō͘ bah ê sio-siàn lâi kóng-ōe. In sīm-chì thàng-kòe bah, pûn khong-khì lâi chhiùⁿ-koa.

~ Omigod. Chhiùⁿ-koa ê bah. Che si̍t-chāi siuⁿ kòe-hūn ah lah. Nā án-ne, lí ê kiàn-gī sī siáⁿ?

- Koaⁿ-hong ê a̍h hui koaⁿ-hong ê?

~ Nn̄g-hāng lóng lâi.

- Koaⁿ-hong lâi kóng, lán pī iau-kiû tī chit kak-sì (quadrant) tio̍h chih-chiap, hoan-gêng, koh kì-lo̍k jīm-hô it-chhè ì-sek thé ê chéng-cho̍k a̍h to-seng-bu̍t, bô phian-kiàn, bô kiaⁿ-hiâⁿ, mā bô phian-ài. Hui koaⁿ-hong lâi kóng, góa kiàn-gī lán siau-tî kì-lo̍k, pàng bē-kì kui-ê tāi-chì.

~ Góa goân-pún tō hi-bāng lí án-ne kóng.

- Che khòaⁿ sī bô kán-tan, m̄-koh mā ū chi̍t-ê hān-tō͘. Lán kám chin-chiàⁿ boeh hām bah chih-chiap?

~ Góa pah-hun-pah tông-ì. Ū siáⁿ hó kóng ê? "Halo, bah. Lí hó bô?" Án-ne kám ē-sái? Lán tī chia tio̍h chhú-lí gōa-chē seng-kiû?

- Kan-ta chi̍t-ê. In ē-tàng kō͘ té bah ê te̍k-sû iông-khì lí-hêng kàu pa̍t-ūi ê seng-kiû, m̄-koh in bô hoat-tō͘ tī hia seng-oa̍h. In-ūi sī bah, in kan-ta ē-tàng tī C khong-kan lí-hêng. Án-ne tō hān-chè in tī kng-sok í-lāi, hō͘ in ē-tàng chih-chiap ê hoān-ûi chin sè. Sè kah bô-siá-sì.

~ Só͘-í, lán tio̍h ké-kúi kóng, ú-tiū ê chhù-lāi bô lâng.

- Án-ne bô m̄-tio̍h.

~ Chiâⁿ chân-jím. Lí ka-tī mā kóng kòe, siáng boeh kìⁿ bah ah? M̄-koh, hiah-ê bat chiūⁿ lán ê chûn ê, hiah-ê lí chhì-thàm kòe ê? Lí khak-tēng in bē kì-tit che?

- Nā ē kì-tit, in tō hông tòng-chò siáu--ê. Lán chìn-ji̍p in ê náu, koh kā in ê bah so pêⁿ, só͘-í lán kan-ta sī in ê bîn-bāng.

~ Bah ê bîn-bāng! Chiâⁿ kî-koài ê chhim-chiàm, lán tio̍h chò bah ê bîn-bāng.

- Ná án-ne, lán ē-sái piau-kì chit-ê khu-he̍k bô lâng tòa.

~ Hó. Tông-ì, koaⁿ-hong hām hui koaⁿ-hong. Kiat-àn. Iáu-ū kî-thaⁿ ê bô? Tī gîn-hô-hē ê hit-pêng, ū siáⁿ ū chhù-bī ê siáⁿ bô?

- Ū, tī G455 khu ê káu-kip hêng-seng nih, ū chi̍t-ê chám-jiân kiaⁿ kiàn-siàu m̄-koh khó-ài ê kheng-he̍k-thoân (hydrogen core cluster) tì-lêng. Tī nn̄g-ê seng-hē lûn-hôe chìn-chêng bat chih-chiap kòe, siūⁿ boeh koh iú-hó kau-liû.

~ In chóng-sī ē koh lâi.

- Ná ē m̄-hó? Siūⁿ khòaⁿ-māi, lâng nā ko͘ chi̍t-ê, ú-tiū chiong sī gōa-nī hân-léng, gōa-nī hō͘ lâng lân-tit jím-siū.

--

- In 是肉做 ê.

~ 肉?

- 肉. In 是 kō͘ 肉做 ê.

~ 肉?

- 這無疑問. 阮 ùi 這个星球 ê 無仝所在揀幾若个, kā in 扎到阮 ê 偵察船, 對 in 做全面 ê 探測. In 完全 lóng 是肉.

~ He 無可能. 無線電信號按怎? Ǹg 天星 ê 信息?

- In 使用無線電波交談, 毋過 he 信號毋是 ùi in 來 ê. 信號是 ùi 機器來 ê.

~ 若 án-ne, he 機器是 siáng 製造 ê? He tō 是咱欲 chih-chiap ê 對象.

- In 製造 hiah-ê 機器. 這 tō 是我欲 kā 你講 ê. 肉類製造 hiah-ê 機器.

~ 譀古. 肉類那有可能製造機器? 你是欲叫我相信有意識 ê 肉?

- 我無叫你按怎, 我講予你知. Chiah-ê 活物仔是這个地區唯一有意識 ê 種族, in 是 kō͘ 肉做 ê.

~ 凡勢 in tō 親像 Orfolei. 你知 lah, he 是 carbon /ka.bón/ 做基底 ê 智能體, 著經過一个肉 ê 階段.

- 毋是 án-ne. In, 生是肉, 死 mā 是肉. 阮研究幾若个到 in 歲壽盡, he 毋免 gōa-chē 時間. 你對肉 ê 歲壽有啥想法?

~ 曷知. Oke, 檢采 in 干焦一部份是肉. 你知, ná 像 Weddilei án-ne. 一粒肉 ê 頭殼, 內底鬥電漿 (plasma) ê 腦.

- 毋是 án-ne. 阮有 án-ne 想過, 因為 in 確實像 Weddilei án-ne 有肉 ê 頭. 毋過, 我 kā 你講, 阮刺探 he 頭. Ùi 外到內 lóng 是肉.

~ 無腦?

- Oh, 有腦, 無毋著. 代誌是 án-ne, he 腦 mā 是 kō͘ 肉做 ê!

~ 若 án-ne... kō͘ 啥思考?

- 你袂了解, 敢毋是? Kō͘ 腦思考. Kō͘ he 肉.

~ 會思考 ê 肉! 你是欲叫我相信會思考 ê 肉!

- 著, 會思考 ê 肉! 會好奇 ê 肉! 會愛 ê 肉. 會眠夢 ê 肉! 項項 lóng 是肉! Án-ne 你會理解無?

~ Omigod. 若 án-ne, 你是講正經. In 是 kō͘ 肉做 ê.

- 總講一句: 是. In 確實是 kō͘ 肉做 ê. 而且, tī 100 年 in ê 時間以來, in 一直試欲和咱 chih-chiap.

~ 若 án-ne, 肉有啥想法?

- 頭起先, 伊欲和咱交談. 閣來, 我認為 in 欲探索宇宙, chih-chiap 其他意識體, 交換想法 kap 情報. 一般的 ê.

~ 咱著和肉 chih-chiap?

- Tō 是彼个想法. He tō 是 in kō͘ 無線電送出去 ê 信息. "Halo. 外口有人無? 有人 tī 厝無?" 親像這類 ê 代誌.

~ 若 án-ne, in 確實會曉講話. In 用語詞, 想法, 概念?

- Oh, 是 lah. 不過, in án-ne 做, lóng 是 kō͘ 肉.

~ 我想講, 你拄才 kā 我講, in 使用無線電.

- In 有使用, 毋過你想講無線電講啥? 肉 ê 聲音. 你知, tī 你拍 a̍h 搧肉 ê 時, 會出一種聲? In kō͘ 肉 ê 相搧來講話. In 甚至迵過肉, 歕空氣來唱歌.

~ Omigod. 唱歌 ê 肉. 這實在 siuⁿ 過份 ah lah. 若 án-ne, 你 ê 建議是啥?

- 官方 ê a̍h 非官方 ê?

~ 兩項 lóng 來.

- 官方來講, 咱被要求 tī 這角勢 (quadrant) 著 chih-chiap, 歡迎, koh 記錄任何一切意識體 ê 種族 a̍h 多生物, 無偏見, 無驚惶, mā 無偏愛. 非官方來講, 我建議咱消除記錄, 放袂記規个代誌.

~ 我原本 tō 希望你 án-ne 講.

- 這看是無簡單, 毋過 mā 有一个限度. 咱敢真正欲和肉 chih-chiap?

~ 我百分百同意. 有啥好講 ê? "Halo, 肉. 你好無?" Án-ne 敢會使? 咱 tī 遮著處理 gōa-chē 星球?

- 干焦一个. In 會當 kō͘ 貯肉 ê 特殊容器旅行到別位 ê 星球, 毋過 in 無法度 tī 遐生活. 因為是肉, in 干焦會當 tī C 空間旅行. Án-ne tō 限制 in tī 光速以內, 予 in 會當 chih-chiap ê 範圍真細. 細 kah 無捨世.

~ 所以, 咱著假鬼講, 宇宙 ê 厝內無人.

- Án-ne 無毋著.

~ 誠殘忍. 你家治 mā 講過, siáng 欲見肉 ah? 毋過, hiah-ê bat 上咱 ê 船 ê, hiah-ê 你刺探過 ê? 你確定 in 袂記得這?

- 若會記得, in tō hông 當做痟 ê. 咱進入 in ê 腦, koh kā in ê 肉挲平, 所以咱干焦是 in ê 眠夢.

~ 肉 ê 眠夢! 誠奇怪 ê 侵佔, 咱著做肉 ê 眠夢.

- 若 án-ne, 咱會使標記這个區域無人蹛.

~ 好. 同意, 官方和非官方. 結案. 猶有其他 ê 無? Tī 銀河系 ê 彼爿, 有啥有趣味 ê 啥無?

- 有, tī G455 區 ê 九級行星 nih, 有一个嶄然驚見笑毋過可愛 ê 氫核團 (hydrogen core cluster) 智能. Tī 兩个星系輪迴進前 bat chih-chiap 過, 想欲 koh 友好交流.

~ In 總是會 koh 來.

- 那會毋好? 想看覓, 人若孤一个, 宇宙將是 gōa-nī 寒冷, gōa-nī 予人難得忍受.

--

"They're made out of meat."

  "Meat?"

"Meat. They're made out of meat."

  "Meat?"

"There's no doubt about it. We picked several from different parts of the planet, took them aboard our recon vessels, probed them all the way through. They're completely meat."

  "That's impossible. What about the radio signals? The messages to the stars."

"They use the radio waves to talk, but the signals don't come from them. The signals come from machines."

 "So who made the machines? That's who we want to contact."

"They made the machines. That's what I'm trying to tell you. Meat made the machines."

  "That's ridiculous. How can meat make a machine? You're asking me to believe in sentient meat."

"I'm not asking you, I'm telling you. These creatures are the only sentient race in the sector and they're made out of meat."

  "Maybe they're like the Orfolei. You know, a carbon-based intelligence that goes through a meat stage."

"Nope. They're born meat and they die meat. We studied them for several of their life spans, which didn't take too long. Do you have any idea the life span of meat?"

  "Spare me. Okay, maybe they're only part meat. You know, like the Weddilei. A meat head with an electron plasma brain inside."

"Nope. We thought of that, since they do have meat heads like the Weddilei. But I told you, we probed them. They're meat all the way through."

  "No brain?"

"Oh, there is a brain all right. It's just that the brain is made out of meat!"

  "So... what does the thinking?"

"You're not understanding, are you? The brain does the thinking. The meat."

  "Thinking meat! You're asking me to believe in thinking meat!"

"Yes, thinking meat! Conscious meat! Loving meat. Dreaming meat. The meat is the whole deal! Are you getting the picture?"

  "Omigod. You're serious then. They're made out of meat."

"Finally, Yes. They are indeed made out meat. And they've been trying to get in touch with us for almost a hundred of their years."

  "So what does the meat have in mind."

"First it wants to talk to us. Then I imagine it wants to explore the universe, contact other sentients, swap ideas and information. The usual."

  "We're supposed to talk to meat?"

"That's the idea. That's the message they're sending out by radio. 'Hello. Anyone out there? Anyone home?' That sort of thing."

  "They actually do talk, then. They use words, ideas, concepts?"

"Oh, yes. Except they do it with meat."

  "I thought you just told me they used radio."

"They do, but what do you think is on the radio? Meat sounds. You know how when you slap or flap meat it makes a noise? They talk by flapping their meat at each other. They can even sing by squirting air through their meat."

  "Omigod. Singing meat. This is altogether too much. So what do you advise?"

"Officially or unofficially?"

  "Both."

"Officially, we are required to contact, welcome, and log in any and all sentient races or multibeings in the quadrant, without prejudice, fear, or favor. Unofficially, I advise that we erase the records and forget the whole thing."

  "I was hoping you would say that."

"It seems harsh, but there is a limit. Do we really want to make contact with meat?"

  "I agree one hundred percent. What's there to say?" `Hello, meat. How's it going?' But will this work? How many planets are we dealing with here?"

"Just one. They can travel to other planets in special meat containers, but they can't live on them. And being meat, they only travel through C space. Which limits them to the speed of light and makes the possibility of their ever making contact pretty slim. Infinitesimal, in fact."

  "So we just pretend there's no one home in the universe."

"That's it."

  "Cruel. But you said it yourself, who wants to meet meat? And the ones who have been aboard our vessels, the ones you have probed? You're sure they won't remember?"

"They'll be considered crackpots if they do. We went into their heads and smoothed out their meat so that we're just a dream to them."

  "A dream to meat! How strangely appropriate, that we should be meat's dream."

"And we can marked this sector unoccupied."

  "Good. Agreed, officially and unofficially. Case closed. Any others? Anyone interesting on that side of the galaxy?"

"Yes, a rather shy but sweet hydrogen core cluster intelligence in a class nine star in G445 zone. Was in contact two galactic rotation ago, wants to be friendly again."

  "They always come around."

"And why not? Imagine how unbearably, how unutterably cold the universe would be if one were all alone."

--
//