怕了怕了
一直没有觉得自己有什么毛病,可是最近突然发现肥胖带来的毛病找上门来了。
特别是昨天,真的吓人。。。
减肥,一定要减肥了,我就不信减不下去。从中午开始,今天中午少吃饭,少吃肉,多挑素菜吃。
下定决心,排除万难,万众一心,争取胜利!
一直没有觉得自己有什么毛病,可是最近突然发现肥胖带来的毛病找上门来了。
特别是昨天,真的吓人。。。
减肥,一定要减肥了,我就不信减不下去。从中午开始,今天中午少吃饭,少吃肉,多挑素菜吃。
下定决心,排除万难,万众一心,争取胜利!
昨天顶风冒雨拖家带口去易初莲花买东西,受了巨大的刺激。。。
从来见到量体重的,我都绕着走,特别是那种电子的,你上去就告诉你偏胖偏瘦。我怕我一上去,会说:“别两个人一起上!!!”引人围观,观之不雅。
昨天看四周没人,我就跳到秤上量了一下,晕菜,105KG,105KG!!!有掌柜的两个重还加个拐弯。。。
无语泪千行。。
今天早上菊菊提醒了我一下,外面的秤一般都会偏胖,让人去买减肥药。昨天那秤放在体育用品柜台旁边,明显是个陷阱。自己找心里安慰吧,就当愚人节被愚了一下。
不过如果那样的话,掌柜的不是更瘦了?一个太胖一个太瘦,一个要减肥一个要增肥,难办啊难办
昨天给老爸买了一个新手机, 功能不多,价钱不贵,够他用的了,我先玩一个月,五一带回去。
顺便怀旧一下。


Wang in Love and Bondage: Three Novellas by Wang Xiaobo
From Publishers Weekly
Reading popular, irreverent Chinese essayist and novelist Wang, who died in 1997 at 44, can feel like being held upside down—particularly during the zingy sex scenes. Characters cultivate an artful irrelevance to circumvent official stricture, and fail most every time. In the first work, “2015,” the narrator’s uncle, Wang Er, is a painter without a government permit to paint; his paintings are so stridently fractal that they make people dizzy. Sent for re-education, he readily admits his stupidity, but is undone when a female guard takes a very twisted interest in him. “The Golden Age” concerns another Wang Er: a 21-year-old, well-endowed Beijing student sent to the Yunan countryside during the Mao period. There, he runs off with a married doctor. Told to confess on returning, Wang, ironically, becomes a writer, as his superiors insist on more and more pornographic detail in every revised version of his confessions. The slighter final story, “East Palace, West Palace,” relates a story about a policeman who falls in love with a bisexual cross-dresser. Wang’s deeply convincing novellas will certainly please the readers who have enjoyed recent Nobel Prize–winner Gao Xingjian’s novel, Soul Mountain.(Mar.)
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From Booklist
*Starred Review* Wang (1952-97) has a large following among Chinese university students but isn’t at all popular with the literary establishment. Blame the matter and attitude of his work, not its literary merit. China has a history of heavy-handed prudishness that the sex in these three novellas flouts big time. They’re wry social-realist exercises demonstrating that in a repressive society, whether of the future, the Cultural Revolution, or post-Mao but still policed 1990s China, sex affords the only excitement worth risking slander or prison for. And if it weren’t for imagination, sex might be drab. If the narrator of “2015″ weren’t obsessed with being an artist, would he so ardently follow his artist uncle’s misadventures, which eventuate in being a luscious policewoman’s sex toy? If they could redeem their reputations, would the lovers undergoing forcible “re-education” in “The Golden Age” breath so heavily? Would the handsome cop in “East Palace, West Palace” discover his homosexuality if he weren’t such a socially determined straight arrow? Not sex but sensation, with the possibility, however slight, of transcendence, becomes the supreme value for these stories’ characters–a predicament not unlike that of Jake Barnes and company in Hemingway’s The Sun Also Rises. Ray Olson
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