节选自我的《无事记》（第19卷）
5.59pm
到外面散步，走了一遭回来，头上已经有点出汗了。到处都有散步的人，遛狗的白人，几人并排而行的巴基斯坦或印度的男男女女，带小孩的华女和白男，骑自行车冲来冲去的白人，以及我这个只拍景，不照人的独行人。每个人现在都是潜在的病毒火种携带者。再也不像过去那样，即使不认识，见面也要打招呼。
LOWER DOWNS, RUBBISH AND LOW POETRY by Ouyang Yu
Beauty is so far from being the dominant principle of modern poetry that many of the most splendid modern works are clearly portrayals of ugliness - Friedrich Schlegel ( On the Study of Greek Poetry , 1797) Contemporary Chinese poetry has unashamedly turned from the sublime and sacred to the vulgar and profane. In April 1999 at the Panfeng Conference in Pinggu County, Beijing, poets split into two camps, the zhishi fenzi (intellectual) and the minjian . 1 The poets in the intellectual camp (Wang Jiaxin, Ouyang Jianghe, Xi Chuan, Zang Di and others) were mostly well-published, anthologised, critically acclaimed, well-travelled and internationally well-connected. As university professor and poetry critic Cheng Guangwei noted, much of their poetry reflects the influences of Western literary masters such as Yeats, Rilke, Lowell, Pound, Baudelaire, Milosz, Pasternak and Brodsky. 2 The minjian camp (Yu Jian, Yi Sha, Xu Jiang and others) critiqued these influences as ‘European’ or ‘colo
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