Tag Archives: Chinese

Phrase of the day – Dead man’s bones 這是什麼死人骨頭？

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這是啥物死人骨頭? chit sī siánn-mih sí-lâng kut-thâu?

Note: 啥物, sometimes written phonetically as “蝦米” means 什麼 in Mandarin or “what” in English

My coworker told me about this phrase recently, meaning “What the heck is this?”, or “What’s this nonsense?”, though it literally means “What kind of dead man’s bones are these?” – kind of equivalent to “這是什麼鬼?” in Mandarin. It can be used for comic effect, when someone does, has, wears or says something weird:

For example when looking at the “Retrospective tea” advertised on a sign at a Gongguan teashop featured above, one might ask one’s friend: “這是啥物死人骨頭?”

Beware though, it can be offensive if you use it on strangers.

Here’s the updated Google doc, noting patterns between Mandarin and Taiwanese or lack thereof.

 

Taiwanese Language

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I’ve been making an effort to learn more Taiwanese lately, and have been trying to find some sort of pattern between Mandarin and Taiwanese that can provide me with an alternative method than just memorizing by heart. Some Taiwanese I’ve picked up from TV, KTV songs and from the Human Condition (《人間條件》 series of plays that I researched for my masters, but my vocabulary is limited to the very basic at the moment, so I hope that by starting a blog I’ll be more motivated. My approach to the language is not going to be scientific, but rather I’m going to rely on my own perceptions to build up an idea of how grammar and pronunciation rules work on my own terms, although I’m familiar with some of the rules around the language, as we were taught a limited amount as part of my master program.

Most of the phrases I’ve learned so far have only been simple greetings, basic common phrases or insults, as below:

你好: lí–hó [Click on each syllable to hear it] (Strangely enough, to my ear the direction of the tone mark seems to be counter-intuitive, as I would describe it as a slowly falling 4th tone.) – Hello

Going to test a few theories, as I continue learning:

你

we see “n” turn to “l” [and this may be limited to a third tone in Mandarin when followed by an “i” or may not]  [ㄋ->ㄌ]

“i” (zhuyinㄧ) remains similar in Mandarin and Taiwanese [which may be limited to when preceded by an “n” in Mandarin and an “l” in Taiwanese] [ㄧ->ㄧ]

好

“h” remains similar in both Taiwanese and Mandarin [which may be limited to when it’s followed by “ao” in Mandarin and “o” in Taiwanese or not] [ㄏ->ㄏ]

“ao” changes to “o” [which may be limited to when it’s preceded by “h”] [ㄠ->ㄛ]

Tones: I know that in speech, tones are affected by tones sandhi, but for the minute I’m going to ignore this, as I’m taking individual vocabulary and tone marks from a dictionary – later I’ll try and examine this in more depth

Tones: Third tones in Mandarin change to second tone (high-falling – ˥˧ (53) [Tainan] or falling – ˥˩ (51)[Taipei]) in Taiwanese [3->2]

這個人我熟似 chit-ê lâng góa se̍k-sāi (我認識/熟悉) – I know that guy/person

這

“zh” in Mandarin changes to “j”/”ch” in Taiwanese [which may be limited to when it’s followed by “e” in Mandarin or “it” in Taiwanese] [ㄓ->ㄐ]

“e” in Mandarin changes to “it” in Taiwanese [which may be limited to when it’s preceded by “zh” in Mandarin or “j/ch” in Taiwanese] [ㄜ->ㄧㄊ]

Tones: Fourth tone in Mandarin changes to fourth tone (low stopped – ˨˩ʔ (21) [Tainan] or mid-stopped – ˧˨ʔ (32) [Taipei] in Taiwanese [4->4]

個

“g” in Mandarin disappears [which may be limited when followed by “e” (ㄜ) in Mandarin] [ㄍ->_]

“e” in Mandarin turns into “e” (sounds like ei ㄟ in Mandarin) in Taiwanese [May be limited to when it’s preceded by a “g” in Mandarin, and has no final] [ㄜ->ㄟ]

Tones: neutral tone in Mandarin changes to fifth tone (rising – ˨˦ (25) [Tainan] or ˩˦ to ˨˦ (14~24) [Taipei]) in Taiwanese [5->5]

人

“r” in Mandarin turns into “l” in Taiwanese [may be limited to when followed by “en” in Mandarin or “ang” in Taiwanese] [ㄖ->ㄌ] *Note* I’ve also head 人 is pronounced “jîn” in different contexts

“en” in Mandarin turns into “ang” in Taiwanese [may be limited to when preceded by “r” in Mandarin and “l” in Taiwanese] [ㄣ->ㄤ]

Tones: Second tone in Mandarin turns into fifth tone (rising – ˨˦ (25) [Tainan] or ˩˦ to ˨˦ (14~24) [Taipei]) in Taiwanese [2->5]

我

“w” in Mandarin turns into “g” or “gu” in Taiwanese [may be limited to when followed by “o” (ㄛ) or “oa” (ㄨㄚ) in Taiwanese] [ㄨ (initial) -> ㄍㄨ/ㄍ]

“o” in Mandarin turns into “oa” in Taiwanese [may be limited to when preceded by a w in Mandarin or a “g” in Taiwanese] [(ㄨ)ㄛ->ㄨㄚ]

Tones: Third tones in Mandarin change to second tone (high-falling – ˥˧ (53) [Tainan] or falling – ˥˩ (51)[Taipei]) in Taiwanese [3->2]

熟

“sh” in Mandarin changes to “s” (sounds like sh) in Taiwanese [limited to followed by “ou” in Mandarin or “ek” in Taiwanese] [ㄕ->ㄕ]

“ou” in Mandarin changes into “ek” in Taiwanese [limited to following “sh” in Mandarin] [ㄡ->ㄧㄎ]

Tones: Second tone in Mandarin turns into eighth tone (high stopped –˥ʔ (5) [Tainan] or high stopped – ˦ʔ (4) [Taipei]) in Taiwanese [2->8]

似

“s” in Mandarin changes to “s” in Taiwanese [may limit to preceding “i” in Mandarin or “ai” in Taiwanese] [ㄙ->ㄙ]

“i” in Mandarin changes to “ai” in Taiwanese [may limit to following “s” and “sh”] [~(i)->ㄞ]

Fourth tone in Mandarin turns into seventh tone (mid – ˨ (22) [Tainan] or mid- ˧ (33) [Taipei]) in Taiwanese [4->7]

我相信 góa siang-sìn/siong-sìn – I believe

我(see above)

相

“x” (ㄒ) in Mandarin turns into “s” (sh) in Taiwanese [which may be limited to when followed by “i” with nasal final] [ㄒ->ㄒ]

“iang” in Mandarin remains as “iang” in Taiwanese [may limit to following “x”] [ㄧㄤ->ㄧㄤ]

or “iang” in Mandarin turns into “iong” in Taiwanese [may limit to following “x”] [ㄧㄤ->ㄩㄥ]

Tones: First tone in Mandarin turns into first tone (high – ˦ (44) [Tainan] or high – ˥ (55) [Taipei]) in Taiwanese [1->1]

信

“x” (ㄒ) in Mandarin turns into “s” (sh) in Taiwanese [which may be limited to when followed by “i” with nasal final] [ㄒ->ㄒ]

“in” turns into “in” in Taiwanese (sound the same) [ㄧㄣ->ㄧㄣ]

Tones: Fourth tone in Mandarin turns into third tone (low – ˩ (11) [Tainan] or low-falling – ˧˩ to ˨˩ (31~21) [Taipei]) [4->3]

白癡 pe̍h-chhi – Idiot

白

“b” in Mandarin turns into “p” in Taiwanese (though may be the same sound) [may limit to preceding “ai”] [ㄅ->ㄅ]

“ai” in Mandarin turns into “eh” (sounds like “ei” ㄟ) [may limit to following “b”] [ㄞ->ㄟ]

Tones: Second tone in Mandarin turns into eighth tone (high stopped –˥ʔ (5) [Tainan] or high stopped – ˦ʔ (4) [Taipei]) in Taiwanese [2->8]

痴

“ch” in Mandarin turns into “chh” (pronounced similar to q/ㄑ in Mandarin) in Taiwanese [may limit to preceding “i”] [ㄔ->ㄑ]

“i” (~) in Mandarin turns into “ih” in Taiwanese (sounds like ㄧ (i)) [may limit to following “ch” in Mandarin or “chh” in Taiwanese] [~(i)->ㄧ]

Tones: First tone in Mandarin turns into first tone (high – ˦ (44) [Tainan] or high – ˥ (55) [Taipei]) in Taiwanese [1->1]

流目屎 lâu-ba̍k-sái (流眼淚) – To cry

流

“l” in Mandarin remains “l” in Taiwanese [may limit to followed by “iu”] [ㄌ->ㄌ]

“iu” in Mandarin becomes “au” in Taiwanese [may limit to preceded by “l”] [ㄧㄡ->ㄠ]

Tones: Second tone in Mandarin turns into fifth tone (rising – ˨˦ (25) [Tainan] or ˩˦ to ˨˦ (14~24) [Taipei]) in Taiwanese [2->5]

目

“m” in Mandarin becomes “b” in Taiwanese [may be limited to preceding “u” in Mandarin or “ak” in Taiwanese] [ㄇ->ㄅ*nasal]

“u” in Mandarin becomes “ak” in Taiwanese [may be limited to following “m” in Mandarin or “(m)b” in Taiwanese] [ㄨ->ㄚㄎ]

Tones: Fourth tone in Mandarin becomes eighth tone (high stopped –˥ʔ (5) [Tainan] or high stopped – ˦ʔ (4) [Taipei]) in Taiwanese [4->8]

“sh” in Mandarin becomes “s” in Taiwanese [may be limited to preceding ~(i)] [ㄕ->ㄙ]

“i” in Mandarin becomes “ai” in Taiwanese [may be limited to following “sh” and “s”] [~(i)->ㄞ]

The list goes on, but I’ll save the two Taiwanese songs I know for later posts. Below are a list of theoretical rules for shifting between Mandarin and Taiwanese, most of which are obviously not the case, but I will improve upon it as I go along:

[~(i)->ㄞ] preceding ㄙ 似 屎          
[~(i)->ㄧ] preceded by ㄔor ㄕ or ㄙ 痴 是 死        
[~i->ㄨ] before ㄙ 思            
[1->1]   相 痴 心 思 風 中 花
[1->8]   一            
[2->2]   啥            
[2->5]   人 流 頭 眠 無 情 叢
[2->8]   白 熟          
[3->2]   你 好 我 死 阮    
[3->4]   骨            
[4->3]   信 看          
[4->4]   這 物          
[4->7]   似 是 夢 夜 念    
[4->8]   目            
[5->5]   個            
[ㄅ->ㄅ] followed by ㄞ 白            
[ㄆ->ㄅ] before ㄤ 旁            
[ㄇ->ㄅ*nasal] followed by ㄨ,ㄧㄢ, ㄥ 目 眠 夢 面      
[ㄈ->ㄏ] followed by ㄥ 風            
[ㄉ->ㄉ] before ㄚ 大            
[ㄊ->ㄊ] followed by ㄡ 頭            
[ㄋ->ㄌ] followed by ㄧ, ㄧㄢ 你 念          
[ㄌ->ㄌ] followed by ㄧㄡ 流            
[ㄍ->_] followed by ㄜ 個            
[ㄍ->ㄍ] followed by ㄨ, ㄨㄚ 骨 瓜          
[ㄎ->ㄎ] followed by ㄢ 看            
[ㄏ->ㄏ] followed by ㄠ, ㄨㄚ 好 花          
[ㄐ->ㄎ] followed by ㄧㄠ 腳            
[ㄑ->ㄐ] followed by ㄧㄥ 情            
[ㄒ->ㄒ] followed by ㄧㄤ 相 西 心        
[ㄓ->ㄉ] followed by ㄨㄥ 中            
[ㄓ->ㄐ] followed by ㄜ 這            
[ㄓ->ㄗ] followd by ㄤ 莊            
[ㄔ->ㄑ] followed by ~ 痴            
[ㄕ->ㄕ] followed by ~(i), a 是 啥          
[ㄕ->ㄙ] followed by ~(i) 屎            
[ㄖ->ㄌ] followed by ㄣ 人            
[ㄖ->ㄍ] followed by ㄨㄢ 阮            
[ㄖ->ㄐ] followed by ㄣ 人            
[ㄘ->ㄗ] followed by ㄨㄥ 欉            
[ㄙ->ㄕ] followed by ~(i) 死            
[ㄙ->ㄙ] followed by ~ 似            
[ㄚ->ㄧㄚ(n)] preceded by ㄕ 啥            
[ㄚ->ㄨㄚ] before ㄉ 大            
[ㄛ->ㄨㄚ] preceded by ㄨ 我            
[ㄜ->ㄟ] preceded by ㄍ 個            
[ㄜ->ㄧㄊ] preceded by ㄓ 這            
[ㄞ->ㄟ(h)] preceded by ㄅ 白            
[ㄡ->ㄠ] preceded by ㄊ 頭            
[ㄡ->ㄧㄎ] preceded by ㄕ 熟            
[ㄢ->ㄨㄚ~n] preceded by ㄎ 看            
[ㄣ->ㄤ] preceded by ㄖ 人            
[ㄣ->ㄧㄣ] preceded by ㄖ 人            
[ㄤ->ㄧㄣ] after ㄆ 旁 莊          
[ㄥ->ㄤ] preceded by ㄇ 夢            
[ㄥ->ㄨㄥ] preceded by ㄈ 風            
[ㄧ->ㄐ] isolated ㄧ            
[ㄧ->ㄧ] preceded by ㄋ 你            
[ㄧ->ㄧㄊ] isolated 一            
[ㄧ->ㄨㄚ] isolated 倚            
[ㄧㄝ->ㄧㄚ] isolated 夜            
[ㄧㄠ->ㄚ] preceded by ㄐ 腳            
[ㄧㄡ->ㄠ] preceded by ㄌ 流            
[ㄧㄢ->ㄧㄣ] preceded by ㄇ 眠 面          
[ㄧㄣ->ㄧㄣ] preceded by ㄒ 信            
[ㄧㄤ->ㄧㄤ] preceded by ㄒ 相            
[ㄧㄤ->ㄩㄥ] preceded by ㄒ 相            
[ㄧㄥ->ㄧㄥ] preceded by ㄑ 情            
[ㄨ (initial) -> ㄍㄨ/ㄍ] followed by ㄛ 我            
[ㄨ->ㄚㄎ] preceded by ㄇ 目            
[ㄨ->ㄛ] isolated 無            
[ㄨ->ㄧ(h)] preceded by ㄨ(initial) 物            
[ㄨ->ㄨㄊ] preceded by ㄍ 骨            
[ㄨ(initial)->ㄅ] isolated 無            
[ㄨ(initial)->ㄇ] followed by ㄨ 物            
[ㄨㄚ->ㄨㄟ] preceded by ㄍ, ㄏ 瓜 花          
[ㄨㄢ->ㄨㄣ] preceded by ㄖ 阮            
[ㄨㄥ->ㄤ] preceded by ㄘ 欉            
[ㄨㄥ->ㄩㄥ] preceded by ㄓ 中          

‘The Pretty Boy from Hanoi’ by Roan Ching-yue 阮慶岳的〈河內美麗男〉

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Translated from the Chinese by Conor Stuart. This is a short story taken from City of Tears (哭泣哭泣城 kuqi kuqi cheng, 2002) by Roan Ching-yue (阮慶岳) , an architect and professor based in Taipei.

Can I still be heart-broken

He arrived in Hanoi in the afternoon. He didn’t know what to do, so he just wandered around the busy districts and the little alleys near Hoan Kiem Lake, buying a few things for the sake of it, then an old opera house building towering at the end of the street drew him over; there were people queuing up to buy tickets at the booth, he approached and asked a woman what was going on, she said it was an event celebrating the fortieth anniversary of something, and that there was an opera performance from Paris, she said it would be really good and that he shouldn’t miss it.

There was still some time remaining after he’d bought the ticket, and after turning a few corners he came across a beer garden where he sat down to order a drink; there were a few western patrons scattered throughout the bar, mostly in couples or in groups, he was sitting alone, feeling a strange unsettling feeling of not knowing where to direct his gaze. He was still unable to convince himself that he was already here in Hanoi, or indeed of the reasons why he had come, it didn’t seem that this was the course his life should be running, but he really sitting here now, it was strange but inescapable.

The sky darkened suddenly, he paid the bill and then made his way gradually back to the opera house. Along the road there were young pedlars, one of them wouldn’t go away and followed him through a few alleys, a beggar woman urged her daughter, who couldn’t have been older than three or four years old, to hold on tight to his trouser leg; this all made him rather uncomfortable, he had a french opera to enjoy, if only these people, the onslaught of which he was helpless against, would stop appearing in front of him, in the square in front of the opera house he could still see the young policeman standing at attention, indifferently looking on without seeing, he even began to feel resentment against the Vietnamese government for allowing these two completely different worlds to coexist, such inappropriate neighbours with no way to avoid clashing. Continue reading →

Review: The Man With Compound Eyes – Chapter 1 《複眼人》第一章

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Been planning several posts, but have been a little busy lately so apologies for the blogging hiatus, though I’ve got a translation of a short story by Roan Ching-yue (阮慶岳） and a review of the amazing Thoughts from Tribeca (《瓊美卡隨想錄》) by Mu Xin (木心) in the works . I’ve decided to review the next book chapter by chapter, so that there will be more regular content on the blog, and so I can give enough weight to each chapter as the story develops.

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On the recommendation of Dan Bloom, I started reading the original Chinese version of The Man with Compound Eyes —《複眼人》— by Wu Ming-Yi (吳明益) which has just been published in English translation. I realized later that I’d actually perused another book by the author in a bookshop in Taipei, a short story collection called The magician on the footbridge (《天橋上的魔術師》) , it had looked good but I hadn’t any money on me that day so I couldn’t buy it, and I promptly forgot about it.

The first chapter is divided into three parts. After the first fragment in which the Han Chinese sounding Li Rongxiang (李榮祥) is caught up in what I assumed was an earthquake, comes the second chapter, which tells the story of an island people. The story, seemed to incorporate adapted and more exaggerated, sexed up versions of Taiwanese aboriginal customs (like those of the Amis/Pancah) and those of other Pacific cultures – like women choosing their sexual partners by tickling them in some tribes, which is portrayed in the story through the series of sexual encounters the protagonist is compelled to go through in the bushes with women from the tribe while he searches for the girl he really likes before his departure from the island, as all second sons must depart the island when they come of age – related in a casual tone but in an anthropological register, which reminded me somewhat of the issues raised about the Han portrayal of aboriginal culture brought up in this essay by Huang Yuqian and about the private vs public duality of the famous anthropologist Bronislaw Malinowski in the film Savage Memory which I watched recently at the Taiwan International Ethnographic Film Festival. Given the controversy over representation and exploitation of aboriginal people that has surfaced in the past – including that surrounding one of the curator’s of the ethnographic film festival Professor Hu Taili, when she shot a documentary in Orchid Island and was accused by the locals of exploitation despite the clearly sensitive approach her film takes (see a review of it here) – I thought it was interesting that an ethnically Han Taiwanese author would choose to take this approach in describing what is clearly a fantastical parallel to Orchid Island. Following these two parts there is another shift in time and space. Alice, who lives in H county, which seems to be more or less synonymous with Taidong county, is grief stricken and planning her suicide after the disappearance of her Dutch boyfriend and his son in an earthquake while they were mountain climbing. The calm way in which she went about planning her own death reminded me of the Singaporean film 15 in which a young Singaporean goes on a tour round the city to see if he can find a non-cliche building to jump off, so that his suicide can be cool. The character Alice brought up several points which I thought were interesting. The first was her criticism of academia in Taiwan, which she criticizes as overly bureaucratic and she criticizes academics as overly business minded. As I have first hand experience of studying a literature degree in Taiwan I recognized this character as similar to some of the people I’ve met during my studies, as she’s almost a caricature of the typical Taiwanese young woman who wants to write but is sucked in by depression and blames everything around her for her own problems. Not that academia doesn’t have its problems – the sheer amount of work involved means that reading is always hard to fit in to your schedule, and lots of professors in Taiwan seem more interested in how much grant money they can get rather than having any passion for scholarship itself.

The second issue was the idea of development in Taiwan. She mentions that the city has changed and developed into an urban sprawl – which reminded me of a ted talk i saw but can not locate, about a guy who had originally been protesting the construction of the Suhua highway, but who discovered that he was being called a traitor by the local people who saw the highway as bringing much needed development to the region.  The same dilemma is thrown up in the book when after hearing Alice’s complaints at the development being inauthentic, her colleague replies: 「照妳這麼說，那真的應該是什麼樣子？」(According to your logic then what should it really look like?). I felt this was an interesting way to introduce doubt towards the unreliable narrator, as the controversy over urban renewal projects in Taiwan often have two sides encapsulated by this statement. When discussing this issue with aboriginal students in Taiwan I came across two different points of view, some being in favour of economic development which can help the people in terms of earning enough to survive, though it erodes traditional culture, the other favoured cultural heritage but at the cost of many people’s livelihoods.

The Sound of a Falling Angel in the Night – Lolita Hu 夜裡天使墮落的聲音——胡晴舫

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Image Lolita Hu (胡晴舫) was born in Taipei and graduated from the Foreign Languages Department of National Taiwan University and went on to get her masters in the Theatre Department of The University of Wisconsin. In 1999 she moved to Hong Kong. She writes cultural criticism as well as short stories and essays. Her works have been published in the media in Mainland China, Taiwan, Hong Kong and Singapore. She currently lives in Tokyo.

Dim light is cast by the dragon-head-shaped wall lights, the pulse of electro shakes the entire space, comfy sofas divide the room into different nooks and crannies for people to drink in, pink nylon and muslin hang from the ceiling to the floor, prints of hundreds of bored faces are faintly discernible upon it. It could only be the hottest spot in Beijing this weekend.

Every three months a new nightclub appears in Beijing, and everybody trips over themselves to go there. The nightclub will normally be in a hutong, a dilapidated courtyard style house or a factory that’s about to be demolished. The same people every time scurry along to explore the new bar, they spout their cigarette smoke while telling you in lofty tones how the music in this new place is cool. After three months have passed, if it’s not that the style of the music has changed, or that the building which houses the club has suddenly been demolished by the city government, then it’s that it loses popularity for no particular reason whatsoever. Another bar opens, it’s also housed in an old factory, a hutong, or a traditional courtyard style house, wherever it may be, it always sounds incredibly cool.

Everyone vies with one another to be the first to spread the news. Then, at the new bar you meet the same familiar faces who recommended the old bar to you so enthusiastically.

When someone mentions the old bar, it’s as if they’re talking about a has-been celebrity. It’s so passé, they say. I don’t even know why it was so popular in the first place, it’s only logical that it’s become as out of fashion as it should have been in the first place.

It’s Friday night at 2am at the hottest bar of this couple of months, situated in the Sanlitun area. She has drunk quite a lot, but she’s still quite sober. She came with a friend who had a song twenty years ago which was popular throughout the whole of Beijing but who never followed it up with any other songs, when meeting a stranger he would always say “I’m so-and-so, do you want to buy me a drink?’. She would stand next to her friend, then not long after that she would ditch him, and sit down next to an immaculately dressed foreigner.

Continue reading →

‘The Blue Child’ by Egoyan Zheng 〈藍孩子的故事〉伊格言著

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ImageZheng Qianci (鄭千慈), whose pen name is Egoyan Zheng (伊格言）is a prominent science fiction writer and poet from Taiwan born in 1977. After dropping out of medical school, he completed his masters in Chinese Literature at Tamkang University. He’s won and been nominated for several literary prizes, including nominations for the Man Asian Literary Prize and the Frank O’Connor International Short Story Award. This is an extract from his science fiction novel The Dream Devourer (《噬夢人》）, which was published in 2010. This extract was first translated for eRenlai magazine in January 2011 by Conor Stuart (蕭辰宇`).

The Western limits of the Pacific Ocean. The island nation of Taiwan.

The North coast. The beach at sunset. Although one might call it sunset, given the low latitude, even in the midst of late Autumn, night never fell early. Although the sunlight had actually already long vanished beyond the horizon; there remained the sapphire curtain of night permeated with a milky glean hanging down from the edge of the heavens.

K walked alone away from the bright lights of the fish market beside the quay and wandered along the deserted beach, enjoying the stirring chill of the sea breeze after nightfall. In the distance, above the dark coastal highway, several blimps passed by from time to time at irregular intervals, more intermittent than frequent; one had to wait quite a while to catch sight of the circular beam of the searchlights passing by.

When there were no blimps passing, the vast space in the distance on the margins of his vision was a pitch black. Nearby the neon lights of a seaside amusement park glistened, the carousel with its colorful vaulted arches shone with an orange light in the midst of the pitch black surroundings. It was on appearance a popular scenic spot, in the day time it would most likely be teeming with tourists. Now though, even the majority of those that had loitered had already dispersed. The part of the beach K was standing on was a long way off from the fairground. He couldn’t hear any of the voices or the music. Or perhaps it was because the sea wind rose up to carry away the noise. However, in his line of sight, the fine strokes of sketched light stood out amongst the vast dark background, and the flowing multitude of people and things as they followed the revolutions of the vaulted axis, appeared at that instant to be so beautiful and unreal, like a ghostly gathering of the after images of light…

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