中文字幕理论片,69视频免费在线观看,亚洲成人app,国产1级毛片,刘涛最大尺度戏视频,欧美亚洲美女视频,2021韩国美女仙女屋vip视频

So there's this thing called the law of unintended consequences. I thought it was just like a saying, but it actually exists, I guess. There's, like, academic papers about it. And I'm a designer. I don't like unintended consequences. People hire me because they have consequences that they really intend, and what they intend is for me to help them achieve those consequences. So I live in fear of unintended consequences. And so this is a story about consequences intended and unintended. 

I got called by an organization called Robin Hood to do a favor for them. Robin Hood is based in New York, a wonderful philanthropic organization that does what it says in the name. They take from rich people, give it to poor people. In this case, what they wanted to benefit was the New York City school system, a huge enterprise that educates more than a million students at a time, and in buildings that are like this one, old buildings, big buildings, drafty buildings, sometimes buildings that are in disrepair, certainly buildings that could use a renovation. Robin Hood had this ambition to improve these buildings in some way, but what they realized was to fix the buildings would be too expensive and impractical. So instead they tried to figure out what one room they could go into in each of these buildings, in as many buildings that they could, and fix that one room so that they could improve the lives of the children inside as they were studying. And what they came up with was the school library, and they came up with this idea called the Library Initiative. All the students have to pass through the library. That's where the books are. That's where the heart and soul of the school is. So let's fix these libraries. 

So they did this wonderful thing where they brought in first 10, then 20, then more architects, each one of whom was assigned a library to rethink what a library was. They trained special librarians. So they started this mighty enterprise to reform public schools by improving these libraries. Then they called me up and they said, 'Could you make a little contribution?' I said, 'Sure, what do you want me to do?' And they said, 'Well, we want you to be the graphic designer in charge of the whole thing.' And so I thought, I know what that means. That means I get to design a logo. I know how to design that. I design logos. That's what people come to me for. So OK, let's design a logo for this thing. Easy to do, actually, compared with architecture and being a librarian. Just do a logo, make a contribution, and then you're out, and you feel really good about yourself. And I'm a great guy and I like to feel good about myself when I do these favors. 

So I thought, let's overdeliver. I'm going to give you three logos, all based on this one idea. So you have three options, pick any of the three. They're all great, I said. So the basic idea was these would be new school libraries for New York schools, and so the idea is that it's a new thing, a new idea that needs a new name. What I wanted to do was dispel the idea that these were musty old libraries, the kind of places that everyone is bored with, you know, not your grandparents' library. Don't worry about that at all. This is going to this new, exciting thing, not a boring library. 

So option number one: so instead of thinking of it as a library, think of it as a place where it is like: do talk, do make loud noises. Right? So no shushing, it's like a shush-free zone. We're going to call it the Reading Room. 

That was option number one. OK, option number two. Option number two was, wait for it, OWL. I'll meet you at OWL. I'm getting my book from the OWL. Meet you after school down at OWL. I like that, right? Now, what does OWL stand for? Well, it could be One World Library, or it could be Open. Wonder. Learn. Or it could be -- and I figure librarians could figure out other things it could be because they know about words. So other things, right? And then look at this. It's like the eye of the owl. This is irresistible in my opinion. 

But there's even another idea. Option number three. Option number three was based actually on language. It's the idea that 'read' is the past tense of 'read,' and they're both spelled the same way. So why don't we call this place The Red Zone? I'll meet you at the Red Zone. Are you Red? Get Red. I'm well Red. 

I really loved this idea, and I somehow was not focused on the idea that librarians as a class are sort of interested in spelling and I don't know. 

But sometimes cleverness is more important than spelling, and I thought this would be one of those instances. So usually when I make these presentations I say there's just one question and the question should be, 'How can I thank you, Mike?' But in this case, the question was more like, 'Um, are you kidding?' Because, they said, the premise of all this work was that kids were bored with old libraries, musty old libraries. They were tired of them. And instead, they said, these kids have never really seen a library. The school libraries in these schools are really so dilapidated, if they're there at all, that they haven't bored anyone. They haven't even been there to bore anyone at all. So the idea was, just forget about giving it a new name. Just call it, one last try, a library. Right? OK. So I thought, OK, give it a little oomph? Exclamation point? Then -- this is because I'm clever -- move that into the 'i,' make it red, and there you have it, the Library Initiative. So I thought, mission accomplished, there's your logo. So what's interesting about this logo, an unintended consequence, was that it turned out that they didn't really even need my design because you could type it any font, you could write it by hand, and when they started sending emails around, they just would use Shift and 1, they'd get their own logo just right out of the thing. And I thought, well, that's fine. Feel free to use that logo. And then I embarked on the real rollout of this thing -- working with every one of the architects to put this logo on the front door of their own library. Right? 

So here's the big rollout. Basically I'd work with different architects. First Robin Hood was my client. Now these architects were my client. I'd say, 'Here's your logo. Put it on the door.' 'Here's your logo. Put it on both doors.' 'Here's your logo. Put it off to the side.' 'Here's your logo repeated all over to the top.' So everything was going swimmingly. I just was saying, 'Here's your logo. Here's your logo.' 

Then I got a call from one of the architects, a guy named Richard Lewis, and he says, 'I've got a problem. You're the graphics guy. Can you solve it?' And I said, OK, sure.' And he said, 'The problem is that there's a space between the shelf and the ceiling.' So that sounds like an architectural issue to me, not a graphic design issue, so I'm, 'Go on.' And Richard says, 'Well, the top shelf has to be low enough for the kid to reach it, but I'm in a big old building, and the ceilings are really high, so actually I've got all this space up there and I need something like a mural.' And I'm like, 'Whoa, you know, I'm a logo designer. I'm not Diego Rivera or something. I'm not a muralist.' And so he said, 'But can't you think of anything?' So I said, 'OK, what if we just took pictures of the kids in the school and just put them around the top of the thing, and maybe that could work.' And my wife is a photographer, and I said, 'Dorothy, there's no budget, can you come to this school in east New York, take these pictures?' And she did, and if you go in Richard's library, which is one of the first that opened, it has this glorious frieze of, like, the heroes of the school, oversized, looking down into the little dollhouse of the real library, right? And the kids were great, hand-selected by the principals and the librarian. It just kind of created this heroic atmosphere in this library, this very dignified setting below and the joy of the children above. 

So naturally all the other librarians in the other schools see this and they said, well, we want murals too. And I'm like, OK. So then I think, well, it can't be the same mural every time, so Dorothy did another one, and then she did another one, but then we needed more help, so I called an illustrator I knew named Lynn Pauley, and Lynn did these beautiful paintings of the kids. Then I called a guy named Charles Wilkin at a place called Automatic Design. He did these amazing collages. We had Rafael Esquer do these great silhouettes. He would work with the kids, asking for words, and then based on those prompts, come up with this little, delirious kind of constellation of silhouettes of things that are in books. Peter Arkle interviewed the kids and had them talk about their favorite books and he put their testimony as a frieze up there. Stefan Sagmeister worked with Yuko Shimizu and they did this amazing manga-style statement, 'Everyone who is honest is interesting,' that goes all the way around. Christoph Niemann, brilliant illustrator, did a whole series of things where he embedded books into the faces and characters and images and places that you find in the books. And then even Maira Kalman did this amazing cryptic installation of objects and words that kind of go all around and will fascinate students for as long as it's up there. 

So this was really satisfying, and basically my role here was reading a series of dimensions to these artists, and I would say, 'Three feet by 15 feet, whatever you want. Let me know if you have any problem with that.' And they would go and install these. It just was the greatest thing. 

But the greatest thing, actually, was -- Every once in a while, I'd get, like, an invitation in the mail made of construction paper, and it would say, 'You are invited to the opening of our new library.' So you'd go to the library, say, you'd go to PS10, and you'd go inside. There'd be balloons, there'd be a student ambassador, there'd be speeches that were read, poetry that was written specifically for the opening, dignitaries would present people with certificates, and the whole thing was just a delirious, fun party. So I loved going to these things. I would stand there dressed like this, obviously not belonging, and someone would say, 'What are you doing here, mister?' And I'd say, 'Well, I'm part of the team that designed this place.' And they'd said, 'You do these shelves?' And I said, 'No.' 'You took the pictures up above.' 'No.' 'Well, what did you do?' 'You know when you came in? The sign over the door?' 'The sign that says library?' 

'Yeah, I did that!' And then they'd sort of go, 'OK. Nice work if you can get it.' So it was so satisfying going to these little openings despite the fact that I was kind of largely ignored or humiliated, but it was actually fun going to the openings, so I decided that I wanted to get the people in my office who had worked on these projects, get the illustrators and photographers, and I said, why don't we rent a van and drive around the five boroughs of New York and see how many we could hit at one time. And eventually there were going to be 60 of these libraries, so we probably got to see maybe half a dozen in one long day. And the best thing of all was meeting these librarians who kind of were running these, took possession of these places like their private stage upon which they were invited to mesmerize their students and bring the books to life, and it was just this really exciting experience for all of us to actually see these things in action. So we spent a long day doing this and we were in the very last library. It was still winter, because it got dark early, and the librarian says, 'I'm about to close down. So really nice having you here. Hey, wait a second, do you want to see how I turn off the lights?' I'm like, 'OK.' And she said, 'I have this special way that I do it.' And then she showed me. What she did was she turned out every light one by one by one by one, and the last light she left on was the light that illuminated the kids' faces, and she said, 'That's the last light I turn off every night, because I like to remind myself why I come to work.' 

So when I started this whole thing, remember, it was just about designing that logo and being clever, come up with a new name? The unintended consequence here, which I would like to take credit for and like to think I can think through the experience to that extent, but I can't. I was just focused on a foot ahead of me, as far as I could reach with my own hands. Instead, way off in the distance was a librarian who was going to find the chain of consequences that we had set in motion, a source of inspiration so that she in this case could do her work really well. 40,000 kids a year are affected by these libraries. They've been happening for more than 10 years now, so those librarians have kind of turned on a generation of children to books and so it's been a thrill to find out that sometimes unintended consequences are the best consequences. 

Thank you very much. 

有一種東西叫意外結(jié)果定律。我還以為這只是說(shuō)說(shuō)而已， 但是這一定律真實(shí)存在。這方面有一些學(xué)術(shù)文章。我是個(gè)設(shè)計(jì)師， 我不喜歡意外結(jié)果。人們雇傭我，就是因?yàn)樗麄?想要達(dá)到某個(gè)結(jié)果， 而他們希望我 幫他們達(dá)到這個(gè)目標(biāo)。所以我活在對(duì)意外結(jié)果的恐懼中。這個(gè)故事是關(guān)于計(jì)劃中 和意料外的結(jié)果的。

一個(gè)叫羅賓漢的組織打電話給我， 希望我?guī)蛡€(gè)忙。羅賓漢是一個(gè)總部在紐約的很棒的慈善組織， 他們的任務(wù)就如同其名字一樣， 損有余而補(bǔ)不足 這次，他們想為紐約的學(xué)校做貢獻(xiàn)， 這些學(xué)校接收了超過(guò)一百萬(wàn)學(xué)生， 在像這棟樓一樣的樓里提供教育。都是些很老的大樓， 十分破舊，有的年久失修， 因此其中一些需要整修。羅賓漢的本意是想 改善這些樓的設(shè)施， 但他們意識(shí)到 整修這些樓不僅昂貴，而且不現(xiàn)實(shí)。所以， 他們想是不是能 在盡量多的樓里， 每棟樓選擇一個(gè)房間， 翻修那一個(gè)房間， 這樣，他們能在 孩子們學(xué)習(xí)的同時(shí)， 提高他們的生活品質(zhì)。他們決定修建學(xué)校圖書(shū)館， 稱之為“圖書(shū)館計(jì)劃”。所有學(xué)生都會(huì)經(jīng)過(guò)圖書(shū)館。圖書(shū)館有書(shū)， 是學(xué)校的心臟和靈魂所在。所以我們得弄好這些圖書(shū)館。

他們開(kāi)始做這件美好的 事情，請(qǐng)來(lái)了 開(kāi)始是10位，然后是20位， 接著是更多的建筑師， 每個(gè)人都被分配了一個(gè)圖書(shū)館， 來(lái)重新思考圖書(shū)館的定義。他們培養(yǎng)了一些 特別的圖書(shū)館管理員。他們通過(guò)改善圖書(shū)館， 開(kāi)始了改革公立學(xué)校 這項(xiàng)偉大的事業(yè).。然后他們打電話給我說(shuō)， “你能幫一點(diǎn)忙嗎？“ 我說(shuō)，“當(dāng)然可以， 你們想讓我做什么？“ 接著他們說(shuō)， “我們想讓你作為圖形設(shè)計(jì)師 來(lái)負(fù)責(zé)整個(gè)事情?！?我想了想，我明白了， 這意味著我得設(shè)計(jì)出一個(gè)標(biāo)識(shí)。我知道怎么做， 我是商標(biāo)設(shè)計(jì)師。人們找我都是為此而來(lái)。那好吧，那就給 這項(xiàng)活動(dòng)做個(gè)標(biāo)識(shí)。相比設(shè)計(jì)建筑和當(dāng)管理員， 這其實(shí)是個(gè)簡(jiǎn)單的活。只需要做個(gè)標(biāo)志，做點(diǎn)貢獻(xiàn)， 就可以走人, 而且你會(huì)覺(jué)得自己很棒。我很棒，我喜歡因?yàn)閹兔Χ?自我感覺(jué)良好。

所以我想，要不多干一點(diǎn)活吧。我會(huì)給你們?nèi)齻€(gè) 基于一個(gè)想法設(shè)計(jì)的標(biāo)識(shí)。你們可以從這三個(gè)中 任選其一。它們都很棒，我介紹道?；鞠敕ㄊ?， 這是新的學(xué)校圖書(shū)館， 為“新約克”（紐約）的 學(xué)校而設(shè)計(jì)， 所以，這是一個(gè)新生事物， 一個(gè)需要一個(gè)新名稱的新點(diǎn)子。我不想讓人們認(rèn)為 這些圖書(shū)館都十分老舊， 那種每個(gè)人都 厭煩的圖書(shū)館， 你懂的，就是老一輩人 那種圖書(shū)館， 完全不是這樣。這會(huì)是一個(gè) 令人振奮的新事物， 而不是無(wú)聊的圖書(shū)館。

所以，方案一：不把這個(gè)地方當(dāng)成圖書(shū)館， 而是把它當(dāng)成可以自由談話、 發(fā)出響聲的地方。沒(méi)人能阻止別人說(shuō)話， 不會(huì)有人說(shuō)“噓”。我們會(huì)把這個(gè)地方叫做閱讀室。

這是第一個(gè)方案。好了，接下來(lái)是第二個(gè)。方案二是，瞧好了， OWL。我們OWL見(jiàn)。我要去OWL取書(shū)。放學(xué)后我在OWL等你。我喜歡這個(gè)。OWL是什么意思呢？事實(shí)上，它既可以是“One World Library”（一個(gè)世界圖書(shū)館）， 也可以是開(kāi)放(Open)、好奇 (Wonder)、學(xué)習(xí)(Learn)。還可以是——我想圖書(shū)管理員 肯定有別的解釋， 因?yàn)樗麄兌芏嘣~。那還有什么呢？看，它像貓頭鷹 (owl)的眼睛。我對(duì)此難以抗拒。

但是，還有另一個(gè)點(diǎn)子。方案三。方案三，其實(shí)是個(gè)文字游戲。靈感來(lái)源是，“閱讀”的 過(guò)去時(shí)與“紅色”同音， 過(guò)去時(shí)和現(xiàn)在時(shí)的拼寫(xiě)相同。所以，我們?yōu)楹尾话堰@個(gè) 地方叫做“紅區(qū)”呢？在“紅區(qū)”見(jiàn)面吧。你“紅”（讀書(shū)）了嗎？變“紅”（閱讀）吧。我“很紅”（讀了很多書(shū)）。

我很喜歡這個(gè)想法，  而不知怎的 我沒(méi)考慮到 圖書(shū)管理員們，一般都…… 對(duì)拼寫(xiě)很在意。

（笑聲） 但有時(shí)創(chuàng)意比拼寫(xiě)正確更重要。

我認(rèn)為眼下就是如此。當(dāng)我展示自己的設(shè)計(jì)時(shí)， 客戶一般只會(huì)有一個(gè)問(wèn)題， 那就是—— “Mike，我要怎樣感謝你？” 但這一次，客戶的問(wèn)題卻是， “呃，你在開(kāi)玩笑嗎？” 他們說(shuō)，因?yàn)?這些設(shè)計(jì)的前提 是孩子們厭倦了 老舊的圖書(shū)館， 受夠了這些。然而這些孩子從未 見(jiàn)過(guò)真正的圖書(shū)館。這些學(xué)校里的圖書(shū)館， 都非常破舊， 有的學(xué)校甚至沒(méi)有。他們連厭倦 的機(jī)會(huì)都沒(méi)有。這些圖書(shū)館甚至 沒(méi)有存在過(guò)。所以，我不需要給它 取什么新名字。只要叫它“圖書(shū)館”就行了， 就這樣。所以我想，行吧， 弄點(diǎn)花樣？加個(gè)感嘆號(hào)？然后—— 我運(yùn)用聰明才智—— 我把感嘆號(hào)移動(dòng)到了I處， 把它變成紅色。這樣就完成了：“圖書(shū)館計(jì)劃”。于是任務(wù)完成了， 這就是你們要的標(biāo)志。有趣的是，這個(gè)標(biāo)識(shí) 有一個(gè)意外結(jié)果。事實(shí)證明，客戶其實(shí) 并不需要我設(shè)計(jì)什么， 因?yàn)檫@個(gè)標(biāo)識(shí)可以 用任何字體打印，可以手寫(xiě)， 而當(dāng)他們開(kāi)始發(fā)郵件的時(shí)候， 只要在鍵盤(pán)上打個(gè)感嘆號(hào)， 就能直接打出自己的標(biāo)志。我想，嗯，行吧。這個(gè)標(biāo)志你們隨便用。然后，我開(kāi)始真正展示我的設(shè)計(jì)。和每一個(gè)建筑師合作， 把這個(gè)標(biāo)識(shí)放在圖書(shū)館門(mén)上。

事情是這樣的。我需要和不同建筑師合作。原本羅賓漢是我的客戶， 現(xiàn)在建筑師們是我的客戶。我會(huì)說(shuō)：“這是你的標(biāo)志。把它放在門(mén)上?！?“這是你的標(biāo)志。把它放在兩扇門(mén)上?！?“這是你的標(biāo)志。把它放在邊上?！?“這是你的標(biāo)志。在頂上把它重復(fù)放。” 所以每件事都做的挺快。我只是說(shuō)，“這是你的標(biāo)志。這是你的標(biāo)志?！?/p>

然后，我接到了一個(gè)建筑師的電話， 他叫理查德·路易斯， 他說(shuō)：“我遇到了個(gè)麻煩。你是負(fù)責(zé)圖像設(shè)計(jì)的。能幫個(gè)忙嗎？我說(shuō)，“當(dāng)然可以?！?他說(shuō)：“書(shū)架和天花板之間 有一個(gè)空檔?！?對(duì)我來(lái)說(shuō)這聽(tīng)起來(lái)像 建筑問(wèn)題， 而不是圖像設(shè)計(jì)問(wèn)題。我說(shuō)：“繼續(xù)?！?他說(shuō)：“最高的書(shū)架必須低到 孩子們能夠得到， 但在老樓房里天花板很高， 所以有一塊很大的空白， 我需要弄些壁畫(huà)?！?我說(shuō)：“??？我是商標(biāo)設(shè)計(jì)師， 不是畫(huà)家。我不會(huì)壁畫(huà)。” 他說(shuō)：“但你不能想點(diǎn)什么嗎？” 我說(shuō)：“行，如果給孩子拍點(diǎn)照片， 然后放在書(shū)架上方， 或許就搞定了?！?我夫人是攝影師， 我告訴她：“多羅西，這沒(méi)有預(yù)算， 你能到紐約東邊的這個(gè)學(xué)校拍點(diǎn)照嗎？” 她去了， 而如果你到了那個(gè)圖書(shū)館， 這批圖書(shū)館第一個(gè)開(kāi)放的， 你會(huì)看到，像英雄一般 很大的人像，俯視著 下面的小小圖書(shū)館。這些孩子都很好， 由校長(zhǎng)和圖書(shū)管理員 親自挑選。這就使得圖書(shū)館有種英雄氣氛， 下面是莊嚴(yán)的氣氛， 上面是歡快的孩子們。

后來(lái)其他學(xué)校的圖書(shū)館員看到了， 他們說(shuō)，“我們也想要壁畫(huà)?！?我想，好吧。但這不能每次都一樣， 所以多羅西拍了照片 給另外兩個(gè)圖書(shū)館， 然后我們需要?jiǎng)e的支援了。我認(rèn)識(shí)一個(gè)叫林·泡利的插畫(huà)師， 他畫(huà)了這些美麗的孩子們。然后我找來(lái)Automatic Design 的查爾斯·維京， 他做了拼貼畫(huà)。我們有拉斐爾·伊斯科， 他做了剪影。他會(huì)和孩子們合作， 想尋找詞語(yǔ)， 基于孩子們的回答， 做出這些剪影組合， 反映了書(shū)中的內(nèi)容。比特·阿科爾采訪了孩子們， 讓他們說(shuō)說(shuō)他們最喜歡的書(shū)， 然后把他們的話放在上面。斯特凡·薩格和清水裕子合作， 用漫畫(huà)配上格言， “誠(chéng)實(shí)的人都很有趣，” 放在周圍?？死锼雇懈ァぢ櫬?，優(yōu)秀插畫(huà)家， 創(chuàng)作了一系列作品， 畫(huà)面中書(shū)本與書(shū)中的 人物形象、場(chǎng)景等融為一體。還有瑪利亞·卡曼， 她的物品和詞語(yǔ)的剪紙， 貼滿圖書(shū)館，一直深深地 吸引著孩子們。

大家都很滿意。我基本只要把尺寸告訴藝術(shù)家就行。我會(huì)說(shuō)， “3X5英尺，隨便你弄。有問(wèn)題找我?！?然后他們就會(huì)把這些弄好。這是最棒的事。

但更棒的事，其實(shí)是， 我時(shí)不時(shí)會(huì) 收到彩色卡紙做的請(qǐng)柬， 邀請(qǐng)我去參加圖書(shū)館的開(kāi)館大會(huì)。所以，我去了那個(gè)圖書(shū)館， 比如這個(gè)PS 10， 走進(jìn)去。會(huì)有氣球，會(huì)有學(xué)生接待， 有事先擬好的演講， 有為了開(kāi)館寫(xiě)的詩(shī)歌， 還有大人物頒發(fā)證書(shū)， 整個(gè)活動(dòng)就是一個(gè) 激動(dòng)人心的派對(duì)。我愛(ài)參加這些活動(dòng)。我會(huì)站在那，穿著正裝， 顯得格格不入， 然后有人問(wèn)我， “你為什么來(lái)這里？” 我說(shuō)：“我參與設(shè)計(jì)了這個(gè)地方。” 他們問(wèn)：“你設(shè)計(jì)了書(shū)架嗎？” 我說(shuō)，“不是。” “那就是拍了上面的照片？” “不是。” “那你設(shè)計(jì)了什么？” “你進(jìn)門(mén)時(shí)看到 那個(gè)符號(hào)了嗎？” “那個(gè)寫(xiě)了圖書(shū)館的指示牌嗎？”

”是啊，那是我設(shè)計(jì)的。“ 他們就走了，“設(shè)計(jì)得不錯(cuò)，挺好的?！?總之我很高興去參加這些開(kāi)幕式， 盡管我基本上被忽視或者嘲笑。但這真的很有趣， 所以我決定叫來(lái)我工作室的人， 是他們找來(lái)了插畫(huà)師和攝影師， 所以我說(shuō)，為什么不租一輛車， 然后在紐約開(kāi)來(lái)開(kāi)去， 看看我們一次性能看到多少圖書(shū)館。最后一共有60個(gè)圖書(shū)館。所以或許我們能在一天看完6個(gè)。最棒的是見(jiàn)到 圖書(shū)管理員， 他們管理這些地方， 主宰這里， 就像他們自己的舞臺(tái)， 他們被請(qǐng)來(lái) 迷住孩子們，讓書(shū)本活起來(lái)。親眼見(jiàn)到他們的”表演“ 讓我們都十分興奮。我們花了一整天， 來(lái)到最后一個(gè)圖書(shū)館。這是冬天，天黑的很早， 圖書(shū)管理員說(shuō)， “我要關(guān)門(mén)了。很高興你們能來(lái)。等等，你要看看我怎么關(guān)燈的嗎？” 我說(shuō)，“好啊?！?她說(shuō)，“我有特別的做法?！?她展示給我看。她一個(gè)個(gè)把燈關(guān)上， 最后一盞燈， 是那盞照亮著孩子們臉的燈。她說(shuō)，“那是我每天最后關(guān)的燈。因?yàn)槲蚁胩嵝炎约?我工作是為了什么。

看，當(dāng)我開(kāi)始做這一切時(shí)， 我只是設(shè)計(jì)一個(gè)標(biāo)識(shí)， 然后想個(gè)巧妙的名字。最終的意外結(jié)果， 我很想歸功于自己， 很想認(rèn)為一切都在 我最初的設(shè)想中。但我不能。我只是關(guān)注下一步，只考慮 自己觸手可及的事情， 而在遠(yuǎn)方， 是一個(gè)圖書(shū)管理員， 把這個(gè)因果鏈，把我們不斷發(fā)展的 一系列活動(dòng) 當(dāng)做一種激勵(lì)。這樣，她就能很好地 完成自己的工作。每年有四萬(wàn)個(gè)孩子 受益于這些圖書(shū)館?，F(xiàn)在已經(jīng)過(guò)去了10年。某種意義上這些圖書(shū)館員 讓一代孩子接觸到了圖書(shū)， 而意識(shí)到這一點(diǎn)讓人興奮：有時(shí)候，意外的結(jié)果 是最好的結(jié)果。

謝謝大家。

So I was trained to become a gymnast for two years in Hunan, China in the 1970s. When I was in the first grade, the government wanted to transfer me to a school for athletes, all expenses paid. But my tiger mother said, 'No.' My parents wanted me to become an engineer like them. After surviving the Cultural Revolution,they firmly believed there's only one sure way to happiness: a safe and well-paid job. It is not important if I like the job or not.

七十年代時(shí)我在中國(guó)湖南練過(guò)兩年體操。當(dāng)我上小學(xué)一年級(jí)時(shí)，政府想讓我轉(zhuǎn)學(xué)去體校，一切免費(fèi)。我那位虎媽說(shuō)“不行”。我父母希望我長(zhǎng)大象他們一樣當(dāng)工程師。作為文革的幸存者，他們堅(jiān)定認(rèn)為獲得幸福的唯一可靠途徑是一個(gè)安定高薪的工作，至于我喜不喜歡那個(gè)工作并不重要。

But my dream was to become a Chinese opera singer. That is me playing my imaginary piano. An opera singer must start training young to learn acrobatics, so I tried everything I could to go to opera school. I even wrote to the school principal and the host of a radio show. But no adults liked the idea. 

但我的夢(mèng)想是成為黃梅戲演員。那是我在彈假想的鋼琴。戲曲演員必須從小開(kāi)始學(xué)身段功夫，我想盡了一切辦法想去黃梅戲?qū)W校，甚至寫(xiě)信給戲校校長(zhǎng)和一個(gè)電臺(tái)節(jié)目主持人。

No adults believed I was serious. Only my friends supported me, but they were kids, just as powerless as I was. So at age 15, I knew I was too old to be trained. My dream would never come true. I was afraid that for the rest of my lifesome second-class happiness would be the best I could hope for.

但沒(méi)有一個(gè)大人喜歡那個(gè)主意，沒(méi)有一個(gè)大人相信我是認(rèn)真的。只有我的小伙伴們支持我，但他們也是小孩，和我一樣無(wú)能為力。十五歲時(shí)，我知道自己要學(xué)戲已經(jīng)年紀(jì)太大，我的夢(mèng)想已不再可能實(shí)現(xiàn)。我擔(dān)心在余下的一生里，自己的命就是得到些二流幸福而已。

But that's so unfair. So I was determined to find another calling. Nobody around to teach me? Fine. I turned to books.

老天不公啊！暗下決心要為自己尋找另一個(gè)使命 。周圍無(wú)人賜教？沒(méi)什么大不了， 我從書(shū)中學(xué)習(xí)。

I satisfied my hunger for parental advice from this book by a family of writers and musicians.['Correspondence in the Family of Fou Lei']

《傅雷家書(shū)》滿足了我對(duì)長(zhǎng)輩教誨的期盼， 寫(xiě)書(shū)的傅家是一個(gè)作家、音樂(lè)家薈萃的家庭。

I found my role model of an independent woman when Confucian tradition requires obedience.['Jane Eyre']

我從《簡(jiǎn)愛(ài)》這本書(shū)中找到了獨(dú)立女性的榜樣， 盡管儒家傳統(tǒng)教人聽(tīng)話順從。

And I learned to be efficient from this book.['Cheaper by the Dozen']

我從《效率專家爸爸》這本書(shū)中學(xué)會(huì)高效率。

And I was inspired to study abroad after reading these.['Complete Works of Sanmao' (aka Echo Chan)] ['Lessons From History' by Nan Huaijin]

這幾本書(shū)燃起了我對(duì)出國(guó)深造的渴望。（《三毛全集》、南懷瑾的《歷史的經(jīng)驗(yàn)》）

I came to the U.S. in 1995, so which books did I read here first? Books banned in China, of course. 'The Good Earth' is about Chinese peasant life. That's just not convenient for propaganda. Got it. The Bible is interesting, but strange. 

我1995年來(lái)美國(guó)，在美國(guó)我首先讀什么書(shū)呢？當(dāng)然是中國(guó)的禁書(shū)?！洞蟮亍分v的是中國(guó)農(nóng)民的故事，真實(shí)得不方便宣傳。懂了。《圣經(jīng)》很有趣但也很奇怪。

That's a topic for a different day. But the fifth commandment gave me an epiphany: 'You shall honor your father and mother.' 'Honor,' I said. 'That's so different, and better, than obey.' So it becomes my tool to climb out of this Confucian guilt trap and to restart my relationship with my parents.

那個(gè)話題他日再聊。但十誡中的第五誡給了我靈感：“你應(yīng)榮耀你的父母”。我心里一動(dòng)，“榮耀”不等于而且遠(yuǎn)勝于“服從”！它成為我爬出儒家負(fù)罪感的工具，它成為我爬出儒家負(fù)罪感的工具，讓我重建與父母的關(guān)系。

Encountering a new culture also started my habit of comparative reading. It offers many insights. For example, I found this map out of place at first because this is what Chinese students grew up with. It had never occurred to me, China doesn't have to be at the center of the world. 

來(lái)到一個(gè)新文化環(huán)境也促成我比較閱讀的習(xí)慣，來(lái)到一個(gè)新文化環(huán)境也促成我比較閱讀的習(xí)慣，它讓人讀得更深刻。舉個(gè)例子，第一次看到這幅地圖時(shí)我覺(jué)得它有些怪, 因?yàn)檫@才是中國(guó)大陸學(xué)生從小到大使用的世界地圖。我之前從未意識(shí)到原來(lái)中國(guó)不一定非要位于世界地圖中央。

A map actually carries somebody's view. Comparative reading actually is nothing new. It's a standard practice in the academic world. There are even research fields such as comparative religion and comparative literature.

原來(lái)地圖帶著某種視角。比較閱讀并不新鮮，它是學(xué)術(shù)界里的標(biāo)準(zhǔn)做法，比較文學(xué)、比較宗教甚至成為專門(mén)研究領(lǐng)域。比較文學(xué)、比較宗教甚至成為專門(mén)研究領(lǐng)域。

Compare and contrast gives scholars a more complete understanding of a topic. So I thought, well, if comparative reading works for research, why not do it in daily life too? So I started reading books in pairs. So they can be about people -- ['Benjamin Franklin' by Walter Isaacson]['John Adams' by David McCullough] -- who are involved in the same event, or friends with shared experiences. ['Personal History' by Katharine Graham]['The Snowball: Warren Buffett and the Business of Life,' by Alice Schroeder] 

對(duì)比對(duì)照讓學(xué)者們對(duì)一個(gè)課題有更全面的了解。對(duì)比對(duì)照讓學(xué)者們對(duì)一個(gè)課題有更全面的了解。我琢磨著，既然比較閱讀對(duì)研究有用，為什么不把它用在日常生活中呢？因此我開(kāi)始把書(shū)成對(duì)來(lái)讀。它們可以是關(guān)于同一事件的不同當(dāng)事人，它們可以是關(guān)于同一事件的不同當(dāng)事人，（《本杰明·富蘭克林》、《約翰·亞當(dāng)斯》）或兩個(gè)有共同經(jīng)歷的朋友。（凱瑟琳·格雷厄姆的《個(gè)人歷史》、巴菲特傳記《雪球》）

I also compare the same stories in different genres -- (Laughter) [Holy Bible: King James Version]['Lamb' by Chrisopher Moore] -- or similar stories from different cultures, as Joseph Campbell did in his wonderful book.['The Power of Myth' by Joseph Campbell] For example, both the Christ and the Buddha went through three temptations.For the Christ, the temptations are economic, political and spiritual. For the Buddha, they are all psychological: lust, fear and social duty -- interesting.

我還把故事相同但文體不同的書(shū)做對(duì)比, （《圣經(jīng)》、小說(shuō)《羔羊》）或?qū)Ρ饶切﹣?lái)自不同文化的相似故事，象約瑟夫·坎貝爾在其杰作《神話的力量》中所做的那樣。舉個(gè)例子，耶穌和佛祖都經(jīng)歷了三大誘惑，耶穌經(jīng)歷的是經(jīng)濟(jì)、政治和精神誘惑， 佛祖經(jīng)歷的則都是心理誘惑：欲望、恐懼和社會(huì)責(zé)任——有意思。

So if you know a foreign language, it's also fun to read your favorite books in two languages. ['The Way of Chuang Tzu' Thomas Merton]['Tao: The Watercourse Way' Alan Watts] Instead of lost in translation, I found there is much to gain. For example, it's through translation that I realized 'happiness' in Chinese literally means 'fast joy.' Huh! 'Bride' in Chinese literally means 'new mother.' Uh-oh. (Laughter)

如果你懂外語(yǔ)，把你喜歡的書(shū)的兩個(gè)語(yǔ)言版本對(duì)比讀也很有意思。（托馬斯·默頓翻譯的《莊子》、阿倫·瓦特翻譯的《道德經(jīng)》） 們常說(shuō)翻譯總有缺失，我卻發(fā)現(xiàn)翻譯也可以帶來(lái)收獲。舉個(gè)例子，是翻譯使我意識(shí)到原來(lái)中文“快樂(lè)”一詞的字面意思可解為“快速歡樂(lè)”，呃... 中文“新娘”一詞的字面意思可解為“新媽媽”，天啊！

Books have given me a magic portal to connect with people of the past and the present. I know I shall never feel lonely or powerless again. Having a dream shattered really is nothing compared to what many others have suffered. I have come to believe that coming true is not the only purpose of a dream. Its most important purpose is to get us in touch with where dreams come from, where passion comes from, where happiness comes from. Even a shattered dream can do that for you.

書(shū)已成為我與古人今人溝通的一個(gè)神奇門(mén)戶， 書(shū)已成為我與古人今人溝通的一個(gè)神奇門(mén)戶， 讓我再不會(huì)覺(jué)得孤單無(wú)助。與其他人的苦難相比，夢(mèng)想破滅算不了什么。與其他人的苦難相比，夢(mèng)想破滅算不了什么。我漸漸意識(shí)到成真并非夢(mèng)想的唯一目的， 我漸漸意識(shí)到成真并非夢(mèng)想的唯一目的， 它的最重要目的是讓我們觸摸到 夢(mèng)想來(lái)源的地方、 熱情來(lái)源的地方、快樂(lè)來(lái)源的地方， 哪怕一個(gè)破滅的夢(mèng)想也可以讓你經(jīng)歷那種觸摸。

So because of books, I'm here today, happy, living again with a purpose and a clarity, most of the time. So may books be always with you.

因?yàn)闀?shū)，我今天得以在此， 快樂(lè)地活著，生活的目標(biāo)和意義重新變得明確， 在大部分時(shí)候。希望書(shū)也永遠(yuǎn)與你相伴！

今天多學(xué)一點(diǎn)知識(shí)，明天就少一句求人的話。

問(wèn)：“我讀過(guò)很多書(shū)，但后來(lái)大部分都忘記了，你說(shuō)這樣的閱讀究竟有什么意義？”

答：“當(dāng)我還是個(gè)孩子時(shí)，我吃過(guò)很多食物，現(xiàn)在已經(jīng)記不起來(lái)吃過(guò)什么了。但可以肯定的是，它們中的一部分已經(jīng)長(zhǎng)成我的骨頭和肉。”

你讀過(guò)的書(shū)其實(shí)早已融進(jìn)你的骨血，只要一個(gè)觸動(dòng)點(diǎn)，就會(huì)噴薄而出。

有人問(wèn)，女孩子上那么久的學(xué)、讀那么多的書(shū)，最終不還是要回到一座平凡的城市，打一份平常的工，嫁作人婦，洗衣煮飯，相夫教子，何苦折騰？

我想，我們的堅(jiān)持是為了，就算最終跌入繁瑣，洗盡鉛華，同樣的工作，卻有不一樣的心境，同樣的家庭，卻有不一樣的情調(diào)，同樣的后代，卻有不一樣的素養(yǎng)。

全世界每年閱讀書(shū)籍?dāng)?shù)量排名第一的是猶太人，平均每人一年讀書(shū)64本。而中國(guó)13億人口，除去教科書(shū)，平均每人一年讀書(shū)1本都不到。一個(gè)愛(ài)讀書(shū)的民族，自然是優(yōu)秀的。

自諾貝爾獎(jiǎng)設(shè)立以來(lái)，猶太人共拿走了20%的化學(xué)獎(jiǎng)、25%的物理獎(jiǎng)、27%的生理與醫(yī)學(xué)獎(jiǎng)、41%的經(jīng)濟(jì)學(xué)獎(jiǎng)、12%的諾貝爾文學(xué)獎(jiǎng)，同時(shí)還拿到了1/3以上的普利策獎(jiǎng)、1/3以上的奧斯卡獎(jiǎng)。而猶太人在世界上的人口只占0.3℅。

“你現(xiàn)在的氣質(zhì)里，藏著你走過(guò)的路，讀過(guò)的書(shū)，愛(ài)過(guò)的人。”

“讀書(shū)，讓我即使沒(méi)有富庶的生活，仍有富庶的生命，讓我清貧至今也樸素至今，平凡至今也善良至今，渺小至今也強(qiáng)大至今。

甚至日后嫁人，此生智慧和善念就是我的嫁妝。我未入過(guò)繁華之境，未聽(tīng)過(guò)喧囂之聲，未見(jiàn)過(guò)太多生靈，未有過(guò)滾燙心靈，但書(shū)本給了我所有智慧和情感。”

“如果你半夜醒來(lái)發(fā)現(xiàn)自己已經(jīng)好長(zhǎng)時(shí)間沒(méi)讀書(shū)，而且沒(méi)有任何負(fù)罪感的時(shí)候，你就必須知道，你已經(jīng)墮落了。

不是說(shuō)書(shū)本本身有多么了不起，而是讀書(shū)這個(gè)行為意味著你沒(méi)有完全認(rèn)同這個(gè)現(xiàn)世和現(xiàn)實(shí)，你還有追求，還在奮斗，你還有不滿，你還在尋找另一種可能，另一種生活方式。”

我讀書(shū)為的就是為了不遇到我不想遇到的人。讀書(shū)，是為了成為一個(gè)有溫度懂情趣會(huì)思考的人。