《 xiě zuò》 1993 nián gā lì mǎ
　　
　　 wò wéi 'ěr de shì jiàn， wǒ qǔ míng wéi《 nián qīng de yīng guó fēi xíng yuán zhī sǐ》。 zuì chū wǒ jiǎng gěi bó nǔ wǎ · yǎ kē tīng， tā dāng shí lái tè lǔ wéi 'ěr kàn wàng wǒ。 tā xiǎng dào pāi yī bù piānzǐ， ràng wǒ jiǎng shù zhè wèi 'èr shí suì de nián qīng fēi xíng yuán zhī sǐ。 yú shì tā pāi chéng liǎo。 shè yǐng shī shì kǎ luó lín · shàng pò dì 'āi · dé · lǐ bù， lù yīn shī shì mǐ xiē 'ěr · wéi 'ào nèi。 dì diǎn shì wǒ zài bā lí de yù suǒ。
　　
　　 piānzǐ pāi wán yǐ hòu， wǒ men jiù qù dào wǒ zài nuò fú lè bǎo de bié shù。 wǒ tán dào xiě zuò， wǒ shì tú tán lùn zhè gè： xiě zuò。 yú shì chū liǎo dì 'èr bù piānzǐ， pāi shè yǔ zhì piàn réng shì yuán bān rén mǎ héng héng guó jiā shì tīng xué huì de xī 'ěr wéi · bù lǚ mǔ hé kè luò dé · jí sà 'ěr。
　　
　　 qǔ míng wéi《 luó mǎ》 de zhè piān wén zì zuì chū shì yī bù piānzǐ：《 luó mǎ de duì huà》， tā shì yìng péng yǒu jiāo wǎ nèi lā · zhā nuò ní zhī yāo 'ér shè zhì de， yóu yì dà lì guǎng bō diàn shì tái zī zhù。
　　
　　 mǎ gé lì tè · dù lā sī
　　
　　 yī jiǔ jiǔ sān nián liù yuè yú bā lí

　　Écrire, Gallimard, 1993

　　《 fù lǐng shì》 1965 nián / xiǎo shuō gā lì mǎ chū bǎn shè

　　Le Vice-Consul, Gallimard, 1965 (tr. The Vice-Consul, 1968)

　　láo 'ér · wǎ · shī tài yīn shēng zài cǐ dì， shā tǎ lā， zài zhè lǐ dù guò liǎo qīng shàonián shí qī de dà bù fēn shí guāng。 tā de fù qīn céng shì dà xué lǎo shī。 tā yòu yī gè dà tā jiǔ suì de gē gē héng héng wǒ cóng wèi jiàn guò tā héng héng jù shuō zhù zài bā lí。 tā de fù mǔ xiàn yǐ bù zài rén shì。
　　
　　 guān yú láo 'ér · wǎ · shī tài yīn de tóng nián， jí biàn cóng tǎ jiā nà · kǎ 'ěr nà lǐ， wǒ yě cóng lái méi yòu tīng dào shénme gěi wǒ liú xià tè bié yìn xiàng de shì qíng。 tǎ jiā nà shì láo 'ér zhōng xué shí zuì hǎo de nǚ yǒu。

　　《 yìn dù zhī gē》 xì yìng lún dūn guó jiā jù yuàn jīng lǐ bǐ dé · háo zhī qǐng， xiě yú yī jiǔ qī 'èr nián bā yuè。

　　India Song, Gallimard, 1973 (tr. India Song, 1976)

　　“ pà sī tè lā， zhè shì xìng。 luó dé lǐ gē · pà sī tè lā。 ”
　　
　　“ luó dé lǐ gē · pà sī tè lā。”
　　
　　“ duì。 tā shā de rén shì pèi léi sī。 tuō ní · pèi léi sī。”
　　
　　“ tuō ní · pèi léi sī。”
　　
　　 zài yǔ xià， liǎng wèi cóng guǎng chǎng shàng zǒu guò。
　　
　　“ tā zài jǐ diǎn zhōng shā sǐ pèi léi sī de？”
　　
　　 nà wèi kè rén yě bù qīng chǔ， cǐ shí zhèng jìn huáng hūn， dà gài zài xià wǔ gāng kāi shǐ de shí hòu bā。 luó dé lǐ gē · pà sī tè lā shā liǎo pèi léi sī， tóng shí hái shā liǎo zì jǐ de qī zǐ。 liǎng jù shī tǐ zài liǎng xiǎo shí qián bèi fā xiàn， tǎng zài pèi léi sī de chē kù shēn chù。

　　Dix heures et demie du soir en été, Paris, 1960 (tr. Ten-Thirty on a Summer Night, London, 1961)

　　tā men shì bāo lǎn jiā wù de nǚ yōng， zài bā lí huǒ chē zhàn xià chē de bù jì qí shù de bù liè tǎ ní nǚ rén。 tā men shì xiāng cūn jí shì de liú dòng xiǎo fàn， mài diǎn 'ér zhēn tóu xiàn nǎo， líng qī bā suì。 tā men héng héng chéng qiān shàng wàn héng héng bù míng yī wén， wéi yòu yī gè sǐ wáng de shēn fèn。
　　
　　 zhè xiē rén wéi yī guān xīn de shì rú hé shēng cún xià qù： bù yào 'è sǐ， měi wǎn dōuyào zhǎo dào qī shēn zhī dì。
　　
　　 hái yào bù shí dì， zài 'ǒu rán de xiāng yù zhōng， liáo liáo tiān。 liáo liáo tā men gòng tóng de bù xìng yǔ gè zì de jiān xīn。 zhè yī mù mù wǎng wǎng fā shēng zài xià rì de guǎng chǎng shàng， liè chē shàng， yǐ jí jí shì shàng nà xiē xī xī rǎng rǎng、 yòu yīnyuè bàn zòu de kā fēi guǎn lǐ。 méi yòu zhè xiē， zhào tā men de shuō fǎ， tā men jiù wú fǎ bǎi tuō gū dú。

　　Le Square, Gallimard, 1955 (tr. The Square, 1959)

　　《 guǎng dǎo zhī liàn》 1960 nián / diàn yǐng jiǎo běn gā lì mǎ chū bǎn shè

　　Hiroshima mon amour, Gallimard, 1960 (tr. Hiroshima mon amour, 1961)
　　
　　Hiroshima mon amour is an acclaimed 1959 drama film directed by French film director Alain Resnais, with a screenplay by Marguerite Duras. It is the documentation of an endless conversation between a French-Japanese interracial couple about memory and forgetfulness. It was a major catalyst for the Nouvelle Vague (French New Wave), making highly innovative use of miniature flashbacks, a deflated sense of time, and omniscient narration from multiple characters.
　　
　　The title literally translates from French to English as 'Hiroshima, My Love', though the film is almost always referred to by its original French title.
　　
　　Plot
　　
　　Hiroshima mon amour concerns a series of conversations (or one enormous conversation) over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as she, and a Japanese architect (Eiji Okada), referred to as him. They have had a brief relationship, and are now separating. The two debate memory and forgetfulness as She prepares to depart, comparing failed relationships with the bombing of Hiroshima, and the perspectives of people inside and outside the incidents. The early part of the film recounts, in the style of a documentary, but narrated by the so far completely unidentified characters, the effects of the Hiroshima bomb on August 6, 1945, in particular the loss of hair and the complete anonymity of the remains of some victims. He had been conscripted into the Japanese army, and his family was in Hiroshima on that day.
　　
　　The film uses highly structured, repetitive dialogue, mostly consisting of Her narration, with Him interjecting to say she is wrong, lying, confused, or to deny and contradict her statements. Although He disagrees and rejects many of the things She says, he pursues her constantly throughout the film. Hair, skin, loneliness, and desire are recurring motifs throughout the film.
　　Cast
　　
　　 * Emmanuelle Riva as Elle
　　 * Eiji Okada as Lui
　　 * Bernard Fresson as L'Allemand
　　 * Stella Dassas as La Mere
　　 * Pierre Barbaud as Le Pere
　　
　　Production
　　
　　According to James Monaco, Resnais was originally commissioned to make a short documentary about the atomic bomb, but spent several months confused about how to proceed because he did not want to recreate his 1955 Holocaust documentary Night and Fog. He later went to his producer and joked that the film could not be done unless Marguerite Duras was involved in writing the screenplay.
　　
　　The film was a co-production by companies from both Japan and France. The producers stipulated that one main character must be French and the other be Japanese, and also required that the film be shot in both countries employing film crews comprising technicians from each.
　　Reception
　　
　　Hiroshima mon amour earned an Oscar nomination for screenwriter Marguerite Duras, as well as a special award at the 1959 Cannes Film Festival, where the film was excluded from the official selection because of its sensitive subject matter as well as to avoid upsetting the U.S. government.
　　
　　Hiroshima mon amour has been described as "The Birth of a Nation of the French New Wave" by American critic Leonard Maltin. New Wave filmmaker Jean-Luc Godard described the film's inventiveness as "Faulkner plus Stravinsky" and celebrated its originality, calling it "the first film without any cinematic references". Filmmaker Eric Rohmer said, "I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema".
　　
　　Among the film's innovations is Resnais' experiments with very brief flashback sequences intercut into scenes to suggest the idea of a brief flash of memory. Resnais later used similar effects in Last Year at Marienbad.
　　Film references
　　
　　In his book on Resnais, James Monaco ends his chapter on Hiroshima mon amour by claiming that the film contains a reference to the classic 1942 film Casablanca:
　　“ Here is an 'impossible' love story between two people struggling with the imagery of a distant war. At the end of this romantic, poignant movie about leave takings and responsibilities, the two fateful lovers meet in a cafe. Resnais gives us a rare establishing shot of the location. 'He' is going to meet 'She' for the last time at a bar called 'The Casablanca' - right here in the middle of Hiroshima! It's still the same old story. A fight for love and glory. A case of do or die. The world will always welcome lovers. As time goes by. ”
　　Cultural errors
　　
　　In Japan Journals: 1947-2004, film historian Donald Richie tells in an entry for 25 January 1960 of seeing the film in Tokyo and remarks on various distracting (for the Japanese) cultural errors which Resnais made. He notes, for example, that the Japanese-language arrival and departure time announcements in the train scenes bear no relation to the time of day in which the scenes are set. Also, people pass through noren curtains into shops which are supposedly closed. The noren is a traditional sign that a shop is open for business and is invariably taken down at closing time.
　　In popular culture
　　Music
　　
　　 * The film has inspired several songs. One was written by John Foxx and Billy Currie, and initially recorded and performed by their band Ultravox! in 1977. One recorded version of the song is a romantic electronic ballad, notable for showcasing an early use of a drum machine in popular music. Ultravox! also recorded a different arrangement of the song, in an aggressive punk style. This version was covered by the band The Church.
　　
　　 * The heavy metal band Alcatrazz also recorded a song titled "Hiroshima Mon Amour" on their debut album, No Parole from Rock N' Roll.
　　
　　 * In 2003, the New York-based no wave band My Favorite released "Burning Hearts," which draws upon the main characters in the film.
　　
　　 * Punk rock band The (International) Noise Conspiracy's album The Cross of My Calling features a song entitled "Hiroshima Mon Amour."
　　
　　 * In 2002, Bryan Ferry released the album Frantic which includes the song "Hiroshima", where the chorus includes the full sentence of "Hiroshima Mon Amour".
　　
　　Film
　　
　　 * In 2001, Japanese film director Nobuhiro Suwa directed a remake, titled H Story.
　　
　　 * In 2003, Iranian film director Bahman Pour-Azar released Where Or When. The 85-minute film places Pour-Azar's characters in the same circumstances as Resnais' nearly a half century earlier. However, the current global tension of today's world is the backdrop instead of post-war Hiroshima. When screening the film, Stuart Alson, who founded the New York International Independent Film and Video Festival, said that the piece was "a parallel line of work with the French masterpiece "Hiroshima mon amour".

　　《 qíng rén》 1984 nián / xiǎo shuō zǐ yè

　　L'Amant, Les Éditions de Minuit, 1984. Was awarded the 1984 Prix Goncourt (tr. The Lover)

　　qián bù jiǔ wǒ mǎi dé yī chù fáng wū。 suǒ zài dì diǎn shí fēn jiā měi。 ràng rén jué dé jiù xiàng shì zài xī là yī yàng。 fáng wū sì zhōu de shù mù yědōu guī shǔ yú wǒ。 qí zhōng yòu yī zhū shù jù dà wú bǐ， zài xià tiān， lǜ yīn rú gài， wǒ bù huì yǐ rù shǔ wéi kǔ liǎo。 wǒ yào zhǎo rén xiū zhù yī zuò lù tiān píng tái。 huáng hūn shí fēn， zài píng tái shàng， wǒ jiāng tiào wàng xī là xī zhào ……
　　
　　 zài zhè lǐ， zài mǒu xiē shí kè， yáng guāng shì chún yī 'ér jué duì de， bǎ yī qiēdōu zhào dé tōng tǐ fēn míng， shì duō zhòng xìng de， tóng shí yòu shì zhǔn què wú wù de， měng liè dì shè xiàng nà wéi yī de yī gè mù biāo……
　　
　　 héng héng yī jiǔ liù nián xià rì tīng dào de tán huà

　　L'après-midi de M. Andesmas, Gallimard, 1960 (tr. The Afternoon of Mr. Andesmas, 1964)

　　yǐ jīng shí liù suì。 zài zhè gè nián líng shàng， wǒ de xíng wéi jǔ dòng hái shì xiàng yī gè hái zǐ。 nà shì cóng xī gòng huí guó， tóng zhōng guó qíng rén fēn bié yǐ hòu， chéng yè chē， cóng bō 'ěr duō kāi chū de liè chē， zài 1930 nián。 wǒ shì hé wǒ yī jiā rén zài yī qǐ， wǒ de liǎng gè gē gē， hái yòu wǒ mǔ qīn。 zài sān děng chē yòu bā gè zuò wèi dān jiān chē xiāng shí， wǒ xiǎng lìng wài hái yòu liǎng、 sān gè rén， qí zhōng yòu yī gè nián qīng rén， zuò zài wǒ de duì miàn， tā zài kàn wǒ。 tā dà gài yòu sān shí suì。 nà yīnggāi shì zài xià jì。 wǒ yī zhí shì chuānzhuó zài zhí mín dì shí chuān de qiǎn sè qún shān， guāng jiǎo chuān yī shuāng liáng xié。 wǒ méi yòu shuì。 nà gè nán rén wèn qǐ wǒ jiā tíng qíng kuàng， yú shì wǒ jiù jiǎng zhí mín dì shēng huó， xià yǔ， yán rè， yóu láng， yǔ fǎ guó de bù tóng zhī chù， qù sēn lín yuǎn zú， wǒ hái yào tōng guò zhè yī xué nián xué shì xué wèi kǎo shì zhè yī lèi shì， wú fēi huǒ chē shàng chéng liǎo guàn lì de nà zhǒng xián tán， zhè shì zhǐ yào bǎ zì jǐ de gù shì， jiā lǐ de shì zhào zhí shuō jiù shì liǎo。 hòu lái， tū rán fā xiàn suǒ yòu de réndōu shuì zhe liǎo， wǒ de mǔ qīn hé wǒ de gē gē chē yī kāi chū bō 'ěr duō hěn kuài jiù shuì zhe liǎo。 wǒ shuō huà shēng yīn hěn dī， bù yào chǎo xǐng tā men。 rú guǒ tā men tīng dào wǒ jiǎng jiā lǐ de shì， tā men huì hǒu jiào、 wēi xié wǒ bù xǔ kāi kǒu。 qīng shēng hé nà gè nán rén tán huà， chē xiāng lǐ lìng wài nà sān、 sì gè rén yě shuì qù liǎo。 zhè yàng jiù zhǐ yòu nà gè nán rén hé wǒ xǐng zhe méi yòu shuì。 jiù zhè yàng， tū rán yī xià， kāi shǐ liǎo， jiù zài tóng yī shí kè， zhuǎn yǎn zhī jiān， qiān zhēn wàn què， ér qiě fāng shì cū yě。 zài nà gè shí hòu， zhè lèi shì shì jué bù shuō de， tè bié shì zài nà zhǒng chǎng hé， zhè yī lái wǒ men yě jiù bù kě néng jì xù tán huà liǎo。 bǐ cǐ yě bù kě néng zài kàn shuí。 yī diǎn lì qì yě méi yòu liǎo。 bèi jī dǎo liǎo。 shì wǒ， dà gài shuō bì xū shuì yī shuì míng tiān yī zǎo dào bā lí bù yào tài pí láo。 tā zuò zài kào jìn mén kǒu de dì fāng， tā bǎ dēng guān liǎo。 zài tā hé wǒ zhī jiān yòu yī diǎn kòngxì。 wǒ shēn zhí tǎng zài cháng yǐ shàng， bǎ tuǐ pān qǐ， hé shàng yǎn。 wǒ tīng jiàn tā dǎ kāi chē xiāng mén。 tā chū qù liǎo， huí lái ná zhe chē shàng de yī tiáo gài bèi， tā bǎ bèi gài zài wǒ shēn shàng， wǒ zhāng kāi yǎn jīng， duì tā xiào xiào， shuō xiè xiè。 tā shuō：“ yè lǐ huǒ chē shàng tā men bǎ nuǎn qì guān diào， zǎo chén hěn lěng。” wǒ jiù shuì liǎo。 wǒ bèi tā shēn dào wǒ tuǐ shàng rè rè ruǎn ruǎn de shǒu shòu nòng xǐng， tā de shǒu qīng qīng bǎ wǒ de tuǐ fēn kāi， shì zhe wǎng wǒ shēn shàng shēn lái， wǒ wēi wēi zhāng kāi yǎn jīng。 wǒ kàn jiàn tā zài kàn chē xiāng lǐ de rén， tā zài zhù yì chá kàn， tā hài pà。 wǒ bǎ wǒ de shēn tǐ yī diǎn diǎn màn màn wǎng tā nà biān shēn guò qù。 wǒ bǎ wǒ de jiǎo dǐ zài tā de shēn shàng。 wǒ bǎ jiǎo gěi tā。 tā zhuā zhù wǒ de jiǎo。 wǒ bì zhe yǎn jīng shùn yìng zhe tā de dòng zuò。 kāi shǐ dòng dé hěn màn， hòu lái yuè lái yuè màn； shǐ zhōng shì kè zhì zhe， zuì hòu dá dào kuài gǎn， bù dòng liǎo， yào shì tā jiào chū shēng lái， nà jiù wú fǎ rěn shòu liǎo。
　　
　　 yòu hěn cháng yī duàn shí jiān， chú liǎo huǒ chē zhèn dòng xiǎng shēng yǐ wài bié wú dòng jìng。 chē kāi dé gèng kuài liǎo， xiǎng shēng zhèn 'ěr yù lóng。 suí hòu huǒ chē shēng yòu dī xià lái， biàn dé yòu kě yǐ rěn shòu liǎo。 tā de shǒu mō dào wǒ shēn shàng。 shǒu xiǎn dé jīng huāng bù dìng， yǐ rán rè rè de， tā hài pà， wǒ ná tā wǒ zài wǒ de shǒu lǐ。 hòu lái wǒ yòu fàng kāi， suí tā zěn me dòng。
　　
　　 liè chē xiǎng shēng yòu zhèn xiǎng qǐ lái。 tā de shǒu suō huí， yòu hěn cháng yī duàn shí jiān duǒ kāi wǒ， hòu lái wǒ jiù bù zhī dào liǎo， wǒ yī dìng shì shuì zhe liǎo。
　　
　　 tā yòu lái liǎo。
　　
　　 tā fǔ mó quán shēn， fǔ mó， fù， yāo xià， dài yòu yù wàng zài shēng wēn qíng jī qǐ nà zhǒng qíng wèi。 yòu shí tā tū rán yòu tíng xià lái。 tā mō dào nà gè dì fāng， zài fā dǒu， xiàng shì yào niè yǎo， gǔn tàng gǔn tàng。 rán hòu， yòu kāi shǐ yí dòng。 tā gěi zì jǐ shè zhì yī zhǒng lǐ zhì， yòu wēn róu yòu zhī lǐ， ràng zì jǐ qīnqiè kě 'ài dì xiàng zhè gè hái zǐ gào bié。 zài shǒu de zhōu wéi， shì huǒ chē de xuān nào shēng。 zài huǒ chē sì zhōu， yī piàn hēi yè。 zài huǒ chē de xuān shēng zhī zhōng， shì chē shàng tōng dào zhōng chén jì。 huǒ chē tíng zhàn， bǎ rén chǎo xǐng。 tā zài yè lǐ xià chē。 dào liǎo bā lí， wǒ zhāng kāi yǎn jīng yī kàn， tā de wèi zǐ kōng zài nà lǐ。

　　《 wù zhì shēng huó》 1987 nián P ． O． L． chū bǎn shè
　　
　　 fǎ guó zhù míng nǚ zuò jiā mǎ gé lì tè · dù lā（ MargueriteDuras， 1914-） 1987 nián yòu liǎng běn shū chū bǎn， yī shì xiǎo shuō《 āi mǐ lì ·L．》， yī shì suí bǐ jí《 wù zhì shēng huó》（ fù tí wéi《 duì rè luó mǔ · bó rú 'ěr tán huà lù》）。 suí bǐ jí shōu yòu sì shí bā piān wén zhāng， cháng duǎn bù yī， duǎn wén bù guò sān、 wǔ bǎi zì， cháng de yòu yī wàn zì， dà duō yǔ xiě zuò de shì xiāng guān， shè jí zuò zhě zì jǐ de zuò pǐn， yǐ jí yǔ cǐ xiāng guān de qí tā fāng miàn， yòu guān yǔ yáng · ān dé liè jié shí zhī shì， zuò zhě běn rén yǐn jiǔ zhì jí děng， yě shì shū zhōng jì shù de cái liào。 yòu guān dù lā de sī xiǎng， yuè dú tā zhè xiē wén zhāng biàn kě liǎo rán， wú xū duō yán。 dàn kě zhù yì de què shì tā guān yú xiě zuò、 xiě fǎ de yī zhǒng dú dào jiàn jiě。 zuò zhě zài yǐn yán zhōng shuō， shū zhōng“ méi yòu yī piān wén zì wán quán fǎn yìng wǒ yī bān duì suǒ shè jí de wèn tí jìn xíng sī kǎo de nèi róng， yīn wéi yī bān lái shuō， wǒ bìng méi yòu sī kǎo shénme， chú liǎo shè huì bù gōng zhèng zhè gè wèn tí zhī wài， qí tā wǒ bìng méi yòu sī suǒ shénme。” shì shí shàng， jí shǐ shì shè jí xiě zuò de shì děng děng， sì hū yě yǔ“ shè huì bù gōng zhèng zhè gè wèn tí” xiāng guān， zhè shì bù xū zài zì miàn shàng qiú zhèng de， cóng qián zài fāng miàn qù gǎn shòu biàn kě tǐ zhī。 wén xué yǔ xiě zuò bù kě néng pái chú shè huì lì shǐ xiàn shí。 zuò zhě shēn míng：“ zhè běn shū zhì duō dài biǎo wǒ mǒu xiē shí jī、 mǒu xiē shí rì、 guān yú mǒu xiē shì qíng de xiǎng fǎ。 suǒ yǐ yě dài biǎo wǒ de sī xiǎng。” zuò zhě rèn wéi“ nà zhǒng zhuān héng wǔ duàn de sī xiǎng”，“ nà zhǒng zuò wéi zuì hòu què dìng de sī xiǎng”， shì tā yuǎn yuǎn bì kāi de“ huò hài”。

　　La Vie matérielle, POL, 1987 (tr. Practicalities)

　　《 lán yǎn jīng hēi tóu fā》 1986 nián / xiǎo shuō zǐ yè
　　
　　 yī gè xià rì de yè wǎn， yǎn yuán shuō， jiāng shì zhè gè gù shì de zhōng xīn suǒ zài。
　　
　　 yī sī fēng yě méi yòu。 yán shí lǚ guǎn yǐ jīng zài chéng shì de qián fāng xiǎn lù。 lǚ guǎn dà tīng de mén chuāng dū chǎng kāi zhe， bèi hòu shì hóng lǐ tòu hēi de xī yáng， qián miàn shì ruò míng ruò 'àn de huā yuán。
　　
　　 dà tīng lǐ yòu yī xiē fù nǚ， shēn biān dài zhe hái zǐ。 tā men zài tán lùn xià rì de yè wǎn。 nà zhēn shì nán dé yù dào， zhěng gè xià jì dà gài zhǐ yòu sān sì gè zhè yàng de yè wǎn 'ér qiě hái bù shì nián nián rú cǐ。 chèn hái huó zhe， yīngdāng hǎohǎo xiǎng shòu xiǎng shòu， yīn wéi shuí yě bù zhī dào shàng dì shì fǒu hái huì ràng rén xiǎng shòu dào rú cǐ měi lì de xià yè。

　　Les Yeux bleus Cheveux noirs, Les Éditions de Minuit, 1986 (tr. Blue Eyes, Black Hair)