摘抄昆德拉
很喜欢这分开的几段，让我们把它们连起来看吧

在《不朽》第三章中，昆德拉写到：
In our world, where there are more and more faces, more and more alike, it is difficult for an individual to reinforce the originality of the self and to become convinced of its inimitable uniqueness. There are two methods for cultivating the uniqueness of the self: the method of addition and the method of subtraction. Agnes subtracts from her self everything that is exterior and borrowed, in order to come closer to her sheer essence (even with the risk that zero lurks at the bottom of the subtraction). Laura’s method is precisely the opposite: in order to make her self ever more visible, perceivable, seizable, sizeable, she keeps adding to it more and more attributes and she attempts to identify herself with them (with the risk that the essence of the self may be buried by the additional attributes).

在第五章中，在阿涅丝生命的结尾，昆德拉写到：
How to live in a world with which you disagree? How to live with people, when you share neither their suffering nor their joys? When you know that you don’t belong among them? Agnes is driving down a quiet road in her car and she answers herself: love or the cloister. Love or the cloister: two ways you can reject the Creator’s computer, and escape it
……
What is unbearable in life is not being but being one’s self. The Creator, with his computer, released into the world billions of selves as well as their lives. But apart from this quantity of lives it is possible to imagine some primordial being that was present even before the Creator began to create, a being which was — and still is — beyond his influence. When she lay on the ground that day and the monotonous song of the stream flowed into her, cleansing her of the self, the dirt of the self, she participated in that primordial being which manifested itself in the voice of fleeting time and the blue of the sky; she now knows there is nothing more beautiful.
The route she drove on to from the highway was quiet, and distant stars, infinitely distant stars, shone over it. Agnes drove on and thought: Living, there is no happiness in that. Living: carrying one’s painful self through the world.
But being, being is happiness. Being: becoming a fountain, a fountain on which the universe falls like warm rain.
……
For the last time the basic pattern of her life was repeated: she was running and someone was chasing her. Paul was chasing her. And she had nothing in her hands; neither brush, nor comb, nor ribbon. She was disarmed. She was naked, dressed only in some sort of white hospital gown. She found herself on the last lap where nothing could help her any more, where she could only rely on the speed with which she ran. Who would be faster? Paul or she? Her dying or his arrival?
The fatigue grew deeper and she had the feeling that she was rapidly moving away, as if someone were pulling her bed backwards. She opened her eyes and saw the nurse in a white coat. What was her face like? She couldn’t make it out. And then the words came to her: ‘No, they don’t have faces there.’

阿涅丝与她的父亲在死前做着一样的事：父亲撕碎了自己的每一张照片；阿涅丝则拼命地与自己的丈夫赛跑，在他到达之前死去。不朽，在昆德拉的眼中是一件如此可怕的事情。人的全部的生活，在不朽中被扭曲。正如歌德害怕被贝蒂娜追逐，海明威害怕被他的情妇和读者们追逐一样，一旦阿涅丝被追赶上，她就将永远存在。昆德拉的下场最终还是与歌德、海明威重合了，他注定无法获得与阿涅丝一般的美好结局。他获得了不朽，也将在不朽的法庭中接受审判。
让我来续写这一幕悲剧吧

Eternal trial
Hemingway, Judge
Kundera, Defendant

Hemingway. "You have been making us say nonsense. Now it's someone else's turn to make you do so. Because of your novels and exile, I judge you to have immortality. Does the defendant have anything to say?"

Kundera looks around. "No, I forsaw this scenario the moment I started writing."

Hemingway. "You seem very accepting of your end."

"Because I don't see Goethe here. I'm sure now that he's enjoyed the pleasure of nonexistence. Good luck to you, Ernest. Good luck to us. And good luck to both us to go to have a bluish sleep some day.＂