一米阳光

B | 整届赛事他们的犯规数始终高居前列，决赛里更是多次用战术拦截打乱对方节奏，中场核心两黄离场，赛后双方爆发肢体冲突，颁奖仪式上阿根廷队员甚至集体背对领奖台。一时间，“输不起”“球风粗野”的指责铺天盖地。    London, Oct 18 (UNI) "The Seven Moons of Maali Almeida" by Sri Lankan Shehan Karunatilaka, a supernatural satire set amid a murderous civil war in the island nation, has won the Booker Prize.

The novel is about a photographer who wakes up dead, with a week to ask his friends to find his photos and expose the brutality of war, BBC and other media reported.

Camilla, the Queen Consort, presented the prize, and the author said it had been "an honour and a privilege" to be on the shortlist.

Karunatilaka said as he accepted his prize: "My hope is that in the not too distant future... Sri Lanka has understood that these ideas of corruption and race-baiting and cronyism have not worked and will never work."

The writer said he decided in 2009 to write "a ghost story where the dead could offer their perspective" after the end of the Sri Lankan civil war, "when there was a raging debate over how many civilians died and whose fault it was".

"I hope it's in print in 10 years... if it is, I hope it's written in a Sri Lanka that learns from its stories, and that Seven Moons will be in the fantasy section of the bookshop, next to the dragons, the unicorns and will not be mistaken for realism or political satire," the BBC reported

He added that he had "self-censored" a couple of short stories after author Salman Rushdie was stabbed in August, having faced years of death threats for his novel "The Satanic Verses", which some Muslims see as blasphemous.

"I was in the process of publishing a collection of short stories when this incident happened, and I discovered a couple which I don't think was offensive to any religion," Karunatilaka said.

"But my wife said, can you not do that? You've got two young kids. This story is not that good. Just leave it out."

He added that "this is something that hangs over all of us if we're writing in South Asia, especially writing about politics or religion", the BBC said.

Head judge Neil MacGregor praised the "scope and the skill, the daring, the audacity and hilarity" of the novel, calling it an "afterlife noir" which "takes the reader on a rollercoaster journey through life and death".

He said the judges' decision had been unanimous, adding all of the shortlisted books were "all really about one question, and that is what's the point of an individual life?"

The prestigious £50,000 prize, for a single work of fiction published in the UK in English, also gives the other five writers on the shortlist £2,500 each.

"The Seven Moons of Maali" is Karunatilaka's second novel, having previously won awards including the Commonwealth Book Prize for his debut book Chinaman, which was called the "second best cricket book of all time" by cricketers' almanac Wisden.

Born in 1975, the writer has also worked as an advertising copywriter, and his songs, scripts and stories have been published in Rolling Stone, GQ and National Geographic.

MacGregor, a former director of London's National Gallery and the British Museum, added that the judges read all 170 books put forward for the prize, then whittled them down to 30. They then re-read those, before deciding on the final six, which they read for a third time, the report said.

The other nominees were: "Glory" by NoViolet Bulawayo, "The Trees" by Percival Everett, "Treacle Walker" by Alan Garner, "Small Things Like These" by Claire Keegan and "Oh William!" by Elizabeth Strout.

The Booker-winning novel tells the story of the photographer of its title, who in 1990 wakes up dead in what seems like a celestial visa office. With no idea who killed him, Maali has seven moons to contact the people he loves most and lead them to a hidden cache of photos of civil war atrocities that will rock Sri Lanka, the Daily Mirror reported.

The judges were unanimous in their decision to award the prize to Karunatilaka, according to the chair.

Receiving his prize, Karunatilaka addressed the people of Sri Lanka in Tamil and Sinhalese. He summarised what he said in English: “I write these books for you… Let’s keep sharing these stories.”

The Seven Moons of Maali Almeida is published by the independent press Sort of Books. This year is the first time a book by the publisher has been longlisted for the prize.

Karunatilaka has become the second Sri Lankan-born author to win, following Michael Ondaatje, who won in 1992 with "The English Patient".

In his Guardian review, Tomiwa Owolade said the book’s “scenarios are often absurd … but executed with a humour and pathos that ground the reader”. He added: “Karunatilaka has done artistic justice to a terrible period in his country’s history.”

Karunatilaka, was born in Galle, Sri Lanka, in 1975 and grew up in Colombo.

UNI MR。犯规就该吃牌，赛后失控也该受罚，规则面前没什么好说的。

C | 但今天我想聊的不是“对不对”，而是“为什么”。答案不在某一场比赛里，而在一个更深的地方：一部百年殖民史留下的心理刻痕，以及一种在否定和轻视中长出来的活法。一、足球，是他们在世界上少有的翻身机会三百年的西班牙殖民统治，给拉美留下的不只是被掠夺的白银与土地，更有一种深入骨髓的身份贬低。对这片土地上的人来说，自文明之初，他们就处在“被强者定义、被强者轻视”的位置。就像从小在否定中长大的孩子，心里总憋着一股要证明自己的劲，也总对“被看不起”格外敏感。这种敏感在1982年马岛战争惨败后被推到顶点。

D | 阿根廷本想借收复马岛重塑民族信心，却在英国的军事碾压下溃败，整个国家的尊严跌入谷底。政治、军事、经济，在所有西方主导的规则里，他们始终拿不到平等的话语权。直到1986年世界杯，马拉多纳用“上帝之手”和连过五人的进球淘汰英格兰，并最终率队捧杯。这场胜利被整个国家当作“精神上的复仇”——战场上失去的尊严，在足球场上抢了回来。

E | 从那以后，足球对阿根廷来说就再也不是单纯的体育竞技。它是全民族的脸面，是少有的、能在世界舞台上与所有国家平起平坐、甚至赢过昔日殖民者的领域。那个总被欺负的孩子好不容易练出一身本事，找到了自己的“替代性补偿”，便把全部骄傲押在上面：赢了，就能扬眉吐气；输了，旧伤疤就会被猛地掀开，那是远比一场普通失利沉重得多的无力感。因此一场足球赛的胜负，便足以掀起如此剧烈的情绪地震。因为对他们来说，那从来就不只是一场球。马尔克斯在《百年孤独》里借奥雷里亚诺上校之口说过一句话。上校一生发动三十二场武装起义，全部失败，晚年把自己关在作坊里反复制作小金鱼，熔了又做，做了又熔。

F | 别人以为他为自由而战，他却坦白：“......我打仗是为了自尊。”这句话道尽了拉美诸多抗争的底色：从独立战争到球场对抗，看似宏大的胜负背后，藏着的都是最朴素的心愿——不想再被人看轻。足球是今天的战场，胜负里装着的，是攒了几百年的一口气。二、犯规这件事，没那么简单，也没那么无辜阿根廷的高频犯规，常被笼统地归为“脏”。但拆开看，其实是几层不能混为一谈的东西。第一层，是战术犯规。

G | 这支阿根廷队中场覆盖能力下降、后防线老化，面对擅长传控的对手，靠常规跑位很难阻断节奏。

H | 在中前场用犯规打断传控，付出一张黄牌的代价阻止一次有威胁的进攻，是足坛再常见不过的战术选择，本质是用规则内的成本换取防守收益。第二层，是情绪失控导致的越界动作。教练组只会要求球员在规则边缘完成战术犯规，绝不会授意直接招致红牌或引发冲突的恶意动作。那些蹬踏脚踝、赛后锁喉抱摔的行为，是两层因素叠加的结果：一是南美球员从小在街头足球中养成的强对抗肌肉记忆，在淘汰赛高压下容易动作变形，从“战术拉拽”滑向“鲁莽放铲”；二是整场比赛步步紧逼的压力，叠加判罚争议带来的情绪积累，让球员的情绪阈值不断降低，最终在失利后彻底爆发。第三层，就是纯粹的恶意动作。该给红牌给红牌，该追罚就追罚，没什么好解释的。

I | 把这三层混在一起固然省事，但也会漏掉值得追问的东西：为什么阿根廷球员更容易从“战术犯规”滑向“情绪失控”？答案和他们的成长环境有关。南美足球的根，深扎在贫民窟的街头野球场。大量球星从小在没有裁判、没有护具、甚至没有平整场地的环境里踢球。野球场上没有公平竞赛的教条，也不会因你年纪小、身体弱就让着你。

J | 想不被欺负，想赢下来，就得学会贴身硬抗，学会用隐蔽的小动作抢占优势，学会在没有规则保护的地方保护自己。更现实的压力在于，足球几乎是底层孩子改变命运的唯一通道。输的代价太大，大到不允许有半点退让。这种生存逻辑刻进骨子里，使得他们在场上总是寸步不让。大多数时候，这种侵略性只是游走在规则边缘，但在情绪压过理智的某些时刻，它就会越过那条线。三、输了不低头的背后，是一种拒绝伪装的本能决赛后的冲突和背对领奖台的举动，最容易被视为“输不起”，也最难辩解。为什么阿根廷球员事后不按惯例装出体面的样子？为什么他们连演都不愿意演一下？答案藏在他们的文化性格里。在拉美，输了就是难过，不服就是不服，没必要强装笑脸给人捧场，更不必压抑情绪扮体面。是没风度，也是一种拒绝表演的本能——哪怕输了，也不低头认输，不摆出心悦诚服的样子。这是两套价值逻辑的碰撞。

K | 欧洲推崇克制、体面、尊重仪式，情感收敛，理性先行。

L | 拉美则恰恰相反：赢了纵情狂欢，输了直白愤怒，情绪永远浓烈外溢。前者未必更高尚，后者未必更粗鄙。马尔克斯在《没有人给他写信的上校》里写过一位倔强的老人。穷到变卖家中物件换饭吃，每天等一封永不到来的抚恤金，哪怕饿肚子也绝不肯低声下气求人。他说：“我不戴帽子，免得要在别人面前摘下来。”《霍乱时期的爱情》中，弗洛伦蒂诺·阿里萨能为一句承诺等上五十三年七个月零十一天，哪怕对方结婚生子、垂垂老矣也不肯放手。这种近乎偏执的行为，放到球场上，就是落后时死磕到底，输球后不肯低头。这份执拗里当然有越界的东西，但也有一以贯之的逻辑：不伪装，不示弱，不为了体面而吞下真实情绪。结语如果用一个词把一个民族概括完了，也就等于拒绝看见那个词装不下的一切。

M | 那些犯规里，有技不如人时的战术止损，也有街头足球刻进肌肉的本能反应。有高压下从“规则边缘”滑向“越界”的失控，当然也有该被红牌罚下、该被追加禁赛的恶意动作。这些层次本就并存，承认前者不等于否认后者，看见复杂不等于替错误开脱。

N | 马尔克斯在诺贝尔奖演说《拉丁美洲的孤独》中说过：“用他人的标准解释我们的现实，只会让我们变得越来越陌生，越来越拘束，越来越孤独。”一个从未被世界平等对待的民族，学不会输得从容——这不值得歌颂，也不值得轻蔑。它只是一个事实，应当被认真地看一看，而不是用一个标签就打发掉。足球是他们的武器，也是他们的软肋。

o |