2.18 漢清講堂 我負責：
紀念John Berger (1926-2017) ：https://en.wikipedia.org/wiki/John_Berger
0. 奇人
1. 社會關懷： Fellow Prisoners 監獄與高牆 (vs WED's)
2.藝術-文學：
約翰．伯格（John Berger, 1926.11.5- 2017.1.2）
文化藝術評論家、作家、詩人、劇作家等，1926年出生於倫敦。
父親Stanley Berger-- his father had been an infantry officer on the Western Front during the First World War and was awarded the Military Cross[3][6] and an OBE.[7] John 自稱他屬第一次世界大戰世代。父親臨終時的素描。
1944至1946年結束服役，代人寫信的寫作訓練。
戰後，進入倫敦中央藝術學院及切爾西（Chelsea）藝術學院就學。老師有Henry Moore等等，同學的故事，參見《我們在此相遇． 伊斯林頓》。這學校屬專科，非大學系統。這點要注意，尤其是大學系統的藝術史、政治學、社會學、經濟學等，與John Berger的，不同世界：John Berger 的現實在"此地"，希望在左派。
1948至1955年開始教授繪畫，並展開終其一生的繪畫生涯。
他的作品曾在倫敦的．登斯坦畫廊、瑞德弗尼畫廊，以及萊斯特等畫廊展出。
1952年伯格決定不做專業藝術家。遍訪大倫敦區各國流亡的藝術家。
開始替以政治、社會問題、書刊、電影、戲劇等為主題的《新政治家》雜誌撰稿，並很快的以一位深具影響力的馬克思主義的藝術評論家身分竄起。伯格至九十歲，一直很活躍。
作品大多具有濃厚的批判色彩，且表現形式不斷的推陳出新，對社會政治等議題也有其獨特的看法及熱情。他被公認為是英國最具影響力的藝術批評家。
伯格的第一部小說發表於1958年，*A Painter of Our Time (1958)[8]
This visionary first novel by the Booker Prize-winning author of To the Wedding and G. is at once a gripping intellectual and moral detective story and a book whose aesthetic insights make it a companion piece to John Berger's great works of art criticism.
3年的辛苦：放棄當職業畫家，寫批評，訪問許多難民，傾聽其故事.....
出版20/30年的後記：萬物老化後的美與成熟
3年的辛苦：放棄當職業畫家，寫批評，訪問許多難民，傾聽其故事.....
出版20/30年的後記：萬物老化後的美與成熟
"'Life will always be bad enough
for the desire for something better
not to be extinguished in men
(Gorky，參見Berger, 1989, p. 5).
- Permanent Red (1960)[52] (Published in the United States in altered form in 1962 as Toward Reality: Essays in Seeing)
1962年結婚，遷居日內瓦：認識瑞士攝影家 Jean Mohr,，合作出書，如《藝術與革命》 Art and Revolution: Ernst Neizvestny, Endurance, and the Role of the Artist in the USSR (1969).[2] 一書內的近百張照片。
- A Seventh Man (with Jean Mohr) (1975)[11]
A Fortunate Man (with Jean Mohr) (1967)
- Another Way of Telling (with Jean Mohr) (1982)[52]
- At the Edge of the World (with Jean Mohr) (1999)[56]
1974年起移居法國農村 (晚年在巴黎置產)：由 Tilda Swinton 製作、以 John Berger 為題的紀錄片 The Seasons in Quincy: Four Portraits of John Berger 亦於2016年 8 月推出
有不少文章和照片記農夫，如《說故事的人》，還有農村"小說"四部曲：
從那時起他陸續出版了多本藝術評論書籍，包括了有口皆碑的藝術研究作品《觀看的方式》。這本書是以BBC的同名影片裡的某些概念為出發點。
他創造了一種別出心裁的小說體，包括1972年贏得英國布克獎以及布萊克紀念獎的作品G，並與瑞士導演阿蘭．鄧內合作，撰寫電影劇本《2000年約拿即將25歲》，以及多部電影劇本。他還撰寫了多部舞台劇本。
在過去的近四十多年，伯格長期居住在靠近法國邊境阿爾卑斯山的小村鎮裡，深受山中居民的傳統習俗以及艱困的生活形態所吸引，他也以他們為主題撰寫了多部相關作品。
他的力作FELLOW PRISONERS (約2011年)之後，以為準備就緒，沒想到又讀到一篇傑作 An Apple Orchard (An Open Letter to Raymond Barre, Mayor of Lyon)--光這篇，就值得去買{另類出口}譯作 (台北麥田)，而我SLIDES已作成，還覺得只談了原篇交響曲般的文意中的一條線索而已！
現在的資訊發達，可以知道里昂市長(1996-2001) Raymond Barre是法國政壇奇人，他的計畫遷建約1848年建的監獄 (在隆河兩支流之間)，至今也沒落實 (囚犯2009年都遷走了，兩座監獄 (Berger的傑作內有之間的通道，監獄外的人與內部親友之"呼"話......)的建物仍在)。Berger請教森林專家，建議栽種Spartan蘋果品種 (20世紀加拿大的科學選種)，
果樹間相具距6米 (囚犯平均面積3米乘3米，遠比林文蔚 Ewam Lin 畫筆下的台灣鐵窗內朋友寬敞得多多.......)。
https://en.wikipedia.org/wiki/Prison_Saint-Paul
相關重要著作還有《永恆的紅色》、《畢卡索的成功與失敗》、、《另一種影像敘事》、《我們在此相遇》、《留住一切親愛的：生存．反抗．欲望與愛的限時信》、《觀看的視界》。
Wikipedia的John Berger
https://en.wikipedia.org/wiki/John_Berger
Here Is Where We Meet - The New Yorker
HERE IS WHERE WE MEET
by John Berger (Pantheon; $24)
It is not always easy to tell, in the work of John Berger, where fiction meets autobiography—or, for that matter, essay and meditation. His latest book takes the form of encounters the author has with characters from the past—Jorge Luis Borges, Rosa Luxemburg, mentors, tutors, and lovers—in cities across Europe, from Lisbon and Madrid to Geneva and Kraków. One by one, the apparitions turn up, artfully and reverentially sketched, before vanishing again with just the whisper of a message left behind. In Lisbon, city of trams and azulejos, Berger encounters the spirit of his long-departed mother and reflects, “Perhaps Lisbon is a special stopover for the dead, perhaps here the dead show themselves off more than in any other city.”♦
此書台北麥田有漢譯本，詳註
我們在此相遇 2008
目錄
Here Is Where We Meet
Novel by John Berger
One of the most widely admired writers of our time returns us to the captivating play and narrative allure of his previous novels—G. and To the Wedding among them—with a shimmering fiction drawn from chapters of his own life. ... Google Books
| Title | Here is where We Meet |
| Author | John Berger |
| Edition | reprint, revised |
| Publisher | Bloomsbury, 2006 One of the most widely admired writers of our time returns us to the captivating play and narrative allure of his previous novels—G. and To the Wedding among them—with a shimmering fiction drawn from chapters of his own life. One hot afternoon in Lisbon, our narrator, John, finds his mother, who had died fifteen years earlier, seated on a park bench. “The dead don’t stay where they are buried,” she tells him. And so begins a remarkable odyssey, told in simple yet gorgeous prose and with the openness to personal and political currents that has always marked John Berger’s work. Having promised his mother that he will henceforth pay close attention to the dead, John takes us to a woman’s bed during the 1943 bombardment of London, to a Polish market where carrier pigeons are sold, to a Paleolithic cave, to the Ritz Hotel in Madrid. Along the way, we meet an English aristocrat who always drives barefoot, a pedophile schoolmaster, a Spanish sculptor who cheats at poker, and Rosa Luxemburg, among other long-gone presences, and John lets us choose to love each of them as much as he still does. This is a unique literary journey in which a writer’s life and work are inseparable: a fiction but not a conventional novel, a narration in the author’s voice but not a memoir, a portrait that moves freely through time and space but never loses its foothold in the present, a confession that brings with it not regret but a rich deepening of sensual and emotional understanding. https://www.theguardian.com/books/2005/apr/09/featuresreviews.guardianreview6 City of the dead
John Berger's Here is Where We Meet is a triumph, declares Nicholas Royle
If Alain Tanner's haunting In the White City is one of the best Lisbon films, John Berger's equally evocative "Lisboa" is one of its truly great stories. On a hot day at the end of May in Lisbon, John - Berger, we are implicitly invited to assume, since another story in the collection features his daughter Katya - sees an old woman walking across the park towards him. He recognises her walk as that of his mother, who has been dead for 15 years. "The dead don't stay where they are buried," she advises him.
"Lisboa", the opening story in Berger's new collection, Here is Where We Meet , is a magical evocation of the White City, its seven hills, labyrinthine streets and endless steps. The trams pass so close to people's homes, he writes, that you could reach out an arm and give a birdcage a gentle push. "Perhaps Lisboa is a special stopover for the dead," muses John, "perhaps here the dead show themselves off more than in any other city." But as the reader will discover, the dead show themselves off in many other locations, too - Krakow, Islington, Madrid. What's special about Lisbon, it's subtly suggested, are the trams. "It's not any place, John, it's a meeting place," his late mother tells him. "There aren't many cities left with trams, are there?" Berger then remembers the tram they took when he was a boy growing up in Croydon, the number 194. "We took it every day from East to South Croydon and back." The tram is more than a madeleine or a mnemonic; it's a spiritual medium.
In the collection's longest piece, "The Szum and the Ching", a river performs a similar function. Having travelled to a remote Polish village to open up a friend's house, John sits by the Szum river. He thinks of the River Ching, which ran at the bottom of the garden where he lived in the east London suburb of Highams Park until the age of six. "The Ching was my father's river." It eased memories of the trenches and brought son and father closer together, as John's father built a drawbridge for the boy. "When he lowered the drawbridge, he could borrow my innocence and so recall his own ..." By the Szum, John hears birdsong, yet there are no birds to be seen, as if the foliage itself is singing, an impression identical to one formed in Highams Park. "The two moments, instead of being separated by decades, belong to the same hour of the same season." What in another writer's work might be the associative work of memory becomes, in Berger's fiction, virtual alchemy. "A kind of vertigo overcomes me. Words make no more sense. Everything is a continuum."
"Islington", a tale of lost love, recovered memories and the end less flux of passing time and its effects on houses, gardens and people, appears in New Writing 13 and is by a long stretch the best piece in the anthology. Sad, reflective and peppered with unforgettable images, "Islington" does what all great short stories do: it makes us stop and take a breath. It makes us see the world afresh. Makes us do a double-take. "Yet the density of the foliage was not like that of a jungle, but like the density of a closed book, which had to be read page by page."
A season of talks, exhibitions, readings and performances, bearing the same title as the collection, takes place in London from April 11 to May 18. It's hard to think of an author more deserving of this level of attention.
· Nicholas Royle's Antwerp is published by Serpent's Tail.
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