01.题记
什么样的写作最能持久？
为了自己，
由内而外的书写，
不写不行，
自然就写出来了，
而且充满了愉悦。
当力有所不逮时，
也没什么压力。
因为，
还有阅读。
甚至，
一定意义上，
阅读才是根本。
没有输入的输出，
难以为继。
行走之前，
先读书。
回归本心，
如今天读到的小王子的帽子。
02.写作人与阅读人
写作人，与阅读人，是两个很奇妙的群体。
有时，一眼永恒；
有时，不断发现；
有时，过尽千帆。
这个世界上，有很多朵花，
只有属于你的那一朵，
才是你的，
不过，这需要你去发现。
安东尼•德•圣埃克苏佩里，
一个很长的名字，
留给了我们一个永恒的故事。
他热爱飞翔，
他用飞过天空的眼睛，
来看我们这个世界，
看我们这个大人的世界。
于是，
有了小王子，
系着围巾的小王子，
有了用心的爱。
爱和小王子，
是他的，
也是我们的。
03.你是我的帽子
每个人都有一顶帽子，
帽子是我们心里的文字。
我们想让人看到，
我们又不想让人看到；
我们很珍惜这顶帽子，
我们又常常将这顶帽子束之高阁。
因为，
这是一个大人的世界。
而我们所在做的，
或者说，
我们的潜意识所在做的，
是用自己的”童心“（真心），
向这个世界，
证明我们来过，看过，停留过。
这就够了。
每个真心的写作者，
都有一顶帽子，
可与智者道，
难与俗人言。
那么，
你是我的帽子，
我是你的帽子，
在小王子的世界里，
在我们的世界里，
就是如此。
你好，我是山海牧，请关注我，和我一起，读点书，写点东西。
Once when I was six years old I saw a magnificent picture in a book, called True Stories from Nature, about the primeval forest.
It was a picture of a boa constrictor in the act of swallowing an animal.
Here is a copy of the drawing.
In the book it said: “Boa constrictors swallow their prey whole, without chewing it.
After that they are not able to move, and they sleep through the six months that they need for digestion.”
I pondered deeply, then, over the adventures of the jungle.
And after some work with a colored pencil I succeeded in making my first drawing.
My Drawing Number One. It looked like this:
I showed my masterpiece to the grown-ups, and asked them whether the drawing frightened them.
But they answered: “Frighten? Why should anyone be frightened by a hat?”
My drawing was not a picture of a hat.
It was a picture of a boa constrictor digesting an elephant.
But since the grown-ups were not able to understand it,
I made another drawing: I drew the inside of the boa constrictor, so that the grown-ups could see it clearly.
They always need to have things explained.
My Drawing Number Two looked like this:
The grown-ups’ response, this time, was to advise me to lay aside my drawings of boa constrictors, whether from the inside or the outside,
and devote myself instead to geography, history, arithmetic and grammar.
That is why, at the age of six, I gave up what might have been a magnificent career as a painter.
I had been disheartened by the failure of my Drawing Number One and my Drawing Number Two.
Grown-ups never understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.
So then I chose another profession, and learned to pilot airplanes.
I have flown a little over all parts of the world; and it is true that geography has been very useful to me.
At a glance I can distinguish China from Arizona. If one gets lost in the night, such knowledge is valuable.
In the course of this life I have had a great many encounters with a great many people who have been concerned with matters of consequence.
I have lived a great deal among grown-ups. I have seen them intimately, close at hand.
And that hasn’t much improved my opinion of them.
Whenever I met one of them who seemed to me at all clear-sighted,
I tried the experiment of showing him my Drawing Number One, which I have always kept.
I would try to find out, so, if this was a person of true understanding.
But, whoever it was, he, or she, would always say:
“That is a hat.”
Then I would never talk to that person about boa constrictors, or primeval forests, or stars.
I would bring myself down to his level.
I would talk to him about bridge, and golf, and politics, and neckties.
And the grown-up would be greatly pleased to have met such a sensible man.
