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无迹可寻

无迹可寻



我们翻译这篇文章的理由



假若在夜间你让灯火把房间照亮 
面对面看着人们 
你准会想:哪一个是? 
脸上洒落的灯影 
使人们可怕地变得畸形 
倘若他们曾经在夜间相聚
你便看见一个动荡的世界 
整个聚到了一起


——里尔克《夜间的人们》


👇


无迹可寻

作者: Sylvia Sellers-García

译者:劼怡

校对:马佳宁

策划:劼怡 & 邬璐雪

推荐阅读:王禹琦


Investigating a murder without a body in an archive marked by absences.

尸体佚失,悬而未决,在档案中探索一桩尘封多年的凶杀悬案。


Every murder mystery begins with a body. Or it begins with calm, an impression of serenity that promises to shatter at any moment, when the wreckage of a human life is finally revealed. A corpse. A long enmity. A sudden flash of brutality. The disruption of that initial serenity, manifested in death. Since the body that begins this story is never found, the mystery must begin with calm.
凶杀案的疑云往往始于尸体的出现,或直接惊诧登场,或将平静驻于游丝,直至尸骸出现,骤然支离破碎。一具尸体,承载着潜藏已久的恨意和骤然萌生的暴虐,以死亡的姿态,粉碎了最初的宁静。由于我要说的这个故事始终没有发现尸体的所在,一切疑团将从平静讲起。

It is the first of July in 1800, shortly after six in the morning. Despite the early hour, there is already movement. Servants have risen to make breakfast. The clap of hands against wet maize dough and the crackle of stove fires mix with slow morning conversations: gossip, last night’s dreams recounted and interpreted, plans made for the day. Some have already left the house to run early errands, and their bare feet patter on the street stones. The zanate birds are loud at this hour, clicking and croaking into the humid air.
1800年,7月的第一个清晨,将将过了6点。尽管还很早,一天的忙碌已经开始了。仆人们纷纷起身为早餐做准备,一边工作,一边随意闲谈:分享一下八卦,描述昨夜的梦境,讨论它预示着什么,再说说今天要做的事情。手工揉拍面团的啪啪声,炉火的噼啪声混和细细的交谈声,交织一片。也有人早早就外出奔走,光着脚啪嗒啪嗒走在石板路上。大尾鹩哥聒噪异常,粗糙尖锐的叫声划破了清晨潮湿凝滞的空气。

译注:
大尾鹩哥,英文名great-tailed grackle,墨西哥当地称zanate或chanate。传说在主造物时期,它们是发不出声音的,于是便从智慧渊博的海龟那里偷了七首歌,这七首歌被称为the Seven Passions,分别对应生命中的Love, Hate, Fear, Courage, Joy, Sadness, Anger。

In Mexico, where it is known as the chanate or zanate, there is a legend that it has seven songs. “In the creation, the Zanate having no voice stole its seven distinct songs from the wise and knowing sea turtle. You can now hear the Zanate’s vocals as the Seven Passions (Love, Hate, Fear, Courage, Joy, Sadness, and Anger) of life.” Mexican artisans have created icons in clay, sometimes as whistles that portray the sea turtle with the zanate perched on its back.


Don Cayetano Díaz, a reputable surveyor and mapmaker, opens the study window of his well-appointed home in Guatemala City. The shutters, as with all buildings in this colonial capital, open onto the street, where wide stone sills offer perfect vantage points for watching passersby. Díaz does this every day. He opens the shutters and then settles down to work at the desk that sits just below the window. On this morning, he realizes at once that something is different. There is a strange object on his sill. He calls to his brother, for already the object seems ominous. There are drops of blood on the sill’s cold gray stone.
唐·卡耶塔诺·迪亚斯是当时有名的测绘师和制图师,住在危地马拉城一座建造考究的房子里。房子是这座殖民地城市最常见的建筑风格,采取百叶窗制式,窗户面朝着街道,窗子下面有宽大的石板窗台,为观察街上的车水马龙提供了绝佳的视野。迪亚斯每天的习惯就是打开书房的窗户,坐在置于窗户下面的书桌前,然后开始伏案工作。然而这天早晨,他刚打开窗就发现了异样窗台上有奇怪的东西——粗糙的灰色石板上竟有滴滴血迹。这可不是什么好兆头,他想着,便立刻叫来了他的哥哥。

Díaz’s brother hurries from the house to seek a surgeon, Don Josef Thomas Caseros, and as they return, coincidentally, Díaz sees another acquaintance passing by the window and calls him into the house. Don Narciso Esparragosa, one of the most renowned surgeons in Guatemala—indeed, a leading figure of Enlightenment medicine in Spanish America—is making his way to the nearby hospital. Together, the four men examine the object on the windowsill, and now there can be no doubt: placed on a lily pad, as if served on a plate, is a woman’s breast.
迪亚斯的哥哥赶紧出门去找来医生唐·约瑟夫·托马斯·卡塞罗斯。他们回来后,迪亚斯在窗边看到老熟人唐·纳西索·埃斯帕拉戈萨正好经过,便把他也喊了上来;而后者当时正往附近的医院赶路。纳西索·埃斯帕拉戈萨是当时危地马拉最知名的外科医生之一,也是西班牙美洲殖民时期医学启蒙运动的领军人物。现在,他们四个人一起仔细察看了窗台上的东西,没错:睡莲叶子上盛着的,不是什么吃食,是女人的乳房。

Narciso Esparragosa examines it with a surgeon’s eye. In fact, it is not one breast, but two. They are attached, cut from the body in the shape of an hourglass; the one with less skin has been folded beneath the other. At the other end, the skin extends all the way to the underarm, with its scrap of dark hair.
纳西索·埃斯帕拉戈萨是资深的外科医生,以他的经验判断,这里实际上是两个乳房。它们连在一起被剜下来,割下来的形状呈沙漏状;粘连皮肤较少的一侧乳房叠在另一侧下面。而在上面的乳房,其牵连的皮肤一直延伸到腋下,连带着一撮腋毛也被割了下来。

Narciso Esparragosa believes that the cut reveals no expert skill, and he states that he cannot fathom what has prompted someone to do such a thing. None of them can fathom it. They do not understand it; but they do understand that this is a criminal act. A deeply offensive and disturbing criminal act. The evidence must be recorded, and the authorities must be called. The court escribano (scribe and notary), Vicente Antonio de Villatoro, makes his own examination of the breasts, describing them in as much detail as possible. He notes four drops of blood on the sill. He notes a severed nerve and small discolorations of the skin. And he speculates, because of the darkened areolas, that the woman had been pregnant.
纳西索同时表示,这种切割毫无手法可言,但是他实在不明白多深的恨意才能促使凶手做出这样的行径。不止是他,其他三人也都想不通。他们无法理解凶手的意图,但很清楚这是明明白白的犯罪,而且触目惊心、骇人听闻。他们意识到要保存好这些证据,并且必须立刻上报当局。法院来的文书兼公证员文森特·安东尼奥·德·维拉托罗对乳房进行了详细检查,并留下了详尽的记录:窗台上一共有四滴血,切割处可以看到断裂的神经,皮肤上有细小色斑。而根据变黑的乳晕,他还推断,被杀的这个女人可能已经怀孕了。

It is only because of the coincidence of Cayetano Díaz’s skill as a mapmaker that we, readers in the present day, have a visual impression of what he saw on the morning of July 1, 1800. Illustrations in criminal cases of this period are very rare. But Díaz had the colored pencils he used for his meticulous drawings of land parcels close at hand, and one of the officials in attendance must have realized that he was uniquely suited to depicting this most unimaginable piece of evidence. His illustration of the severed breasts appears on the second page of the voluminous records for the criminal trial that ensued once the authorities were called and the investigation had begun.
由于迪亚斯恰好是一个制图师,今天的读者才有幸能够直观地了解到这起两百多年前的惨案,透过迪亚斯看到7月1日的那个清晨究竟发生了什么。因为在那个时期,刑事案件很少会对现场进行图像记录。而这一次,恰巧迪亚斯用于精确制图的彩色铅笔就摆放一旁,在场的侦察人员肯定也意识到,他一定能呈现出这些匪夷所思的凶案细节,作为证据保留下来。翻开当时厚重的刑讯记录,第二页就是迪亚斯所画的被割下来的乳房,这也表明随着案件的上报,相关的调查和审讯也随即展开。

Díaz made a careful drawing, with such precision in the depiction of the rounded breast, the tuft of hair, the incongruous lily pad, that the subject becomes unrecognizable in its verisimilitude. We never see the body this way: mutilated, disembodied. And viewed aerially, like terrain on a map. When I first saw this drawing in the archive in Guatemala City, I was flipping through the pages, not reading, and then I stopped: staring at the inscrutable cluster of shapes for several seconds without comprehending.
说回那幅画。无论是乳房的圆润度,还是粘连的那撮腋毛,甚至是垫在下方与血腥格格不入的睡莲叶,迪亚斯都画得很细致;正由于太过逼真,以至于让人更加难以相信这是对真实画面的复刻。我们很少这样面对一个人:残缺不全,支纷节解。恍惚间以为在透过凌空视角的地图观察某处地形。我还记得在危地马拉城市档案馆第一次看到这幅画的场景,我当时不过随意翻阅,并不仔细看,但突然就停了下来:我盯着这些匪夷所思的形状组合看了好几秒钟,感到不可思议,完全无法理解。

In fact, not until I had begun reading the case—lured in by the enigmatic drawing in the margin—did I understand what it depicted, and the horror dawned on me retrospectively. This is what it looked like. The horror we experience, realizing the fact of these body parts on the windowsill, is in some ways similar to but in most ways different from what people in Guatemala experienced at the time. The fact that Guatemalans were horrified is clear. Action was taken immediately to identify the “owner”—as they put it—of the breasts. More than a dozen people were jailed over the course of the investigation and dozens of testimonies were taken. More than a hundred folios were filled with depositions, orders, correspondence, and speculations on the part of the presiding judges. Bodies were exhumed. The investigation spilled over into nearby towns and villages. A special police patrol was created to lie in wait for the perpetrator. Guatemala City was horrified. But not in the way we are horrified.
说实话,正是被在页边的这幅莫名其妙的画吸引,我才开始看这个案件的档案,才理解它到底想表达什么。回想起来,因为画面所呈现的就是事实本身,我才如此不寒而栗。而当我们发现自家窗台上放着人体残骸时,所体验到的这份恐惧,一定程度上和当时危地马拉城的人经历的差不多,但实际上大不相同。显然,危地马拉人被吓到了。而当地也迅速采取了行动以寻找乳房的“主人”(文件上这么写的)。在调查过程中,十几个人遭受过拘禁,留下了几十份证词,还有超过一百多页文件记录了相关的书面证词、命令、往来文件和主审法官的推断。大量尸体被挖出来调查。范围涉及到周边的城镇和村庄。警察还成立了一支特别巡逻队以伺机伏击凶手。整个危地马拉城笼罩在恐怖的阴霾之下,但这与今天我们从中体会到的恐怖不尽相同。


We are horrified in a manner trained by long exposure to crimes of this nature—fictional and factual. We have well-established habits of reading and viewing horrific crime, and we have well-established genres on the subject, which are at least partly devoted to spectacularly gruesome acts of violence against women. Through these habits and genres and their depictions of such acts we are trained to be both morally outraged at the misogyny and simultaneously titillated. Sometimes the latter is an explicit aim, but mostly it is concealed, wrapped in the moral outrage as something provoked so that the reader or viewer can understand—and even enjoy—what is being condemned.
我们长期从虚构小说和新闻里耳闻目睹了大量这类叙述,对骇人的犯罪行为早已有了心理准备,恐惧感不会那么强烈。现代社会还按罪行的不同建立了完整的分类体系,其中有划分专门针对暴力侵害女性的行为的类型。这些长期以来养成的评判习惯和公认的犯罪分类体系,使得我们在看到这些骇人行径的时候,会感到既愤怒又隐约兴奋,前者在道德上谴责厌女症群体,后者则来自生理上的刺激。有人会为了刺激去描写这些暴行,但是他们一般相当隐晦,披着道德的外衣,通过激起读者或观众的愤怒,引发谴责,使人们得到生理上的快感。

We are also trained, culturally, through exposure to legal codes and expectations about human rights. We have a particular understanding of the idea of the “victim.” However unpleasant it was for Cayetano Díaz to be singled out, clearly the party most wronged in this case was the woman: that missing woman so terribly separated from a part of herself. To us, she is equally a victim regardless of age, class, or race.
法律规范的约束和人权的发展也在文化上塑造了我们。我们对“受害者”有专门的定义。我们明白,即便迪亚斯对于自己的窗台被罪犯选中抛“尸”有再多不快,这桩案件中最大的受害者仍是那个女人:那个失踪的女人受到了非人的对待,被强行割下身体的一部分。没有人会因这个女人的年龄、阶级和种族而否认她受害者的身份。

And less obviously, we are also trained to understand specific acts of violence as meaning certain things. Machine-gun fire sprayed across a city street is not the same as a single stab to the back in a suburban kitchen, which is not the same as an elaborate death by many cuts under a freeway. We have our own language, with its precise vocabulary, of violence. In all these ways, Guatemalans perceived this event and experienced horror differently. To begin with, not everyone could be construed equally as a victim. Only certain people could be the victims of certain kinds of crimes. While in some cases the laws did make formal distinctions, the most powerful distinctions were cultural. It was understood that an Indian servant woman could not really be raped. It was understood that a low-class mulato man could not really be insulted. These severed breasts, identified as nonwhite, spoke immediately to viewers about the potential wrongs the woman was eligible to suffer.
而且,对我们而言,任何特定的暴力行为都有具体的含义,这是不言而喻的。在城市的街上持枪扫射、在郊区的厨房里用刀伤人和高速公路上精心设计的谋杀的性质都不一样。我们有一套用于精准描绘暴力的系统语言。而这些正是当时的危地马拉所缺乏的,因而他们对这类案件的理解和恐惧感受与我们大相径庭。首先,对受害者的法定含义不一样,只有特定身份下被卷入特定犯罪活动的人才能被认定为受害者。这种区别对待不仅清晰体现在法律条文上,还更为深刻地烙印在文化之中,在种族、阶级和性别之中。一个印第安裔女仆,即使真正被强奸了也不会被视作强奸受害者;一个低等的混血儿,即使真正被侮辱了也无可申诉。同样,这对被切下来的乳房一旦被认定属于有色人种,就等于无声宣告错全在那个女人身上,这是她活该。

In the early hours of July 1, 1800, the authorities took a number of steps in swift succession. The breasts were transported to the cabildo, the city council’s offices, so that anyone in the city might view them and perhaps identify them. Next, authorities in every section of the city and in the nearby towns were notified to be on the lookout for a woman’s corpse. Further, permission was requested from the archbishop to exhume any bodies buried on sacred ground since June 30. And last of all, the authorities went in person—accompanied by a large group of people—to search the area deemed most likely to yield the body with its missing breasts.
而在那天,当局迅速采取了一系列措施。那对乳房被送到市议会办公厅(原文是西语,cabildo),这样所有人都可以参与到调查当中,帮忙辨认出它的主人。随后,市里的各个分区和附近城镇的机构都接到了命令,要寻找一具女尸。接着,当局向大主教请求许可,将6月30号以来埋在圣地上的尸体都挖出来。最后,当局官员们亲自参与了搜索,一大群人浩浩荡荡,将可能藏匿有被割去乳房的尸体的地方搜查了个遍。

These proceedings give us a sense of how significant this incident seemed. The city paused. Its attention shifted. People stopped what they were doing, and they attended to this remarkable event. They wanted to be a part of it.
如此耗费力气进行调查,说明这起案件确实影响颇深。整个城市都因此停转,所有人的注意力都被转移到了这次重大事件上。他们停下了手中的一切事务,全副身心关注案件的进展,踊跃欲试。

We are lucky that the case of the severed breasts is readable. There are frustrating silences and maddening dead ends, but the words themselves are mostly legible. Documents at the Archivo General de Centro América, the AGCA in Guatemala City, are kept in bundles—legajos—tied with string. You find the string, like the documents, in varying stages of decay. Sometimes the documents have all their edges, they have been sewn together carefully, and they make fairly tidy stacks inside the bundles. More often the documents show evidence of the journey they have taken through the centuries: rats and worms have left strange holes and ragged indentations, water stains bloom across the pages like persistent clouds, humidity and rot leave enigmatic discolorations beneath the words.
幸好关于这起案件的记录尚保存完好。虽然一些线索消失在沉寂的文件之下,案子也陷入死胡同, 百爪挠心,令人沮丧,但是还好大部分文字仍然清晰可辨,足以捋出故事的脉络。那些时期的档案如今都存放在危地马拉城(今危地马拉的首都)的大中美洲档案馆里,用绳子捆在一起(原文是西语),而捆着它们的绳索随文件一道,逐渐腐坏。有些文件边缘完好,它们经过了细致的装订,和其他纷乱的文件堆在一起,显得尤为整齐;但大部分文件在经过数个世纪的蹂躏之后,尽是岁月的痕迹:老鼠和虫子啃咬后在表面留下各种破洞和凹痕,边缘参差不齐,一块块水渍像云团一样连成一片,字迹由于潮湿的侵蚀和纸张的腐败而难以辨认。

Colonial documents are transporting in a way that contemporary documents are not. Yes, the writing itself looks unfamiliar, and the words describe circumstances far removed from our own. But it is their physical difference that makes you realize, in a manner impossible to ignore, that they belong to an entirely different world.
殖民时期的文件和现今使用的记录方式完全不一样,包括使用的文字和符号,而且事件发生的背景也已经时过境迁。但也正是这些实实在在的差异提醒着我们,别忘了,时代已经完全变了,而它们属于一个截然不同的世界。

Confronted with documents like these, you are compelled to think about how they have reached you: how uncertain the path by which the words arrive in the present; how difficult the passage taken by each piece of paper, at once so fragile and so astonishingly durable. Some archivist has brought it out of the vast, dark warren of the stacks (for the AGCA cannot afford bulbs for every aisle of its nine floors), where it has been since Joaquín Pardo, the indefatigable document curator who created the archive’s card catalogue, paged through it in the early twentieth century to record an entry. Before that the document lived in a kind of limbo as it was shuttled from one location to another, perhaps bundled with others of its kind, perhaps loose and half-forgotten. And before that, it might have spent time with a local official who kept the crown’s papers at home (as many officials did), stuffed into a corner or a desk drawer or a family wardrobe.
所以,在翻看这些文件时,我不自觉就会开始遐想它们是如何从过去跨越到现在;这些纸张承载着过去的文字和篇章,如此脆弱又无比坚韧,承受了怎样的无尽飘摇和艰难,堪堪保留到如今。为了将卷帙浩繁的文件从黑暗逼仄中打捞起来(AGCA总不能九层楼的每个角落都灯火长明,实在负担不起),时任馆长华金·帕尔多自二十世纪初引入了档案卡片编目系统,不遗余力、逐页逐份地为它们建档立卡。而在他之前,这些文件一直命运坎坷,今天在这里,明天可能就被挪到其他地方,可能跟同类文件堆在一起,也可能随意散落、被遗忘一旁。又或者就放在某个专事保存皇室文件的官员家里(很多官员都这样),被顺手塞到角落里、抽屉里甚至衣柜里。

Then it is a small leap to imagining the original circumstances in which the document was made. A room filled with light from a courtyard door. A scribe bent over the paper; the impassive face of a listening judge; a man or woman seated before them, trying to put into words the way it happened, the way everything suddenly fell apart. Long silences. Touching the paper makes the archive and everything around you seem temporarily insubstantial, as if it is only one more ephemeral stopping point in the document’s journey.
再深一步想,就可以开始想象这些文件被记录时的具体情境。阳光从院子里照进来,室内明亮充盈,一个抄写员正俯首案前;法官正听着庭审,面无表情;他们面前坐着一个男人或女人,尽力在描述事情的经过和前因后果。接着便是长久的沉默。轻抚纸面,一股失实感飘渺而来,仿佛这些档案和身边的一切都是虚幻,它不过是这些文件在无尽旅程中短暂停靠的又一站。

Arlette Farge, in her marvelous exploration of French archival documents from this same period, recounts finding a purse full of seeds among the pages of the case she was consulting. A letter written by a country doctor explained that they came from a young woman who, once a month, discharged the seeds from her breasts. (Yes, I know—breasts seem to be everywhere in the eighteenth century.) Farge recounts debating whether to open the purse and finally making up her mind, then marveling as the seeds poured “down on the yellowed document, as golden as they were on their first day, a brief burst of sunshine.”
阿特莱·法格(法国历史学家,专研18世纪法国史)回忆自己在历史档案中探索18世纪法国的美妙旅程时,邂逅了这么一件事情:在一次查阅某个案例的过程中,她发现了一只钱包;而文件里一封来自乡村医生的信里记载说钱包里装满了种子,它们是从一个年轻女子的乳房里排出来的,每个月一次。(是的,看来18世纪离不开乳房了。)她有些纠结,又很好奇,最后还是打开了钱包,然后美妙的事情发生了–种子倾泻“于泛黄的纸面,光阴无改其往日金黄,倏忽穿透时间,满室阳光”。

I have never found such an extraordinary object, but I do recall finding, in a legal dispute from this period, two love letters confiscated over the course of the proceedings. They were still sealed. Their intended recipients never received them, never read what was inside. I did not open them, but I stared at them a long while, wondering at what had been lost in those closed packets of paper.
我还没有机会遇上这种奇妙的物件。但是经过我认真回忆,档案里其实有两封情书,是同时期的一场法律纠纷中被没收的,多年来原封不动躺在档案里,根本没有到达意中人的手上,信中的恋慕也无缘启封。我没有打开这两封信,而是盯着它们,陷入了沉思,除了这些密封的信件,还遗失了什么。

The documents I was reading at the AGCA contained a great deal of loss. All were criminal cases from the colonial period, and all connected somehow to acts of violence. After a time, reading such cases carries you past the disorienting surprise of encountering a material fragment of the past. The paper is still shocking in its physicality, but you begin to think about the words and the lives described by the words. You begin to wonder what it means that so many people suffered these losses. Parents losing children, women losing their honor, husbands losing their wives—most often by their own hand. These are only the most obvious losses, the ones directly addressed by the courts’ deliberations. There are others, hazy as the faded water stains, that seem to lie behind the words and are more difficult to discern. A loss of trust between neighbors. A loss of clarity about who belongs. An eroding sense of safety.
我在AGCA读到的这些文件收录了大量类似的失落档案。所有这些都是来源于殖民时期的犯罪记录,无一例外和暴力行为有某种牵扯。我在那里花了好些时间阅读这些案例,它们带我回到过去,随手捡拾皆是散落的时光碎片,每一片都有不期而遇的惊喜。因此,虽然书面记载的内容依然骇人听闻,但是我的思绪逐渐将文字联结起来,想象它们笔下的生活,理解人们经受的失落和叹息。父母失去孩子,女人失去贞节,男人失去妻子——这些只是最直接的损失,经由法庭直接审议,是看得见摸得着的惨重。而其他的丧失更为抽象,形迹如朦朦水渍,隐没在字里行间,轮廓模糊,难以描摹。或是邻里间信任的摧毁,或是谁人归属的迷茫,或是人性本善的跌破,或是逐渐消逝的安全感——让人胆战心惊。




👇



参考阅读:

谋杀犯对于女性乳房仿佛情有独钟。除了文中提及的将乳房切割后盛于睡莲叶上的吊诡审美观,还有性虐游戏中的花样撕咬、戳刺甚至翻炒……


https://www.thesun.co.uk/news/9689358/sex-crazed-breast-killer/


黑色大丽花(The Black Dahlia)


20世纪40年代美国洛杉矶的一桩极度惊悚血腥的离奇命案。受害者活体腰斩断为两截,所有器官与浑身血液均被掏空流尽,面部毁容成小丑式笑容,黑发呈放射状向四周扩散,看起来像黑色的大丽花。不同于文章中危地马拉的悬案被封存于档案馆内,作者如每一位读者或参观者一样念念不忘、在想象中重塑案件审理的全过程,电影导演赚得金盆钵满、悬疑小说家争论结局的合理性、电玩游戏竭力保留血腥快感,甚至死者生前常拜访的酒店都搭上人们追寻道德谴责夹杂些生理刺激的末班车,前洛杉矶警察局侦探史蒂夫·霍德尔(Steve Hodel)更是宣称其父亲为罪魁祸首,誓将悬案消费到最后一刻。

https://www.theguardian.com/us-news/2016/may/26/black-dahlia-murder-steve-hodel-elizabeth-short


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  • 本文原载于lapham’s quarterly

  • 原文链接:

    https://www.laphamsquarterly.org/roundtable/dead-ends


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