THEY blasted down to L.A., heading back to the barn only semivisible and near as anybody could tell unobserved, Manuel and his auto1 alchemy team at Zero Profile Paint & Body of Santa Rosa having come up with a proprietary2 lacquer of a crystalline microstructure able to vary its index of refraction so that even had there been surveillance, the Trans-Am could easily, except for a few iridescent3 fringes, have been taken for empty roadway.
If Prairie had been expecting an old-movie private eye's office, seedy and picturesque4, she wouldn't be getting it today. The Fu-mimota suite5 was located in a basic L.A. business/shopping complex of high-rises that stood on a piece of former movie-studio lot. Space devoted6 to make-believe had, it was thought, been reclaimed7 by the serious activities of the World of Reality. A lot of old-time oaters had been lensed here — she'd watched some, Saturday mornings on the Tube — but where stagecoaches8 had rolled and posses thundered, now stockbrokers9 whispered romantically about issues and futures10 into tiny telephone mikes no bigger than M&M's, crowds dressed to impress came and shopped and sat on tile patios12 eating lunch, deals were made high overhead in legal offices that weren't always legal, sharing these altitudes with city falcons13 who hunted pigeons in the booming prisms of sun and shadow below.
Prairie still had no idea of what "karmic adjustment" was supposed to be, but for the first time it began to seem plausible14 to her that Takeshi, if not what he said he was, at least might be more than the nose-twister and eye-poker he appeared. The place was full of computer terminals, facsimile machines, all-band transmitter/receivers, not to mention components15 scattered16 all over, printed circuits, laser units, DIP's, disk drives, power supplies, and test equipment —
"Hi-tech Heaven," her eyes wide.
"That'd be your first mistake," DL said. "Most of it's just props17 to make ol' Sleazebrain here look good."
"Please," Takeshi waving a palm-sized remote control. "What can we offer you?" In rolled a little robot fridge, with two round video screens side by side, each with an image of a cartoon eye that shifted and blinked from time to time, and a smile-shaped speaker for a mouth, out of which now came a synthesized medley18 of refrigerator tunes19, including "Winter Wonderland," "Let It Snow," and "Cold, Cold Heart." Stopping in front of Prairie, humming and flexing20 small electric motors, it recited its contents.
"You said 'designer seltzer,' what's that?"
"Another stage in the marketing21 philosophy of the mid-1980s," replied the mobile cooler. "At the moment 1 have Bill Blass, Az-zedine Ala?a, Yves St. Laurent —"
"Fine!" Prairie a little high-pitched, "that'll be, uh —" and pow there was the stylish23 seltzer, stone-cold in its YSL-logo container in the essentially24 Reagan-era fashion colors of gold and silver. One of the video eyes winked25 at her, and from the mouth emerged a shiny pink tongue of some soft, wobbling plastic. "Anything else?" the creature inquired in the kind of voice Prairie had come to mistrust even before she could talk.
"Thanks, Raoul," DL said, "we'll let you know."
The video eyes closed, and Raoul glided26 back to its recharge station, playing "I'll See You Again" and "Drink, Drink, Drink."
"Time machine's in the shop," Takeshi brightly, "otherwise we'd all — go for a spin!"
"Just had to R-and-R another tachyon chamber," DL amplified27, "exactly a tenth of a second after the warranty28 ran out, the 'sucker blew, why they call it a 'time' machine, I guess?"
But Prairie had been sitting glazy at one of the screens, stroking some keys. "If I wanted to know where she was, say right this second —"
DL shook her head. "I really don't get this. The woman —"
"DL-san —" Takeshi had his eyebrows29 up.
"Go ahead," the girl getting to her feet. "She ran out on me. Probably to be with Brock Vond, is the way it looks. I'm the last person she wants to see. I leave anything out?"
"Plenty. Like all your friends in 'em Cobra gunships, who seem at the moment to be part of the package, you get her, you get them too?"
"In fact —" Takeshi pretending to run over to the window and anxiously check the sky, "why are we — even hanging around with this kid? She's dangerous!"
DL reached and looped a length of hair back behind Prairie's ear. "Until you get to see her . . . would you settle for watchin' her? It's the best I can do."
"You know I have to settle for what I can get," the girl whispered, keeping her eyes down because she knew DL was on to her and if their eyes met she'd just blow it.
Ditzah Pisk Feldman lived in a Spanish split-level up a pleasant cul-de-sac on the high-rent side of Ventura Boulevard, with pepper trees and jacarandas in the yard and a vintage T-Bird in the carport. She was divorced and solvent31, with only about a half-hour commute32 to work. The girls were with their father for the summer. When DL had known her back in Berkeley, Ditzah and her sister Zipi were going around in battle fatigues33 with their hair in matching oversize Jewish Afros, spray-painting SMASH THE STATE on public walls and keeping plastic explosive in Tupperware containers in the icebox. "Pretending to be film editors," she told Prairie, "but we were really anarchist35 bombers36." This evening she looked like your average suburban37 mom, though what did Prairie know, maybe it was another disguise. Ditzah was drinking sangria and wearing eyeglasses with fashion frames and a muumuu with parrots all over it.
It was just before prime time, with the light outdoors not quite gone, birds loud in the trees above a distant wash of freeway sound, the concrete surf. Ditzah led them across the patio11 to a workshop in back, with a Movieola machine and 16mm film all over the place, some on reels or cores, some in pieces lying around loose, and some in cans inside steel footlockers, which turned out to be the archives of 24fps, the old guerrilla movie outfit39.
Back then they had roved the country together in a loose low-visibility convoy40 of older midsize sedans, pickups with and without camper shells, an Econoline van for equipment, and a dinged and chromeless but nonetheless kick-ass22 Sting Ray that served as a high-speed patrol unit, among all of which they kept in touch by CB radio, still then a novelty on the road. They went looking for trouble, they found it, they filmed it, and then quickly got the record of their witness someplace safe. They particularly believed in the ability of close-ups to reveal and devastate41. When power corrupts42, it keeps a log of its progress, written into that most sensitive memory device, the human face. Who could withstand the light? What viewer could believe in the war, the system, the countless43 lies about American freedom, looking into these mug shots of the bought and sold? Hearing the synchronized44 voices repeat the same formulas, evasive, affectless, cut off from whatever they had once been by promises of what they would never get to collect on?
"Never?" asked a local TV interviewer once, somewhere back in the San Joaquin.
And here came Frenesi Gates's reverse shot. Prairie felt the two women shift in their seats. Frenesi's eyes, even on the aging ECO stock, took over the frame, a defiance45 of blue unfadable. "Never," was her answer, "because too many of us are learning how to pay attention." Prairie gazed.
"Well, you sound like our own Action News Team."
"Except that we have less to protect, so we can go after different targets."
"But. . . doesn't that get dangerous?"
"Mm, in the short run," Frenesi guessed. "But to see injustices46 happening and ignore them, as your news team has been ignoring the repression47 of farm workers here in this county who've been trying to organize — that's more 'dangerous' in the long run, isn't it?" Aware at each moment of the lens gathering48 in her own image.
DL, on the other hand, obliged to approach life in 24fps with cold practicality, stayed as far out of camera range as she could. When she talked, it was about tactics and timetables, hardly ever politics, and then only as much as she had to. She made sure the rolling stock was always ready to roll, scouted49 each new location for rendezvous50 points and multiple ways out of town, and though preferring to plan their way around cops and cop sympathizers was not above keeping a pry51 bar handy beneath her driver's seat. If they did get caught it would have to be DL, as unit chief of security, who lingered behind to delay the pursuit.
"That night Sledge52 drove us right into the middle of a drug bust53?" Ditzah cackled, "Me and Zipi smoking shit somebody marinated in DMT, couldn't keep a thought in our heads, we kept wanderin' off and you'd have to go find us —"
"Thought that was the hash in the hot fudge sundaes."
"No, that was Gallup, the hot fudge. . .."
"Um," Prairie pointing at the screen, "who're all these folks?"
It was a slow pan shot of 24fps as constituted on some long-ago date the two women were unable now to agree on. An incoherent collection of souls, to look at them, a certain number always having drifted in and out — impatient apprentices54, old-movie freex, infiltrators and provocateurs of more than one political stripe. But there was a core that never changed, and it included genius film editors Ditzah and Zipi Pisk, who'd grown up in New York City and, except for geographically55, never left it. California's only reality for them was to be found in the million ways it failed to be New York. "Magnin's?" Zipi would smile grimly. "OK for a shopping center, somewhere on Long Island perhaps, very nice ladies' toilet of course, but please, this is no major store." Ditzah was the food kvetch — "Try and get a Danish anywhere out here!" They found West Coast people "cold and distant" as invariably as they remembered apartment living in the Big Apple being all "warm and neighborly."
This amused the others. "Are you kiddeen?" Howie, who took care of the paperwork, would snort. "I visited my sister back there, try to even get eye contact it's yer ass, babe."
"We are not the ones who have to encapsulate ourselves inside our cars all the time," Zipi would point out, "are we? no, and our dogs and cats never have to get sent to shrinks, and we certainly do not come up out of the water, fuck somebody right there on the beach then go jogging away without even leaving their phone number," which had in fact happened to her during the girls' first or introductory weekend on the West Coast, the event, despite its air of the supernatural, having left both sisters with a certain attitude toward the surfing community, of which, because of his xanthocroid looks, they had singled out Howie as typical.
To watch them at work was to enjoy unthinking exhibitions of grace. Zipi edited with her nails and Scotch56 tape, Ditzah favored teeth and paper clips, and when it got to the Movieola stage, rarely was either sister more than a frame off. They liked to chain-smoke while they worked and to have two or three television sets, tuned57 to different channels, going at the same time, plus rock and roll, the more acid-oriented the better, on the radio, thus cutting and splicing58 in an environment you could call rhythmic59. When Mirage60, the unit astrologer, found out they were both Geminis, she started feeding them daily aspects. They learned to get up at strange hours, and when the Moon was void of course, not to work at all.
Frenesi and the Pisks had taken over what was left of the Death to the Pig Nihilist Film Kollective, based in Berkeley, a doomed61 attempt to live out the metaphor62 of movie camera as weapon. The Kollective's assets included camera bodies, lenses, lights and light stands, Movieola, hydraulic63 camera mount, fridgeful of ECO, and, at first anyway, a rump of the Kollective's more stubborn personnel, who had put some of the language of their old manifesto64 into 24fps's new one — "A camera is a gun. An image taken is a death performed. Images put together are the substructure of an afterlife and a Judgment65. We will be architects of a just Hell for the fascist66 pig. Death to everything that oinks!" — which for many was going too far, including Mirage, on her feet to insist that pigs are really groovy, in fact far groovier than any humans their name ever gets applied67 to.
"Say 'roaches,' " suggested Sledge Poteet.
"Roaches are cool," protested Howie, who happened to have a joint68 in his mouth. Krishna, the sound person, put in with a stipulation69 that all life, even that of roaches, is holy. "Wait a minute," cried one of the original Death-to-the-Piggers, "that kind of talk invalidates our whole conceptual base, this is about shooting folks here, is it not?"
"Oh yeah? what's your sign, man?" Howie wanted to know.
"Virgo."
"It figures."
"Signism!" Mirage screamed. "Howie, that's worse than racism70!"
"Worse than sexism," added the Pisks in unison71.
"Ladies, ladies," boomed Sledge, gesturing with his 'fro pick, while Howie, eyes ablush, held out a smoldering72 joint of gold Colombian as a token of peace.
"Be groovy, everybody," advised Frenesi, who wasn't exactly chairing the get-together73, only struggling as usual to keep outside the bickering74. This outfit was nobody's anarchist fantasy. When DL came aboard, she and Sledge, with whom she shared a fondness for enlightenment through asskicking, immediately became the realist wing of 24fps, counterposed to the often dangerously absent dreamers Mirage and Howie. Frenesi and the Pisks soldiered on in the center, and the task of trying to keep everybody "happy" fell to Krishna. Frenesi would come back with half a dozen rolls of dysrhythmic young Californian women dancing at a rally, Zipi and Ditzah would fly into a rage at the impossibility of getting any of these hippie chicks to do anything on the beat ("It's tzuris I don't need!" "Tzimmes also!"), and it was always Krishna who found the right music, expertly manipulated the tape speed, and seemed to know what the Pisks wanted before they did, quickly getting a reputation in the unit for broad ESP skills. When backs were left uncovered and chores undone75, when words got too ambiguous, it was Krishna who led everybody to the bathroom and served as counselor76 for as long as it took. Without her, Ditzah thought, no telling how much sooner it would all have come apart, exchanging with DL now a look that Prairie didn't miss.
Night and movies whirred on, reel after reel went turning, carrying Prairie back to and through an America of the olden days she'd mostly never seen, except in fast clips on the Tube meant to suggest the era, or distantly implied in reruns like "Bewitched" or "The Brady Bunch." Here were the usual miniskirts, wire-rim glasses, and love beads77, plus hippie boys waving their dicks, somebody's dog on LSD, rock and roll bands doing take after take, some of which was pretty awful. Strikers battled strikebreakers and police by a fence at the edge of a pure green feathery field of artichokes while storm clouds moved in and out of the frame.
Troopers evicted78 the members of a commune in Texas, beating the boys with slapjacks, grabbing handcuffed girls by the pussy79, smacking80 little kids around, and killing81 the stock, all of which Prairie, breathing deliberately82, made herself watch. Suns came up over farm fields and bright-shirted pickers with the still outlines of buses and portable toilets on trailers in the distance, shone pitilessly down on mass incinerations of American-grown pot, the flames weak orange distortions of the daylight, and set over college and high school campuses turned into military motor pools, throwing oily shadows. There was little mercy in these images, except by accident — backlit sweat on a Guardsman's arm as he swung a rifle toward a demonstrator, a close-up of a farm employer's face that said everything its subject was trying not to, those occasional meadows and sunsets — not enough to help anybody escape seeing and hearing what, the film implied, they must.
At some point Prairie understood that the person behind the camera most of the time really was her mother, and that if she kept her mind empty she could absorb, conditionally84 become, Frenesi, share her eyes, feel, when the frame shook with fatigue34 or fear or nausea85, Frenesi's whole body there, as much as her mind choosing the frame, her will to go out there, load the roll, get the shot. Prairie floated, ghostly light of head, as if Frenesi were dead but in a special way, a minimum-security arrangement, where limited visits, mediated86 by projector87 and screen, were possible. As if somehow, next reel or the one after, the girl would find a way, some way, to speak to her. . . .
And suddenly both women were going "Oh, fuck!" together and laughing, though not at anything funny. It was inside a courthouse lobby someplace and some little guy with a jocklike walk, wearing a suit, was crossing left to right. Ditzah rewound the film. "Guess who, Prairie."
"Brock Vond? Can you put it on pause, freeze it?"
"Sorry. We did transfer it all to videotape, and there are duplicates around, but the idea was to disperse88 the archives so they'd be safer, and I got stuck with all the film. Here, here's the little shaygetz again." Brock had convened89 his roving grand jury up in Oregon to look into subversion90 on the campus of a small community college, and 24fps had gone there to film the proceedings91, or as much as they could find with Brock always changing venues92 and times on them at the last minute. They chased him from the courthouse, through the rain, to a motel, then to the fairground exhibition hall, the college and high school auditoriums93, the drive-in-movie lot, finally back to the courthouse again, where Frenesi, by then not expecting him, just trying to shoot some old WPA murals about Justice and Progress if she could figure a way to compensate94 for the colors, which had darkened with the years since the New Deal, in the middle of a slow pan around the rotunda95, happened to pick up in her viewfinder this compact figure in a beige double-knit, striding toward the staircase. Another camera eye on the same crew might've dismissed him as one more pompous96 little functionary97. Zooming98 in a little on his face, she began to track him. She didn't know who he was. Or maybe she did.
She had used her faithful 16mm Canon Scoopic, bought new at Brooks100 Camera in downtown San Francisco, a gift from Sasha, with one built-in zoom99 lens, a control button in the end of the handgrip that you pushed with your thumb, and inscribed101 in the viewfinder a TV-screen shape so you could frame a shot for the evening news, though this one of Brock ended up on a bedsheet . tacked102 to the wall of a motel room, lightproof drapes pulled against the subtropical glare, with most of the 24fps membership jammed in together to watch the Oregon rushes.
"So that's the Prosecutor103, hmm?" Zipi Pisk sounding a little dreamy.
"That was the Prosecutor," Krishna pointed104 out serenely105.
"Yeah you got some real pretty takes of this creep," DL semi-teased her friend. "What's goin' on?"
Brock was more photogenic than cute, with his buffed high forehead, modish106 octagonal eyeglass frames, Bobby Kennedy haircut, softly outdoor skin. He hadn't seen much of Frenesi's face with the Scoopic in front of it, but couldn't have missed her legs, long, bare, sleekly107 muscled, pale in the rainlight, in the courthouse echoes. And he could feel how she focused in on him, him alone — the lines of force. The roll ended, she withdrew her thumb, uncovered her face. "Ya got me," said Brock Vond, bringing out a Boyish Grin he'd been told was effective though not devastating108. "Maybe I'll get a shot of you someday."
"Nothing the FBI won't already have ... go check it out."
"Oh, all they care about is identifying faces. I'd want something a little more," trying not to stare too hard at those noteworthy legs, "entertaining, guess you'd say."
"Little . .. courtroom drama, maybe."
"There you go. Make you a star. We'd all have a real good time."
"Sounds like one more of those bullshit State degradation109 rituals, thanks anyway but I'll pass."
"Oh — you'd have no choice. You'd have to come." He was smiling.
She moved her pretty jaw110 a little forward. "I wouldn't come."
"Then a man in a uniform, with a big pistol, would have to make you come."
Frenesi should have just zinged him one — something — left the area and stayed out of the way for a while. That would have been correct procedure. She was wondering instead why she'd worn this little miniskirt today when it would have made more sense to wear pants.
Her silence in the dimmed motel room had deepened like a blush. "It's only a movie," she finally said. "Think the light's OK?"
" 'Sucker ain't worth no Zippo flame on a cloudy night," in the opinion of Sledge Poteet. Everybody in z4fps had their own ideas about light, and about all they shared was the obsession111. Meetings convened to take care of business would turn into arguments about light that happened so often they came to seem the essence of 24fps. Against Howie's advocacy of available light because it was cheaper, Frenesi wanted actively112 to commit energy by pouring in as much light as they could liberate83 from the local power company. In the equipment van, among quartz113 lamps and PAR30 bulbs, color-temperature meters, blue filters, cable of different gauges114, lamp stands, and ladders, were also grid-access devices, designed and taught her by Hub Gates, customized as occasion demanded by his daughter, "the young gaffer," as he liked to call her, intended for draining off whenever possible the lifeblood of the fascist monster, Central Power itself, merciless as a tornado115 or a bomb yet somehow, as she had begun to discover in dreams of that period, personally aware, possessing life and will. Often, through some dense116 lightning-shot stirring of night on night, she would be just about to see Its face when her waking mind would kick in and send her spreading awake into what should have been the world newly formatted117, even innocent, but from which, as it proved, the creature had not after all been banished118, only become, for a while, less visible.
"You don't think they know when we go in on those meters and tie points and shit? Someday they'll be waitin' for us," predicted Sledge.
"Part of this business, Sledge," from DL.
"Uh-huh, but I'm the one gets y'all's ass out of town when it happens." The other big ongoing119 debate around here was over the claims of film against those of "real life." Would it be necessary someday for one of them to die for a piece of film? One that might never even get used? How about crippled or hurt? What was the risk level supposed to be? DL would smile off at some angle, as if embarrassed.
"Film equals sacrifice," declared Ditzah Pisk.
"You don't die for no motherfuckin' shadows," Sledge replied.
"Long as we have the light," Frenesi sounding so sure, "long as we're runnin' that juice in, we're OK."
"Oh yeah? they just pull the plug on your ass."
"Shoot yer lights out, man," Howie giggled120.
Frenesi shrugged121. "That much less to carry." Nonchalant talk, considering the dangers they'd already been in and out of, more than most movie people saw in a whole career. Was she really that superstitious122 or whatever it was — naive123? — to think, this far into the life she thought she'd chosen, of any protection for herself — did she really believe that as long as she had it inside her Tubeshaped frame, soaking up liberated124 halogen rays, nothing out there could harm her?
The informal slogan around 24fps was Che Guevara's phrase "Wherever death may surprise us." It didn't have to be big and dramatic, like warfare125 in the street, it could happen as easily where they chose to take their witness, back in the shadows lighting126 up things the networks never would — it might only take one cop, one redneck, one stupid mistake, everybody on the crew could dig it, though in the usual way it was too hard for most of them to believe in, even when they began to learn with their bodies the language of batons127, high-pressure hoses, and CZ gas, and as the unit medical locker38 gradually amassed128 a painkiller129 collection that was the envy of bikers and record producers up and down the Coast. They were still young, exempt130, and for DL, in charge of security, sometimes infuriatingly careless. Just as she was allowing herself to think they might be showing a learning curve on the subject, along came the events at College of the Surf down in Trasero County, and there they found themselves all the way up Shit's Creek131, with all lines of withdrawal132 from the campus denied them. By the time of the last offer by bullhorn of safe passage, every road, watercourse, storm drain, and bike path was interdicted133. All phones were cut off, and the news media, compliant134 as always, at a harmless, unbridgeable distance. On that last night, 24fps had exclusive coverage135 of the story, if anybody survived to bring it out.
收听单词发音 |
1
auto
|
|
| n.(=automobile)(口语)汽车 | |
参考例句： |
|
|
|
|
2
proprietary
|
|
| n.所有权，所有的；独占的；业主 | |
参考例句： |
|
|
|
|
3
iridescent
|
|
| adj.彩虹色的，闪色的 | |
参考例句： |
|
|
|
|
4
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
5
suite
|
|
| n.一套(家具)；套房；随从人员 | |
参考例句： |
|
|
|
|
6
devoted
|
|
| adj.忠诚的，忠实的，热心的，献身于...的 | |
参考例句： |
|
|
|
|
7
reclaimed
|
|
| adj.再生的；翻造的；收复的；回收的v.开拓( reclaim的过去式和过去分词 )；要求收回；从废料中回收（有用的材料）；挽救 | |
参考例句： |
|
|
|
|
8
stagecoaches
|
|
| n.驿马车( stagecoach的名词复数 ) | |
参考例句： |
|
|
|
|
|
9
stockbrokers
|
|
| n.股票经纪人( stockbroker的名词复数 ) | |
参考例句： |
|
|
|
|
10
futures
|
|
| n.期货，期货交易 | |
参考例句： |
|
|
|
|
11
patio
|
|
| n.庭院，平台 | |
参考例句： |
|
|
|
|
12
patios
|
|
| n.露台，平台( patio的名词复数 ) | |
参考例句： |
|
|
|
|
13
falcons
|
|
| n.猎鹰( falcon的名词复数 ) | |
参考例句： |
|
|
|
|
14
plausible
|
|
| adj.似真实的，似乎有理的，似乎可信的 | |
参考例句： |
|
|
|
|
15
components
|
|
| （机器、设备等的）构成要素，零件，成分； 成分( component的名词复数 )； [物理化学]组分； [数学]分量； （混合物的）组成部分 | |
参考例句： |
|
|
|
|
16
scattered
|
|
| adj.分散的，稀疏的；散步的；疏疏落落的 | |
参考例句： |
|
|
|
|
17
props
|
|
| 小道具； 支柱( prop的名词复数 )； 支持者； 道具； （橄榄球中的）支柱前锋 | |
参考例句： |
|
|
|
|
18
medley
|
|
| n.混合 | |
参考例句： |
|
|
|
|
19
tunes
|
|
| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
参考例句： |
|
|
|
|
20
flexing
|
|
| n.挠曲，可挠性v.屈曲( flex的现在分词 )；弯曲；（为准备大干而）显示实力；摩拳擦掌 | |
参考例句： |
|
|
|
|
21
marketing
|
|
| n.行销，在市场的买卖，买东西 | |
参考例句： |
|
|
|
|
22
ass
|
|
| n.驴；傻瓜，蠢笨的人 | |
参考例句： |
|
|
|
|
23
stylish
|
|
| adj.流行的，时髦的；漂亮的，气派的 | |
参考例句： |
|
|
|
|
24
essentially
|
|
| adv.本质上，实质上，基本上 | |
参考例句： |
|
|
|
|
25
winked
|
|
| v.使眼色( wink的过去式和过去分词 )；递眼色（表示友好或高兴等）；（指光）闪烁；闪亮 | |
参考例句： |
|
|
|
|
26
glided
|
|
| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
参考例句： |
|
|
|
|
27
amplified
|
|
| 放大，扩大( amplify的过去式和过去分词 )； 增强； 详述 | |
参考例句： |
|
|
|
|
28
warranty
|
|
| n.担保书，证书，保单 | |
参考例句： |
|
|
|
|
29
eyebrows
|
|
| 眉毛( eyebrow的名词复数 ) | |
参考例句： |
|
|
|
|
30
par
|
|
| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
参考例句： |
|
|
|
|
31
solvent
|
|
| n.溶剂；adj.有偿付能力的 | |
参考例句： |
|
|
|
|
32
commute
|
|
| vi.乘车上下班；vt.减(刑)；折合；n.上下班交通 | |
参考例句： |
|
|
|
|
33
fatigues
|
|
| n.疲劳( fatigue的名词复数 )；杂役；厌倦；（士兵穿的）工作服 | |
参考例句： |
|
|
|
|
34
fatigue
|
|
| n.疲劳，劳累 | |
参考例句： |
|
|
|
|
35
anarchist
|
|
| n.无政府主义者 | |
参考例句： |
|
|
|
|
36
bombers
|
|
| n.轰炸机( bomber的名词复数 )；投弹手；安非他明胶囊；大麻叶香烟 | |
参考例句： |
|
|
|
|
37
suburban
|
|
| adj.城郊的，在郊区的 | |
参考例句： |
|
|
|
|
38
locker
|
|
| n.更衣箱，储物柜，冷藏室，上锁的人 | |
参考例句： |
|
|
|
|
39
outfit
|
|
| n.（为特殊用途的）全套装备，全套服装 | |
参考例句： |
|
|
|
|
40
convoy
|
|
| vt.护送，护卫，护航；n.护送；护送队 | |
参考例句： |
|
|
|
|
41
devastate
|
|
| v.使荒芜，破坏，压倒 | |
参考例句： |
|
|
|
|
42
corrupts
|
|
| （使）败坏( corrupt的第三人称单数 )； （使）腐化； 引起（计算机文件等的）错误； 破坏 | |
参考例句： |
|
|
|
|
43
countless
|
|
| adj.无数的，多得不计其数的 | |
参考例句： |
|
|
|
|
44
synchronized
|
|
| 同步的 | |
参考例句： |
|
|
|
|
45
defiance
|
|
| n.挑战，挑衅，蔑视，违抗 | |
参考例句： |
|
|
|
|
46
injustices
|
|
| 不公平( injustice的名词复数 )； 非正义； 待…不公正； 冤枉 | |
参考例句： |
|
|
|
|
47
repression
|
|
| n.镇压，抑制，抑压 | |
参考例句： |
|
|
|
|
48
gathering
|
|
| n.集会，聚会，聚集 | |
参考例句： |
|
|
|
|
49
scouted
|
|
| 寻找，侦察( scout的过去式和过去分词 )； 物色（优秀运动员、演员、音乐家等） | |
参考例句： |
|
|
|
|
50
rendezvous
|
|
| n.约会，约会地点，汇合点；vi.汇合，集合；vt.使汇合，使在汇合地点相遇 | |
参考例句： |
|
|
|
|
51
pry
|
|
| vi.窥(刺)探，打听；vt.撬动(开，起) | |
参考例句： |
|
|
|
|
52
sledge
|
|
| n.雪橇，大锤；v.用雪橇搬运，坐雪橇往 | |
参考例句： |
|
|
|
|
53
bust
|
|
| vt.打破；vi.爆裂；n.半身像；胸部 | |
参考例句： |
|
|
|
|
54
apprentices
|
|
| 学徒，徒弟( apprentice的名词复数 ) | |
参考例句： |
|
|
|
|
55
geographically
|
|
| adv.地理学上，在地理上，地理方面 | |
参考例句： |
|
|
|
|
56
scotch
|
|
| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
参考例句： |
|
|
|
|
57
tuned
|
|
| adj.调谐的，已调谐的v.调音( tune的过去式和过去分词 )；调整；（给收音机、电视等）调谐；使协调 | |
参考例句： |
|
|
|
|
58
splicing
|
|
| n.编接（绳）；插接；捻接；叠接v.绞接( splice的现在分词 )；捻接（两段绳子）；胶接；粘接（胶片、磁带等） | |
参考例句： |
|
|
|
|
59
rhythmic
|
|
| adj.有节奏的，有韵律的 | |
参考例句： |
|
|
|
|
60
mirage
|
|
| n.海市蜃楼，幻景 | |
参考例句： |
|
|
|
|
61
doomed
|
|
| 命定的 | |
参考例句： |
|
|
|
|
62
metaphor
|
|
| n.隐喻，暗喻 | |
参考例句： |
|
|
|
|
63
hydraulic
|
|
| adj.水力的；水压的，液压的；水力学的 | |
参考例句： |
|
|
|
|
64
manifesto
|
|
| n.宣言，声明 | |
参考例句： |
|
|
|
|
65
judgment
|
|
| n.审判；判断力，识别力，看法，意见 | |
参考例句： |
|
|
|
|
66
fascist
|
|
| adj.法西斯主义的；法西斯党的；n.法西斯主义者，法西斯分子 | |
参考例句： |
|
|
|
|
67
applied
|
|
| adj.应用的；v.应用，适用 | |
参考例句： |
|
|
|
|
68
joint
|
|
| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
参考例句： |
|
|
|
|
69
stipulation
|
|
| n.契约，规定，条文；条款说明 | |
参考例句： |
|
|
|
|
70
racism
|
|
| n.民族主义；种族歧视(意识) | |
参考例句： |
|
|
|
|
71
unison
|
|
| n.步调一致，行动一致 | |
参考例句： |
|
|
|
|
72
smoldering
|
|
| v.用文火焖烧，熏烧，慢燃( smolder的现在分词 ) | |
参考例句： |
|
|
|
|
73
get-together
|
|
| n.(使)聚集；(使)集合 | |
参考例句： |
|
|
|
|
74
bickering
|
|
| v.争吵( bicker的现在分词 )；口角；（水等）作潺潺声；闪烁 | |
参考例句： |
|
|
|
|
75
undone
|
|
| a.未做完的，未完成的 | |
参考例句： |
|
|
|
|
76
counselor
|
|
| n.顾问，法律顾问 | |
参考例句： |
|
|
|
|
77
beads
|
|
| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
参考例句： |
|
|
|
|
78
evicted
|
|
| v.（依法从房屋里或土地上）驱逐，赶出( evict的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
79
pussy
|
|
| n.(儿语)小猫，猫咪 | |
参考例句： |
|
|
|
|
80
smacking
|
|
| 活泼的，发出响声的，精力充沛的 | |
参考例句： |
|
|
|
|
81
killing
|
|
| n.巨额利润；突然赚大钱，发大财 | |
参考例句： |
|
|
|
|
82
deliberately
|
|
| adv.审慎地；蓄意地；故意地 | |
参考例句： |
|
|
|
|
83
liberate
|
|
| v.解放，使获得自由，释出，放出；vt.解放，使获自由 | |
参考例句： |
|
|
|
|
84
conditionally
|
|
| adv. 有条件地 | |
参考例句： |
|
|
|
|
85
nausea
|
|
| n.作呕，恶心；极端的憎恶(或厌恶) | |
参考例句： |
|
|
|
|
86
mediated
|
|
| 调停，调解，斡旋( mediate的过去式和过去分词 )； 居间促成； 影响…的发生； 使…可能发生 | |
参考例句： |
|
|
|
|
87
projector
|
|
| n.投影机，放映机，幻灯机 | |
参考例句： |
|
|
|
|
88
disperse
|
|
| vi.使分散；使消失；vt.分散；驱散 | |
参考例句： |
|
|
|
|
89
convened
|
|
| 召开( convene的过去式 )； 召集； （为正式会议而）聚集； 集合 | |
参考例句： |
|
|
|
|
90
subversion
|
|
| n.颠覆，破坏 | |
参考例句： |
|
|
|
|
91
proceedings
|
|
| n.进程，过程，议程；诉讼(程序)；公报 | |
参考例句： |
|
|
|
|
92
venues
|
|
| n.聚集地点( venue的名词复数 )；会场；（尤指）体育比赛场所；犯罪地点 | |
参考例句： |
|
|
|
|
93
auditoriums
|
|
| n.观众席( auditorium的名词复数 )；听众席；礼堂；会堂 | |
参考例句： |
|
|
|
|
94
compensate
|
|
| vt.补偿，赔偿；酬报 vi.弥补；补偿；抵消 | |
参考例句： |
|
|
|
|
95
rotunda
|
|
| n.圆形建筑物；圆厅 | |
参考例句： |
|
|
|
|
96
pompous
|
|
| adj.傲慢的，自大的；夸大的；豪华的 | |
参考例句： |
|
|
|
|
97
functionary
|
|
| n.官员；公职人员 | |
参考例句： |
|
|
|
|
98
zooming
|
|
| adj.快速上升的v.（飞机、汽车等）急速移动( zoom的过去分词 )；（价格、费用等）急升，猛涨 | |
参考例句： |
|
|
|
|
99
zoom
|
|
| n.急速上升；v.突然扩大，急速上升 | |
参考例句： |
|
|
|
|
100
brooks
|
|
| n.小溪( brook的名词复数 ) | |
参考例句： |
|
|
|
|
101
inscribed
|
|
| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
参考例句： |
|
|
|
|
102
tacked
|
|
| 用平头钉钉( tack的过去式和过去分词 )； 附加，增补； 帆船抢风行驶，用粗线脚缝 | |
参考例句： |
|
|
|
|
103
prosecutor
|
|
| n.起诉人；检察官，公诉人 | |
参考例句： |
|
|
|
|
104
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
105
serenely
|
|
| adv.安详地，宁静地，平静地 | |
参考例句： |
|
|
|
|
106
modish
|
|
| adj.流行的，时髦的 | |
参考例句： |
|
|
|
|
107
sleekly
|
|
| 光滑地，光泽地 | |
参考例句： |
|
|
|
|
108
devastating
|
|
| adj.毁灭性的，令人震惊的，强有力的 | |
参考例句： |
|
|
|
|
109
degradation
|
|
| n.降级；低落；退化；陵削；降解；衰变 | |
参考例句： |
|
|
|
|
110
jaw
|
|
| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
参考例句： |
|
|
|
|
111
obsession
|
|
| n.困扰，无法摆脱的思想(或情感) | |
参考例句： |
|
|
|
|
112
actively
|
|
| adv.积极地，勤奋地 | |
参考例句： |
|
|
|
|
113
quartz
|
|
| n.石英 | |
参考例句： |
|
|
|
|
114
gauges
|
|
| n.规格( gauge的名词复数 )；厚度；宽度；标准尺寸v.（用仪器）测量( gauge的第三人称单数 )；估计；计量；划分 | |
参考例句： |
|
|
|
|
115
tornado
|
|
| n.飓风，龙卷风 | |
参考例句： |
|
|
|
|
116
dense
|
|
| a.密集的，稠密的，浓密的；密度大的 | |
参考例句： |
|
|
|
|
117
formatted
|
|
| adj. 格式化的 动词format的过去式和过去分词形式 | |
参考例句： |
|
|
|
|
118
banished
|
|
| v.放逐，驱逐( banish的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
119
ongoing
|
|
| adj.进行中的，前进的 | |
参考例句： |
|
|
|
|
120
giggled
|
|
| v.咯咯地笑( giggle的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
121
shrugged
|
|
| vt.耸肩（shrug的过去式与过去分词形式） | |
参考例句： |
|
|
|
|
122
superstitious
|
|
| adj.迷信的 | |
参考例句： |
|
|
|
|
123
naive
|
|
| adj.幼稚的，轻信的；天真的 | |
参考例句： |
|
|
|
|
124
liberated
|
|
| a.无拘束的，放纵的 | |
参考例句： |
|
|
|
|
125
warfare
|
|
| n.战争(状态)；斗争；冲突 | |
参考例句： |
|
|
|
|
126
lighting
|
|
| n.照明，光线的明暗，舞台灯光 | |
参考例句： |
|
|
|
|
127
batons
|
|
| n.（警察武器）警棍( baton的名词复数 )；（乐队指挥用的）指挥棒；接力棒 | |
参考例句： |
|
|
|
|
128
amassed
|
|
| v.积累，积聚( amass的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
129
painkiller
|
|
| n.止痛药 | |
参考例句： |
|
|
|
|
130
exempt
|
|
| adj.免除的；v.使免除；n.免税者，被免除义务者 | |
参考例句： |
|
|
|
|
131
creek
|
|
| n.小溪，小河，小湾 | |
参考例句： |
|
|
|
|
132
withdrawal
|
|
| n.取回，提款；撤退，撤军；收回，撤销 | |
参考例句： |
|
|
|
|
133
interdicted
|
|
| v.禁止（行动）( interdict的过去式和过去分词 )；禁用；限制 | |
参考例句： |
|
|
|
|
134
compliant
|
|
| adj.服从的，顺从的 | |
参考例句： |
|
|
|
|
135
coverage
|
|
| n.报导，保险范围，保险额，范围，覆盖 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |