...多郎在德国遇见新世纪音乐的先驱“橘子之梦”（Tangerine Dream）乐队和德国革新派合成器演奏天才克劳斯·舒而茨（Klaus Schulze），因而感受到电子合成器的魔力，从此爱上合成器。
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舒尔茨先生认为她后来通过使她的作品主题看上去同她曾经一样焦虑、愤怒而压抑来寻找慰藉：“这是关于她的秘密的展露，而不是照片中那些人的。”
Mr Schultz believes that the photographer later sought consolation in making her subjects look as anxious, angry and depressed as she herself was: “It was her secrets on display, not theirs.”
就像舒尔茨说得那样理想如星辰，即使我们触摸不到，也可以像航海者一样，借星光的指引而引路。
Like schultz says so ideal such as stars, even if we can't touch, also may like navigator, as the guide and guide by starlight.
舒尔茨先生上一部书的主题有关杜鲁门·卡波特，他在洞析阿勃丝的“秘密”中做了一个学者式的直入，却被他材料的缺乏而困累。
Mr Schultz, whose previous subject was Truman Capote, makes a scholarly stab at penetrating Arbus's "secrets", hampered as he is by lack of material.
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