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A testing of oneself, a fear of giving in to the most banal and marketable of one’s talents, still draws many of the young to New York.
今天仍有許多青年被吸引到紐約來，因為他們想考驗一下自己，怕讓自己的才能淪為極其平庸而易于上市的商品。
That and, as always, the company of others fleeing something constricting where they came from.
除此之外，還有另外一些為逃避家鄉(xiāng)某種束縛的年輕同伴，也總是被吸引到紐約來。
Together these young share a freedom, a community of inexpensive amusements, a casual living, and some rough times.
這些青年們在一起共享自由，同處于一個消費低廉的娛樂區(qū)，一起過著自由自在的生活，也共同度過了一些艱難時刻。
It can’t be the living conditions that appeal, for only fond memory will forgive the inconvenience, risk, and squalor.
吸引他們的不可能是紐約的生活條件，因為只有不合實際的樂觀回憶才會忘記他們在那兒的生活中所遇到的不便、危險和貧困。
Commercial Broadway may be inaccessible to them, but there is off- Broadway, and then off-off-Broadway.
商業(yè)性的百老匯劇院可能不會向他們開門，但還有那些外百老匯劇院和外外百老匯劇院。
If painters disdain Madison Avenue’s plush art galleries, Madison Avenue dealers set up shop in the grubby precincts of Soho.
倘若畫家們對麥迪遜大街上那些奢侈豪華的畫廊不屑一顧，那些畫廊老板們便會在索荷區(qū)陋巷之內(nèi)開設小分店。
But the purity of a bohemian dedication can be exaggerated.
可是?也許是波希米亞式藝術獻身的純潔性被人渲染過甚，
The artistic young inhabit the same Greenwich Village and its fringes in which the experimentalists in the arts lived during the Depression, united by a world against them.
這些年輕藝術家們也住進了格林威治村及其外圍地區(qū)。那是大蕭條時期由于面對一個敵對的世界而團結(jié)在一起的一批藝術實驗主義者住過的地方。
But the present generation is enough of a subculture to be a source of profitable boutiques and coffeehouses.
但今天的這一代青年藝術家已經(jīng)形成了一個顯著的亞文化群，以至于他們成了一些精品時裝和咖啡館的賺錢對象。
And it is not all that estranged.
他們已不再是那么與世隔絕了。
Manhattan is an island cut off in most respects from mainland America, but in two areas it remains dominant.
曼哈頓是一個在許多方面與美國大陸隔絕的孤島，但在兩個領域內(nèi)它仍處于支配地位。
It is the banking and the communications headquarters for America.
它是美國金融和通訊的中樞。
