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The Salinger estate was among the most stubborn holdouts against digitization,
塞林格文學(xué)信托基金堪稱是反對數(shù)字化立場最為堅定的“釘子戶”之一，
and the arrival of his e-books will fill a major gap in the digital library.
其作品電子版的問世將填補數(shù)字圖書館的一處重要空缺。
“This is the last chip to fall in terms of the classic works,”
“可以說是經(jīng)典作品電子書庫的最后一塊拼圖，”
said Terry Adams, vice president, digital and paperback publisher of Little, Brown.
副總裁，數(shù)字出版和平裝出版商利特爾&布朗出版社副總裁特里·亞當斯說。
“All of the other estates of major 20th century writers have made the move to e-books, but Matt has been very cautious.”
“20世紀其他主要作家的信托組織都已經(jīng)邁向了電子書，但馬特一直都非常謹慎。”
Matt Salinger resisted requests to issue e-books for years, knowing his father’s aversion to the internet.
多年來，馬特·塞林格一直拒絕發(fā)行電子書的要求，因為他了解父親討厭互聯(lián)網(wǎng)。
He once tried to explain Facebook to him and remembers he was “horrified” by the notion of digital oversharing.
他曾試圖為父親解釋Facebook，還記得父親對網(wǎng)上過度分享的概念感到頗為“震驚”。
“I hear his voice really clearly in my head, and there’s no doubt in my mind about 96 percent of the decisions I have to make,
“他的聲音現(xiàn)在都還清晰地回蕩在我腦海里，而且，我做的那些決定，有96%都是沒有絲毫疑慮的，
because I know what he would have wanted,” Mr. Salinger said.
因為我知道他的意思，”小塞林格說。
“Things like e-books and audiobooks are tough, because he clearly didn’t want them.”
“做電子書和有聲讀物真的很難，因為他顯然是不想要這些東西的。”
Mr. Salinger began to consider releasing e-books around 2014,
2014年左右，小塞林格就已經(jīng)開始考慮發(fā)行電子書了，
after a woman in Michigan wrote to him, saying she had a disability that made it difficult for her to read printed books.
原因是密歇根州的一位女士寫信給他，說她有殘疾，閱讀紙質(zhì)書很困難。
Then, during a trip to China earlier this year,
后來，今年早些時候訪問中國時，
he realized that many young people overseas read exclusively on phones and digital devices,
小塞林格進一步意識到，海外的許多年輕人現(xiàn)在都只用手機或其他數(shù)碼設(shè)備閱讀了，
and that e-books were the only way to get his father’s writing in front of them.
電子書是將父親的作品呈現(xiàn)給他們的唯一途徑。
He finally acquiesced to digital editions of Salinger’s four books —
最終，他默許了發(fā)行四部作品的電子版，
”The Catcher in the Rye,” “Nine Stories,” “Franny and Zooey,” and “Raise High the Roof Beam, Carpenters and Seymour: An Introduction.”
這四部作品分別是《麥田里的守望者》、《九故事》、《弗蘭尼與祖伊》和《抬高屋梁，木匠們與西摩：小傳》。
He has also explored the possibility of releasing audiobook editions
他還探索了發(fā)行有聲書的可能性，
but said his father abhorred the idea of his books being performed or interpreted in any way in another medium.
但表示父親不喜歡人們用其他媒介演繹或詮釋他的作品。
His father “was leery of many things, but he had a profound love for his readers,” Mr. Salinger said.
塞林格說，父親“對很多事情都持懷疑態(tài)度，但他深愛著他的讀者”。
“He wouldn’t want people to not be able to read his stuff.”
“他不希望人們無法看到他的作品。”
When it comes to releasing unpublished material, Mr. Salinger feels less ambivalent.
就發(fā)表此前未被發(fā)表的材料而言，塞林格倒沒有那么矛盾。
His father always made it clear that he intended to publish more one day, but didn’t want to deal with the media storm, he said.
他說，父親一直都說得很清楚，他也希望有一天能發(fā)表更多作品，只是他不想面對媒體蜂擁而至的局面。
“He’d say, ‘This is the year, I’m getting things together,’
“他會說，‘今年可以發(fā)表了，我要把一切都準備好，’
and then when it came time to do it, he just couldn’t do it,” he said.
但事到臨頭，他又會打退堂鼓，”小塞林格說。
“It took too much out of him, the attention was too great.”
“這事耗費了他太多的精力，大家對他的關(guān)注太多了。”
Mr. Salinger plans to proceed cautiously but feels the weight of his father’s legacy, the expectations that his many fans have.
塞林格計劃謹慎行事，但他也感受到了父親的遺產(chǎn)的分量，以及粉絲們的期望。
A woman in her 80s wrote to him, begging him to release his father’s writing so that she can read it before she dies, he said.
他說，曾經(jīng)有一位80多歲的老奶奶寫信給他，求他把父親的作品發(fā)表出來，讓她在閉眼之前有機會看一看。
It pains him to think of her, and that he might let her and other readers down by taking too long.
一想到她，想到他拖延太久會讓她失望，也讓其他的讀者失望，他就覺得十分痛苦。
“That is a kind of pressure,” he said.
“這也是一種壓力，”他說。
He thought of his father again, adding, “He would have been moved by letters like that, too.”
接著，他又想起了父親，又補充道，“換作是他，他也會被那樣的信感動的。”
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