評論
打印
n. 仁慈，好意
The process of creation is unique to every writer. Each of my novels differs from the others in terms of plot and guiding inspiration. Some, such as “The Transparent Carrot,” were born in dreams, while others, like The Garlic Ballads have their origin in actual events. Whether the source of a work is a dream or real life, only if it is integrated with individual experience can it be imbued with individuality, be populated with typical characters molded by lively detail, employ richly evocative language, and boast a well crafted structure. Here I must point out that in The Garlic Ballads I introduced a real-life storyteller and singer in one of the novel’s most important roles. I wish I hadn’t used his real name, though his words and actions were made up. This is a recurring phenomenon with me. I’ll start out using characters’ real names in order to achieve a sense of intimacy, and after the work is finished, it will seem too late to change those names. This has led to people who see their names in my novels going to my father to vent their displeasure. He always apologizes in my place, but then urges them not to take such things so seriously. He’ll say: “The first sentence in Red Sorghum, ‘My father, a bandit’s offspring,’ didn’t upset me, so why should you be unhappy?”
我在寫作《天堂蒜薹之歌》這類逼近社會現實的小說時，面對著的最大問題，其實不是我敢不敢對社會上的黑暗現象進行批評，而是這燃燒的激情和憤怒會讓政治壓倒文學，使這部小說變成一個社會事件的紀實報告。小說家是社會中人，他自然有自己的立場和觀點，但小說家在寫作時，必須站在人的立場上，把所有的人都當做人來寫。只有這樣，文學才能發端事件但超越事件，關心政治但大于政治。
My greatest challenges come with writing novels that deal with social realities, such as The Garlic Ballads, not because I’m afraid of being openly critical of the darker aspects of society, but because heated emotions and anger allow politics to suppress literature and transform a novel into reportage of a social event. As a member of society, a novelist is entitled to his own stance and viewpoint; but when he is writing he must take a humanistic stance, and write accordingly. Only then can literature not just originate in events, but transcend them, not just show concern for politics but be greater than politics.
可能是因為我經歷過長期的艱難生活，使我對人性有較為深刻的了解。我知道真正的勇敢是什么，也明白真正的悲憫是什么。我知道，每個人心中都有一片難用是非善惡準確定性的朦朧地帶，而這片地帶，正是文學家施展才華的廣闊天地。只要是準確地、生動地描寫了這個充滿矛盾的朦朧地帶的作品，也就必然地超越了政治并具備了優秀文學的品質。
Possibly because I’ve lived so much of my life in difficult circumstances, I think I have a more profound understanding of life. I know what real courage is, and I understand true compassion. I know that nebulous terrain exists in the hearts and minds of every person, terrain that cannot be adequately characterized in simple terms of right and wrong or good and bad, and this vast territory is where a writer gives free rein to his talent. So long as the work correctly and vividly describes this nebulous, massively contradictory terrain, it will inevitably transcend politics and be endowed with literary excellence.
喋喋不休地講述自己的作品是令人厭煩的，但我的人生是與我的作品緊密相連的，不講作品，我感到無從下嘴，所以還得請各位原諒。
| 重點單詞 | 查看全部解釋 | |||
| kindness | ['kaindnis] |
想一想再看 |
聯想記憶 | |
| avenge | [ə'vendʒ] |
想一想再看 vt. 為 ... 報復，報仇 |
聯想記憶 | |
| fanciful | ['fænsifəl] |
想一想再看 adj. 奇怪的，稀奇的，想像的 |
||
| popular | ['pɔpjulə] |
想一想再看 adj. 流行的，大眾的，通俗的，受歡迎的 |
聯想記憶 | |
| unspoken | [,ʌn'spəukən] |
想一想再看 adj. 未說出口的；無言的；不言而喻的 |
||
| supreme | [sju:'pri:m] |
想一想再看 adj. 最高的，至上的，極度的 |
||
| uphold | [ʌp'həuld] |
想一想再看 v. 支撐，贊成，鼓勵 |
聯想記憶 | |
| crouch | [krautʃ] |
想一想再看 vi. 蹲伏，蜷伏；卑躬屈膝 vt. 低頭；屈膝 n. |
聯想記憶 | |
| limited | ['limitid] |
想一想再看 adj. 有限的，被限制的 |
||
| adequately | ['ædikwitli] |
想一想再看 adv. 足夠地，充分地，適當地 |
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