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經濟學人:逆世唯心的巾幗

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Books and Arts; Book Review;20th-century women; Dandy dames;

文藝;書評;20世紀的女性;逆世唯心的巾幗;

Rebecca West and Dorothy Thompson were remarkable—by any standards;

無論何時,Rebecca West和Dorothy Thompson都吸引著世俗的目光;

Dangerous Ambition: Rebecca West and Dorothy Thompson, New Women in Search of Love and Power. By Susan Hertog.

代償巨大的野望:Rebecca West和Dorothy Thompson,新時代女性追尋的愛與權力。作者:Susan Hertog。

Dorothy Thompson and Rebecca West were career women long before the term had been invented. In the 1930s, when Thompson and West were making their mark as established professionals, a Gallup poll recorded that 82% of the American population believed women “should not have paying jobs outside the home” if their husbands were employed. Yet both women worked consistently from their early 20s in occupations that were almost entirely male-dominated—Thompson as a foreign correspondent and then a political commentator; West (pictured) as a literary critic, lauded novelist, historian and travel writer.

DOROTHY THOMPSON和Rebecca West是名符其實的”職業女性”----遠在這個專有名詞發明之前。在20世紀30年代,Thompson 和West憑其過硬的專業本領廣為人知。一項蓋洛普民意顯示82%的美國國民堅信只要丈夫保有一份工作,妻子就“不應該在拋頭露面賺錢養家”。然而就是在那樣一個男性主導的工作環境中,兩位女性從20幾歲開始變貫己之念長駐崗位:thompson先是作為一個外國通訊記者,隨后轉職為政治評論員;West(如上圖)則集文學評論家、廣集贊譽的小說家、歷史學者以及游記著撰者多職于一身。

Susan Hertog's biography, an accomplished synthesis of these two lives and the remarkable parallels between them, is also a history of the 20th century, a study of female emancipation and literary culture, and an acute analysis of dysfunctional family life.

這部由Susan Hertog所著的傳記將兩位女性的生涯與兩人間驚人的相似之處完美地結合起來。它也是一部20世紀的史著,更是一份女性解放運動的研究報告和文學作品,同時亦敏銳地剖析了那個年代的人們真實的家庭生活。

The most striking similarity between Thompson and West is their seemingly innate self-belief and fearlessness. On her 27th birthday in 1920 the American-born Thompson sailed for England. With no contacts but with portfolio in hand, her goal was to gain credentials as a freelance reporter and make her way across Europe to witness the aftermath of the revolution in Russia. By 1927 she was living in Berlin as the first female head of a news bureau in Europe. West, the daughter of an Anglo-Irish journalist who abandoned the family when she was eight, was a reviewer and essayist by the time she was 19, when “regardless of reputation” she published cutting critiques of established writers such as Arnold Bennett and George Bernard Shaw. West wrote consistently until her death at 90 in 1983, and was in the enviable position of having Harold Ross, the editor of the New Yorker, write to her, pleading: “Please write any story you want for us, fact or fiction.” In 1941 West published her best-known book, “Black Lamb and Grey Falcon”, a history of the Balkans and a meditation on the rise of Nazism.

兩位女性讓人最印象深刻的相似性在于她們看似天性使然的堅定自我和無所畏懼。在Thompson1920年27歲生日的那一天,這位美國年輕女子僅持一文件夾,心攜能夠取得自由時事記者的工作資格并穿越歐洲去見證俄國沙皇革命余波的目標,孤身一人遠赴沒有親朋所在的英國。到1927年,她已定居柏林,成為首位歐洲新聞署的女性負責人。West的父親----愛爾蘭記者,拋棄妻子之時,她才8歲。幸而至19歲時已經是一位評論家和散文家,并“棄名聲于不顧”地以初生牛犢之勢發表了前輩級作家Arnold Bennett和George Bernard Shaw刪減過的批判性評論。West女士直到1983年90歲與世長辭之前從未間斷過寫作,并曾得到讓人夢寐以求的《紐約客》編輯Harold Ross的暗藏豐盛贊譽的來信:“請以我們寫個故事吧,真實的虛構的都可以!”1941年,West出版了舉世聞名的書:《黑色的小羊羔和灰色的獵鷹》---敘述了巴爾干半島的歷史以及對納粹主義興起的沉思。

Ms Hertog's style is frequently novelistic, which is less irritating than might be anticipated. In her description of Thompson's life in Berlin, for example, Ms Hertog assumes the voice of an omniscient narrator: “As Dorothy walked to the small office she kept on Motzstrasse, she remembered the first time she had met Rebecca…” Her writing style can be fanciful, as when Ms Hertog imagines the colour of Thompson's dress and how her hair might have been styled for her un-photographed first wedding. But it works well in the passages where the author attempts to draw out the romantic and family dramas which so defined the lives of both women.

Hertog女士的寫作風格極富新意,因此料想不大會像某些傳記那樣枯燥乏味。比如說,在她對Thompson女士的柏林生旅中,hertog女士以像如臨現場那樣通曉各事的口吻記敘道:當Dorothy漫行于專設于Motzstrasse的小工作室的途中,回憶起了初次與rebecca相見的場景。她的寫作風格布滿想象的泡泡,或者細細描繪Thompson的衣著之色,又或者刻畫她初次婚禮所打理的發型,盡管現實里Thompson并未留下一張她初婚的照片。然而這虛構的情節卻一反世人為她們所定性的刻板的職業女性形象,恰到好處地豐富了一個女人所擁有浪漫溫馨的家庭生活的一面。

When she was 21 West had an illegitimate son with H.G. Wells, 26 years her senior and then on his second wife, before marrying Henry Andrews, a banker, who was frequently unfaithful and suffered early from a form of dementia. Thompson was married three times and also had a son, with Sinclair Lewis, her second husband and winner of the Nobel prize in literature. Resentful of their mothers after lonely childhoods, both sons married young before abandoning their first wives, pursued unrealistic ambitions, and, when they proved unsuccessful, demanded lifelong financial assistance.

West在21歲時與年長她26歲的H.G.Wells生下了一個非婚子之后便成為了他的第二任妻子。第二任丈夫Henry Andrews是早年罹患癡呆癥并在婚姻生活中頻繁出軌的銀行家。Thompson歷經三次婚姻,同樣育有一子,是與第二任丈夫,榮獲諾貝爾文學獎的Sinclair Lewis所生。兩位兒子不滿他們的母親專注工作而導致自己孤寂殘缺的童年,在首次婚姻中,妻室尚在卻與年輕女子重婚,并追尋著不切實際的夢想,當最終幻滅之時,又央求母親終身的經濟援助。

The danger of the book's title refers to the effects of their ambitions to be, as Thompson put it, “something no other woman has been yet”. Both women turned out to be poor parents, even if they came up to roughly the standard expected of working fathers of the time; both chose work and travel over their child, sent them away to school and placated them with lavish gifts. Ms Hertog poignantly renders the conflict between maternal instinct and the desire for realisation of ambition, backed by a fear of diminished “intellectual lustre” and of becoming lost in a “cocoon of domesticity”. Thompson and West undoubtedly chose work over family, but in doing so helped to break down barriers, not only for women journalists but for all working women.

劍走偏鋒的書名披露了她們的事業野心,正如Thompson所說,這是“其他女性未曾經歷的一切”。兩位女士在養育子女方面是失敗的典范,雖然可以說她們大致符合那個時代在外打拼的爸爸的標準:在子女年紀尚小時便投身事業周游列國,并且將兒子打發到學校,又用奢華的禮物慰藉他們缺乏母愛的童年。在擔心以家庭為重會埋沒聰穎天資與害怕投身事業會為家庭所繭縛而帶來失落感的進退維谷的情境下,Hertog女士入木三分地刻畫了母愛的天性與實現事業宏愿的沖突所帶來的苦痛。兩位女性毫不遲疑地選擇了后者,但正因為這個選擇,才幫助了千萬女性記者乃至所有的在職女性跨越了世間予以她們的枷鎖。

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