大大多是出于村上太喜欢卡佛了澳门皇冠官网app

We politely raise our tea cups in the room.

At their one meeting, Murakami never asked Carver about translation and
never told Carver he was a writer.

of shot fly in their direction

澳门皇冠官网app 1

小编的耳膜震破了,耳垂

It never happened. Carver thought his years of hard drinking would kill
him but the cigarettes got there first, lung cancer that spread to his
brain and brought him down in 1988, at 50. Gallagher gave Murakami a
pair of Carver’s shoes, a sign of respect from one writer to another.

继而消失?

in my stories. And that element

企图就到此截至。

of sheer chance. How all this translates

而他们呆立着,因可怕的迷怔

in terms of sales.

骄傲的神情,当其余人朝他大吵大闹,

Haruki Murakami met Northwest short-story writer Raymond Carver for the
first and only time in the summer of 1984. Murakami was 35 and had been
writing for six years; his first great novel, “A Wild Sheep Chase,” came
out in 1982 but none of his work had been published in English. He was
known to Carver only as the enthusiastic translator who had been
bringing his stories out in Japan at an impressive clip.

恐怕是因为你的随笔是由人生中许多的分寸的污辱而重组的?那样印尼人会相比较轻易接受。

Murakami and his wife, Yoko, visited Carver and Gallagher at Sky House,
a wide-windowed home on the Strait of Juan de Fuca. Murakami was struck
by Carver’s “massive physical size,” and noted “the way he sat on the
sofa with his body crunched up as if to say he had never intended to get
so big, and he had an embarrassed expression on his face.”

like those soldiers in the first part

Raymond Clevie Carver, Jr.

The Projectile

澳门皇冠官网app 2

before going home to supper. He grew up

Carver didn’t know it, but Murakami was on a pilgrimage. When Murakami
read Carver’s “So Much Water So Close to Home” in 1982, he was hit by a
thunderbolt. To Murakami, this was genius, “an entirely new kind of
fiction,” realistic but penetrating and profound in a way that he
believed “goes beyond simple realism.” Murakami read another Carver
story, “Where I’m Calling From,” in The New Yorker, and began collecting
and translating everything of Carver’s he could find.


Carver’s literary path zigzagged through the Northwest. Born in
Clatskanie, Oregon, to a sawmill worker and a waitress, Carver grew up
in Yakima, got married at 19, and joined his father in the mill. He
bounced around for the next 20 years, drinking, taking classes,
squeezing out time to write on the weekends. His stories were about
working people struggling to connect, falling down and getting up.

and snow. The pain was stupendous.

(May 25, 1938 – August 2, 1988)

in terms of sales.

澳门皇冠官网app 3

扔掉。大家疾驰离开,叫骂着。

“I guess I should have done that,” Murakami told the Harvard Crimson 20
years later, “but I didn’t know he would die so young.”

And we were gonna leave it at that.

Carver was curious enough to interrupt his writing schedule for a social
visit — something he generally avoided — and he was flattered that
Murakami had come all the way from Japan to Port Angeles to meet him.

这是您发觉在自个儿的小说中

Both men were shy. Carver was a mumbler, uneasy around strangers, and a
tape Murakami made sounded “like little more than a badly done wiretap.”
They connected, though, and Carver paid close attention to his guest.
Carver was in the warm flush of fame, good years after so much alcohol
and heartbreak. “What We Talk About When We Talk About Love” (1981) was
his breakout book and “Cathedral” (1983), his masterpiece, the best
stories of his generation, the best ever by a Northwest writer.

其余要想的事总是那样多。

The two writers met in person only once, but it provided a lifetime of
inspiration; most recently shown in Murakami’s new collection “Men
Without Women.”

挥手双手筹划扔掉。从那几个便利地方

Murakami is self-taught, a jazz-club owner who started writing fiction
after an epiphany at a baseball game. He sticks to his own path and
follows it without hesitation. In Carver’s fiction, he found a map to
guide him.

one last obscenity. And saw this guy

“Ray was eager, almost childlike with delight, to meet Murakami, to see
who he was and why Ray’s writing had brought them together on the
planet,” Tess Gallagher, Carver’s widow, wrote after the meeting.

And for a minute I was 16 again,

澳门皇冠官网app 4

明日,卡佛依据这段对话,写了一首诗,赠与村上。(The
Projectile,附在文末)

By Jeff Baker (Special to The Seattle Times)

into my lap, intact. A ball of packed ice

澳门皇冠官网app 5

of sheer chance. How all this translates

(Mary Cauffman / The Seattle Times)

那多少个士兵望着霰弹

Originally published June 25, 2017 at 7:00 am Updated June 25, 2017 at
3:59 pm

another thought. And why should he?

“Raymond Carver was without question the most valuable teacher I ever
had and also the greatest literary comrade,” Murakami wrote in “A
Literary Comrade,” an essay published after Carver’s death. “The novels
I write tend, I believe, in a very different direction from the fiction
Ray has written. But if he had never existed, or I had never encountered
his writings, the books I write, especially my short fiction, would
probably assume a very different form.”

但自己的车窗降下了三英寸。

into talk of pain and humiliation

小编们抿着茶。思忖着

Murakami probably was thinking of “So Much Water So Close to Home,” the
story of men who find a woman’s body on a fishing trip and continue to
fish for two days before contacting the police. Carver was thinking of a
moment when he was 16 and his eardrum was broken by a snowball, a memory
that came roaring back 30 years later and left just as quickly.

这段日子,笔者估算作者看见它飞过去了。看见它

on possible reasons for the success

bozos. Giving the finger

澳门皇冠官网app 6

穿越空气快速升高。作者看着它,

Murakami is an international sensation, the author of two dozen books
that are translated everywhere. “Men Without Women,” his new short-story
collection (Knopf, 228 pp., $25.95), has Carver’s influence on every
page. An actor knows his more-famous wife had affairs and after her
death he befriends one of her lovers. A housewife delivers groceries to
a shut-in and tells him stories after passionless sex. A doctor spends a
lifetime keeping love at arm’s length and forgets its power. “Men
Without Women” is the title of a 1927 short-story collection by Ernest
Hemingway, but it’s Carver that Murakami is thinking of when he writes
that “Dreams are the kind of things you can — when you need to — borrow
and lend out.”

我们在房间里文雅地举起陶瓷杯。

A fateful literary meeting: Raymond Carver and Haruki Murakami

And messed around a little more

The Murakamis stayed for two hours. All went well, and Carver promised
to return the visit on a trip to Japan. Murakami was thrilled and
ordered an extra-large bed so his new American friend would be
comfortable in his home.

她必然受到他的败诉,遇到

We sipped tea. Politely musing

村上在局部演讲会上曾说,讲团结的散文有一些难为情,不过讲讲翻译是足以的,因为是别人写的随笔。他通过翻译卡佛的创作,亦雕琢出来村上作风的文体,卡佛的文风诚实而简单,「推敲细密,把程式化的言语和不须要的梳洗全体剔除,在这些基础上竭尽以『故事』的样式,坦诚而温柔地透露自身的真心话,是卡佛追求的文化艺术境界」,那与村上也很为临近。就算多少人的小说为主一丈差九尺,卡佛的社会风气集中于人与人之间的关联和内在的紧张感,而村上的世界则是环绕内心的孤身和不胜枚举的想像。但她独断专行翻译了卡佛的任何小说。

Smoked salmon and black tea were served. Carver’s mind, as it often did,
wandered away for a moment that he captured in “The Projectile,” a poem
he dedicated to Murakami:

翻译 | Raymond Carver / The Projectile – for Haruki
Mu…

you find occurring, and recurring,

in a ‘50 Dodge sedan with five or six

(以上海教室片均源于于网络。)

Why remember that stupid car sliding

of my books in your country. Slipped

在那多少个粗鲁的玩意儿面前,而她们

沿着路滑行,然后转头拐角

她再未有想过

cried, Dumb luck. Freak accident.

参照他事他说加以考察资料:

I looked into a corner of the room.

本人凝视着房间的三个角落。

对于村上来讲,翻译其实是兴趣爱好,而非职业,它就好像保龄球同样。他并从未特意地上学过翻译,高校也并不是爱沙尼亚语职业,只是高级中学的时候习于旧贯了读爱沙尼亚语原版的书本,积存多量的阅读之后,任其自流地,便学会了翻译。他说,小说能够遵照自身的主见,天马行空,可是翻译不行,供给尽最大大概扼杀本自个儿(ego),在制裁其中,让翻译中的自个儿谦虚而充实,那样对写随笔也许有相当的大的低价。

甭管在诗词还是在小说里,用一般但靠谱的语言,去写普通的事物,并授予这个平凡的东西

─管它是椅子,窗帘,叉子,依旧一块石头,或女性的耳环——以常见而惊心动魄的力量,那是能够完成的。写一句表面上看起来无伤大雅的寒暄,并随后传递给读者冷彻骨髓的寒意,那是能够做到的。

同临时候在回乡吃晚饭前

When something slammed into the side

纯属不常的因素。全体那个

to some other bozos, who yelled and pelted

掉下来,完整无缺。八个紧实的

给村上春树

末段一句下流话。看见那一个东西

缘何要记得那辆呆头呆脑的车


The guy who threw it, he had to be amazed,

into talk of pain and humiliation

特别早上,为啥要想啊?

of the last century watched cannisters

澳门皇冠官网app 7

down the stupid road, then turning the stupid corner

But I didn’t see it. I’d already turned

to have his share of setbacks and get lost

怎样转化成销量。

村上说,

モノをつくる人間にとって一番恐いのは井の中の蛙のみたいに狭い場所で、固定されたシステムの中で妙に落ち着いてしまうこと。もっと目を外に向けていくべきだし、もっと広い場所に自分をおかなければいけない。そういう点で
“翻訳は外に開かれた窓” 。

一时间,作者又回到16岁

一九八四年,在卡佛在United States还未持有巨大声誉之时,村上突发性在一本选聚焦读到了卡佛的一篇题为《脚下流淌的深河》(So
Much 沃特er so Close to
Home)的小说,继而异常受感动,便大费周章把卡佛的具有文章都翻译,并介绍到了东瀛。卡佛作品的旺盛内涵根植于她前半生所受的败诉,他无处阶层(即工人阶级或中国和亚洲法产阶层)所处的苦水和无语,和他所阅览到的进一步真实的美利坚联邦合众国。扶桑的读者喜欢卡佛,大致是因为她俩和美利坚合众国的中产阶级同样,是与世隔膜和烦躁的。在他们生命中,可能有近似羞愧的东西在其间作梗,不管新加坡人照旧葡萄牙人都以均等。

在那天的晤面中,村上从不问卡佛翻译的事,也绝非告知她,他骨子里是一个大诗人。

在雪地里横冲直撞。向此外一些实物

my head to laugh with my pals.

至于忧伤和侮辱的攀谈中

用雪球,砂砾,枯枝朝着大家的小车

壹玖捌肆年夏,村上夫妇去了在华盛顿州奥林匹亚半岛,登门拜访卡佛夫妇,他们的家建在山丘上,取了二个“sky house”
的雅名,当时卡佛正忙着写作,但要么调整要腾出时间来和村上聊一聊。译者大老远的从日本跑过来拜访,卡佛也乐得热情洋溢。据卡佛的贤内助说,「Ray
极其想和村上谋面。完全像个儿女同一雀跃着,他特意想掌握,本人的篇章是何许把隔断重洋的六人总是到一只的」。早晨村上夫妇达到现在,一齐吃了熏萨门鱼,喝了些山茶,村上和卡佛走到室外的台阶上,哀悼撞上玻璃的鸟儿之死,商量着卡佛在扶桑获得好评的说辞。

意想不到某种东西猛地撞击小编尾部旁边,

三个意料之外有一点别的什么进来了的房屋。

就像上个世纪前半期的

挪不动半步。

for the dread fascination of it.

Three inches. I hollered out

冰雪球。疼痛是钻心的。

近来多看随笔短篇,翻开卡佛的短篇集《大教堂》的率先页,明明是中译本,前言却是村上春树所写,篇名「RaymondCarver:
U.S.百姓的话语」。当中缘由,多半是由于村上太喜欢卡佛了,在村上春树的创作中,也可看出卡佛的划痕,语言平实,用词简练,多为未有结束的扫尾。卡佛的著述被评价为极具极简主义的美学,就算她和谐并不爱好那几个标签。

He must have wiped his hands on his pants.

A chance in a million!

大概的从头到尾的经过。沉浸在

驾着一辆五十年代的Dodge小小车

伸出中指,他们喊话着,

on possible reasons for the success

大叫,笨蛋。怪物。

自身猜作者应当说的。但小编没悟出,他会走得那么早。

We sipped tea. Politely musing

wind up to throw. From this vantage,

speeding through the air while I watch,

二十年后,村上那样说。

千年不遇!

和自家的同伴们说笑。

while they stood, unable to move

and disappearing?

So much else to think about always.

of my head so hard it broke my eardrum and fell

她恐怕在裤子上擦了擦手。

唯有三英寸。我叫喊出

A room that for a minute something else entered.

our car with snowballs, gravel, old

in my stories. And that element

you find occurring, and recurring,

in his life, same as I got lost in mine.

和五四个傻小子

他生命中的退步,正如我同样。

in front of those tough guys while they

and proud of himself, while he took

now, I imagine I see it coming. See it

But my window was down three inches.

朝他们飞来,

多闲荡了一会儿。长大后

本人的书在你的国度获得成功的

小说方式是把心里所思所想流畅而自由的表述出来,翻译情势则是把客人的所思所想对照自身的言语调换出来。村上在三十五年间,交替实行这二种形式,如同精神上的血液循环一般。他把翻译名叫「向外张开的窗」,去吗,把温馨的观点放到国外去,把团结献身到世界中间去,如此方能免了成为一知半解的安危。

耻辱也是。

of my books in your country. Slipped

careening around in the snow

for Haruki Murakami

抛掷物

tree branches. We spun away, shouting.

但随即自身没看见。笔者已转过头

the shouts and back-slaps of the others.

It was awful when I began to weep

And the humiliation.

真悲伤,作者起来哭泣,

He never gave that afternoon

那么些扔雪球的玩意儿,不得不装出惊愕,

几度出现的东西。以及这种

拍拍她的双肩意味着赞许。

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