过半是由于村上太喜欢卡佛了

A room that for a minute something else entered.

图片 1

就像上个世纪前半期的

you find occurring, and recurring,

while they stood, unable to move

“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.

关于痛苦和侮辱的交谈中

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.

cried, Dumb luck. Freak accident.

(以上图片均源于于网络。)

And messed around a little more

图片 2

他恐怕在裤子上擦了擦手。

We sipped tea. Politely musing

和自我的伴儿们说笑。

图片 3

for the dread fascination of it.

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.

其余要想的事总是这么多。

图片 4

在这天的会面中,村上从不问卡佛翻译的事,也从不报告她,他骨子里是一个小说家。

into talk of pain and humiliation

小说情势是把心里所思所想流畅而随意的表明出来,翻译形式则是把客人的所思所想对照自己的言语转换出来。村上在三十五年间,交替举行这二种形式,宛如精神上的血液循环一般。他把翻译名为「向外打开的窗」,去吧,把自己的理念放到海外去,把温馨身处到世界中间去,如此方能免了成为井底之蛙的险恶。

Raymond Clevie Carver, Jr.

I looked into a corner of the room.

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.”

our car with snowballs, gravel, old

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.

对此村上而言,翻译其实是兴趣爱好,而非工作,它就像保龄球一样。他并从未特意地学习过翻译,高校也并不是立陶宛语专业,只是高中的时候习惯了读立陶宛语原版的图书,积累大量的翻阅之后,自不过然地,便学会了翻译。他说,随笔可以按照自己的想法,天马行空,但是翻译不行,需要尽最大可能扼杀本我(ego),在制约当中,让翻译中的自己谦虚而充实,这样对写小说也有很大的功利。

A fateful literary meeting: Raymond Carver and Haruki Murakami

now, I imagine I see it coming. See it

(Mary Cauffman / The Seattle Times)

大家抿着茶。思忖着

图片 5

1984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,取了一个
“sky house”
的雅名,当时卡佛正忙着写作,但仍然决定要抽出时间来和村上聊一聊。译者大老远的从东瀛跑过来拜访,卡佛也自觉喜出望外。据卡佛的婆姨说,「Ray
特别想和村上会师。完全像个孩子一样雀跃着,他特别想精晓,自己的小说是怎么着把远隔重洋的两个人一连到一同的」。中午村上夫妇到达以后,一起吃了熏鲑鱼,喝了些白茶,村上和卡佛走到屋外的台阶上,哀悼撞上玻璃的飞禽之死,谈论着卡佛在日本得到好评的理由。

in my stories. And that element

最后一句下流话。看见非凡东西

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.

And the humiliation.

in terms of sales.

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.”


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.

He never gave that afternoon

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.”

It was awful when I began to weep

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

用雪球,砂砾,枯枝朝着大家的汽车

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.

但我的车窗降下了三英寸。

“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.”

He must have wiped his hands on his pants.

“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.”

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

of sheer chance. How all this translates

随后消失?

(May 25, 1938 – August 2, 1988)

千年不遇!

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:

of the last century watched cannisters

图片 6

可能的案由。沉浸在

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.

二十年后,村上如此说。

of my books in your country. Slipped

自己的耳膜震破了,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.

她必定遭遇他的挫折,碰到

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.

这是你发现在本人的小说中

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

出人意外某种东西猛地撞击我头部旁边,

on possible reasons for the success

想必是因为您的小说是由人生中有的是的微小的屈辱而构成的?这样日本人会相比较容易接受。

By Jeff Baker (Special to The Seattle Times)

careening around in the snow

并且在返家吃晚饭前


in a ‘50 Dodge sedan with five or six

And we were gonna leave it at that.

但即刻本身没瞧见。我已转过头

现行,我推测我看见它飞过去了。看见它

在雪地里横冲直撞。向此外一些东西

like those soldiers in the first part

扔掉。我们疾驰离开,叫骂着。

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

多闲荡了少时。长大后

speeding through the air while I watch,

in front of those tough guys while they

another thought. And why should he?

俺们在房间里文雅地举起茶杯。

近日多看随笔短篇,翻开卡佛的短篇集《大教堂》的首先页,明明是中译本,前言却是村上春树所写,篇名「Raymond(Raymond)Carver:
美利坚合众国布衣的话语」。其中缘由,多半是出于村上太喜欢卡佛了,在村上春树的小说中,也可阅览卡佛的划痕,语言平实,用词简练,多为没有完结的完结。卡佛的著述被评价为极具极简主义的美学,尽管她协调并不喜欢那么些标签。

一个黑马有些另外什么进来了的房间。

of shot fly in their direction

可怜深夜,为何要想啊?

穿越空气快捷提升。我望着它,

他生命中的失利,正如我同样。

my head to laugh with my pals.

And for a minute I was 16 again,

tree branches. We spun away, shouting.

Why remember that stupid car sliding

and disappearing?

the shouts and back-slaps of the others.

for Haruki Murakami

冰雪球。疼痛是钻心的。

那么些扔雪球的玩意儿,不得不装出惊愕,

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” 。

挪不动半步。

伸出中指,他们喊话着,

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

我凝视着房间的一个角落。

何以要记得这辆呆头呆脑的车

参考资料:

We sipped tea. Politely musing

So much else to think about always.

掉下来,完整无缺。一个紧实的

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

拍拍他的肩头意味着赞许。

这多少个士兵望着霰弹

时而,我又再次来到十六岁

给村上春树

村上说,

村上在部分讲演会上曾说,讲自己的小说有点难为情,但是讲讲翻译是可以的,因为是人家写的小说。他经过翻译卡佛的小说,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,把程式化的语言和不必要的修饰全体去除,在这么些基础上尽可能以『故事』的花样,坦诚而温和地显露自己的肺腑之言,是卡佛追求的经济学境界」,这与村上也很为接近。即便二人的创作为主截然不同,卡佛的世界聚焦于人与人以内的涉嫌和内在的紧张感,而村上的世界则是围绕内心的孤寂和无尽的想象。但他依旧翻译了卡佛的凡事创作。

wind up to throw. From this vantage,

you find occurring, and recurring,

bozos. Giving the finger

one last obscenity. And saw this guy

to some other bozos, who yelled and pelted

在那个粗鲁的东西面前,而她们

When something slammed into the side

and snow. The pain was stupendous.

before going home to supper. He grew up

in terms of sales.

沿路滑行,然后转头拐角

和五五个傻小子

驾着一辆五十年份的斯柯达小轿车

We politely raise our tea cups in the room.

down the stupid road, then turning the stupid corner

打算就到此停止。

on possible reasons for the success

into talk of pain and humiliation

Three inches. I hollered out

大叫,笨蛋。怪物。

1983年,在卡佛在美国还未拥有伟大声誉之时,村上偶然在一本选集中读到了卡佛的一篇题为《脚下流淌的深河》(So
Much 沃特(Wat)er so Close to
Home)的小说,继而深受感动,便想方设法把卡佛的富有作品都翻译,并介绍到了扶桑。卡佛著作的饱满内涵根植于他前半生所受的挫败,他到处阶层(即工人阶级或中私自产阶层)所处的酸楚和无奈,和她所观望到的愈发实际的美利坚合众国。东瀛的读者喜欢卡佛,大约是因为他们和弥利坚的中产阶级一样,是与世隔膜和抑郁的。在她们生命中,或许有像样羞愧的事物在其中作梗,不管扶桑人仍旧美利坚联邦合众国人都是同等。

她再没有想过

挥手单臂准备扔掉。从这些便利地方

我猜我应当说的。但自己没悟出,他会走得那么早。

什么样转化成销量。

into my lap, intact. A ball of packed ice

朝他们飞来,

of my head so hard it broke my eardrum and fell

to have his share of setbacks and get lost

抛掷物

而他们呆立着,因可怕的迷怔

of sheer chance. How all this translates

前几天,卡佛依照这段对话,写了一首诗,赠与村上。(The
Projectile,附在文末)

唯有三英寸。我叫喊出

骄傲的神色,当其外人朝她大吵大闹,

自我的书在您的国度得到成功的

and proud of himself, while he took

But my window was down three inches.

真难过,我起始哭泣,

of my books in your country. Slipped

无论是在杂文依然在随笔里,用一般但规范的语言,去写普通的东西,并给予这些普通的东西

─管它是椅子,窗帘,叉子,还是一块石头,或女性的耳环——以周边而惊心动魄的力量,这是可以形成的。写一句表面上看起来无伤大雅的寒暄,并跟着传递给读者冷彻骨髓的寒意,这是可以形成的。

纯属偶然的元素。所有那多少个

in my stories. And that element

反复出现的东西。以及这种

The Projectile

图片 7

耻辱也是。

A chance in a million!

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