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"Lullaby" by W.H. Auden. Selected writings / edited and with an introduction by W.H. Auden

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"Lullaby" by W.H. Auden, (who died on this day in 1973.)
Lay your sleeping head, my love,
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms till break of day
Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.
Soul and body have no bounds:
To lovers as they lie upon
Her tolerant enchanted slope
In their ordinary swoon,
Grave the vision Venus sends
Of supernatural sympathy,
Universal love and hope;
While an abstract insight wakes
Among the glaciers and the rocks
The hermit’s carnal ecstasy.
Certainty, fidelity
On the stroke of midnight pass
Like vibrations of a bell,
And fashionable madmen raise
Their pedantic boring cry:
Every farthing of the cost,
All the dreaded cards foretell,
Shall be paid, but from this night
Not a whisper, not a thought,
Not a kiss nor look be lost.
Beauty, midnight, vision dies:
Let the winds of dawn that blow
Softly round your dreaming head
Such a day of welcome show
Eye and knocking heart may bless,
Find the mortal world enough;
Noons of dryness find you fed
By the involuntary powers,
Nights of insult let you pass
Watched by every human love.

Everyman's Library 的相片。




The Selected Writings of Sydney Smith:Edited by W. H. Auden

Synopsis:

'He is a very clever fellow, but he will never be a bishop.' George III

'A more profligate parson I never met.' George IV

'I sat next to Sydney Smith, who was delightful ... I don't remember a more agreeable party.' Benjamin Disraeli

'I wish you would tell Mr Sydney Smith that of all the men I ever heard of and never saw, I have the greatest curiosity to see ... and to know him.' Charles Dickens

How one agrees with Dickens. Without doubt, Sydney Smith was the most famous wit of his generation. But there was more to him than that, he was an outstanding representative of the English liberal tradition.

Starting as an impoverished village curate he went to Edinburgh as a tutor, and co-founded the Edinburgh Review, the first major nineteenth-century periodical. Happily married, he moved in 1803 to London, where he was introduced into the Holland House circle - of which he quickly became an admired and popular member - but at the age of thirty-eight a Tory government banished him to a village parsonage. There he became 'one of the best country vicars of whom there is a record', and after his two chief causes - the Catholic Emancipation Act of 1829 and the Reform Bill of 1832 - triumphed, he was rewarded by a canonry of St. Paul's.

This generous selection of his writings gives the full flavour of his mind and intellectual personality. In a characteristically stimulating introduction in which he discusses Sydney Smith both as an individual and as a shining exemplar of the liberal mind, W. H. Auden places him with Jonathan Swift and Bernard Shaw among the few polemic authors 'who must be ranked very high by any literary standard.'

As Macaulay said he was 'The Smith of Smiths'.

Tags:

Categorised as:
Non-fiction
Sub-categories:
Essays & Prose
Genres & Themes:
Church; Clergy; Faber Finds; Polemicists
The Selected Writings of Sydney Smith book cover
Selected edition:
Paperback
ISBN:
9780571252756
Published:
16.07.2009
No of pages:
416

Bib ID2381561
FormatBookBook
Author
Smith, Sydney, 1771-1845
DescriptionLondon : Faber and Faber, 1957.
396p.
Other AuthorsAuden, W. H. (Wystan Hugh), 1907-1973

Cat’s Eye;Curious Pursuits: Occasional Writing by Margaret Atwood 《好奇的追尋 》 ; The Art of Cooking and Serving

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"Ignoring isn’t the same as ignorance, you have to work at it."
-- Margaret Atwood, author of THE HANDMAID'S TALE
此書有漢譯

Vintage Books & Anchor Books 的相片。



“Love blurs your vision; but after it recedes, you can see more clearly than ever. It’s like the tide going out, revealing whatever’s been thrown away and sunk: broken bottles, old gloves, rusting pop cans, nibbled fishbodies, bones. This is the kind of thing you see if you sit in the darkness with open eyes, not knowing the future.”
― Margaret Atwood, Cat’s Eye


Vintage Books & Anchor Books 的相片。



真不可思議,我3年前的書引用過Margaret Atwood的Payback: Debt as Metaphor and the Shadow Side of Wealth
 不過,此BLOG 竟然還沒為她闢專文....梁永安也翻譯過她著名的小說"盲眼劍客"。

Curious Pursuits書名,其實可能是莎士比亞What a mad pursuit!的變形。
35年來的偶爾熱情之文章編輯起來,又可以呈現作者(一家)在世界各地的心境。



『戀愛対位法』 -  Point Counter Point  (1928) 這是很久前的故事。人們望文生義翻譯書名,將它翻譯成《針鋒相對》就很得意。如果看了封面設計,就知道這日本譯本《戀愛対位法》或較好。不過,有時候書名比較不那麼重要,因為內文或多少說出要義來:







在阿道司·赫胥黎的《 針鋒相對》的女性人物中,人門更喜歡那個毀滅男人的蕩婦露西·坦特芒特,而不是那個真摰的、哭哭啼啼的、把老公變成擦眼淚的毛巾的女人。其中一女人說:"露西顯然是一種力量。或許你不喜歡這種力量。可你情不自禁地欣賞它,就像尼加拉瓜瀑布。" (有改動) ----M. Atwood 《好奇的追尋·手上長斑的壞女人》




好奇的追尋

好奇的追尋
副標題:好奇的追尋
作者 : [加]瑪格麗特.阿特伍德
譯者 : 牟芳芳夏燕
出版社:江蘇人民出版社
出版年: 2011-5
頁數: 426
定價: 35.00元

內容簡介 · · · · · · 

  內容簡介:
  
  瑪格麗特.阿特伍德是一位出色的小說家和詩人,本書第一次收集了她的散文和報刊文章,並首先在英國出版。這裡收錄的不僅有對約翰?厄普代克和托尼?莫里森作品的書評,也有對達希爾?哈米特作品的讚賞;這裡記錄了一次在阿富汗的旅行,《使女的故事》就是在這次旅行中有了雛形;這裡有充滿激情的生態學文章;這裡有“我最尷尬時刻”的有趣故事;還有她為朋友和作家寫下的訃聞,包括安吉拉?卡特、莫德凱?里奇勒和卡蘿爾?希爾茲。
  這本書有思想、有見識、有啟發性地記錄了瑪格麗特.阿特伍德從20世紀70年代至今的生活經歷、時代背景和優秀作品。

作者簡介 · · · · · · 

  作者簡介:  瑪格麗特.阿特伍德發表了四十多部著作,包括小說、詩歌和評論集。其中,《使女的故事》、《貓眼》、《別名格蕾絲》和《羚羊與秧雞》均被列入布克獎候選名單,2000年她憑藉《盲人刺客》獲得布克獎。  封底語:  每當我下決心少寫一點兒,做些更健康的事,比如冰上舞蹈----某位嘴上抹了蜜的編輯就會給我打電話,給我一個無法拒絕的提議。因此,在某種意義上,這本書只是我缺少說“不”的能力的結果。   為什麼該選集命名為《好奇的追尋》?“好奇”指我慣常的精神狀態----換個不好聽的詞就是“愛管閒事”----也指一些文章的主題使我好奇。如愛麗絲一般,我越來越好奇,而世界則越來越奇怪。換一種說法,沒有引起我的好奇心的東西,我是不太會寫的。儘管“好奇”一詞的份量很輕,我的“好奇心”也不懶散(我希望如此)。“激情”或許是更準確的描寫,不過這也許會誤導某些人,令一些穿... (展開全部)
  



目錄 · · · · · ·

目錄:
總序1
第一部分1970—1989
序:1970—19893
歸程 8
評《潛入沉​​船》 15
評《安妮·塞克斯頓:書信中的自畫像》 20
夏娃的詛咒——或,我的學校教育24
我眼中的諾斯羅普·弗萊38
塑造男性人物47
猜猜做女人是怎樣的65
《叢林中的艱苦歲月》 72
噩夢纏身81
描繪烏托邦88
了不起的姨媽們98
序:匿名閱讀112
作為名譽男人的公眾女人128

第二部分1990—1999
序:1990—1999 135
雙刃劍:托馬斯·金兩篇短篇小說中顛覆性的笑聲138
九個開頭151
受自己的解放奴役的人159
安吉拉·卡特:1940—1992 164
《綠山牆的安妮》後記167
序:早年間174
手上長斑的壞女人——文學創作中女人的惡行180
我的垃圾搖滾造型197
不太格林:童話的持久魅力208
“有胸的小傢伙們” 214
尋找《別名格雷斯》:談加拿大歷史小說的創作220
我為什麼喜歡《獵人之夜》 245

第三部分2000—2005
序:2000—2005 253
品特式戲劇的257
莫德凱·瑞希勒:1931—2001:蒙特利爾的第歐根尼259
當阿富汗尚處於和平時期262
《她》序266
《格拉斯醫生》序275
神秘人:達希爾·哈米特二三解281
關於神話與人297
警察和劫匪302
永恆的女人315
雌雄王國的女王318
勝利菜園331
恥辱340
寫作《羚羊與秧雞》 344
緻美國的信347
愛丁堡和她的節日351
我與喬治·奧威爾356
上週去世的卡蘿爾·希爾茲曾寫下充滿歡樂的作品364
他永遠噴湧369
致比奇島384
發現:一部美國的《伊利亞特》 397
為頭巾去死404
對《莫洛博士島》的十項解讀409

致謝432

The Woman Who Could Not Live with Her Faulty 314(2)
Heart Margaret Atwood 加拿大名作家


這是舊書
不過可能因為短篇小說而重放光芒
「加拿大重量級小說家兼詩人瑪格麗特.愛特伍(Margaret Atwood)於11月1日,在美國紐約的邦諾(Barnes & Noble)連鎖書店舉行盛大的新書發表會,上百位讀者湧進, ​​現場座無虛席。愛特伍很優雅地驅前上台且極其輕聲細語地向大家問好,接著她向讀者們介紹新書《道德錯亂》(Moral Disorder)的封面設計,上為兩個女子的照片並列對照,一位是女僕,另一位是廚師,兩位的面容極為相似,好似雙胞胎,但仔細一看又好像是同一個人。
這兩張照片是取自莎拉.菲爾德.史賓林特(Sarah Field Splint)的作品《烹飪與服侍的藝術》(The Art of Cooking and Serving,1930)一書,愛特伍也以此為新書中的篇名之一(篇名與故事的情節、年代都是相關連的)。」文◎劉易昀
****

serve (PROVIDE FOOD/DRINK)


我喜歡"每位廚藝好手都知道另外的同道"之說法.....
Vintage 1932 The Art of Cooking and Serving Cook Book



‎塞萬提斯‬ 全集(8卷)

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塞萬提斯全集(8卷)


作者 : 塞萬提斯
出版社:人民文學出版社出版年: 1996-12 定價: 280.00 裝幀:平裝叢書







[PDF]塞万提斯全集 第一卷
jpkc.whu.edu.cn/jpkc/wgxjs/ziliao/zhiding/012.pdf

塞万提斯全集-人民文学出版社8卷本_微盘下载 - 微博
vdisk.weibo.com/s/BLzfWxpWmiWXz?...id...


【西班牙歷史上的今天~塞萬提斯出生於1547年九月29日】
塞萬提斯於1547年九月29日出生於 Alcalá de Henares。
據說,他的夢想是當演員,但是,因為口吃而無法上舞台,後來改行當作家,寫出了《唐吉訶德》這本巨作。
到西班牙旅遊的人有沒有看過《唐吉訶德》書中描述的風車?有沒有造訪過世界遺產城市、塞萬提斯的出生地 Alcalá de Henares?
認識西班牙 ~ 跟著官方導遊走! 的相片。

《當代智慧人物訪問錄》ass's gallop

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當代智慧人物訪問錄

透過本書我們能和當代最傑出的人物作知己式的談話,這些詩人、哲學家、科學家、政治家、藝術家們,他們以自己的話親自告訴我們生命對他們有什麼意義,是什麼東西在鼓舞他們前進,同時也提出了一些對後來者必要的引導。


《當代智慧人物訪問錄》文星版,頁32 有一句: 
"他(案:蕭伯納)的這一段忠告簡短而 親切有力而坦白,活像一頭驢子在奔馳。 (ass's gallop)"
現在近半世紀之後,我們可查出受訪者 Sean O'Casey (1880-1964)的都柏林俚語的ass's gallop的意思是"一段短時間",不過沒有原文,不懂得脈絡下的意思。猜想可能是:用人生短、快、甜美的慣用語來形容蕭伯納的來信之體驗。

Ass's gallopn. phr.Brief period of time

Autobiographies II: Drums Under the Windows and ...

https://books.google.com.tw/books?isbn=0571283748
Sean O'Casey - 2011 - ‎Biography & Autobiography
Drums Under the Windows and Inishfallen, Fare Thee Well Sean O'Casey. my Journal made the ... Short and sweet, like a Christian ass's gallop! Hogan added  ...



The New Partridge Dictionary of Slang and Unconventional ...

https://books.google.com.tw/books?isbn=1317372522
Tom Dalzell, ‎Terry Victor - 2015 - ‎Language Arts & Disciplines
71, 1968 ass's gallop noun a brief period of time IRELAND • Mr. Wise had certainly perked up a lot in the initial months of his working in the shop, this had been  ...


.. Maritime—it's out in the street—and snaked over to a wineshop for some cheese and vin rouge and was back on the train again as quick as an ass's gallop.

林衡哲撰 (2007.10.12寫於臺北關渡) 錄自「醫聲論壇」部落格2007年10月19日

我在1960年進入臺大醫學系醫科就讀,我跟其他同班同學最大的不同是,在我進入醫科以前,有整整一年的人文教育訓練,雖然我在建國中學念的是甲組,我卻保送東海外文系,在這一年中,我從東海開放式的圖書館中,借了很多書來看,種下了我對音樂、文學與哲學的永恆興趣。我曾經坐過七個小時的火車,由臺中到臺北聽波士頓交響樂團的演出,終身難忘。並寫下生平第一篇樂評,獲得恩師魯實先的好評,從此培養音樂欣賞的嗜好。因為好的音樂會幾乎都在臺北,因此我才決定重考,很幸運地一次就考上臺大醫科。
考上臺大醫學院醫學系之後,很快就搬入八個人一間的臺大第七宿舍,那時我是貝多芬迷,經常放唱片給室友聽,後來不少室友日後也變成古典音樂迷。那時我家境並不寬裕,我為了多賺學費接了很多家教,最高紀錄是同時有五個家教,賺來的錢大部分都花費在買書、買唱片和聽音樂會上面。記得大一時,就買了200多部書,其中包括我日後翻譯的《羅素回憶集》和《羅素傳》等。因為教科書都是原文書,功課相當忙,但還是常去外文系旁聽Ohara神父的「西洋文學概論」和哲學系殷海光的「邏輯分析」,以及虞君質的「美學」和方東美的「人生哲學」等,當時臺大醫學系完全忽視人文教育,這些課就等於是人文教育了。
記得在第七宿舍時,同班同學洪芳彥住我隔壁寢室,他一有空就約7、8個同學談天說地,就像古代文人雅士的「清談」一樣,或是類似愛因斯坦與好友組成的「Olympia club�������������,大家互相腦力激盪,是大學七年中較為難忘的片刻。
剛升上大三時,系上迎新會上���話劇用的是李曼槐教授的劇本,以帕格尼尼的小提琴協奏曲為背景音樂,我在裡面客串了一個「詩人」的角色,戲份不重,但角色似乎頗為搶眼,也與我的個性相符,所以演完話劇之後,我就自然而然多了一個「詩人」的雅稱,最近我們同班同學畢業四十週年舉辦阿拉斯加之旅,我正式把「詩人」的雅稱移贈給退休後變成「大詩人」的曾博義同學。
在醫學院繁重課業壓力下,文學與音樂是我生活中最佳調劑與不可或缺的精神食糧,但是在思想上,對我啟蒙最大、影響最鉅的卻是《文星雜誌》。我們那一代很多大學生都是看《文星雜誌》長大的,儘管課業繁重,每個月到了雜誌快出刊時,我就開始充滿期待,非得先把最新一期的《文星》看完,才有心情去準備醫學院的功課。蕭孟能創辦的《文星雜誌》最大的特色是,每期介紹20世紀世界性的人文大師,例如羅素、史懷哲、卡薩爾斯、愛因斯坦、畢卡索、史特拉文斯基等,打開了西方人文思想的一扇門窗,讓我無形中接受西方人文主義思想的洗禮,即使到現在我仍然是人文主義與自由主義的信徒。所不同的是,我想以西方的人文主義為基礎,來催生臺灣人文主義與人文精神的再生運動。 大約在我大四時,蕭孟能邀請李敖做《文星》主編,他一接手,便大膽用胡適做封面人物(文星55期)。我中學時代就是胡適迷,但這一期所介紹他的「杜威思想」、「易卜生主義」、「紅樓夢研究」等,對我都沒有太大的影響,反而是他說過的一句話:「與其在課堂上誤人子弟,不如翻譯出一部世界名著貢獻來得大。」,影響比較大。那時我為了學費兼了不少家教,也許是受胡適這句話的影響,我也頓悟:「與其做家教誤人子弟,不如去翻譯一部世界名著貢獻會比較大。」於是大四暑假辭去所有家教,專心翻譯一本當代智慧人物訪問錄,其中不少人物如羅素、卡爾薩斯、佛羅斯特等都是《文星》的封面人物。譯完之後,大五暑假重抄一遍,才送去文星書局。
那時我並不認識蕭孟能與李敖,等了半年之後,於1966年6月才正式由文星書局出版我的處女譯作《當代智慧人物訪問錄》,並得4,200元稿費。那是我一生中最愉快而難忘的賺錢經驗,當時我正因十二指腸潰瘍住院,看到自己的新書出版,似乎病也痊癒了一半。
經此鼓舞,我再接再厲又翻譯了2本羅素的書《羅素回憶集》和《羅素傳》,本來是要給文星出版,但那時國民黨保守派正在圍剿文星集團與殷海光,連羅素也殃及魚池,因此蕭孟能告訴我,他雖然很想出這2部書,但可能會使我成為黑名單人物而無法出國,如果交給其他出版社也許就不會有問題。
後來我因常去長榮書店買舊書,而認識了張清吉先生,他雖以賣舊書起家,但也開始做出版,只是他出的書水準都不是很高,於是我把2部譯作交給他,並慫恿他創辦一套高水準的世界名著譯作,定名「新潮文庫」。張先生因從未出版這種高水準的書,因此先出版《羅素回憶集》,想不到三個月賣出5千部,為「新潮文庫」奠定了良好的根基,於是三個月後再出版《羅素傳》,果然又是洛陽紙貴,使張先生對這種高水準的譯作產生極大的信心。
接著我與同班同學的廖運範醫師(現為中研院院士,國際知名的肝病權威)合作編譯了《讀書的藝術》,因為我要出國進修,我本來想譯的「佛洛依德自傳」,就交給廖運範譯出,開啟了臺灣佛洛伊德與佛洛姆風行的時代。
我從臺大醫學院畢業到1968年出國前,一口氣替「新潮」編譯了六本書,包括《傳記文學精選集》等,領了一筆在當時看來為數不少的稿費,買了一張單程機票飛到美國紐約,開始我三十年的旅美生涯。
出國之後,我自然選好書給「志文出版社」,請高手譯出,例如《白鳥之歌》等,而廖運範醫師也結合臺灣醫學界的理想主義者,例如賴其萬、林克明、胡海國、文榮光、葉頌壽和王溢嘉等分別譯出佛洛伊德與佛洛姆等精神分析大師的著作,並創刊了《當代醫學》雜誌與出版醫學書的井橘出版社。而後來王溢嘉又率領一批生力軍創刊《健康世界》,並大量出版健康方面的叢書。
四十年來,「新潮文庫」已出書500種,實現了當年胡適大規模翻譯世界名著的夢想,創造了戰後臺灣出版史上的奇蹟,把西方第一流思想家、哲學家、文學家、藝術家的作品介紹到臺灣來,在七十年代獨裁恐怖政權下,替臺灣社會開了一扇「世界之窗」,使無數茫然畏縮的年輕心靈得到一陣春風、一道陽光,為臺灣文化界的現代化與民主化做出了歷史性的貢獻。「新潮文庫」可以說是繼蕭孟能的「文星叢刊」之後,影響現代臺灣思潮與年輕學子最深遠的一套書,我很欣慰,在臺大醫科七年的生涯中,有機會與同班同學廖運範,共創鍾肇政所謂的「新潮文庫」的時代。這是我大學時代最值得懷念的事。
出國之後,受吳濁流、蔣渭水、賴和等人的影響,才發現多采多姿的臺灣文化,因此,1993年我在美國催生了臺灣文庫,出版了42部臺灣傳記及文化名著;1998年落葉歸根,在臺灣成立「望春風出版社」,希望能以臺灣優先的精神,開創國際化、人文化、本土化的臺灣新文化,並期待21世紀的臺灣能邁向創造「文化奇蹟」之路,成為東方文化的精神重鎮,並落實臺大校友蔣渭水的夢想,「有第一流的文化,才能創建第一流的國度。」希望大家共同努力,實現前輩校友蔣渭水之夢。  

"Nineteen Eighty-Four" By George Orwell

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"And when memory failed and written records were falsified—when that happened, the claim of the Party to have improved the conditions of human life had got to be accepted, because there did not exist, and never again could exist, any standard against which it could be tested."
--from "Nineteen Eighty-Four" By George Orwell
Nineteen Eighty-Four revealed George Orwell as one of the twentieth century’s greatest mythmakers. While the totalitarian system that provoked him into writing it has since passed into oblivion, his harrowing cautionary tale of a man trapped in a political nightmare has had the opposite fate: its relevance and power to disturb our complacency seem to grow decade by decade. In Winston Smith’s desperate struggle to free himself from an all-encompassing, malevolent state, Orwell zeroed in on tendencies apparent in every modern society, and made vivid the universal predicament of the individual.
Everyman's Library 的相片。

Oscar Wilde (1854–1900). THE PICTURE OF DORIAN GRAY/ Poems. 1881

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THE PICTURE OF DORIAN GRAY的中譯本/改寫本,可能超過10個。

"Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing... A new Hedonism - that is what our century wants. You might be its visible symbol. With your personality there is nothing you could not do. The world belongs to you for a season..."
--Lord Henry to Dorian in Basil Hallward's garden in THE PICTURE OF DORIAN GRAY

Oscar Wilde 的相片。







"There is no such thing as an omen. Destiny does not send us heralds. She is too wise or too cruel for that."
--from THE PICTURE OF DORIAN GRAY


"There is no such thing as an omen. Destiny does not send us heralds. She is too wise or too cruel for that." --from THE PICTURE OF DORIAN GRAY
Oscar Wilde (1854–1900).  Poems.  1881.

Contents


Helas
Eleutheria:—
Sonnet to Liberty
Ave Imperatrix
To Milton
Louis Napoleon
Sonnet on the Massacre of the Christians in Bulgaria
Quantum Mutata
Libertatis Sacra Fames
Theoretikos
The Garden of Eros
Rosa Mystica:—
Requiescat
Sonnet on approaching Italy
San Miniato
Ave Maria plena Gratia
Italia
Sonnet written in Holy Week at Genoa
Rome Unvisited
Urbs Sacra Æterna
Sonnet on hearing the Dies Iræ sung in the Sistine Chapel
Easter Day
E Tenebris
Vita Nuova
Madonna Mia
The New Helen
The Burden of Itys
Impression du Matin
Magdalen Walks
Athanasia
Serenade
Endymion
La Bella Donna della mia Mente
Chanson
Charmides
Impressions:—The Grave of Keats
Theocritus: a Villanelle
In the Gold Room: a Harmony
Ballade de Marguerite
The Dole of the King’s Daughter
Amor Intellectualis
Santa Decca
A Vision
Impression du Voyage
The Grave of Shelley
By the Arno
Impressions du Théatre:—
Fabien dei Franchi
Phêdre
Portia
Henrietta Maria
Camma
Panthea
Impression: Le Reveillon
At Verona
Apologia
Quia Multum amavi
Silentium Amoris
Her Voice
My Voice
Tædium Vitæ
Humanitad
[Greek]

"In England, the arts that have escaped best are the arts in which the public take no interest. Poetry is an instance of what I mean. We have been able to have fine poetry in England because the public do not read it, and consequently do not influence it."
-- Oscar Wilde

"In England, the arts that have escaped best are the arts in which the public take no interest. Poetry is an instance of what I mean. We have been able to have fine poetry in England because the public do not read it, and consequently do not influence it." -- Oscar Wilde

福樓拜小說全集 (含 Emma Bovary's bovarism);梁永安《情感教育》

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梁永安今天補送我他2013年出版的四本譯書:
《情感教育》;《此刻》;《我將死去》;《巴爾札克的歐姆蛋》。
《此刻》是當今兩位名作家之間的書信集。我2天前開始借用永安贈卡洛的書。真的是琳琅滿目,很值得一讀。,
《情感教育》是經典,我特地整理一下在Gmail上的相關記錄。《我將死去》和《巴爾札克的歐姆蛋》以後再說。

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先生2012.11就投入《情感教育》的翻譯。我有一則與他和其女兒的紀事;

他現在在譯情感教育他女兒提出:莫泊桑Guy de Maupassant 和福爾拜 Faubert 的關係,待查。 (她弄反了。Flaubert 是大師,他親自指導Maupassant 7....當然,老先生偶爾會問海軍的copy clerk供他寫Bouvard et Pecuchet)....
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Sentimental Education (French: L'Éducation sentimentale, 1869) is a novel by Gustave Flaubert, and is considered one of the most influential novels of the 19th century, being praised by contemporaries George Sand,[1] Émile Zola,[2] and Henry James.[3]
日本約有四翻譯。中文可能近十本翻譯。
2012年隔璧舊香居開幕2012.4.22
我慫恿他到我家隔壁的舊香居Rare Books開開眼界 (這回注意李建復翻譯的Flaubert 情感教育, 1948年版(三聯前身)定價4000
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archive.org/stream/.../sentimentaleduca00flauiala_djvu.txt
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 滑  (何謂小說家?米蘭‧昆德拉/文,翁德明/譯,台北:皇冠文化出版公司  2005 )

  Arnoux 

 滿 

  

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張華與永安得獎之後的書信往返。2013.11.3

張華
情感教育 p.552 ( 今天的功課)

[P.552] He mingled in society, and he conceived attachments to other women. But the constant recollection of his first love made these appear insipid; and besides the vehemence of desire, the bloom of the sensation had vanished. In like manner, his intellectual ambitions had grown weaker. Years passed; and he was forced to support the burthen of a life in which his mind was unoccupied and his heart devoid of energy. 
他出入社交場合,跟不同的女人談情說愛,但揮之不去的初戀回憶讓其他愛情都流於淡泊乏味。他不只消失了烈的欲求與旺盛的感情,連抱負也愈來愈渺小。年華似水,十幾年過去了,他的精神總是那麼懶散,情感總是那麼乏力。
永安
張兄昨天一回到家就拿出《大都會》原文對照,今日又對照《情感教育》,我真永無寧日矣。
以後絕不再贈書。

張華
我只在書中找佳譯,目的是偷師,絕勿找碴之意,請勿誤會。
永安
開玩笑的啦。
看到謬譯亂譯亦請一併告知,正如兄昔日說過的,翻譯同樣要R&D才會有進步。
張華

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作者簡介
古斯塔夫福樓拜(Gustave Flaubert)
  一八二一年十二月十二日出生於法國西北部諾曼第地區的盧昂。他的父親是當地市立醫院的院長,他不僅是一位頗有名望的醫生,同時也深受當地民眾的敬愛和信賴。小時候的福樓拜常和妹妹一起爬到窗簾上偷看停放在醫院裡的屍體,看著蒼蠅在屍體和花壇中四處紛飛,那樣的一個環境,使得福樓拜對許多事都看得非常淡漠。
  十一歲時,進入盧昂中學,此時的福樓拜已感覺到一種與人世隔絕的孤獨感。同時他也在這段期間認識了美麗的少婦愛麗莎,而這份愛戀一開始便注定沒有結果,福樓拜這份情感轉移至他的小說《情感教育》中,愛麗莎也成為福樓拜一生中難以忘懷的至愛。
  一八四一年,福樓拜進入巴黎大學法學院就讀,但學校的課程著實令他感到厭煩不已,而他在文學創作方面的熱愛卻是有增無減。一八四二年完成了《十一月》一書,本書描寫他和妓女相戀的實際經驗,之後並開始動筆寫另一本小說《情感教育》,同時也放棄了令他厭煩不已的法律課程,專心投入他鍾愛的文學創作之路。這段期間他認識了美麗的女作家路易絲柯蕾,倆人很有默契的維持著肉體關係,直到福樓拜在撰寫《包法利夫人》期間,倆人因故吵架而分手,之後便維持著一般朋友的關係。
  一八四六年,福樓拜最疼愛的妹妹卡羅蓮娜因病去逝,留下一個女兒,福樓拜便將她接回來,從此盡心照顧母親和外甥女而終身未娶。
  一八五六年,《包法利夫人》在雜誌上連載,因內容太過敏感而被指控為淫穢之作,幸而開庭之後無罪開釋,同時這部作品因而聲名大噪,成為眾人討論的焦點,福樓拜在文壇上自此開始嶄露頭角。
  福樓拜向來被封為寫實主義作家,他用字精準,非常注重細節描寫,認為文學作品的形式與風格重於內容,他對作品完美的要求近乎吹毛求疵,也因此《包法利夫人》一書便花了他四年多的時間才完成。

  一八八年五月八日,福樓拜因腦溢血而去世,葬於盧昂的摩紐曼塔墓地。生平作品有《包法利夫人》、《莎蘭玻》、《情感教育》、《三個故事》、《聖朱利安傳》、《天真的心靈》及未完成的《布法與貝丘雪》等作品。






2005最近翻讀「福樓拜小說全集」,北京;人民文學,2002。此版本已將部分書信翻譯當附錄,還不錯,雖然嚐一下而已--Henri Troyat根據它們所寫的傳記有譯本。
類似這種文學大家之全集,超出台灣的出版商之魄力或能力。
波法利夫人福樓貝(Gustave Flaubert)胡品清譯 1982臺北市 : 志文, 73[ 1982]
羅國林譯2005臺北市 : 林鬱1992
林淑娟譯2000臺北市 : 希代, 2000[89]
Flaubert, Gustave, 1821-1880 的通信據說也是傑作 其中之一
Correspondence. English. Selections
書名/作者 Flaubert-Sand : the correspondence / translated from the French by Francis Steegmuller and Barbara Bray ; with a foreword by Francis Steegmuller ; based on the edition by Alphonse Jacobs ; with additional notes by Francis Steegmuller
出版項 New York : Knopf : Distributed by Random House, 1993


[ARTWORK OF THE WEEK] The Cathedral is a combination of two right hands. This work emphasizes ‪#‎Rodin‬’s fondness and passion for these hands, in order to give them a more finished and autonomous form.
> Learn more : http://ow.ly/SzKJs



Musée Rodin 的相片。



『聖徒傳奇』包括福樓拜的『三故事』,它又夾帶『秋之韻(十一月)』散文(詩)?






重讀包法利夫人(之一):bovarysme及其它
緣起:
2005/10/28 讀「中時人間」林小花(盧昂傳真)的「回應與挑戰---為盧昂人辯」
:「貴刊十月廿三日「三少四壯集」韓良露女士〈盧昂的女人〉一文(下稱「韓文」),提及盧昂城古董文化業與貞德的歷史,或出自作者走馬看花印象式的個人偏見,或囿於對當地地理、歷史背景的認識不足,恐有誤導讀者之虞。…….
去找韓良露女士的〈盧昂的女人〉一文,發現作者更多處的粗心大意,譬如說,「來到了包法利夫人的故事背景的諾曼第古城盧昂(Rouen)的我,走進了……..」當然,真正的『包法利夫人的故事背景』在一小鎮,除非我們採取「大盧昂區」(greater Rouen)的觀念,這想法,我很懷疑。不過,盧昂是Flaubert的故鄉,所以韓良露女士的〈盧昂的女人〉有一天馬行空的大膽假設,倒是很可以研究:
「如今聖女貞德卻成為盧昂的象徵,盧昂人為紀念她的受難立了大教堂來瞻仰崇敬她,我突然想到福樓拜在寫包法利夫人時,不知是否想過盧昂這個城市所代表的女性受難的本質;貞德是聖女,但包法利卻是罪女,包法利夫人因通姦而自覺有罪,用一死了之來逃避當時的社會倫理的指責,也等於是被迫站在輿論的火堆上被焚。」
40年前,我初讀『包法利夫人』(作者Gustave Flaubert. 1821–80),所以現在趁機讀它一下。以前讀,或許只看重故事情節,現在,可以欣賞的很多(本書旨為『外省之風俗民情』,這,對我們的閱讀,無疑是一挑戰……..),譬如說首章學校的拋)帽子,我會想起很久以前胡適先生到學校演講,也會來這一招瀟灑動作,讓聽眾驚豔(後來我讀英文本,知道是cap,不同於胡適的…….)只根據讀五六章談些感想。
這種名著,英法文有許多論文,不知道大陸有沒做。換句話說,我認為應有學術/學習之版本和通俗版。這兒談的,都是後者。
我」知道瑞麟兄(rl)有些版本,就陸續與他通信,談些相關的問題,尤其是所謂「: bovarysme
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中文版本:
遠景出版(鍾斯譯)-遠景版譯者沒聽過,似為大陸版本?
大陸有六本以上,(周克希譯本,台灣由貓頭鷹出版重印),包括我有的
李健吾譯(桂冠版為李之舊譯本。遠景似乎也參考它?)
李健吾(收入「福樓拜小說全集」,北京;人民文學,2002。此版本已請人將原先「編輯加工…….可謂代表當前譯文最高水平……」)、
張道真等的(北京;人民文學,1998。)
商周今年出一新本,翻譯無什麼特色。(也許這套強調導論?)http://www.books.com.tw/exep/prod/booksfile.php?item=0010302350
新潮的蕭逢時版本(有插圖)。
中文版的注各有春秋,李可能最好(連「玩房子遊戲」(chapter 2)都注。不過,有些見解可能有問題,譬如說,著名的兩人在馬車內偷情六小時,而要求車夫「隨便(at random)、不停地走下去」的路徑。不過,它們都沒作者玩文字遊戲之注。
我買Oxford World’s Classics版本(1981/1998),物美價廉。翻過PenguinNorton……。注解都不錯。


“She loved the sea for its storms alone, cared for vegetation only when it grew here and there among ruins. She had to extract a kind of personal advantage from things and she rejected as useless everything that promised no immediate gratification—for her temperament was more sentimental than artistic, and what she was looking for was emotions, not scenery.”
Gustave Flaubert, Madame Bovary


Vintage Books & Anchor Books 的相片。


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關於: bovarysme 和其他
hcrl:「法文有Bovarism說法嗎?」
rl:「bovarism = bovarysme
(我的)英漢大辭典解釋作「自負、自誇」,然而法漢詞典直接解釋為「包法利性格」,詞典附帶說明為「指如同法國作家福婁拜爾小說《包法利夫人》中女主人公的對環境不滿、追求個人幸福等的性格」。
HC:「你的英漢bovarism顯然錯誤。這字在英文早有定論【bovarism
(domination by) a romantic or unreal conception of oneself: conceit; hence, bovaristic - conceited [after Madame Bovary] bovarize view oneself in romantic or unreal light 】。你可看你有的周本施康強之序。這個字之發明家原文為何?真的是他嗎?我的Short OED 只說,它是20世紀早期之字。
(『早在上一個世紀,已有論者強調這部小說的心理學和哲學層面。儒勒..戈吉耶發明了"包法利主義"這個名詞,把它定義為"人所具有的把自己設想成另一個樣子的能力"。(應該說,"包法利主義"的存在先于包法利夫人,而且是超國界的。中國文學史上有無數"心比天高,命如紙薄""始亂終棄""紅顏薄命"的故事。它也延伸到當今世界,青年男女對明星、對"大眾情人"的崇拜,其實也是"包法利主義"的一種變體。)』」)
rl:「我認為…….若指"包法利主義"本身的話,我相信是正確的,因為社會寫實小說之產生,必定是在某一現象存在之後;…..從儒勒戈吉耶還原成法文,我相信是指Jules de Gaultier
我們從其生殁年籍( 1858 — 1942 )與《包法利夫人》發表年分(1856)來推斷,若此字彙為戈吉耶所發明,顯然必定在《包法利夫人》發表之後,請參考其作品Le Bovarysme, la psychologie dans l'œuvre de Flaubert (1892)……剛瀏覽到魯昂大學福婁拜爾中心的相關資料,前面大半是法文,但是關於包法利主義部分特別有英文介紹。
Emma Bovary's bovarism
The notion of bovarism (in French: bovarysme) was coined by the French essayist Jules de Gaultier (1858-1942), who gave it two meanings: 1) special persons' romantic escape from reality, and 2) man's general, and inevitable, faculty to conceive reality other than it actually is. Once one recognises, with Gaultier, that Flaubert's Emma Bovary illustrates both these meanings of the notion to which she has lent her name, she can no longer be considered as just a stupid, alienated country woman. She has become a representative of human beings in general. A more favourable conception of Madame Bovary is that, however inauthentic she is, her search for authenticity is authentic. The tension between inauthenticity and authenticity even lets her be regarded as a tragic character, as Baudelaire, Auerbach and Ross Chambers have suggested.
hc:「施康強先生之序文在網路可找到。他還可以,不過凡碰到ism等等都翻譯愁主義的做法,太粗縣線條…….又,我發現Oxford Concise Dictionary of Literary Terms收入 Bovarysme,解釋也更精彩。」
---------
hc:「謝謝。不知道有沒有bovary一書之地圖?我都沒見夠中英文書有。其實,應該有才容易了解。」
「在此之前未曾見過相關之地圖,心想如果有的話,魯昂大學福婁拜爾中心或許會找得到。把該網站各角落點選掃瞄了一遍,無功而返。」
「煩請抄周本第3章最末段;婚禮之翻譯。」
rl:「周克希譯:
愛瑪卻希望婚禮放在半夜裡,點著火把舉行,可魯奧老爹覺得這個想法實在有點匪夷所思。於是到了婚禮那天,來了四十三位賓客,酒宴長達十六個小時,第二天又接著吃,一連熱鬧了好幾天。」
hc:「這段,我原以為以代表Bovarism 。不料,上述Oxford的版本和Penguin版都說,它是當地習俗。譬如說莫伯桑的那位親人採這種方式。可見,憑想像多容易出錯。(我後來發現,李健吾譯本即有此種誤解。)」

劉克襄 《小鼯鼠的看法》秋天的大地

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劉克襄新增了 4 張新相片

■■在巴黎朗讀新詩
以前去柏林,
走了一天的郊野,
覺得這個城市非常適合自然書寫者。
這幾日到巴黎,
才走沒幾條街,
就很海明威和波特萊爾了。
謝謝來自泰國的亞洲三重奏,李賢、林文卉和魏翠屏,
在鋼琴、薩克斯風和聲樂家的搭配下,
精彩地詮釋了李豐旭和李哲藝的作曲
我也朗誦了三首二十九歲時的詩作,
《小鼯鼠的看法》裡的散文詩。
更感謝法國文化中心的主辦和悉心協助,
很高興,這本詩集現在有捷克文和法文版本了。
其中一首如下:
         ●秋天的大地
學童背著苛重的書包,穿過一棟棟城市的騎樓。不知道這個季節開著什麼
花?不知道山裏是否有水獺?他們的鞋沾過很少的泥土。
雉雞在前方的天空奔竄。十二歲的我,一雙泥濘的腳,提著釣桿,穿過芒
草林,向一口深井喊叫,貼著鐵軌傾聽,想獲得一些只有自己知道的聲音

那時,一群婦孺跟在棺木後,走過田埂。我跑去問村裏的瞎子,當我進入
天國,留下的世界怎麼辦?
我們不停地出生,不停地做夢,不停地死亡。
鐵灰的河流向鐵灰的海,銅黃的地生出銅黃的樹。
許多的不安乾枯成路旁的野莧,許多的愉悅怒放為滿山的野薑花。
坐在支線的火車上,前往一個不繁華的小鎮。這個島的每個野鎮都在消失
,所有的事情都在改變,包括童年;但我已拒絕為現在修正過去。我把它
寄存在異域,把頭埋進雙手,因悲苦而寡歡,因孤獨而啜泣。
(1986.10,1)
●有關活動新聞詳見:

小鼯鼠的看法(新版)



內容簡介

青年劉克襄的自然足跡
麋鹿、高蹺行鳥、抹香鯨……
草原、森林、海洋、河川……
鳥人眼中的美麗境界

  牠撐著一根姑婆芋,走在龜裂的黑路,回到檜木林的家。撥開遮洞的蕨葉,嗅一嗅洞口,仍然只有自己的氣味。掛上包裹,勉強地排便、磨牙。呵了口氣,天亮中睡去。雨繼續在夢裡在森林裡落著。 --劉克襄

  鳥人遙遠又可及的洪荒之夢

  守候自然的鳥人──劉克襄,以自我情感為主軸,配合自然界的律動,筆劃從遠古的凍原到現今的城鄉,刻錄大自然的規則及豐富的生命歷程。在劉克襄的筆下,人、動物、自然無所分界,《小鼯鼠的看法》是劉克襄的深情,同樣也是海龜、小豬西米諾、抹香鯨等自然界小動物……的生存想望。

  在字裡行間,劉克襄關愛自然生態的一片深情,隱喻在溼地、河川、森林、海洋、草原之中,款款細訴大自然曾經過往的故事……

本書特色

  最值得珍藏劉克襄的全台綠色旅行和生態觀察紀錄。喜愛劉克襄旅行散文者,絕不容錯過的經典好書。全書更收錄何華仁親手繪製的自然素描。

 

作者介紹

作者簡介

劉克襄


  熱愛自然、喜歡塗鴉、喜歡詩,喜歡到處走走看看。博學多聞,多才多藝,寫過詩和小說,也寫過台灣史旅行研究與報導。

  熟識他的朋友都叫他「鳥人」,年少的夢想是憧憬於棒球、橋牌國手;在海軍當兵時,瘋狂迷上了鳥與鯨魚,而今,他是縱情山林的旅人與詩人,長期從事自然觀察旅行、拍攝與繪畫、書寫。

  他有詩人易感於所在空間的生命訊息能力,深情傳達出自然觀察家感染於景物的判斷與觀察趣味。從台灣早期土地探險到鳥類的觀察,他的自然寫作,是以一顆詩人之心,畫手之筆,涵容歷史人文的思索,細膩吐蘊編織的大自然故事。

  著有《山黃麻家書》(獲2012年度好書大家讀最佳讀物)、《消失中的亞熱帶》、《自然旅情》、《風鳥皮諾查》、《座頭鯨赫連麼麼》、《小綠山之歌》、《小島飛行》、《不需要名字的水鳥》、《臺灣舊路踏查記》、《福爾摩沙大旅行》、《望遠鏡裡的精靈》、《11元的鐵道旅行》、《裡台灣》等。

繪者簡介

何華仁


  資深賞鳥人,也是木刻版畫家。擅長以黑白版畫,表現台灣野鳥的豐富生態。
 

目錄

新版序 002
自序  散文詩,以及集子裡的一些人生插曲  劉克襄 004

輯一 空中指標
末世之夢/14
火葬/15
初夏的意義/16
蚵殼路/17
回家/18
知床旅情/19
秋天的大地/20
骨灰/22
地頂之旅/23
洪荒/24
大修/26
洞/27
嗩吶之歌/29
火星黯弱之夜/31
火海/33
葬花/35
水族箱/36
衰世以後/38
空中指標/39
昭和草/40
耕海/41
葬禮/43
地籟/45
鼠麴草的牆角/46

輯二 綠色海龜的慾望
鯨的子孫/48
山雀/49
愛爾蘭麋鹿(Irish Elk)/50
天竺鼠/52
麻雀之故鄉/53
關於巨頭鯨/54
馬/56
蜻蜓/57
林雕的世界/58
綠色海龜的慾望/59
企鵝城/61
響尾蛇的夏夜/62
抹香鯨的頭/64
鵂鶹的記憶/66
高蹺A/68
灰雁南渡/69
狼  /71
牡鹿傳奇/72
座頭鯨/73
小鼯鼠的看法/74
小豬西米諾/75

輯三 提琴演奏者
姿勢/78
記一個家族/79
賣藝人/81
結伴/82
獵人之心/83
提琴演奏者/85
小鼓手/87
一名三十歲的女子/88
喇嘛記/89
詩人大夢/91
我們的家族使命/93

輯四 河岸的野餐
美麗小世界/96
河口的春潮/100
遠離城市/102
國家公園/104
從高山到海岸/105
沙島/108
E小調的森林/110
碉堡/111
星期日的亞洲/113
熱帶雨林/114
南極之愛/115
極圈以北/116
島嶼之歌/117
黑島/119
邊境之旅/120
海洋之河流/122
冰河峽灣/124
岬地的誕生/125
在中國前線/126
河岸的野餐/128

輯五 遙遠之河
群的自治/132
天池之冬/133
一九七八年/136
沼澤紀事/138
遙遠之河/141
 

新版序

老酒新瓶之序


  那是背包只裝一顆饅頭和水壺的時代,有一位畫鳥的朋友常陪我旅行。以很長很遠的漫遊,走進台灣各地的郊野。

  那是筆記本謹抄寫天氣、路線、客運車資,以及鳥類種數的日子。有時也畫一二幅簡單鳥圖,還不認識的,重要部位會被特別標示,做為日後鑑定的證據。

  那是經常走訪圖書館,借閱自然科學期刊的時光。我翻讀各類動物習性行為,尤其是哺乳類。然後,在牠們的世界裡打盹、沉思,前往那兒探險。

  我的世界很小,因為原點都是一座島。我的世界很大,因為容下的都是牠們。那是三十歲以前的想望,自然就是詩,更像愛情的純粹、清澈。每回的詩句靈感,都像原野的閃電,釋放巨大無比的力量。但更多時,又是那麼翻轉,靜寂如一頭鯨魚在腳前龐大地擱淺。

  假如再回到弱冠之年,我還是想選擇這等日子,只想在那世界獲得滿足。縱使現在上了年紀,每回邂逅詩的疑義、頓挫,心裡頭點燃的,經常還是那麼稚穉的火苗。

  第三回的改版和校訂,又逢一個年代過去,我愈發體悟此等心境的簡單。彷彿昨夜一場春雪,打開門,大地又煥然地豐厚一層。

劉克襄寫於2014.7.7

作者序

散文詩,以及集子裡的一些人生插曲 劉克襄

                               
  八○年代中旬時,《小》書裡的散文詩就陸續定稿了。在這個階段,我的旅行背包裡,仍常帶著望遠鏡、自然圖鑑,以及寫詩的筆記本。但我個人投身較多的關渡沼澤區,自然公園成立之日遙遙無期,各地鄉鎮的環保抗爭更不斷發生,讓我深感沮喪,遂停止了淡水河下游的定點旅行,轉而前往八德路的台灣分館,沈浸於早年自然志的爬梳工作。

  有一天,在圖書館朦朧昏暗的光線下,當我躋身於空間狹長而清冷的書架間,想要從某些動植物的學名,確定它們的身世時,意外地觸及了不少西方人在台灣的旅行報告文獻。雖然文獻裡講的都是福爾摩沙,我卻彷彿進入異國的世界旅行,好比小說家聶波爾回訪印度時的既疏離又親切。經過一些時日的翻讀,更清楚地湧現一層具體的複雜體驗。我明確知道,自己飄航於台灣史的書海裡,抵達了某一座島嶼。另一個台灣,一個我不曾相識卻熟悉的家鄉。

  那是個很奧妙而新鮮的接觸,開啟了自己另一個知識生活的情境。在這個小小的封閉世界裡,創作有了一個更大的啟蒙。更早時從事鳥類生態保護,以及書寫政治詩時的激越,突然間和自己斷裂了。現代地理探險和動物行為學的磅礡知識,如海潮定時湧來,撫慰我那因生態保育運動不順遂的茫然心靈。當我有機會再提筆興詩時,詩和自然的關係遠比過去更加親切,進入綿密而貼心的互動。

  只是新詩斷行的果決和驚奇,竟遠超乎我所能承受的負荷。在形式和文意的表達,此時的我,是趨於保守和猶疑的。散文的拘謹描述,似乎更能貼近我欲追求的情境。有回正巧讀及魯迅的《野草》集子,對詩意濃烈的散文更加鍾愛。於是,以精鍊的散文詩呈現,遂悄悄地成為寄託的方式,進而成為一種習慣。

  過去,散文詩的書寫者並不乏人。但在新詩的體例裡,散文詩並非主流,殊少學者和創作者詮釋散文詩的表現形式。每位散文詩的創作者,應該都有自己的定義和書寫時的意圖,卻也不曾形成一個可能而多元的論述共識。我卻私自以為,「散文」的敘述功能,大抵是散文詩的主調。只是這「散文」飽含短小的奧義,透過微妙地稀釋、迂迴,再不經意地淬鍊,遂有了新的形貌。

  散文詩所欲架構的意象、鋪陳的義理,若全然似新詩既有的分行,有時過於強勢、粗暴,偶而也難以完整地呈現,或者明確地支撐。連節奏都有相似的困境。散文詩的音韻較少出現切割、跳躍的緊張和迫切。它在紮實地旋律裡,小心地一氣呵成;或者,形成一堅固之曲譜篇章。但相對地,它也喪失了留白、停格、圖像等多種美學表達的機會。散文詩形式之不彰,不若新詩和古典詩詞的徹底斷裂,想必這是重要關鍵。

  再細論之,單純而舒緩,大抵是散文詩的律動。多數散文詩的起頭,善於以鬆散、漫行起頭;結尾則慣以驚心、寂然收場。俳句的拘謹,新詩的叛逆,都能瞥見身影。散文詩是禪,亦是道。創作者亦然。過去習於此一書寫者,意念多為詩壇之怪異者。習慣了散文詩之表達,對新詩的分行,多少有些疏離,甚至有著小小的背叛之快樂。我在書寫時,屢屢想突破此一規範,卻也常耽溺於此一美麗小世界的形式。

  年輕時,很高興找到散文詩的形式,做為一個階段性創作的探索出口,並循此一形式守舊的規格,表達自己此一階段和自然的關係。晚近回味,依舊充滿輕淺的愉悅。一個詩人能有機會以散文詩,探尋詩的出路,未必是找對了方向。但這過程,帶來更多抽離詩壇時空,更多清楚冷凝的機會。

  這次重新集結近二十年前的詩作,除了《小》書的舊作,還找到了更早於那時失落的數首以溼地、河川和鳥類為主題的詩作。所謂「失落」,原來這些詩都係手稿之作,塵封於早年文獻檔案之間,都以新詩分行的體例完成,當時卻礙於某種奇特的情緒,並未放入《小》書。這一微妙的扞格,二十年後之今天,才恍然明瞭,應該是格式出了問題。

  如今,除了一首保持原來的分行形式,「沼澤紀事」組詩、「遙遠之河」和「天池之冬」兩首長詩,都重新以「散文詩」詮釋,一併和﹁群的自治﹂收錄於輯五「遙遠之河」內。為何在新序裡,抒發散文詩形式和節奏之議論,遙遙呼應《小》書舊版寫作年代的情境,這因由大抵便是如此了。

D.H. Lawrence Selected Essays, "The Rainbow", "The Laughter of Genius":D. H. Lawrence’s Essays

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D.H. Lawrence’s The Rainbow was published on this day in 1915. A month later, all unsold copies were seized and destroyed by the authorities on pornographic grounds.
“If I were the moon, I know where I would fall down.”
― from "The Rainbow"
Spanning the second half of the nineteenth century and the beginning of the twentieth, D. H. Lawrence’s provocative novel traces the lives of three generations of one family on their Nottinghamshire farm. Rooted in an agrarian past, Tom and Lydia Brangwen and their descendants find themselves navigating a rapidly changing world—a world of unprecedented individualism, alienation, and liberation. Banned after an obscenity trial in 1915 for its frankness about sexuality, THE RAINBOW was most remarkable for the pathbreaking journeys of its female characters, particularly that of Ursula Brangwen, whose destiny Lawrence explored further in his next novel, Women in Love. In its surface drama, in its capacious and expansive rhythms that so resemble the rhythms of nature itself, THE RAINBOW is one of the world’s great examples of the multi-generational family saga. But the large claim that Lawrence’s masterpiece has made on the attention of readers and critics stems less from this fact than from the deeper parallel history he provides for the Brangwens—a history of the growth of their souls, moving in a great arc from sensuality to self-awareness and freedom.

Everyman's Library 的相片。




"The Laughter of Genius":D. H. Lawrence’s EssaysGarrett Moritz

"When Lawrence got going, he almost always went too far, but hitting a nerve of truth on the way."--Brenda Maddox, p.215
From the time we write our first five-paragraph essay, we learn that an essay must conform to specific rules--how stringently it follows those rules determines the essay’s quality. D. H. Lawrence’s essays, however, don’t conform to those same standards. Though we might imagine him following some higher, essay-writer’s code, in actuality he takes a pragmatic approach, namely, if it looks good, do it. Lawrence’s essays succeed not because they conform to a set of rules especially well, but because they do what works, creating a specific character, imitating spontaneous conversation, and stepping on the occasional exposed "nerve of truth" on the way through the conceptual wilderness.
Consider Lawrence’s conversational style--using metaphor, anaphora, and sentence fragments--in the opening gambit of "Indians and Entertainment":
We go to the theatre to be entertained. It may be The Potters, it may be Max Reinhardt, King Lear, or Electra. All entertainment.
We want to be taken out of ourselves. Or not entirely that. We want to become spectators at our own show. We lean down from the plush seats like little gods in a democratic heaven, and see ourselves away below there, on the world of the stage, in a brilliant artificial sunlight, behaving comically absurdly, like Pa Potter, yet getting away with it, or behaving tragically absurdly, like King Lear, and not getting away with it: rather proud of not getting away with it.
We see ourselves: we survey ourselves: we laugh at ourselves: we weep over ourselves: we are the gods above of our own destinies. Which is very entertaining. (Lawrence 52)
This is a very typical beginning for Lawrence. He does little in the way of introduction--he h as no need of such commonplace, even boring niceties--and begins his discussion of entertainment 'straight away. He describes us, saying "We want to be taken out of ourselves." He gives no evidence for this, or the statements that follow. He cites no experts. He stands on the shoulders of none. He doesn’t care a whit about passive voice. But there is a difference between not following convention and being wrong. Though Lawrence’s points do not appear as a standard, rhetorical fortress, few would disagree with, or be able to effectively argue against them. Maybe they are too general, too universal, or too vague for the average critic to talk at length about. Maybe they are just true. Needless to say, he is often convincing without being explicitly logical—ethos and pathos can be just as effective as logos (Aristotle 1:25). And when we "lean down from the plush seats like little gods," we see another characteristic of Lawrence’s essay: the surprise metaphor. Lawrence, likely drawing from his experience in fiction as a hyper-descriptive writer, is able to consistently reach into his magic sack of metaphors and pull out a shiny new one--or at least a particularly apt one--almost every time. Though this "little gods" metaphor is perhaps not his best or most vivid, it does well enough to illustrate Lawrence’s quickness in this difficult type of descriptive visualization. Furthermore, one rarely speaks of "little gods," for both words seem to contradict the other. It is unusual, eye-catching, thought-provoking, and possibly even a little condescending. And then, in the last paragraph, Lawrence describes what these "little gods" do, using an anaphora in a chain of colons which is certainly very rare and probably not even grammatically standard. It is unusual, and is of questionable "correctness." But the use of periods might weaken the sentence flow Lawrence sought, in effect counteracting a "breathless" sort of pseudo stream-of-consciousness effect. Lawrence seems to be trying to create a sense that all of these things are part of the process of theater--a single, indivisible experience--over the course of an evening. To divide the process, using periods and capital letters, would be a less truthful description. Lawrence then rounds off this passage with a trademark sentence fragment: "Which is very entertaining." He could have written, more correctly, "This is very entertaining," but chose not to. For Lawrence, it was far more important to write what an effective speaker would say rather than base his decisions on grammatical rules.
This effective speaker that makes such decisions is the character in Lawrence’s essays, the kind of character who we sometimes agree with and sometimes laugh at, but who is always absorbing. The character is talking to us, even sneaking in his opinion of a few plays--he’s the kind of character who always has an opinion on such things--and focuses, more than anything else, in speaking in the most engaging way he can. For this reason, Lawrence doesn’t always write essays in the standard style with an introduction, thesis, evidence, and conclusion. Instead Lawrence approaches argument as a series of cycles. We can see one such "cycle" in the passage above. The first paragraph ends with "All entertainment" and the final paragraph ends with "Which is very entertaining," bringing us through the cycle. Though it admittedly isn’t always as apparent as in this example, as a general rule, Lawrence continues to return to major ideas again and again in his essays, developing new questions in each cycle. While a traditional essay does something similar in relying on "key terms" to tie various parts together, this cyclical nature is more than just a repetition of key ideas--it provides the structure of the essay. Essays generally can be viewed, say, as a series of stacked blocks, all hierarchically ordered. Lawrence’s essays, though, are much more like a spiral which, though drawn around a fixed point, when traced drift continuously farther from the center, covering more ground. Such essays are almost bound to hit "a nerve of truth" eventually. Interestingly, this cyclical, spiral essay structure is very much like a prolonged conversation--as people talk about a complicated issue, they find themselves returning to the same basic concepts again and again, making corollary points which they missed the first time. Lawrence’s use of this conversational structure, though disorganized by essay standards, is rather convincing and pleasant relative to the average essay, since we are used to such a conversational structure, while ordinary essay structure, though efficient, is something which is unnatural enough that schools must teach it. But as long he makes his point effectively, why worry about rules or propriety? For instance, his repetition of "we" throughout the passage creates a smaller cyclical effect of the type discussed above, binding the paragraph together. Also, it is more conversational and maybe even more pleasant than a stodgier pronoun. Lawrence’s essays are highly conversational in tone--it seems that parts of them could easily be stuck into a story as dialogue. Lawrence even works essay material into character’s dialogue or thoughts in his fiction, though this matter is beyond the scope of this paper.
While it similarly employs a conversational tone and the Lawrencian character, "Pornography and Obscenity" is additionally useful for it perhaps contains a "nerve of truth" of the kind Maddox spoke of. While it declares little that a logician would affirm as true, it says many things that a person might agree with. That is, quite possibly, the essence of what Maddox was getting at. The essay begins with that trademark quick start, not even repeating the topic from the title but beginning, "What they are depends, as usual, entirely on the individual," and then continuing with a sort of surprise description:"What is pornography to one man is the laughter of genius to another" (Portable 648). The metonymy, "the laughter of genius," is a good example of Lawrence’s formative descriptive skill: the average essayist would likely not have put it quite so aptly or poetically. Instead of speaking in abstraction, Lawrence uses a physical description as a symbol for abstraction, and is much more memorable and effective for that. But just as notable as the Lawrencian beginning is the "stuff" in the middle of "Pornography and Obscenity"--where Lawrence condemns both those who shiver at the thought of publishing sexual materials and Bohemians who freely accept sex: they’re either a bunch of furtive masturbating perverts or intellectual, nonphysical ghosts. It seems Lawrence wants to single-handedly be right, for he refuses to accept that anyone could be on his side. And he at times uses little evidence, asking the reader to make leaps of faith with him. Besides, whether we are persuaded by his unorthodox conversational methods or not, it’s a pretty wild ride:
Without secrecy there would be no pornography. But if pornography is the result of sneaking secrecy, what is the result of pornography? What is the effect on the individual?
The effect on the individual is manifold, and always pernicious. But one effect is perhaps inevitable. The pornography of today, whether it be the pornography of the rubber-goods shop or the pornography of the popular novel, film and play, is an invariable stimulant to the vice of self-abuse, onanism, masturbation, call it what you will. In young or old, man or woman, boy or girl, modern pornography is a direct provocative of masturbation. It cannot be otherwise. When the grey ones wail that the young man and the young women went and had sexual intercourse, they are bewailing the fact that the young man and the young women didn’t go separately and masturbate. (Portable 657-658)
So this is how Lawrence fills the middle of his essays. He starts "Without secrecy their would be no pornography"--a valid claim, though he takes no pains to prove it. And from this axiom he derives a whole set of equally unsupported corollaries: pornography’s effect on people is "always pernicious." Lawrence has no need of muddling, qualifying phrases here, despite that earlier what was pornography to one could easily be the "laughter of genius" to another. And this pornography, before so indeterminate, now has a definite effect: pornography equals masturbation. And it gets better: the "grey ones"--another metonymy, symbolizing puritanical social leaders--far from condemning masturbation, advocate it. This ignores that the "grey ones" would condemn masturbation--stolid logician Bertrand Russell’s speaks of masturbation as amoral (Russell 70). But Lawrence, it seems, does not want anyone on his side. He is right, others wrong, and proof is unnecessary. It seems unfortunate that Lawrence would write less objectively in hopes of being more entertaining. But then again, maybe it is the abrupt epiphany in the midst of philosophical sleepwalking which makes him so fulfilling. He might not always be right, but he’s always an interesting read.
"Nottingham and the Mining Countryside" is another good example of a Lawrencian essay. It makes appeals based on a subtle, almost subterranean aesthetic vision which surfaces mostly in the imperious though conversational style at the end of the essay. In many instances though, it employs the same techniques as the earlier excerpts--such as informality, repetition and metaphor:
Do away with it all, then. At no matter what cost, start to alter it. Never mind about wages and industrial squabbling. Turn the attention elsewhere. Pull down my native village to the last brick. Plan a nucleus. Fix the focus. And then put up big buildings, handsome, that sweep to a civic centre. And furnish them with beauty. And make an absolute clean start. Do it place by place. Make a new England. Away with little homes! Away with scrabbling pettiness and paltriness. Look at the contours of the land, and build up from these, with a sufficient nobility. The English may be mentally or spiritually developed. But as citizens of splendid cities they are more ignominious than rabbits. And they nag, nag, nag all the time about politics and wages and all that, like mean, narrow housewives. (Portable 623)
Again, there is not a huge amount of evidence, but this is a conclusion, and conjecture is rather more conventionally permissible here than otherwise. And Lawrence’s utopian scheme shows a blatant disregard for matters of political economy--but the essay character is hardly a penny-pinching accountant. Ignoring all of that, the passage is largely a success. Using short, almost oratorical-sounding sentences, exclamations, and grandiose commands, Lawrence creates an inspirational tone as he calls for aesthetic reform. So we see that the character is, unsurprisingly, a true idealist--he’s excited enough to "shout" using the exclamation point. Furthermore, we see repetition, though it is concentrated rather than distributed as in the cyclical use of "we" and "entertainment" in "Indians and Entertainment." Describing the citizens as those who "nag, nag, nag" does much to emphasize the continual nature of the nagging, as well as reinforce the idea through repetition. Though occasionally such repetition seems a bit forced, here it seems to fit nicely into the cadence of the sentence. And Lawrence couldn’t end an essay without surprise metaphors: he describes the citizens as both "rabbits" and "mean, narrow housewives." Lawrence has called for action in his own terms, and there might even be a "nerve of truth" buried in his language romp. Some might find him splendid and some might find ridiculous, but few indeed would claim him meek.
Throughout his essays, Lawrence is consistently unorthodox. Rather than kowtowing to convention, Lawrence is more concerned with conversational effectiveness and his own brand of truth. It is a cliché that truth sometimes lies along a "path less traveled." If that’s so, Lawrence is something of a trailblazer. And though his trails might not always go anywhere in particular, the view along the way can be spectacular. Which is very entertaining.

Works Cited
Lawrence, David Herbert. "Indians and Entertaiment."Mornings in Mexico and Etruscan Plays. Harmondsworth: Penguin, 1960.
Lawrence, David Herbert. The Portable D.H Lawrence. Diana Trilling et al. New York: Penguin Books, 1977.
Aristotle. The Rhetoric and Poetics of Aristotle, trans. W.R. Roberts, ed. Frederick Solmsen. New York: Random House, 1954.
Russell, Bertrand. "The Taboo on Sex Knowledge."Marriage and Morals. London: Unwin, 1929.
Maddox, Brenda. DHL: The Story of a Marriage. New York: Simon and Shuster, 1994.


© 1997 Garrett Moritz. All rights reserved.
Inside the File Cabinet
gtexts blog

 

 

Selected Essays (Penguin Twentieth Century Classics) [Paperback]

D.H. Lawrence, John Lyon



Part 1 Love and life: sex versus loveliness; give her a pattern; love; cocksure women and hensure men; nobody loves me; books; climbing down Pisgah; reflections on the death of a porcupine; democracy; the state of Funk; insouciance.

Part 2 The spirit of place: England - whistling of birds, Nottingham and the mining country, dull London; Italy - the spinner and the monks, flowery Tuscany, man is a hunter; Germany - the crucifix across the mountains, Mercury, a letter from Germany; Mexico and New Mexico - New Mexico, Indians and an Englishman, just back from the snake dance - tired out, Corasmin and the parrots, a little moonshine with lemon.

Part 3 Writing and painting: John Galsworthy; Benjamin Franklin; Moby Dick; Whitman; Giovanni Verga; preface to the American edition of new poems; accumulated mail; making pictures; introduction to these paintings. Part 4 Lawrence and Magnus: the later Mr Maurice Magnus - a letter.



****


D H Lawrence - Selected Essays (Penguin)

See larger image


  • Paperback: 346 pages
  • Publisher: Penguin Books; Reprint edition (1954)

D H Lawrence - Selected Essays (Penguin) [Paperback]

D H Lawrence, Richard Aldington

《周棄子先生集》繭廬、「覃子豪」

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《周棄子先生集》台北:合志,1988 /合肥:黃山,2009

2011.5.18《周棄子先生集》有3篇與繭廬相關詩作:
2.中秋東海大學過訪繭廬留詩四首兼呈佛觀
一歲三登大肚山,疎林漸已蔽孱顏。欲知獨客頻來意,為有畸人住此間。僻地儻逃牛李厄,勞生端愧鳥魚頑。別來太瘦君無悔,正要詩芒掩鬢斑。
(「復觀藏書」方型藍印、「徐印佛觀」方型硃印、「徐故教授復觀贈書」藍色長戳 )

1. 繭廬將之美洲集玉谿句送別兼孫奇賢姪

3. 簡繭廬似定山

孫克寬...東海校歌作詞者
[PDF] 孫克寬先生行誼考述


2010.2.25 "《周棄子先生集》是1984年先生溘逝後,許著先所編輯,據我所知,周先生半生惘惘,惜墨如金,除了《未埋庵短書》之外,好像就是這本詩文集傳世了。"
"以下抄周先生〈題高陽歷史小說集〉絕句四首︰

載記文章託稗官,爬梳史乘扶叢殘;
一千八百餘萬字,小道居然極鉅觀。

柱腹撐腸萬卷書,要從博涉懲空疏;
天人性命冬烘語,持較雕蟲儻不如。

世論悠悠薄九流,誰知野獲費冥搜,
江湖雜學談何易?慘綠消磨到白頭。

傾囊都識酒人狂,煮字猶堪抵稻粱;
還似屯田柳三變;家家井水說高陽。
"Ylib 遠流博識網




幾處被刪節的版本
周弃子先生集(二十世纪诗词名家别集丛书)

ISBN编号:9787546107912
作  者:周学藩 著 汪茂荣 点校
出 版 社:黄山书社
开本介质:精装/32开
出版日期:2009年11月 第1版 第1次印刷
页数字数:179页/150千字
此作品作者周学藩,字弃子,生于1912年,卒于1984年,湖北大治人,1949年后随国民党入台湾,为当代台湾旧体诗坛重镇。其去世后,此作品曾于 1988年由台湾合志文化事业股份有限公司出版。作品包括目录,画像一帧,作者及友人手迹三件,序二篇,行状一篇、正文。所收诗、词、联、书札、文等体裁 一应俱全,以诗量最大,成就亦最高。


-----



向明
【周夢蝶論「覃子豪」】
問﹕藍星詩社同仁,多士濟濟,而以覃子豪年齡為最長,可否就覃先生之為人及其思想與抱負小作論列?
答﹕覃子豪先生辭世三十餘年矣!生前曾不止一次語我﹕詩人,不可有霸氣,但不可無傲骨。又一再鼓勵我戀愛,說愛是世界的原動力,是詩的胚芽、火種。此外還勸我学英文或法文,說古人平平仄仄那条路是萬萬不能走了!新一代作者必須睜大眼睛向前看,必須多吸收新東西、而多懂一種文字就等於多一副腸肚、多一副手眼云云。
天意微茫難識!先生以耳順之年,忽為肝癌小兒所欺、死之日適逢雙十國慶。是日,我自卧龍街寓所午睡起、搭五路公車,擬趕往中山堂看電影《蝴蝶小姐》,巧與虞君質教授相遇於明星麪包店門口、十指交握,虞說﹕覃子豪走了、這位仁兄可真會挑日子。
公祭之日,周棄翁曾為長聯輓之,辭曰
「詩是不死的、愛是不死的,死的只是軀殼!在天之靈,應無遺恨」
下联壓軸二十四字,應更精采、飛動,苦於記不起了,真該死!
(向明附識:此短文摘自周公於2001年五月23日發表於中央日報副刊之「答遠方友人問,凡一十三則」。正式標題為《事求妥帖心常苦》又題「補破網」,此為其中有関藍星詩社之第六問。文中提及虞君質先生為覃子豪先生所作輓聯僅有上聯,下聯記不起,我曾四處蒐尋無從着手。蓋民國五十三年十月十日凌晨覃師過世,我正在馬祖服役,未能獲准趕回奔喪,是以未知台灣各界對覃氏弔念詩文之詳情,亦從無人將之收錄。而今虞教授及周公均己仙游,這一公案怕更難找到着落了。)

遵生八箋 John Dudgeon (1837 – 1901)

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遵生八箋

《遵生八箋》明朝飬生家高濂所著,萬曆十九年(1591年)初刊,為養生專著,包含山川逸游、花鳥蟲魚、琴樂書畫、筆墨紙硯、文物鑑賞等,全書分八目共二十卷,計有:
  1. 清修妙論箋:摘錄名言確論250餘則。
  2. 四時調攝箋:分春、夏、秋、冬四卷。
  3. 起居安樂箋:由《恬適自足條》、《居室安處條》、《晨昏怡養條》、《溪山逸遊條》、《賓朋交接條》等組成。
  4. 延年卻病箋:有《修養五臟坐功法》、《治百病坐功法》、《八段錦導引法》等。
  5. 飲饌服食箋:收錄3253種飲食和24種日常保健藥方,以及15種專論。
  6. 燕問清賞箋:寓養生於賞鑒清玩,陶冶性情。其中有〈瓶花三說〉即「瓶花之宜」、「瓶花之忌」與「瓶花之法」,是世界上最早的插花藝術論著。
  7. 靈秘丹藥箋:收錄醫藥方劑百餘種。
  8. 塵外遐舉箋:收錄塵外高隱百人,力求「心無所營,物無容擾……養壽怡生」。
有清嘉慶十五年(1810年)弦雪居重訂本等。1895年美·德貞(J·Dudgeon)將此書譯成英文。卷十一至卷十三和卷十二中「野蔌類九十六種」曾分別以《飲饌服食箋》和《野蔌品》為名出版。


John Dudgeon (1837 – 1901) was a Scottish physician who spent nearly 40 years in China as a doctor, surgeon, translator, and medical missionary.
Dudgeon attended the University of Edinburgh and the University of Glasgow, in the latter of which he graduated M.D. and Master of Surgery in 1862. In 1863, he was appointed to the Medical Mission of the London Missionary Society to serve at the hospital in Peking established by William Lockhart, arriving in China in December 1863. He was also Medical Attendant to the British Legation in Peking (modern-day Beijing) from 1864-1868. Dudgeon was appointed Professor of Anatomy and Physiology at the Imperial College (Tongwen guan) during the 1870s and 1880s. In Wanderings in ChinaConstance Frederica Gordon Cumming wrote:
Even when the health of the city is at its normal condition the cares of such a hospital as this are serious, and to me it is a source of amazement how Dr. Dudgeon gets through his daily work. To begin with he must personally prescribe for, on an average, 120 hospital patients every morning, besides an extensive outside practice, which includes several of the foreign Legations, and involves driving long distances in the blazing heat and in the horrible springless carts. Two hours a day are devoted to translating useful books into Chinese with his students, besides the labour of preparing and delivering his lectures at the Government College.
He was an accomplished Chinese scholar, and during his long residence at Pekin he studied the manners and customs of the inhabitants, and the semi-annual reports that he forwarded to theChinese Maritime Customs Service contain a large amount of valuable information regarding the climatic condition, physical features and drainage, and general habits of the people bearing upon health. He was the author of an Historical Sketch of the Ecclesiastical, Political, and Commercial Relation of Russia with China, of a Chinese work 脱影奇观 On the Principles and Practice of Photography, the first of its kind, and of an article in the Pekin Magazine (in Chinese) on the virtues of quinine, in which he pointed out the dangers of the imported spurious article. To theChinese Medical Journal he contributed papers on A Modern Chinese Anatomist, and A Chapter on Chinese Surgery. He also made several contributions to other medical journals, especially on subjects connected with the medical practice and materia medica of China. Various editions of his Kung Fu books are still available to purchase : "Kung Fu or Taoist Medical Gymnastics: The Art of Shaolin Kung Fu, Traditional Chinese Medicine and Qigong Beginning Practice" and "Chinese healing arts: Internal Kung-Fu" co authored with William Berk. Over a period of 10 years he translated both Gray's Anatomy and Holden's Osteology into an 18 volume Chinese edition.
Dudgeon said that in China, "Infanticide does not prevail to the extent so generally believed among us, and in the north it does not exist at all."[1]
Dudgeon resigned from the London Mission Society in 1884 after conflicts over the prioritisation of evangelical and medical work. Thereafter he continued in private practice in Peking until his death in February 1901.

References[edit]

This article incorporates text from an obituary published in The British Medical Journal, March 16, 1901, now in the public domain.
  • Nick Pearce, Photographs of Peking, China 1861-1908: An inventory and description of the Yetts collection at the University of Durham. Through Peking with a Camera (Lampeter: Edwin Mellen Press, 2005 ISBN 0-7734-6090-X) Biographical sketch of Dudgeon on pp. 24–32.
  1. Jump up^ William Hamilton Jefferys (1910). The Diseases of China, including Formosa and Korea. PHILADELPHIA 1012 WALNUT STREET: P. Blakiston's son & Co. p. 258. Retrieved Dec 20, 2011.Chinese children make delightful patients. They respond readily to kindness and are in every way satisfactory from a professional point of view. Not infrequently simply good feeding and plenty of oxygen will work the most marvellous cures. Permission is almost invariably asked to remain with the child in the hospital, and it is far better to grant the request, since, after a few days when all is well and the child is happy, the adult will gladly enough withdraw. Meanwhile, much has been gained. Whereas the effort to argue parents into leaving a child at once and the difficulty of winning the frightened child are enormous. The Chinese infant usually has a pretty good start in life. "Infanticide does not prevail to the extent so generally believed among us, and in the north it does not exist at all."—Dudgeon, Peking.

Virginia Woolf. To the Lighthouse. Flush: a biography(1933) Elizabeth Barrett Browning

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“So fine was the morning except for a streak of wind here and there that the sea and sky looked all one fabric, as if sails were stuck high up in the sky, or the clouds had dropped down into the sea.”
― Virginia Woolf, To the Lighthouse

Virginia Woolf 的相片。


倫敦名街(10 ):Wimpole Street


我們介紹過名醫群集之 London's Harley Street,令外一條類似的為Wimpole Street ,因為該街約200 年設皇家醫學會(The Royal Society of Medicine (RSM) ),其專業圖書館世界有名。

它也是很理想的住宅區,所以蕭伯納的「賣花女 /窈窕淑女/Pygmalion 」的語言專家HIGGINS 就住那兒。 The Beatles 名歌 "Yesterday"就是在 Wimpole 街之女友之公寓一夜美夢之後,所得之靈感。

在文學史上這街的 50號住過名詩人勃朗寧(Robert Browing )夫人伊莉莎白 Barrett,他們不朽的愛情故事上過兩回電影,譬如說, The Barretts of Wimpole Street(1934) 


Elizabeth Barrett Browning died ‪#‎onthisday‬ in 1861.‪#‎DiscoverLiterature‬ to find out how she used poetry to challenge traditional Victorian roles for women. http://bit.ly/1FKk8Y0


The British Library 的相片。



他家的寵狗 『紅毛球』(Flush),名作家 V. Woolf 幫其寫過傳記(介於虛構與非虛構之間( Fiction/Non-Fiction cross-over)):Virginia Woolf. Flush: a biography(1933) .— 英文本在網路上很容易找到(中文有數翻譯本,譬如說,『天堂玫瑰』pp.156-214 )

At Wimpole Street Browning spent most of her time in her upstairs room. Her health began to improve, though she saw few people other than her immediate family.[3] One of those she did see was Kenyon, a wealthy friend of the family and patron of the arts. She received comfort from her spaniel named Flush, a gift from Mary Mitford.[16] (Virginia Woolf later fictionalised the life of the dog, making him the protagonist of her 1933 novel Flush: A Biography).


我們看它第一章所寫的 Wimpole街屋,最有門面,最莊重、威風凜凜,最容易讓人在按門鈴時,多少會心生怯步(只可遠觀?),雖然如此,它真是文明之支柱。(『紅毛球』於 1933年才出版 --可能是第一次世界大戰時寫的,所以文中說世局如晦,文明危殆,希望 Wimpole 街之風味永存;願其一磚一石一動不動、窗簾布永不褪色、牛羊等百獸肉品供需無缺 ……Wimpole街,風雨不動安如山乎…… 



Even now perhaps nobody rings the bell of a house in Wimpole Street without trepidation. It is the most august of London streets, the most impersonal. Indeed, when the world seems tumbling to ruin, and civilisation rocks on its foundations, one has only to go to Wimpole Street; to pace that avenue; to survey those houses; to consider their uniformity; to marvel at the window curtains and their consistency; to admire the brass knockers and their regularity; to observe butchers tendering joints and cooks receiving them; to reckon the incomes of the inhabitants and infer their consequent submission to the laws of God and man—one has only to go to Wimpole Street and drink deep of the peace breathed by authority in order to heave a sigh of thankfulness that, while Corinth has fallen and Messina has tumbled, while crowns have blown down the wind and old Empires have gone up in flames, Wimpole Street has remained unmoved and, turning from Wimpole Street into Oxford Street, a prayer rises in the heart and bursts from the lips that not a brick of Wimpole Street may be re-pointed, not a curtain washed, not a butcher fail to tender or a cook to receive the sirloin, the haunch, the breast, the ribs of mutton and beef for ever and ever, for as long as Wimpole Street remains, civilisation is secure.  CHAPTER ONEThree Mile Cross 

(這回學單字 point之一義  To fill and finish the joints of (masonry) with cement or mortar.   継ぎ目にしっくい[セメント]を塗る;

《富裕社會》(The Affluent Society ) ; Gunnar Myrdal,《亞洲的戲劇--東亞國家貧困問題研究》《富裕國家與貧窮國家: 世界繁榮之路 》 Why Poverty?

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根據許大川譯序,胡適之先生是 Ruth Nanda Anshen主編的世界前途叢書 World Perspectives的編輯委員會編委:Rich Lands and Poor by Gunnar Myrdal 富裕國家與貧窮國家,許大川譯,台北:台銀,1968

BBC Four - Why Poverty?

A series of films which ask what it means to live in poverty in the 21st Century

Park Avenue

How much inequality is too much?

Documentary



將列出數本名經濟學家討論貧窮的問題
這可對比於企業管理對不良公司的探討
前者強點 為什麼呢?


The Nature of Mass Poverty is an economics book by John Kenneth Galbraith published in 1979.
集體貧窮本質之探討 今日世界 1985

The nature of mass poverty - John Kenneth Galbraith - Google Books



---G. Myrdal 《亞洲的戲劇--東亞國家貧困問題研究》北京:商務,2015



Edgar Allen Poe : Selected Prose, Poetry, and Eureka/ Annabel Lee (1849)

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“By the time Edgar Allan Poe wrote “Eureka: A Prose Poem,” the last major work he published before his premature death in 1849, his attitude toward certain men of science had softened.”



Since adolescence, Edgar Allan Poe had been picking fights with science....
THEPARISREVIEW.ORG|由 MAX NELSON 上傳










The New York Review of Books


Marilynne Robinson on Edgar Allan Poe


On Edgar Allan Poe by Marilynne Robinson


Edgar Allan Poe was and is a turbulence, an anomaly among the major American writers of his period, an anomaly to this day. He both amazed and antagonized his contemporaries, who could not dismiss him from the first...


NYBOOKS.COM







Annabel Lee
By Edgar Allan Poe


It was many and many a year ago,


In a kingdom by the sea,


That a maiden there lived whom you may know


By the name of Annabel Lee;


And this maiden she lived with no other thought


Than to love and be loved by me.





I was a child and she was a child,


In this kingdom by the sea,


But we loved with a love that was more than love—


I and my Annabel Lee—


With a love that the wingèd seraphs of Heaven


Coveted her and me.





And this was the reason that, long ago,


In this kingdom by the sea,


A wind blew out of a cloud, chilling


My beautiful Annabel Lee;


So that her highborn kinsmen came


And bore her away from me,


To shut her up in a sepulchre


In this kingdom by the sea.





The angels, not half so happy in Heaven,


Went envying her and me—


Yes!—that was the reason (as all men know,


In this kingdom by the sea)


That the wind came out of the cloud by night,


Chilling and killing my Annabel Lee.



But our love it was stronger by far than the love


Of those who were older than we—


Of many far wiser than we—


And neither the angels in Heaven above


Nor the demons down under the sea


Can ever dissever my soul from the soul


Of the beautiful Annabel Lee;





For the moon never beams, without bringing me dreams


Of the beautiful Annabel Lee;


And the stars never rise, but I feel the bright eyes


Of the beautiful Annabel Lee;


And so, all the night-tide, I lie down by the side


Of my darling—my darling—my life and my bride,


In her sepulchre there by the sea—


In her tomb by the sounding sea.






Annabel Lee (1849)

Wikisource has original text related to this article:
Annabel Lee
Main article: Annabel Lee

The last complete poem written by Poe, it was published shortly after his death in 1849. The speaker of the poem talks about a lost love, Annabel Lee, and may have been based on Poe's own relationship with his wife Virginia, though that is disputed.







優美的安娜貝爾.李 寒徹顫慄早逝去
作者:大江健三郎
譯者:許金龍
出版社:北京:人民文學: 2009 聯經出版公司 :2009年

書名脫胎自美國詩人艾倫坡著名詩作〈安娜貝爾.李〉,講述二戰後為美國人所收養的日本國際級女演員櫻闖蕩國際影壇多年後,回國參與記念德國作家亨利希. 封.克萊斯特跨國性電影拍攝計畫。主催此計畫的電影製片人木守,找來從大學時代就認識的社會運動伙伴小說家大江擔綱電影的劇本家,他嘗試將原作的抗暴情節 與日本農民的反壓迫的起義事件連結,而以女演員櫻為中心的拍攝,女英雄的形象也取代原著以男性為故事主角的設定;小說家大江的母親,在戰後不惜冒黑市交易 風險、也要維持地方劇團演出的「說故事者」使命,則分在演員櫻、小說家大江以及承襲母親故事採集者、長期在四國推行女權運動的小說家的妹妹身上顯現;但這 個拍攝計畫卻因一個涉及櫻的殘忍祕密而宣告終止。







*****
Edgar Allen Poe : Selected Prose, Poetry, and Eureka
這本書 書林翻印過




Auden 的 Introduction

Poor Poe! At first so forgotten that his grave went without a tomb-stone twenty-six years ... today in danger of becoming the life study of a few professors.

(W.H. (Wystan Hugh) Auden (1907-1973), Anglo-American poet. repr. In The Recognition of Edgar Allen Poe, ed. E.W. Carlson (1970). Edgar Allan Poe, introduction (1950).)



“EDGAR ALLAN POE died in Baltimore on Sunday last.”

From the Richmond Semi-Weekly Examiner, vol. II, no. 98, October 12, 1849:
THEPARISREVIEW.ORG|由 SADIE STEIN 上傳


歌德 Goethe:Selected Works. 《義大利遊記》 : Italian Journey《意大利遊記》

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"When young, one is confident to be able to build palaces for mankind, but when the time comes one has one's hands full just to be able to remove their trash."
--Johann Wolfgang von Goethe
One of the towering figures of world literature, Goethe has never held quite as prominent a place in the English-speaking world as he deserves. This collection of his four major works, together with a selection of his finest letters and poems, shows that he is not only one of the very greatest European writers: he is also accessible, entertaining, and contemporary. The Sorrows of Young Werther is a story of self-destructive love that made its author a celebrity overnight at the age of twenty-five. Its exploration of the conflicts between ideas and feelings, between circumstance and desire, continues in his controversial novel probing the institution of marriage, Elective Affinities. The cosmic drama of Faust goes far beyond the realism of the novels in a poetic exploration of good and evil, while Italian Journey, written in the author’s old age, recalls his youth in Italy and the impact of Mediterranean culture on a young northerner. Translators include W. H. Auden, Louise Bogan, David Constantine, Barker Fairley, and Elizabeth Mayer

Everyman's Library 的相片。




Johann Wolfgang von Goethe (1749-1832): Italian Journey, 1786-7, published 1816-7 Introductory Note

Everybody knows that the thrones of European literature are occupied by the triumvirate referred to in Finnegans Wake as Daunty, Gouty and Shopkeeper, but to most English-speaking readers the second is merely a name. German is a more difficult language to learn to read than Italian, and whereas Shakespeare, apparently, translates very well into German, Goethe is peculiarly resistant to translation into English; Hölderlin and Rilke, for example, come through much better. From a translation of Faust, any reader can see that Goethe must have been extraordinarily intelligent, but he will probably get the impression that he was too intelligent, too lacking in passion, because no translation can give a proper idea of Goethe’s amazing command of every style of poetry, from the coarse to the witty to the lyrical to the sublime. The reader, on the other hand, who does know some German and is beginning to take an interest in Goethe comes up against a cultural barrier, the humorless idolization of Goethe by German professors and critics who treat every word he ever uttered as Holy Writ. Even if it were in our cultural tradition to revere our great writers in this way, it would be much more difficult for us to idolize Shakespeare the man because we know nothing about him, whereas Goethe was essentially an autobiographical writer, whose life is the most documented of anyone who ever lived; compared with Goethe, even Dr Johnson is a shadowy figure. from Auden, W.H. and Elizabeth Mayer. “Introduction.” Goethe: Italian Journey. London: Penguin, 1970.


 Auden, W.H. and Elizabeth Mayer. “Introduction.” Goethe: Italian Journey. London: Penguin, 1970,508頁。這篇導論很值得一讀,文末有譯者的翻譯論。
1962年的譯本,由Collins 出版。我記得也出版過AUDEN 單讀翻譯的部分,可能只百來頁。
Goethe: Italian Journey. London: Penguin, 1970. 副標題是著名 (藝術史名家多有專文討論)的一句:Et in Arcadia ego.

我在2011年查過中國的兩翻譯本,錯誤處類似。

黃郁珺《十八世紀英國紳士的大旅遊》台北:唐山2008這本是輔仁大學的歷史所碩士論文的出版 (西洋史叢書的第二本)。還有很認真的學生在撰寫論文並且有機會出版,是很可喜可賀的事。論文處理的主題很重要和有趣,寫得也很用心。大旅遊的目的是教育其實可能含蓋歐洲各名城和地方所以我弄不清楚是否該包括希臘。無論如何,本書以義大利為主 基本上,重要的英文和漢文文獻都提到了,似乎只有一夲書的書名前後不一The Compleat Gentlemen (p.33) vs. The Complete Gentlemen (p.46) ;容易令人誤解的”public school” (現在多改稱為independent school)作者用「公學」,而引張漢裕翻譯的《國富論》則採用錯誤的「公立學校」。不過這些是微不足道的小毛病。如果有索引,那就相當好了。
 我只舉一小例說明作者的細心118頁的注94中指出:…..此處趙乾龍所譯歌德意大利遊記》將privy 譯為客房」,疑為「廁所」之誤植。…..」我們看哥德的上下文,知道英譯的屋外簡易廁所的privy ,比較合脈絡。妙的是,我查另外一本湖南文藝出版社(2006)的翻譯,也用「客房」。
 這讓我想起吉川幸次郎的《漢武帝》中引《漢書‧外戚傳》中說:衛子夫「於軒中得幸」。吉川先生引高木正一先生指出漢末的《釋名》說:「廁或曰軒」


http://debbiejlee.com/ageofwonder/goethe.pdf
有照片

Malcesine, near Verona (pp. 44-7)
As I had planned, early in the morning I walked to the old castle, which, since it is without gates, locks, or sentries, is accessible to anyone. I sat down in the courtyard facing the old tower, which is built upon and into the rock. I had found an ideal spot for drawing, at the top of three or four steps that led to a locked door. In the frame of this door stood a little carved stone seat of the kind one can still come across in old buildings of our country.

I had not been sitting there long before several persons entered the courtyard, looked me over and walked up and down. Quite a crowd gathered. Then they came to a stop and I found myself surrounded. I realized that my drawing had created a sensation, but I did not let this disturb me and went on calmly with my work. At last a somewhat unprepossessing-looking man pushed himself forward, came up close to me and asked what I was doing there. I replied that I was drawing the old tower so as to have a memento of Malcesine. This was not allowed, he said, and I must stop at once. Since he spoke in Venetian dialect which I hardly understand, I retorted that I didn’t know what he was saying. At this, with typical Italian nonchalance he tore the page up, though he left it on the pad. When this happened I noticed that some of the bystanders showed signs of indignation, especially one old woman who said this wasn’t right. They should call the podestá, who was the proper judge of such matters. I stood on the step with my back against the  Malcesine castle door and took in the faces of the crowd, which still kept growing. The eager stares, the goodnatured expression on most of them and all the other characteristics of a crowd of strange people afforded me much amusement. I fancied I saw before me the chorus of ‘Birds’, whom, as the ‘True Friend’, I had so often made fun of on the stage of the Ettersburg theatre.

By the time the podestá arrived on the scene with his actuary, I was in the highest spirits and greeted him without reserve. When he asked me why I had made a drawing of their fortress, I said modestly that I had not realized that these ruins were a fortress. I pointed to the ruinous state of the tower and the walls, the lack in gates, in short, to the general defenseless condition of the whole place, and assured him it had never crossed my mind that I was drawing anything but a ruin. He answered: if it were only a ruin, why was it worth noticing? Wishing to gain time and his good will, I went into a detailed exposition; they probably knew, I said, that a great many travelers came to Italy only to see ruins, that Rome, the capital of the world, had been devastated by the Barbarians and was now full of ruins which people had drawn hundreds of times, that not everything from antiquity had been as well preserved as the amphitheater in Verona, which I hoped to see soon.

The podestá stood facing me, but on a lower step. He was a tall, though hardly a lanky, man of about thirty. The dull features of his stupid face were in perfect accord with the slow and obtuse way in which he put his questions. The actuary, though smaller and smarter, also did not seem to know how to handle such a novel and unusual case. I kept on talking about this and that. The people seemed to enjoy listening, and when I directed my words at some kindly-looking women, I thought I could read assent and approval in their faces. But when I mentioned the amphitheater in Verona, which is known here by the name ‘arena’, the actuary, who had been collecting his wits in the meantime, broke in: that might be all very well, he said, in the case of a world-famous Roman monument, but there was nothing noteworthy about these towers except that they marked the frontier between Venetia and the Austrian Empire, for which reason they were not to be spied upon. I parried this by explaining by some length that the buildings of the Middle Ages were just as worthy of attention as those of Greek and Roman times, though they could not be expected to recognize, as I did, the picturesque beauty of buildings which had been familiar to them since childhood…

[Goethe says he’s not from the Austrian Empire, he’s from Frankfurt-am-Main. A young woman has heard of it, she tells them to send for Master Gregario who lived there for many years.] Master Gregario: “Signor Podestá, I am convinced that this man is an honest and educated gentleman who is traveling to enlarge his knowledge. We should treat him as a friend and set him at liberty, so that he may speak well of us to his countrymen and encourage them to visit Malcesine, the beautiful situation of which so well deserves the admiration of foreigners.” Verona amphitheater - inside Verona amphitheater - streetside

Verona (pp. 52-3)
The amphitheater is the first great monument of the ancient world I have seen, and how well preserved it is! When I entered it, and even more when I wandered about on its highest rim, I had the peculiar feeling that, grand as it was, I was looking at nothing. It ought not to be seen empty but packed with human beings, as it was recently in honor of Joseph I and Pius VI. The Emperor, who was certainly accustomed to crowds, is said to have been amazed. But only in ancient times, when a people were more of a people than today, can it have made its full effect. Such an amphitheatre, in fact, is properly designed to impress the people with itself, to make them feel at their best.

 When something worth seeing is taking place on level ground and everybody crowds forward to look, those in the rear find various ways of raising themselves to see over the heads of those in front: some stand on benches, some roll up barrels, some bring carts on which they lay planks crosswise, some occupy a neighboring hill. In this way in no time they form a crater. Should the spectacle be often repeated on the same spot, makeshift stands are put up for those who can pay, and the rest manage as best they can. To satisfy this universal need is the architect’s task. By his art he creates as plain a crater as possible and the public itself supplies its decoration. Crowded together, its members are astonished at themselves. They are accustomed at other times to seeing each other running hither and thither in confusion, bustling about without order or discipline. Now this many-headed, manyminded, fickle, blundering monster suddenly sees itself united as one noble assembly, welded into one mass, a single body animated by a single spirit. The simplicity of the oval is felt by everyone to be the most pleasing shape to the eye, and each head serves as a measure for the scale of the whole. But when the building is empty, there is no standard by which to judge whether it is great or small.

The Veronese are to be commended for the way in which they preserved this monument. The reddish marble of which it is built is liable to weather, so they keep restoring the steps as they erode, and almost all of them look brand-new. An inscription commemorates a certain Hieronymus Maurigenus and the incredible industry he devoted to this monument. Only a fragment of the outer wall is left standing and I doubt if it was ever even completed. The lower vaults which adjoin a large square called il Bra are rented to some artisans, and it is a cheerful sight to see these caverns again full of life. Goethe 4 Palazzo Comunale, Padua Titian, Diana and Actaeon, 1556-9 Piazzetta, St John the Baptist, 1740s

Padua (pp. 72-3) 
In the place of assembly belonging to a religious brotherhood dedicated to St. Anthony, there are some ancient paintings, reminiscent of the old German school, among them some by Titian, which show a progress in the art which no painter on the other side of the Alps has so far made. I also saw some more modern paintings. Though no longer able to reach the sublime dignity of their predecessors, these artists have been extremely successful in the lighter genre. The beheading of St. John the Baptist by Piazzetta is, after allowing for the mannerisms of this master, a very good painting…

In the Church of the Eremitani I saw some astonishing paintings by Mantegna, one of the older masters. What a sharp, assured actuality they have! It was from this actuality, which does not merely appeal to the imagination, but is solid, lucid, scrupulously exact and has something austere, even laborious about it, that the later painters drew their strength, as I observed in Titian’s pictures. It was thanks to this that their genius and energy were able to rise above the earth and create heavenly forms which are still real. It was thus that art developed after the Dark Ages.

The audience chamber of the Palazzo Comunale…is such a vast closed-in shell that, even when one has just come from seeing it, one can hardly retain its image in one’s mind. It is three hundred feet long, one hundred feet wide and, from floor to vaulted ceiling, one hundred feet high. People here are so used to living out of doors that the architects were faced with the problem of vaulting over a market square, so to speak. Such a huge vaulted space gives one a strange feeling. It is a closed-in infinity more analogous to human nature than the starry sky is. The sky draws us out of ourselves, but this gently draws us back into ourselves.


蒙田 Michel de Montaigne 逝世一百八十二年後出版《義大利遊記》。






丹納(Hippolyte Adolphe Taine 1828—1893
法國史學家兼文學評論家。實證主義的傑出.使用一于律師家庭。自幼博聞強記,二十歲時以 第一名考入國立高等師範,專攻哲學。曾任巴黎美術學校美術史和美學教授。著有《拉封丹及其寓言》、《英國文學史》、《十九世紀法國哲學家研究》、《論智 力》、《現代法蘭西淵源》、《義大利遊記》、《藝術哲學》等。

《形塑歷史:政治變遷如何被敘述》 (Shaping History:Narratives of Political Change By Molly Andrews) 2007,陳巨擘譯,台北:聯經,2015

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2015.10.11 人名應都採全譯方式,不可只譯姓.....


6.21記下上周與譯者的一些討論:

《形塑歷史:政治變遷如何被敘述》 (Shaping History:Narratives of Political Change By Molly Andrews) 2007,陳巨擘譯,台北:聯經,2015
2015.6.8 陳巨擘先生贈書。相談夢想。
我這搞翻譯的人,瞥見一些可以討論的字眼翻譯:Narratives :敘述 或敘事 (章名)。
tell-able:有說服力的(介紹首頁)、能夠講出 (p.12)、
tell-ability :講述能力(p.28)
"顛覆性(counter-story)上頭" (p.69)
第8頁的"內部性批評者 (connected critic) ,似乎是社會學界的專門用語

以上的問題,陳兄說:
HC:  謝謝你提的那些問題,因其中有些是聯經的編輯改的,我也不知如何回答。我在四月拿到書後已送了一本校訂稿給那個編輯,他說再版的時候會修正。現在只能希望這本書還有再版的機會。
我說:我想一下,Connected critic 可能指:他倆平時在社群網站等,都是連結的,他的這位朋有,也一向扮演批評者的角色。這只是猜想。



陳兄:用口語說就是圈內人,例如民進黨資深黨員對民進黨的批評,他的批評事出於善意,要讓這個黨更好,但卻因而常常會被同黨的人貼上標籤。補充一點,由於這個資深黨員是圈內人,對民進黨的瞭解甚深,所以他的同夥就會更覺得他在背判叛個黨。 

我:昨天想過connected 有點雙關。用"圈內人"尚可。
我要提242頁的板球測試部分:Tebbit, in an interview with the Los Angeles Times, said: "A large proportion of Britain's Asian population fail to pass the cricket test. Which side do they cheer for? It's an interesting test. Are you still harking back to where you came from or where you are?"[2]
黑體是"提到或回憶",採用"回憶"過去和現在的地方有點奇怪。

陳兄:中文應該是「心繫著的是出生的地方或是現在所處的地方」


A Connected Critic: The Practice of Social Criticism

www.emonastery.org/files/art/critic/4criticism.html




形塑歷史:政治變遷如何被敘述

Shaping History:Narratives of Political Change


內容簡介
經歷重大政治變遷之後,人們開始形塑歷史;
形塑自己的歷史,形塑國家社會的歷史,
這是轉型正義的核心課題。
但是,某些敘述為什麼比其他敘述更被重視?
誰決定了某些人比其他人更有資格敘述?
誰決定了誰有資格聆聽並保存敘述?
又有誰能真的聽到沉默裡的故事?
難道有某些正義比其他正義更正義?


當我們述說自己的生活故事時,就是間接地在向其他人表達自己的政治觀點和世界觀。但是,為何有些故事存留下來,有些卻湮沒無蹤?「事實」並不會為自己講話,而是我們選擇了某些「事實」,然後希望它們經由我們的選擇向我們講話。
但是,我們如何以自己的方式向他人述說我們的故事?
什麼因素讓我以某種特定觀點而不是其他觀點去闡釋我們這時代的事件?我們如何看待自己和那些事件的關聯?我們有多積極投入去影響我們的政治環境?我們認為改變我們生活最主要的力量是什麼?我們認為自己屬於哪個團體或哪些團體?以及這如何影響我們理解政治世界?
茉莉‧安德魯斯在《形塑歷史:政治變遷如何被敘述》中收錄許多引人入勝的個案故事,透過獨特的視角去觀察近數十年來的重大政治變革,同時展現出「如何敘述政治世界」的可能性和挑戰。
她選取四個不同國家的許多個案──英國的社會正義問題、美國的「後911愛國主義」、德國人對於拆除柏林圍牆的反應、證人在南非「真相與和解委員會」面前如何承受壓力提供證言──採用新穎手法深入分析歷史和個人生活經歷之間的關係,洞察重大問題之爭議。
茉莉‧安德魯斯在每一項個案研究裡,探討這些人在講述自身生命故事時所透露的、他們堅信的政治世界;同時嘗試辨識出,哪些範圍廣泛的社會和政治脈絡,會使得某些故事成為比其他故事「更有說服力的敘述」(tell-able)。

作者/譯者/繪者簡介
作者:茉莉‧安德魯斯(Molly Andrews)
東倫敦大學(Univerisity of East London)社會科學院社會學及政治心理學(Political Psychology)教授、敘事研究中心(Centre for Narrative Research)共同主持人。近二十餘年的研究工作關注「個人生命史敘述(自傳、回憶錄)與社會變遷的交叉點」,尤其著重個人對「自身政治觀點以及社會角色」的敘述方式。已出版專書包括Lifetimes of Commitment: Aging, Politics, Psychology(2001)、Narrative Imagination and Everyday Life(2014)。

譯者:陳巨擘
美國加州大學Davis分校社會學系博士肄業,曾任巨流圖書公司、政治大學出版社總編輯。譯有《後殖民主義》、《社會科的戰爭》等書,目前在高雄市第一社區大學從事成人教育工作。

Shaping History
Narratives of Political Change
AUTHOR: Molly Andrews


Featuring extraordinary personal accounts, this book provides a unique window through which to examine some of the great political changes of our time, and reveals both the potential and the challenge of narrating the political world. Molly Andrews' novel analysis of the relationship between history and biography presents in-depth case studies of four different countries, offers insights into controversial issues such as the explosion of patriotism in post -9/11 USA; East Germans' ambivalent reactions to the fall of the Berlin Wall; the pressures on victims to tell certain kinds of stories while testifying before South Africa's Truth and Reconciliation Commission; and the lifelong commitment to fight for social justice in England. Each of the case studies explores the implicit political worldviews which individuals impart through the stories they tell about their lives, as well as the wider social and political context which makes some stories more 'tell-able' than others.

Read more
Reviews & endorsements

"This is an inspiring book. It seamlessly weaves together theory in political science, psychology and sociology with the human stories, gathered in in-depth interviews, of people deeply engaged in important historical conditions and events. The concerns of the interviews range from identity, to commitment to causes and the moral meaning of actions. This is an important scholarly book that is a pleasure to read."
- Ervin Staub, author of The Roots of Evil: The Origins of Genocide and Other Group Violence (Cambridge, 1992) and The Psychology of Good and Evil: Why Children, Adults, and Groups Help and Harm Others (Cambridge, 2003)



Table of Contents

1. History, biography and political narratives
2. Reflections on listening
3. England: stories of inspiration
4. The United States: narratives of patriotism
5. East Germany: the contested story
6. South Africa: told and untold stories
7. Questions and endings.
目次
致謝

第一章 歷史/傳記/政治敘述
舊故事/新故事
政治敘述的力量

第二章 有關聆聽的省思
建構聽眾
研究與欲望
述說和可述說性
傾聽已述說的和未述說的故事
「賦權敘述」的迷思

第三章 英國:激勵人心的故事
追求激勵人心的故事
研究的脈絡
為什麼是生命史?
形成激進思想的故事
堅持信念
我們的書信
進入與退出生活

第四章 美國:愛國主義的敘

「我的」國家:人稱代名詞的複雜性鎮波灣戰爭期間一個鄉鎮的愛國主義經驗
好公民
愛國主義及其不滿
終止「越南症候群」
停格的9/11事件
復活國家敘事
回顧停格之前的時間

第五章 東德:有爭議的故事
原始研究計畫的背景
建構/被建構的聽眾
德意志民主共和國內的異議活動分子與內部批評者
追尋可敘述的過去
認同、想像與圍牆
世代的問題
寬恕和重寫過去

第六章 南非:已說出的與未說出的故事
南非,生命歷程與政治想像
真相與和解委員會的「奇蹟」
談話治療?
個人和歷史的敘述:集體記憶的形成

第七章 問題與尾聲
渴望道德劇
開頭和結尾
個人的身分認同與想像的共同體
經過一段時期的政治敘述
參考書目




*****


章節試閱

第一章 歷史/傳記/政治敘述
時間是1992年,地點是東柏林,我坐在沃夫崗‧天普林(Wolfgang Templin)的客廳裡,柏林圍牆已經在三年前拆掉了。艾瑞西‧洪內克(Erich Honecker)擔任東德(德意志民主共和國,GDR)共產黨總書記(1971~1989)的時候,曾經將天普林視為「國家的頭號敵人」;1987年,天普林和其他幾位主要的反政府運動分子一起被放逐,他和家人最後落腳在西柏林。對天普林和他的國家而言,從柏林圍牆倒塌的那個時刻起,生活開始產生相當大的變化。我請天普林告訴我,他在1989年11月9日那天晚上的感受。
他回答時非常激動,遭到放逐將近兩年之後,他終於獲准「回家」。天普林推擠著一直湧向西方的群眾,奮力走回東德:
「我立刻打電話告訴朋友說,如果圍牆倒塌,我回到東德的路途就會是自由的,而我當時欣喜若狂⋯⋯柏林圍牆倒塌對我而言,代表我可以回到東德,而不是離開東德。我用身體直接體驗了這晚的經歷─所有人都是推擠著湧過我身邊離開東德,而我則是奮力往東德的方向擠進去。我欣喜若狂,而且是以這樣的情緒進入東德……兩、三個星期後……我的家人搬回來。」
天普林的故事極為引人入勝,有幾個原因:這是一個喜愛家庭生活的男人的簡單故事;他被迫離開他所熱愛並且奉獻一生的土地,現在他獲准回來;他「欣喜若狂」。
這故事不僅僅是天普林個人的喜悅─他的故事間接地挑戰了柏林圍牆倒塌這個歷史事件對一般人的意義。就在天普林進一步說明當天晚上以及隨後幾個星期他那種強烈的情緒時,我不禁想了解,是什麼因素讓他對這些事件有這樣的反應。除了普遍用來解釋1989年巨變的那一種政治論述框架之外,我認為有必要思索另一種不一樣的論述框架。在那個重大的夜晚,他為什麼沒有和其他那些尋歡作樂的人一同在圍牆上跳舞、喝香檳?更令人好奇的是,為什麼在想盡辦法「逃離」東德之後,一旦機會來臨,他又要回來?天普林的故事引發更多這類的問題。
在過去二十年裡,我一直在和類似沃夫崗‧天普林這樣的人交談、聽他們講話,並且試著從他們告訴我的生活故事裡,了解其中更深入廣泛的意義。因為我深信,當個人事務成為政治事務,同時政治事務也成為個人事務的時候,一定有其重大意義。人們就是透過日常生活中那些瑣碎的事務,而捲進他們那個時代的政治漣漪以及大風大浪。



第二章 有關聆聽的省思
......研究者不必然會成為更稱職的聆聽者。事實上,也許正好相反:當我們在自己的專業領域裡發展知識時,我們也許會漸漸陷入自己建構的論辯裡,並且較不願接受來自不同立場的解釋。此時,自信(confidence)和確信(certainty)之間的重要分際開始變得模糊。當我們愈是熟稔自身的技能,我們確實愈有自信;在此同時,「確信」卻摒除了理解問題的其他可能方式。然而,「確信」和「自信」有時可以在矛盾對立下並存,就像一位帶著充分自信的人可以說:「我不知道。你可以告訴我嗎?」
波蘭詩人辛波絲卡(Wislawa Szymborska)在她的1996年得獎演說中,清楚地寫出這種「自承無知」(engaged ignorance)之立場的重要性:「無論靈感是什麼,它都是出自一種有意識的『我不知道』。」她繼續說:
「這就是為什麼我那麼看重那個簡潔的語句「我不知道。」它很簡短,但卻帶著強而有力的翅膀飛行。它擴展了我們的生活,不僅包括我們內在的空間,還包含了我們這顆小小地球所懸浮的廣邈空間。如果牛頓從來不對自己說「我不知道」,他那小果園裡的蘋果大概就會像冰雹般掉到地上,而他頂多是把蘋果撿起來,然後津津有味地把它們大口吃掉。」
「聆聽」包含讓自己的自我處於險境,讓自己暴露在新的可能性和意義架構裡。在心理上,那是非常耗費心力的,因為它要求排除已經成為我們的專業標誌的那種確信的光環。史都‧特克(Studes Terkel)是一位在近代極為有名的訪談者,他形容訪談者的角色是:「啟程進入未知領域的人。沒有地圖,因為沒有人曾經去過。你是探險者,發現者。很興奮─然而很可怕,它令人驚恐。」聆聽要求對未知保持開放的態度;同時也要求我們研究者不僅在知識上、在感情上也要全神貫注和投入。

........對蕭伯納(George Bernard Shaw)那句名言的回應:「如果你在年輕時沒有成為社會主義者,你是沒有感情的人;如果你在四十歲時仍然是社會主義者,你就是沒頭腦的人。」在1970年代於華盛頓特區這個高度政治性的環境中長大,成年時又受到越戰和水門事件的強烈衝擊,因此我堅信,為妳所信仰的原則奮戰,既不是也不應該是某一年齡層者的專利。
美國反戰抗議者告訴我的故事,其意義大都源自更寬廣的愛國主義論述脈絡。他們要求取回身分認同、或是搶回旗幟,這些作為只有和「什麼才是好美國人」的主流敘述並置觀察,才能明確了解其意義;他們所採取的政治策略,就是對於「可預期的故事」提出挑戰。明顯地,9/11事件對於「什麼是負責任的美國公民」的國家敘述,有很強大的影響力。就像我在第四章所討論的,例如〈美國愛國者法案〉(USA PATRIOT Act)就把還在爭論中的意見納入法律裡。這個敘述的可述說性具有歷史敏感性,9/11事件產生一種政治氛圍,很難將「負責任的美國公民」和反戰行動相提並論。後9/11時期,即使是那些對於美國的內政或外交政策中某些內容感到不滿的人,也會將他們的批評放在比較受到廣泛支持的脈絡裡。
東德的「不具述說性的故事」,指的是反對「將1989年事件視為資本主義勝利的指標,全世界因此欣喜若狂」的故事。以波列的話來說:「那其實是受苦的人民的反抗。他們並沒有問為什麼他們要反抗,不論是對資本主義或社會主義,他們已經無法再容忍這種謊言……這並不是資本主義的勝利。」我前往東歐是為了要觀察更多行動者歷經革命變化的經驗,並且和他們談論他們接下來所面對的新世界。我在那裡聽到的故事,不論是和我在西方媒體上聽到,或是我自己所預設的,都十分不同。在某種意義上,這樣激烈的革命並不在他們的計畫中。包曼對共產主義之終結所做的分析,呼應了我所聽到的故事:
「舊制度必然附帶產生的反對意見,往往超出此制度能夠承受的程度,因而使危機到達極限;但它正是以現有制度的語言來表達要求,才產生的結果⋯⋯因此,以這個制度無法滿足的預期,來對待它……摧毀舊朝代的勢力,在意識上並不希望改革的最後結局是毀滅。」
這些故事和西方社會裡廣為流傳的大不相同,西方將其描述成到處「欣喜若狂」:「『我們的生活形式』證明了它的可行性和優越性,永遠勝過任何其他真實的或想像的形式。」
種族隔離政策終結之後的南非,是個致力於創造新的國族敘述的國家,這個敘述試圖承認濫用種族隔離政策的行為,這樣做就是為了走出那些凌虐行為的陰影。這個國族敘述裡包括「懺悔的迫害者」和「給予寬恕的受害者」,他們透過對話一起建構新南非。在第六章,我描述了南非人在講述種族隔離政策下某種特定經驗的故事時,所面對的壓力。創立「真相與和解委員會」的目的,是要在個人以及全國的層次上,協助南非人走出決裂和創傷的情境,轉換為重振生機的局面。那些可能對建立新國家的計畫有不利影響的故事,比起那些無論細節多麼令人不快卻可用來走出陰影的故事,更不具有可述說性。「真相與和解委員會」的委員們,事實上偏好的是關於寬恕的故事,而且在某些情形下,可能還創造出他們想聽到的故事情節。容許和解甚至寬恕的個人陳述,具備高度的可述說性,而這種情形不僅是由個人,而且是由文化所生產以及再生產的。...

......掌握對方告訴她的事,也包括她所能聽出的所有事;艾瑞卡‧雅弗波姆(Erika Apfelbaum)提醒我們:「不幸地,敘事(narration)受限於交談雙方理解對方談話內容的能力。」不僅是那些參與我們研究的人會根據我們的預期而調整他們所說的故事,而且很重要地,我們也會期待聽到某種想要聽到的故事。我們透過社會化過程而成為個人、成為社區的成員之後,其中一個重要的特點就是傾向於、並且熱切地想去聆聽某種特定的故事,並對其他故事充耳不聞。因此,不僅某類故事比較具備「可述說性」,而且某些類故事比較具備「可傾聽性」(hear-able)。作為研究者,對於那些可能超出我們已習慣的文化敏感度範圍的故事,我們必須訓練自己維持高度興趣。意思是,我們必須讓自己接納遇到的各種真理與文化規範,即使是和我們社會化過程中所習慣的不同,甚至相互衝突。
艾瑞卡‧雅弗波姆說過一個故事,在她父親被遣送到奧斯威辛(Auschwitz)集中營的五十週年時,她在法國世界報(Le Monde)發表一篇紀念短文,談論載她父親駛向不歸路的車隊。發表之後,她收到來自一位以前同班同學的信,在學校時這個人是和她坐同一張長櫈的。在信中,這位女同學說:「我對妳和妳的悲劇故事一無所知……這樣的事怎麼可能發生?。」有許多文章已提出,大屠殺(Holocaust)生還者無力講述他們難以言表的痛苦經歷,並以此解釋為什麼在戰後,有關他們經驗的傳述那麼少。但是,這類解釋卻將沉默的責任歸諸於生還者。然而,如果沒有人聆聽,誰會談論這類的事?威爾(Weil)寫道,「我們通常會聽到說,那些從集中營回來的人,會選擇忘記……這對有些人來說也許是事實,但對大部分的人而言,卻非如此。至於我,我一直希望能講出來、能出面作證。但沒有人願意聽。」同樣地,普力莫‧李維(Primo Levi)在《在奧斯威辛集中營中倖存下來》中描述他不斷出現的夢魘:「不斷重複出現無法被聽到的故事。」投入研究大屠殺生還者已超過二十五年的亨利‧葛林斯潘(Henry Greenspan)指出,生還者不僅在戰後幾十年裡保持沉默,他們也無法發聲。他描述生還者經歷了「一種持續進行的壓抑和污名化過程」,他們喚起「可憐、恐懼、厭惡、和罪惡感交織的複雜心情……他們受到孤立和嫌棄」。但是社會將那些一直忍受著沉重斷裂的人,與其他人隔離開來的現象,不僅出現在大屠殺的悲劇裡。...第一次世界大戰期間「難以言表」的慘狀,保羅‧福索(Paul Fussell)寫道:
「邏輯上,英語沒有理由無法充分表達戰爭的真實情況⋯⋯問題不在於「語言」而是在風度和樂觀心態⋯⋯聽眾沒有必要受驚嚇時,他為什麼要?我們使得難以言表的意思無法描繪:它實際上就是令人不快。」
同樣地,蘇珊‧布里森(Susan Brison)令人激動地寫出她從蓄意謀殺和強暴中倖存下來後,所受的精神創傷,她說:「當其他人不願傾聽倖存者所忍受的事情時,她們是很難痊癒的。」布里森認為,我們是社會動物,但關於我們的精神創傷,我們卻經常要單獨面對。以莉‧維索(Elie Wiesel)認為,「接納」往往對大屠殺倖存者而言是懲罰:「人們啜泣並流著眼淚歡迎他們,然後轉頭離開。」其他人不希望看到精神創傷倖存者和這個世界的其他部分有所關聯,因此採取了將該事件──甚至許多事件──特殊化的策略。然而,讓自我和社會世界重新整合,必須要有交流:「沒有人可以在沉默中找到平靜,即使是他們選擇保持沉默。」這種拒絕進入另一個可能世界的典型範例,是一個經常用來回應苦難故事的單字:
「『難以想像』(unimaginable):藉由這個評論性的單字,聆聽者⋯⋯沒有意願繼續了解,使講述者退回沉默之中⋯⋯並且保護他自己不去冒險,跨出熟悉的安全世界的疆界,進入到一個完全不同星球的未知世界裡⋯⋯當人們在存在與知識論上的安全感受到威脅時⋯⋯拒絕傾聽也是他們一種恐懼的表現。就像打開一扇窗戶,面對令人感到威脅的真相,強迫他們去正視一個沒有資訊可參考,而且令人沮喪的現實,他們在那裡不再感到安全。」...

Books That Changed America :The Maltese Falcon、"Leaves of Grass"..."The Jungle" (1906)

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"Samuel Spade’s jaw was long and bony, his chin a jutting v under the more flexible v of his mouth. His nostrils curved back to make another, smaller v. His yellow-grey eyes were horizontal. The v motif was picked up again by thickish brows rising outward from twin creases above a hooked nose, and his pale brown hair grew down-from high flat temples-in a point on his forehead. He looked rather pleasantly like a blonde Satan."
--from "The Maltese Falcon" (1930) by Dashiell Ham⋯⋯
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Everyman's Library 的相片。





  • Books That Changed America, Macmillan, 1970.
  • Books That Changed America Paperback – January 1, 1971
by Robert B. Downs (Author) 改變美國的書  ,彭哥譯,台北:純文學,1971

Robert Bingham Downs (May 25, 1903– February 24, 1991) was a prolificAmerican author and librarian. Downs was an advocate for intellectual freedom as well.[2] Downs spent the majority of his career working against, and voicing opposition to, literary censorship. Downs authored many books and publications regarding the topics of censorship, and on the topics of responsible and efficient leadership in the library context.[2]
Library of Congress Announces Their Books That Changed America









Books That Changed America Paperback – January 1, 1971





Benjamin Franklin, "Experiments and Observations on Electricity" (1751)
In 1751, Peter Collinson, president of the Royal Society, arranged for the publication of a series of letters from Benjamin Franklin, written between 1747 and 1750, describing his experiments with electricity. Through the publication of these experiments, Franklin became the first American to gain an international reputation for his scientific work. In 1753 he received the Copley Medal of the Royal Society for his contributions.

Benjamin Franklin, "Poor Richard Improved" (1758) and "The Way to Wealth"
As a writer, Benjamin Franklin was best known for the wit and wisdom he shared with the readers of his popular almanac, "Poor Richard," under the pseudonym "Richard Saunders." In 1758, Franklin created a clever preface that repeated a number of his maxims, framed as an event in which Father Abraham advises that those seeking prosperity and virtue should diligently practice frugality, honesty and industry. It was reprinted as "Father Abraham’s Speech" and "The Way to Wealth."

Thomas Paine, "Common Sense" (1776)
Published anonymously in Philadelphia in January 1776, "Common Sense" appeared at a time when both separation from Great Britain and reconciliation were being considered. Through simple rational arguments, Thomas Paine focused blame for Colonial America’s troubles on the British king and pointed out the advantages of independence. This popular pamphlet had more than a half-million copies in 25 editions appearing throughout the Colonies within its first year of printing.

Noah Webster, "A Grammatical Institute of the English Language" (1783)
Believing that a distinctive American language was essential to creating cultural independence for the new nation, Noah Webster sought to standardize rules for spelling and pronunciation. His "Grammatical Institute" became the popular "blue-backed speller" used to teach a century of American children how to spell and pronounce words. Its royalties provided Webster with the economic independence to develop his American dictionary.

"The Federalist" (1787)
Now considered to be the most significant American contribution to political thought, "The Federalist" essays supporting the ratification of the new Constitution first appeared in New York newspapers under the pseudonym "Publius." Although it was widely known that the 85 essays were the work of Alexander Hamilton, James Madison and John Jay, the initial curious speculation about authorship of specific essays gradually developed into heated controversy. Hamilton left an authorship list with his lawyer before his fatal duel. In his copy, Madison identified the author of each essay with their initials. Thomas Jefferson penned a similar authorship list in his copy. None of these attributions exactly match, and the authorship of several essays is still being debated by scholars.

"A Curious Hieroglyphick Bible" (1788)
Hieroglyphic Bibles were popular in the late 18th century as an effective and entertaining way to teach children biblical passages. Isaiah Thomas, the printer of this 1788 edition, is widely acclaimed as America’s first enlightened printer of children’s books and is often compared to John Newbery of London, with whom he shared the motto "Instruction with delight."

Christopher Colles, "A Survey of the Roads of the United States of America" (1789)
Irish-born engineer and surveyor Christopher Colles produced what is considered the first road map or guidebook of the United States. It uses a format familiar to modern travelers with each plate consisting of two to three strip maps arranged side by side, covering approximately 12 miles. Colles began this work in 1789 but ended the project in 1792 because few people purchased subscriptions. But he compiled an atlas covering approximately 1,000 miles from Albany, N.Y., to Williamsburg, Va.

Benjamin Franklin, "The Private Life of the Late Benjamin Franklin, LL.D." (1793)
Benjamin Franklin was 65 when he wrote the first part of his autobiography, which focused on his early life to 1730. During the 1780s he added three briefer parts that advanced his story to his 50th year (1756) and revised the first part. The first book-length edition was published in Paris in 1791. The first English edition, a retranslation of this French edition, was published in London in 1793. Franklin’s autobiography still is considered one of the most influential memoirs in American literature.

Amelia Simmons, "American Cookery" (1796)
This cornerstone in American cookery is the first cookbook of American authorship to be printed in the United States. Numerous recipes adapting traditional dishes by substituting native American ingredients, such as corn, squash and pumpkin, are printed here for the first time. Simmons’ "Pompkin Pudding," baked in a crust, is the basis for the classic American pumpkin pie. Recipes for cake-like gingerbread are the first known to recommend the use of pearl ash, the forerunner of baking powder.

"New England Primer" (1803)
Learning the alphabet went hand in hand with learning Calvinist principles in early America. The phrase "in Adam’s fall, we sinned all," taught children the first letter of the alphabet and the concept of original sin at the same time. More than 6 million copies in 450 editions of the "New England Primer" were printed between 1681 and 1830 and were a part of nearly every child’s life.

Meriwether Lewis, "History of the Expedition Under the Command of the Captains Lewis and Clark" (1814)
After Meriwether Lewis’s death in September 1809, William Clark engaged Nicholas Biddle to edit the expedition papers. Using the captains’ original journals and those of Sergeants Gass and Ordway, Biddle completed a narrative by July 1811. After delays with the publisher, a two-volume edition of the Corps of Discovery’s travels across the continent was finally available to the public in 1814. More than 20 editions appeared during the 19th century, including German, Dutch and several British editions.

Washington Irving, "The Legend of Sleepy Hollow" (1820)
One of the first works of fiction by an American author to become popular outside the United States, Washington Irving’s "The Legend of Sleepy Hollow" was first published as part of "The Sketchbook" in 1820. Irving’s vivid imagery involving the wild supernatural pursuit by the Headless Horseman has sustained interest in this popular folktale through many printed editions, as well as film, stage and musical adaptations.

William Holmes McGuffey, "McGuffey’s Newly Revised Eclectic Primer" (1836)
William Holmes McGuffey was hired in the 1830s by Truman and Smith, a Cincinnati publishing firm, to write schoolbooks appropriate for children in the expanding nation. His eclectic readers were graded, meaning a student started with the primer and, as his reading abilities improved, moved from the first through the sixth reader. Religious instruction is not included, but a strong moral code is encouraged with stories in which hard work and virtue are rewarded and misdeeds and sloth are punished.

Samuel Goodrich, "Peter Parley’s Universal History" (1837)
Samuel Goodrich, using the pseudonym Peter Parley, wrote children’s books with an informal and friendly style as he introduced his young readers to faraway people and places. Goodrich believed that fairy tales and fantasy were not useful and possibly dangerous to children. He entertained them instead with engaging tales from history and geography. His low regard for fiction is ironic in that his accounts of other places and cultures were often misleading and stereotypical, if not completely incorrect.

Frederick Douglass, "The Narrative of the Life of Frederick Douglass" (1845)
Frederick Douglass’s first autobiography is one of the best-written and most widely read slave narratives. It was boldly published less than seven years after Douglass had escaped and before his freedom was purchased. Prefaced by statements of support from his abolitionist friends, William Garrison and Wendell Phillips, Douglass’s book relates his experiences growing up a slave in Maryland and describes the strategies he used to learn to read and write. More than just a personal story of courage, Douglass’s account became a strong testament for the need to abolish slavery.

Nathaniel Hawthorne, "The Scarlet Letter" (1850)
"The Scarlet Letter" was the first important novel by Nathaniel Hawthorne, one of the leading authors of 19th-century romanticism in American literature. Like many of his works, the novel is set in Puritan New England and examines guilt, sin and evil as inherent human traits. The main character, Hester Prynne, is condemned to wear a scarlet "A" (for adultery) on her chest because of an affair that resulted in an illegitimate child. Meanwhile, her child’s father, a Puritan pastor who has kept their affair secret, holds a high place in the community.

Herman Melville, "Moby-Dick"; or, "The Whale" (1851)
Herman Melville’s tale of the Great White Whale and the crazed Captain Ahab who declares he will chase him "round perdition’s flames before I give him up" has become an American myth. Even people who have never read Moby-Dick know the basic plot, and references to it are common in other works of American literature and in popular culture, such as the Star Trek film "The Wrath of Khan" (1982).

Harriet Beecher Stowe, "Uncle Tom’s Cabin" (1852)
With the intention of awakening sympathy for oppressed slaves and encouraging Northerners to disobey the Fugitive Slave Law of 1850, Harriet Beecher Stowe began writing her vivid sketches of slave sufferings and family separations. The first version of "Uncle Tom’s Cabin" appeared serially between June 1851 and April 1852 in the National Era, an antislavery paper published in Washington, D.C. The first book edition appeared in March 1852 and sold more than 300,000 copies in the first year. This novel was extremely influential in fueling antislavery sentiment during the decade preceding the Civil War.

Henry David Thoreau, "Walden;" or, "Life in the Woods" (1854)
While living in solitude in a cabin on Walden Pond in Concord, Mass., Henry David Thoreau wrote his most famous work, "Walden," a paean to the idea that it is foolish to spend a lifetime seeking material wealth. In his words, "I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived." Thoreau’s love of nature and his advocacy of a simple life have had a large influence on modern conservation and environmentalist movements.



Happy Birthday to American poet Walt Whitman, born on this day in 1819.
Featured Artwork of the Day: John White Alexander (1856–1915) | Walt Whitman | 1889 http://met.org/1Fd3Yte


The Metropolitan Museum of Art, New York 的相片。


Walt Whitman, "Leaves of Grass" (1855)
The publication of the first slim edition of Walt Whitman’s "Leaves of Grass" in 1855 was the debut of a masterpiece that shifted the course of American literary history. Refreshing and bold in both theme and style, the book underwent many revisions during Whitman’s lifetime. Over almost 40 years Whitman produced multiple editions of "Leaves of Grass," shaping the book into an ever-transforming kaleidoscope of poems. By his death in 1892, "Leaves" was a thick compendium that represented Whitman’s vision of America over nearly the entire last half of the 19th century. Among the collection’s best-known poems are "I Sing the Body Electric,""Song of Myself," and "O Captain! My Captain!," a metaphorical tribute to the slain Abraham Lincoln.


On this day in 1855 Walt Whitman registered the title Leaves of Grass with the clerk of the United States District Court, New York; the first edition was published seven weeks later. Over the next thirty-six years Whitman would add many more poems and publish seven more editions, all in an effort to "Unscrew the locks from the doors! / Unscrew the doors themselves from their jambs!"


Walt Whitman 的相片。




Louisa May Alcott, "Little Women," or, "Meg, Jo, Beth and Amy" (1868)
This first edition of Louisa May Alcott’s "Little Women" was published in 1868 when Louisa was 35 years old. Based on her own experiences growing up as a young woman with three sisters, and illustrated by her youngest sister, May, the novel was an instant success, selling more than 2,000 copies immediately. Several sequels were published, including "Little Men" (1871) and "Jo’s Boys" (1886). Although "Little Women" is set in a very particular place and time in American history, the characters and their relationships have touched generations of readers and still are beloved.

Horatio Alger Jr., "Mark, the Match Boy" (1869)
The formulaic juvenile novels of Horatio Alger Jr., are best remembered for the "rags-to-riches" theme they championed. In these stories, poor city boys rose in social status by working hard and being honest. Alger preached respectability and integrity, while disdaining the idle rich and the growing chasm between the poor and the affluent. In fact, the villains in Alger’s stories were almost always rich bankers, lawyers or country squires.

Catharine E. Beecher and Harriet Beecher Stowe, "The American Woman’s Home" (1869)
This classic domestic guide by sisters Catharine E. Beecher and Harriet Beecher Stowe is dedicated to "the women of America, in whose hands rest the real destinies of the Republic." It includes chapters on healthful cookery, home decoration, exercise, cleanliness, good air ventilation and heat, etiquette, sewing, gardening and care of children, the sick, the aged and domestic animals. Intended to elevate the "woman’s sphere" of household management to a respectable profession based on scientific principles, it became the standard domestic handbook.

Mark Twain, "Adventures of Huckleberry Finn" (1884)
Novelist Ernest Hemingway famously said, "All modern American literature comes from one book by Mark Twain called ‘Huckleberry Finn.’ ... All American writing comes from that. There was nothing before. There has been nothing as good since." During their trip down the Mississippi on a raft, Twain depicts in a satirical and humorous way Huck and Jim’s encounters with hypocrisy, racism, violence and other evils of American society. His use in serious literature of a lively, simple American language full of dialect and colloquial expressions paved the way for many later writers, including Hemingway and William Faulkner.

Emily Dickinson, "Poems"(1890)
Very few of the nearly 1,800 poems that Emily Dickinson wrote were published during her lifetime and, even then, they were heavily edited to conform to the poetic conventions of their time. A complete edition of her unedited work was not published until 1955. Her idiosyncratic structure and rhyming schemes have inspired later poets.

Jacob Riis, "How the Other Half Lives" (1890)
An early example of photojournalism as vehicle for social change, Riis’s book demonstrated to the middle and upper classes of New York City the slum-like conditions of the tenements of the Lower East Side. Following the book’s publication (and the resulting public uproar), proper sewers, plumbing and trash collection eventually came to the Lower East Side.

Stephen Crane, "The Red Badge of Courage" (1895)
One of the most influential works in American literature, Stephen Crane’s "The Red Badge of Courage" has been called the greatest novel about the American Civil War. The tale of a young recruit in the Civil War who learns the cruelty of war made Crane an international success. The work is notable for its vivid depiction of the internal conflict of its main character – most war novels until that time focused more on the battles than on their characters.

L. Frank Baum, "The Wonderful Wizard of Oz" (1900)
"The Wonderful Wizard of Oz," published in 1900, is the first fantasy written by an American to enjoy an immediate success upon publication. So powerful was its effect on the American imagination, so evocative its use of the forces of nature in its plots, so charming its invitation to children of all ages to look for the element of wonder in the world around them that author L. Frank Baum was forced by demand to create book after book about Dorothy and her friends – including the Scarecrow, the Tin Woodman, the Cowardly Lion and Glinda the Good Witch.

Sarah H. Bradford, "Harriet, the Moses of Her People" (1901)
Harriet Tubman is celebrated for her courage and skill in guiding many escaping slave parties northward along the Underground Railroad to freedom. She also served as a scout and a nurse during the Civil War. In order to raise funds for Tubman’s support in 1869 and again in 1886, Sarah Hopkins Bradford published accounts of Tubman’s experiences as a young slave and her daring efforts to rescue family and friends from slavery.

Jack London, "The Call of the Wild" (1903)
Jack London’s experiences during the Klondike gold rush in the Yukon were the inspiration for "The Call of the Wild." He saw the way dogsled teams behaved and how their owners treated (and mistreated) them. In the book, the dog Buck’s comfortable life is upended when gold is discovered in the Klondike. From then on, survival of the fittest becomes Buck’s mantra as he learns to confront and survive the harsh realities of his new life as a sled dog.

W.E.B. Du Bois, "The Souls of Black Folk" (1903)
"Few books make history and fewer still become foundational texts for the movements and struggles of an entire people. The ‘Souls of Black Folk’ occupies this rare position," said Du Bois biographer Manning Marable. Du Bois’s work was so influential that it is impossible to consider the civil rights movement’s roots without first looking to this groundbreaking work.

Ida Tarbell, "The History of Standard Oil" (1904)
Journalist Ida Tarbell wrote her exposé of the monopolistic practices of John D. Rockefeller’s Standard Oil Company as a serialized work in McClure’s Magazine. The breakup of Standard Oil in 1911 into 34 "baby Standards" can be attributed in large part to Tarbell’s masterly muckraking.

Upton Sinclair, "The Jungle" (1906)
An early example of investigative journalism, this graphic exposé of the Chicago meat-packing industry presented as a novel was one of the first works of fiction to lead directly to national legislation. The federal meat-inspection law and the Pure Food and Drug Act of 1906 established the agency that eventually became the Food and Drug Administration in 1930.


Quote of the day:
"When the masters of industry pay such sums for a newspaper, they buy not merely the building and the presses and the name; they buy what they call the 'good-will' - that is, they buy you. And they proceed to change your whole psychology - everything that you believe about life. You might object to it, if you knew; but they do their work so subtly that you never guess what is happening to you!"
-- Upton Sinclair (1908)


Robert Reich 的相片。



Henry Adams, "The Education of Henry Adams" (1907)
The dawn of the 20th century and the changes it brought are the subjects of Henry Adams’ "education." Adams lived through the Civil War and died just before World War I. During that time, he witnessed cataclysmic transformations in technology, society and politics. Adams believed that his traditional education left him ill-prepared for these changes and that his life experiences provided a better education. One survey called it the greatest nonfiction English-language book of the last century.

William James, "Pragmatism" (1907)
"Pragmatism" was America’s first major contribution to philosophy, and it is an ideal rooted in the American ethos of no-nonsense solutions to real problems. Although James did not originate the idea, he popularized the philosophy through his voluminous writings.

Zane Grey, "Riders of the Purple Sage" (1912)
"Riders of the Purple Sage," Zane Grey’s best-known novel, was originally published in 1912. The Western genre had just evolved from the popular dime novels and penny dreadfuls of the late 19th century. This story of a gun-slinging avenger who saves a young and beautiful woman from marrying against her will played a significant role in shaping the formula of the popular Western genre begun by Owen Wister in "The Virginian" (1904).

Edgar Rice Burroughs, "Tarzan of the Apes" (1914)
"Tarzan of the Apes" is the first in a series of books about the popular man who was raised by and lived among the apes. With its universal themes of honesty, heroism and bravery, the series has never lost popularity. Countless Tarzan adaptations have been filmed for television and the silver screen, including an animated version currently in production.

Margaret Sanger, "Family Limitation" (1914)
While working as a nurse in the New York slums, Margaret Sanger witnessed the plight of poor women suffering from frequent pregnancies and self-induced abortion. Believing that these women had the right to control their reproductive health, Sanger published this pamphlet that simply explained how to prevent pregnancy. Distribution through the mails was blocked by enforcement of the Comstock Law, which banned mailing of materials judged to be obscene. However, several hundred thousand copies were distributed through the first family-planning and birth control clinic Sanger established in Brooklyn in 1916 and by networks of active women at rallies and political meetings.

William Carlos Williams, "Spring and All" (1923)
A practicing physician for more than 40 years, William Carlos Williams became an experimenter, innovator and revolutionary figure in American poetry. In reaction against the rigid, rhyming format of 19th-century poets, Williams, his friend Ezra Pound and other early-20th-century poets formed the core of what became known as the "Imagist" movement. Their poetry focused on verbal pictures and moments of revealed truth, rather than a structure of consecutive events or thoughts and was expressed in free verse rather than rhyme.

Robert Frost, "New Hampshire" (1923)
Frost received his first of four Pulitzer Prizes for this anthology, which contains some of his most famous poems, including "Stopping by Woods on a Snowy Evening" and "Fire and Ice." One of the best-known American poets of his time, Frost became principally associated with the life and landscape of New England. Although he employed traditional verse forms and metrics and remained aloof from the poetic movements and fashions of his day, poems featured language as it is actually spoken as well as psychological complexity and layers of ambiguity and irony.

F. Scott Fitzgerald, "The Great Gatsby" (1925)
F. Scott Fitzgerald, one of the major American writers of the 20th century, is a figure whose life and works embody powerful myths about the American Dream of success. "The Great Gatsby," considered by many to be Fitzgerald’s finest work and the book for which he is best known, is a portrait of the Jazz Age (1920s) in all its decadence and excess. Exploring the themes of class, wealth and social status, Fitzgerald takes a cynical look at the pursuit of wealth among a group of people for whom pleasure is the chief goal. "The Great Gatsby" captured the spirit of the author’s generation and earned a permanent place in American mythology.

Langston Hughes, "The Weary Blues" (1925)
Langston Hughes was one of the greatest poets of the Harlem Renaissance, a literary and intellectual flowering that fostered a new black cultural identity in the 1920s and 1930s. His poem "The Weary Blues," also the title of this poetry collection, won first prize in a contest held by Opportunity magazine. After the awards ceremony, the writer and photographer Carl Van Vechten approached Hughes about putting together a book of verse and got him a contract with his own publisher, Alfred A. Knopf. Van Vechten contributed an essay, "Introducing Langston Hughes," to the volume. The book laid the foundation for Hughes’s literary career, and several poems remain popular with his admirers.

William Faulkner, "The Sound and the Fury" (1929)
"The Sound and the Fury," William Faulkner’s fourth novel, was his own favorite, and many critics believe it is his masterpiece. Set in the fictional county of Yoknapatawpha, Miss., as are most of Faulkner’s novels, "The Sound and the Fury" uses the American South as a metaphor for a civilization in decline. Depicting the post-Civil War decline of the once-aristocratic Compson family, the novel is divided into four parts, each told by a different narrator. Much of the novel is told in a stream-of-consciousness style, in which a character’s thoughts are conveyed in a manner roughly equivalent to the way human minds actually work. Faulkner was awarded the Nobel Prize in 1950 and France’s Legion of Honor in 1951.

Dashiell Hammett, "Red Harvest" (1929)
Dashiell Hammett’s first novel introduced a wide audience to the so-called "hard-boiled" detective thriller with its depiction of crime and violence without any hint of sentimentality. The creator of classics such as "The Maltese Falcon" and "The Thin Man," shocked readers with such dialogue as "We bumped over dead Hank O’Meara’s legs and headed for home."

Irma Rombauer, "Joy of Cooking" (1931)
Until Irma Rombauer published "Joy of Cooking," most American cookbooks were little more than a series of paragraphs that incorporated ingredient amounts (if they were provided at all) with some vague advice about how to put them all together to achieve the desired results. Rombauer changed all that by beginning her recipes with ingredient lists and offering precise directions along with her own personal and friendly anecdotes. A modest success initially, the book went on to sell nearly 18 million copies in its various editions.

Margaret Mitchell, "Gone With the Wind" (1936)
The most popular romance novel of all time was the basis for the most popular movie of all time (in today’s dollars). Margaret Mitchell’s book, set in the South during the Civil War, won both the Pulitzer Prize and National Book Award, and it remains popular, despite charges that its author had a blind eye regarding the horrors of slavery.

Dale Carnegie, "How to Win Friends and Influence People" (1936)
The progenitor of all self-help books, Dale Carnegie’s volume has sold 15 million copies and been translated into more than 30 languages. "How to Win Friends and Influence People" has also spawned hundreds of other books, many of them imitators, written to advise on everything from improving one’s relationships to beefing up one’s bank account. Carnegie acknowledged that he was inspired by Benjamin Franklin, a young man who proclaimed that "God helps them that helped themselves" as a way to get ahead in life.

Zora Neale Hurston, "Their Eyes Were Watching God" (1937)
Although it was published in 1937, it was not until the 1970s that "Their Eyes Were Watching God" became regarded as a masterwork. It had initially been rejected by African American critics as facile and simplistic, in part because its characters spoke in dialect. Alice Walker’s 1975 Ms. magazine essay, "Looking for Zora," led to a critical reevaluation of the book, which is now considered to have paved the way for younger black writers such as Alice Walker and Toni Morrison.

Federal Writers’ Project, "Idaho: A Guide in Word and Pictures" (1937)
"Idaho" was the first in the popular American Guide Series of the Federal Writers’ Project, which ended in 1943. The project employed more than 6,000 writers and was one of the many programs of the Works Progress Administration, a Depression-era federal government employment program. These travel guides cover the lower 48 states plus the Alaska Territory, Puerto Rico and the District of Columbia. Each volume details a state’s history, geography and culture and includes photographs, maps and drawings.

Thornton Wilder, "Our Town: A Play" (1938)
Winner of the 1938 Pulitzer Prize, "Our Town" is among the most-performed plays of the 20th century. Those who see it relate immediately to its universal themes of the importance of everyday occurrences, relationships among friends and family and an appreciation of the brevity of life.

"Alcoholics Anonymous" (1939)
The famous 12-step program for stopping an addiction has sold more than 30 million copies. Millions of men and women worldwide have turned to the program co-founded by Bill Wilson and Dr. Bob Smith to recover from alcoholism. The "Big Book," as it is known, spawned similar programs for other forms of addiction.

John Steinbeck, "The Grapes of Wrath" (1939)
Few novels can claim that their message led to actual legislation, but "The Grapes of Wrath" did just that. Its story of the travails of Oklahoma migrants during the Great Depression ignited a movement in Congress to pass laws benefiting farmworkers. When Steinbeck won the Nobel Prize in 1962, the committee specifically cited this novel as one of the main reasons for the award.

Ernest Hemingway, "For Whom the Bell Tolls" (1940)
Ernest Hemingway’s novel about the horrors of the Spanish Civil War (1936–1939) depicts war not as glorious but disillusioning. Hemingway used his experiences as a reporter during the war as the background for his best-selling novel, which was nominated for a Pulitzer Prize and became a literary triumph. Based on his achievement in this and other noted works, he received the Nobel Prize for literature in 1954.

Richard Wright, "Native Son" (1940)
Among the first widely successful novels by an African American, "Native Son" boldly described a racist society that was unfamiliar to most Americans. As literary critic Irving Howe said in his 1963 essay "Black Boys and Native Sons,""The day ‘Native Son’ appeared, American culture was changed forever. No matter how much qualifying the book might later need, it made impossible a repetition of the old lies."

Betty Smith, "A Tree Grows in Brooklyn" (1943)
"A Tree Grows in Brooklyn" is the account of a girl growing up in the tenements of turn-of-the-20th-century Brooklyn. An early socially conscious novel, the book examines poverty, alcoholism, gender roles, loss of innocence and the struggle to live the American Dream in an inner city neighborhood of Irish American immigrants. The book was enormously popular and became a film directed by Elia Kazan.

Benjamin A. Botkin, "A Treasury of American Folklore" (1944)
Benjamin Botkin headed the Library of Congress’s Archive of American Folksong (now the American Folklife Center) between 1943 and 1945 and previously served as national folklore editor of the Federal Writers’ Project (1938–39), a program of President Franklin Roosevelt’s New Deal during the Depression. Botkin was one of the New Deal folklorists who persuasively argued that folklore was relevant in the present and that it was not something that should be studied merely for its historical value. This book features illustrations by Andrew Wyeth, one of America’s foremost realist painters.

Gwendolyn Brooks, "A Street in Bronzeville" (1945)
"A Street in Bronzeville" was Brooks’s first book of poetry. It details, in stark terms, the oppression of blacks in a Chicago neighborhood. Critics hailed the book, and in 1950 Brooks became the first African American to win the Pulitzer Prize for poetry. She was also appointed as U.S. Poet Laureate by the Librarian of Congress in 1985.

Benjamin Spock, "The Common Sense Book of Baby and Child Care" (1946)
Dr. Spock’s guidebook turned common wisdom about child-rearing on its head. Spock argued that babies did not have to be on a rigid schedule, that children should be treated with a great deal of affection, and that parents should use their own common sense when making child-rearing decisions. Millions of parents worldwide have followed his advice.

Eugene O’Neill, "The Iceman Cometh" (1946)
Nobel Prize winner Eugene O’Neill’s play about anarchism, socialism and pipe dreams is one of his most-admired but least-performed works, probably because of its more than four-and-a-half-hour running time. Set in 1912 in the seedy Last Chance Saloon in New York City, the play depicts the bar’s drunk and delusional patrons bickering while awaiting the arrival of Hickey, a traveling salesman whose visits are the highlight of their hopeless lives. However, Hickey’s arrival throws them into turmoil when he arrives sober, wanting them to face their delusions.

Margaret Wise Brown, "Goodnight Moon" (1947)
This bedtime story has been a favorite of young people for generations, beloved as much for its rhyming story as for its carefully detailed illustrations by Clement Hurd. Millions have read it (and had it read to them). "Goodnight Moon" has been referred to as the perfect bedtime book.

Tennessee Williams, "A Streetcar Named Desire" (1947)
A landmark work, which won the 1948 Pulitzer Prize for Drama, "A Streetcar Named Desire" thrilled and shocked audiences with its melodramatic look at a clash of cultures. These cultures are embodied in the two main characters – Blanche DuBois, a fading Southern belle whose genteel pretensions thinly mask alcoholism and delusions of grandeur, and Stanley Kowalski, a representative of the industrial, urban working class. Marlon Brando’s portrayal of the brutish and sensual Stanley in both the original stage production and the film adaptation has become an icon of American culture.

Alfred C. Kinsey, "Sexual Behavior in the Human Male" (1948)
Alfred Kinsey created a firestorm when he published this volume on men in 1948 and a companion on women five years later. No one had ever reported on such taboo subjects before and no one had used scientific data in such detail to challenge the prevailing notions of sexual behavior. Kinsey’s openness regarding human sexuality was a harbinger of the 1960s sexual revolution in America.

J.D. Salinger, "The Catcher in the Rye" (1951)
Since his debut in 1951 as the narrator of "The Catcher in the Rye," 16-year-old Holden Caulfield has been synonymous with adolescent alienation and angst. The influential story concerns three days after Holden has been expelled from prep school. Confused and disillusioned, he wanders New York City searching for truth and rails against the phoniness of the adult world. Holden is the first great American antihero, and his attitudes influenced the Beat generation of the 1950s as well as the hippies of the 1960s. "The Catcher in the Rye" is one of the most translated, taught and reprinted books and has sold some 65 million copies.

Ralph Ellison, "Invisible Man" (1952)
Ralph Ellison’s "Invisible Man" is told by an unnamed narrator who views himself as someone many in society do not see, much less pay attention to. Ellison addresses what it means to be an African-American in a world hostile to the rights of a minority, on the cusp of the emerging civil rights movement that was to change society irrevocably.

E.B. White, "Charlotte’s Web" (1952)
According to Publishers Weekly, "Charlotte’s Web" is the best-selling paperback for children of all time. One reason may be that, although it was written for children, reading it is just as enjoyable for adults. The book is especially notable for the way it treats death as a natural and inevitable part of life in a way that is palatable for young people.

Ray Bradbury, "Fahrenheit 451" (1953)
"Fahrenheit 451" is Ray Bradbury’s disturbing vision of a future United States in which books are outlawed and burned. Even though interpretations of the novel have primarily focused on the historical role of book-burning as a means of censorship, Bradbury has said that the novel is about how television reduces knowledge to factoids and destroys interest in reading. The book inspired a 1966 film by Francois Truffaut and a subsequent BBC symphony. Its name comes from the minimum temperature at which paper catches fire by spontaneous combustion.

Allen Ginsberg, "Howl"(1956)
Allen Ginsberg’s poem "Howl" (first published as the title poem of a collection) established him as an important poet and the voice of the Beat Generation of the 1950s. Because of the boldness of the poem’s language and subject matter, it became the subject of an obscenity trial in San Francisco in which it was exonerated after witnesses testified to its redeeming social value. Ginsberg’s work had great influence on later generations of poets and on the youth culture of the 1960s.

Ayn Rand, "Atlas Shrugged" (1957)
Although mainstream critics reacted poorly to "Atlas Shrugged," it was a popular success. Set in what novelist and philosopher Rand called "the day after tomorrow," the book depicts a United States caught up in a crisis caused by a corrupt establishment of government regulators and business interests. The book’s negative view of government and its support of unimpeded capitalism as the highest moral objective have influenced libertarians and those who advocate a smaller government.

Dr. Seuss, "The Cat in the Hat" (1957)
Theodore Seuss Geisel was removed as editor of the campus humor magazine while a student at Dartmouth College after too much reveling with fellow students. In spite of this Prohibition-era setback to his writing career, he continued to contribute to the magazine pseudonymously, signing his work "Seuss." This is the first known use of his pseudonym, which became famous in children’s literature when it evolved into "Dr. Seuss.""The Cat in the Hat" is considered the most important book of his career. More than 200 million Dr. Seuss books have been sold around the world.

Jack Kerouac, "On the Road" (1957)
The defining novel of the 1950s Beat Generation (which Kerouac named), "On the Road" is a semiautobiographical tale of a bohemian cross-country adventure, narrated by character Sal Paradise. Kerouac’s odyssey has influenced artists such as Bob Dylan, Tom Waits and Hunter S. Thompson and films such as "Easy Rider.""On the Road" has achieved a mythic status in part because it portrays the restless energy and desire for freedom that makes people take off to see the world.

Harper Lee, "To Kill a Mockingbird" (1960)
This 1960 Pulitzer Prize winner was an immediate critical and financial success for its author, with more than 30 million copies in print to date. Harper Lee created one of the most enduring and heroic characters in all of American literature in Atticus Finch, the small-town lawyer who defended a wrongly accused black man. The book’s importance was recognized by the 1961 Washington Post reviewer: "A hundred pounds of sermons on tolerance, or an equal measure of invective deploring the lack of it, will weigh far less in the scale of enlightenment than a mere 18 ounces of new fiction bearing the title ‘To Kill a Mockingbird.’"

Joseph Heller, "Catch-22" (1961)
Joseph’s Heller’s "Catch-22," an irreverent World War II novel and a satiric treatment of military bureaucracy, has had such a penetrating effect that its title has become synonymous with "no-win situation." Heller’s novel is a black comedy, filled with orders from above that make no sense and a main character, Yossarian, who just wants to stay alive. He pleads insanity but is caught in the famous catch: "Anyone who wants to get out of combat duty isn't really crazy." The novel became a cult classic for its biting indictment of war.

Robert E. Heinlein, "Stranger in a Strange Land" (1961)
The first science fiction novel to become a bestseller, "Stranger in a Strange Land" is the story of Valentine Michael Smith, a human raised on Mars by Martians (his parents were on the first expedition to Mars and he was orphaned when the crew perished) who returns to Earth about 20 years later. Smith has psychic powers but complete ignorance of human mores. The book is considered a classic in its genre.

Ezra Jack Keats, "The Snowy Day" (1962)
Ezra Jack Keats’s "The Snowy Day" was the first full-color picture book with an African-American as the main character. The book changed the field of children’s literature forever, and Keats was recognized by winning the 1963 Caldecott Medal (the most prestigious American award for children’s books) for his landmark effort.

Maurice Sendak, "Where the Wild Things Are" (1963)
"It is my involvement with this inescapable fact of childhood – the awful vulnerability of children and their struggle to make themselves King of All Wild Things – that gives my work whatever truth and passion it may have," Maurice Sendak said in his Caldecott Medal acceptance speech on June 30, 1964. Sendak called Max, the hero of "Where the Wild Things Are," his "bravest and therefore my dearest creation." Max, who is sent to his room with nothing to eat, sails to where the wild things are and becomes their king.

James Baldwin, "The Fire Next Time" (1963)
One of the most important books ever published on race relations, Baldwin’s two-essay work comprises a letter written to his nephew on the role of race in United States history and a discussion of how religion and race influence each other. Baldwin’s angry prose is balanced by his overall belief that love and understanding can overcome strife.

Betty Friedan, "The Feminine Mystique" (1963)
By debunking the "feminine mystique" that middle-class women were happy and fulfilled as housewives and mothers, Betty Friedan inspired the second-wave feminist movement of the 1960s and 1970s. Friedan advocates that women need meaningful work and encourages them to avoid the trap of the "feminine mystique" by pursuing education and careers. By 2000 this touchstone of the women’s movement had sold 3 million copies and was translated into several languages.

Malcolm X and Alex Haley, "The Autobiography of Malcolm X" (1965)
When "The Autobiography of Malcolm X" (born Malcolm Little) was published, The New York Times called it a "brilliant, painful, important book," and it has become a classic American autobiography. Written in collaboration with Alex Haley (author of "Roots"), the book expressed for many African-Americans what the mainstream civil rights movement did not: their anger and frustration with the intractability of racial injustice.

Ralph Nader, "Unsafe at Any Speed" (1965)
Nader’s book was a landmark in the field of auto safety and made him a household name. It detailed how automakers resisted putting safety features, such as seat belts, in their cars and resulted in the federal government’s taking a lead role in the area of auto safety.

Rachel Carson, "Silent Spring" (1962)
A marine biologist and writer, Rachel Carson is considered a founder of the contemporary environmental protection movement. She drew attention to the adverse effects of pesticides, especially that of DDT on bird populations, in her book "Silent Spring," a 1963 National Book Association Nonfiction Finalist. At a time when technological solutions were the norm, she pointed out that man-made poisons introduced into natural systems can harm not only nature, but also humans. Her book met with great success and because of heightened public awareness, DDT was banned.

Truman Capote, "In Cold Blood" (1966)
A 300-word article in The New York Times about a murder led Truman Capote to travel with his childhood friend Harper Lee to Holcomb, Kan., to research his nonfiction novel, which is considered one of the greatest true-crime books ever written. Capote said the novel was an attempt to establish a serious new literary form, the "nonfiction novel," a narrative form that employed all the techniques of fictional art but was nevertheless entirely factual. The book was an instant success and was made into a film.

James D. Watson, "The Double Helix" (1968)
James D. Watson’s personal account of the discovery of DNA changed the way Americans regarded the genre of the scientific memoir and set a new standard for first-person accounts. Dealing with personalities, controversies and conflicts, the book also changed the way the public thought about how science and scientists work, showing that scientific enterprise can at times be a messy and cutthroat business.

Dee Brown, "Bury My Heart at Wounded Knee" (1970)
Until librarian Dee Brown wrote his history of Native Americans in the West, few Americans knew the details of the unjust treatment of Indians. Brown scoured both well-known and little-known sources for his documentary on the massacres, broken promises and other atrocities suffered by Indians. The book has never gone out of print and has sold more than 4 million copies.

Boston Women’s Health Book Collective, "Our Bodies, Ourselves" (1971)
In the early 1970s a dozen Boston feminists collaborated in this groundbreaking publication that presented accurate information on women’s health and sexuality based on their own experiences. Advocating improved doctor-patient communication and shared decision-making, "Our Bodies, Ourselves" explored ways for women to take charge of their own health issues and to work for political and cultural change that would ameliorate women’s lives.

Carl Sagan, "Cosmos" (1980)
Carl Sagan’s classic, bestselling science book accompanied his avidly followed television series, "Cosmos." In an accessible way, Sagan covered a broad range of scientific topics and made the history and excitement of science understandable and enjoyable for Americans and then for an international audience. The book offers a glimpse of Sagan’s personal vision of what it means to be human.

Toni Morrison, "Beloved" (1987)
Toni Morrison won the 1988 Pulitzer Prize for fiction for her post-Civil War novel based on the true story of an escaped slave and the tragic consequences when a posse comes to reclaim her. The author won the Nobel Prize for literature in 1993, and in 2006 The New York Times named "Beloved""the best work of American fiction of the past 25 years."

Randy Shilts, "And the Band Played On" (1987)
"And the Band Played On" is the story of how the AIDS epidemic spread and how the government’s initial indifference to the disease allowed its spread and gave urgency to devoting government resources to fighting the virus. Shilts’s investigation has been compared to other works that led to increased efforts toward public safety, such as Upton Sinclair’s "The Jungle."

César Chávez, "The Words of César Chávez" (2002)
César Chávez, founder of the United Farm Workers, was as impassioned as he was undeterred in his quest for better working conditions for farm workers. He was a natural communicator whose speeches and writings led to many improvements in wages and working conditions.

The Epic of Gilgamesh,

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Certainly there was no empirical precedent for the mineral “garden of the gods” in the Epic of Gilgamesh, described in these terms: “All round Gilgamesh stood bushes bearing gems… there  was fruit of carnelian with the vine hanging from it, beautiful to look at; lapis lazuli leaves hung thick with fruit, sweet to see. For thorns and thistles there were haematite and rare stones, agate, and pearls from out of the sea” (The Epic of Gilgamesh, 100). In this oldest of literary works to have come down to us, there is not one but two fantastic gardens. Dilmun, or “the garden of the sun,” lies beyond the great mountains and bodies of water that surround the world of mortals. Here Utnapishtim enjoys the fruits of his exceptional existence. To him alone among humans have the gods granted everlasting life, and with it repose, peace, and harmony with nature. Gilgamesh succeeds in reaching that garden after a trying and desperate journey, only to be forced to return to the tragedies and cares of Uruk, his earthly city, for immortality is denied him.


   
One of the consequences of the violent upheavals in Syria and Iraq has beenthe systematic and wanton pillaging of some of the region's most ancient sites. The Islamic State militant group has vandalized, bulldozed, exploded and plundered numerous shrines, temples and palaces that predate the advent of Islam in the Middle East. The extremists, along with other smugglers and opportunists, have also enabled an illicit trade of priceless, historic treasures from a part of the world long known as the cradle of civilizations.
But amid this looting of antiquity, there's at least one heart-warming story. A museum in northern Iraq not only rescued a trove of artifacts from smugglers, but in the process of preserving heritage, discovered something new.
According to Ancient History Et Cetera, a news site on matters of archaeology and history, the Sulaymaniyah Museum, in the predominantly Kurdish city of the same name, acquired a cache of ancient tablets from a smuggler in 2011. The museum offered a "no questions asked" policy to smugglers in the hopes of preventing Iraq's cultural patrimony from leaving its borders. Here's more from Ancient History:
All of the tablets were, to some degree, still covered with mud. Some were completely intact, while others were fragmented. The precise location of their excavation is unknown, but it is likely that they were illegally unearthed from, what is known today as, the southern part of the Babel (Babylon) or Governorate, Iraq (Mesopotamia).
But researchers examining the tablets soon realized there was one particularly exciting find: a tablet, in three fragments, etched in cuneiform script with what appeared to be previously unknown lines from the Epic of Gilgamesh, the 4,000-year-old Sumerian legend that some consider humanity's oldest story. The legend tells of the travails of Gilgamesh, the great king of Uruk, who journeys with his friend Enkidu, a semi-divine wild man, into the Cedar Forest to defeat the ogre Humbaba.
The Epic of Gilgamesh contains within it many universal tropes -- the hubris of a hero, the fear of mortality and even a great flood, navigated by a voyager on an ark.
Translation work was done largely by Farouk Al-Rawi, a professor in the Department of Languages and Cultures of the Near and Middle East at the School of Oriental and African Studies (SOAS) in London, and Andrew George, an associate dean at SOAS and a translator of a recent English editionof the epic.
The 20 new lines offer some new insights into the epic. Ancient History outlines a few:
  • Gilgamesh and Enkidu saw "monkeys" as part of the exotic and noisy fauna of the Cedar Forest; this was not mentioned in other versions of the Epic.
  • Humbaba emerges, not as a barbarian ogre, and but as a foreign ruler entertained with exotic music at court in the manner of Babylonian kings. The chatter of monkeys, chorus of cicada  and squawking of many kinds of birds formed a symphony (or cacophony) that daily entertained the forest’s guardian, Humbaba.
So the Cedar Forest is a cacophonous abode of the gods. And there's also a curiously modern wrinkle, as George explained to Live Science:
"Gilgamesh and Enkidu cut down the cedar to take home to Babylonia, and the new text carries a line that seems to express Enkidu's recognition that reducing the forest to a wasteland is a bad thing to have done, and will upset the gods," George said. Like the description of the forest, this kind of ecological awareness is very rare in ancient poetry, he added.
The Epic of Gilgamesh played a clearly prominent role in ancient Mesopotamia and was passed down over the centuries until it got buried and forgotten amid the ruins of the region's many lapsed kingdoms. The Babylonian tablets now under scrutiny are 2,600 years old. The story was onlyrediscovered by a British philologist in the 19th century, who encountered the epic while toiling away in a musty archive of the British Museum.


Ladybird Books

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Guardian culture 和 The Guardian 都分享了 1 條連結
The children’s publisher has embraced the trend for spoofing its classic…
THEGUARDIAN.COM|由 AISHA GANI 上傳

"When we’re young we wonder if we’ll be a surgeon or an astronaut. We can be anything we want to be. Then one day we can’t."

–The Ladybird Book of the Mid-life Crisis



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    Ladybird Books
    Company
    Ladybird Books is a London-based publishing company, trading as a stand-alone imprint within the Penguin Group of companies. The Ladybird imprint publishes mass-market children's books. Wikipedia
    Founded1867

"Voices from Chernobyl," by Svetlana Alexievich

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The Paris Review
Svetlana Alexievich wins the Nobel Prize in Literature. Read the excerpt from “Voices from Chernobyl” that was published in our Winter 2004 issue.

車諾比的悲鳴/斯維拉娜.亞歷塞維奇(Svetlana Alexievich)著; 方祖芳, 郭成業譯.--初版.--臺北市:泰電電業公司,2011


"Voices from Chernobyl," by Svetlana Alexievich
Svetlana Alexievich wins the Nobel Prize in Literature
THEPARISREVIEW.ORG



On April 26, 1986, at 1:23:58 a. m., a series of explosions destroyed the reactor in the building that housed Energy Block #4 of the Chernobyl Nuclear Power Station. The catastrophe at Chernobyl became the largest technical disaster of the twentieth century. . . . For tiny Belarus (population: ten million), it was a national disaster. . . . Today, one out of every five Belarussians lives on contaminated land. This amounts to 2.1 million people, of whom seven hundred thousand are children. In the Gomel and Mogilev regions, which suffered the most from Chernobyl, mortality rates exceed birthrates by twenty percent.
—Belaruskaya entsiklopedia, 1996, s.v. “Chernobyl,” pg. 24

On April 29, 1986, instruments recorded high levels of radiation in Poland, Germany, Austria, and Romania. On April 30, in Switzerland and northern Italy. On May 1 and second, in France, Belgium, the Netherlands, Great Britain, and northern Greece. On May 3, in Israel, Kuwait, and Turkey. . . . Gaseous airborne particles traveled around the globe: on May 2 they were registered in Japan, on May 5 in India, on May 5 and sixth in the U.S. and Canada.
—“The Consequences of the Chernobyl Accident in Belarus”
The Sakharov International College on Radioecology, Minsk, 1992

Lyudmilla Ignatenko Wife of deceased Fireman Vasily Ignatenko

We were newlyweds. We still walked around holding hands, even if we were just going to the store. I would say to him, “I love you.” But I didn’t know then how much. I had no idea . . . We lived in the dormitory of the fire station where he worked. I always knew what was happening—where he was, how he was.
One night I heard a noise. I looked out the window. He saw me. “Close the window and go back to sleep. There’s a fire at the reactor. I’ll be back soon.”
I didn’t see the explosion itself. Just the flames. Everything was radiant. The whole sky. A tall flame. And smoke. The heat was awful. And he still hadn’t come back.
They went off just as they were, in their shirtsleeves. No one told them. They had been called for a fire, that was it.
Seven o’clock in the morning. At seven I was told he was in the hospital. I ran over there‚ but the police had already encircled it, and they weren’t letting anyone through. Only ambulances. The policemen shouted: “The ambulances are radioactive‚ stay away!” I started looking for a friend, she was a doctor at that hospital. I grabbed her white coat when she came out of an ambulance. “Get me inside!” “I can’t. He’s bad. They all are.” I held onto her. “Just to see him!” “All right‚” she said. “Come with me. Just for fifteen or twenty minutes.”
I saw him. He was all swollen and puffed up. You could barely see his eyes.
“He needs milk. Lots of milk‚” my friend said. “They should drink at least three liters each.”
“But he doesn’t like milk.”
“He’ll drink it now.”
Many of the doctors and nurses in that hospital‚ and especially the orderlies‚ would get sick themselves and die. But we didn’t know that then.
At ten‚ the cameraman Shishenok died. He was the first.
I said to my husband, “Vasenka, what should I do?” “Get out of here! Go! You have our child.” I was pregnant. But how could I leave him? He was saying to me: “Go! Leave! Save the baby.” “First I need to bring you some milk, then we’ll decide what to do.” My friend Tanya Kibenok came running in—her husband was in the same room. Her father was with her, he had a car. We got in and drove to the nearest village. We bought a bunch of three-liter bottles, six, so there was enough for everyone. But they started throwing up terribly from the milk.
They kept passing out, they got put on iv. The doctors kept telling them they’d been poisoned by gas, for some reason. No one said anything about radiation.
I couldn’t get into the hospital that evening. There was a sea of people. I stood under his window, he came over and yelled something to me. It was so desperate! Someone in the crowd heard him—they were being taken to Moscow that night. All the wives got together in one group. We decided we’d go with them. “Let us go with our husbands! You have no right!” We punched and we clawed. The soldiers—there were already soldiers—they pushed us back. Then the doctor came out and said they were flying to Moscow, but we needed to bring them their clothing. The clothes they’d worn at the station had been burned. The buses had stopped running already and we ran across the city. We came running back with the bags, but the plane was already gone. They tricked us. So that we wouldn’t be there yelling and crying.
Later in the day I started throwing up. I was six months pregnant, but I had to get to Moscow.
In Moscow we asked the first police officer we saw, Where did they put the Chernobyl firemen? And he told us, which was a surprise; everyone had scared us into thinking it was top secret. “Hospital number 6. At the Shchukinskaya stop.”
It was a special hospital, for radiology, and you couldn’t get in without a pass. I gave some money to the woman at the door, and she said: “Go ahead.” Then I had to ask someone else, beg. Finally I was sitting in the office of the head radiologist, Angelina Vasilyevna Guskova. Right away she asked: “Do you have kids?”
What should I tell her? I can see already I need to hide that I’m pregnant. They won’t let me see him! It’s good I’m thin, you can’t really tell anything.
“Yes,” I say.
“How many?”
I’m thinking, I need to tell her two. If it’s just one, she won’t let me in.
“A boy and a girl.”
“So you don’t need to have any more. All right, listen: His central nervous system is completely compromised, his skull is completely compromised.”
Okay, I’m thinking, so he’ll be a little fidgety.
“And listen: If you start crying, I’ll kick you out right away. No hugging or kissing. Don’t even get near him. You have half an hour.”
But I knew already that I wasn’t leaving. If I leave, then it’ll be with him. I swore to myself!
I come in, they’re sitting on the bed, playing cards and laughing. “Vasya!” they call out. He turns around: “Oh, well, now it’s over! She’s found me even here!” He looks so funny, he’s got pajamas on for a size 48, and he’s a size 52. The sleeves are too short, the pants are too short. But his face isn’t swollen anymore. They were given some sort of fluid.
I say: “Where’d you run off to?” He wants to hug me. The doctor won’t let him. “Sit, sit,” she says. “No hugging in here.”
We turned it into a joke somehow. And then everyone came over, from the other rooms too, everyone from Pripyat. There were twenty-eight of them on the plane.
I wanted to be with him alone, if only for a minute. The guys felt it, and each of them thought of some excuse, and they all went out into the hall. Then I hugged him and I kissed him. He moved away.
“Don’t sit near me. Take a chair.”
“That’s just silliness,” I said, waving it away.
The next day when I came, they were lying by themselves, each in his own room. They were banned from going in the hallway, from talking to each other. They knocked on the walls with their knuckles. Dash-dot, dash-dot. The doctors explained that everyone’s body reacts differently to radiation, and what one person can handle, another can’t. They even measured the radiation of the walls where they had them. To the right, the left, and the floor beneath. They moved out all the sick people from the floor below and the floor above. There was no one left in the place.
He started to change—every day I met a brand-new person. The burns started to come to the surface. In his mouth, on his tongue, his cheeks—at first there were little lesions, and then they grew. It came off in layers—as white film . . . the color of his face . . . his body . . . blue . . . red . . . gray-brown. And it’s all so very mine! It’s impossible to describe! It’s impossible to write down! Or even to get over. The only thing that saved me was that it happened so fast; there wasn’t any time to think, there wasn’t any time to cry.
Fourteen days. In fourteen days a person dies.
It was the ninth of May. He always used to say to me: “You have no idea how beautiful Moscow is! Especially on V-Day, when they set off the fireworks. I want you to see it.”
I was sitting with him in the room, he opened his eyes.
“Is it day or night?”
“It’s nine at night.”
“Open the window! They’re going to set off the fireworks!”
I opened the window. We were on the eighth floor, and the whole city was there before us! There was a bouquet of fire exploding in the air.
“Look at that!” I said.
“I told you I’d show you Moscow. And I told you I’d always give you flowers on holidays...”
I looked over, and he was getting three carnations from under his pillow. He had given the nurse money, and she had bought them.
I ran over and kissed him.
“My love! My only one!”
He started growling. “What did the doctors tell you? No hugging me. And no kissing!”
He got so bad that I couldn’t leave him even for a second. He was calling me constantly: “Lusya, where are you? Lusenka!” He called and called. The other biochambers, where our boys were, were being tended to by soldiers because the orderlies on staff refused, they demanded protective clothing. The soldiers carried the sanitary vessels. They wiped the floors down, changed the bedding. They did everything. Where did they get those soldiers? We didn’t ask. But he—he—every day I would hear: Dead. Dead. Tischura is dead. Titenok is dead. Dead.
He was producing stool twenty-five to thirty times a day. With blood and mucus. His skin started cracking on his arms and legs. He became covered with boils. When he turned his head, there’d be a clump of hair left on the pillow. I tried joking: “It’s convenient, you don’t need a comb.” Soon they cut all their hair. I did it for him myself. I wanted to do everything for him myself. If it had been physically possible I would have stayed with him twenty-four hours a day. I couldn’t spare a minute. [Long silence.]
There’s a fragment of some conversation, I’m remembering it. Someone saying: “You have to understand: This is not your husband anymore, not a beloved person, but a radioactive object with a strong density of poisoning. You’re not suicidal. Get a hold of yourself.” And I was like someone who’d lost her mind: “But I love him! I love him!” He’s sleeping, and I’m whispering: “I love you!” Walking in the hospital courtyard, “I love you.” Carrying his sanitary tray, “I love you.”
One night, everything was quiet. We were all alone. He looked at me very, very carefully and suddenly he said:
“I want to see our child so much. How is he?”
“What are we going to name him?”
“You’ll decide that yourself.”
“Why myself, when there’s two of us?”
“In that case, if it’s a boy, he should be Vasya, and if it’s a girl, Natasha.”
I was like a blind person. I couldn’t even feel the little pounding underneath my heart. Even though I was six months in. I thought that my little one was inside me, that he was protected.
And then—the last thing. I remember it in flashes, all broken up. I was sitting on my little chair next to him at night. At eight I said: “Vasenka, I’m going to go for a little walk.” He opened his eyes and closed them, letting me go. I had just walked to the hotel, gone up to my room, lain down on the floor—I couldn’t lie on the bed; everything hurt too much—when the cleaning lady started knocking on the door. “Go! Run to him! He’s calling for you like mad!”
Right away I called the nurse’s post. “How is he?” “He died fifteen minutes ago.” What? I was there all night. I was gone for three hours! I ran down the stairs. He was still in his biochamber, they hadn’t taken him away yet. I didn’t leave him anymore after that. I escorted him all the way to the cemetery. Although the thing I remember isn’t the grave, it’s the plastic bag. That bag.
At the morgue they said, “Want to see what we’ll dress him in?” I did! They dressed him up in formal wear, with his service cap. They couldn’t get shoes on him because his feet had swelled up. They had to cut up the formal wear, too, because they couldn’t get it on him, there wasn’t a whole body to put it on. The last two days in the hospital—pieces of his lungs, of his liver, were coming out of his mouth. He was choking on his internal organs. I’d wrap my hand in a bandage and put it in his mouth, take out all that stuff. It’s impossible to talk about. It’s impossible to write about. And even to live through. They couldn’t get a single pair of shoes to fit him. They buried him barefoot.
Everyone came—his parents, my parents. They bought black handkerchiefs in Moscow. The Emergency Commission met with us. They told everyone the same thing: It’s impossible for us to give you the bodies of your husbands, your sons, they are very radioactive and will be buried in a Moscow cemetery in a special way. In sealed zinc caskets, under cement tiles. And you need to sign this document here.
If anyone got indignant and wanted to take the coffin back home, they were told that the dead were now, you know, heroes, and that they no longer belonged to their families. They were heroes of the state. They belonged to the state.
Right away they bought us plane tickets back home. For the next day. At home I fell asleep. I walked into the place and just fell onto the bed. I slept for three days. An ambulance came. “No,” said the doctor, “she’ll wake up. It’s just a terrible sleep.”
I was twenty-three. Two months later I went back to Moscow. From the train station straight to the cemetery. To him! And at the cemetery I started going into labor. Just as I started talking to him—they called the ambulance. It was two weeks before I was due.
They showed her to me—a girl. “Natashenka,” I called out. “Your father named you Natashenka.” She looked healthy. Arms, legs. But she had cirrhosis of the liver. Her liver had twenty-eight roentgens. Congenital heart disease. Four hours later they told me she was dead. And again: “We won’t give her to you.” “What do you mean you won’t give her to me? It’s me who won’t give her to you!”
[She is silent for a long time.]
In Kiev they gave me an apartment. It was in a large building where they put everyone from the atomic station. It’s a big apartment, with two rooms, the kind Vasya and I had dreamed of.
[She stands up, goes over to the window.]
There are many of us here. A whole street. That’s what it’s called—Chernobylskaya. These people worked at the station their whole lives. A lot of them still go there to work on a provisional basis, that’s how they work there now, no one lives there anymore. They have bad diseases, they’re invalids, but they don’t leave their jobs, they’re scared to even think of the reactor closing down. Who needs them now anywhere else? Often they die. In a minute. They just drop—someone will be walking, he falls, goes to sleep. He was carrying flowers for his nurse and his heart stopped. They die, but no one’s really asked us. No one’s asked what we’ve been through. What we saw. No one wants to hear about death. About what scares them.
But I was telling you about love. About my love . . .

Settlers’ Chorus: Those Who Returned

Oh, I don’t even want to remember it. It was scary. They chased us out, the soldiers chased us. The big military machines rolled in. The all-terrain ones. One old man—he was already on the ground. Dying. Where was he going to go? “I’ll just get up,” he was crying, “and walk to the cemetery. I’ll do it myself.”

§

We were leaving—I took some earth from my mother’s grave, put it in a little sack. Got down on my knees: “Forgive us for leaving you.” I went there at night and I wasn’t scared. People were writing their names on the houses. On the wood. On the fences. On the asphalt.

§

The nights are very long here in the winter. We’ll sit, sometimes, and count: Who’s died?

§

My man was in bed for two months. He didn’t say anything, didn’t answer me. He was mad. I’d walk around the yard, come back: “Old man, how are you?” When a person’s dying, you can’t cry. You’ll interrupt his dying, he’ll have to keep struggling. I didn’t cry. I asked for just one thing: “Say hello to our daughter and to my dear mother.” I prayed that we’d go together. Some gods would have done it, but He didn’t let me die. I’m alive . . .

§

I washed the house, bleached the stove. You needed to leave some bread on the table and some salt, a little plate and three spoons. As many spoons as there are souls in the house. All so we could come back.

§

The chickens had black coxcombs, not red ones, because of the radiation. And you couldn’t make cheese. We lived a month without cheese and cottage cheese. The milk didn’t go sour—it curdled into powder, white powder. Because of the radiation.
§

I had that radiation in my garden. The whole garden went white, white as white can be, like it was covered with something. Chunks of something. I thought maybe someone brought it from the forest.

§

We didn’t want to leave. The men were all drunk, they were throwing themselves under cars. The big Party bosses were walking to all the houses and begging people to go. Orders: “Don’t take your belongings!”

§

No one’s going to fool us anymore, we’re not moving anywhere. There’s no store, no hospital. No electricity. We sit next to a kerosene lamp and under the moonlight. And we like it! Because we’re home.

§

The police were yelling. They’d come in cars, and we’d run into the forest. Like from the Germans. One time they came with the prosecutor, he huffed and puffed, they were going to put us up on Article 10. I said: “Let them give me a year in jail. I’ll serve it and come back here.” Their job is to yell, ours is to stay quiet. I have a medal—I was the best harvester on the kolkhoz. And he’s scaring me with Article 10.

§

This one reporter said we didn’t just return home, we went back a hundred years. We use a hammer for reaping, and a sickle for mowing. We flail wheat right on the asphalt.

§

We turned off the radio right away. We don’t know any of the news, but life is peaceful. We don’t get upset. People come, they tell us the stories—there’s war everywhere. And like that, socialism is finished and we live under capitalism. And the czar is coming back. Is that true?

§

Everyone’s rearing to get back for the harvest. That’s it. Everyone wants to have his own back. The police have lists of people they’ll let back, but kids under eighteen can’t come. People will come and they’re so glad just to stand next to their house. In their own yard next to the apple tree. At first they’ll go cry at the cemetery, then they go to their yards. And they cry there, too, and pray. They leave candles. They hang them on their fences. Or on the little fences at the cemetery. Sometimes they’ll even leave a wreath at the house. A white towel on the gate. An old woman reads a prayer: “Brothers and sisters! Have patience!”

§

People take eggs, and rolls, and whatever else, to the cemetery. Everyone sits with their families. They call them: “Sis, I’ve come to see you. Come have lunch.” Or: “Mom, dear Mom. Dad, dear Dad.” They call the souls down from heaven. Those who had people die this year cry, and those whose people died earlier, don’t. They talk, they remember. Everyone prays. And those who don’t know how to pray, also pray.

§

We have everything here—graves. Graves everywhere. The dump trucks are working, and the bulldozers. The houses are falling. The grave diggers are toiling away. They buried the school, the headquarters, the baths. It’s the same world, but the people are different. One thing I don’t know is, do people have souls? What kind? And how do they all fit in the next world? My grandpa died for two days. I was hiding behind the stove and waiting: How’s it going to fly out of his body? I went to milk the cow—I came back in, called him, he was lying there with his eyes open. His soul fled already. Or did nothing happen? And then how will we meet?

§
 

Soldiers’ Chorus

Our regiment was given the alarm. It was only when we got to the Belorusskaya train station in Moscow that they told us where we were going. One guy, I think he was from Leningrad, began to protest. They told him they’d drag him before a military tribunal. The commander said exactly that before the troops: “You’ll go to jail or be shot.” I had other feelings, the complete opposite of that guy. I wanted to do something heroic. Maybe it was kid’s stuff. But there were others like me. It was scary but also fun, for some reason.
Well, so they brought us in, and they took us right to the power station. They gave us white robes and white caps. And gauze surgical masks. We cleaned the territory. The robots couldn’t do it, their systems got all crazy. But we worked. And we were proud of it.

§

We rode in—there was a sign that said: Zone Off Limits. We met these crazed dogs and cats on the road. They acted strange: They didn’t recognize us as people, they ran away. I couldn’t understand what was wrong with them until they told us to start shooting them . . . The houses were all sealed up, the farm machinery was abandoned. It was interesting to see. There was no one, just us and the police on their patrols. You’d walk into a house—there were photographs on the wall, but no people. There’d be documents lying around: people’s komsomol IDs, other forms of identification, awards.
People drove to the block, the actual reactor. They wanted to photograph themselves there, to show the people at home. They were scared, but also so curious: What was this thing? I didn’t go, myself, I have a young wife, I didn’t want to risk it, but the boys took a few shots and went over. So . . .

§

There’s this abandoned house. It’s closed. There’s a cat on the windowsill. I think: Must be a clay cat. I come over, and it’s a real cat. He ate all the flowers in the house. Geraniums. How’d he get in? Or did they leave him there?
There’s a note on the door: Dear kind person, please don’t look for valuables here. We never had any. Use whatever you want, but don’t trash the place. We’ll be back. I saw signs on other houses in different colors—Dear house, forgive us! People said goodbye to their homes like they were people. Or they’d written: We’re leaving in the morning, or, We’re leaving at night, and they’d put the date and even the time. There were notes written on school notebook paper: Don’t beat the cat. Otherwise the rats will eat everything. And then in a child’s handwriting: Don’t kill our Zhulka. She’s a good cat.

§

I went. I didn’t have to go. I volunteered. I was after a medal? I wanted benefits? Bullshit! I didn’t need anything for myself. An apartment, a car—what else? Right, a dacha. I had all those things. But it exerted a sort of masculine charm. Manly men were going off to do this important thing. And everyone else? They can hide under women’s skirts, if they want. There were guys with pregnant wives, others had little babies, a third had burns. They all cursed to themselves and came anyway.
We came home. I took off all the clothes that I’d worn there and threw them down the trash chute. I gave my cap to my little son. He really wanted it. And he wore it all the time. Two years later they gave him a diagnosis: a tumor in his brain . . . You can write the rest of this yourself. I don’t want to talk anymore.

§

On May 9, V-Day, a general came. They lined us up, congratulated us on the holiday. One of the guys got up the courage and asked: “Why aren’t they telling us the radiation levels? What kind of doses are we getting?” Just one guy. Well, after the general left, the brigadier called him in and gave him hell. “That’s a provocation! You’re an alarmist!” A few days later they handed out gas masks, but no one used them. They showed us Geiger counters a couple of times, but they never actually gave them to us.
Before we went home we were called in to speak to a KGB guy. He was very convincing in telling us we shouldn’t talk to anyone, anywhere, about what we’d seen. When I made it back from Afghanistan, I knew that I’d live. Here it was the opposite: It’d kill you only after you got home.

§

We got to the place. Got our equipment. “Just an accident,” the captain tells us. “Happened a long time ago. Three months. It’s not dangerous anymore.” “It’s fine,” says the sergeant. “Just wash your hands before you eat.”
I got home, I’d go dancing. I’d meet a girl I like and say, “Let’s get to know one another.”
“What for? You’re a Chernobylite now. I’d be scared to have your kids.”

§

Every April 26, we get together, the guys who were there. We remember how it was. You were a soldier, at war, you were necessary. We forget the bad parts and remember that. We remember that they couldn’t have made it without us. Our system, it’s a military system, essentially, and it works great in emergencies. You’re finally free there, and necessary. Freedom! And in those moments the Russian shows how great he is. How unique. We’ll never be Dutch or German. And we’ll never have proper asphalt and manicured lawns. But there’ll always be plenty of heroes.
They made the call, and I went. I had to! I was a member of the Party. Communists, march! That’s how it was. I was a police officer —senior lieutenant. They promised me another “star.” This was June of 1987. The looters had already been there. We boarded up windows and doors. The stores were all looted, the grates on the windows broken in, flour and sugar on the floor, candy. Cans everywhere. One village got evacuated, and then five, ten kilometers over, the next village didn’t. They brought all the stuff over from the evacuated village. That’s how it was. We’re guarding the place, and the former head of the kolkhoz arrives with some of the local people, they’ve already been resettled, they have new homes, but they’ve come back to collect the crops and sow new ones. They drove the straw out in bales. We found sowing machines and motorcycles in the bales. There was a barter system—they give you a bottle of homemade vodka,* you give them permission to transport the television. We were selling and trading tractors and sowing machines. One bottle, or ten bottles. No one was interested in money. [Laughs.] It was like Communism. There was a tax for everything: a canister of gas—that’s half a liter of vodka; an astrakhan fur coat—two liters; and motorcycles—variable. They transported the zone back here. You can find it on the markets, the pawnshops, at people’s dachas. The only thing that remained behind the wire was the land. And the graves. And our health. And our faith. Or my faith.
They gave me a medal and one thousand rubles.

§

I remember the empty villages where the pigs had gone crazy and were running around. The kolkhoz offices and clubs, these faded posters: We’ll give the motherland bread! Glory to the Soviet worker-peoples! The achievements of the people are immortal.

§

My wife took the kid and left. That bitch! But I’m not going to hang myself. And I’m not going to throw myself out a seventh-floor window. When I first came back from there with a suitcase full of money, that was fine. She wasn’t afraid. [Starts singing.]
Even one thousand gamma rays
Can’t keep the Russian cock from having its days.
That bitch! She’s afraid of me. She took the kid. [Suddenly serious.] The soldiers worked next to the reactor. I’d drive them there for their shifts and then back. I had a total-radiation meter around my neck, just like everyone else. After their shifts, I’d pick them up and we’d go to the First Department—that was a classified department. They’d take our readings there, write something down on our cards, but the number of roentgens we got, that was a military secret. Those fuckers! Some time goes by and suddenly they say: “Stop. You can’t take any more.” That’s all the medical information they give you. Even when I was leaving they didn’t tell me how much I got. Fuckers! Now they’re fighting for power. For cabinet portfolios. They have elections. You want another joke? After Chernobyl you can eat anything you want, but you have to bury your own shit in lead.

§

My friend died. He got huge, fat, like a barrel. And my neighbor—he was also there, he worked a crane. He got black, like coal, and shrunk, so that he was wearing kid’s clothes. I don’t know how I’m going to die. I do know this: You don’t last long with my diagnosis. But I’d like to feel it when it happens. Like a bullet to the head. I was in Afghanistan, too. It was easier there. They just shot you.

Arkady Filin Liquidator

I was thinking about something else, then. You’ll find this strange, but I was splitting up with my wife.
They came suddenly, gave me a notice, and said, “There’s a car waiting downstairs.” It was like 1937. They came at night to take you out of your warm bed. Then that stopped working: People’s wives would refuse to answer the door, or they’d lie, say their husbands were away on business, or vacation, or at the dacha with their parents. The soldiers would try to give them the notice, the wives would refuse to take it. So they started grabbing people at work, on the street, during a lunch break at the factory cafeteria.
But I was almost crazy by then. My wife had cheated on me, everything else didn’t matter. I got in their car. The guys who came for me were in street clothes, but they had a military bearing, and they walked on both sides of me, clearly worried I’d run off. But my wife had left me, and I could only think about that. I tried to kill myself a few times. We went to the same kindergarten, the same school, the same college. [Silent. Smokes.]
I told you. There’s nothing heroic here, nothing for the writer’s pen. I had thoughts like, It’s not wartime, why should I have to risk myself while someone else is sleeping with my wife? Why me again, and not him? To be honest, I didn’t see any heroes there. I saw nutcases, who didn’t care about their own lives, and I had enough craziness myself, but it wasn’t necessary. I also have medals and awards—but that’s because I wasn’t afraid of dying. I didn’t care! It was even something of an out. They’d have buried me with honors. And the government would have paid for it.
You immediately found yourself in this fantastic land, where the apocalypse met the Stone Age. We lived in the forest, in tents, twenty kilometers from the reactor. We were between twenty-five and forty, some of us had university degrees, or vocational-technical degrees. For example, I am a history teacher. Instead of machine guns they gave us shovels. We buried trash heaps and gardens. We had gloves, respirators, and surgical robes. The sun beat down on us. We showed up in their yards like demons. They didn’t understand why we had to bury their gardens, rip up their garlic and cabbage when it looked like ordinary garlic and ordinary cabbage. The old women would cross themselves and say: “Boys, what is this—is it the end of the world?”
Maybe that’s enough? I know you’re curious, people who weren’t there are always curious. But it was still a world of people, the same one. It’s impossible to live constantly in fear, a person can’t do it, so a little time goes by and normal human life resumes . . .
The men drank vodka. They played cards, tried to get girls, had kids. They talked a lot about money. But we didn’t go there for money. Or most people didn’t. Men worked because you have to work. They told us to work. You don’t ask questions. Some hoped for better careers out of it. Some robbed and stole. People hoped for the privileges that had been promised: an apartment without waiting and moving out of the barracks, getting their kid into a kindergarten, a car. One guy got scared, refused to leave the tent, slept in his plastic suit. Coward! He got kicked out of the Party. He’d yell: “I want to live!”
There were all kinds of people. They were told, No, we need chauffeurs, plumbers, firemen, but they came anyway. Thousands of volunteers guarding the storehouses at night. There were student units, and wire transfers to the fund for victims. Hundreds of people who donated blood and bone marrow.
Every day they brought the paper. I’d just read the headlines: Chernobyl—A Place of Achievement; The Reactor Has Been Defeated; Life Goes On. We had political officers, they’d hold political discussions with us. We were told that we had to win. Against whom? The atom? Physics? The universe? Victory is not an event for us, but a process. Life is a struggle. An overcoming. That’s why we have this love of floods and fires and other catastrophes. We need an opportunity to demonstrate our “courage and heroism.”
Our political officer read notices in the paper about our “high political consciousness and meticulous organization,” about the fact that just four days after the catastrophe the red flag was already flying over the fourth reactor. It blazed forth. In a month the radiation had devoured it. So they put up another flag. And in another month they put up another one. I tried to imagine how the soldiers felt going up on the roof to replace that flag. These were suicide missions. What would you call this? Soviet paganism? Live sacrifice? But the thing is, if they’d given me the flag then, and told me to climb up there, I would have. Why? I can’t say. I wasn’t afraid to die, then. My wife didn’t even send a letter. In six months, not a single letter. [Stops.] Want to hear a joke? This prisoner escapes from jail, and runs to the thirty-kilometer zone at Chernobyl. They catch him, bring him to the Geiger counters. He’s “glowing” so much, they can’t possibly put him back in prison, can’t take him to the hospital, can’t put him around people.
Why aren’t you laughing?

Nadezhda Petrovna Vygovskaya Evacuee from the town of Pripyat

It happened late Friday night. That morning no one suspected anything. I sent my son to school, my husband went to the barber’s. I was preparing lunch when my husband came back. “There’s some sort of fire at the atomic station. They’re saying we are not to turn off the radio.” This wasn’t any ordinary fire, it was some kind of shining. It was pretty. I’d never seen anything like it in the movies. That evening everyone spilled out onto their balconies, and those who didn’t have balconies went to friends’ houses. We were on the ninth floor, we had a great view. People brought their kids out, picked them up, said: “Look! Remember!” And these were people who worked at the reactor—engineers, laborers, physics instructors. They stood in the black dust, talking, breathing, wondering at it. People came from all around in their cars and on their bikes to have a look. We didn’t know that death could be so beautiful.
I didn’t sleep all night. At eight that morning there were already military people on the streets in gas masks. When we saw them on the streets, with all the military vehicles, we didn’t grow frightened—to the contrary, it calmed us down. Since the army has come to our aid, everything will be fine. We didn’t understand then that the peaceful atom could kill, that man is helpless before the laws of physics.
All day on the radio they were telling people to prepare for an evacuation: They’d take us away for three days, wash everything, check it over. The kids were told that they must take their schoolbooks. Still, my husband put our documents and our wedding photos into his briefcase. The only thing I took was a gauze kerchief in case the weather turned bad.

Marat Filippovich Kokhanov Former Chief Engineer of the Institute for Nuclear Energy of the Belarussian Academy of Sciences

Already by the end of May, about a month after the accident, we began receiving, for testing, products from the thirty-kilometer zone. They brought us the insides of domestic and undomesticated animals. After the first tests it became clear that what we were getting wasn’t meat, but radioactive by-products. We checked the milk. It wasn’t milk, it was a radioactive by-product.
High doses were everywhere. In a few villages we measured the thyroid activity for adults and children. It was one hundred, sometimes two and three hundred times the allowable dosage. The tractors were running, the farmers were digging on their plots. Children were sitting in a sandbox and playing. We’d see a woman on a bench near her house, breast-feeding her child—her milk has cesium in it—she’s the Chernobyl Madonna.
We asked our bosses: “What do we do? How should we act?” They said: “Take your measurements. Watch television.” On television Gorbachev was calming people: “We’ve taken immediate measures.” I believed it. I’d worked as an engineer for twenty years, I was well acquainted with the laws of physics. I knew that everything living should leave that place, if only for a while. But we conscientiously took our measurements and watched the television. We were used to believing.

Zoya Danilovna Bruk Environmental Inspector

I worked at the inspection center for environmental protection. We were awaiting some kind of instructions, but we never received any. They only started making noise after our Belarussian writer Aleksei Adamovich spoke out in Moscow, raising the alarm. How they hated him! Their children live here, and their grandchildren, but instead of them it’s a writer calling to the world: Save us! You’d think some sort of self-preservation mechanism would kick in. Instead, at all the Party meetings, and during smoke breaks, all you heard about was “those writers.” “Why are they sticking their noses where they don’t belong? We have instructions! We need to follow orders! What does he know? He’s not a physicist!”
There was something else I was afraid of leaving out . . . oh, right! Chernobyl happened, and suddenly you got this new feeling, we weren’t used to it, that everyone has their separate life. Until then no one needed this life. But now you had to think: What are you eating, what are you feeding your kids? What’s dangerous, what isn’t? Should you move to another place, or should you stay? Everyone had to make their own decisions. And we were used to living—how? As an entire village, as a collective—a factory, a kolkhoz. We were Soviet people, we were collectivized. Then we changed. Everything changed. It takes a lot of work to understand this.
They had protocols written up for burying radioactive earth. We buried earth in earth—such a strange human activity. According to the instructions, we were supposed to conduct a geological survey before burying anything to determine that there was no groundwater within four to six meters of the burial site. We also had to ensure that the depth of the pit wasn’t very great, and that the walls and bottom of the pit were lined with polyethylene film. That’s what the instructions said. In real life it was, of course, different. As always. There was no geological survey. They’d point their fingers and say, “Dig here.” The excavator digs. “How deep did you go?” “Who the hell knows? I stopped when I hit water.” They were digging right into the water.
They’re always saying: The people are holy, it’s the government that’s criminal. Well, I’ll tell you a bit later what I think about that, about our people, and about myself.
My longest assignment was in the Krasnopolsk region, which was just the worst. In order to keep the radionuclides from washing off the fields into the rivers, we needed to follow the instructions again. You had to plow double furrows, leave a gap, put in more double furrows, and so on. You had to drive along all the small rivers and check. Obviously I needed a car. So I go to the chairman of the regional executive. He’s sitting in his office with his head in his hands: No one changed the plan, no one changed the harvesting operations; just as they’d planted the peas, so they were harvesting them, even though everyone knows that peas take in radiation the most, as do all beans. And there are places out there with forty curies or more. So he has no time for me at all. All the cooks and nurses have run off from the kindergartens. The kids are hungry. In order to take someone’s appendix out, you need to drive them in an ambulance to the next region, sixty kilometers on a road that’s as bumpy as a washboard—all the surgeons have taken off. What car? What double furrows? He has no time for me.
So then I went to the military people. They were young guys, spending six months there. Now they’re all awfully sick. They gave me an armored personnel carrier with a crew—no, wait, it was even better, it was an armored exploratory vehicle with a machine gun mounted on it. It’s too bad I didn’t get any photos of myself in it, on the armor. Like I said, it was romantic. The ensign, who commanded the vehicle, was constantly radioing the base: “Eagle! Eagle! We’re continuing our work.” We’re riding along, and these are our forests, our roads, but we’re in an armored vehicle. The women are standing at their fences and crying—they haven’t seen vehicles like this since the war. They’re afraid another war has started.
We run into an old lady.
“Children, tell me, can I drink milk from my cow?”
We look down at the ground, we have our orders—collect data, but don’t interact with the local population.
Finally the driver speaks up. “Grandma, how old are you?”
“Oh, more than eighty. Maybe more than that, my documents got burned during the war.”
“Then drink all you want.”
I understood, not right away, but after a few years, that we all took part in that crime, in that conspiracy. [She is silent.]
People turned out to be worse than I thought they were. And me, too. I’m also worse. Now I know this about myself. [Stops.] Of course, I admit this, and for me that’s already important. But, again, an example. In one kolkhoz there are, say, five villages. Three are “clean,” two are “dirty.” Between them there are maybe two or three kilometers. Two of them get “graveyard” money, the other three don’t. Now, the “clean” village is building a livestock complex, and they need to get some clean feed. Where do they get it? The wind blows the dust from one field to the next, it’s all one land. In order to build the complex, though, they need some papers signed, and the commission that signs them, I’m on the commission. Everyone knows we can’t sign those papers. It’s a crime. But in the end I found a justification for myself, just like everyone else. I thought, The problem of clean feed is not a problem for an environmental inspector.

Viktor Latun Photographer

Not long ago we buried a friend of mine who’d been there. He died from cancer of the blood. We had a wake, and in the Slavic tradition we drank. And then the conversations began, until midnight. First about him, the deceased. But after that? It was once more about the fate of the country and the design of the Universe. Will Russian troops leave Chechnya or not? Will there be a second Caucasian war, or has it already started? About the English royal family and Princess Diana. About the Russian monarchy. About Chernobyl, the different theories. Some say that aliens knew about the catastrophe and helped us out. Others that it was an experiment, and soon kids with incredible talents will start to be born. Or maybe the Belarussians will disappear, like the Scythians, Sarmats, Kimmeriys, Huasteks. We’re metaphysicians. We don’t live on this earth, but in our dreams, in our conversations. Because you need to add something to this ordinary life, in order to understand it. Even when you’re near death.

Vladimir Matveevich Ivanov Former First Secretary of the Stavgorod Regional Party Committee

I’m a product of my time. I’m a believing Communist. Now it’s safe to curse at us. It’s fashionable. All the Communists are criminals. Now we answer for everything, even the laws of physics.
I was the First Secretary of the Regional Committee of the Communist Party. In the papers they write that it was, you know, the Communists who were at fault: They built poor, cheap nuclear power plants, they tried to save money and didn’t care about people’s lives. People for them were just sand, the fertilizer of history. Well, the hell with them! The hell! It’s the cursed questions: What to do and whom to blame? These are questions that don’t go away. Everyone is impatient, they want revenge, they want blood.
Others keep quiet, but I’ll tell you. The papers write that the Communists fooled the people, hid the truth from them. But we had to. We got telegrams from the Central Committee, from the Regional Committee, telling us: You have to prevent a panic. And it’s true, a panic is a frightening thing. There was fear, and there were rumors. People weren’t killed by the radiation, but by the events. We had to prevent a panic.
What if I’d declared then that people shouldn’t go outside? They would have said: “You want to disrupt May Day?” It was a political matter. They’d have asked for my Party ticket. [Calms down a little.] They didn’t understand that there really is such a thing as physics. There is a chain reaction. And no orders or government resolutions can change that chain reaction. The world is built on physics, not on the ideas of Marx. But if I’d said that then? Tried to call off the May Day parade? [Gets upset again.] In the papers they write that the people were out in the street and we were in underground bunkers. I stood on the tribune for two hours in that sun, without a hat, without a raincoat! And on May 9, the Day of Victory, I walked with the veterans. They played the harmonica, people danced, drank. We were all part of that system. We believed! We believed in the high ideals, in victory! We’ll defeat Chernobyl! We read about the heroic battle to put down the reactor that had gone out of control. A Russian without a high ideal? Without a great dream? That’s also scary.
But that’s what’s happening now. Everything’s falling apart. No government. Stalin. Gulag archipelago. They pronounced a verdict on the past, on our whole life. But think of the great films! The happy songs! Explain those to me! Why don’t we have such films anymore? Or such songs?
In the papers—on the radio and television they were yelling, Truth! Truth! At all the meetings they demanded: Truth! Well, it’s bad, it’s very bad. We’re all going to die! But who needs that kind of truth? When the mob tore into the convent and demanded the execution of Robespierre, were they right? You can’t listen to the mob, you can’t become the mob. Look around. What’s happening now? [Silent.] If I’m a criminal, why is my granddaughter, my little child, also sick? My daughter had her that spring, she brought her to us in Stavgorod in diapers. It was just a few weeks after the explosion at the plant. There were helicopters flying, military vehicles on the roads. My wife said: “They should stay with our relatives. They need to get out of here.” I was the First Secretary of the Regional Committee of the Party! I said absolutely not. “What will people think if I take my daughter with her baby out of here? Their children have to stay.” Those who tried to leave, to save their own skins, I’d call them into the regional committee. “Are you a Communist or not?” It was a test for people. If I’m a criminal, then why was I killing my own child? [Goes on for some time but it becomes impossible to understand what he’s saying.]

Vasily Borisovich Nesterenko Former Director of the Institute for Nuclear Energy at the Belarussian Academy of Sciences

On that day, April 26, I was in Moscow on business. That’s where I learned about the accident.
I called Slyunkov, the General Secretary of the Central Committee of the Belarussian Communist Party, in Minsk. I called once, twice, three times, but they wouldn’t connect me. I reached his assistant, he knew me well.
“I’m calling from Moscow. Get me Slyunkov, I have information he needs to hear right away. Emergency information.”
It took me about two hours to finally reach Slyunkov.
“I’ve already received reports,” says Slyunkov. “There was a fire, but they’ve put it out.”
I couldn’t hold it in. “That’s a lie! It’s an obvious lie!!”
On April 29—I remember everything exactly, by the dates—at 8 a.m., I was already sitting in Slyunkov’s reception area. They wouldn’t let me in. I sat there like that until half past five. At half past five, a famous poet walked out of Slyunkov’s office. I knew him. He said to me, “Comrade Slyunkov and I discussed Belarussian culture.”
“There won’t be any Belarussian culture,” I exploded, “or anyone to read your books, if we don’t evacuate everyone from Chernobyl right away! If we don’t save them!”
“What do you mean? They’ve already put it out.”
I finally got in to see Slyunkov.
“Why are your men [from the institute] running around town with their Geiger counters, scaring everyone? I’ve already consulted with Moscow, with Academic Ilyin. He says everything’s normal. And there’s a government commission at the station, and the prosecutor’s office is there. We’ve thrown the army, all our military equipment, into the breach.”
They weren’t a gang of criminals. It was more like a conspiracy of ignorance and obedience. The principle of their lives, the one thing the Party machine had taught them, was never to stick their necks out. Better to keep everyone happy. Slyunkov was just then being called to Moscow for a promotion. He was so close! I’d bet there’d been a call from the Kremlin, right from Gorbachev, saying, you know, I hope you Belarussians can keep from starting a panic, the West is already making all kinds of noises. And of course if you didn’t please your higher-ups, you didn’t get that promotion, that trip abroad, that dacha. People feared their superiors more than they feared the atom.
I carried a Geiger counter in my briefcase. Why? Because they’d stopped letting me in to see the important people, they were sick of me. So I’d take my Geiger counter along and put it up to the thyroids of the secretaries or the personal chauffeurs sitting in the reception rooms. They’d get scared, and sometimes that would help, they’d let me through. And then people would say to me: “Professor, why are you going around scaring everyone? Do you think you’re the only one worried about the Belarussian people? And anyway, people have to die of something, whether it’s smoking, or an auto accident, or suicide.”

Natalya Arsenyevna Roslova Head of the Mogilev Women’s Committee for the Children of Chernobyl

That great empire crumbled and fell apart. First Afghanistan, then Chernobyl. When it fell apart, we found ourselves all alone. I’m afraid to say it, but we love Chernobyl. It’s become the meaning of our lives. The meaning of our suffering. Like a war. The world found out about our existence after Chernobyl. We’re its victims, but also its priests. I’m afraid to say it, but there it is.
And it’s like a game, like a show. I’m with a caravan of humanitarian aid and some foreigners who’ve brought it, whether in the name of Christ or something else. And outside, in the puddles and the mud in their coats and mittens, is my tribe. In their cheap boots. And suddenly I have this outrageous, disgusting wish. “I’ll show you something!” I say. “You’ll never see this in Africa! You won’t see it anywhere. Two hundred curies, three hundred curies.” I’ve noticed how the old ladies have changed, too—some of them are real movie stars now. They have their monologues by heart, and they cry in all the right spots. When the first foreigners came, the grandmas wouldn’t say anything, they’d just stand there crying. Now they know how to talk. Maybe they’ll get some extra gum for the kids, or a box of clothes. And this is side by side with a profound philosophy—their relationship with death, with time. It’s not for some gum and German chocolate that they refuse to leave these peasant huts they’ve been living in their whole lives.
—translated from the Russian by Keith Gessen
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