In her magnificence
Toni Morrison, writer, died on August 5th, aged 88
She did not look away. When Toni Morrison's clear imagining gaze met uncomfortable things, she faced them down. A poisoned dog jerking round the yard like a toy. Human placenta in a field. The transparent underskin of a bobcat gutted on a kitchen table. The greyish panties, still round her ankles, of an 11-year-old girl raped by her father as she washed the dishes. Especially she did not look away from the images of slavery she had been slowly, painfully dragged towards by the time she wrote "Beloved", in 1987.
她不会把目光移开 。当托尼·莫里森的清澈的充满想象力的目光看到令人不舒服的东西时，她会面对它们 。在院子里转来转去的一只中毒的狗像玩具一样 。田野中人的胎盘 。放在厨房桌子上被破坏的山猫的透明的皮肤 。一名11岁的女孩在洗碗时被父亲强奸，她的灰色内裤还绕着脚踝 。尤其是1987年托尼写《宠儿》的时候，她没有将她的目光从自己被慢慢地、痛苦地拖向的奴隶的形象上移开 。
A man hanged in a sycamore tree, known by his shirt, but with head and feet missing. A red ribbon, fished from the river, with a curl of wet woolly hair attached to it and, to that, its bit of scalp. A fugitive slave crunching the breast bone of a dove before its heart had stopped beating. The wildness that shot up in a man's eye when his lips were yanked back to take the bit. Sethe, her heroine in "Beloved", serenely continuing to hold on her baby's face after she had cut its throat to save it from a slave's life.
一名男子被吊死在一棵美国梧桐树上，从他的衬衫就可以看出，但是他的头和脚都不见了 。一个从河里钓出来的红丝带，上面有一绺湿漉漉的毛茸茸的头发，还有一点头皮 。一个逃亡的奴隶在鸽子的心脏停止跳动之前嘎吱嘎吱地啃着它的胸骨 。当这个男人的嘴唇被拉回去咬一口时，涌上他的眼睛的野性 。《宠儿》中的男主角塞丝，她割断了自己的婴儿的喉咙，把他从奴隶的生命中救了出来，然后平静地继续捧着孩子的脸 。
Because these scenes sometimes brushed against beauty—the sycamores tall and soughing, the dove eaten under flowering plum trees—and because her novels won prizes, notably the Nobel in 1993, critics tended to call them lyrical and poetic. Nothing made her madder. Lyricism meant that literary language was getting in the way. It had to be stripped down, freed up, opened up and teased to get the writerly-ness out. First drafts of her word-work, in number-two pencil on yellow legal pads, then went through as many as 13 revisions on the word-processor.
因为这些场景有时会与美擦肩而过-飒飒风吹的高大的梧桐树，在开花的李子树下被吃的鸽子-因为她的小说得了奖，尤其是1993年的著名的诺贝尔奖，评论家们倾向于称其为抒情的和诗意的描述 。没有什么使她更加生气了 。抒情风格意味着文学语言的介入 。它必须被剥离，被释放，被打开，被戏弄，以获得可写性 。她的文字作品的初稿是用二号铅笔写在黄色的便笺簿上，然后在文字处理器上经过了多达13次的修改 。
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