I am surprised by the lack of cynicism, particularly among the younger ones, of those who work in such fields.
我对这些行业的从业人员，尤其是其中较为年轻的一些人那种缺乏愤世嫉俗情绪的态度感到惊讶。
The television generation grew up in the insistent presence of hype, delights in much of it, and has no scruples about practicing it.
电视的一代是在强烈的广告刺激的环境中成长起来的一代。他们也很欣赏这种广告刺激，并且毫不犹豫地去亲身实践。
Men and woman do their jobs professionally, and, like the pilots who from great heights bombed Hanoi, seem unmarked by it.
许多男男女女都以职业性的态度对待自己的工作，就像那些从高空向河内投掷炸弹的飞行员一样，对于其工作本身的意义似乎毫不在意。
They lead their real lives elsewhere, in the Village bars they are indistinguishable in dress or behavior from would-be artists, actors, and writers.
他们真正的生活寄托在别的地方。在格林威治村的酒吧间里，他们的衣着打扮、言谈举止都与那些预备艺术家、演员和作家毫无二致。
The boundaries of “art for art’s sake” aren’t so rigid anymore; art itself is less sharply defined,
"为艺术而艺术"的界限已不再那么难以突破了，艺术本身的定义也不像以前那样明晰了。
and those whose paintings don’t sell do illustrations;those who can’ get acting jobs do commercials;
艺术家的画作卖不出去便转而画插图;演员找不到拍戏的机会就去拍广告;
those who are writing ambitious novels sustain themselves on the magazines.
作家在创作鸿篇巨著的同时还得为通俗杂志撰文以维持生计。
Besides, serious art often feeds on the popular these days, changing it with fond irony.
此外，这些年来严肃艺术往往要靠通俗艺术来提供养料，这倒使通俗艺术发生了一些可喜的讽刺性变化。
In time the newcomers find or form their won worlds;
那些初来纽约的人早晚有一天会找到或形成他们自己的小圈子。
Manhatten is many such words, huddled together but rarely interaction.
曼哈顿有许多这类小圈子，密密麻麻地挤在一起，但彼此之间却极少往来。
I think this is what gives the city its sense of freedom.
我想正是这种情况给纽约一种自由感。
There are enough like you, whatever you are. And it isn’t as necessary to know anything about an apartment neighbor
不管你属于哪类人，与你同样的人都多的是。对于同住一座公寓的邻居，你不必去了解他的任何情况，
or to worry about his judgment of you- as it is about someone with an adjoining yard.
也不必在意他对你的看法如何，只有住在乡下的屋院相连的邻居才有此必要。