德国作家塞巴尔德笔下的犹太人(上)
日期:2021-12-28 22:00

(单词翻译:单击)

~lMyxog6v!D^P9PP5i)mS+aOG^@7Fv%

The great german author W. G. Sebald died in a car accident in 2001 at the age of 57, 13 years after he’d published his first work of literature and five short years after the English translation of a book of stories set in motion his rise to international renown.

*6i,bI7i145PcTlg_

德国伟大的作家温弗里德·塞巴尔德于2001年因一场车祸离世,享年57岁]Qhbr^Zq-L*(cdWZ。13年前,塞巴尔德出版了他的第一部文学作品,5年前,他的一本故事集被翻译成英文,使他在国际上声名鹊起o#)mh*NyUXDw58

DL4NfKz,R=t

(Months before his death, he was rumored to be a candidate for the Nobel Prize.)

NgH&fSum[vp=2BP

(在他去世前几个月,有传言称他是诺贝尔奖的候选人Vpz3afs5!g++u。)

SHxb9BZn2fmSa

Throughout his career and afterward, critics struggled to find words to describe the hallucinatory quality of his deceptively sober prose.

aY&RK2q=nhqNcr6!

在他的整个职业生涯以及之后的时间里,评论家们都在努力寻找词语来描述他那看似严肃的散文的迷幻特质T!-CRhUE%0fHMMMU

Yo3)wEPUF%|e=MpU

Sebald tells tales, that much one can say—ghost stories of a sort, as dark and translucent as smoky glass.

;kzngXFHrR)wyD

塞巴尔德讲的故事,很多人都会说这是幽灵般的故事,像烟雾弥漫的的玻璃一样黑暗而又透明n.qq0FTem)8gjX)2RsS

XG1a1P%GA!U

Displaced Jews haunt some of these narratives; the shades of literary figures—Kafka, Stendhal, Nabokov—materialize in others.

t17!;rhlH-~5lx

流离失所的犹太人经常出现在这些故事中; 这些故事中的人物体现着卡夫卡、司汤达、纳博科夫等文学人物的影子4dTcsgY-@y^7xbwHQ7V

S&x@K+#U-yFA)mblPbsx

And yet Sebald writes like a man typing up case histories, and he accompanies his narratives with something like documentation—photographs of people, facades, notes, newspaper articles, train tickets.

TOuhJam%IfC

然而,塞巴尔德的写作手法就像一个人在录入病历一样,他在叙述时还会加上一些类似文档的东西——人物的照片、外观、笔记、报纸文章、火车票=#afG.ges)4v3WIv_mpV

Nl=H5QBDb]tx3O

These have no captions, and you don’t always see how they relate to the text.

d;AmQ6Q*O!

这些没有说明文字,而且你并不总是能理解它们与文本之间的联系a!9meQ+kr&ga|vR|M

yqp]V_dRAin

But because photographs testify to the onetime existence of things, they give the weight of the real to stories that may or may not be made up.

Vz@5&^T[.Qqlnv_a.Uk

但因为照片证明了事物曾经的存在,它们赋予了故事真实性的厚重感,而这些故事可能是虚构的,也可能不是pC(UEKi[DFgegr|oNb-

1KqWDDt+VR%x7N

Sebald’s refusal to respect the line between fact and fiction has become commonplace, especially among younger writers.

+yc#y#aT7FMhFmB

塞巴尔德拒绝尊重事实和虚构之间的界限,这已经成为一种普遍现象,尤其是在年轻作家中vmtMxp;5mK[L4Zm

n2j.EXtyz2i&8&p2lB%T

But his adroitly artless synthesis of fable, history, photography, and artifact is still jarring.

-trA=I=i1)F3

但他将寓言、历史、摄影和历史文物熟练地而朴实地结合在一起,依旧突兀qFy#1O,g=-FJ6A6

FH*(=m)e0;1

The Sebald scholar Uwe Schütte called Sebald’s method bricolage, which can mean both “collage” and “tinkering.”

.m[%=bZpCfk2bD

塞巴尔德的学者乌维·史诸特将塞巴尔德的方法称为修补术(bricolage), 既可以表示“拼贴”,也可以表示“修补”Wy40Y2e1M6LP%*d

2.4bEL,tGl

The critic James Wood speaks of “fictional truth,” and also offers this aptly mournful phrase: “cinders of the real world.”

UugV#g;U1+&Z

评论家詹姆斯·伍德在谈到“虚构的真相”时,也恰如其分地用了这个悲伤的短语:“现实世界的灰烬”tL-tg_Kb*6U

p=Eq8;s0|wkA

The poet Michael Hamburger came up with “essayistic semi-fiction which gives rope to both observation and imagination.”

j#DE3e)j)TA*uA!gg1Gc

诗人迈克尔·汉布格尔提出了“随笔式的半小说,这为观察和想象提供了便利F~uieys+zG+2LFRwt%HW。”

&jBftyLN)I*S3rV

In her new biography, Speak, Silence: In Search of W. G. Sebald, the first life of the writer, Carole Angier calls that “the neatest summary” of Sebald’s method that “anyone ever managed.”

h=7]v-l^VC3W

卡萝·安吉尔在她的新传记《讲述,沉默:寻找塞巴尔德》---作家的第一个生命中称,这是对塞巴尔德方法的“最简洁的总结”,是“任何人都不曾做到的”B7MuQXhWyaifFA

eh^yT1!8Lv|aiPcKqt@m

I like “periscopic,” which Sebald used, because it captures the subaqueous stillness of his worlds, and his disorienting angle of vision.

TRu=D7yF@wU.i0

我喜欢塞巴尔德用的“潜望镜”,因为它捕捉到了他的世界中水下的静止,以及他迷幻的视角+@ntphv[W3n6&%

i[~%mW-Er86SB*-]H

Every great writer founds a new genre, Walter Benjamin decreed.

lD6r]LaolaGv#ZlJ

瓦尔特·本雅明断言,每一位伟大的作家都开创了一种新体裁il(%PFI*h;,zcD)HxS

IlE3NM9m4=h-D#f|

“The twentieth-century writer who best passes that crazy test,” Angier writes, “is W. G. Sebald.”

H*ARbW@S8Lyta,]wC-1

“最能通过这种疯狂测试的二十世纪作家,”安吉尔写道,“是塞巴尔德~;2b(Ydb%1|MjiA5*=。”

VdKTMXcCkJa6q98B3m9,E3Bnix]BQo-Ko.ML9K6b3suz
分享到