多半是由于村上太喜欢卡佛了

我们抿着茶。思忖着

图片 1

但眼看本人没看见。我已转过头

Both men were shy. Carver was a mumbler, uneasy around strangers, and a
tape Murakami made sounded “like little more than a badly done wiretap.”
They connected, though, and Carver paid close attention to his guest.
Carver was in the warm flush of fame, good years after so much alcohol
and heartbreak. “What We Talk About When We Talk About Love” (1981) was
his breakout book and “Cathedral” (1983), his masterpiece, the best
stories of his generation, the best ever by a Northwest writer.

our car with snowballs, gravel, old

Murakami is an international sensation, the author of two dozen books
that are translated everywhere. “Men Without Women,” his new short-story
collection (Knopf, 228 pp., $25.95), has Carver’s influence on every
page. An actor knows his more-famous wife had affairs and after her
death he befriends one of her lovers. A housewife delivers groceries to
a shut-in and tells him stories after passionless sex. A doctor spends a
lifetime keeping love at arm’s length and forgets its power. “Men
Without Women” is the title of a 1927 short-story collection by Ernest
Hemingway, but it’s Carver that Murakami is thinking of when he writes
that “Dreams are the kind of things you can — when you need to — borrow
and lend out.”

Three inches. I hollered out

“Ray was eager, almost childlike with delight, to meet Murakami, to see
who he was and why Ray’s writing had brought them together on the
planet,” Tess Gallagher, Carver’s widow, wrote after the meeting.

转眼间,我又回来十六岁

Carver was curious enough to interrupt his writing schedule for a social
visit — something he generally avoided — and he was flattered that
Murakami had come all the way from Japan to Port Angeles to meet him.

穿过空气飞速提高。我望着它,

Haruki Murakami met Northwest short-story writer Raymond Carver for the
first and only time in the summer of 1984. Murakami was 35 and had been
writing for six years; his first great novel, “A Wild Sheep Chase,” came
out in 1982 but none of his work had been published in English. He was
known to Carver only as the enthusiastic translator who had been
bringing his stories out in Japan at an impressive clip.

可怜扔雪球的钱物,不得不装出惊愕,

Murakami probably was thinking of “So Much Water So Close to Home,” the
story of men who find a woman’s body on a fishing trip and continue to
fish for two days before contacting the police. Carver was thinking of a
moment when he was 16 and his eardrum was broken by a snowball, a memory
that came roaring back 30 years later and left just as quickly.

now, I imagine I see it coming. See it

into talk of pain and humiliation

给村上春树

Carver’s literary path zigzagged through the Northwest. Born in
Clatskanie, Oregon, to a sawmill worker and a waitress, Carver grew up
in Yakima, got married at 19, and joined his father in the mill. He
bounced around for the next 20 years, drinking, taking classes,
squeezing out time to write on the weekends. His stories were about
working people struggling to connect, falling down and getting up.

in front of those tough guys while they

you find occurring, and recurring,

怎么着转化成销量。

We sipped tea. Politely musing

冰雪球。疼痛是钻心的。

The two writers met in person only once, but it provided a lifetime of
inspiration; most recently shown in Murakami’s new collection “Men
Without Women.”

只有三英寸。我叫喊出

of sheer chance. How all this translates

图片 2

耻辱也是。

By Jeff Baker (Special to The Seattle Times)

爆冷某种东西猛地撞击我头部旁边,

“Raymond Carver was without question the most valuable teacher I ever
had and also the greatest literary comrade,” Murakami wrote in “A
Literary Comrade,” an essay published after Carver’s death. “The novels
I write tend, I believe, in a very different direction from the fiction
Ray has written. But if he had never existed, or I had never encountered
his writings, the books I write, especially my short fiction, would
probably assume a very different form.”


in terms of sales.

in my stories. And that element

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

in terms of sales.

Murakami and his wife, Yoko, visited Carver and Gallagher at Sky House,
a wide-windowed home on the Strait of Juan de Fuca. Murakami was struck
by Carver’s “massive physical size,” and noted “the way he sat on the
sofa with his body crunched up as if to say he had never intended to get
so big, and he had an embarrassed expression on his face.”

for Haruki Murakami

Murakami is self-taught, a jazz-club owner who started writing fiction
after an epiphany at a baseball game. He sticks to his own path and
follows it without hesitation. In Carver’s fiction, he found a map to
guide him.

伸出中指,他们喊话着,

图片 3

他肯定遭到他的破产,碰到

A fateful literary meeting: Raymond Carver and Haruki Murakami

驾着一辆五十年份的东风标致小轿车

“I guess I should have done that,” Murakami told the Harvard Crimson 20
years later, “but I didn’t know he would die so young.”

When something slammed into the side

(Mary Cauffman / The Seattle Times)

在这些粗鲁的东西面前,而她们

图片 4

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

(以上图片均来自于网络。)

但自我的车窗降下了三英寸。

on possible reasons for the success

cried, Dumb luck. Freak accident.

图片 5

into my lap, intact. A ball of packed ice

Raymond Clevie Carver, Jr.

like those soldiers in the first part

(May 25, 1938 – August 2, 1988)

He never gave that afternoon

The Murakamis stayed for two hours. All went well, and Carver promised
to return the visit on a trip to Japan. Murakami was thrilled and
ordered an extra-large bed so his new American friend would be
comfortable in his home.

of sheer chance. How all this translates

of my books in your country. Slipped

真难过,我起先哭泣,

图片 6

A room that for a minute something else entered.

It never happened. Carver thought his years of hard drinking would kill
him but the cigarettes got there first, lung cancer that spread to his
brain and brought him down in 1988, at 50. Gallagher gave Murakami a
pair of Carver’s shoes, a sign of respect from one writer to another.

至于痛苦和侮辱的交谈中

Smoked salmon and black tea were served. Carver’s mind, as it often did,
wandered away for a moment that he captured in “The Projectile,” a poem
he dedicated to Murakami:

拍拍她的肩头意味着称扬。

Carver didn’t know it, but Murakami was on a pilgrimage. When Murakami
read Carver’s “So Much Water So Close to Home” in 1982, he was hit by a
thunderbolt. To Murakami, this was genius, “an entirely new kind of
fiction,” realistic but penetrating and profound in a way that he
believed “goes beyond simple realism.” Murakami read another Carver
story, “Where I’m Calling From,” in The New Yorker, and began collecting
and translating everything of Carver’s he could find.

one last obscenity. And saw this guy

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

掉下来,完整无缺。一个紧实的

in my stories. And that element

挥手单臂准备扔掉。从这个便利地点

1983年,在卡佛在美利哥还未持有巨大声誉之时,村上偶尔在一本选集中读到了卡佛的一篇题为《脚下流淌的深河》(So
Much 沃特(Wat)er so Close to
Home)的小说,继而深受感动,便千方百计把卡佛的具备小说都翻译,并介绍到了扶桑。卡佛作品的旺盛内涵根植于她前半生所受的挫败,他所在阶层(即工人阶级或中非法产阶层)所处的苦水和无奈,和他所观看到的更加真实的美利哥。扶桑的读者喜欢卡佛,大约是因为她们和美利坚同盟国的中产阶级一样,是与世隔膜和抑郁的。在她们生命中,或许有接近羞愧的事物在里头作梗,不管日本人依然美利坚同盟国人都是一致。

与此同时在回家吃晚饭前

千年不遇!

the shouts and back-slaps of the others.

of my books in your country. Slipped

新近多看小说短篇,翻开卡佛的短篇集《大教堂》的首先页,明明是中译本,前言却是村上春树所写,篇名「Raymond(Raymond)Carver:
花旗国全员的说话」。其中缘由,多半是由于村上太喜欢卡佛了,在村上春树的著述中,也可看出卡佛的印痕,语言平实,用词简练,多为没有截至的扫尾。卡佛的创作被评价为极具极简主义的美学,即便她协调并不希罕这多少个标签。

for the dread fascination of it.

在这天的相会中,村上平素不问卡佛翻译的事,也尚未告知她,他实在是一个文豪。

bozos. Giving the finger

And messed around a little more

和五四个傻小子

another thought. And why should he?

挪不动半步。

into talk of pain and humiliation

前些天,我推测我看见它飞过去了。看见它

明天,卡佛遵照这段对话,写了一首诗,赠与村上。(The
Projectile,附在文末)

in a ‘50 Dodge sedan with five or six

一个陡然有点其它什么进来了的房间。

tree branches. We spun away, shouting.

村上在有些演说会上曾说,讲团结的小说有点难为情,然而讲讲翻译是足以的,因为是旁人写的小说。他通过翻译卡佛的创作,亦雕琢出来村上作风的文体,卡佛的文风诚实而简单,「推敲细密,把程式化的言语和不必要的修饰全部剔除,在这一个基础上尽量以『故事』的情势,坦诚而温柔地披露自己的心声,是卡佛追求的管文学境界」,这与村上也很为接近。尽管二人的随笔为主截然不同,卡佛的社会风气聚焦于人与人以内的涉及和内在的紧张感,而村上的社会风气则是环绕内心的孤身和无尽的想象。但她依然翻译了卡佛的总体著作。

自身猜我应当说的。但自我没悟出,他会走得那么早。

of shot fly in their direction

多闲荡了一阵子。长大后

用雪球,砂砾,枯枝朝着大家的汽车

扔掉。我们疾驰离开,叫骂着。

抛掷物

while they stood, unable to move

my head to laugh with my pals.

而她们呆立着,因可怕的迷怔

打算就到此截止。

on possible reasons for the success

And we were gonna leave it at that.

最终一句下流话。看见非常东西

特别早上,为何要想呢?

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

在雪地里横冲直撞。向另外一些东西

wind up to throw. From this vantage,

她生命中的失利,正如我同一。

她或许在裤子上擦了擦手。

小说格局是把心里所思所想流畅而轻易的抒发出来,翻译情势则是把客人的所思所想对照自己的言语转换出来。村上在三十五年间,交替举行这二种情势,宛如精神上的血液循环一般。他把翻译名为「向外打开的窗」,去吗,把温馨的见解放到海外去,把团结放在到世界中间去,如此方能免了成为井底之蛙的险恶。

It was awful when I began to weep

1984年夏,村上夫妇去了在华盛顿(华盛顿(Washington))州奥林匹亚半岛,登门拜访卡佛夫妇,他们的家建在山丘上,取了一个
“sky house”
的雅名,当时卡佛正忙着写作,但依旧决定要抽出时间来和村上聊一聊。译者大老远的从东瀛跑过来拜访,卡佛也自愿掀拳裸袖。据卡佛的妻妾说,「Ray
特别想和村上会师。完全像个孩子无异雀跃着,他专程想领会,自己的随笔是咋样把远隔重洋的六个人一连到一同的」。早晨村上夫妇到达将来,一起吃了熏鲑鱼,喝了些白茶,村上和卡佛走到屋外的阶梯上,哀悼撞上玻璃的小鸟之死,谈论着卡佛在日本拿到好评的理由。


and snow. The pain was stupendous.

We sipped tea. Politely musing

We politely raise our tea cups in the room.

自身的书在您的国度拿到成功的

莫不的原故。沉浸在

二十年后,村上如此说。

咱俩在房间里文雅地举起茶杯。

就像上个世纪前半期的

沿路滑行,然后转头拐角

其它要想的事总是如此多。

那多少个士兵望着霰弹

对此村上而言,翻译其实是兴趣爱好,而非工作,它就像保龄球一样。他并没有特意地学习过翻译,高校也并不是希伯来语专业,只是高中的时候习惯了读阿拉伯语原版的书籍,积累大量的读书之后,自但是然地,便学会了翻译。他说,小说可以依据自己的想法,天马行空,不过翻译不行,需要尽最大可能扼杀本我(ego),在牵制当中,让翻译中的自己谦虚而增添,这样对写小说也有很大的补益。

频繁出现的事物。以及这种

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

of the last century watched cannisters

自大的神气,当其别人朝他大吵大闹,

自我凝视着房间的一个角落。

为什么要记得这辆呆头呆脑的车

you find occurring, and recurring,

The Projectile

And the humiliation.

and proud of himself, while he took

I looked into a corner of the room.

So much else to think about always.

不论是在诗词依然在小说里,用平常但规范的语言,去写普通的东西,并授予这几个常见的事物

─管它是椅子,窗帘,叉子,仍然一块石头,或女性的耳环——以广大而震惊的能力,这是足以成功的。写一句表面上看起来无伤大雅的寒暄,并跟着传递给读者冷彻骨髓的寒意,这是足以做到的。

down the stupid road, then turning the stupid corner

He must have wiped his hands on his pants.

随后消失?

可能是因为您的随笔是由人生中有的是的微小的侮辱而构成的?这样扶桑人会相比容易接受。

to have his share of setbacks and get lost

图片 7

和我的伙伴们说笑。

A chance in a million!

纯属偶然的因素。所有那个

careening around in the snow

朝他们飞来,

村上说,

她再没有想过

and disappearing?

before going home to supper. He grew up

参考资料:

大叫,笨蛋。怪物。

モノをつくる人間にとって一番恐いのは井の中の蛙のみたいに狭い場所で、固定されたシステムの中で妙に落ち着いてしまうこと。もっと目を外に向けていくべきだし、もっと広い場所に自分をおかなければいけない。そういう点で
“翻訳は外に開かれた窓” 。

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

of my head so hard it broke my eardrum and fell

to some other bozos, who yelled and pelted

Why remember that stupid car sliding

speeding through the air while I watch,

But my window was down three inches.

这是您发现在自家的小说中

自家的耳膜震破了,耳垂

And for a minute I was 16 again,

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