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[2014.04.26]The magician in his labyrinth 在自己迷宮中的魔術(shù)師 本帖最后由 gangangwen 于 2014-5-17 20:04 編輯 原文請(qǐng)猛戳這里》》》 Gabriel García Márquez 加夫列爾·加西亞·馬爾克斯 The magician in his labyrinth 在自己迷宮中的魔術(shù)師 Gabriel García Márquez, Latin America's literary colossus, died on April 17th, aged 87 加夫列爾·加西亞·馬爾克斯，拉丁美洲文學(xué)巨匠，4月17日去世，享年87歲 Apr 26th 2014 | From the print edition  1 IN JULY 1965 Gabriel García Márquez—Gabo to all who revered him later—decided to lock himself away in a house on Calle de La Loma in Mexico City. He ordered his wife to sell the car and get credit from the butcher. For 15 months, using only his index fingers, he typed for six hours a day in a room he called “The Cave of the Mafia”. He survived on a diet of good Scotch and constant cigarettes. At five in the afternoon he would emerge into the fading light with his eyes wide, as though he had discoursed with the dead. 1965年7月，加夫列爾·加西亞·馬爾克斯——也就是后來(lái)被所有尊敬他的人稱為“加博”的人——決定把自己關(guān)在位于墨西哥城卡勒代拉洛馬的一所房子中。他要求妻子賣掉了汽車，并從肉鋪掌柜那里獲得了賒帳的許可。之后，他開(kāi)始在一間被他稱為“黑幫的巢穴”的屋子里開(kāi)始打字——只用食指，每天六個(gè)小時(shí)，這一過(guò)程一直持續(xù)了15個(gè)月。在這期間，他的食物除了上好蘇格蘭威士忌，就是一支接一支的香煙。每天下午5點(diǎn)，他會(huì)大睜著雙眼出現(xiàn)在暮色之中，好像剛同死人吵過(guò)了一架似得。 2 Inside the four walls of that room lay the immense delta of the Magdalena river, the grey frothy sea of Colombia's Caribbean coast, the suffocating swamps of the Ciénaga, the interminable geometries of the banana plantations, and a long railway line that ran into the farthest territories of his heart. It ended at the village of Aracataca, now renamed by him Macondo, where his maternal grandparents had brought him up amid prospectors, fornicators, gypsies, scoundrels and virginal girls bent over their sewing frames. In that room where he had locked himself away he inhaled the sweet milk-candy and oregano of his grandmother and absorbed again the political venting of his grandfather, who had fought on the Liberal side in the War of a Thousand Days and who, at the book's beginning, took him to discover ice, a great block of infinite internal needles that boiled his hand when he touched it. 在那座房子的四壁之內(nèi)有馬格得連納河那廣闊三角洲，有哥倫比亞加勒比海岸邊那泛著泡沫的灰色大海，有切納迦那令人窒息的沼澤地，有香蕉種植園那沒(méi)有盡頭的幾何圖形，還有一條闖進(jìn)他心靈最深處的漫長(zhǎng)鐵路線。終點(diǎn)是阿拉卡塔卡的村莊。如今，那里已經(jīng)因?yàn)樗拿麨轳R孔多——一個(gè)到處都是探礦者、通奸者、吉普賽人、無(wú)賴和俯身于自己織布框架的未婚女子，而他也就是在這些人中間被她的外公外婆養(yǎng)大的。他在那間把自己關(guān)在其中的房間里，吸入了牛奶糖和他祖母的牛至的香味，再一次吸收了他那曾經(jīng)在千日戰(zhàn)爭(zhēng)中為自由派而戰(zhàn)，并且曾在書(shū)一開(kāi)始帶他去發(fā)現(xiàn)冰塊——一種在他觸摸時(shí)即燙到了他的手，里面有著數(shù)不清的細(xì)針的大塊東西——的祖父的政治氣息。 3 “One Hundred Years of Solitude”, the fruit of his self-imprisonment, sold 50m copies in more than 30 languages. Critics observed that its style, magical realism as they called it, was not new: Jorge Luis Borges, a blind Argentine poet, had felt his way through those labyrinths before. But its fame was startling. The world was seduced by a Latin America where the Buendía family feuded internally and externally, with rifles or with silence, for generations; where death gave its female victims instructions to sew their own shrouds; where the blood from a suicide by shotgun flowed all through Macondo, carefully avoiding the carpets; and where Remedios the Beauty was taken up to heaven as she hung out sheets on the washing line. 作為他自我囚禁的果實(shí)，《百年孤獨(dú)》已經(jīng)被翻譯成30多種語(yǔ)言，賣出了5000萬(wàn)冊(cè)。評(píng)論家指出，其風(fēng)格——他們稱之為魔幻現(xiàn)實(shí)主義——并不新鮮：在此之前，阿根廷雙目失明的詩(shī)人豪爾赫·路易斯·博爾赫斯已經(jīng)憑著他的感覺(jué)穿越了那些迷宮；但是其名聲是響亮的。這個(gè)世界已經(jīng)被書(shū)中的那個(gè)拉丁美洲給誘惑住了。在那里，布恩迪亞家族為了內(nèi)部的和外部的世仇，或用武力或用沉默，爭(zhēng)斗了數(shù)代之久；在那里，死亡給與了女性受害者如何編織織自己壽衣的建議；在那里，來(lái)自用短槍自殺的鮮血淌遍了馬孔多，但偏偏繞過(guò)了各種地毯；在那里，美女瑞米迪娥因?yàn)榘汛矄螔煸诹酪吕K上而被帶上了天堂。 4 And it was all true. So Gabo insisted, to those who found his world outmoded and impossible. What seemed fantastical and extraordinary was merely reality in its local guise. Between novels he kept up his first profession, journalism, fearlessly reporting government scandals and narcoterrorism. When he had become hugely famous the government of Colombia sent him to mediate with the FARC guerrillas. That was surely as surreal as anything he wrote in the house on Calle de La Loma. 所有這一切都是真實(shí)的。于是，面對(duì)那些認(rèn)為他的世界已經(jīng)過(guò)時(shí)和不可能存在的人，加博堅(jiān)持了下來(lái)?？瓷先サ奶摶煤凸之惒贿^(guò)是穿著本地外衣的真實(shí)。在創(chuàng)作小說(shuō)的間隙，他還在繼續(xù)著自己的第一職業(yè)——記者，無(wú)所畏懼地報(bào)道了政府的丑聞和毒品交易所帶來(lái)的恐怖活動(dòng)。當(dāng)他名聲大震時(shí)，哥倫比亞政府曾經(jīng)派他去同哥武游擊隊(duì)談判，此事之離奇就如同他曾經(jīng)把自己關(guān)在卡勒代拉洛馬的房子中寫作一樣確定無(wú)疑。 5 What the world could not grasp about Latin American literature, he told his Nobel prize audience in 1982, was the presence in it of the ghosts of the disappeared, as many as the population of Uppsala, and of émigrés and exiles, as many as there were Norwegians. These shadows, with their different reality, were as persistent as the continent's beauty, its violence and its pain. In the year after he was born a crowd of banana workers, their number as fluid and fleeting as memory, were killed by the army in Aracataca, the bodies taken so silently by train to the coast that the story at once became myth. It grew with him. 他在1982年的諾貝爾獎(jiǎng)?lì)C獎(jiǎng)儀式上對(duì)聽(tīng)眾說(shuō)，這個(gè)世界對(duì)于拉丁美洲文學(xué)所不可能領(lǐng)會(huì)的是曾經(jīng)存在與其中但現(xiàn)在業(yè)已消失的、數(shù)量如同烏普薩拉的人口一樣多鬼魂，是同挪威人口一樣多的移民和流亡者的鬼魂。這些各具真實(shí)感的陰影就如同這個(gè)大陸的美麗、暴力和痛苦一樣持久不散。在他出生的那一年，一群人如像記憶一樣流動(dòng)和短暫的香蕉工人曾被駐扎在阿拉卡塔卡的軍隊(duì)屠殺，之后，他們的尸體被悄悄地裝上火車運(yùn)去了海邊。整過(guò)過(guò)程之無(wú)聲無(wú)息，使得這個(gè)故事立即變成了神話，伴隨著他一起長(zhǎng)大。 6 His sympathies stayed on the left-Liberal side of things. Under General Rojas Pinilla Colombia became uncomfortable; he took refuge in Mexico in 1961, and for years was refused entry to the United States. Fidel Castro and Hugo Chávez were proud to count themselves his friends. With Mr Castro he went fishing and talked books, he said, not politics. But he had a weakness for the “halo of power”, of whatever colour, and a soft spot for old autocrats still carrying, like Simón Bolívar in “The General in his Labyrinth”, their bullet scars, their memories of past glories and their faded battle tunics, with buttons made from the gold of Atahualpa. 他的同情心留在了事情的左翼自由主義一邊。在羅哈斯·皮涅拉的治下，當(dāng)時(shí)的哥倫比亞已經(jīng)變得難以令人感到舒心；1961年，他避難墨西哥，并且很多年被拒絕進(jìn)入美國(guó)。菲德?tīng)枴たㄋ固亓_和烏戈·查韋斯曾自豪地把他們自己當(dāng)做是他的朋友。他說(shuō)，他同卡斯特羅一起釣過(guò)魚(yú)，一起談?wù)撨^(guò)書(shū)籍，但就是沒(méi)有談?wù)撨^(guò)政治。但是，他也有弱點(diǎn)。對(duì)他來(lái)說(shuō)，“權(quán)利的光環(huán)”不管何種顏色，老獨(dú)裁者仍舊帶有的弱點(diǎn)，就像《迷宮中的將軍》里的西蒙·玻利瓦爾一樣，他們的槍疤，他們對(duì)于過(guò)去榮耀的記憶，他們已然褪色的、帶有用出自阿塔瓦爾帕的黃金制成的紐扣的戰(zhàn)袍。 7 Writing was difficult; the words came as painfully as kidney stones. Nonetheless, there was nothing else he had wanted to do in life. He burned “to write so I would not die”. The desire began with “The Thousand and One Nights” in childhood and the tale of the fish, slit for frying, with a diamond as big as an almond in its belly. It was reinforced in his cub-reporter-student days in the cafés of Barranquilla and Cartagena, where he discovered Kafka, Faulkner, Woolf and Hemingway. His strongest influence, though, remained his grandmother, who had told him with the most deadpan face that the strangest things were true. 寫作是艱難的；文字帶給他給的痛苦同腎結(jié)石帶給他的痛苦是一樣的。但是，盡管如此，他還是不想在自己的一生中從事任何其他的工作。他焚膏繼晷地寫作，“因?yàn)橹挥羞@樣我才不會(huì)死亡”。這種渴望始于孩提時(shí)代的《一千零一夜》和一個(gè)有關(guān)魚(yú)的傳說(shuō)——在被刨開(kāi)等待煎炸之時(shí)，一個(gè)杏仁一般大的寶石出現(xiàn)在它的肚子里；又因他在巴蘭基亞和卡塔赫納的咖啡館中做見(jiàn)習(xí)記者的日子而得到強(qiáng)化——在那里他發(fā)現(xiàn)了卡夫卡、?？思{、(弗吉尼亞·)沃爾夫和海明威。但要說(shuō)到給他影響最大的，還是他的祖母——她曾經(jīng)面無(wú)表情地告訴他：最奇怪的事情都是真實(shí)的。 Taking the steamboat 蒸汽輪船之旅 8 Those tales assumed no division between the waking and dreaming state. Like him, his characters were often insomniacs, terrified of the dark and plagued, as he was, by intrauterine memories and premonitory dreams. Their affliction was so acute that their days became seamless and infinite as winter rain. Yet his lovers too, in sheer happiness, were in the same suspended state. His last substantial novel, “Love in the Time of Cholera”, based on the forbidden romance of his own parents, ended with the aged lovers on the creaking Magdalena steamboat, pushing through purple lotus and past crocodiles with their mouths agape to catch butterflies, out to the mouth of the sea. But as his grandfather had told him, when they first saw that horizon, “There is no shore on the other side.” 這些故事都有這樣一個(gè)假設(shè)：醒著和夢(mèng)中是沒(méi)有區(qū)別的。他的性格就如同他這個(gè)人一樣：經(jīng)常失眠，害怕黑暗，受著在子宮中的記憶和有預(yù)兆的夢(mèng)的折磨。其痛苦之尖銳，使得受折磨日子變得如同冬雨一般，密無(wú)縫隙，綿綿無(wú)盡。然而，他所愛(ài)的人，盡管沉浸在純粹的歡樂(lè)之中，也是處于同樣的暫停狀態(tài)。作為他最后一部?jī)?nèi)容詳實(shí)的小說(shuō)，《霍亂時(shí)期的愛(ài)情》就是以他的父母之間的被禁止的愛(ài)情寫成的。結(jié)尾處，這對(duì)上了年紀(jì)的戀人，坐在轟轟作響的蒸汽輪船上，順著馬格達(dá)萊納河沿河而下，汽船推開(kāi)紫色的蓮花，經(jīng)過(guò)張著大嘴撲食蝴蝶的鱷魚(yú)，向入?？隈?cè)?。但是，正如他的祖父曾?jīng)告訴他的那樣，當(dāng)他們第一次看到地平線的時(shí)候，“那一邊根本沒(méi)有岸”。 From the print edition: Obituary |
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來(lái)自： 看見(jiàn)就非常 > 《文化》
