用作教育家的村上春树与卡佛

careening around in the snow

(May 25, 1938 – August 2, 1988)

of shot fly in their direction

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.

the shouts and back-slaps of the others.

Raymond Clevie Carver, Jr.

on possible reasons for the success

图片 1

她恐怕在裤子上擦了擦手。

in my stories. And that element

of my books in your country. Slipped

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.

仿效资料:

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

驾着一辆五十年份的Dodge小小车

图片 2

在雪地里横冲直撞。向别的一些钱物

on possible reasons for the success

and disappearing?

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.

like those soldiers in the first part

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.”

When something slammed into the side

“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.”

那一个士兵瞧着霰弹

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.

of sheer chance. How all this translates

图片 3

任凭在诗歌照旧在小说里,用一般但可信的言语,去写普通的事物,并给予这几个平凡的东西

─管它是椅子,窗帘,叉子,依旧一块石头,或女生的耳环——以宽广而动魄惊心的力量,那是足以做到的。写一句表面上看起来无伤大雅的寒暄,并随后传递给读者冷彻骨髓的寒意,那是能够产生的。

图片 4

And messed around a little more

of my books in your country. Slipped

cried, Dumb luck. Freak accident.

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

那是您发觉在本身的小说中

A fateful literary meeting: Raymond Carver and Haruki Murakami

独有三英寸。作者叫喊出

“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.

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.

自个儿凝视着房间的八个角落。

into talk of pain and humiliation

和五八个傻小子

you find occurring, and recurring,

一九八三年,在卡佛在U.S.A.还未持有巨大声誉之时,村上间或在一本选聚集读到了卡佛的一篇题为《脚下流淌的深河》(So
Much 沃特er so Close to
Home)的随笔,继而异常受感动,便想方设法把卡佛的具有文章都翻译,并介绍到了东瀛。卡佛小说的饱满内涵根植于她前半生所受的倒闭,他随处阶层(即工人阶级或中私下产阶层)所处的痛楚和无语,和她所阅览到的越来越真正的美利坚联邦合众国。东瀛的读者喜欢卡佛,差不离是因为他俩和美利坚合资国的中产阶级一样,是割裂和窝火的。在她们生命中,大概有类似羞愧的事物在内部作梗,不管印度人依然法国人都以千篇一律。

We sipped tea. Politely musing

He must have wiped his hands on his pants.

图片 5

盘算就到此结束。

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.

怎么着转化成销量。

of sheer chance. How all this translates

不行上午,为何要想吧?

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:

穿过空气神速发展。笔者望着它,

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.”

now, I imagine I see it coming. See it

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.

自家猜小编应当说的。但本身没悟出,他会走得那么早。

By Jeff Baker (Special to The Seattle Times)

I looked into a corner of the room.

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.”

And we were gonna leave it at that.

(以上海教室片均来自于互联网。)

他自然遭到他的挫败,碰着

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.

my head to laugh with my pals.

图片 6

and snow. The pain was stupendous.

in terms of sales.

to some other bozos, who yelled and pelted

(Mary Cauffman / The Seattle Times)

四个赫然有一些其他什么进来了的屋家。

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.

朝他们飞来,

“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.

in my stories. And that element

真伤心,作者开端哭泣,

But my window was down three inches.

It was awful when I began to weep

Three inches. I hollered out

沿着路滑行,然后转头拐角

二十年后,村上这么说。

骄傲的神情,当其余人朝她大吵大闹,

in front of those tough guys while they

冰雪球。疼痛是钻心的。

我的书在你的国度获得成功的

她生命中的失利,正如作者同样。


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

bozos. Giving the finger

多闲荡了会儿。长大后

扔掉。大家疾驰离开,叫骂着。

用雪球,砂砾,枯枝朝着大家的小车

前不久多看随笔短篇,翻开卡佛的短篇集《大教堂》的第一页,明明是中译本,前言却是村上春树所写,篇名「RaymondCarver:
美国平民的话语」。在那之中原因,多半是由于村上太喜欢卡佛了,在村上春树的著述中,也可观察卡佛的印迹,语言平实,用词简练,多为未有终结的完工。卡佛的创作被抵触为极具极简主义的美学,即便她和煦并不希罕那个标签。

to have his share of setbacks and get lost

wind up to throw. From this vantage,

Why remember that stupid car sliding

咱俩抿着茶。思忖着

We politely raise our tea cups in the room.

And the humiliation.

大家在房屋里高雅地举起青瓷杯。

跟着消失?

况且在返乡吃晚饭前

while they stood, unable to move

挪不动半步。

拍拍她的双肩意味着歌唱。

another thought. And why should he?

of my head so hard it broke my eardrum and fell

一晃,我又回来十七虚岁

挥手双臂筹算扔掉。从这么些有利地点

tree branches. We spun away, shouting.

So much else to think about always.

A room that for a minute something else entered.

她再未有想过

村上在有的解说会上曾说,讲和气的随笔有一点难为情,可是讲讲翻译是能够的,因为是外人写的随笔。他由此翻译卡佛的著述,亦雕琢出来村上作风的文娱体育,卡佛的文风诚实而简单,「推敲细密,把程式化的言语和不须要的梳洗全部刨除,在那几个基础上尽心以『旧事』的格局,坦诚而温柔地揭示本人的金玉良言,是卡佛追求的文化艺术境界」,那与村上也很为临近。就算几个人的文章为主差之千里,卡佛的社会风气集中于人与人以内的涉嫌和内在的恐慌感,而村上的世界则是环绕内心的一身和数不清的想象。但她如故翻译了卡佛的全套创作。

抛掷物

拾叁分扔雪球的玩意儿,不得不装出惊愕,

We sipped tea. Politely musing

speeding through the air while I watch,

明天,卡佛根据这段对话,写了一首诗,赠与村上。(The
Projectile,附在文末)

但本人的车窗降下了三英寸。

down the stupid road, then turning the stupid corner

在那些粗鲁的东西如今,而他们

掉下来,完整无缺。八个紧实的

耻辱也是。

对此村上来说,翻译其实是兴趣爱好,而非工作,它就好像保龄球一样。他并未刻意地读书过翻译,高校也并非韩语专门的学问,只是高级中学的时候习贯了读阿尔巴尼亚语原版的图书,积存大量的开卷之后,任天由命地,便学会了翻译。他说,小说能够遵照本人的主张,天马行空,可是翻译不行,要求尽最大或者扼杀本小编(ego),在制约个中,让翻译中的自个儿谦虚而充实,那样对写随笔也是有十分大的益处。

别的要想的事总是如此多。

几度出现的东西。以及这种

1981年夏,村上夫妇去了在Washington州奥林匹亚半岛,登门探问卡佛夫妇,他们的家建在山丘上,取了三个“sky house”
的雅名,当时卡佛正忙着写作,但依旧调控要抽取时间来和村上聊一聊。译者大老远的从东瀛跑过来拜候,卡佛也自愿欢欣。据卡佛的妻妾说,「Ray
特别想和村上拜访。完全像个孩子同样雀跃着,他专程想精晓,自个儿的稿子是怎样把远远地离开重洋的多个人三回九转到联合的」。早上村上夫妇达到以往,一同吃了熏萨门鱼,喝了些黄茶,村上和卡佛走到户外的台阶上,哀悼撞上玻璃的小鸟之死,商量着卡佛在扶桑获得好评的理由。

就如上个世纪前半期的

随笔情势是把心里所思所想流畅而随意的表明出来,翻译方式则是把客人的所思所想对照自身的言语转变出来。村上在三十五年间,交替实行这两种方式,就如精神上的血液循环一般。他把翻译名称为「向外展开的窗」,去吗,把温馨的视角放到海外去,把团结投身到世界中间去,如此方能免了成为井蛙之见的危殆。

before going home to supper. He grew up

在那天的拜访中,村上从没有过问卡佛翻译的事,也远非告知她,他实在是贰个女作家。

The Projectile


one last obscenity. And saw this guy

但当时自家没看见。笔者已转过头

And for a minute I was 16 again,

想必是因为您的随笔是由人生中非常多的细小的耻辱而结成的?那样马来西亚人会相比较轻便接受。

He never gave that afternoon

纯属偶尔的要素。全部那么些

给村上春树

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

into talk of pain and humiliation

伸出中指,他们喊话着,

出人意外某种东西猛地撞击小编底部旁边,

you find occurring, and recurring,

目前,作者测度小编看见它飞过去了。看见它

of the last century watched cannisters

and proud of himself, while he took

本身的耳膜震破了,耳垂

图片 7

in a ‘50 Dodge sedan with five or six

缘何要记得那辆呆头呆脑的车

A chance in a million!

最后一句下流话。看见万分东西

大叫,笨蛋。怪物。

和作者的小同伙们说笑。

或者的原故。沉浸在

村上说,

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

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

千年不遇!

into my lap, intact. A ball of packed ice

而她们呆立着,因可怕的迷怔

有关难熬和侮辱的攀谈中

for the dread fascination of it.

for Haruki Murakami

our car with snowballs, gravel, old