莫言师傅越来越幽默 中英翻译

师傅越来越幽默(2001)序言:任何作家从事这一行业都有自己的理由，我也不例外。但我为什么成了这种作家，而没有成为海明威或者福克纳那样的作家，我想是和我的童年经历分不开。我的写作生涯受益于我的童年，它帮助我一直在这条道路上继续走下去。回顾40多年前，也就是20世纪60年代初期，那是现代中国历史上最奇异的一段时期，人们经历着史无前例的狂热。一方面，整个国家经济停滞，人民贫困，人们缺吃少穿，终日挣扎在生死线上；另一方面，那个时代的人有着强烈的政治热情，挨饿的人民勒紧裤腰带也要追随党的共产主义实践。那时我们相信，虽然忍饥挨饿，但我们是世界上最幸运的人。我们相信世界上2/3的人民都生活在悲惨之中，我们的神圣使命就是把他们从水深火热中拯救出来。直到80年代中国实行改革开放政策，我们才最终开始面对现实，仿佛大梦初醒。From the preface to “Shifu, Youll Do Anything for a Laugh” (2001)Every person has his own reasons for becoming a writer, and I am no exception. But why I became the sort of writer I am and not another Hemingway or Faulkner is, I believe, linked to my childhood experiences. They have been a boon to my writing career and are what will make it possible for me to keep at it down the road. Looking back some forty years, to the early 1960s, I revisit one of modern Chinas most bizarre periods, an era of unprecedented fanaticism. On one hand, those years saw the country in the grips of economic stagnation and individual deprivation. The people struggled to keep death from their door, with little to eat and rags for clothes; on the other hand, it was a time of intense political passions, when starving citizens tightened their belts and followed the Party in its Communist experiment. We may have been famished at the time, but we considered ourselves to be the luckiest people in the world. Two-thirds of the worlds people, we believed, were living in dire misery, and it was our sacred duty to rescue them from the sea of suffering in which they were drowning. It wasnt until the 1980s, when China opened its door to the outside world, that we finally began to face reality, as if waking from a dream.酒国(2000)门窗严丝合缝，密封很好。丁钩儿周身发痒，汗在脸上爬。他听到平头友善地说：“您不要着急，心静自然凉。”丁钩儿耳朵里有嗡嗡的响声，他想到蜜蜂。蜂蜜。蜜饯婴儿。此行任务重大，不敢马虎。窗玻璃似乎在微微颤抖。几架巨大的机械，在窗户外的天地间缓慢地、无声无息地移动着。他感到自己在一个水柜里，像一条鱼。那些矿山机械是黄色的。黄色令人昏昏欲醉。他努力谛听着矿山机械的声音，但任何努力都是徒劳。From “Republic of Wine” (2000)The office was hermetically sealed by perfectly dovetailed doors and windows. Once again Ding Gouer started to itch all over, and rivulets of sweat ran down his face. He heard Crewcut say consolingly:“Dont worry, youll cool off as you calm down.”A buzzing filled Ding Gouers ears. Bees and honey, he was thinking, and honeyed infants. This mission was too important to be undone by carelessness. The glass in the windows seemed to vibrate. In the space between heaven and earth outside the room, large rigs moved slowly and noiselessly. He felt as if he were in an aquarium, like a pet fish. The mining rigs were painted yellow, a numbing color, an intoxicating color. He strained to hear the noise they made, but no dice.丰乳肥臀(2004)日本人的马队沿着河滩往东跑下去，跑到上官来弟她们放鞋子的地方，齐齐地勒住马头，穿过灌木丛爬上了大堤。她看不到日本马队了。她看到河滩上躺着那匹死去的大花马，硕大的头颅上沾满黑血和污泥，一只蓝色的大眼珠子，悲凉地瞪着湛蓝的天空。那个白脸的日本兵半截身子压在马腹下，趴在淤泥上，脑袋歪在一侧，一只白得没有一点血色的手伸到水边，好像要从水里捞什么东西。清晨光滑平坦的滩涂，被马蹄践踏得一塌糊涂。河水中央，倒着一匹白马，河水冲击着马尸缓缓移动、翻滚，当马尸肚皮朝上时，四条高挑着瓦罐般胖大马蹄的马腿，便吓人地直竖起来，转眼间，水声混浊，马腿便抡在水里，等待着下一次直指天空的机会。那匹给上官来弟留下深刻印象的枣红大马，拖着它的骑手的尸体，顺流而下，已经走到很远的下游，她突然想到，这匹马很可能要到樊三爷家去找那匹大种马。她坚决地认为，枣红大马是匹母马，与樊三爷家的公马是失散多年的夫妻。From “Big Breasts and Wide Hips” (2004)The Japanese cavalry unit headed south along the riverbank all the way up to where Laidi and her sisters had left their shoes. There they reined in their horses and cut through the bushes up to the dike. Laidi kept looking, but they were gone. She then turned to look down at the dead sorrel, its head bloody, its big, lifeless blue eyes staring sadly into the deep blue sky. The Japanese rider lay facedown in the mud, pinned beneath the horse, his head cocked at an awkward angle, one bloodless hand stretched out to the riverbank, as if fishing for something. The horses hooves had chewed up the smooth, sun-drenched mud of the shoals. The body of a white horse lay on its side in the river, rolling slowly in the shifting water, until it flipped over and its legs, tipped by hooves the size of clay jugs, rose terrifyingly into the air. A moment later, the water churned and the legs slipped back into the water to wait for the next opportunity to point to the sky. The chestnut horse that had made such an impression on Laidi was already far downriver, dragging its dead rider with it, and she wondered if it might be off looking for its mate, imagining it to be the long-separated wife of Third Master Fans stud horse.生死疲劳(2008)我的故事，从1950年1月1日讲起。在此之前两年多的时间里，我在阴曹地府里受尽了人间难以想象的酷刑。每次提审，我都会鸣冤叫屈。我的声音悲壮凄凉，传播到阎罗大殿的每个角落，激发出重重叠叠的回声。我身受酷刑而绝不改悔，挣得了一个硬汉子的名声。我知道许多鬼卒对我暗中钦佩，我也知道阎王老子对我不胜厌烦。为了让我认罪服输，他们使出了地狱酷刑中最歹毒的一招，将我扔到沸腾的油锅里，翻来覆去，像炸鸡一样炸了半个时辰，痛苦之状，难以言表。鬼卒还用叉子把我叉起来，高高举着，一步步走上通往大殿的台阶。两边的鬼卒嘬口吹哨，如同成群的吸血蝙蝠鸣叫。我的身体滴油淅沥，落在台阶上，冒出一簇簇黄烟From “Life and Death Are Wearing Me Out” (2008)My story begins on January 1, 1950. In the two years prior to that, I suffered cruel torture such as no man can imagine in the bowels of hell. Every time I was brought before the court, I proclaimed my innocence in solemn and moving, sad and miserable tones that penetrated every crevice of Lord Yamas Audience Hall and rebounded in layered echoes. Not a word of repentance escaped my lips though I was tortured cruelly, for which I gained the reputation of an iron man. I know I earned the unspoken respect of many of Yamas underworld attendants, but I also know that Lord Yama was sick and tired of me. So to force me to admit defeat, they subjected me to the most sinister form of torture hell had to offer: they flung me into a vat of boiling oil, in which I tumbled and turned and sizzled like a fried chicken for about an hour. Words cannot do justice to the agony I experienced until an attendant speared me with a trident and, holding me high, carried me up to the palace steps. He was joined by another attendant, one on either side, who screeched like vampire bats as scalding oil dripped from my body onto the Audience Hall steps, where it sputtered and produced puffs of yellow smoke. With care, they deposited me on a stone slab at the foot of the throne, and then bowed deeply.