8月28日 | 英语翻译 | 与时间休战 - 关于爱、愤怒、上瘾(尤其是酗酒)、失落和家庭暴力
前言：今天真的好困，可是昨天我睡得真的很早，而且也没有看手机。
我遇到了图灵情景猜谜，然后遇到了一个网站，很喜欢里面写得一篇文章。
目录选择：
Parke Godwin’s A Truce with Time
Iread Parke Godwin’s novel A Truce with Time: A Love Story with Occasional Ghosts in 1990, shortly before my college graduation. (The book had been published in 1988; it was written in 1986, and set in 1979.)
What I remember of my reaction to it is that it felt to me more mature than books I was used to reading. The male lead is a 50-year-old writer (and former stage actor), and he has a complicated life history, and close friends, and emotional hangups, and family ghosts who might be literal or might be metaphorical. The female lead is a 55-year-old video-art-maker, who also has a history of her own. There’s a depth to these characters, a richness of backstory that I wasn’t used to seeing in fantasy novels.
1990年，在我大学毕业前不久，我读了帕克·戈德温的小说《与时间休战:一个偶尔有鬼魂出没的爱情故事》。(该书已于1988年出版；它写于1986年，背景设定在1979年。)
我记得我对它的反应是，我觉得它比我以前读的书更成熟和理智。男主角是一位50岁的作家(前舞台剧演员)，他有着复杂的生活历史，亲密的朋友，情感障碍，以及可能是字面意义上的或隐喻意义上的家庭幽灵。女主角是一位55岁的视频艺术制作人，她也有自己的一段历史。这些角色有深度，有丰富的背景故事，这是我在虚拟小说中不习惯看到的。
I’ve thought about the book now and then over the past 30+ years, but haven’t picked it up again until now. But something reminded me of it recently, and I decided to re-read it.
And now I’ve done so, and found it really interesting. I can’t entirely recommend it, but it’s unusual and fascinating, and I really love some of it.
Here are some thoughts about it:
I would say that it’s about love, and anger, and addiction (especially alcoholism), and loss, and familial bullying verging on abuse, and art vs commerce, and artistic ambition, and financial stability (or lack thereof), and the gender dynamics of mid-twentieth-century white straight middle-class America, and some of the ways that people are shaped by those things.
在过去的30多年里，我不时想起这本书，但直到现在我才再次拿起它。但最近有件事让我想起了它，我决定重读一遍。
现在我已经这样做了，并且发现这真的很有趣。我不能完全推荐它，但它不同寻常，令人着迷，我真的很喜欢其中的一些。
以下是对此的一些想法:
我会说，它是关于爱、愤怒、成瘾(尤其是酗酒)、失落、近乎虐待的家庭欺凌、艺术与商业、艺术抱负、财务稳定(或缺乏财务稳定)、二十世纪中期美国白人中产阶级的性别动态，以及这些事物塑造人们的一些方式。
Bantam Spectra book & NYC art-and-literary world
It was published by Bantam Spectra, as a fantasy novel, but I would call it pretty much mainstream literary fiction. In particular, I would say that it mostly relies on 1970s- to 1980s-literary-fiction protocols instead of modern-fantasy protocols. The setting (the NYC art-and-literary world); the frequent alcohol, cigarettes, and discussions of sex; the 50-year-old male lead who’s dealing with an emotional crisis and trying to cope with the (metaphorical) scars left by his stage-actor parents; the rhythms of the dialogue; the characters’ concerns and interests and interactions. I have a bit more familiarity with that kind of book now, and a bit less patience for it, than I did at 22. But I nonetheless like the faint aura of the fantastical that those tropes acquire from being in a Bantam Spectra book. If it had been published by a non-genre publisher, I think it would have been easy to read the (vividly portrayed) familial ghosts as purely memories and imagination; but as it is, I like the way that they waver uncertainly (at least in my reading of them) between literal and metaphorical.
它由矮脚鸡光谱出版社出版，作为一个幻想小说，但我会称之为非常主流的文学小说。特别是，我会说它主要是关于20世纪70年代至80年代的文学小说协议，而不是现代幻想协议。背景(纽约艺术和文学世界)；频繁的酒精、香烟和关于性的讨论；50岁的男主角正在处理一场情感危机，并试图应对他的舞台演员父母留下的(隐喻的)伤疤；对话的节奏；人物的关注点、兴趣和互动。与22岁时相比，我现在对这类书更熟悉了，但对它的耐心却少了一些。但我仍然喜欢那些比喻从矮脚鸡光谱书中获得的微弱的幻想光环。如果它是由一个非流派的出版商出版的，我想它会很容易把(生动描绘的)家族幽灵解读为纯粹的记忆和想象；但事实上，我喜欢它们在字面意义和隐喻意义之间摇摆不定的方式(至少在我看来是这样)。
A little bit autobiographical
The book is clearly at least a little bit autobiographical. The male lead, Pat Landry, was born in 1929, and has just turned 50 when the book opens, in 1979. Pat used to be a stage actor, and then became a fantasy novelist, known for writing books about King Arthur. Everything in this paragraph is also true of the book’s author, Parke Godwin.
But I have no idea whether any of the rest of it is true—whether Godwin (who died in 2013) had any of Pat’s personality or family history or romantic history or approach to work or problems with alcohol or etc. (A quick web search has turned up very little info about his personal life.)
这本书显然至少有点自传性质。男主角帕特·兰德里生于1929年，当这本书在1979年出版时，他刚满50岁。帕特曾经是一名舞台演员，后来成为一名奇幻小说家，以写亚瑟王的书而闻名。本书的作者帕克·戈德温也是如此。
但我不知道其余的是否属实——戈德温(已于2013年去世)是否有帕特的任何个性或家族史或浪漫史或工作方式或酗酒问题等。(在网上快速搜索了一下，发现关于他个人生活的信息很少。)
Art as excuse for asshole “艺术是混蛋的借口”
The book is overall pretty serious, dealing with some very serious topics, but it has moments of being really funny. For example, I particularly enjoyed a scene late in the book when Pat and a romance-novelist friend of his are at a science fiction convention and they narrate to each other what they’re doing, each in their own writing style.
Another point of interest: Pat is at least a little less sexist and more emotionally self-aware than I expect from that kind of literary fiction from that period. (Though I haven’t read much of that kind of book, so my expectations are based in very little data.) For example, he explicitly tells a longtime female friend, “I don’t want to do the Alcoholic Writer bit, the child genius who has to be coddled by every woman he knows. Art as excuse for asshole. I despise people like that.” (p. 7) (…Though that statement is complicated by the fact that he is in fact an alcoholic writer, who occasionally behaves quite badly when he gets drunk.
这本书总体来说相当严肃，涉及一些非常严肃的话题，但也有非常有趣的时刻。例如，我特别喜欢本书后面的一个场景，当时帕特和他的一个浪漫小说家朋友在一个科幻大会上，他们互相讲述他们正在做的事情，每个人都有自己的写作风格。
另一个有趣的地方是:帕特比我想象的那个时期的文学小说少了一点性别歧视，多了一点情感上的自我意识。(虽然我没怎么读过那种书，所以我的预期是基于很少的数据。)例如，他明确地告诉一位长期交往的女性朋友，“我不想做那个酗酒的作家，那个必须被他认识的每个女人宠着的天才儿童。艺术是混蛋的借口。我鄙视那样的人。”(第7页)(…尽管事实上他是一个酗酒的作家，当他喝醉时，偶尔会表现得很糟糕，这一事实使这种说法变得复杂。
表现主义者：如何提前为自己的讲述而做好准备，为自己的人生做一个完美的陈述者和准备者。
Complicated Centering Socital Forece 中心社会力量
And perhaps relatedly: women are unexpectedly prominent and nuanced in this book. A fairly large fraction of the book—maybe a third or so (but that’s just a guess)—is from various women’s points of view (mostly the female lead, Lauren). Pat almost never interacts onscreen with men other than his family members; when he’s not writing, or interacting with the ghosts/memories of his family, he spends time with any of four or five women (only one of whom he’s sleeping with).
The unfortunate side of the portrayal of the women is that it feels to me like most of them have lives that are centered entirely on the man they’re with or on finding a man to be with. There are, of course, real people whose lives are like that (and that may have been more common in 1979 than it is now) (and the book does touch on the web of complicated societal forces that can result in that centering, including financial security); but it comes up so often in this book that it makes me wonder whether Godwin thought that it was true of most women.
或许与此相关的是:女性在这本书里出乎意料的突出和微妙。这本书的很大一部分——可能是三分之一左右(但这只是猜测)——来自不同女性的观点(主要是女主角劳伦)。除了家庭成员之外，帕特几乎从不在屏幕上与男性互动；当他不写作，或与家人的鬼魂/记忆互动时，他会花时间和四五个女人中的任何一个在一起(他只和其中一个上过床)。
对这些女性描述的不幸的一面是，在我看来，她们大多数人的生活都完全以和她们在一起的男人为中心，或者以寻找一个男人为中心。当然，也有真实的人过着那样的生活(这在1979年可能比现在更普遍)(这本书确实触及了可能导致这种中心化的复杂社会力量网络，包括金融安全)；但它在本书中出现得如此频繁，让我不禁怀疑戈德温是否认为大多数女性都是如此。
straight man who was born in 1929 时代的超越性
And it’s the kind of book where the male lead is pretty consistently referred to by his last name (in narration), and the women by their first names.
But then again, I would have expected a lot more sexism from a book written by a 55-year-old straight man who was born in 1929. I wouldn’t have expected the women in the book to have nearly as much interiority and agency and independence as they have.
在这种书里，男主角总是被用他的姓来称呼(在叙述中)，而女主角则被用他们的名来称呼。
不过话说回来，我本以为一本1929年出生的55岁直男写的书会有更多的性别歧视。我没想到书中的女性会有如此多的内在性、能动性和独立性。
即使现在，时代与人物的不匹配也是时常出现，现在的门阀制度，性别歧视（唐山事件），那些一切不该出现在这个时代的东西出现了，那些本不该出现在那个时代的东西出现了。
POV scenes 视点场景
And the female lead, Lauren Hodge, is a fascinating character. She’s 55 years old; she was married and raised two children to adulthood, and then she left her life in Portland, OR, behind and moved to NYC to become an artist, and she’s now ambitious and semi-successful and dedicated almost exclusively to her work.
Even with Lauren, there are occasional unfortunate gender dynamics, moments when (for example) Pat interacts with Lauren and then narrates something to the effect that female psychology is weird and unlike male logic. But then again, in Lauren’s POV scenes, she’s occasionally (quite rightly) upset that the men in her life keep expecting her to do everything for them.
女主角劳伦·霍奇是个迷人的角色。她已经55岁了。她结了婚，把两个孩子抚养成人，然后她离开了在波特兰的生活，搬到纽约成为一名艺术家，她现在雄心勃勃，有成功了一半的事业，现在几乎完全专注于她的工作。
即使是劳伦，也偶尔会出现不幸的性别动态，比如帕特与劳伦互动的时刻，然后讲述一些大意是女性心理很奇怪，不像男性逻辑的事情。但话说回来，在劳伦的视点场景中，她偶尔会(相当正确地)对她生活中的男人一直期望她为他们做一切感到不安。
Pleased and Impressed
Anyway, I’m not used to seeing characters like Lauren in fiction, regardless of genre; I’m mostly pleased and impressed with the portrayal of her.
One more thing, speaking of gender dynamics—a moment that I particularly like, near the beginning of the book (pp. 4-5), from the viewpoint of a secondary female character:
过去我不习惯在小说里看到劳伦这样的人物，不管什么体裁；我对她的刻画非常满意，印象深刻。
还有一点，说到性别动态——我特别喜欢的一个时刻，在书的开头(第4-5页)附近，从一个次要女性角色的角度来说:
[Caroline] and Landry had never been lovers, but from their first meeting as office temporaries eight years ago, they became more than friends, with a deep understanding. Both of them had been up and a long time down. […]
Never lovers—Caroline idly wondered why sometimes and concluded they just didn’t ring each other’s bells that way. Not that it mattered; you didn’t have to sleep with everyone you loved.
令人吃惊的处理关系方式
(And something similar turns out later to be true with another female friend of Pat’s—they’re longtime close friends, and physically affectionate, but she makes very clear that she isn’t going to sleep with him.)
(后来，帕特的另一位女性朋友也遇到了类似的情况——他们是多年的密友，身体上也很亲热，但她明确表示不会和他上床。)
身体上可以很亲热，关系可以亲密，表示不会睡觉。
Special Book
That’s the one bit of the book that I specifically remembered for all these years, although I misremembered it as being dialogue between the two of them rather than as narration. (And I misremembered it as being a situation where they were somewhat interested in each other but just had never got around to sleeping together.) Even now, I’m still really unused to seeing two prominent viewpoint characters of compatible orientations being close friends but not being interested in going to bed together. It happens all the time in real life, but I rarely see it in fiction.
这是一本很特殊的书，这些年来我一直记得他，尽管我误记成了两个主角之间的对话，而不是narration。（并且我错误的记为它是一种有些关于彼此之间的情况，而不是围绕着去一睡觉。）甚至现在，我仍然感觉我真的没有看看懂角色的观点，作为密友，而不对一起上床感兴趣。这是一直发生在我的真实生活中的，但我却很少在小说中看见他。
NYC and color
The book does need a bunch of content warnings: some casual use of ethnic slurs (including one I had never seen before); suicide and suicidal ideation; angry alcoholic men and women; references to domestic violence, and a couple of onscreen moments of same; a few unfortunate (but brief) portrayals of gay and lesbian characters; old-fashioned gender dynamics; a couple of fat jokes; near-total absence of characters of color despite being set in NYC; etc. I can’t unreservedly recommend the book.
这本书含有大束的内容警告：有些漫不经心的使用道德slurs（包括我之间不知道的）自杀和自杀意识，粗暴的喝酒人和女人，涉及性别暴力，和一对屏幕上的时间。一些厄运，但是简洁，同性恋画像和lesbian角色。老式流行性别动态，一些肥胖的玩笑，几乎所有的角色的颜色，尽管在NYC等等。我不能去推荐这本书。
Overall
But overall, I found it fascinating and unusual. I’m still thinking about whether I want to try to get permission to reprint it.
但总的来说，我发现了迷人有趣和不平常的。我仍然思考我是否想承诺重新输出它。
Arthurian
For more about Godwin’s work, especially his Arthuriana, see an overview from Green Man Review published in 2002. But that doesn’t mention this book at all.
Sidenotes
(Side note: I was really sure that the we-never-slept-together scene in this book had one character saying something like “How come we never slept together?” and the other saying something like “I guess we never got around to it. Oh, well, it’s too late to start now.” Which is so specific, and so definitely not quite what’s in the book itself, that now I wonder whether I read that scene in some other book and just conflated it with this one.)
(See also a related blog post of mine from 2011—but that’s a slightly different topic; that’s about characters who are interested in each other but nonetheless don’t sleep together.)
为什么不一起睡觉？
总结待补充：
这两天真的好累啊，看Java的视频变得非常烦躁，唉，总是会出现这种情况，早上去图书馆还睡觉了一会儿，还会出现撑不住的情况，本来事情不多，没什么时候，在8月开始的时候，每天什么都不干，现在来了学校也没有什么需要干的，但是课程多，我自己开始喜欢，后来讨厌，持续循环，这是我第23次出现这样的情况了吧。
资料链接：
https://www.kith.org/jed/2022/08/21/parke-godwins-a-truce-with-time/
https://www.manning.com/books/hello-world-second-edition
https://www.oreilly.com/catalog/errataunconfirmed.csp?isbn=0636920260462
https://tool.mingdawoo.com/lang/nearby_word/search?q=漏洞攻击&ds=1
https://github.com/alexandreborges/malwoverview
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