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呵护创造力、减轻创作压力 – 译学馆
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呵护创造力、减轻创作压力

Your elusive creative genius | Elizabeth Gilbert

我是个作家
I am a writer.
当然 写作不仅仅是我的职业
Writing books is my profession but it’s more than that, of course.
更是我一辈子的挚爱与迷恋
It is also my great lifelong love and fascination.
我不认为这些会有所改变
And I don’t expect that that’s ever going to change.
但是 最近 发生了一个特殊事件
But, that said, something kind of peculiar has happened recently
在我的生活和工作中
in my life and in my career,
使我不得不重新思考我与我的工作之间的关系
which has caused me to have to recalibrate my whole relationship with this work.
这个特殊事件就是:我最新出版的这本书
And the peculiar thing is that I recently wrote this book,
这本回忆录叫做《美食 祈祷 爱》
this memoir called “Eat, Pray, Love”
与我以前那些普普通通的作品大不一样
which, decidedly unlike any of my previous books,
不知怎么的 成了一本轰动一时
went out in the world for some reason, and became this big,
的国际畅销书
mega-sensation, international bestseller thing.
结果是 现在不论我到哪里
The result of which is that everywhere I go now,
人们都觉得我这一辈子就这样了
people treat me like I’m doomed.
真的 就这样了 彻底地 没救了 玩完了!
Seriously — doomed, doomed!
他们会非常忧虑地过来跟我说:
Like, they come up to me now, all worried, and they say,
“你不害怕你再也不能达到现在这样的顶峰么?
“Aren’t you afraid you’re never going to be able to top that?
你不害怕你会这样写一辈子
Aren’t you afraid you’re going to keep writing for your whole life
却再也写不出这样一本书
and you’re never again going to create a book
被世人所喜爱的书
that anybody in the world cares about at all,
再也不?”
ever again?”
所以这一切还是蛮庆幸的 你也知道的
So that’s reassuring, you know.
我的日子本来会很难熬 但我想起了
But it would be worse, except for that I happen to remember
20年前 当我还在青少年时期时
that over 20 years ago, when I was a teenager,
第一次告诉人们我想成为一个作家
when I first started telling people that I wanted to be a writer,
我得到了类似一些带有几分恐吓的回应
I was met with this same sort of fear-based reaction.
人们会说 “你不害怕你再也不能拥有这样的成功么?
And people would say, “Aren’t you afraid you’re never going to have any success?
你不害怕被人拒绝的耻辱会蚕食你么?
Aren’t you afraid the humiliation of rejection will kill you?
难道你不怕终身都要做这样的工作
Aren’t you afraid that you’re going to work your whole life at this craft
却一点成就都没有吗?
and nothing’s ever going to come of it
然后你就会这样困死在破碎的梦中
and you’re going to die on a scrap heap of broken dreams
言语中充满着失败的苦楚?
with your mouth filled with bitter ash of failure?”
(大笑)
(Laughter)
诸如此类 你懂的
Like that, you know.
对于这些质疑 最简单的回答是:“怕”
The answer — the short answer to all those questions is, “Yes.”
是的 这种种的一切都让我害怕
Yes, I’m afraid of all those things.
直到今天也一样
And I always have been.
其实除了这些 我还害怕很多
And I’m afraid of many, many more things besides
别人猜不到的东西
that people can’t even guess at,
比方说海草 还有其他吓人的东西
like seaweed and other things that are scary.
但是 说到害怕写作
But, when it comes to writing,
我最近一直在想 我为什么要害怕写作呢?
the thing that I’ve been sort of thinking about lately, and wondering about lately,
为什么呢?
is why?
不是吗?这合理么?
You know, is it rational?
这符合逻辑么?
Is it logical that anybody should be expected
人们害怕从事自己命中注定的工作?
to be afraid of the work that they feel they were put on this Earth to do.
创造性工作究竟有着怎样的特殊性
And what is it specifically about creative ventures
以至于让我们为彼此的精神健康担心起来了呢?
that seems to make us really nervous about each other’s mental health
别的行业可不太会这样 不是吗?
in a way that other careers kind of don’t do, you know?
比方说 就像我爸爸 他是一位化学工程师
Like my dad, for example, was a chemical engineer
在他40年的化学工程生涯中 我不曾记得有人问他是否害怕成为化学工程师
and I don’t recall once in his 40 years of chemical engineering
有人问他是否害怕成为化学工程师 不是吗?
anybody asking him if he was afraid to be a chemical engineer, you know?
没人说:“那个化学工程影响到了约翰?他怎么样了?”
“That chemical-engineering block, John, how’s it going?”
从来不曾发生过这种问话 不是么?
It just didn’t come up like that, you know?
当然 平心而论 化学工程师这一群体
But to be fair, chemical engineers as a group
并没有在过去几个世纪里
haven’t really earned a reputation over the centuries
因酗酒吸毒 狂躁抑郁而享誉全球
for being alcoholic manic-depressives.
(大笑)
(Laughter)
而我们作家 倒确确实实有着那样的名声
We writers, we kind of do have that reputation,
而且不仅作家 各个领域的创作人才
and not just writers, but creative people across all genres,
似乎都有着情绪极不稳定的恶名
it seems, have this reputation for being enormously mentally unstable.
你所需要做的所有事 就是看看各个英年早逝的案例
And all you have to do is look at the very grim death count
在上个世纪 各个领域伟大创作天才们
in the 20th century alone, of really magnificent creative minds
常常是年纪轻轻死于自杀 不是吗?
who died young and often at their own hands, you know?
即使那些没有自杀的
And even the ones who didn’t literally commit suicide
往往也没有完全展现出他们的才华 不是吗?
seem to be really undone by their gifts, you know.
诺曼梅勒 在去世前的最后一次采访中说:
Norman Mailer, just before he died, last interview, he said,
“我的每一本书都蚕食了一部分的我”
“Every one of my books has killed me a little more.”
对于你毕生的作品 这是多么激进的说法啊
An extraordinary statement to make about your life’s work.
但我们对此类说法却视若无睹
But we don’t even blink when we hear somebody say this,
因为我们早已见怪不怪了
because we’ve heard that kind of stuff for so long
且不知为何 人们都已经完全内化接受了这一观念
and somehow we’ve completely internalized and accepted collectively
这种观念就是:创造力和痛苦息息相关
this notion that creativity and suffering are somehow inherently linked
艺术创造最终一定会导致极度苦闷
and that artistry, in the end, will always ultimately lead to anguish.
我今天想问在座各位的是:
And the question that I want to ask everybody here today
你们大家都对此毫无异议吗?
is are you guys all cool with that idea?
你们都觉得这一观点毫无问题吗?
Are you comfortable with that?
哪怕稍稍离远点看这个观点
Because you look at it even from an inch away and, you know —
我也不能同意这种臆断
I’m not at all comfortable with that assumption.
这个观点不但可憎
I think it’s odious.
而且可怕
And I also think it’s dangerous,
我不希望这样的想法一直延续到下个世纪
and I don’t want to see it perpetuated into the next century.
我认为 如果我们可以鼓励我们的创造性思维将再好不过了
I think it’s better if we encourage our great creative minds to live.
而且就我自己来说 在我的处境中
And I definitely know that, in my case — in my situation —
持这一能将我引入黑暗的绝境的假设
it would be very dangerous for me to start sort of leaking down that dark path
非常危险
of assumption,
尤其是考虑到现在的情况 在我的职业生涯中
particularly given the circumstance that I’m in right now in my career.
你看 仔细看一下
Which is — you know, like check it out,
我还年轻 我才四十来岁
I’m pretty young, I’m only about 40 years old.
我还有另外四十年的工作在等着我
I still have maybe another four decades of work left in me.
而且很有可能的是 从这一刻起 我所写的每一部作品
And it’s exceedingly likely that anything I write from this point forward
都会被用来和我上一本作品进行比较
is going to be judged by the world as the work that came after
上一本轰动一时的巨作 不是吗?
the freakish success of my last book, right?
坦率地说吧 看在我们都聊了这么久 我就说句朋友间的掏心话吧
I should just put it bluntly, because we’re all sort of friends here now —
极有可能的是 我这辈子最大成功已经过去了
it’s exceedingly likely that my greatest success is behind me.
天啊 这是何种的想法!
So Jesus, what a thought!
就是这种想法 让人踏上了
That’s the kind of thought that could lead a person
一大清早就喝琴酒的不归路啊
to start drinking gin at nine o’clock in the morning,
我可不想变成那样
and I don’t want to go there.
(大笑)
(Laughter)
我更喜欢继续做我喜欢的工作
I would prefer to keep doing this work that I love.
在我看来 这个问题就算出现了 有能怎么样?
And so, the question becomes, how?
经过一番深入思考 在我看来
And so, it seems to me, upon a lot of reflection,
要想继续写作 我必须要采取这样的方式就是
that the way that I have to work now, in order to continue writing,
我必须要创造出某种心理保护机制 对吧?
is that I have to create some sort of protective psychological construct, right?
从现在起 我必须以某种方式 建立起一个安全距离
I have to sort of find some way to have a safe distance
区别开写作本身 以及他人对作品的反应让我
between me, as I am writing, and my very natural anxiety
自然而然产生的焦虑
about what the reaction to that writing is going to be, from now on.
我去年一直在寻找
And, as I’ve been looking, over the last year,
那些可以参考的模式
for models for how to do that,
我在历史中寻找
I’ve been sort of looking across time,
我也尝试在其他社会中寻找
and I’ve been trying to find other societies
看他们是否有比我们更好 更合理的观点
to see if they might have had better and saner ideas than we have
关于怎样帮助有创造性思维的人们
about how to help creative people
管理影响他们内在创造力的情感风险
sort of manage the inherent emotional risks of creativity.
这一研究把我带到了古希腊和古罗马
And that search has led me to ancient Greece and ancient Rome.
所以请耐心听我讲 因为我们还会绕回来讲这个话题
So stay with me, because it does circle around and back.
但是 在古希腊和古罗马
But, ancient Greece and ancient Rome —
人们并不认为创造力
people did not happen to believe that creativity
来自于人类本身?
came from human beings back then, OK?
人们相信 创造力是一种伴随着人的神圣灵魂
People believed that creativity was this divine attendant spirit
从遥远而不可知的地方来到艺术家身边
that came to human beings from some distant and unknowable source,
带着某种遥远而不可知的目的
for distant and unknowable reasons.
希腊人普遍地称这种伴随着创造力的神圣灵魂为“守护神”
The Greeks famously called these divine attendant spirits of creativity “daemons.”
当时人们普遍地认为苏格拉底就有这样一个守护神
Socrates, famously, believed that he had a daemon
从远处赋予他智慧
who spoke wisdom to him from afar.
古罗马人有着相似的观点
The Romans had the same idea,
他们把这种无形的创造力灵魂称为“天才”
but they called that sort of disembodied creative spirit a genius.
这种观点很妙 因为罗马人并没有认为
Which is great, because the Romans did not actually think
“天才”是某个特别聪慧的个人
that a genius was a particularly clever individual.
他们认为“天才”是某种奇妙的神圣存在
They believed that a genius was this, sort of magical divine entity,
毫不夸张的说 他们觉得艺术家工作室的墙
who was believed to literally live in the walls of an artist’s studio,
有点像小精灵多比的房子
kind of like Dobby the house elf,
它会出来
and who would come out
在无形之中帮助艺术家们创作他的作品
and sort of invisibly assist the artist with their work
并且把那些作品塑造成型
and would shape the outcome of that work.
这个观点简直绝了 这就是我在找寻的那个安全距离
So brilliant — there it is, right there, that distance that I’m talking about —
采用心理建构的方式把你从你作品的结果中保护起来
that psychological construct to protect you from the results of your work.
我们都可以理解它的运作模式 不是吗?
And everyone knew that this is how it functioned, right?
古代艺术家由这个观点而得到保护
So the ancient artist was protected from certain things,
避免了过度自恋 不是吗?
like, for example, too much narcissism, right?
如果你的作品很伟大 那可不能完全归功于你
If your work was brilliant, you couldn’t take all the credit for it,
每个人都知道有一个无形的”天才”在帮助你
everybody knew that you had this disembodied genius who had helped you.
如果你的作品很烂 同样也不全是你的错 不是吗?
If your work bombed, not entirely your fault, you know?
人人都知道那是因为你的“天才”很差劲
Everyone knew your genius was kind of lame.
(大笑)
(Laughter)
这就是西方人如何思考创造力的方式
And this is how people thought about creativity in the West
在很长的一段时间里
for a really long time.
然后文艺复兴开始了 所有事情都变了
And then the Renaissance came and everything changed,
我们有一个很好的主意 这个主意就是
and we had this big idea, and the big idea was,
把我们个体的人类 放在宇宙的中心
let’s put the individual human being at the center of the universe
高于神和那些神秘的东西
above all gods and mysteries,
我们可没有那么多位置提供给那些神秘生物
and there’s no more room for mystical creatures
那些传说里的神圣生物
who take dictation from the divine.
这就是理性人文主义的开始
And it’s the beginning of rational humanism,
而且人们也开始相信创造力
and people started to believe that creativity
完全的来自于每个人自己本身
came completely from the self of the individual.
这是有史以来第一次
And for the first time in history,
你开始听到人们将某个艺术家称为“天才”
you start to hear people referring to this or that artist as being a genius,
而非拥有一个“天才”
rather than having a genius.
而我要说的是 我认为那是一个巨大的错误
And I got to tell you, I think that was a huge error.
让一个人 区区一个个体
You know, I think that allowing somebody, one mere person
去相信他(她)是一个容器
to believe that he or she is like, the vessel,
是这些事物的源泉与圣器
you know, like the font and the essence and the source
承载着神圣、创造、未知和永恒
of all divine, creative, unknowable, eternal mystery
这对于脆弱的个体而言 责任太重
is just a smidge too much responsibility to put on one fragile, human psyche.
无异于要求他(她)吞下太阳
It’s like asking somebody to swallow the sun.
这彻底地扭曲了一个人的自我认知
It just completely warps and distorts egos,
并导致对于个人成就无比膨胀的预期
and it creates all these unmanageable expectations about performance.
我认为就是这种压力
And I think the pressure of that
在过去的500年间扼杀了无数艺术家
has been killing off our artists for the last 500 years.
是否真是这样
And, if this is true,
至少我认为是这样的
and I think it is true,
那么我们的问题就是:现在该怎么办?
the question becomes, what now?
我们能够改变这种状况吗?
Can we do this differently?
也许我们应回到更古老的过去
Maybe go back to some more ancient understanding
去参考他们对于人类和创造力的理解?
about the relationship between humans and the creative mystery.
也许不行
Maybe not.
我们无法 抹杀掉发展了500多年的理性人文思想
Maybe we can’t just erase 500 years of rational humanistic thought
仅用一个短短18分钟的演讲
in one 18 minute speech.
况且或许今天的听众中
And there’s probably people in this audience
就有人能够提出有理有据的科学质疑
who would raise really legitimate scientific suspicions
关于这个概念
about the notion of, basically, fairies
批驳这种童话精灵跟着艺术家主人 给作品擦点上神仙水(的可笑想法)
who follow people around rubbing fairy juice on their projects and stuff.
也许 我无法说服你们大家都同意我的看法
I’m not, probably, going to bring you all along with me on this.
但我想说的是
But the question that I kind of want to pose is —
为何不呢?不是吗?
you know, why not?
为什么不换个角度思考呢?
Why not think about it this way?
这个精灵理论和我听过的所有其他理论一样地合理(或者说一样地无理)
Because it makes as much sense as anything else I have ever heard
能解释人类在创作过程时的
in terms of explaining the utter maddening capriciousness
夸张和变化无常
of the creative process.
这个过程 对于任何一个曾试图创作的人来说
A process which, as anybody who has ever tried to make something —
也就是说基本在座各位
which is to say basically everyone here —
都会知道创作过程并不总是理性的
knows does not always behave rationally.
而且 实际上 创作过程有时简直就是超乎常理
And, in fact, can sometimes feel downright paranormal.
我最近有一个奇妙的偶遇
I had this encounter recently
我见到了美国杰出的诗人 露丝
where I met the extraordinary American poet Ruth Stone,
露丝已经九十多岁 她一直是一位诗人
who’s now in her 90s, but she’s been a poet her entire life
她和我讲了她少年时生活在弗吉尼亚乡间的事情
and she told me that when she was growing up in rural Virginia,
她在田间劳作着
she would be out working in the fields,
然后突然听到并感觉到一首诗
and she said she would feel and hear a poem
从远处冲她而来
coming at her from over the landscape.
像一股雷鸣般的气息
And she said it was like a thunderous train of air.
朝她倾泻而下
And it would come barreling down at her over the landscape.
她可以感受到它的来临 因为这股力量会撼动她脚下的大地
And she felt it coming, because it would shake the earth under her feet.
在那时 她知道唯一一件她要做的事
She knew that she had only one thing to do at that point,
用她的话说 就是“飞快地奔跑”
and that was to, in her words, “run like hell.”
然后她从飞快地冲进了房子里
And she would run like hell to the house
她要抓住这首诗
and she would be getting chased by this poem,
这个完整的过程是 她得拿一张纸和一支笔
and the whole deal was that she had to get to a piece of paper and a pencil
而且要足够的快 这样当它穿过她时 她就可以收集了
fast enough so that when it thundered through her, she could collect it
并把它记录在纸上
and grab it on the page.
但其他时候 她可能赶到的不够快
And other times she wouldn’t be fast enough,
所以她需要一直跑 如果 她没能冲到房间里
so she’d be running and running, and she wouldn’t get to the house
这首诗将会与她擦肩而过
and the poem would barrel through her and she would miss it
然后 她说这首诗会继续在山水见寻找
and she said it would continue on across the landscape,
她说它会去“寻找另一个诗人”
looking, as she put it “for another poet.”
过去这么长时间了
And then there were these times —
这一句话还令我难以忘怀
this is the piece I never forgot —
她说有些时候她几乎就要错过一首诗了
she said that there were moments where she would almost miss it, right?
所以 她冲进了房间 抓起了一张纸
So, she’s running to the house and she’s looking for the paper
当这首诗经过她时
and the poem passes through her,
她抓起了一支笔时 是它刚好穿过的那一刻
and she grabs a pencil just as it’s going through her,
她说 就好像那首诗 马上要到达她的另一只手
and then she said, it was like she would reach out with her other hand
然后 她会抓住它
and she would catch it.
她会抓住这首诗的尾巴
She would catch the poem by its tail,
把它拉回她身体
and she would pull it backwards into her body
另一只手则一边将诗句誊写在纸上
as she was transcribing on the page.
这种情况下 诗会完好无缺地呈现在纸上
And in these instances, the poem would come up on the page perfect and intact
只不过顺序是颠倒的 从最后那个词开始 由后往前 一直到第一个词
but backwards, from the last word to the first.
(大笑)
(Laughter)
我听了她的故事后 心想:太不可思议了
So when I heard that I was like — that’s uncanny,
这和我的创作过程一模一样!
that’s exactly what my creative process is like.
(大笑)
(Laughter)
当然这并非我创作过程的全部 我不是像管道一样
That’s not at all what my creative process is — I’m not the pipeline!
我的工作方式更像是一头骡子
I’m a mule, and the way that I have to work
我需要每天在同一个时间起床
is I have to get up at the same time every day,
拼命的工作 流尽汗水 毫无技巧的进行着
and sweat and labor and barrel through it really awkwardly.
但是 即使我这样的笨拙
But even I, in my mulishness,
偶尔也会意外地得到不可思议的灵感
even I have brushed up against that thing, at times.
在坐很多人或许也有类似经历
And I would imagine that a lot of you have too.
你想 即使像我 也会遇到不知何处而来的灵感
You know, even I have had work or ideas come through me from a source
老实说 我无法认清这源头
that I honestly cannot identify.
这到底是怎么回事呢?
And what is that thing?
我们要以怎样的方式看待它 才不会丧失理智呢?
And how are we to relate to it in a way that will not make us lose our minds,
还是 事实上 它有可能让我们保持清醒呢?
but, in fact, might actually keep us sane?
就我所知的当代艺术家中 将这一问题处理得最好的
And for me, the best contemporary example that I have of how to do that
是音乐家汤姆威兹
is the musician Tom Waits,
几年前 我为一个杂志工作时采访过他
who I got to interview several years ago on a magazine assignment.
当时我们谈及了这一问题
And we were talking about this,
但是 你知道的 在汤姆的大半生时间里 他是
and you know, Tom, for most of his life, he was pretty much the embodiment
备受创作压力折磨的现代艺术家的典型
of the tormented contemporary modern artist,
努力地控制 管理并主宰
trying to control and manage and dominate
那些不可控的创作灵感
these sort of uncontrollable creative impulses
那些存在于内在的灵感
that were totally internalized.
但随着年纪渐长 他变得平静了
But then he got older, he got calmer,
他告诉我说:一天他在洛杉矶高速公路开车
and one day he was driving down the freeway in Los Angeles,
这时发生了一件改变他一生的事情
and this is when it all changed for him.
他正在加速前行 突然
And he’s speeding along, and all of a sudden
他隐约听到了一小段优美的旋律♪♪♫♪♫♪
he hears this little fragment of melody,
这旋律莫名地进入他的脑海 就像灵感来临时那样
that comes into his head as inspiration often comes, elusive and tantalizing,
捉摸不定而诱人心弦
and he wants it, it’s gorgeous,
他急切地想要捕捉它 但是没有办法
and he longs for it, but he has no way to get it.
他既没有纸笔 也没有录音机
He doesn’t have a piece of paper, or a pencil, or a tape recorder.
所以他开始感到所有以往的焦虑又开始向他袭来
So he starts to feel all of that old anxiety start to rise in him
像是 “我就要失去这个灵感了!”
like, “I’m going to lose this thing,
“然后这首错过的曲子会一直折磨我”
and I’ll be be haunted by this song forever.
“我不够好 我不能完成它”
I’m not good enough, and I can’t do it.”
他选择停下来 而不是持续的焦虑
And instead of panicking, he just stopped.
他停下来所有的心理活动 然后做了一件新奇的事情
He just stopped that whole mental process and he did something completely novel.
他抬头望向天空,对它说道:
He just looked up at the sky, and he said,
“不好意思 您没看到我正在开车吗?”
“Excuse me, can you not see that I’m driving?”
(大笑)
(Laughter)
我看上去像是能立马记下一首曲子的样子吗?
“Do I look like I can write down a song right now?
如果你真想在世上流传 另挑个合适的时间再来吧
If you really want to exist, come back at a more opportune moment
在我方便的时候
when I can take care of you.
或者 你可以今天去骚扰别人
Otherwise, go bother somebody else today.
去找莱昂纳德·科恩去
Go bother Leonard Cohen.”
自从那件事以后 汤姆的整个创作过程改变了
And his whole work process changed after that.
不是作品变了 他的作品仍是一如既往的黑暗风格
Not the work, the work was still oftentimes as dark as ever.
而是伴随着创作过程的严重焦虑被化解了
But the process, and the heavy anxiety around it
因为他把创作天才从自身剥离开来了
was released when he took the genie, the genius out of him
将创作灵感归于自我 只是带来痛苦与麻烦 将它解放出来 倒像是放归原处
where it was causing nothing but trouble, and released it back where it came from,
然后 意识到 捕捉灵感并不是内在化的 折磨人的事情
and realized that this didn’t have to be this internalized, tormented thing.
而可以是一场奇异 奇妙又奇怪的合作关系
It could be this peculiar, wondrous, bizarre collaboration,
存在于汤姆 和汤姆之外的奇怪事物间的对话
kind of conversation between Tom and the strange, external thing that was not quite Tom.
我听说这个故事后 开始慢慢的改变
When I heard that story, it started to shift a little bit
我的工作方式 这个方法已经拯救了我
the way that I worked too, and this idea already saved me once.
那是在写《美食 祈祷 爱》的时候
It saved me when I was in the middle of writing “Eat, Pray, Love,”
我陷入了一个焦虑绝望的无底洞
and I fell into one of those sort of pits of despair
那种不断努力却毫无成果的状态
that we all fall into when we’re working on something and it’s not coming
然后 你会开始想 这是一场灾难 这是我写过的最糟糕的一本书
and you start to think this is going to be a disaster, the worst book ever written.
不只是差 而是写过的里头最差的
Not just bad, but the worst book ever written.
然后 我开始想放弃这个项目
And I started to think I should just dump this project.
这时我想起了汤姆对着天空喊话的事情
But then I remembered Tom talking to the open air
然后我试了试
and I tried it.
我从手稿中抬起头
So I just lifted my face up from the manuscript
转向房间中的一个空角落
and I directed my comments to an empty corner of the room.
然后大声宣布道:“你这个家伙 给我听着”
And I said aloud, “Listen you, thing,
“咱俩都知道 如果这本书不怎么样”
you and I both know that if this book isn’t brilliant
“那可不是我一个人的错 不是吗?”
that is not entirely my fault, right?
“因为你可以看到 我已经为之倾尽全力”
Because you can see that I am putting everything I have into this,
“毫无保留了”
I don’t have any more than this.
“如果你想让它更好 你必须完成属于你的那一部分”
If you want it to be better, you’ve got to show up and do your part of the deal.
“但是 如果你不这么做 你知道吗?随你便”
But if you don’t do that, you know what, the hell with it.
“我还是会去写作 因为这是我的工作”
I’m going to keep writing anyway because that’s my job.
“因为我希望今天上天给我记录的是”
And I would please like the record to reflect today
“我出现在了我的工作岗位上”
that I showed up for my part of the job.”
(大笑)
(Laughter)
因为
Because —
(掌声)
(Applause)
因为 到最后会有点像
Because in the end it’s like this, OK —
在几个世纪前的北非沙漠里
centuries ago in the deserts of North Africa,
人们会在月色下举行神圣的歌舞聚会
people used to gather for these moonlight dances of sacred dance and music
聚会持续数个小时直至天亮
that would go on for hours and hours, until dawn.
那些表演很精彩 因为他们都是很棒的专业舞者
They were always magnificent, because the dancers were professionals
而且他们非常棒的  不是吗?
and they were terrific, right?
但是每隔一段时间 会出现一些很少发生的事情
But every once in a while, very rarely, something would happen,
某一位舞者会超越当下 超然出世
and one of these performers would actually become transcendent.
你们应该都知道我说的这种情况
And I know you know what I’m talking about,
因为 在你生活的某些方面 我知道你们都见过
because I know you’ve all seen, at some point in your life,
像这样的一些表演
a performance like this.
这一瞬间时间好像静止了
It was like time would stop,
这些舞者将会跨过某种瓶颈
and the dancer would sort of step through some kind of portal
但是 他不会做任何不同于
and he wasn’t doing anything different
之前1000个夜晚所做的表演
than he had ever done, 1,000 nights before,
但一切都会安排好
but everything would align.
刹那间 他不再是个普通的凡人
And all of a sudden, he would no longer appear to be merely human.
他的生命从内部点燃  从心底发光
He would be lit from within, and lit from below
他被神圣之火照耀
and all lit up on fire with divinity.
但这件事情发生的时候
And when this happened, back then,
当时的人们 清楚地知道这是什么 他们呼喊它的名字
people knew it for what it was, you know, they called it by its name.
他们手拉着手 开始吟唱
They would put their hands together and they would start to chant,
“阿拉 阿拉 阿拉 神啊 神啊 神啊”
“Allah, Allah, Allah, God, God, God.”
这就是神啊 你们觉得呢
That’s God, you know.
有趣的野史是
Curious historical footnote:
当摩尔帝国入侵南西班牙时 他们带去了这一习俗
when the Moors invaded southern Spain, they took this custom with them
于是几世纪来 颂词的发音渐渐改变
and the pronunciation changed over the centuries
从“阿拉 阿拉”变成“欧嘞 欧嘞”
from “Allah, Allah, Allah,” to “Olé, olé, olé,”
如今你仍能在斗牛比赛和弗拉明戈舞中听到这一喝彩声
which you still hear in bullfights and in flamenco dances.
在西班牙 当一个表演者完成了某种不可思议的神奇之举时
In Spain, when a performer has done something impossible and magic,
人们就会喝彩:“阿拉 欧嘞 欧嘞 阿拉 真伟大 太棒了 不可思议”
“Allah, olé, olé, Allah, magnificent, bravo,”
很难理解吧 这就是——神迹显现
incomprehensible, there it is — a glimpse of God.
这种方式很好 因为这正是我们需要的
Which is great, because we need that.
但是 对于舞者来说  最棘手的是第二天早上
But, the tricky bit comes the next morning,
舞者悠悠转醒 然后 发现
for the dancer himself, when he wakes up and discovers
已经是周二上午11点了 他不再是“神迹显现”了
that it’s Tuesday at 11 a.m., and he’s no longer a glimpse of God.
而只是那个腰腿不好 终将老去的凡人
He’s just an aging mortal with really bad knees,
而且 他或许再也无法达到昨晚那样的高度了
and maybe he’s never going to ascend to that height again.
也许再也不会有人在他跳舞时喝彩神迹显现
And maybe nobody will ever chant God’s name again as he spins,
他该如何自处呢?
and what is he then to do with the rest of his life?
这是个很棘手的问题
This is hard.
也是最痛苦的自我认知之一
This is one of the most painful reconciliations to make
在创作生涯中
in a creative life.
但也许 我们原本无需如此痛苦
But maybe it doesn’t have to be quite so full of anguish
如果你本来就从不曾认为
if you never happened to believe, in the first place,
那无与伦比的艺术作品完全来源于你
that the most extraordinary aspects of your being came from you.
如果你认为它们只是暂时借你一用
But maybe if you just believed that they were on loan to you
而它们是某种神奇的存在 给你带来精美绝伦的作品
from some unimaginable source for some exquisite portion of your life
当你完成你的作品时 将一起被传送下去
to be passed along when you’re finished,
和其他人的一起
with somebody else.
而且 你知道的 如果我们考虑使用这种方法 一些事情将会开始改变
And, you know, if we think about it this way, it starts to change everything.
于是我开始以这种方式看待这一问题
This is how I’ve started to think,
而且 在过去的几个月中 我一直用这种方式看待一些问题
and this is certainly how I’ve been thinking in the last few months
同时从事着我下一本书的写作
as I’ve been working on the book that will soon be published,
那本危险的 骇人的 被过度预期的
as the dangerously, frighteningly over-anticipated follow up
继我的畅销大作之后的作品
to my freakish success.
而我需要做的 就是不断告诉自己
And what I have to sort of keep telling myself
尤其是在我忧郁焦躁的时候:
when I get really psyched out about that is don’t be afraid.
不要气馁 继续坚持你的工作
Don’t be daunted. Just do your job.
坚守在你的岗位上 无论你的岗位是什么:
Continue to show up for your piece of it, whatever that might be.
如果你是舞者 那就跳舞
If your job is to dance, do your dance.
如果那个属于你的 神圣却又邪门的精灵
If the divine, cockeyed genius assigned to your case
决定通过你让神迹显现 哪怕只是短短一瞬
decides to let some sort of wonderment be glimpsed, for just one moment
坚守你的岗位 然后高呼“欧嘞”
through your efforts, then “Olé!”
但是如果没有 那就请继续跳舞
And if not, do your dance anyhow.
但是无论如何 我依然为你喝彩:欧嘞!
And “Olé!” to you, nonetheless.
我坚信我们必须传授这一理念
I believe this and I feel that we must teach it.
无论如何 你依然值得被喝彩:欧嘞!
“Olé!” to you, nonetheless,
只要你出于热爱与执着
just for having the sheer human love and stubbornness
坚守岗位
to keep showing up.
谢谢
Thank you.
(掌声)
(Applause)
谢谢
Thank you.
(掌声)
(Applause)
琼·科恩:欧嘞!
June Cohen: Olé!
(掌声)
(Applause)

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译制信息
视频概述

理解创作者们的创造力 减轻他们创作时的压力

听录译者

收集自网络

翻译译者

半颗心broken

审核员

萨默之光

视频来源

https://www.youtube.com/watch?v=86x-u-tz0MA

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