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Excerpt：費茲傑羅 (F. Scott Fitzgerald) 的《美麗與毀滅》(The Beautiful and Damned)
2016/03/30 06:13
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Excerpt：費茲傑羅 (F. Scott Fitzgerald) 的《美麗與毀滅》(The Beautiful and Damned)
繼《大亨小傳》(The Great Gatsby) 及《夜未央》(Tender Is the Night) 之後，找到費茲傑羅創作的第二本長篇小說《美麗與毀滅》(The Beautiful and Damned)，作品結構及角色設定可說是相當簡潔，一度讓人感覺這似乎只是針對上層社會階層享樂主義者的一種批判；然而費茲傑羅從表淺的、美麗的愛情出發，經由婚姻的質變，一直到酗酒的、毀滅的人生，卻讓人同時經歷了一場生命頹敗的輪迴。
這部作品充滿著自傳色彩，也預言了費茲傑羅與賽爾坦夫婦最終沉淪於金錢遊戲的宿命，儘管在最後一幕費茲傑羅讓故事中的主角安東尼．派屈表明了永不放棄的心志。
而與費茲傑羅的其他小說同樣精彩的是，他對於人生始終抱持客觀冷靜、極度透徹的那一份領悟藉由行雲流水般的文字表達得痛快淋漓，值得我們細細品味。
https://en.wikipedia.org/wiki/The_Beautiful_and_Damned
The Beautiful and Damned, first published by Scribner's in 1922, is F. Scott Fitzgerald's second novel. It explores and portraysNew York
External links
The Beautiful and Damned at Project Gutenberg E-text.
http://www.books.com.tw/products/0010235716
美麗與毀滅
The Beautiful and Damned
作者：史考特‧費茲傑羅
原文作者：F. Scott Fitzgerald
譯者：王文娟
出版社：新雨
出版日期：2003/10/01
語言：繁體中文
《美麗與毀滅》費茲傑羅的第二部小說更勝《塵世樂園》。風格及主題更幾近純熟與統一；其背景相較以往更具說服力。
——美國文藝評論家 愛德蒙‧威爾遜Edmund Wilson
一對新婚夫婦——安東尼．派屈和葛羅莉亞——講究而拘謹遇上輕挑又浪漫，像是紅茶加巧克力的組合；他們追求奢侈華麗的上流生活，依憑上一輩的財富不事生產，終日紙醉金迷以致道德、經濟、健康……不斷扭曲、淪落。是一面鏡子，映射出作者自傳性色彩；也對美國暴發戶的貪婪及紐約夜生活的揮霍、蒙蔽天賦的虛擲浪費，極盡令人刺目之嘲諷。
作者簡介
史考特‧費茲傑羅（F. Scott Fitzgerald，1896-1940）
美國小說家。出生於明尼蘇達州聖保羅市。父親窮困卻有貴族習氣，母親偏狹而能幹；這使他對生活抱著典型美國式的矛盾態度，他認為美國生活既庸俗又絢麗、充滿希望。其文學才能在普林斯頓大學就讀期間即嶄露頭角。1920年出版《塵世樂園》（This Side of Paradise）一夕成名，旋即被冠以代表「爵士年代」精神的作家。成名後與富家女賽爾坦（Zelda Sayre）結婚，成為美國最耀眼的放逐夫妻，聞名於巴黎與紐約之間。1925年出版傳世傑作《大亨小傳》（The Great Gatsby）。1934年出版《夜未央》（Tender Is the Night），而紅透歐美藝文界。1920-30年代期間曾在著名雜誌《星期六晚郵》（The Saturday Evening Post）及《老爺》（Esquire）等發表短篇小說，名利雙收。旅歐期間因賽爾坦精神崩潰及經濟不佳而返抵美國。費茲傑羅開始為好萊塢電影工作室撰寫劇本維持生計。1940年尚未完成《最後一位影壇大亨》（The Last Tycoon），即因心臟病去世。
【Excerpt】
--Anthony for the moment wanted fiercely to paint her, to set her down _now_, as she was, as, as with each relentless second she could never be again.
"What were you thinking?" she asked.
"Just that I'm not a realist," he said, and then: "No, only the romanticist preserves the things worth preserving."
Out of the deep sophistication of Anthony an understanding formed, nothing atavistic or obscure, indeed scarcely physical at all, an understanding remembered from the romancings of many generations of minds that as she talked and caught his eyes and turned her lovely head, she moved him as he had never been moved before. The sheath that held her soul had assumed significance--that was all. She was a sun, radiant, growing, gathering light and storing it--then after an eternity pouring it forth in a glance, the fragment of a sentence, to that part of him that cherished all beauty and all illusion.
——那一瞬間，安東尼升起一股強烈的慾望想要把葛羅莉亞畫下來，將現在的她留住，記下她原原本本的樣子，因為，因為這個她也許下一秒便永遠不再。
「你在想什麼？」她問。
「只是在想自己不是個寫實主義者，」他回答，接著又說，「是的，只有浪漫主義者才會想要永久珍藏值得珍藏之物。」
從安東尼根深蒂固的世故中，產生了某種理解，不是什麼隔代遺傳或晦澀難懂的理論，事實上它與肉體無涉，而是一種記憶，一種人類歷代心靈編織傳誦的浪漫情懷就此甦醒。當她說話的時候，當她看著他的眼睛的時候，還有她轉動那令人愛憐的小臉的時候，她令他感受到前所未有的深刻感動，那承載她靈魂的容器本身已存在意義——這樣就夠了。她便如同太陽，明亮耀眼，不斷成長，聚集並儲存光和熱——然後在漫長如永恆的時間後，藉由一個眼神，一個句子的片段，她讓他看到了某個部分，使他目眩神迷於其中所有的美麗與幻象。
Halcyon days like boats drifting along slow-moving rivers; spring evenings full of a plaintive melancholy that made the past beautiful and bitter, bidding them look back and see that the loves of other summers long gone were dead with the forgotten waltzes of their years. Always the most poignant moments were when some artificial barrier kept them apart: in the theatre their hands would steal together, join, give and return gentle pressures through the long dark; in crowded rooms they would form words with their lips for each other's eyes--not knowing that they were but following in the footsteps of dusty generations but comprehending dimly that if truth is the end of life happiness is a mode of it, to be cherished in its brief and tremulous moment. And then, one fairy night, May became June. Sixteen days now--fifteen--fourteen----
幸福美好的日子就像小舟般，沿著緩慢流動的河流漂浮前進；春天的夜晚特別引人陷入某種哀愁的憂鬱，讓過去顯得特別美麗而苦澀，召喚他們回顧過往時光，看見他們在遙遠夏日的戀情，已隨著那被遺忘的華爾滋漸行漸遠。他們之間最感痛苦的時刻，莫過於因人為因素阻隔而必須暫時分離；在戲院，他們會相互尋求對方的手，握住，在漫長的黑暗中溫柔地施力和回應；處身在擁擠的人群中，他們會眉目傳情，讀出對方心裡想說的話——完全不知道他們其實只是遵循塵世裡世世代代的人群走過的軌跡，卻懵懵懂懂地領悟到，如果真實是生命的終結，那麼幸福就是生活的方式，以其短暫和易逝而更需要被珍惜。然後，五月在一個神奇的夜晚結束，六月開始，離婚禮只剩下十六天——十五天——十四天——
The idyl passed, bearing with it its extortion of youth. Came a day when Gloria found that other men no longer bored her; came a day when Anthony discovered that he could sit again late into the evening, talking with Dick of those tremendous abstractions that had once occupied his world. But, knowing they had had the best of love, they clung to what remained. Love lingered--by way of long conversations at night into those stark hours when the mind thins and sharpens and the borrowings from dreams become the stuff of all life, by way of deep and intimate kindnesses they developed toward each other, by way of their laughing at the same absurdities and thinking the same things noble and the same things sad.
牧歌逝去了，但也同時帶走了青春。會有那麼一天，葛羅莉亞發現男人們不再令她感到無聊；也會有那麼一天，安東尼發現他又可以在外面待到深夜，和狄克高談闊論那一度盤據他所有世界的抽象概念。然而，因為他們知道自己已擁有過最完美的愛情，他們仍會緊緊把握其剩餘。愛情仍以各種形式繼續——他們在夜裡談心，直到心靈因深夜的荒涼而變得敏感脆弱的時刻，直到夢的世界全盤佔領了生命：他們發展出對彼此深厚而親密的體諒；他們因同一件事發笑，因同一件事讚美，因同一件事悲傷。
…Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period decays in our minds, the things of that period should decay too, and in that way they're preserved for a while in the few hearts like mine that react to them.
……
There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--
…當美麗的事物達到某種高度以後，它們就會殞落並消逝無蹤，一當腐敗，就會逐漸從人們的記憶中淡出。就如同任何年代都會在我們的心中逐漸遺忘，那些屬於當時的事物也應該被遺忘。在這不可逆的過程中，會有少數如我這樣的心靈，會將它們保存得更久一些。
……
世上沒有任何美麗是不包含刺痛的，沒有刺痛就不讓人感覺它正在消逝，人們、名字、書本、房子——注定要歸於塵土——都會一死…
He was drafted early in the fall, and the examining doctor made no mention of low blood-pressure. It was all very purposeless and sad when Anthony told Gloria one night that he wanted, above all things, to be killed. But, as always, they were sorry for each other for the wrong things at the wrong times....
……
Almost their last conversation was a senseless quarrel about the proper division of the income--at a word either would have given it all to the other. It was typical of the muddle and confusion of their lives that on the October night when Anthony reported at the Grand Central Station for the journey to camp, she arrived only in time to catch his eye over the anxious heads of a gathered crowd. Through the dark light of the enclosed train-sheds their glances stretched across a hysterical area, foul with yellow sobbing and the smells of poor women. They must have pondered upon what they had done to one another, and each must have accused himself of drawing this sombre pattern through which they were tracing tragically and obscurely. At the last they were too far away for either to see the other's tears.
入秋時，安東尼收到征召令，體檢的醫生對他低血壓的毛病一字未提。一夜，在極度茫然和悲傷的心情下，安東尼告訴葛羅莉亞說他現在萬念俱灰，只求一死。然而，就像往常一樣，他們相互為自己在不對的時間說不對的事而道歉…
……
他們的最後一次談話，幾乎都在無意義地爭吵著如何適當分配收入——只要一個字就可以涵蓋所有內容。而道別那一晚的糊塗和混亂，在兩人的生命中也相當具有代表性。其時，安東尼前往中央車站報到準備出發前往營地，來送行的葛羅莉亞只來得及在萬頭鑽動的焦慮群眾間，和他四目交接。他們的匆匆一瞥，越過了車棚圈起的陰影和當中一大塊情緒激動的區域，卻受阻於淌著淚水、身上發出臭味的貧窮女人。此刻兩人心裡，一定都在回想彼此對對方曾造成的傷害，且以這麼憂傷的形式道別 (他們只能模糊而悲劇性地追尋彼此的身影)，都是自己的錯誤造成的。最終，兩人漸行漸遠，遠到看不到對方臉上流下的淚水。
The sense of the enormous panorama of life, never strong in Anthony, had become dim almost to extinction. At long intervals now some incident, some gesture of Gloria's, would take his fancy--but the gray veils had come down in earnest upon him. As he grew older those things faded--after that there was wine.
There was a kindliness about intoxication--there was that indescribable gloss and glamour it gave, like the memories of ephemeral and faded evenings. After a few high-balls there was magic in the tall glowing Arabian night of theBush Terminal Building
... The fruit of youth or of the grape, the transitory magic of the brief passage from darkness to darkness--the old illusion that truth and beauty were in some way entwined.
安東尼曾一度認為生命應是一連串華麗的演出 (雖然他從未堅持)，然而此一想法也逐漸趨於模糊甚至幾乎完全破滅。而在相隔已久的現在，或許仍有某些事件、某些葛羅莉亞的姿勢會引起他的想像——可是卻都已蒙上了悲觀的灰色面紗。隨著他年齡漸增，這些事也逐漸褪色——之後，酒就是一切。
喝醉是一種慈悲——它會令人感受到無可言喻的光輝和魔力，有如在那些短暫消逝的夜晚所發生的回憶。在幾杯威士忌下肚後，魔法發生了！布希終極大樓彷彿坐落在阿拉伯高遠明亮的天際——它的頂端是無與倫比的壯麗，在遙不可及的天空下閃爍如夢般的金光。而原本粗俗又平庸的華爾街——則變成了金錢的勝利象徵，一個富麗而感官的奇景；是偉大的國王們為戰爭儲備財富之地……
……青春甜美的果實或誘惑，和夜復一夜稍縱即逝的神奇時刻——那些早已遺忘的夢，那些真理與美共存共生的幻想，便在此重現。
繼《大亨小傳》(The Great Gatsby) 及《夜未央》(Tender Is the Night) 之後，找到費茲傑羅創作的第二本長篇小說《美麗與毀滅》(The Beautiful and Damned)，作品結構及角色設定可說是相當簡潔，一度讓人感覺這似乎只是針對上層社會階層享樂主義者的一種批判；然而費茲傑羅從表淺的、美麗的愛情出發，經由婚姻的質變，一直到酗酒的、毀滅的人生，卻讓人同時經歷了一場生命頹敗的輪迴。
這部作品充滿著自傳色彩，也預言了費茲傑羅與賽爾坦夫婦最終沉淪於金錢遊戲的宿命，儘管在最後一幕費茲傑羅讓故事中的主角安東尼．派屈表明了永不放棄的心志。
而與費茲傑羅的其他小說同樣精彩的是，他對於人生始終抱持客觀冷靜、極度透徹的那一份領悟藉由行雲流水般的文字表達得痛快淋漓，值得我們細細品味。
https://en.wikipedia.org/wiki/The_Beautiful_and_Damned
The Beautiful and Damned, first published by Scribner's in 1922, is F. Scott Fitzgerald's second novel. It explores and portrays
External links
The Beautiful and Damned at Project Gutenberg E-text.
http://www.books.com.tw/products/0010235716
美麗與毀滅
The Beautiful and Damned
作者：史考特‧費茲傑羅
原文作者：F. Scott Fitzgerald
譯者：王文娟
出版社：新雨
出版日期：
語言：繁體中文
《美麗與毀滅》費茲傑羅的第二部小說更勝《塵世樂園》。風格及主題更幾近純熟與統一；其背景相較以往更具說服力。
——美國文藝評論家 愛德蒙‧威爾遜Edmund Wilson
一對新婚夫婦——安東尼．派屈和葛羅莉亞——講究而拘謹遇上輕挑又浪漫，像是紅茶加巧克力的組合；他們追求奢侈華麗的上流生活，依憑上一輩的財富不事生產，終日紙醉金迷以致道德、經濟、健康……不斷扭曲、淪落。是一面鏡子，映射出作者自傳性色彩；也對美國暴發戶的貪婪及紐約夜生活的揮霍、蒙蔽天賦的虛擲浪費，極盡令人刺目之嘲諷。
作者簡介
史考特‧費茲傑羅（F. Scott Fitzgerald，1896-1940）
美國小說家。出生於明尼蘇達州聖保羅市。父親窮困卻有貴族習氣，母親偏狹而能幹；這使他對生活抱著典型美國式的矛盾態度，他認為美國生活既庸俗又絢麗、充滿希望。其文學才能在普林斯頓大學就讀期間即嶄露頭角。1920年出版《塵世樂園》（This Side of Paradise）一夕成名，旋即被冠以代表「爵士年代」精神的作家。成名後與富家女賽爾坦（Zelda Sayre）結婚，成為美國最耀眼的放逐夫妻，聞名於巴黎與紐約之間。1925年出版傳世傑作《大亨小傳》（The Great Gatsby）。1934年出版《夜未央》（Tender Is the Night），而紅透歐美藝文界。1920-30年代期間曾在著名雜誌《星期六晚郵》（The Saturday Evening Post）及《老爺》（Esquire）等發表短篇小說，名利雙收。旅歐期間因賽爾坦精神崩潰及經濟不佳而返抵美國。費茲傑羅開始為好萊塢電影工作室撰寫劇本維持生計。1940年尚未完成《最後一位影壇大亨》（The Last Tycoon），即因心臟病去世。
【Excerpt】
--Anthony for the moment wanted fiercely to paint her, to set her down _now_, as she was, as, as with each relentless second she could never be again.
"What were you thinking?" she asked.
"Just that I'm not a realist," he said, and then: "No, only the romanticist preserves the things worth preserving."
Out of the deep sophistication of Anthony an understanding formed, nothing atavistic or obscure, indeed scarcely physical at all, an understanding remembered from the romancings of many generations of minds that as she talked and caught his eyes and turned her lovely head, she moved him as he had never been moved before. The sheath that held her soul had assumed significance--that was all. She was a sun, radiant, growing, gathering light and storing it--then after an eternity pouring it forth in a glance, the fragment of a sentence, to that part of him that cherished all beauty and all illusion.
——那一瞬間，安東尼升起一股強烈的慾望想要把葛羅莉亞畫下來，將現在的她留住，記下她原原本本的樣子，因為，因為這個她也許下一秒便永遠不再。
「你在想什麼？」她問。
「只是在想自己不是個寫實主義者，」他回答，接著又說，「是的，只有浪漫主義者才會想要永久珍藏值得珍藏之物。」
從安東尼根深蒂固的世故中，產生了某種理解，不是什麼隔代遺傳或晦澀難懂的理論，事實上它與肉體無涉，而是一種記憶，一種人類歷代心靈編織傳誦的浪漫情懷就此甦醒。當她說話的時候，當她看著他的眼睛的時候，還有她轉動那令人愛憐的小臉的時候，她令他感受到前所未有的深刻感動，那承載她靈魂的容器本身已存在意義——這樣就夠了。她便如同太陽，明亮耀眼，不斷成長，聚集並儲存光和熱——然後在漫長如永恆的時間後，藉由一個眼神，一個句子的片段，她讓他看到了某個部分，使他目眩神迷於其中所有的美麗與幻象。
Halcyon days like boats drifting along slow-moving rivers; spring evenings full of a plaintive melancholy that made the past beautiful and bitter, bidding them look back and see that the loves of other summers long gone were dead with the forgotten waltzes of their years. Always the most poignant moments were when some artificial barrier kept them apart: in the theatre their hands would steal together, join, give and return gentle pressures through the long dark; in crowded rooms they would form words with their lips for each other's eyes--not knowing that they were but following in the footsteps of dusty generations but comprehending dimly that if truth is the end of life happiness is a mode of it, to be cherished in its brief and tremulous moment. And then, one fairy night, May became June. Sixteen days now--fifteen--fourteen----
幸福美好的日子就像小舟般，沿著緩慢流動的河流漂浮前進；春天的夜晚特別引人陷入某種哀愁的憂鬱，讓過去顯得特別美麗而苦澀，召喚他們回顧過往時光，看見他們在遙遠夏日的戀情，已隨著那被遺忘的華爾滋漸行漸遠。他們之間最感痛苦的時刻，莫過於因人為因素阻隔而必須暫時分離；在戲院，他們會相互尋求對方的手，握住，在漫長的黑暗中溫柔地施力和回應；處身在擁擠的人群中，他們會眉目傳情，讀出對方心裡想說的話——完全不知道他們其實只是遵循塵世裡世世代代的人群走過的軌跡，卻懵懵懂懂地領悟到，如果真實是生命的終結，那麼幸福就是生活的方式，以其短暫和易逝而更需要被珍惜。然後，五月在一個神奇的夜晚結束，六月開始，離婚禮只剩下十六天——十五天——十四天——
The idyl passed, bearing with it its extortion of youth. Came a day when Gloria found that other men no longer bored her; came a day when Anthony discovered that he could sit again late into the evening, talking with Dick of those tremendous abstractions that had once occupied his world. But, knowing they had had the best of love, they clung to what remained. Love lingered--by way of long conversations at night into those stark hours when the mind thins and sharpens and the borrowings from dreams become the stuff of all life, by way of deep and intimate kindnesses they developed toward each other, by way of their laughing at the same absurdities and thinking the same things noble and the same things sad.
牧歌逝去了，但也同時帶走了青春。會有那麼一天，葛羅莉亞發現男人們不再令她感到無聊；也會有那麼一天，安東尼發現他又可以在外面待到深夜，和狄克高談闊論那一度盤據他所有世界的抽象概念。然而，因為他們知道自己已擁有過最完美的愛情，他們仍會緊緊把握其剩餘。愛情仍以各種形式繼續——他們在夜裡談心，直到心靈因深夜的荒涼而變得敏感脆弱的時刻，直到夢的世界全盤佔領了生命：他們發展出對彼此深厚而親密的體諒；他們因同一件事發笑，因同一件事讚美，因同一件事悲傷。
…Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period decays in our minds, the things of that period should decay too, and in that way they're preserved for a while in the few hearts like mine that react to them.
……
There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--
…當美麗的事物達到某種高度以後，它們就會殞落並消逝無蹤，一當腐敗，就會逐漸從人們的記憶中淡出。就如同任何年代都會在我們的心中逐漸遺忘，那些屬於當時的事物也應該被遺忘。在這不可逆的過程中，會有少數如我這樣的心靈，會將它們保存得更久一些。
……
世上沒有任何美麗是不包含刺痛的，沒有刺痛就不讓人感覺它正在消逝，人們、名字、書本、房子——注定要歸於塵土——都會一死…
He was drafted early in the fall, and the examining doctor made no mention of low blood-pressure. It was all very purposeless and sad when Anthony told Gloria one night that he wanted, above all things, to be killed. But, as always, they were sorry for each other for the wrong things at the wrong times....
……
Almost their last conversation was a senseless quarrel about the proper division of the income--at a word either would have given it all to the other. It was typical of the muddle and confusion of their lives that on the October night when Anthony reported at the Grand Central Station for the journey to camp, she arrived only in time to catch his eye over the anxious heads of a gathered crowd. Through the dark light of the enclosed train-sheds their glances stretched across a hysterical area, foul with yellow sobbing and the smells of poor women. They must have pondered upon what they had done to one another, and each must have accused himself of drawing this sombre pattern through which they were tracing tragically and obscurely. At the last they were too far away for either to see the other's tears.
入秋時，安東尼收到征召令，體檢的醫生對他低血壓的毛病一字未提。一夜，在極度茫然和悲傷的心情下，安東尼告訴葛羅莉亞說他現在萬念俱灰，只求一死。然而，就像往常一樣，他們相互為自己在不對的時間說不對的事而道歉…
……
他們的最後一次談話，幾乎都在無意義地爭吵著如何適當分配收入——只要一個字就可以涵蓋所有內容。而道別那一晚的糊塗和混亂，在兩人的生命中也相當具有代表性。其時，安東尼前往中央車站報到準備出發前往營地，來送行的葛羅莉亞只來得及在萬頭鑽動的焦慮群眾間，和他四目交接。他們的匆匆一瞥，越過了車棚圈起的陰影和當中一大塊情緒激動的區域，卻受阻於淌著淚水、身上發出臭味的貧窮女人。此刻兩人心裡，一定都在回想彼此對對方曾造成的傷害，且以這麼憂傷的形式道別 (他們只能模糊而悲劇性地追尋彼此的身影)，都是自己的錯誤造成的。最終，兩人漸行漸遠，遠到看不到對方臉上流下的淚水。
The sense of the enormous panorama of life, never strong in Anthony, had become dim almost to extinction. At long intervals now some incident, some gesture of Gloria's, would take his fancy--but the gray veils had come down in earnest upon him. As he grew older those things faded--after that there was wine.
There was a kindliness about intoxication--there was that indescribable gloss and glamour it gave, like the memories of ephemeral and faded evenings. After a few high-balls there was magic in the tall glowing Arabian night of the
... The fruit of youth or of the grape, the transitory magic of the brief passage from darkness to darkness--the old illusion that truth and beauty were in some way entwined.
安東尼曾一度認為生命應是一連串華麗的演出 (雖然他從未堅持)，然而此一想法也逐漸趨於模糊甚至幾乎完全破滅。而在相隔已久的現在，或許仍有某些事件、某些葛羅莉亞的姿勢會引起他的想像——可是卻都已蒙上了悲觀的灰色面紗。隨著他年齡漸增，這些事也逐漸褪色——之後，酒就是一切。
喝醉是一種慈悲——它會令人感受到無可言喻的光輝和魔力，有如在那些短暫消逝的夜晚所發生的回憶。在幾杯威士忌下肚後，魔法發生了！布希終極大樓彷彿坐落在阿拉伯高遠明亮的天際——它的頂端是無與倫比的壯麗，在遙不可及的天空下閃爍如夢般的金光。而原本粗俗又平庸的華爾街——則變成了金錢的勝利象徵，一個富麗而感官的奇景；是偉大的國王們為戰爭儲備財富之地……
……青春甜美的果實或誘惑，和夜復一夜稍縱即逝的神奇時刻——那些早已遺忘的夢，那些真理與美共存共生的幻想，便在此重現。
自訂分類：Selected & Extracts
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迴響（1） ：
1樓. 牛仔3號2016/03/30 17:11王文娟的譯筆不錯
可知她的背景來歷?
另外,新雨出版社對我而言也挺"新鮮"
google了一下,是王谷先生創立的.仍不知王谷是誰.
FYI
le14nov 於 2016/03/30 21:37回覆
提供譯者簡介如下：
王文娟
台大國際企業學系、台大戲劇研究所畢，目前擔任編劇。曾獲台大文學獎小說首獎及教育部全國學生文學獎劇本首獎。著作《總統府導覽》，譯作《一齣戲：克萊婷涅斯特拉》、《鍋巴》、《櫻桃園》。
另自己手邊有幾本太宰治、費茲傑羅、卡夫卡及波特萊爾的作品譯本，都是新雨出版，個人還蠻欣賞他們的選書品味。
