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MARY LOUISE KELLY, HOST:
One of the towering figures in science fiction has died, although she never really liked being called a sci-fi writer. Ursula K. Le Guin was best known for the "Earthsea" fantasy books and for her influential2 gender3-bending space saga4 "The Left Hand Of Darkness." Le Guin won just about every major award you can win, and her mix of sorcerers and spaceships, literary fireworks and feminist5 sensibility influenced generations of writers who followed her. NPR books editor Petra Mayer is here to talk about Le Guin's legacy6. Welcome.
KELLY: I got to start with asking you, what was her problem? Why didn't she like being called a sci-fi writer?
MAYER: There's a great quote actually that she gave the Paris Review a few years ago. I will let her speak here because she's the writer. She said, (reading) where I can get prickly and combative8 is if I'm just called a sci-fi writer. I'm not. I'm a novelist and poet. Don't shove me into your damn pigeon hole where I don't fit because I'm all over. My tentacles9 are coming out of the pigeon in all directions.
KELLY: I like her.
MAYER: Tentacles - yeah.
KELLY: Yeah.
MAYER: She didn't pull any punches. She always kind of went her own way. You know, there were very few women writing sci-fi and fantasy in the '60s when she first began to publish. And it was definitely not as respected a genre10 as it is today. But she was so influential. Just as an example, when she began to publish the "Earthsea" books in the late-'60s, there were a lot of characters that weren't white, and that was a pretty big deal if the only other thing you were seeing was Lieutenant11 Uhura on "Star Trek12."
KELLY: Well, so who influenced her to start writing?
MAYER: That's actually an interesting thing to think about because her parents were both anthropologists. And if you've read "The Left Hand Of Darkness," which is - it's set on this planet where gender is fluid and ambiguous and everyone is just called he. It's almost as much of an anthropological13 study of diplomacy14 in this culture as it is a sci-fi story. She was a voracious15 reader. She was known to study Taoism. The ideas of balance from Taoism come through very strongly in her work, particularly in the "Earthsea" novels. There's this one bit where an aspiring16 mage who's at a magic school that is so not Hogwarts - he has to learn to do by not doing.
One of the things that you hear about genre fiction in general is that it's a lens through which authors can examine our lives and our society. And I always think about Le Guin when I hear that. She wrote this story called "The Ones Who Walk Away From Omelas," which is about a beautiful, happy, prosperous city where everything good there - you know, the parades, the parties, the clothes - depends on the life of this one poor child who's kept in misery17 and squalor. And most of the people in Omelas accept that, and some of them just walk away.
And I feel like it's almost a rite1 of passage for a young fantasy fan. It was for me to read that story and to react violently to it and to argue about whether you would or wouldn't walk away and then to start mapping that conversation onto the world that you see around you and how you react to that world.
KELLY: You're adding lots to my reading list now for Le Guin books and stories to catch up on. But I want to ask on a personal note. Le Guin was in the headlines a few years ago. She made this fiery18 speech at the National Book Awards. And Petra, you were there.
MAYER: I was. I was. And it was something to see. It was right around the time that Amazon was in a dispute with a bunch of publishers about pricing. And she was talking about corporate19 fatwas and commodity profiteers. You could kind of see the people in the audience squirming actually. Here's a little bit of that speech. She said hard times were coming and that we were going to need what she called writers who can remember freedom.
(SOUNDBITE OF ARCHIVED RECORDING)
URSULA K LE GUIN: Poets, visionaries, the realists of a larger reality - right now, I think we need writers who know the difference between production of a market commodity and the practice of an art.
MAYER: And really that was Ursula K. Le Guin for me. Everything she did was art.
KELLY: That is NPR books editor Petra Mayer talking there about Ursula K. Le Guin, who died yesterday at her home in Portland. She was 88. Thanks, Petra.
MAYER: Thank you.
1 rite | |
n.典礼,惯例,习俗 | |
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2 influential | |
adj.有影响的,有权势的 | |
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3 gender | |
n.(生理上的)性,(名词、代词等的)性 | |
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4 saga | |
n.(尤指中世纪北欧海盗的)故事,英雄传奇 | |
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5 feminist | |
adj.主张男女平等的,女权主义的 | |
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6 legacy | |
n.遗产,遗赠;先人(或过去)留下的东西 | |
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7 byline | |
n.署名;v.署名 | |
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8 combative | |
adj.好战的;好斗的 | |
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9 tentacles | |
n.触手( tentacle的名词复数 );触角;触须;触毛 | |
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10 genre | |
n.(文学、艺术等的)类型,体裁,风格 | |
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11 lieutenant | |
n.陆军中尉,海军上尉;代理官员,副职官员 | |
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12 trek | |
vi.作长途艰辛的旅行;n.长途艰苦的旅行 | |
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13 anthropological | |
adj.人类学的 | |
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14 diplomacy | |
n.外交;外交手腕,交际手腕 | |
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15 voracious | |
adj.狼吞虎咽的,贪婪的 | |
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16 aspiring | |
adj.有志气的;有抱负的;高耸的v.渴望;追求 | |
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17 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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18 fiery | |
adj.燃烧着的,火红的;暴躁的;激烈的 | |
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19 corporate | |
adj.共同的,全体的;公司的,企业的 | |
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