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(单词翻译:双击或拖选)
ARI SHAPIRO, HOST:
"Follow This Thread" is an instruction and a title. Henry Eliot's latest book is about mazes2 and labyrinths4. And like a maze1, it takes several twists and turns through history, philosophy, myth and pop culture. Henry Eliot told me since he was a kid in England, anytime he has come across a maze. He's felt an urge to get inside of it.
HENRY ELIOT: The thing which really made me fascinated with them is I noticed that although I was intrigued5 to get inside, once I was in the maze, I found them pretty unpleasant actually. I didn't like the feeling of being lost and disorientated. And it struck me as a strange paradox6 that we're both drawn7 into them and repelled8 from them...
SHAPIRO: Yeah.
ELIOT: ...And that we're building more and more of them all the time. And yet in the rest of our lives, we try not to get lost. And I think that's why I became particularly interested in them - trying to work out why we have these things.
SHAPIRO: And this book explores that question through the lens of myth and psychology9 and history. And there are no easy answers, but what's the best answer you've come up with? Why do people want to enter a maze even as they fear getting lost?
ELIOT: When you enter a maze, you're living out a kind of ancient metaphor10 for the challenge of life really. You're entering - especially a maze which has choices and has dead ends. It feels very much like a kind of allegory for life. And you find your way through it, and you try to do the best job you can.
And the center of the maze, which is the goal of the puzzle - it's the goal of the challenge - is the ultimate dead end. It's the place you get to where there's nowhere else to go. It's where you stop. And there's a way in which that maps onto death, I think. Obviously when you die, there's no coming back. But in a maze, you're offered a chance of redemption. You're allowed to turn around and emerge from the maze having learned from the experience that you've been through.
SHAPIRO: This is such a universal experience. You describe ancient mazes from nearly every continent. How is it possible that when there was little to no contact amongst these cultures, they all independently came to the idea of a maze?
ELIOT: I know. It's one of the real mysteries. We just don't know. It's so extraordinary. The oldest maze that we think we can date is a petroglyph from the island of Sardinia. It's carved into the limestone11 rock in this cave system known as a fairy cave. And we think that's about 5,000 years old. But exactly as you say, it also appears in Southeast Asia, in Africa, in other parts of Europe. And there isn't really an easy explanation.
It's possible that it was discovered simultaneously12 by different cultures, and all - actually lots of bits inside the body look quite mazelike. So when you cut open the stomach and look at the guts13, that looks quite like a maze system. And the brain looks quite mazelike. And so maybe these kind of natural occurrences of mazy designs meant that it kind of appeared simultaneously around the world.
SHAPIRO: Or I suppose the programmers who put us all into this massive simulation could have just put it into our brains.
(LAUGHTER)
ELIOT: Well, quite.
(LAUGHTER)
SHAPIRO: I have to ask you about the design of this book because you don't just read it. You really experience it. To get through the book, you have to follow the text that wraps around, and you turn the book upside down and backwards14. There is also a red thread that runs...
ELIOT: Yes.
SHAPIRO: ...Through the book with single-line illustrations and mazes. At what point in the writing process did you realize that the book itself would be a maze?
ELIOT: Quite early on. I really liked that idea of the book itself being like a maze. And that's partly because there are so many examples of mazes inside books. You know, there's that wonderful library maze in "The Name Of The Rose" or the maze the center of Stephen King's "Shining" and so on. And then quite early on, we had this idea to rotate the text so that you had to kind of turn the book to find a way through it, and the turns and the text exactly match the turns that one would have to make if you were walking through the classical seven-path labyrinth3.
SHAPIRO: I think particularly in the present day when we have a device in our pocket that can give us all the information in the world, including detailed15 maps at any given moment, there might be an anxiety or fear about getting lost in many people's minds. Do you have any suggestions or insight for those people who can't break through and find the freedom in being lost?
ELIOT: Yeah. It feels like a very modern phenomenon, doesn't it? I mean, I certainly feel it. If my phone runs out of battery, especially in a foreign city, I feel completely marooned16. And it's a kind of self-reliance that we're losing by having these devices in our pocket. I mean, I would really recommend the experience of being genuinely lost. And I think a maze is quite a good place to have that feeling because you know that you're getting lost within a safe space, as it were. You know there are perimeters17 to this space. And maybe this is a function for mazes in the future - that it's a safe place to have that feeling of being lost.
SHAPIRO: Henry Eliot, thank you so much.
ELIOT: Ari, thank you. It's been a pleasure.
SHAPIRO: His new book, which is also a maze of sorts, is called "Follow This Thread: A Maze Book To Get Lost In."
1 maze | |
n.迷宫,八阵图,混乱,迷惑 | |
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2 mazes | |
迷宫( maze的名词复数 ); 纷繁复杂的规则; 复杂难懂的细节; 迷宫图 | |
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3 labyrinth | |
n.迷宫;难解的事物;迷路 | |
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4 labyrinths | |
迷宫( labyrinth的名词复数 ); (文字,建筑)错综复杂的 | |
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5 intrigued | |
adj.好奇的,被迷住了的v.搞阴谋诡计(intrigue的过去式);激起…的兴趣或好奇心;“intrigue”的过去式和过去分词 | |
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6 paradox | |
n.似乎矛盾却正确的说法;自相矛盾的人(物) | |
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7 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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8 repelled | |
v.击退( repel的过去式和过去分词 );使厌恶;排斥;推开 | |
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9 psychology | |
n.心理,心理学,心理状态 | |
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10 metaphor | |
n.隐喻,暗喻 | |
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11 limestone | |
n.石灰石 | |
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12 simultaneously | |
adv.同时发生地,同时进行地 | |
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13 guts | |
v.狼吞虎咽,贪婪地吃,飞碟游戏(比赛双方每组5人,相距15码,互相掷接飞碟);毁坏(建筑物等)的内部( gut的第三人称单数 );取出…的内脏n.勇气( gut的名词复数 );内脏;消化道的下段;肠 | |
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14 backwards | |
adv.往回地,向原处,倒,相反,前后倒置地 | |
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15 detailed | |
adj.详细的,详尽的,极注意细节的,完全的 | |
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16 marooned | |
adj.被围困的;孤立无援的;无法脱身的 | |
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17 perimeters | |
周边( perimeter的名词复数 ); 周围; 边缘; 周长 | |
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