PBS高端访谈:通过海明威映射巴黎解放运动（在线收听）

NICK SCHIFRIN: Now Jeffrey Brown has a look at a decades-old, but newly released short story by Ernest Hemingway.

JEFFREY BROWN: August, 1944, French and Allied troops marched down the Champs Elysees, the City of Light liberated from Nazi occupiers. Embedded with the soldiers, a giant of American literature, Ernest Hemingway. Twelve years later, Hemingway would capture the mood and the moment in a short story that bears the hallmarks of his classic works. Now "A Room on the Garden Side" has been published for the first time, in the literary magazine "The Strand."

Managing editor, Andrew Gulli: It starts with a bunch of soldiers and they're sitting in the Ritz Hotel, and they're drinking. And you could tell that they have gone through a stressful experience because they have just marched into Paris after Paris was liberated from the Nazis. So you see there's all this laughter of men who had fought at battle and in essence relieving stress. But then there's also beneath that some sadness and some pathos for the men who didn't make it.

JEFFREY BROWN: It was in 1956 that Hemingway sent word to his publisher of five new short stories he'd written: "I suppose they are a little shocking since they deal with irregular troops in combat and with people who actually kill people. Anyway, you can always publish them after I'm dead." The story set unpublished, though known to scholars. Hemingway committed suicide five years later, in 1961.

ANDREW GULLI: If this manuscript was just submitted to me as is, I probably would have published it, because it was just, it had a lot of typical themes of an Ernest Hemingway story. There is the theme of war, the theme of bravery, the theme of mortality, nostalgia for a time that has gone by.

JEFFREY BROWN: The nostalgia dates all the way back to Hemingway's life as a young man in Paris in the 1920s, a heyday when he socialized with writers and artists, like Gertrude Stein, James Joyce, and Pablo Picasso. His memoir, "A Moveable Feast," published posthumously, captures that period. The newly published story takes place in the Ritz Hotel, one of Hemingway's frequent haunts. The hotel's bar is now named after its most famous patron. Kirk Curnutt is a board member of the Hemingway Foundation and Society.

KIRK CURNUTT, Hemingway Foundation and Society: Paris was absolutely crucial to his artistic sense of himself. That was the place where he found his voice. I think he always looked at the liberation of Paris in 1944 as asking himself, what would have happened had Paris been permanently lost to the Nazis? So it's a very personal question for him. And I think, at the end of the life, as he's going back over those early years and calculating the loss of aging and the loss of his first wife, he's really identifying in that period with the city itself.

JEFFREY BROWN: Hemingway's life and adventures often inspired his works. His time as a young ambulance driver on the Italian front in World War I figured in his first novel, "A Farewell to Arms." He captured his experience as an expat in Europe in "The Sun Also Rises," and during the Spanish Civil War in "For Whom the Bell Tolls." By the time he wrote "A Room on the Garden Side" in 1956, Hemingway was world famous, but sinking into a deep depression.

KIRK CURNUTT: He was really struggling at this moment in his career. He had been through two plane crashes in two consecutive days a couple of years earlier. He was struggling to finish several large, voluminous projects. And so I think he was in Paris about this time. And what's interesting to me is, he was really writing the story around the same time he began writing "A Moveable Feast," so it's inexorably connected with what most people consider one of his two or three greatest works.

JEFFREY BROWN: Hemingway's short story is just the latest lost work to be excavated by "The Strand," which previously published unseen pieces by writers like John Steinbeck, F. Scott Fitzgerald, and Robert Louis Stevenson. Andrew Gulli, is it the fun of it? Is there something more that we learn about these authors?

ANDREW GULLI: I would say it's partly the fun of it. Ever since I was a kid, I was the kid who was bothering my mom, saying, hey, mom, wouldn't it be great if Robert Louis Stevenson was alive, and I could be discussing "Treasure Island" with him? So, to me, I love to have that bridge between the past and the present with these writers. And it's a nice thing to have a writer who was a very talented writer, to have some contemporary readers today try to compare their experience reading their work today to how they felt when they're reading it, let's say, in high school or 30 years ago.

JEFFREY BROWN: For the "PBS NewsHour," I'm Jeffrey Brown.

尼克·希夫林：现在杰弗里·布朗带我们走进一篇几十年前由欧内斯特·海明威所著，新进发表的短篇小说。

杰弗里·布朗：1944年8月，法国和盟国军队沿着香榭丽舍大街游行，光明之城从纳粹占领者手中解放。与士兵们比肩而立的是美国文学大亨，欧内斯特·海明威。十二年后，海明威在一个带有他经典作品特征的短篇小说中捕捉到了当时的情绪和时刻。现在《花园一侧的房间》首次出版在文学杂志《海滨杂志》中。

安得烈·古里，《海滨杂志》主编：开篇是一群士兵，他们正坐在丽思酒店里喝酒。你可以看得出他们刚经过了一场给他们带来巨大压力的事件，这是巴黎从纳粹手中解放后，他们首次进入巴黎。所以你看到那些经历了这场战斗的男人们发出的笑声，本质上讲，他们在缓解自己的压力。但是，对于那些失败者来说，这里还混杂着一些凄楚与悲伤。

杰弗里·布朗：1956年，海明威向他的出版商呈递了他新作的五篇短篇小说，并写道：“我认为他们有点令人震惊，因为其中描绘了在战斗中与非正规部队的作战，以及那些真正杀人的凶手。无论如何，在我死后，你们总能将它们发表出来。”尽管学者们都知道，但这个故事仍未发表。海明威于五年后的1961年自杀。

安得烈·古里：如果这份手稿刚刚按原样呈递给我，我可能会将它发表，因为它真的 - 它涉及了很多欧内斯特·海明威式故事的典型主题。战争的主题，勇敢的主题，死亡的主题以及对过往时光的怀旧。

杰弗里·布朗：那些怀旧的往事可以追溯到海明威20世纪20年代作为一个年轻人在巴黎的生活，那个时期是他与格特鲁德·斯坦，詹姆斯·乔伊斯和巴勃罗·毕加索等作家和艺术家交往的鼎盛时期。他的回忆录《流动的盛宴》在其死后出版，该部作品恰对那段时期进行了捕捉。而这部新出版的故事发生在海明威频繁进出的丽思酒店。如今，这家酒店的酒吧正以其这位最著名顾客的名字命名。基尔克·库尔努特是海明威基金会的董事会成员。

基尔克·库尔努特，海明威基金会：巴黎对他的艺术感觉至关重要。那是他听到自己声音的地方。我认为他总在关注1944年巴黎的解放，因为他问自己，如果巴黎永远没有逃脱纳粹，那又当如何？所以对他来说，这是一个非常个人化的问题。而且我认为，在生命的尽头，当他追忆往昔，并细数那些岁月的流逝，以及他第一任妻子的离去时，他确实在那个时期在这座城市，找到了对自我的认同。

杰弗里·布朗：海明威的生活和那些冒险的经历经常会激发他的创作灵感。他曾在第一次世界大战期间在意大利前线担任一位年轻的救护车司机，而这段时光在他的第一部小说《永别了武器》中加以呈现。从他的作品《太阳照常升起》以及《丧钟为谁而鸣》中，我们分别瞥见了他在欧洲作为外侨以及在西班牙内战期间的那段经历。而当他于1956年写下《花园一侧的房间》时，海明威早已闻名世界，然而却陷入了深深的消沉。

基尔克·库尔努特：他职业生涯在这一刻真的相当挣扎。几年前，他在两天中连续经历两次空难。那时他正在努力完成几个庞大的项目。所以我认为大约那段时间，他在巴黎。而对我来说有趣的是，他在写这个故事的同时，正在开始创作《流动的盛宴》，所以大多数人无情地将他这部作品与其另外两三件最伟大的作品联系到了一起。

杰弗里·布朗：在众多遗失的佳作中，海明威的这部短篇小说只是《海滨杂志》最新挖掘出的一部，以前《海滨杂志》还曾出版过像约翰·斯坦贝克、弗朗西斯·斯科特·基·菲茨杰拉德和罗伯特·路易斯·史蒂文森等作家此前未曾出世的作品。安得烈·古里，这是不是它的乐趣所在？我们对这些作者有更多了解吗？

安得烈·古里：我会说部分来讲，这是它的乐趣。那时我还是个孩子，我总烦扰我母亲说，嘿，妈妈，如果罗伯特·路易斯·史蒂文森还活着，我是不是就可以跟他讨论《金银岛》了？所以，对我来说，我喜欢游离在过去与现在之间，与这些作家建立起桥梁。拥有一位极具才华的作家，并同时在当代拥有一些读者，尝试将他们今天阅读作品的体会与他们，让我们说他们上高中那会儿或30年前阅读作品的感受进行比较，这是一件好事。

杰弗里·布朗：《新闻一小时》，我是杰弗里·布朗。