1、第九届卡西欧杯翻译竞赛原文（英文组）来自: FLAA(外国文艺 )Means of DeliveryJoshua Cohen Smuggling Afghan heroin or women from Odessa would have been more reprehensible, but more logical. You know youre a fool when what youre doing makes even the post office seem efficient. Everything I was packing into this unwieldy, 1980s-
2、vintage suitcase was available online. I dont mean that when I arrived in Berlin I could have ordered more Levis 510s for next-day delivery. I mean, I was packing books. Not just any books these were all the same book, multiple copies. “Invalid Format: An Anthology of Triple Canopy, Volume 1” is pub
3、lished, yes, by Triple Canopy, an online magazine featuring essays, fiction, poetry and all variety of audio/visual culture, dedicated click “About” “to slowing down the Internet.” With their book, the first in a planned series, the editors certainly succeeded. They were slowing me down too, just fi
4、ne. “Invalid Format” collects in print the magazines first four issues and retails, ideally, for $25. But the 60 copies I was couriering, in exchange for a couch and coffee-press access in Kreuzberg, would be given away. For free. Until lately the printed book changed more frequently, but less creat
5、ively, than any other medium. If you thought “The Quotable Ronald Reagan” was too expensive in hardcover, you could wait a year or less for the same content to go soft. E-books, which made their debut in the 1990s, cut costs even more for both consumer and producer, though as the Internet expanded t
6、hose roles became confused. Self-published book properties began outnumbering, if not outselling, their trade equivalents by the mid-2000s, a situation further convoluted when the conglomerates started “publishing” “self-published books.” Last year, Penguin became the first major trade press to go v
7、anity: its Book Country e-imprint will legitimize your “original genre fiction” for just under $100. These shifts make small, D.I.Y. collectives like Triple Canopy appear more traditional than ever, if not just quixotic a word derived from one of the first novels licensed to a publisher. Kennedy Air
8、port was no problem, my connection at Charles de Gaulle went fine. My luggage connected too, arriving intact at Tegel. But immediately after immigration, I was flagged. A smaller wheelie bag held the clothing. As a customs official rummaged through my Hanes, I prepared for what came next: the larger
9、 case, casters broken, handle rusted Im pretty sure it had already been Used when it was given to me for my bar mitzvah. Before the official could open the clasps and start poking inside, I presented him with the document the Triple Canopy editor, Alexander Provan, had e-mailed me the night before?
10、two nights before already? Id been up one of those nights scouring New York City for a printer. No one printed anymore. The document stated, in English and German, that these books were books. They were promotional, to be given away at universities, galleries, the Miss Read art-book fair at Kunst-We
11、rke. “All are same?” the official asked. “Alle gleich,” I said. An older guard came over, prodded a spine, said something I didnt get. The younger official laughed, translated, “He wants to know if you read every one.” At lunch the next day with a musician friend. In New York he played twice a month
12、, ate food stamps. In collapsing Europe hes paid 2,000 euros a night to play a quattrocento church. “Where are you handing the books out?” he asked. “At an art fair.” “Why an art fair? Why not a book fair?” “Its an art-book fair.” “As opposed to a book-book fair?” I told him that at book-book fairs,
13、 like the famous one in Frankfurt, they mostly gave out catalogs. Taking trains and trams in Berlin, I noticed: people reading. Books, I mean, not pocket-size devices that bleep as if censorious, on which even Shakespeare scans like a spreadsheet. Americans buy more than half of all e-books sold int
14、ernationally unless Europeans fly regularly to the United States for the sole purpose of downloading reading material from an American I.P. address. As of the evening I stopped searching the Internet and actually went out to enjoy Berlin, e-books accounted for nearly 20 percent of the sales of Ameri
15、can publishers. In Germany, however, e-books accounted for only 1 percent last year. I began asking the multilingual, multiethnic artists around me why that was. It was 2 a.m., at Soho House, a private club Id crashed in the former Hitlerjugend headquarters. One installationist said, “Americans like
16、 e-books because theyre easier to buy.” A performance artist said, “Theyre also easier not to read.” True enough: their presence doesnt remind you of what youre missing; they dont take up space on shelves. The next morning, Alexander Provan and I lugged the books for distribution, gratis. Question:
17、If books become mere art objects, do e-books become conceptual art? Juxtaposing psychiatric case notes by the physician-novelist Rivka Galchen with a dramatically illustrated investigation into the devastation of New Orleans, “Invalid Format” is among the most artful new attempts to reinvent the Web
18、 by the codex, and the codex by the Web. Its texts “scroll”: horizontally, vertically; title pages evoke “screens,” reframing content that follows not uniformly and continuously but rather as a welter of column shifts and fonts. Its closest predecessors might be mixed-media Dada (Duchamps loose-leaf
19、ed, shuffleable “Green Box”); or perhaps “I Can Has Cheezburger?,” the best-selling book version of the pet-pictures-with-funny-captions Web site ICanHasC; or similar volumes from StuffWhitePeopleL and AwkwardFamilyP. These latter books are merely the kitschiest products of publishings recent enthus
20、iasm for “back-engineering.” Theyre pseudoliterature, commodities subject to the same reversing process that for over a century has paused “movies” into “stills” into P.R. photos and dorm posters and notated pop recordings for sheet music. Admittedly I didnt have much time to consider the implicatio
21、ns of adaptive culture in Berlin. I was too busy dancing to “Ich Liebe Wie Du Lgst,” a k a “Love the Way You Lie,” by Eminem, and falling asleep during “Bis(s) zum Ende der Nacht,” a k a “The Twilight Saga: Breaking Dawn,” just after the dubbed Bella cries over her unlikely pregnancy, “Das ist unmgl
22、ich!” indeed! Translating mediums can seem just as unmglich as translating between unrelated languages: there will be confusions, distortions, technical limitations. The Web and e-book can influence the print book only in matters of style and subject no links, of course, just their metaphor. “The gh
23、ost in the machine” cant be exorcised, only turned around: the machine inside the ghost. As for me, I was haunted by my suitcase. The extra one, the empty. My last day in Kreuzberg was spent considering its fate. My wheelie bag was packed. My laptop was stowed in my carry-on. I wanted to leave the p
24、leather immensity on the corner of Kottbusser Damm, down by the canal, but Ive never been a waster. I brought it back. It sits in the middle of my apartment, unrevertible, only improvable, hollow, its lid flopped open like the cover of a book. 传送之道 约书亚科恩 走私阿富汗的海洛因和贩卖来自敖德萨的妇女本应受到更多的谴责，但是也更合乎情理。当你的所作所
25、为甚至让邮局看起来都有效率时，你应该知道自己是个傻瓜。所有我塞到这个笨重的，产自上个世纪 80 年代的老式行李箱里面的东西，都可以在网上买得到。我不是说，当我到达柏林时本该为了下一天的运送而订购更多的李维斯修身牛仔裤。我是说，我在打包书籍。 不是各式各样的书，这些都是同一本书，只是不同的版本。 无效的格式：三重华盖选集，第一卷已经出版了。是的，就是“三重华盖” 发行的。这个 “三重华盖”是一个网络电子杂志，凭借散文、小说、诗歌、五花八门的声音和视觉文化独树一帜。尤其是当点击“ 关于” 时，网页上会出现 “让因特网慢下来”的字样。随着他们计划好的一系列书籍当中，这第一本的出版，编辑们无疑获取了成
26、功。他们或多或少地也让我慢了下来。 无效的格式收录并付印了杂志的前 4 期并建议零售价25 美元。但是我即将邮递的这 60 本不同的版本，却是在克罗伊茨贝格用一个沙发和一台咖啡机换来的赠品。完全是免费的。 近来与其他传播媒介相比，纸质书籍变化地越发频繁，却越来越缺少创造性。如果你认为精装的罗纳德里根名言太贵，那你大可以等一年或者更短的时间，相同的内容就会在网上出现。电子书在上个世纪 90 年代首次亮相，大幅度的削减了消费者和生产者的成本。然而随着网络的发展，电子书的角色却变得匪夷所思。 “自行出版”书籍的收入在 21 世纪前五年，开始超过商业交易收入。而大型联合企业开始发行“自行出版 ”书籍的
27、情形更加令人费解。去年， “企鹅”成为第一大出版社，极大地满足了其虚荣心。在它的图书王国只需不到 100 美元就能让你的“原始小说”拥有合法的出版社落款。这样的转变使那些像“ 三重华盖”一样喜欢 D.I.Y.的小企业们比以往任何时候都显得落后，如果这说法不仅仅是堂吉诃德式的一个来自获得首批出版商许可的小说中的词语。 我托运的书籍在肯尼迪机场没有遇到问题，在戴高乐机场一切顺利。我的行李也一并托运，完好无损地到达了泰格尔。但是就在入境后，因为一个相对较小，带有小轮子装着衣服的包裹，我被注意了。当海关官员仔细在我的“恒适” 中翻找时，我已经对接下来要发生的事情做好了准备。就要轮到那个小脚轮坏掉，把手
28、生了锈的相对较大的箱子了。因为我在酒吧的善行，这个箱子到我手里时，它已经被用过了，这一点我确信无疑。 就在官员将要打开扣环，开始向里面捅时，我向他出示了证明文件。这份证明是“ 三重华盖 ”的编辑，亚历山大 普罗文昨晚用邮箱发给我的。难道是前天晚上？这些天有一天晚上我通宵在纽约淘一部打印机。现在不再有人打印了。这份文件用英语和德语说明了这些书是名副其实的书。他们是用来推广宣传的，会赠送给各高校，画廊和位于艺术工厂的“读书小姐” 艺术书展。 “所有的都一样吗？ ”官员问道。 “全都一样。 ”我用德语答道。 一个年龄较大的守卫走过来，用手指戳了戳了书脊，说了什么，不过我没听懂。那个年轻点的官员笑起来
29、，为我翻译说：“他想知道你是否每一本都读了。 ” 第二天我和一位音乐家一起吃午饭。在纽约他一个月演奏两次，靠代金券填 2 饱肚子。在经济下滑的欧洲，他演奏 15 世纪的教堂礼拜仪式，一个晚上竟能赚 2000 欧元。 “你要把这些书送到哪里？”他问。 “一个艺术展览会。 ” “为什么是艺术展会？为什么不是书展呢？” “它是一个艺术书展。 ” “和专门的书展不同吗？” 我告诉他，在专门的书展上，像在法兰克福那个著名的书展那样，大多数情况下他们只给出展出书籍的目录。 在柏林乘坐火车和有轨电车的时候，我注意到：人们在阅读。我说的是书籍，而不是口袋大小，发出哗哗声的电子设备，如果非要吹毛求疵的话，在那上
30、面莎士比亚可以像计算机程序一样一览无遗。全世界售出的电子书，美国人购买了一半以上，除非欧洲人定期坐飞机去美国，目的只有一个，就是用美国的 IP 地址下载阅读材料。从那晚开始，我不再上网而是出去真正的享受柏林。电子书在美国出版商的总销量中约占 20%，然而去年在德国，电子书仅仅占据了 1%。我开始询问身边掌握多种语言，了解多个民族的艺术家为什么会这样。那是凌晨两点在一个私人会所，叫苏荷馆。在之前的青年希特勒总部中，我的电脑死机了。一个程序安装人员说：“美国人热爱电子书因为更方便买到。 ”一个表演艺术家说： “电子书也更方便随时不读。 ”的确，电子书的存在不会提醒你错过了什么，它不会占据书架上的空
31、间。第二天上午，亚历山大普罗文和我拖着那些书给大家免费的派发。问题是，如果书籍仅仅变成艺术品，那么电子书是不是要成为观念艺术呢？ 将内科医生兼小说家丽芙卡戈臣的精神病学案例笔记和对于新奥尔良毁灭的惊人调查联系在一起， 无效的格式是其中最狡猾的新尝试，它创造了原创书籍的网络，和网络中的原创书籍。它的文字能水平或垂直的滚动；标题能唤起与之联系的页面，重组的内容不是遵循一致性和流畅性，而是杂乱无章的纵列和字体。它最近的前辈可能是混合媒体达达（杜桑那拥有宽松页面，可移动的“绿色盒子” ） ；或者可能是“我能吃芝士汉堡 ”一本畅销书，内容取自带搞笑标题的宠物图片的网站ICanHasC；又或者是相似的书册
32、来自 StuffWhitePeopleL 和 AwkwardFamilyP 网站。这之后的书不过是些庸俗的作品，是出版业在“后建筑时代 ”的一时冲动。这些是伪文学。一个多世纪以来， “电影”被暂停成“定格画面 ”，变成公关照片和宿舍的海报；刻录的唱片也变成五线谱。这些商品书籍势必将经历相同的转变过程。 诚然我没有时间去考虑柏林“适应性文化”背后的意义。我忙着在“Ich Liebe Wie Du Lugst”中翩翩起舞，曲子又名“爱你说谎的样子” ，是艾米纳姆创作的。忙着在 “Bis zum Ende der Nacht”又叫“ 暮光之城：破晓”中进入梦乡，就在配音后的贝拉为她意料之外的怀孕而恸
33、哭之后。的确，那是不可能的。 翻译媒体对于不相关的语言之间的翻译也可能是无计可施，将会遇到模糊不清，语意歪曲和技术的限制。网络和电子书只能在形式和主题上影响纸质书籍没有相互联系，当然，仅仅是他们的比喻。 “机器中的鬼魂”不能被驱散，只能倒过来说是：鬼魂体内的机器。 于我而言，我被自己的行李箱困扰着。那个多余的空箱子。我在克罗伊茨贝格的最后一天是忧虑着它的命运度过的。我那个带小轮子的包裹已经打包好了。我的笔记本电脑也已经整齐的收起。我想把这个人造革的产物扔在科特布斯的角 3 落，顺运河而下，但是我从不是一个浪费者。我又把箱子带了回来。它蹲坐在我公寓的正中间，即使修理也不能完好如初了。它失落地展开
34、了盖子，中间空着，就像一本书的封面。第八届卡西欧杯翻译竞赛原文（英文组）来自: FLAA(外国文艺 )How Writers Build the Brand By Tony Perrottet As every author knows, writing a book is the easy part these days. Its when the publication date looms that we have to roll up our sleeves and tackle the real literary labor: rabid self-promotion. For we
35、eks beforehand, we are compelled to bombard every friend, relative and vague acquaintance with creative e-mails and Facebook alerts, polish up our Web sites with suspiciously youthful author photos, and, in an orgy of blogs, tweets and YouTube trailers, attempt to inform an already inundated world o
36、f our every reading, signing, review, interview and (well, one can dream!) TV appearance. In this era when most writers are expected to do everything but run the printing presses, self-promotion is so accepted that we hardly give it a second thought. And yet, whenever I have a new book about to come
37、 out, I have to shake the unpleasant sensation that there is something unseemly about my own clamor for attention. Peddling my work like a Viagra salesman still feels at odds with the high calling of literature. In such moments of doubt, I look to history for reassurance. Its always comforting to be
38、 reminded that literary whoring I mean, self-marketing has been practiced by the greats. The most revered of French novelists recognized the need for P.R. “For artists, the great problem to solve is how to get oneself noticed,” Balzac observed in “Lost Illusions,” his classic novel about literary li
39、fe in early 19th-century Paris. As another master, Stendhal, remarked in his autobiography “Memoirs of an Egotist,” “Great success is not possible without a certain degree of shamelessness, and even of out-and-out charlatanism.” Those words should be on the Authors Guild coat of arms. Hemingway set
40、the modern gold standard for inventive self-branding, burnishing his image with photo ops from safaris, fishing trips and war zones. But he also posed for beer ads. In 1951, Hem endorsed Ballantine Ale in a double-page spread in Life magazine, complete with a shot of him looking manly in his Havana
41、abode. As recounted in “Hemingway and the Mechanism of Fame,” edited by Matthew J. Bruccoli and Judith S. Baughman, he proudly appeared in ads for Pan Am and Parker pens, selling his name with the abandon permitted to Jennifer Lopez or LeBron James today. Other American writers were evidently inspir
42、ed. In 1953, John Steinbeck also began shilling for Ballantine, recommending a chilled brew after a hard days labor in the fields. Even Vladimir Nabokov had an eye for self-marketing, subtly suggesting to photo editors that they feature him as a lepidopterist prancing about the forests in cap, short
43、s and long socks. (“Some fascinating photos might be also taken of me, a burly but agile man, stalking a rarity or sweeping it into my net from a flowerhead,” he enthused.) Across the pond, the Bloomsbury set regularly posed for fashion shoots in British Vogue in the 1920s. The frumpy Virginia Woolf
44、 even went on a “Pretty Woman”-style shopping expedition at French couture houses in London with the magazines fashion editor in 1925. But the tradition of self-promotion predates the camera by millenniums. In 440 B.C. or so, a first-time Greek author named Herodotus paid for his own book tour aroun
45、d the Aegean. His big break came during the Olympic Games, when he stood up in the temple of Zeus and declaimed his “Histories” to the wealthy, influential crowd. In the 12th century, the clergyman Gerald of Wales organized his own book party in Oxford, hoping to appeal to college audiences. Accordi
46、ng to “The Oxford Book of Oxford,” edited by Jan Morris, he invited scholars to his lodgings, where he plied them with good food and ale for three days, along with long recitations of his golden prose. But they got off easy compared with those invited to the “Funeral Supper” of the 18th-century Fren
47、ch bon vivant Grimod de la Reynire, held to promote his opus “Reflections on Pleasure.” The guests curiosity turned to horror when they found themselves locked in a candlelit hall with a catafalque for a dining table, and were served an endless meal by black-robed waiters while Grimod insulted them
48、as an audience watched from the balcony. When the diners were finally released at 7 a.m., they spread word that Grimod was mad and his book quickly went through three printings. Such pioneering gestures pale, however, before the promotional stunts of the 19th century. In “Crescendo of the Virtuoso:
49、Spectacle, Skill, and Self-Promotion in Paris During the Age of Revolution,” the historian Paul Metzner notes that new technology led to an explosion in the number of newspapers in Paris, creating an array of publicity options. In “Lost Illusions,” Balzac observes that it was standard practice in Paris to bribe editors and critics with cash and lavish dinners to secure review space, while the city was plastered with loud posters advertising new re
