海明威的47個(gè)結(jié)尾

To Use and Use Not

海明威的47個(gè)結(jié)尾

In an interview in The Paris Review in 1958 Ernest Hemingway made an admission that has inspired frustrated novelists ever since: The final words of “A Farewell to Arms,” his wartime masterpiece, were rewritten “39 times before I was satisfied.”

1958年，歐內(nèi)斯特·海明威(Ernest Hemingway)在《巴黎評(píng)論》(Paris Review)訪談中坦言，他那部講述戰(zhàn)爭(zhēng)年代的杰作《永別了，武器》(A Farewell to Arms)的結(jié)尾，他重寫了39遍才算滿意。對(duì)于寫作中受挫的小說(shuō)家來(lái)說(shuō)，這句話至今仍是一種啟迪。

Those endings have become part of literary lore, but they have never been published together in their entirety, according to his longtime publisher, Scribner.

那些結(jié)尾已成文壇佳話，但按照長(zhǎng)期出版海明威作品的斯克瑞伯納出版社(Scribner)的說(shuō)法，它們從未被放在一起完整地出版。

A new edition of “A Farewell to Arms,” which was originally published in 1929, will be released next week, including all the alternate endings, along with early drafts of other passages in the book.

斯克瑞伯納出版社將于下周推出初版于1929年的《永別了，武器》的新版，其中會(huì)收錄這些不同的結(jié)尾，以及書中其他一些段落定稿前的修改稿。

The new edition is the result of an agreement between Hemingway’s estate and Scribner, now an imprint of Simon & Schuster.

這一新版是海明威遺產(chǎn)基金會(huì)和斯克瑞伯納雙方協(xié)議的結(jié)果。斯克瑞伯納目前隸屬于西蒙與舒斯特出版集團(tuán)(Simon & Schuster)。

It is also an attempt to redirect some of the attention paid in recent years to Hemingway’s swashbuckling, hard-drinking image — through fictional depictions in the best-selling novel “The Paris Wife” and the Woody Allen film “Midnight in Paris,” for instance — back to his sizable body of work.

此舉也是力圖扭轉(zhuǎn)近年來(lái)暢銷小說(shuō)《巴黎妻子》(The Paris Wife)、伍迪·艾倫(Woody Allen)的電影《午夜巴黎》(Midnight in Paris)等虛構(gòu)作品將海明威塑造成的那種虛張聲勢(shì)、酗酒莽漢的形象，讓人們對(duì)海明威的注意力放回到他數(shù)量可觀的作品上。

“I think people who are interested in writing and trying to write themselves will find it interesting to look at a great work and have some insight to how it was done,” Seán Hemingway, a grandson of Ernest Hemingway who is also a curator of Greek and Roman art at the Metropolitan Museum of Art, said in an interview. “But he is a writer who has captured the imagination of the American public, and these editions are interesting because they really focus on his work. Ultimately that’s his lasting contribution.”

歐內(nèi)斯特·海明威的孫子、紐約大都會(huì)博物館希臘與羅馬藝術(shù)部負(fù)責(zé)人肖恩·海明威(Seán Hemingway)在采訪中說(shuō)：“我想，對(duì)寫作有興趣、剛開(kāi)始寫作的人都會(huì)興致勃勃地看一部杰作，看看它是怎樣寫成的。他也是一位俘獲了美國(guó)公眾想象力的作家，這些不同版本令人感興趣，因?yàn)樗鼈兗姓宫F(xiàn)的是他的工作。這終究是他永恒的貢獻(xiàn)。”

The new edition concludes that the 39 endings that Hemingway referred to are really more like 47. They have been preserved in the Ernest Hemingway Collection at the John F. Kennedy Presidential Library and Museum in Boston since 1979, where Seán Hemingway studied them carefully. (Bernard S. Oldsey, a Hemingway scholar, listed 41 endings in his book “Hemingway’s Hidden Craft,” but Seán Hemingway found 47 variations in manuscripts preserved at the Kennedy Library.)

這個(gè)收入海明威所說(shuō)的那39種結(jié)尾的新版，實(shí)際上收了47種結(jié)尾。自1979年以來(lái)，這些資料被保存于波士頓的約翰·F.肯尼迪總統(tǒng)圖書館(John F. Kennedy Presidential Library and Museum)中的歐內(nèi)斯特·海明威藏區(qū)，肖恩·海明威在那里做過(guò)仔細(xì)研究。(海明威研究專家伯納德·S.歐德塞[Bernard S.Oldsey]在他的著作《海明威的秘技》[Hemingway’s Hidden Carft]一書中曾列舉41種結(jié)尾，但肖恩·海明威在肯尼迪圖書館收藏的書稿中發(fā)現(xiàn)了47種。)

The alternate endings are labeled and gathered in an appendix in the new edition, a 330-page book whose cover bears the novel’s original artwork, an illustration of a reclining man and woman, both topless.

這些不同的結(jié)尾被編上名稱，作為附錄收入這個(gè)330頁(yè)的新版中。該書封面沿用了初版封面上的畫作——一對(duì)赤裸著上身、相互倚靠的男女。

For close readers of Hemingway the endings are a fascinating glimpse into how the novel could have concluded on a different note, sometimes more blunt and sometimes more optimistic. And since modern authors tend to produce their work on computers, the new edition also serves as an artifact of a bygone craft, with handwritten notes and long passages crossed out, giving readers a sense of an author’s process. (When asked in the 1958 Paris Review interview with George Plimpton what had stumped him, Hemingway said, “Getting the words right.”)

對(duì)于熱愛(ài)海明威作品的讀者來(lái)說(shuō)，這些結(jié)尾就像驚鴻一瞥，讓人陶醉地看到這部小說(shuō)也可能以另一種基調(diào)結(jié)束，有的更直率，有的更樂(lè)觀。由于當(dāng)代作家大都使用電腦寫作，這個(gè)新版《永別了，武器》也像是一種手工制品，展現(xiàn)了一種業(yè)已失傳的手藝，上面有手寫的注釋、筆記和劃掉的長(zhǎng)段落，讓讀者感覺(jué)像在看作家寫作的過(guò)程。(1958年《巴黎評(píng)論》那次訪談中，采訪者喬治·普林頓[George Plimton]問(wèn)海明威什么是他的挑戰(zhàn)，他說(shuō)，“用對(duì)詞。”)

The endings range from a short sentence or two to several paragraphs.

這些結(jié)尾，短則一兩個(gè)短句，長(zhǎng)則好幾個(gè)段落。

In No. 1, “The Nada Ending,” Hemingway wrote, “That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.”

在一號(hào)“虛無(wú)結(jié)尾”中，海明威寫道：“那就是這個(gè)故事的全部。凱瑟琳死了，你會(huì)死，我也會(huì)死，那就是我能向你保證的一切。”

The “Live-Baby Ending,” listed as No. 7, concludes, “There is no end except death and birth is the only beginning.”

在七號(hào)“活嬰結(jié)尾”中，他最后寫道：“除了死亡，沒(méi)有終結(jié)。誕生只是開(kāi)始。”

And in No. 34, the “Fitzgerald ending,” suggested by Hemingway’s friend F. Scott Fitzgerald, Hemingway wrote that the world “breaks everyone,” and those “it does not break it kills.”

而34號(hào)結(jié)尾叫“菲茨杰拉德結(jié)尾”，是因?yàn)殪`感來(lái)自海明威的朋友F.司各特·菲茨杰拉德(F. Scott Fitzgerald)提的建議。海明威寫道：這個(gè)世界“擊倒了每個(gè)人”，有些人“即使沒(méi)有被擊倒，也會(huì)死”。

“It kills the very good and very gentle and the very brave impartially,” he wrote. “If you are none of these you can be sure it will kill you too but there will be no special hurry.”

“它不偏不倚地殺死善良的人，溫和的人，勇敢的人，即使你一概不是，請(qǐng)相信它也會(huì)殺死你，只是沒(méi)那么匆忙而已。”

Hemingway also left behind a list of alternate titles, which are reprinted in the new edition. They include “Love in War,” “World Enough and Time,” “Every Night and All” and “Of Wounds and Other Causes.” One title, “The Enchantment,” was crossed out by Hemingway.

海明威還留下了一系列可供選擇的書名。新版中也收了這些書名，其中有《戰(zhàn)爭(zhēng)中的愛(ài)情》(Love in War)，《世界夠了，時(shí)間也夠了》(World Enough and Time)，《創(chuàng)傷與其他事業(yè)》(Of Wounds and Other Causes)，還有一個(gè)被海明威自己劃掉的標(biāo)題《魅力》(The Enchantment)。

Patrick Hemingway, Ernest Hemingway’s only surviving son, said in an interview from his home in Montana that when Scribner suggested the raw material be published, he agreed.

海明威唯一還在世的兒子帕特里克·海明威(Patrick Hemingway)在蒙大拿州的家里接受采訪時(shí)說(shuō)，聽(tīng)說(shuō)斯克瑞伯納出版社提議出版這些原始材料，他就同意了。

“They do give insight to how Hemingway was thinking,” said Patrick Hemingway, who is 84. “But it is absolutely true that no matter how much you analyze a classic bit of writing, you can never really figure out what makes talent work.”

84歲的帕特里克說(shuō)：“它們確實(shí)讓人可以看到海明威是怎么思考的。但無(wú)論你怎樣分析一部經(jīng)典作品的寫作，有一點(diǎn)是絕對(duì)無(wú)疑的：你始終弄不明白他是如何施展才華的。”

Susan Moldow, the publisher of Scribner, said that while Hemingway is a perennial strong seller, especially for schools and libraries, “the estate is constantly wanting to present the work afresh.”

斯克瑞伯納出版人蘇珊·莫爾多(Susan Moldow)說(shuō)，雖然海明威作品的銷量經(jīng)久不衰，尤其受學(xué)校和圖書館歡迎，“遺產(chǎn)基金會(huì)仍然想讓他的作品保持新鮮感”。

“This is one of the most important authors in American history,” she said. “And fortunately or unfortunately you need to keep refreshing or people lose interest.”

她說(shuō)：“這是美國(guó)歷史上最重要的作家之一，無(wú)論幸或不幸，你都要保持出新，不然人們就失去了興趣。”

After reading the various endings, Ms. Moldow added, she didn’t question the author’s decision; the actual ending — cool and passionless after an epic tale of war and love, with the protagonist leaving a hospital in the rain — has stood the test of time.

莫爾多還說(shuō)，她讀了不同的結(jié)尾，認(rèn)為作者最終的決定，也就是實(shí)際的那個(gè)結(jié)尾無(wú)可挑剔：一場(chǎng)戰(zhàn)爭(zhēng)與愛(ài)的史詩(shī)故事之后，主人公在雨中離開(kāi)醫(yī)院。這個(gè)結(jié)尾冷靜而不動(dòng)聲色，經(jīng)受住了時(shí)間的考驗(yàn)。