我所试图描述的外在风景或许多少像一面镜子108.docVIP

Exercise 1. 我所试图描述的外在风景或许多少像一面镜子，危险在于作者是否能从中看到自己。说到写作，其实更主要是来自内部的动力，这种动力神秘而难以言传，往往要回溯到一个人的童年时代——在那遥远的经验深处，诸多潜因盘根错节，任何描述都会是徒劳的。然而，我还是想举两个例子。 Maybe the external landscape I’m trying to describe is more or less like a mirror. The danger lies in whether an author can find himself in it. With regard to writing, actually it derives from an interior motivating force, which is mysterious and beyond description. It can often be traced back to one’s childhood——in those far-away depth of experiences, various latent factors interwoven, any description is of no avail. However, I still want to make two examples. 我父亲喜欢买书，但放在书架上的书有限，属于“正统”一类；而大多数属于“禁书”一类，都存放在我家过道顶上的阁楼里。从小那阁楼就让我着迷，我把椅子摞起来，偷“禁书”读，在父亲下班前再把书放回去。由于在层层摞起的椅子上站不稳，我常常摔得鼻青脸肿。我早年的阅读，就有正与反、公开与隐秘之分，并处在晦暗不明的光线中，外加疼痛感。后来的写作显然与这种阅读经验有关。 My dad had a penchant for buying books. But there was a limited number of so-called “orthodox” books put in the bookcase. Most of the books, which belong to the “forbidden” category, were kept in the attic up the corridor. I was fascinated by that attic since childhood. By stacking up the chairs, I often climbed into the attic and stole “forbidden” books to read, then returned them back before dad went off from work. Since those stacking-up chairs are very shaky, I usually fell from them with a bloody nose and swollen face. Thus my early reading has a distinction between positive and negative, overt and covert. It lies in dark and gloomy light with a streak of pain. Later my writing obviously has something to do with this reading experience. 父亲让我从小背中国古典诗词，这本来是中国传统教育的一部分。我当时恨透了这种方式，无奈，只能顺从。很多年后，当我成为诗人，才悟出其中让我终身受益的道理：正是背诵，让文字连同音乐性一起渗入血液中，穿透理解上的障碍，在生命过程中时不时照亮你自己。 Ever since a kid, my dad asked me to recite classical Chinese poetry, it originally should be a part of Chinese traditional education, but I had a bitter hatred toward it. I had no choice but to be obedient. Many years later, after becoming a poet, I started to grasp the truth that benefits all my life. It is recital that links word