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And there you are, and, for the next 40 years, no one ever sees the novel that you wrote, or the autobiography that you wrote originally.
就这样，在这之后的40年里，没有人看到你写的小说，或者你最初的自传。
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The second thing I want to say is less about paper writing, and more about the trajectory of this course and what we're seeing in common between these novels.
第二件我想说的事情是，不是关于写论文的，而是关于这门课的轨迹的,我们会在这些小说里看到一些共同点。
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I'm not really sure who said it but it's in a Lynda Barry novel called "Cruddy".
我并不确定是谁说的,不过确信这是在林达·巴里的小说《压花》里的话。
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But I have a favorite line in his novel called The Hamlet, where Faulkner has one of his characters say, and I quote: "Only thank God men have done learned how to forget quick what they ain't brave enough to cure."
但我最爱他在小说《村子》里的一句话,他笔下的一个角色说道,"感谢上帝,让人类学会了怎样,迅速的忘记那些我们没勇气面对的事"
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It is not about finding the average man--which you are--also in the novel, there staring back at you.
也不是寻找小说里和你一样的，也在回头凝视你的平常人。
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All these things you can read about in these novels, but reading these novels is not just about reading about those things.
所有这些你都能在这些小说里读到，但读这些书不仅仅是为了读这些。
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It's what allowed you to speak so powerfully to people in your first novel, and you've always wanted to write an autobiography.
让你在第一本小说里,掷地有声地向人们说话,所以你想写自传。
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There are questions that intersect between the form and the content in every single novel that we read.
在我们要读的每本小说里,形式和内容之间都存在类似的问题。
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Yes. Okay. Sometimes I do get students who have just an image of this novel in their mind, or they read it when they were in high school and have a sort of irrational, passionate love for it.
好的，有时候我的确会有一些学生,他们脑子里有一个这部小说的形象，或者在高中里读过,对之有一股毫无理由的热爱。
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That's what fatness is in a novel like this.
胖在小说里有点像这样。
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Now, why the Fat Lady? It's this mythical, incredibly humanly embodied-- whenever you see a fat lady in a novel, one of the first things you want to ask is: why does that person need to be excessively embodied?
现在，为什么是胖太太，这是个神话，人们呈现了，无论你什么时候看到一个胖太太,在小说里，你首先会想问：,为什么那个人需要被这样过多的描写呢？
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Can you make a novel, as he says in the essay, that will "sprout wings and grow claws" in secret in his mind? That's an image taken from the metamorphosis of the butterfly within the chrysalis.
你能够让一本小说，就像他在那篇文章里说的那样，会在他,脑海里秘密的“展开翅膀，伸出爪子“？，这是从蝴蝶羽化中,借鉴来的比喻。
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There's always the sense that Dean evades him, and I think part of that sense of an evading object of desire is, again, the pursuit of sex in this novel; it's part of the pursuit of sex.
总有种感觉好像迪恩在躲着他，而且我想这种回避的部分要求，一样，在这小说里还是对性的追求。
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Yeah. A lot of attention to physical detail and physical movement,and that's connected to this point about confined spaces. It's the movement of bodies within confined spaces that really preoccupies this novel.
嗯，很多的注意力放到了肢体上的细节和,肢体上的运动，这和限定的空间有关,就是这个在限定空间里的肢体运动,让人迷上了这部小说。
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But, to anyone paying attention to the other things that Zooey says and the other things that he does in this novel, this is kind of odd, and it's hard to square.
但是，在小说里，在意着任何,左伊说的或做的其他事情的人，有点奇怪，非常难达成一致。
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Well, what does America mean in this novel?
这里的美国在小说里是指什么呢？
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And there is this heartbreaking love that Sal has for Dean, and, if you track that through, the major turning points in the second two thirds of the novel are moments when Sal makes it clear to Dean that he actually cares about him.
而且萨尔对迪安有着令人悲痛的爱情，如果你追踪这一点，你就会发现小说里,三分之二的时间萨尔都在,向迪安说明他有多在乎迪安。
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But, I would suggest to you, Salinger is trying to balance something very carefully, that relates back to this question of doctrine versus syncretism in the religious sphere of the novel, in the religious thematic material of the novel.
但是我提醒你们，Salinger，小心的平衡某个东西,那和之前的问题有关,关于小说里宗教范畴里的教条和宗教融合的比较，也是在小说里的宗教主题材料里的比较。
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