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Embarrassment tells us we're in the presence of the excess, and that's why Beat writers court it.
难堪告诉我们自己是处在过度的状态，所以垮掉一代的作者追求难堪。
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so then, yeah, I ended up coming out here just in time for everything to kind of crash
我最终来到了这儿，正赶上一切都垮了的时候。
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The language that the Beats tried to imagine, tried to write, takes up some of these problems that we saw in Nabokov.
垮掉的一代试图想象和写出的语言，同样是是我们在纳博科夫的书里所看到的问题。
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They usually talk about it as the "lost decade," where Japanese banks were not liquidated but they were not really in business.
他们在谈论它的时候称之为“垮掉的十年“,在这十年里，日本银行并没有破产,但是他们也没有真正在做生意。
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I'm worried that the fast food might make you sick.
我担心吃快餐会把你身体弄垮。
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There was an edge to them, as if the whole thing could collapse on their heads.
但他们总能把握好分寸,好像在担心什么东西,垮下来的话会压死他们似的
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for I want to know"; here a desire expressed between two people, a husband and a wife.] She turned and sank upon her skirts at that, ] And her face changed from terrified to dull.
因为我想知道“,这里丈夫和妻子两个人的欲望表达得淋漓尽致],她转过去，从裙子里垂下来，像突然垮下来一样],她的脸从惊恐变成了呆滞。
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The excess requires, for the Beats, a new kind of language.
过度这种要求垮掉的一代有一种新的语言。
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Embarrassment is something that the Beats value.
难堪正是垮掉的一代所重视的东西。
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You're not going to get that in the Beats.
这你是不会在垮掉的一代里看到的。
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If you read Walt Whitman, you will see much of the same ethos So, Ginsberg is not the first to do this in the American tradition, for sure, but it's a very important part of what the Beats revive.
如果你读过沃尔特惠特曼，你会发现类似的思潮,所以金斯堡肯定不是第一个在美国传统上这么做的，但它是使垮掉的一代复兴的重要部分。
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If the dyke goes--here's the image of the Dutch boy with his finger in the dyke.
如果堤坝垮了,这张图片就是一个男孩指着堤坝
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So, that is something these writers share with modernism, but there is one big difference and I want to exemplify that for you just by reading to you two parallel texts, one from the modernist canon and one from the Beat canon.
所以，这就是这些作者和现代主义的相似之处，但其中有个很大的区别，我想通过举例来说明,我给你们读两段类似的文字，分别是标准的现代主义风格和垮掉的一代的风格。
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