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So these are forms of the experience of reading fiction of which Iser disapproves because there's no work being done.
这就是那些阅读小说经历的形式,伊瑟尔不赞同这种形式，因为这种阅读没有任何成就。
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So I'm actually writing my own fiction, and no, it's not easy. But you can actually learn from, if you read other writers.
我现在也正在写自己的小说，真的不容易。但是你可以从你以前阅读的作品中学到很多。
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I don't know what that dream we're going to dream together is when we read that novel. I don't know what that'll be.
我不知道当我们一起读那部小说的时候,我们将会一起做个什么样的梦，我不知道。
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So even Tony the Tow Truck, in other words, is not absolutely culinary and can be treated in ways that I hope shed some light on the reading process.
因此，即使是《托运车托尼》,也不绝对属于烹饪小说,而且能够以对理解阅读过程有帮助的方式阅读。
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Whatever you think those are. Here, you might imagine different people disagreeing about-- oh, but throw in something--but if what you want to do is write the great American novel, then you've got the experience of staying up late at night not knowing how to make the plot work out, crushing pieces of paper and throwing them away.
你能想到的都在里面，可能有人不同意-,插入某某东西，比如你想,创作最伟大的美国小说，于是你获得熬夜的体验,纠结于如何构建情节，撕碎稿纸，扔在一边。
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Other people were reading novels and I don't know what else, but I was reading Fabozzi.
其他人在读小说,我两耳不闻窗外事,一心只读法博齐
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Right, like, fiction? No, not really. I'd say, I'm taking a fiction writing class right now.
自己写小说？不容易啊。我现在就在上小说写作课。
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Trouble the Water; a novel about growing up in the South by Melvin Dixon, a great novel that gets little attention, and his lifelong struggle to understand just how Southern he was in New York.
再如梅尔文·迪克逊的《水的困扰》,是一本关于南方的成长经历的小说,一本伟大却不出名的小说,他终其一生都在试图理解,为何他在纽约那么像个南方人
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That's such a great encapsulation of not caring about any specific thing, but still being incredibly invested.
这是一个多么好的不关心任何具体事的伪装，但小说里后来也被这一点所笼罩。
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To write about your life and to pretend that you're communicating the memory of what happened to you--your grief, your private grief-- doesn't contain that universalizing move that fiction, by its very essence, contains.
把你的生活呈现出来,假装成在描述发生在你身上的事，你的不幸，你个人的不幸-,不包括小说根本性的一般化处理，你看，你可以回忆我们在《尤利西斯》的广告。
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And for me it's fun because I may not know the novel that you end up picking, and so it is a kind of challenge for me to take a novel that you've chosen and come to grips with it myself It may be one that I know.
我也觉得很好玩,因为我可能不知道你们最后选择的小说，所以对我来说,认真对待你们选的一本书很有挑战性,可能是一本我知道的书。
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And the book just tells you that, right, in one of those palm"-- the ordinary event which is really trickery, a suggestion ; that nothing has been left to chance in the novel; nothing is ordinary.
这本书也这么告诉大家了，对了，就是在,手里的东西）看似普通的事件实则是个奸计,它是一个提醒，提醒大家这部小说里没有什么事是巧合;,任何事都不普通。
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It's that they seem also--and this is one of the reasons -- Brooks does have recourse to this particular text of Freud-- they also have the curious tendency to revisit unpleasurable things.
而事实上--这一点,是布鲁克斯完全照搬弗洛伊德的-,小说还会抱有一种好奇的心态重温情节中不愉快的部分。
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Whether that would ever happen, if Pynchon had decided to let us in on the secret, I don't know. Pynchon, instead, chooses to end the novel before that moment, and so we're left with a kind of emptiness.
如果说Pynchon是想要，让这成为一个谜题的话，那我也不知道，究竟出现了，没有取而代之的是Pynchon选择了,在那一幕之前让小说戛然而止，让我们陷入了，一片空白之中。
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It's as if that word really embodies the feel of this novel, Vivian Darkbloom and so, like "Vivian Darkbloom," that word suggests the permeability--not just of fiction and the real--but of these narrative layers. Where is Nabokov?
那个字让这部小说的感觉具体化了，就像“,那个字表明了渗透性，不只是在小说,和现实中，要不是这些叙述的层次，Nabokov会在哪里？
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