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It had been my accidental reading of fiction and literary criticism that had invoked in me vague glimpses of life's possibilities.
我偶尔会读小说和文学评述,这让我隐约地窥探到,生活的可能性，“
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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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One kind of question, then, I was raising is: what context do you use to read any novel?
我所提出的一类问题是：,你一般采用什么语境去理解小说？
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Don't tell me about these complicated sentences from Balzac's short story.
不要给我讲巴尔扎克短篇小说里的这些复杂的句子。
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And I have to tell you something about novels in the ancient world.
我得跟大家说说,古代的小说是什么样的。
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I've never taken a course of philosophy So I'm looking for it and I guess it struk me because I've never learned an art class here so much and I like the elements, images, and fictions of alienation. -OK, I missed a few words.
我没有上过哲学课,所以就选了这门课,在这里我没怎么学过,艺术课程,我也喜欢异化的元素，图像，和，小说,等等，我没听见你说的。
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especially because it's on the brink of, I think, becoming something.
特别是因为我认为我的小说就快成型了。
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There is a wonderful novel that I would recommend to everyone that is watching this show.
我想向大家推荐一本精彩的小说,我想向大家推荐一本精彩的小说。
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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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I think he writes so much better than his brother, Henry James, an obscure novelist.
我认为他比他写晦涩小说的哥哥,亨利，詹姆斯要好得多。
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Toni Morrison was speaking for black Southerners in that, I think, fantastic line in her novel Beloved which I know many of you've read because it's taught all the time but there's that marvelous little exchange at one point between Paul D and Sethe.
托尼.莫里森藉由她的小说《宠儿》中,用一句绝妙的句子表达了南方黑人的心声,我知道很多人都已经读过《宠儿》,因为这本书一直被当做教材,不过小说中男女主人公保罗和塞丝,有这么一小段触人心弦的对话
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I'm going to talk a little bit about its publishing history, its compositional history, actually, at the end of my two lectures on the novel.
我打算在讲这部小说的最后两次课上，略微谈一点关于这部小说的出版历史，实际上也是创作历史。
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This is part of what I find so compelling about fiction and literature in general in this period.
这是我所找到的这个时期,小说和文学通常引人注目,的原因之一。
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I think it's telling that this kind of creation is a failure; it cannot succeed in the confines of this novel.
我想这告诉我们这种创作是失败的;,它在这本小说的界限内无法成功。
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Now I want to switch gears, just for the last couple minutes, and ask you: what do you see when you read this novel?
在最后的这几分钟，我想换换话题，问问你们：，在看这部小说时,你们读到了什么？
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There are more things, which I won't reveal, that happen at the end of the novel to do with this.
与此相关的还有其他的事，不过我现在不会和你们说，因为它们在小说的最后才会出现。
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There is a little anecdote from that teach-in that I want to share with you that I think embodies some of the tensions in this novel.
关于那次讨论会我觉得没有什么好说的,能够体现出小说中的焦虑。
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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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For me, it has been my reading of fiction far removed from political considerations that evoked in me a sense of personal freedom or the possibilities of escaping the South.
在读小说时,我会将一切抛诸脑后,这种精神上的解放让我,对逃往南方。
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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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And yet, you like him anyway, and I think that's the power of the novel, and that's why I think he's such a character.
但是，你还是会喜欢他，我想那就是这部小说的力量，那就是为什么我认为他是个很有趣的角色。
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Now you do have an opportunity-- this class does- that my class has never had before, and that is to nominate your own novel for the last one that we read, one of your choice.
现在你真的有了个机会-,在我的课上有了个机会-,去推荐一本小说作为我们的最后一本读物,你们自己的选择。
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So, I want to begin just by pointing to you, on page 297, a somewhat more complex example of what this looks like toward the end of the novel.
我想在开始的时候就给你们指出，在297页上，一个看上去比较复杂的例子,在小说后部分。
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After that, I began a series of readings of novels that emphasized more what you might call the history of literature, the history of literature's forms and ambitions.
在那之后，我讲了一系列的,强调文学史，关于文学形式和理想的，历史的小说阅读。
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At least I don't have those. But what I've done is to excerpt some of the texts earlier in the term-- and actually there's so that it's a little bit lighter after break, when we're doing those long novels.
至少我没有列出那些,但我已经做完的是,在放假前当然会有稍多的阅读量，假期过后我们再读那些长篇小说时就会轻松一点。
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And what does it mean to be an American in this novel? So, that's the question I'd like to take up today first. Coming from Lolita, the vision of America in On the Road looks quite different.
这对于小说里你是一个美国人又意味着什么？,这是我今天想让你们思考的第一个问题，《洛丽塔》里，描写的美国景象非常不同于《在路上》之中的景象。
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Now the part about his life in Chicago was I'm going to keep doing this, call it the novel versus the autobiography, and I'll explain why I make that mistake a little later--it was cut from the autobiography.
他在芝加哥的生活那部分,我会一直把这书叫做小说，而不是自传,我之后会解释为什么犯这样的错误,这书是从自传的一部分。
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And so, sometimes people approach it in that way, and I think in a way it holds that aura around itself in our culture and in the history of the novel in this period that we're studying together.
有时候人确实这样，我觉得这在一定程度上倒是保留了文化的气氛,以及我们学习的,关于小说这段时期的历史。
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So, with these questions in mind, I want you think about how we can see the novel and how we can think about it in the face of the interpretation that's already layered on to it.
所以，带着这些问题，我想让你们想一下,在已经有解释的情况下,我们应该如何去看,如何去思考这部小说？
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One of the best descriptions I've ever read of why slavery persisted, of why people defended it, and why people went to war for it, came before the war, in 1857, in a speech by the African-American woman, novelist, writer, poet Frances Ellen Watkins Harper.
我曾读到的一段比较精彩的论述,关于为什么奴隶制度留存了下来,为什么人们为其辩护,为其而战,在1857年,战争前夕,在一个非裔美国女人的演讲中,她是小说家兼作家兼诗人,弗朗斯·伊莲·瓦特金·哈伯
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