So, you see the kind of language that Neal represents at the very beginning of the novel.

你们看小说一开始,描绘尼尔卡萨迪的语言。

耶鲁公开课 - 1945年后的美国小说课程节选

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？

耶鲁公开课 - 1945年后的美国小说课程节选

Well,I think that's a pretty clear-eyed view,and a clear indictment, of what Kerouac is doing through the character of Sal.

这是看这本小说的一个很清晰的视角，对Kerouac为萨尔这个角色赋予的东西而申诉。

耶鲁公开课 - 1945年后的美国小说课程节选

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。

耶鲁公开课 - 1945年后的美国小说课程节选

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？

耶鲁公开课 - 1945年后的美国小说课程节选