assumption that we already do so. It’s easy to  carry around with us, and exchange with others,  

假設我們已經這樣做了。這很容易讓我們隨身攜帶，並與他人交流。

surface intellectual descriptions of key painful  events that leave the marrow of our emotions  

對關鍵的痛苦事件進行表面的智力描述，使我們的情感深入骨髓

behind. We may say that we remember - for example  - that we ‘didn’t get on too well’ with our  

後面。我們可能會說，我們記得--例如--我們與我們的朋友 "相處得不是很好"。

father, that our mother was ‘slightly neglectful’  or that going to boarding school was ‘a bit sad.’ 

父親，我們的母親'稍有疏忽'，或者去寄宿學校'有點難過'。

It could - on this basis - sound as if we  surely have a solid enough grip on events.  

在此基礎上，聽起來似乎我們肯定對事件有足夠堅實的把握。

But these compressed stories are precisely the  sort of ready-made, affectless accounts that  

但這些壓縮的故事恰恰是那種現成的、無感情的敘述，而這些敘述是

stand in the way of connecting properly  and viscerally with what happened to us  

阻礙了我們與發生在我們身上的事情進行適當的、內在的聯繫。

and therefore of knowing ourselves adequately; if  we can put it in a paradoxical form, our memories  

並是以充分認識我們自己；如果我們可以用一種矛盾的形式來說，我們的記憶

are what allow us to forget. Our day to day  accounts may bear as much resemblance to the  

是讓我們忘記的東西。我們每天的賬目可能與《聖經》中的 "我 "有很多相似之處。

vivid truth of our lives as a postcard from Naxos  does to a month-long journey around the Aegean. 

我們生活的生動真相，就像一張來自納克索斯的明信片對環愛琴海一個月的旅行的作用一樣。

If this matters, it’s because only on the basis  of proper immersion in past fears, sadnesses,  

如果這很重要，那是因為只有在適當沉浸於過去的恐懼、悲傷的基礎上。

rages and losses can we ever recover from  certain disorders that develop when difficult  

我們是否能從某些困難時產生的障礙中恢復過來？

events have grown immobilised within us. To be  liberated from the past, we need to mourn it  

事件已經在我們內部變得無法動彈。為了從過去中解放出來，我們需要哀悼它。

and for this to occur, we need to get in  touch with what it actually felt like;  

而要做到這一點，我們需要接觸到它的實際感受。

we need to sense, in a way we may not have  done for decades, the pain of our sister being  

我們需要以一種我們可能幾十年來都沒有做過的方式，來感受我們的姐妹正在遭受的痛苦。

preferred to us or of the devastation of being  maltreated in the study on a Saturday morning. 

傾向於我們，或者在星期六早上在書房裡被虐待的破壞。

The difference between felt and lifeless memories  could be compared to the difference between a  

有感覺的記憶和無生命的記憶之間的差別可以比作是一個

mediocre and a great painting of spring. Both will  show us an identifiable place and time of year,  

平庸的和偉大的春天的畫。兩者都會向我們展示一個可識別的地方和一年中的時間。

but only the great painter will properly seize,  from among millions of possible elements,  

但只有偉大的畫家才能從數以百萬計的可能元素中恰當地抓住。

the few that really render the moment charming,  interesting, sad or tender. In one case,  

少數真正使這一時刻變得迷人、有趣、悲傷或溫柔。在一個案例中。

we know about spring, in the other, we finally  feel it. This may seem like a narrow aesthetic  

我們知道春天，在另一個地方，我們終於感受到它。這可能看起來是一種狹隘的審美

consideration, but it goes to the core of what  we need to do to get over many psychological  

思考，但它涉及到我們需要做的事情的核心，以克服許多心理上的問題。

complaints. We cannot continue to fly high over  the past in our jet plane while high-handedly  

抱怨。我們不能繼續在我們的噴氣式飛機上高高飛過，而高壓下的

refusing to reexperience the territory we  are crossing. We need to land our craft, get  

拒絕重新體驗我們正在穿越的領土。我們需要降落我們的飛船，獲得

out and walk, inch by painful inch, through the  swampy reality of the past. We need to lie down,  

出來，一寸一寸痛苦地走過過去的沼澤現實。我們需要躺下。

perhaps on a couch, maybe with music, close our  eyes, and endure things on foot. Only when we have  

也許是在沙發上，也許是在音樂聲中，閉上眼睛，徒步忍受著一切。只有當我們有

returned afresh to our suffering and known it in  our bones will it ever promise to leave us alone.

如果我們重新回到我們的苦難中去，並且從骨子裡瞭解它，它就會答應離開我們。