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I'm a storyteller.
譯者: Adrienne Lin 審譯者: Geoff Chen
That's what I do in life -- telling stories,
我是作家
writing novels --
我的工作就是說故事
and today I would like to tell you a few stories
寫小說
about the art of storytelling
今天我要告訴你們
and also some supernatural creatures
說故事的藝術
called the djinni.
以及一種超自然生物
But before I go there, please allow me to share with you
精靈
glimpses of my personal story.
在那之前,我想與各位分享
I will do so with the help of words, of course,
我自己的一些故事
but also a geometrical shape, the circle,
除了用話語分享
so throughout my talk,
我也用圓形來比喻
you will come across several circles.
我的演說中
I was born in Strasbourg, France
我們會提到幾個圓形
to Turkish parents.
我在法國史特拉斯堡出生
Shortly after, my parents got separated,
父母是土耳其人
and I came to Turkey with my mom.
不久之後,我父母分居
From then on, I was raised
我跟著媽媽到了土耳其
as a single child by a single mother.
所以我是個
Now in the early 1970s, in Ankara,
單親家庭的孩子
that was a bit unusual.
在1970年早期的安卡拉
Our neighborhood was full of large families,
是很不尋常的
where fathers were the heads of households,
鄰居都是大家庭
so I grew up seeing my mother as a divorcee
一家之主是父親
in a patriarchal environment.
在這種父權社會
In fact, I grew up observing
我和離婚的媽媽一起生活
two different kinds of womanhood.
我的童年
On the one hand was my mother,
有兩個女人做榜樣
a well-educated, secular, modern, westernized, Turkish woman.
一個是我媽媽
On the other hand was my grandmother,
受良好教育、西方思想、現代的土耳其女性
who also took care of me
一個是照顧我
and was more spiritual, less educated
的外婆
and definitely less rational.
虔誠的、教育程度較低、
This was a woman who read coffee grounds to see the future
較迷信的傳統女性
and melted lead into mysterious shapes
她會咖啡渣算命
to fend off the evil eye.
將溶化的鉛弄成神秘的圖案
Many people visited my grandmother,
來防禦邪惡之眼
people with severe acne on their faces
很多人會來找我祖母
or warts on their hands.
臉上有嚴重痘痘的人
Each time, my grandmother would utter some words in Arabic,
手上有疣的人
take a red apple and stab it
每次,我祖母都會念一串阿拉伯文
with as many rose thorns
然後拿與痘痘同數量的
as the number of warts she wanted to remove.
玫瑰刺,
Then one by one, she would
來刺一顆紅蘋果
encircle these thorns with dark ink.
一個接一個
A week later, the patient would come back
她會用黑墨水,在花刺周圍畫圈
for a follow-up examination.
一週後,病人會回來
Now, I'm aware that I should not be saying such things
複檢
in front of an audience of scholars and scientists,
我知道我在一群學者、科學家面前
but the truth is, of all the people
講這種事很傻
who visited my grandmother for their skin conditions,
但事實上,
I did not see anyone go back
上門的病人
unhappy or unhealed.
沒有一個回家的時候
I asked her how she did this. Was it the power of praying?
是不開心、沒有痊癒的
In response she said, "Yes, praying is effective,
我問祖母她怎麼做的,是因為禱告嗎?
but also beware of the power of circles."
她回答我,禱告是很有效的一種方法
From her, I learned, amongst many other things,
但也別低估圓形的力量
one very precious lesson --
從她身上,我學到很多東西
that if you want to destroy something in this life,
特別珍貴的一課是
be it an acne, a blemish
如果你想消滅某個東西
or the human soul,
痘痘也好、髒污也好
all you need to do is to surround it with thick walls.
甚至是靈魂
It will dry up inside.
你只要將其以厚牆圍繞
Now we all live in some kind of a social and cultural circle.
它就會消逝在裡面
We all do.
我們都生活在某種社交、文化圈中
We're born into a certain family, nation, class.
每個人都是
But if we have no connection whatsoever
出生於某個家庭、國家、階級
with the worlds beyond the one we take for granted,
如果我們視為理所當然的世界之間
then we too run the risk
都沒有交集
of drying up inside.
我們也面對
Our imagination might shrink;
消逝的危險
our hearts might dwindle,
我們會失去想像力
and our humanness might wither
心胸變得狹隘
if we stay for too long
人性將枯萎
inside our cultural cocoons.
如果在自己的
Our friends, neighbors, colleagues, family --
文化圈內待太久
if all the people in our inner circle resemble us,
我們的朋友、鄰居、同事、家人
it means we are surrounded
如果圈圈中的人都跟自己一樣
with our mirror image.
這表示我們被自己的表象
Now one other thing women like my grandma do in Turkey
圍繞著
is to cover mirrors with velvet
另一件像我祖母一樣的土耳其女人會做的事
or to hang them on the walls with their backs facing out.
就是用絨布蓋鏡子
It's an old Eastern tradition
或是將反面掛在牆上
based on the knowledge that it's not healthy
這是古老的東方傳統
for a human being to spend too much time
他們相信
staring at his own reflection.
人常常盯著自己看
Ironically, [living in] communities of the like-minded
是不健康的
is one of the greatest dangers
諷刺的是,現在的全球化社會
of today's globalized world.
面對最大的危險就是
And it's happening everywhere,
太相似的社群
among liberals and conservatives,
到處都看得到
agnostics and believers, the rich and the poor,
不論自由派或保守派
East and West alike.
不論是無神論者或信徒、窮人或有錢人
We tend to form clusters
東西方皆同
based on similarity,
我們和與自己相像的人
and then we produce stereotypes
形成小圈圈
about other clusters of people.
再來開始對其他小圈圈的人
In my opinion, one way of transcending
產生刻板印象
these cultural ghettos
我認為,超越這些文化圈
is through the art of storytelling.
唯一的方式
Stories cannot demolish frontiers,
就是透過故事的述說
but they can punch holes in our mental walls.
故事無法破壞邊境
And through those holes, we can get a glimpse of the other,
但可以在心牆上打洞
and sometimes even like what we see.
透過這些洞,我們得以一瞥他人
I started writing fiction at the age of eight.
甚至欣賞我們所看見的東西
My mother came home one day with a turquoise notebook
我八歲就開始寫小說
and asked me if I'd be interested in keeping a personal journal.
我媽有天回家 帶了本土耳其藍的筆記本給我
In retrospect, I think she was slightly worried
讓我寫日記
about my sanity.
後來回想,她應該是擔心
I was constantly telling stories at home, which was good,
我精神不正常
except I told this to imaginary friends around me,
因為我常常會說故事,這是好事
which was not so good.
但我都說給「想像的朋友」聽
I was an introverted child,
這就不太妙了
to the point of communicating with colored crayons
我小時候很內向
and apologizing to objects
會跟蠟筆講話
when I bumped into them,
撞到東西的時候
so my mother thought it might do me good
還會跟它們道歉
to write down my day-to-day experiences
所以我媽覺得讓我寫日記
and emotions.
寫下發生的事、每天的心情
What she didn't know was that I thought my life was terribly boring,
是不錯的
and the last thing I wanted to do
她所不知道的是 我覺得我的生活很無趣
was to write about myself.
我最不想做的事情
Instead, I began to write about people other than me
就是寫下關於我自己的事
and things that never really happened.
所以我開始寫我身邊的人
And thus began my life-long passion
和一些虛構的故事
for writing fiction.
後來寫小說
So from the very beginning, fiction for me
成為我一生的熱愛
was less of an autobiographical manifestation
一開始,小說對我而言
than a transcendental journey
只是一種,自己以外的東西
into other lives, other possibilities.
而不是冒險的旅程、
And please bear with me:
其他的生活、其他的可能
I'll draw a circle and come back to this point.
各位請包容我
Now one other thing happened around this same time.
我畫了個圈圈,等一下再回到這個點上
My mother became a diplomat.
這段期間,發生了另一件事
So from this small, superstitious,
就是我母親當上外交官
middle-class neighborhood of my grandmother,
我從這個迷信、
I was zoomed into this
祖母家附近這中產階級的小街坊
posh, international school [in Madrid],
到了馬德里
where I was the only Turk.
一所光鮮亮麗的國際學校
It was here that I had my first encounter
我是唯一的土耳其人
with what I call the "representative foreigner."
那裡,我首次了解
In our classroom, there were children from all nationalities,
「外國代表」這個觀念
yet this diversity did not necessarily lead
教室中,每個孩子都來自不同國家
to a cosmopolitan, egalitarian
這種多樣性,
classroom democracy.
並沒有消除偏見、平等
Instead, it generated an atmosphere
教室並不民主
in which each child was seen --
孩子們變成
not as an individual on his own,
不只是獨立的個體
but as the representative of something larger.
而是代表
We were like a miniature United Nations, which was fun,
更大的東西、概念
except whenever something negative,
有點像是迷你聯合國,其實很好玩
with regards to a nation
除了有時候提到負面的形象
or a religion, took place.
像是講到國家
The child who represented it was mocked,
或是宗教的時候
ridiculed and bullied endlessly.
來自那個國家的孩子
And I should know, because during the time I attended that school,
就會被取笑、欺負
a military takeover happened in my country,
我特別了解是因為
a gunman of my nationality nearly killed the Pope,
當時土耳其正經歷軍事接收
and Turkey got zero points in [the] Eurovision Song Contest.
一名土耳其槍手差點殺死教宗
(Laughter)
所以土耳其在《歐洲歌唱大賽》掛鴨蛋
I skipped school often and dreamed of becoming a sailor
(笑聲)
during those days.
我常翹課,然後就會幻想
I also had my first taste
水手的生活
of cultural stereotypes there.
這也是我第一次
The other children asked me about the movie
了解什麼是刻板印象
"Midnight Express," which I had not seen;
其他小孩會問我有沒有看過
they inquired how many cigarettes a day I smoked,
土耳其電影《午夜快車》
because they thought all Turks were heavy smokers,
他們會問我一天抽多少菸
and they wondered at what age
因為他們覺得土耳其人都是大菸槍
I would start covering my hair.
他們也很好奇
I came to learn that these were
我幾歲要開始戴頭巾
the three main stereotypes about my country:
所以我學到
politics, cigarettes
關於土耳其的三種刻板印象
and the veil.
政治、香菸
After Spain, we went to Jordan, Germany
和面紗
and Ankara again.
離開西班牙後我們還去過約旦、德國
Everywhere I went, I felt like
然後回到安卡拉
my imagination was the only suitcase
遊歷各國後,我覺得
I could take with me.
我的想像力就像只皮箱
Stories gave me a sense of center,
隨時可以帶著走
continuity and coherence,
故事給我一種中心(center)、
the three big Cs that I otherwise lacked.
連續性(continuity )、凝聚力(coherence)
In my mid-twenties, I moved to Istanbul,
我無法缺少的3C
the city I adore.
我25、26歲時,搬到伊斯坦堡
I lived in a very vibrant, diverse neighborhood
我很喜歡的地方
where I wrote several of my novels.
我住在個很有活力、多元文化的街坊
I was in Istanbul when the earthquake hit
我在那寫了許多本小說
in 1999.
1999年伊斯坦堡大地震時
When I ran out of the building at three in the morning,
我就在那
I saw something that stopped me in my tracks.
凌晨三點我急忙跑出公寓
There was the local grocer there --
但我看著眼前的景象,我便停下腳步
a grumpy, old man who didn't sell alcohol
我看見一個雜貨店老闆
and didn't speak to marginals.
這脾氣暴躁的老人不賣酒
He was sitting next to a transvestite
也不跟邊緣人說話
with a long black wig
但他當時,坐在一個
and mascara running down her cheeks.
戴著長黑髮
I watched the man open a pack of cigarettes
睫毛膏哭花在臉上的變裝癖旁邊
with trembling hands
我看著這男人用顫抖的手
and offer one to her,
拆了包菸
and that is the image of the night of the earthquake
並遞一支給她
in my mind today --
那晚地震的那一幕
a conservative grocer and a crying transvestite
我始終忘不了
smoking together on the sidewalk.
一個保守的雜貨店老闆與哭泣的變裝癖
In the face of death and destruction,
一同坐在人行道旁抽菸
our mundane differences evaporated,
面對死亡及毀壞
and we all became one
我們最基本的差異消失無蹤
even if for a few hours.
我們成為相同的
But I've always believed that stories, too, have a similar effect on us.
即使幾小時也好
I'm not saying that fiction has the magnitude of an earthquake,
我一直相信故事也有相同作用
but when we are reading a good novel,
我並不是說小說像地震一樣強大
we leave our small, cozy apartments behind,
但當我們讀本好書時
go out into the night alone
我們忘記狹小卻舒適的公寓
and start getting to know people we had never met before
像是在夜晚單獨走在街上
and perhaps had even been biased against.
認識從未見過的人
Shortly after, I went
甚至是我們先前有所偏見的人
to a women's college in Boston, then Michigan.
不久後,
I experienced this, not so much as a geographical shift,
我到波士頓及密西根的女子大學就讀
as a linguistic one.
這經驗不是地理上的轉變
I started writing fiction in English.
而是語言上的
I'm not an immigrant, refugee or exile --
我開始用英文寫小說
they ask me why I do this --
我並非移民、難民、或在逃亡
but the commute between languages
他們問我為什麼
gives me the chance to recreate myself.
但兩種語言的轉換間
I love writing in Turkish,
給了我另一個機會,重新創造自己
which to me is very poetic and very emotional,
我愛用土耳其文寫作
and I love writing in English, which to me
對我而言,富有詩意又感性
is very mathematical and cerebral.
我也愛用英文寫作
So I feel connected to each language in a different way.
因為它精確又理智
For me, like millions of other people
我對這兩種語言的感受是很不同的
around the world today,
對我而言,以及全世界
English is an acquired language.
幾百萬人一樣
When you're a latecomer to a language,
英文是第二語言
what happens is you live there
當你學習新語言的時候
with a continuous
常常會遇到的情況
and perpetual frustration.
就是那種
As latecomers, we always want to say more, you know,
永不停止的挫折感
crack better jokes, say better things,
學習語言,我們總想多說點、
but we end up saying less
想講好笑的笑話、有趣的事
because there's a gap between the mind and the tongue.
但說出來的通常不是如此
And that gap is very intimidating.
因為腦子與嘴巴有距離
But if we manage not to be frightened by it,
這種距離是很可怕的
it's also stimulating.
但是如果我們努力不被它嚇到
And this is what I discovered in Boston --
它可以是種刺激
that frustration was very stimulating.
這是我在波士頓所發現的
At this stage, my grandmother,
挫折就是刺激
who had been watching the course of my life
這時候,我祖母
with increasing anxiety,
替我這樣的生活
started to include in her daily prayers
感到很憂心
that I urgently get married
她開始每天禱告
so that I could settle down once and for all.
希望我快點嫁出去
And because God loves her, I did get married.
這樣我才能安定下來
(Laughter)
因為上帝愛她,我後來真的結婚了
But instead of settling down,
(笑聲)
I went to Arizona.
不過我沒有定下來
And since my husband is in Istanbul,
我到了亞利桑那州
I started commuting between Arizona and Istanbul --
因為我丈夫人在伊斯坦堡
the two places on the surface of earth
我開始兩地往返
that couldn't be more different.
同在地球上,這兩個地方
I guess one part of me has always been a nomad,
差別太大了
physically and spiritually.
我想我有游牧民族因子吧
Stories accompany me,
身體上或精神上都是
keeping my pieces and memories together,
故事陪伴著我
like an existential glue.
像個膠水一樣
Yet as much as I love stories,
將我的記憶黏起來
recently, I've also begun to think
雖然我愛故事
that they lose their magic
最近我卻開始覺得
if and when a story is seen as more than a story.
當故事變得不只是個故事
And this is a subject that I would love
他們就失去了魔力
to think about together.
我希望跟各位
When my first novel written in English came out in America,
分享這個想法
I heard an interesting remark from a literary critic.
當我第一本英文小說在美國出版
"I liked your book," he said, "but I wish you had written it differently."
我聽到了一個有趣的評論
(Laughter)
他說:「我喜歡你的書 但我不喜歡妳呈現的方法。」
I asked him what he meant by that.
(笑聲)
He said, "Well, look at it. There's so many
我請他解釋清楚一點
Spanish, American, Hispanic characters in it,
他說:「你書中有一堆」
but there's only one Turkish character and it's a man."
「西班牙人、美國人、拉丁美洲裔的角色」
Now the novel took place on a university campus in Boston,
「卻只有一個土耳其人,還是個男的。」
so to me, it was normal
因為小說背景是波士頓的一所大學校園
that there be more international characters in it
國際學生數量
than Turkish characters,
比土耳其學生多
but I understood what my critic was looking for.
是很正常的
And I also understood that I
但我了解評論家要的是什麼
would keep disappointing him.
我也了解到
He wanted to see the manifestation of my identity.
他會一直對我的小說失望
He was looking for a Turkish woman in the book
他想看的是我身份的呈現
because I happened to be one.
他想在書中讀到土耳其女人角色
We often talk about how stories change the world,
因為我是土耳其女人
but we should also see how the world of identity politics
我們常講到故事如何改變世界
affects the way stories
但我們也應該知道世界上的身分政治
are being circulated,
是如何影響故事
read and reviewed.
如何解讀故事
Many authors feel this pressure,
如何看待故事
but non-Western authors feel it more heavily.
很多作者皆承受如此壓力
If you're a woman writer from the Muslim world, like me,
特別是那些非西方作者
then you are expected to write
如果你像我一樣是伊斯蘭社會的女作家
the stories of Muslim women
那大家就期望你寫出
and, preferably, the unhappy stories
伊斯蘭女人的故事
of unhappy Muslim women.
寫不開心的伊斯蘭女人
You're expected to write
背後不開心的故事更好
informative, poignant and characteristic stories
大家期望你寫
and leave the experimental and avant-garde
含帶訊息、激烈、人物性格鮮明的故事
to your Western colleagues.
其他試驗性的、前衛的故事
What I experienced as a child in that school in Madrid
就讓其他西方作家來寫就好
is happening in the literary world today.
我小時候在馬德里的經驗
Writers are not seen
現在的文學社會也發生著
as creative individuals on their own,
作者不再被視為
but as the representatives
單獨富創意的個體
of their respective cultures:
而是他們文化
a few authors from China, a few from Turkey,
的代表
a few from Nigeria.
一些中國作家、土耳其作家
We're all thought to have something very distinctive,
奈及利亞作家
if not peculiar.
大家想從我們的作品裡看到的,是奇特
The writer and commuter James Baldwin
是與眾不同
gave an interview in 1984
詹姆斯.鮑德溫
in which he was repeatedly asked about his homosexuality.
1984年的一場訪問
When the interviewer tried to pigeonhole him
訪問中,他被重複問到他的同性戀傾向
as a gay writer,
訪問者硬要他
Baldwin stopped and said,
作出回應
"But don't you see? There's nothing in me
鮑德溫便回答他
that is not in everybody else,
「你不明白嗎?我身上所擁有的」
and nothing in everybody else
「其他人也有;」
that is not in me."
「其他人所擁有的」
When identity politics tries to put labels on us,
「我身上也有」
it is our freedom of imagination that is in danger.
當身份政治將我們貼上標籤
There's a fuzzy category called
我們想像力的自由便有了危險
multicultural literature
有個模糊的分類叫做
in which all authors from outside the Western world
多元文化文學
are lumped together.
基本上就是,西方以外國家的作者
I never forget my first multicultural reading,
被歸類在一起
in Harvard Square about 10 years ago.
我從未忘記我十年前在波士頓哈佛廣場
We were three writers, one from the Philippines,
所參加的多元文化文學讀書會
one Turkish and one Indonesian --
我們共有三位作家,一個是菲律賓籍
like a joke, you know.
一個土耳其籍,一個印尼籍
(Laughter)
像個笑話一樣
And the reason why we were brought together
(笑聲)
was not because we shared an artistic style
但我們相聚的原因
or a literary taste.
並不是我們作品類似
It was only because of our passports.
文學喜好類似
Multicultural writers are expected to tell real stories,
而是因為我們的護照
not so much the imaginary.
大家期望多元文化作家寫出真實故事
A function is attributed to fiction.
想像力就不必了
In this way, not only the writers themselves,
小說被賦予了一個功能
but also their fictional characters
因此,不只是作者本身
become the representatives of something larger.
連小說中虛構人物
But I must quickly add
也都代表了更大的東西
that this tendency to see a story
我必須補充
as more than a story
這種「故事不只是故事」的想法
does not solely come from the West.
不只有在西方世界看得到
It comes from everywhere.
而是世界各地都如此
And I experienced this firsthand
我在2005的一次親身經歷
when I was put on trial in 2005
當時我在法庭上受審
for the words my fictional characters uttered in a novel.
原因是我小說中角色所說的一些話
I had intended to write
我本來想寫
a constructive, multi-layered novel
結構上多層次
about an Armenian and a Turkish family
關於亞美尼亞與土耳其家庭的小說
through the eyes of women.
用女性觀點來寫
My micro story became a macro issue
我的小故事成了大話題
when I was prosecuted.
後來我被起訴了
Some people criticized, others praised me
有人批評、有人讚美
for writing about the Turkish-Armenian conflict.
我書中土耳其與亞美尼亞衝突的內容
But there were times when I wanted to remind both sides
但好幾次,我都想告訴這些人
that this was fiction.
這是虛構的
It was just a story.
只是故事而已
And when I say, "just a story,"
當我說:「只是故事而已」
I'm not trying to belittle my work.
我並不是貶低自己的作品
I want to love and celebrate fiction
我熱愛、頌揚文學
for what it is,
是因它的本質
not as a means to an end.
而不是為特定目的
Writers are entitled to their political opinions,
作家當然有自己的政治傾向
and there are good political novels out there,
現在也有很多不錯的政治小說
but the language of fiction
但小說的語言
is not the language of daily politics.
並非政治的語言
Chekhov said,
契訶夫說過
"The solution to a problem
「問題的解決方法」
and the correct way of posing the question
「與問題的呈現方法」
are two completely separate things.
「是全然不同的兩件事」
And only the latter is an artist's responsibility."
「但只有後者,是藝術家的責任」
Identity politics divides us. Fiction connects.
身分政治分裂我們,小說連結我們
One is interested in sweeping generalizations.
一個是一概而論
The other, in nuances.
一個是些微差別
One draws boundaries.
一個劃分隔閡
The other recognizes no frontiers.
一個消除分界
Identity politics is made of solid bricks.
身分政治就像厚牆
Fiction is flowing water.
小說就像流水
In the Ottoman times, there were itinerant storytellers called "meddah."
奧圖曼時期,有種遊歷各國的人 叫做說書人(邁達赫)
They would go to coffee houses,
他們會去茶館
where they would tell a story in front of an audience,
對著一群觀眾說故事
often improvising.
即興說書
With each new person in the story,
為表現書中不同人物
the meddah would change his voice,
說書人會利用不同的聲音
impersonating that character.
來表現人物的變化
Everybody could go and listen, you know --
大家都會去看說書人表演
ordinary people, even the sultan, Muslims and non-Muslims.
不論是普羅大眾、蘇丹王 回教徒、或非回教徒
Stories cut across all boundaries,
故事消弭隔閡
like "The Tales of Nasreddin Hodja,"
就像《土耳其智者荷加的故事》
which were very popular throughout the Middle East,
這本在中東、北非、巴爾幹、亞洲
North Africa, the Balkans and Asia.
大家都熟知的故事一樣
Today, stories continue
今日,故事依然
to transcend borders.
超越邊界
When Palestinian and Israeli politicians talk,
當巴勒斯坦與以色列政治家發表言論
they usually don't listen to each other,
他們通常都不聽彼此的內容
but a Palestinian reader
但當一個巴勒斯坦讀者
still reads a novel by a Jewish author,
讀著猶太作家的小說時
and vice versa, connecting and empathizing
他們對於敘述者,產生連結
with the narrator.
產生同理心
Literature has to take us beyond.
文學必須帶領我們超越自我
If it cannot take us there,
如果沒辦法如此
it is not good literature.
那就不是好的文學
Books have saved the introverted,
書拯救了小時候那個
timid child that I was -- that I once was.
內向、膽小的我
But I'm also aware of the danger
但我也明白
of fetishizing them.
盲目閱讀的危險
When the poet and mystic, Rumi,
當神秘的詩人魯米
met his spiritual companion, Shams of Tabriz,
遇到他的精神伴侶沙姆士時
one of the first things the latter did
沙姆士做的第一件事就是
was to toss Rumi's books into water
就是將魯米的書丟到河裡
and watch the letters dissolve.
看著墨水在水中化開
The Sufis say, "Knowledge that takes you not beyond yourself
魯米說:「擁有無法超越自我的知識」
is far worse than ignorance."
「還不如無知」
The problem with today's cultural ghettos
今日文化圈的問題
is not lack of knowledge --
並不是缺乏知識
we know a lot about each other, or so we think --
我們了解彼此 或只是我們自以為了解彼此
but knowledge that takes us not beyond ourselves:
但那無法超越自我的知識
it makes us elitist,
變成精英文化
distant and disconnected.
彼此隔絕,產生距離
There's a metaphor which I love:
有個我很喜歡的比喻
living like a drawing compass.
生活就像是圓規
As you know, one leg of the compass is static, rooted in a place.
一隻腳站穩在定點
Meanwhile, the other leg
同時,另一隻腳
draws a wide circle, constantly moving.
向外畫出一個能任意擴大的圓
Like that, my fiction as well.
我的小說也像那樣
One part of it is rooted in Istanbul,
一隻腳在伊斯坦堡
with strong Turkish roots,
有著土耳其深根
but the other part travels the world,
但另一隻旅遊世界
connecting to different cultures.
與各文化連結著
In that sense, I like to think of my fiction
這樣來解釋,我想我的小說
as both local and universal,
既本土又多元
both from here and everywhere.
並無限延伸
Now those of you who have been to Istanbul
有去過土耳其的人
have probably seen Topkapi Palace,
一定參觀過托普卡比宮殿
which was the residence of Ottoman sultans
鄂圖曼帝國的王室
for more than 400 years.
在那住過超過400年
In the palace, just outside the quarters
宮殿裡,寵妃的房間外
of the favorite concubines,
一個角落
there's an area called The Gathering Place of the Djinn.
被稱為精靈的集聚地
It's between buildings.
就在每棟建築物間
I'm intrigued by this concept.
我迷上這個概念
We usually distrust those areas
我們通常都不信任
that fall in between things.
這種中間地帶
We see them as the domain
我們將那種地方
of supernatural creatures like the djinn,
視為超自然生物,像是精靈
who are made of smokeless fire
會突然冒出一陣白煙似的
and are the symbol of elusiveness.
是難以捉摸的象徵
But my point is perhaps
但我認為
that elusive space
這種難以捉摸之地
is what writers and artists need most.
正是小說家、藝術家所需要的
When I write fiction
當我寫小說
I cherish elusiveness and changeability.
我喜歡那種難以捉摸、多變性
I like not knowing what will happen 10 pages later.
我喜歡那種不曉得十頁之後 故事會如何發展的感覺
I like it when my characters surprise me.
我喜歡我的角色帶給我的驚喜
I might write about
我可能一本小說
a Muslim woman in one novel,
寫穆斯林女人
and perhaps it will be a very happy story,
很開心的故事
and in my next book, I might write
下一本小說,我可能會寫
about a handsome, gay professor in Norway.
一個挪威的帥哥同性戀教授
As long as it comes from our hearts,
只要這些故事是發自內心
we can write about anything and everything.
沒有什麼是不能寫的
Audre Lorde once said,
奧黛蘿德曾說:
"The white fathers taught us to say,
「白衣神父教導我們
'I think, therefore I am.'"
我思故我在。」
She suggested, "I feel, therefore I am free."
但她認為應該是:「我感受所以我自由」
I think it was a wonderful paradigm shift.
這是很美妙的轉變
And yet, why is it that,
那為什麼
in creative writing courses today,
現在的創意寫作課裡
the very first thing we teach students is
我們教學生的第一件事
"write what you know"?
會是寫「自己所知」呢?
Perhaps that's not the right way to start at all.
也許一開始根本不該這樣教
Imaginative literature is not necessarily about
想像文學並非是
writing who we are or what we know
寫自己、或自己所知
or what our identity is about.
或自己的身分
We should teach young people and ourselves
我們應該教育自己以及下一代
to expand our hearts
開放心胸
and write what we can feel.
寫出自己的感受
We should get out of our cultural ghetto
我們應該走出自己的文化圈
and go visit the next one and the next.
探訪他人的世界
In the end, stories move like whirling dervishes,
最終,故事也能像遊歷的僧侶
drawing circles beyond circles.
不斷地向外畫圈
They connect all humanity,
他們結合人性
regardless of identity politics,
而非身分政治
and that is the good news.
這是件好事
And I would like to finish with an old Sufi poem:
最後我想以一首古詩作結
"Come, let us be friends for once;
「來,讓我們做朋友,」
let us make life easy on us;
「讓我們生活快樂點,」
let us be lovers and loved ones;
「讓我們彼此相愛,」
the earth shall be left to no one."
「如此世界將不會孤單。」
Thank you.
謝謝
(Applause)
(掌聲)