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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)

I'm a storyteller.

譯者: Adrienne Lin 審譯者: Geoff Chen

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