114: Last Words - This American Life
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00:00 00:00 Transcript Share This American Life Life Partners How to Listen Episodes Recommended About Overview Staff Announcements Fellowships Jobs Music Make Radio On The Road FAQ Submissions Merch Contact Us Our Other Shows Merch Follow Us Life Partners Subscribe to our newsletter Full episode Toggle Audio and Transcript Sync Transcript | Episode #114 | August 11, 2006 114: Last Words Note: This American Life is produced for the ear and designed to be heard.
00:00 00:00 文字记录 分享此 美国生活 生活伙伴 如何收听 剧集 推荐 关于 概述 员工公告 奖学金 工作 音乐 在路上制作电台 常见问题解答 提交 商品 联系我们 我们的其他节目 商品 关注我们 生活伙伴 订阅我们的时事通讯 整集 切换音频和文字记录同步 文字记录 | 内容第 114 集 | 2006 年 8 月 11 日 114：遗言 注：《美国生活》是为耳朵而制作的，旨在让人们听到。
If you are able, we strongly encourage you to listen to the audio, which includes emotion and emphasis that's not on the page.
如果可以的话，我们强烈建议您收听音频，其中包括页面上没有的情感和重点。
Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors.
文字记录是使用语音识别软件和人工转录员结合生成的，可能包含错误。
Please check the corresponding audio before quoting in print.
请在印刷版引用前检查相应的音频。
Prologue Ira Glass I've been thinking about the gangster, Arnold Rothstein, the guy who's often credited with fixing the 1919 World Series.
序言 艾拉·格拉斯（Ira Glass） 我一直在想这个黑帮老大阿诺德·罗斯斯坦（Arnold Rothstein），他经常被认为是 1919 年世界职业棒球大赛的操纵者。
I've been thinking about his last words after he was shot during a poker game in 1928.
1928 年他在一场扑克比赛中被枪杀后，我一直在思考他的遗言。
Someone asked who shot him.
有人问谁射杀了他。
"Me mother did it," he said.
“是我妈妈做的，”他说。
His mother.
他的母亲。
Even in death he was not going to rat.
即使死了，他也不会说谎。
You know, at that point, what is the killer going to do to him?
你知道，到那时，凶手会对他做什么吗？
Naming his mother was nothing more than reasserting who he was one last time, in the face of death, who he was, which was a guy who would not rat.
给他母亲起名字无非是在死亡面前最后一次重申他是谁，他是谁，一个不会告密的人。
And this is what we want from last words, let me tell you, this kind of summing up of who a person is.
让我告诉你，这就是我们想要从最后一句话中得到的，对一个人是谁的总结。
You know, sometimes you'll see those collections of famous last words that were printed in the paper or in the Sunday magazine, and they all have this quality-- they always do-- of pretending to sum up an entire life.
你知道，有时你会看到那些刊登在报纸或星期日杂志上的著名遗言集，它们都有这种品质——它们总是如此——假装总结了一生。
Bing Crosby, "That was a great game of golf, fellers." WC Fields, "I've spent a lot of time searching through the Bible for loopholes." Oscar Wilde, "Either that wallpaper goes, or I do." And you know, the fact is, Oscar Wilde didn't even say that on his death bed.
Bing Crosby，“伙计们，那是一场精彩的高尔夫比赛。” WC Fields，“我花了很多时间在圣经中寻找漏洞。”奥斯卡·王尔德：“要么那张壁纸消失，要么我消失。”你知道，事实是，奥斯卡·王尔德在临终时甚至没有说过这句话。
It's a remark he made to a friend at a cafe a month before he died.
这是他去世前一个月在一家咖啡馆对朋友说的一句话。
That's how much we want to believe in these things.
这就是我们多么愿意相信这些事情。
But, you know, we want our lives to mean something, and we want to believe that words can capture that meaning.
但是，你知道，我们希望我们的生活有意义，并且我们希望相信言语可以捕捉到这种意义。
And, seen in that way, last words, attempts at last words, a one final shot at figuring it all out, summing it all up, they have this way of asserting the fact of our existence at the exact moment of our annihilation.
而且，从这个角度来看，最后的话，最后的话的尝试，最后一次弄清楚一切，总结一切，他们用这种方式在我们毁灭的那一刻断言我们存在的事实。
Well, from WBEZ Chicago and Public Radio International, it's This American Life .
嗯，来自 WBEZ 芝加哥和国际公共广播电台，这是《美国生活》。
I'm Ira Glass.
我是艾拉·格拉斯。
Today's program, Last Words.
今天的节目，最后的话。
Several case studies for you.
为您提供几个案例研究。
Act One, Actions Speak Louder, the story of people who were perfectly eloquent and the limits of what even the best chosen last words can say and do for people.
第一幕，行动胜于雄辩，讲述了那些能言善辩的人的故事，以及即使是最好的遗言也能为人们说的话和做的事情的局限性。
Act Two, The Unknown Soldier, a story in which 40 voices become one voice here on your radio.
第二幕，《无名战士》，在这个故事中，收音机里的 40 个声音变成了一个声音。
Act Three, Rosebud, an act about which the less said the better.
第三幕，《玫瑰花蕾》，这一幕说得越少越好。
Act Four, How the Living Use The Dead, Writer Greil Marcus explains what rock fans use dead rock stars for.
第四幕，生者如何利用死者，作家格雷尔·马库斯解释了摇滚乐迷如何利用死去的摇滚明星。
Act Five, Black Box.
第五幕，黑匣子。
We go through transcripts from those black box flight recorders, the ones recovered from airplane crashes.
我们查看那些从飞机失事中恢复的黑匣子飞行记录器的记录。
Act Six, What Goes Through Your Head.
第六幕，你脑子里想的是什么。
We have a story from writer Tobias Wolff.
我们有一个作家托拜厄斯·沃尔夫的故事。
Stay with us.
留在我们身边。
Act One, Actions Speak Louder.
第一幕，行动胜于雄辩。
This is the story of people attempting to surround death in a web of words to better understand it, a very eloquent people and their last words and of what last words can and cannot accomplish.
这是一个故事，人们试图将死亡包围在一张文字网中，以便更好地理解它，一个非常能言善辩的人和他们的遗言，以及遗言可以完成什么和不能完成什么。
Page Smith and Eloise Pickard Smith were married for over five decades, and they died one day apart.
佩奇·史密斯和埃洛伊丝·皮卡德·史密斯结婚已有五十多年，他们相隔一天去世。
In Santa Cruz, where they lived, they were well-known.
在他们居住的圣克鲁斯，他们很有名。
She was an artist.
她是一位艺术家。
He was a writer and historian, one of the founding provosts at UC Santa Cruz.
他是一位作家和历史学家，也是加州大学圣克鲁斯分校的创始教务长之一。
Our contributing editor Sarah Vowell tells what happened.
我们的特约编辑莎拉·沃威尔讲述了发生的事情。
This is a love story, a death story.
这是一个爱情故事，也是一个死亡故事。
It is also a competition between actions and the power of words to describe those actions, between theories of death and the practice of dying.
这也是行动与描述这些行动的语言力量之间、死亡理论与死亡实践之间的竞争。
Before we get to anyone's last words about Page and Eloise Smith's joint life and joint death, here are the facts.
在我们对佩奇和埃洛伊丝·史密斯的同生共死发表最后一句话之前，先介绍一下事实。
I asked their friend, John Dizikes, and their daughter, Anne Easley, to tell this story.
我请他们的朋友约翰·迪齐克斯和他们的女儿安妮·伊斯利讲述这个故事。
Anne recalls the beginning of the end when her mother was diagnosed with cancer.
安妮回忆起她母亲被诊断出患有癌症时的结局。
Early on, the diagnosis was not a good one for her.
早期的诊断对她来说并不是一个好的诊断。
Like, within the first three weeks, we knew that it wasn't a battle that she was probably going to be able to win, but she went ahead and allowed a lot of treatment anyway.
就像，在前三周内，我们知道这不是一场她可能能够获胜的战斗，但她还是继续接受了很多治疗。
And I think that she did that mainly for my father.
我认为她这样做主要是为了我父亲。
And then he had started symptoms, probably, beginning in the first part of her third month of her illness.
然后他开始出现症状，很可能是在她生病的第三个月的上半个月开始的。
And I talked to her doctor because Dad's doctor seemed to think that it was nothing important and was being very cavalier about it.
我和她的医生谈过，因为爸爸的医生似乎认为这没什么重要的，而且对此非常漫不经心。
And my mother's doctor told us not to be surprised if Father died shortly after Mother.
我母亲的医生告诉我们，如果父亲在母亲去世后不久去世，不要感到惊讶。
And she had just met both my mother and father, but she could tell.
她刚刚见过我的父母，但她看得出来。
And, I don't know, there must be something that happens when people who are that connected-- the doctor just knew right away.
而且，我不知道，当人们有如此密切的联系时，一定会发生一些事情——医生马上就知道了。
And she said that Father wouldn't live six months.
她说父亲活不了六个月了。
I repeated that to my parents.
我向父母重复了这句话。
I couldn't even believe it.
我什至不敢相信。
It was kind of shocking.
这有点令人震惊。
And my mother had had a major heart attack 10 years before they both died.
我母亲在他们双双去世前十年曾患过严重心脏病。
And Dad told all of us, all the four children, that if she died, he would also die.
爸爸告诉我们所有人，所有四个孩子，如果她死了，他也会死。
He said-- and I've never forgotten it-- "I've looked into the void." And it stuck in my mind very much.
他说——我永远不会忘记——“我已经观察到了虚空。”这件事深深地印在了我的脑海里。
And he never suggested he would commit suicide or anything other than he would just drop dead.
他从来没有暗示过他会自杀或任何其他的事情，只是说他会死掉。
He was just going to die.
他快要死了。
He refused, spiritually, to live without her.
从精神上来说，他拒绝生活中没有她。
There was something in the way he said it that made me realize that this person who was so strong, powerful, he exuded a sense of power, this person must have found the prospect of life without Eloise impossible.
他说话的方式让我意识到，这个人如此坚强、强大，散发着一种力量感，这个人一定发现没有埃洛伊丝的生活是不可能的。
And he told us individually, I mean, just made sure that all of us knew, that that was the way he felt about it and that that was what was going to happen.
他单独告诉我们，我的意思是，只是确保我们所有人都知道，这就是他对此的感受，这就是即将发生的事情。
And none of us questioned it.
我们没有人质疑这一点。
I mean, we all thought it was crazy and that he shouldn't do that and that there was a lot to live for after Mother died.
我的意思是，我们都认为这很疯狂，他不应该这样做，而且母亲去世后还有很多值得活下去的事情。
But it was what he wanted.
但这正是他想要的。
We just figured he'd be able to do it somehow, and he did.
我们只是认为他能够以某种方式做到这一点，他做到了。
When the doctor said that your father would die shortly after your mother and you told your parents this in disbelief, what was their reaction?
当医生说你的父亲会在你母亲之后不久去世，而你难以置信地告诉你的父母时，他们的反应是什么？
What was your father's reaction?
你父亲的反应是什么？
I think it was relief.
我认为这是一种解脱。
I think Dad-- well, he knew he was going to do it.
我想爸爸——嗯，他知道他会这么做。
We didn't tell Mother, because we didn't want to upset her, until just a few days before she died.
我们没有告诉母亲，因为我们不想让她难过，直到她去世前几天。
But I think it was also a relief for her.
但我认为这对她来说也是一种解脱。
You're just going to have to accept this because I'm going to do it.
你必须接受这一点，因为我要这么做。
That's OK.
没关系。
Anne Easley Anyway-- but, as a matter of fact, I think that Father would have died, probably, right with Mother, if he hadn't been on chemotherapy.
安妮·伊斯利 无论如何——但是，事实上，我想，如果父亲没有接受化疗的话，他可能会和母亲一起死去。
They put him on chemotherapy because he insisted on outliving her.
他们让他接受化疗，因为他坚持比她活得更久。
He didn't want to die before her.
他不想死在她之前。
He wanted to die after her.
他想追随她而死。
And he was actually having one of his chemotherapy treatments when we went and told him that she had died.
当我们去告诉他她已经去世时，他实际上正在接受一种化疗。
And he removed the intravenous lines from his arms and said, well, that was it.
然后他从手臂上取下静脉注射管，然后说，好吧，就这样了。
He wasn't going to have any more medical intervention and that he would just be dying shortly, and he did.
他不会再接受任何医疗干预，他很快就会死去，而他确实这么做了。
He died 36 hours later.
36小时后他去世了。
Those are the facts.
这些都是事实。
As for the last words that try to make sense of that act, Page Smith wrote a column that does as well as one might hope.
至于试图理解这一行为的最后一句话，佩奇·史密斯写了一篇专栏，效果正如人们所希望的那样。
It was part of a series of columns he wrote for the San Francisco Chronicle in his last years on old age and dying.
这是他晚年为《旧金山纪事报》撰写的有关老年和死亡的一系列专栏的一部分。
In the essay, he talks about the deep pleasures of lifelong coupling and, ultimately, the deep pain for those whom death does part.
在文章中，他谈到了终生结合的深切快乐，以及最终对死亡所带来的深切痛苦。
He wrote, "The consolations of an old marriage are the good news.
他写道：“旧婚姻的安慰是好消息。
The bad news is that one partner in a marriage, however idyllic, will pre-decease the other.
坏消息是，婚姻中的一方，无论多么美好，都会先于另一方去世。
Many years ago," he continued, "my dear old friend Josephine Jacobson, the poet, saw on a New England tombstone the unbearably poignant words, 'It is a fearful thing to love what death can touch.'"
许多年前，”他继续说道，“我亲爱的老朋友诗人约瑟芬·雅各布森在新英格兰的一块墓碑上看到了令人难以忍受的辛酸话语：‘爱死亡所触及的事物是一件可怕的事情。’”
In another column, called "Famous Last Words," Page ponders the quandary of the final thought.
在另一篇名为“著名遗言”的专栏中，佩奇思考了最后一个想法的困境。
He said that he admired the last words of John Quincy Adams, who collapsed on the floor of the House of Representatives and declared, "It is finished.
他说，他很欣赏约翰·昆西·亚当斯的遗言，他倒在众议院的地板上，宣布：“一切都结束了。
I am content." Page points out that the problem is that, in order for your last words to be famous, you have to be famous, which rather complicates things.
我很满足。”佩奇指出，问题在于，为了让你的遗言出名，你必须出名，这让事情变得更加复杂。
He continues, "It casts a shadow over the whole enterprise.
他继续说道：“这给整个企业蒙上了阴影。
Maybe the proper thing to do is to die in decent, resigned silence, keeping one's final thoughts to oneself."
也许正确的做法是在体面、听天由命的沉默中死去，把最后的想法留给自己。”
Well, of course, all of us were waiting for his final words.
嗯，当然，我们所有人都在等待他的最后一句话。
But it wasn't something where we asked him, "If you had your last words, what would you say?" And he slipped off into the coma before any of us would have done that.
但这并不是我们问他的问题：“如果你有最后一句话，你会说什么？”在我们任何人都没有这么做之前，他就陷入了昏迷。
We live and we disappear.
我们活着，又消失。
We come from somewhere and we go somewhere.
我们从某个地方来，又要去某个地方。
And yet, words can remain.
然而，言语可以保留。
Writing can remain.
写作可以保留。
Art remains.
艺术依然存在。
Art is long, life is short, as we know.
众所周知，艺术是漫长的，生命是短暂的。
And the last words, I think, are connected with that evidence that it's a kind of testimony against our obliteration and our disappearance.
我认为，最后的话与证据有关，它是反对我们被抹杀和消失的一种证词。
That may be true, but whose last words actually live up to that?
这也许是真的，但谁的遗言真正实现了这一点呢？
Anne says that Eloise's final words spoken to her sister, Ellen, were, "I'm going to God." Page told his son to, "Give my best to everybody up at Cowell," meaning Cowell College at UC Santa Cruz, which he founded.
安妮说，埃洛伊丝对她妹妹艾伦说的最后一句话是：“我要去见上帝。”佩奇告诉他的儿子，“为考威尔的每个人尽我所能”，指的是他创办的加州大学圣克鲁斯分校的考威尔学院。
Historians, as an occupational hazard, live among the dead more than the rest of us.
历史学家作为一种职业危害，比我们其他人更多地生活在死者之中。
They talk to the dead, read their words, heed their warnings, try to give breath and blood to bodies long since turned to dust.
他们与死者交谈，阅读他们的话语，听取他们的警告，试图为早已化为尘埃的尸体提供呼吸和血液。
The first important work of Page Smith's career was a two-volume biography of John Adams published in 1962.
佩奇·史密斯职业生涯的第一部重要作品是 1962 年出版的两卷本约翰·亚当斯传记。
John Dizikes, Smith's former student, fellow history professor, and friend, delivered a joint eulogy for Eloise and Page at their funeral.
史密斯以前的学生、历史学教授兼朋友约翰·迪齐克斯 (John Dizikes) 在埃洛伊丝和佩奇的葬礼上共同致悼词。
I asked him to read it for me.
我请他读给我听。
It begins with one of Page's favorite anecdotes about the second president, the fact that Adams died on July 4th, 1826.
它以佩奇最喜欢的关于第二任总统的轶事之一开始，即亚当斯于 1826 年 7 月 4 日去世。
Precisely 50 years after the Declaration of Independence and coinciding with Thomas Jefferson's death on the same day in Virginia, for Page, this extraordinary occurrence, to which he returned again and again in conversation and in lectures, the joint departure of two presiding spirits, two lives, two deaths, free will and necessity, unfathomably intermingled, suggested something far beyond mere coincidence.
恰好在《独立宣言》发表 50 年后，恰逢托马斯·杰斐逊于弗吉尼亚去世，对佩奇来说，他在谈话和演讲中一次又一次回顾这一非同寻常的事件，两个主要精神、两种生命、两种死亡、自由意志和必然性的共同离开，不可思议地交织在一起，所暗示的事情远远超出了单纯的巧合。
History is divine drama.
历史是神剧。
"It could not be said that Americans were struck dumb," he wrote, "rather the reverse.
“不能说美国人被惊呆了，”他写道，“恰恰相反。
They were struck into an outpouring of wonder and astonishment, of amazement and awe." And in these last few days many of us, too, have felt something of wonder, of amazement, of awe.
他们感到惊叹、惊讶、惊讶和敬畏。”在过去的几天里，我们许多人也感到了一些惊奇、惊讶和敬畏。
The biography of John Adams was also a biography of Abigail Adams.
约翰·亚当斯的传记也是阿比盖尔·亚当斯的传记。
And one of its most compelling aspects was the way past and present were merged, the 18th century and the 20th century, life and love, husband and wife existing simultaneously in the consciousness of the writer and of the reader, exemplified by the book's unforgettable dedication to Eloise, "through whom I know what Abigail meant to John."
它最引人注目的方面之一是过去和现在的融合方式，18世纪和20世纪，生活和爱情，丈夫和妻子同时存在于作者和读者的意识中，这本书对埃洛伊丝令人难忘的奉献就是例证，“通过她我知道阿比盖尔对约翰意味着什么。”
Those are lovely words, an historians words, but sometimes there's only so much words can do.
这些都是历史学家的话，很可爱，但有时文字能起到的作用就只有这么多。
When the man John Dizikes talks about the uncanny deaths of his friends Page and Eloise, he ultimately rejects the poetry of last words for a kind of wondering.
当约翰·迪齐克斯 (John Dizikes) 谈到他的朋友佩奇 (Page) 和埃洛伊丝 (Eloise) 的离奇死亡时，他最终出于某种疑惑而拒绝了遗言诗。
Anne does too.
安妮也是。
In the face of such a story, of such a marriage, who can resist comparing his own marriage to theirs?
面对这样的故事，这样的婚姻，谁能忍住将自己的婚姻与别人的婚姻进行比较呢？
I think many of us have wondered and thought privately about ourselves in relation to that.
我想我们中的许多人都曾想过并私下思考过与此相关的我们自己。
What Page and Eloise were and did may or may not be at all relevant to what we all are in our own lives.
佩奇和埃洛伊丝的过去和所做的事情可能与我们自己的生活相关，也可能完全无关。
I do think, myself, that there is a quality of intensity of love that some couples have, of a necessity of being together, that many other devoted people don't have.
我自己确实认为，有些夫妻拥有一种强烈的爱的品质，需要在一起，而许多其他忠诚的人却没有。
Oh, very, very few people will ever have what they had.
哦，非常非常少的人能够拥有他们所拥有的东西。
And I have a wonderful marriage.
我有一个美好的婚姻。
I have a wonderful husband, but-- I don't know, maybe in 20 or 30 years, if we're still alive-- and we've been together 30 years already-- and if we have another 30 years, maybe we'll be as tight as my parents are.
我有一个很棒的丈夫，但是——我不知道，也许20年或30年后，如果我们还活着的话——我们已经在一起30年了——如果我们再过30年，也许我们会像我父母一样亲密。
I believe that I understand how much Eloise meant to Page, just as he understood how much Abigail meant to John Adams and how much my wife means to me.
我相信我了解埃洛伊斯对佩奇的意义，就像他了解阿比盖尔对约翰·亚当斯的意义以及我的妻子对我的意义一样。
There's a certain point at which you say-- not that life is not worth living, it is, but-- perhaps, that you've lived it fully, and there's no point in living a diminished life.
在某个时刻，你会说——不是说生活不值得过，而是——也许，你已经活得很充实了，过着缩水的生活是没有意义的。
Page Smith once commented, "Often, the power of the original fact is so great you're awed by it." As Charles Adams said when his grandfather, John Adams and Thomas Jefferson both died on the same day, the fourth of July, 1826, "There is nothing so eloquent as fact." Historians, which is to say writers of non-fiction, spend their careers as fans of facts, noticing those moments when actual events have about them an air of magic, of myth.
佩奇·史密斯曾经评论道：“通常情况下，原始事实的力量是如此之大，你会对其感到敬畏。”正如查尔斯·亚当斯 (Charles Adams) 在他的祖父约翰·亚当斯 (John Adams) 和托马斯·杰斐逊 (Thomas Jefferson) 于 1826 年 7 月 4 日同一天去世时所说的那样，“没有什么比事实更雄辩的了。”历史学家，也就是非小说类作家，他们的职业生涯都是事实的爱好者，他们注意到那些真实事件带有魔幻和神话气息的时刻。
I think Page Smith, who loved his wife more than his life, would have appreciated the eloquence of his body's final act, dying when he did.
我想，爱妻子胜过爱自己生命的佩吉·史密斯一定会欣赏他身体最后一幕的雄辩，即在他死去时。
Page and Eloise were cremated together, their ashes mixed.
佩奇和埃洛伊丝被一起火化，骨灰混合在一起。
They're buried at the bottom of a hill.
他们被埋在山脚下。
The marker, made by Anne, reads, "It is a fearful thing to love what death can touch."
安妮制作的标记上写着：“热爱死亡所能触及的事物是一件可怕的事情。”
Sarah Vowell's most recent book is Assassination Vacation .
莎拉·沃威尔的最新著作是《刺杀假期》。
Act Two, Unknown Soldier.
第二幕，无名战士。
We have this story written by Luc Sante.
我们有吕克·桑特写的这个故事。
The last thing I saw was a hallway ceiling, four feet wide, finished along its edges with a plaster molding that looked like a long row of small fish, each trying to swallow the one ahead of it.
我看到的最后一件事是走廊的天花板，四英尺宽，边缘有石膏线，看起来像一长排小鱼，每条都试图吞掉前面的一条。
The last thing I saw was a crack of yellow sky between buildings, partly obscured by a line of washing.
我最后看到的是建筑物之间黄色天空的裂缝，部分被一条洗涤线遮住了。
The last thing I saw was the parapet and, beyond it, the trees.
我最后看到的是护墙和护墙之外的树木。
The last thing I saw was his badge, but I couldn't tell you the number.
我最后看到的是他的徽章，但我无法告诉你号码。
The last thing I saw was a full shot glass slid along by somebody who clapped me on the back.
我看到的最后一件事是有人拍了拍我的背，把一个全镜头玻璃滑过。
The last thing I saw was the sedan that came barreling straight at me while I thought, "It's OK.
我最后看到的就是那辆轿车径直向我冲来，我心想：“没关系。
I'm safely behind the window of the donut shop."
我安全地躲在甜甜圈店的窗户后面。”
The last thing I saw was a boot, right foot, with nails protruding from the instep.
我最后看到的是一只靴子，右脚，脚背上有钉子突出。
I lost my balance crossing Broadway and was trampled by a team of brewery horses.
我在穿过百老汇时失去平衡，被一群酿酒厂的马践踏了。
I was winching myself up the side of a six-story corner house on a board platform with a load of nails for the cornice when the weak part of the rope hit the pulley sideways and got sheared.
我正在用绞车把自己吊到一栋六层角楼的木板平台上，上面装满了檐口的钉子，这时绳子的薄弱部分侧向滑轮并被剪断。
I lost my way in snow drifts half a block from my flat.
我在距我公寓半个街区的雪堆中迷了路。
I drank a bottle of carbolic acid, not really knowing whether I meant to or not.
我喝了一瓶石炭酸，不知道自己是有意还是无意。
I got very cold, coughed, and forgot things.
我感冒了，咳嗽，忘记了事情。
I went out to a yard to try to give birth in secret, but something happened.
我到一个院子里试图秘密分娩，但发生了一些事情。
I met a policeman who mistook me for somebody else.
我遇到了一个警察，他把我误认为是别人。
I was drunk on my birthday, and I fell off the dock trying to grab a gold piece that looked like it was floating.
生日那天我喝醉了，为了抓住一块看起来漂浮的金币，我从码头上摔了下来。
I was hanged in the courtyard of the tombs before a cheering crowd and people clogging the rooftops of the buildings all around.
我被吊死在坟墓的庭院里，周围是欢呼的人群和堵在屋顶上的人们。
But I still say that rascal had it coming to him.
但我还是要说，这个流氓是自找的。
I stole a loaf of bread and started eating it as I ran down the street, but there was a wad of raw dough in the middle that got caught in my throat.
我偷了一条面包，一边跑一边吃，但中间有一团生面团卡在了我的喉咙里。
I was supposed to get up early that morning, but I couldn't move.
那天早上我本来应该早起的，但我无法动弹。
I heard a sort of whistling noise above my head as I was passing by the post office, and that's all I know.
当我经过邮局时，我听到头顶上有一种口哨声，这就是我所知道的。
I was hustling a customer who looked like a real swell, but when we got upstairs he pulled out a razor.
我正在催促一位看起来像个真正的大佬的顾客，但当我们上楼时，他拿出了一把剃须刀。
I owed a lot of money for rent and got put out and, that night, curled up in somebody else's doorway.
我欠了很多房租，被赶了出来，那天晚上，我蜷缩在别人的门口。
And he came home in a bad mood.
而他回到家心情也很不好。
I was bitten by that black dog that used to hang around, and I forgot all about it for six months or so.
我被那只经常出没的黑狗咬了，六个月左右的时间里我把这件事忘得一干二净。
I took a shot at the big guy, but the hammer got stuck.
我朝那个大家伙开了一枪，但锤子被卡住了。
I felt very hot and shaky and strange.
我感到非常热、颤抖和奇怪。
And everybody in the shop was looking at me.
店里的每个人都看着我。
And I kept trying to tell them that I'd be all right in a minute, but I just couldn't get it out.
我一直试图告诉他们我一会儿就会好起来，但就是说不出来。
I never woke up as the fumes snaked into my room.
当烟雾蜿蜒进入我的房间时，我再也没有醒来。
I stood yelling as he stabbed me again and again.
当他一次又一次地刺我时，我站在那里大喊大叫。
I picked up a passenger who braced me in the middle of Broadway and made me turn off.
我在百老汇中央接了一位乘客，他把我拦住，让我拐弯。
I shot up the bag as soon as I got home, but I think it smelled funny when I cooked it.
我一回到家就把袋子打了，但我觉得我煮的时候闻起来很奇怪。
I was asleep in a park when these kids came by.
当这些孩子经过时我正在公园里睡觉。
I crawled out the window and felt sick looking down, so I just threw myself out and looked up as I fell.
我爬出窗外，向下看感到恶心，所以我就跳了出去，摔倒时向上看。
I thought I could get warm by burning some newspaper in a soup pot.
我想在汤锅里烧一些报纸可以取暖。
I went to pieces very slowly and was happy when it finally stopped.
我慢慢地崩溃了，当它终于停止时我很高兴。
I thought the train was going way too fast, but I kept on reading.
我觉得火车开得太快了，但我还是继续看书。
I let this guy pick me up at a party, and sometime later we went off in his car.
我在一次聚会上让这个人来接我，过了一段时间我们就开着他的车走了。
I felt real sick, but the nurse thought I was kidding.
我感觉很不舒服，但护士以为我在开玩笑。
I jumped over to the other fire escape, but my foot slipped.
我跳到另一个防火梯，但我的脚滑倒了。
I thought I had time to cross the street.
我以为我有时间过马路。
I thought the floor would support my weight.
我以为地板可以支撑我的体重。
I never knew what hit me.
我从来不知道是什么击中了我。
Woman They put me in a bag.
女人 他们把我放进袋子里。
They nailed me up in a box.
他们把我钉在一个盒子里。
Man They walked me down Mulberry Street followed by altar boys and four priests under a canopy and everybody in the neighborhood singing the Libera Me Domine.
伙计，他们带我沿着桑树街走下去，后面跟着祭坛男孩和四个在华盖下的牧师，附近的每个人都唱着《Libera Me Domine》。
They collected me in pieces all through the park.
他们在整个公园里把我分成碎片。
They had laid me in-state under the rotunda for three days.
他们把我放在州内的圆形大厅下三天了。
They drew the collar up to my chin to hide the hole in my neck.
他们把衣领拉到我的下巴，以隐藏我脖子上的洞。
They laughed about me over the baked meats and rye whiskey.
他们一边吃着烤肉，一边喝着黑麦威士忌，嘲笑我。
They didn't know who I was when they fished me out and still didn't know six months later.
他们把我捞出来时并不知道我是谁，六个月后仍然不知道。
They held my body for ransom and collected, but, by that time, they had burned it.
他们扣留了我的尸体以索取赎金并收集起来，但那时他们已经把它烧掉了。
They never found me.
他们从来没有找到我。
Man They threw me in the cement mixer.
伙计，他们把我扔进水泥搅拌机里。
They heaped all of us into a trench and stuck a monument on top.
他们把我们所有人都塞进壕沟里，并在上面立了一座纪念碑。
They weighed down my ankles and tossed me in the drink.
他们压住我的脚踝，把我扔进饮料里。
They gave speeches claiming I was some kind of tin saint.
他们发表演讲，声称我是某种锡圣人。
They hauled me away in the ash man's cart.
他们用运灰工的车把我拖走了。
They put me on a boat and took me to an island.
他们把我送上船，带我去了一个岛。
They tried to keep my mother from throwing herself in after me.
他们试图阻止我母亲追赶我。
They bought me my first suit and dressed me up in it.
他们给我买了第一套衣服并穿上它。
They marched to City Hall holding candles and shouting my name.
他们举着蜡烛，高呼我的名字，游行到市政厅。
They forgot all about me and took down my picture.
他们把我忘记了，还拿下了我的照片。
So give my eyes to the eye bank.
所以把我的眼睛交给眼库。
Give my blood to the blood bank.
把我的血捐给血库。
Make my hair into switches.
把我的头发变成发辫。
Put my teeth into rattles.
把我的牙齿放进拨浪鼓里。
Sell my heart to the junk man.
把我的心卖给垃圾人。
Give my spleen to the mayor.
把我的脾交给市长吧。
Hook my lungs to an engine.
把我的肺挂在发动机上。
Stretch my guts down the avenue.
沿着大道伸展我的胆量。
Stick my head on a pike.
把我的头放在长矛上。
Plug my spine to the third rail.
将我的脊柱插入第三根导轨。
Throw my liver and lights to the winner.
把我的肝脏和灯光扔给胜利者。
Grind my nails up with sage and camphor and sell it under the counter.
用鼠尾草和樟脑磨指甲，然后在柜台下卖掉。
Set my hands in the window as a reminder.
将我的手放在窗户上以示提醒。
Take my name from me and make it a verb.
把我的名字从我身上拿走，让它变成一个动词。
Think of me when you run out of money.
当你没钱的时候想想我。
Remember me when you fall on the sidewalk.
当你在人行道上摔倒时请记住我。
Mention me when they ask you what happened.
当他们问你发生了什么事时，请提及我。
I am everywhere under your feet.
我无处不在，在你脚下。
The Unknown Soldier was written by Luc Sante.
《无名战士》的作者是吕克·桑特。
We had 46 different readers, too many to name here, ending with the author himself.
我们有 46 位不同的读者，数量太多，无法一一列举，最后是作者本人。
[MUSIC - "WHO BY FIRE" BY LEONARD COHEN, PERFORMED BY HOUSE OF LOVE]
[音乐 - LEONARD COHEN 的“WHO BY FIRE”，由 HOUSE OF LOVE 演奏]
Act Three, How the Living Use the Dead.
第三幕，生者如何利用死者。
Janice, Jimi, Elvis, some dead pop stars are so big you don't even need their last names.
珍妮丝（Janice）、吉米（Jimi）、埃尔维斯（Elvis），一些死去的流行歌星是如此伟大，你甚至不需要他们的姓氏。
Then there's Kurt Cobain, John Lennon, Keith Moon, Jim Morrison, Sid Vicious, Mama Cass Elliot, Jim Croce, Ronnie Van Zant, Duane Allman.
然后还有库尔特·柯本、约翰·列侬、基思·穆恩、吉姆·莫里森、席德·维瑟斯、卡斯·埃利奥特妈妈、吉姆·克罗斯、罗尼·范·赞特、杜安·奥尔曼。
I could go on and on with dead pop stars, but I don't actually have to because, in 1979, writer Greil Marcus did it for me, for all of us, in the most definitive way possible.
我可以继续谈论死去的流行歌星，但实际上我没有必要这样做，因为在 1979 年，作家格雷尔·马库斯以最明确的方式为我、为我们所有人做到了这一点。
He had observed the ghoulish fascination that people have with rock deaths, how it's kind of gain for fans, sometimes, seeing which stars in their deaths come closest to who they seem to be on stage.
他观察到人们对摇滚死亡的残忍迷恋，有时看到哪些明星的死亡与他们在舞台上的样子最接近，这对歌迷来说是一种怎样的收获。
Who comes close to meeting that 19th century romance slash James Dean ideal of living fast, dying young?
谁能接近实现詹姆斯·迪恩 19 世纪浪漫主义的理想——快活、早逝？
And then he decided that the only way to deal with it was to make it into a joke.
然后他决定解决这个问题的唯一方法就是把它变成一个笑话。
To settle the discussion forever, once and for all, he ranked 116 dead pop stars according to a complicated point system.
为了一劳永逸地解决这个问题，他根据复杂的评分系统对 116 位已故流行歌星进行了排名。
Now, I had absolutely fabulous fun doing it.
现在，我做这件事非常开心。
You know, very quickly, I was taking it really seriously.
你知道，很快我就非常认真地对待它了。
Well, how much is a suicide worth?
那么，自杀值多少钱？
And, depending on the manner of the suicide, do you get extra points or less points?
而且，根据自杀的方式，你会得到加分还是减分？
And, oh, it was so much fun.
而且，哦，这真是太有趣了。
It really was.
确实如此。
A classic example of something starting off as a joke and, suddenly, becoming an obsession.
这是一个典型的例子，一开始只是一个笑话，然后突然变成了一种痴迷。
Well, I got fascinated by this in the '70s, at the end of the '70s, when this whole notion of the survivor seemed to utterly dominate contemporary discourse.
嗯，我在 70 年代、70 年代末对此着迷，当时幸存者的整个概念似乎完全主导了当代话语。
And I don't just mean in pop music.
我指的不仅仅是流行音乐。
Bruno Bettelheim wrote this quite wonderful, long essay on the cult of the survivor, basing it on concentration camps, Nazi concentration camps, and the whole notion of what it meant to survive, and how, for some philosophers and artists, it had become the primary virtue, that nothing was more important than surviving, that it was a good in itself.
布鲁诺·贝特尔海姆（Bruno Bettelheim）写了这篇关于幸存者崇拜的相当精彩的长文，它以集中营、纳粹集中营以及生存意味着什么的整个概念为基础，以及对于一些哲学家和艺术家来说，生存如何成为主要美德，没有什么比生存更重要，生存本身就是一件好事。
And I noticed that, in music, there were all these records called Survivor, or I'm a Survivor, or I Must Survive, or I Will Survive.
我注意到，在音乐中，所有这些唱片都被称为幸存者，或者我是幸存者，或者我必须生存，或者我会生存。
In USA , Rock Death in the 1970s: A Sweepstakes, which is collected in your book, Ranters and Crowd Pleasers , you list them.
在美国，《20世纪70年代的摇滚死亡：抽奖活动》收录在你的书《咆哮者和大众取悦者》中，你列出了它们。
There's Grand Funk's Survival, the Rolling Stone's "Soul Survivor," Barry Mann's Survivor, Cindy [?
有 Grand Funk 的《生存》、滚石乐队的“灵魂幸存者”、巴里·曼的《幸存者》，辛迪 [？
Bowen's ?] "Survivor," Eric Burdon's Survivor, Gloria Gaynor's "I Will Survive," Adam Faith's I Survive, Randy Bachman's Survivor, Georgie Fame's "Survival," Lynyrd Skynyrd's Street Survivors, then The Wailers' Survival, and then the band Survivor.
鲍文的？]“幸存者”，埃里克·伯登的“幸存者”，格洛丽亚·盖纳的“我会生存”，亚当·费斯的“我生存”，兰迪·巴赫曼的“幸存者”，乔吉·法姆的“生存”，林纳德·斯金纳德的“街头幸存者”，然后是哭声乐队的“生存”，然后是幸存者乐队。
Yeah, and it's worth noting that all these songs called "Survivor" were different songs, or, at least, they had different words and melodies.
是的，值得注意的是，所有这些名为“幸存者”的歌曲都是不同的歌曲，或者至少，它们有不同的歌词和旋律。
I guess they really were all the same song.
我猜他们真的都是同一首歌。
And, at the same time, Brian Wilson made a comeback with the Beach Boys, and everything written about him said he's a survivor.
与此同时，布莱恩·威尔逊 (Brian Wilson) 随海滩男孩 (Beach Boys) 卷土重来，所有有关他的报道都表明他是一名幸存者。
He was being praised for not being dead.
人们称赞他没有死。
And you reach a point when people are patting themselves on the back for not being dead, when they're celebrating their triumph over the dead, when they're affirming their superiority for not being dead.
当人们因为没有死而拍拍自己的背时，当他们庆祝自己对死者的胜利时，当他们确认自己没有死的优越性时，你就会达到这样的程度。
Greil Marcus is the author of Lipstick Traces and other books including the upcoming book, The Shape of Things to Come: Prophecy and the American Voice.
格雷尔·马库斯是《口红痕迹》和其他书籍的作者，包括即将出版的书《未来事物的形状：预言和美国之声》。
[MUSIC PLAYING - "L'ANARCHIE POUR LE UK" BY THE SEX PISTOLS, PERFORMED ON THE ACCORDION]
[音乐播放 - SEX PISTOLS 的“L'ANARCHIE POUR LE UK”，用手风琴演奏]
Coming up, the voices of airplane pilots from black boxes and other last words.
接下来是黑匣子里飞行员的声音和其他遗言。
That's in a minute from Public Radio International when our program continues.
一分钟后，国际公共广播电台将继续我们的节目。
It's This American Life.
这就是美国生活。
I'm Ira Glass.
我是艾拉·格拉斯。
Each week on our program, of course, we choose a theme, invite a variety of writers and reporters and performers to tackle that theme.
当然，每周我们的节目都会选择一个主题，邀请各种作家、记者和表演者来解决这个主题。
Today's program, Last Words, people's attempts to make sense of their own lives, sum up their own lives, assert the fact of their own lives in the face of death.
今天的节目《遗言》，人们试图在死亡面前理解自己的生活，总结自己的生活，断言自己的生活的事实。
We've arrived at Act Four of our program.
我们已经到了节目的第四幕了。
Act Four, Rosebud.
第四幕，玫瑰花蕾。
[WHISPERS] Rosebud.
[耳语] 玫瑰花蕾。
Act Five: Black Box Ira Glass Act Five, Black Box.
第五幕：黑匣子 Ira Glass 第五幕，黑匣子。
The most frequent contemplation we do, as a culture, of people's last words is when airplanes crash.
作为一种文化，我们最常思考人们的遗言是飞机坠毁时。
There is the black box, which is frequently florescent orange, not black, which has data from the airplane's instruments and the taped voices from the cockpit voice recorder, or CVR.
有一个黑匣子，通常是荧光橙色，而不是黑色，里面有来自飞机仪器的数据和来自驾驶舱录音机（CVR）的录音。
We wondered, do these voices tell us anything about how people compose themselves in the face of danger and death?
我们想知道，这些声音是否告诉我们人们在面对危险和死亡时如何保持镇静？
Well, Malcolm McPherson has published a book of transcripts from 28 different crashes.
马尔科姆·麦克弗森 (Malcolm McPherson) 出版了一本记录 28 起不同事故的文字记录的书。
It's less ghoulish reading than you might think, more like the movie Apollo 13 than The Bride of Chucky.
这本书不像你想象的那样残酷，更像是电影《阿波罗 13 号》而不是《恰吉新娘》。
It's full of technical talk and people trying to work things out.
其中充满了技术讨论和试图解决问题的人们。
I think that, in general, what I've seen in these is the work of some extremely professional people, some highly-trained people who are doing what their training has instructed them to do to that last second, and some, in many cases, through the last second.
我认为，总的来说，我在这些作品中看到的是一些非常专业的人的工作，一些训练有素的人正在按照他们的训练指示他们做直到最后一秒，还有一些人，在很多情况下，直到最后一秒。
And then, at one point, you just know, you can read and you can feel in reading these, that they know that it's the end game, that it's over.
然后，在某一时刻，你就知道，你可以阅读，并且在阅读这些内容时你可以感觉到，他们知道这是最终的游戏，一切都结束了。
And that's usually when you get the kinds of emotions that you can read in these, the yelling and the shouting and the swearing which goes on.
通常，当你从这些内容中读到各种情绪时，就会发生大喊大叫和咒骂的情况。
A lot of these people just end with, "Oh, [BLEEP]!"
很多人只是以“哦，[BLEEP]！”结束。
Thinking about the different categories that these fall into, there are the ones where the crew actually acts very heroically and does what they can to save the plane.
考虑到这些类别的不同类别，有些机组人员实际上表现得非常英勇，并尽其所能来拯救飞机。
There are a few where people just seem to die out of sheer stupidity.
在有些地方，人们似乎只是因为纯粹的愚蠢而死。
There's one, a China Airlines flight--
有一个，中华航空的航班——
It was a China Northern Boeing MD 82 over Western China.
这是中国西部上空的一架中国北方波音 MD 82。
It was in November of 1993, and the crew lost track of their altitude in a fog.
那是 1993 年 11 月，机组人员在大雾中迷失了高度。
And they were coming in for a landing, on a landing approach, and there are these ground proximity warning horns that go off in the cockpit.
他们正要着陆，在着陆进近时，驾驶舱内会响起这些近地警告喇叭。
They're quite loud, and they are recorded in English.
他们声音很大，而且是用英语录制的。
And, when they go off, they start screaming in the crews ears, "Pull up!
而且，当他们出发时，他们开始在工作人员耳边尖叫：“拉起来！
Pull up," in a very flat, very loud way.
拉起来，”以一种非常平淡、非常响亮的方式。
And, these Chinese pilots and co-pilots, they were later overheard on the cockpit voice recorder after the plane had crashed, and the pilot was asking his co-pilot in Chinese, "What means pull up?"
而且，这些中国飞行员和副驾驶，后来飞机坠毁后，在驾驶舱录音机里无意中听到了他们的声音，飞行员用中文问他的副驾驶，“拉起是什么意思？”
The pre-recorded messages that the equipment puts out are all through these, and sometimes it's a little eerie.
设备发出的预录信息都是通过这些，有时还显得有些诡异。
One of the most eerie times is Korean Airline flight 007, which got hit by a missile, and at the end of the transcript, the plane goes down.
最令人毛骨悚然的时刻之一是大韩航空 007 航班，它被导弹击中，在文字记录的最后，飞机坠毁了。
And, after the last words by any person in the transcript, the public address system recordings are still saying, "Put out your cigarette.
而且，在文字记录中的任何人说完最后一句话之后，公共广播系统的录音仍然在说：“把烟灭掉。
This is an emergency descent.
这是紧急下降。
Put out your cigarette.
熄灭你的香烟。
This is an emergency descent.
这是紧急下降。
Put out your cigarette.
熄灭你的香烟。
This is an emergency descent," over and over after all the people are dead.
这是一次紧急下降，”在所有人都死了之后一遍又一遍。
Yeah, it's like an Arthur Clarke nightmare, you know?
是的，这就像亚瑟·克拉克的噩梦，你知道吗？
I mean, the humans are dead and the computers are still sort of living.
我的意思是，人类已经死了，而计算机仍然活着。
How far those warnings were going on, I don't know.
我不知道这些警告持续到什么程度。
But they must have been repeated over and over as that thing plummeted from 50,000 feet.
但当那东西从 50,000 英尺高空坠落时，这些动作一定会一遍又一遍地重复。
It was way up there, and it had a long way to fall.
那里已经很远了，还有很长的路要落下。
Let's go through a few of these so people get a sense of what these are like.
让我们看一下其中的一些，以便人们了解它们是什么样的。
There's one of the flights, Atlantic Southeast Airlines flight 529, this was August 21, 1995, going to Mississippi.
其中一趟航班是大西洋东南航空公司 529 号航班，时间是 1995 年 8 月 21 日，飞往密西西比州。
And can I ask you to just read a little bit from where the captain says we can get in on a visual?
我可以请你读一点船长说我们可以进入视觉的地方吗？
"We can get in and land on visual approach without instruments." The control tower, "Good luck guys." The captain, "Engine's exploded.
“我们可以在没有仪器的情况下通过目视方法进入并着陆。”控制塔：“祝大家好运。”机长：“发动机爆炸了。
It's just hanging out there." The co-pilot, "Yes, Sir.
它只是挂在那里。”副驾驶说：“是的，先生。
We're with you.
我们与你同在。
Declaring an emergency." The captain to the co-pilot, "Sin- single-- single-engine checklist, please." Co-pilot, "Where the hell is it?" Captain to the co-pilot, "Help me.
宣布紧急状态。”机长对副驾驶说：“请单-单-单引擎检查表。”副驾驶：“这到底是哪里？”机长对副驾驶说：“救救我。”
Help me hold it.
帮我抓住它。
Help me hold it.
帮我抓住它。
Help me hold it." There's a vibrating sound as the stick shaker starts warning of the stall.
帮我拿住。”当摇杆器开始警告失速时，会发出振动声。
Co-pilot, "Amy, I love you." The cabin, sound of grunting.
副驾驶：“艾米，我爱你。”船舱内，传来咕噜声。
Sound of impact.
撞击声。
End of tape.
磁带结束。
One of the things I thought was interesting reading these transcripts is how few of them have anything like the pilots or co-pilots saying any last words to their loved ones.
我认为阅读这些文字记录中有趣的一件事是，他们中很少有人像飞行员或副飞行员那样向亲人说最后一句话。
There's this one where the co-pilot says right before the tape goes off, "Amy, I love you." But in the whole book of these you don't have any others where anybody gets any last words like that to anybody on the ground.
其中，副驾驶在录音结束前说道：“艾米，我爱你。”但在整本书中，没有任何其他人对地面上的任何人有这样的遗言。
They're certainly not listed on these transcripts, the CVR transcripts.
他们当然没有列在这些成绩单、CVR 成绩单上。
The NTSB, National Transportation Safety Board, which gets these things out of the black boxes, sanitizes them to an extent where personal or deeply emotional words that have nothing to do with helping anyone to analyze the incident, the crash, whatever it might be, they're not released to the public.
NTSB（美国国家运输安全委员会）负责将这些信息从黑匣子中取出，并对其进行消毒，以确保与帮助任何人分析事件、坠机事故或其他事件无关的个人或深刻情感的言语不会向公众发布。
In some instances, some of it gets through.
在某些情况下，其中一些会通过。
But, for the most case-- and I think NTSB is absolutely correct in this, that-- it really has no business for the public to be reading this.
但是，在大多数情况下——我认为国家运输安全委员会在这方面绝对正确——公众确实没有必要阅读这篇文章。
I think that it's an issue between that crew and whoever.
我认为这是该工作人员和任何人之间的问题。
And so it's possible that, in fact, many more crews are actually trying to get in last words to their loved ones, but they don't get printed.
因此，事实上，有可能有更多的工作人员试图向他们的亲人留下遗言，但他们没有被打印出来。
Yeah.
是的。
Ira Glass As a reporter traveling around, do you travel with a little tape recorder?
Ira Glass 作为一名记者，您出行时会携带小型录音机吗？
I do.
我愿意。
Ira Glass And have you been on airplanes where you were frightened about it crashing and you've looked at your tape recorder and you just thought, what should I say here?
艾拉·格拉斯（Ira Glass）：您是否坐过飞机，害怕飞机坠毁，看着录音机，然后想，我应该在这里说什么？
No, when I've been afraid on an airplane, Ira, I've been too afraid to turn on a tape recorder.
不，当我在飞机上感到害怕时，艾拉，我太害怕而不敢打开录音机。
What about you?
你呢？
Have you?
你？
I have, yes.
我有，是的。
I don't know what that says about me, but I have.
我不知道这对我有什么影响，但我有。
Tell me.
告诉我。
What have you-- Ira Glass Well, most of the time I'm travelling, I'm traveling with tape equipment, I'm working on a story.
你有什么—— Ira Glass 嗯，大部分时间我都在旅行，我带着磁带设备旅行，我在写一个故事。
And every time that I've been scared that the plane was going to crash, I have sort of mentally prepared, OK, what am I going to say into this tape recorder if this thing goes down?
每当我担心飞机会坠毁时，我都会做好心理准备，好吧，如果这件事发生了，我要对着录音机说什么呢？
Who do I want to say anything to, and what's my obligation to actually observe what is happening around me?
我想对谁说些什么？我有什么义务去实际观察周围发生的事情？
I mean, in a way, it's the kind of self-flattering melodrama-- do you know what I mean?
我的意思是，在某种程度上，这是一种自吹自擂的情节剧——你明白我的意思吗？
Oh, sure.
哦，当然。
Ira Glass And, I mean, it's putting yourself at the center of a dramatic movie that you're imagining in your head.
艾拉·格拉斯（Ira Glass）：我的意思是，这就是将你自己置于你脑海中想象的一部戏剧性电影的中心。
Yeah.
是的。
The thing that interests me most about the intrinsic nature of these transcripts is that I am fascinated by the moment at which everything normal turns 180 degrees in an instant.
这些笔录的内在本质最让我感兴趣的是，我对一切正常的瞬间发生 180 度转变的那一刻着迷。
And, all of a sudden, everybody is-- in the case of the CVR transcripts-- everybody is in a pre-tragic situation.
突然之间，每个人——就 CVR 记录而言——每个人都处于悲剧前的境地。
They're in an emergency.
他们正处于紧急状态。
It happened to me when I was a kid and I was driving along one night at about 10 o'clock with my parents.
当我还是个孩子的时候，就发生过这样的事，一天晚上十点左右，我和父母一起开车沿途。
I was 12 years old.
那年我12岁。
It was in 1955.
那是1955年。
And we were driving along.
我们一起开车。
My father poked along.
我父亲也跟着一起探寻。
He was a-- you know, whatever.
他是——你知道，无论如何。
And, all of a sudden, blam!
突然间，哎呀！
Somebody stove into the side of us.
有人冲到我们身边。
My parents were killed instantly.
我的父母立即被杀。
Oh, my god.
我的天啊。
Malcolm Mcpherson And my whole life at that instant changed.
马尔科姆·麦克弗森 那一刻我的整个生活都改变了。
It turned around.
它转过身来。
Things happened to me that were not expected, you know?
发生在我身上的事情是出乎我意料的，你知道吗？
And I think about that issue when I'm reading these transcripts.
当我阅读这些文字记录时，我思考了这个问题。
So I think that's what brought me to these things, why I'm interested in these things as much as I am.
所以我认为这就是让我接触这些事情的原因，也是我对这些事情如此感兴趣的原因。
Well, thinking about your collection of cockpit voice recorder recordings as an examination of how people handle that moment when the world goes from its normal trajectory into this sort of extraordinary trajectory where nothing is normal, the ones who come off as the most heroic are the ones who manage to keep themselves calm and keep themselves as much like they were still living their normal life, for example, Al Haynes from the Sioux City flight.
好吧，想想你收集的驾驶舱录音记录，作为对人们如何处理世界从正常轨迹进入这种不寻常轨迹的那一刻的检查，那些最英勇的人是那些设法保持冷静并让自己像仍然过着正常生活一样的人，例如，来自苏城航班的阿尔·海恩斯。
Let me ask you to read a little bit from page 183 of these transcripts.
让我请您阅读这些文字记录第 183 页的一些内容。
OK.
好的。
The remarkable thing was the humor that kept going back and forth.
值得注意的是，幽默感不断出现。
I mean, there was a running joke in that cockpit.
我的意思是，驾驶舱里流传着一个笑话。
Explain the running joke.
解释一下这个流行笑话。
Yeah, it's amazing.
是的，太棒了。
There was this guy in San Francisco they kept trying to get in touch with, who was part of the United maintenance crew in San Francisco.
他们一直试图联系旧金山的一个人，他是旧金山曼联维修人员的一员。
And he simply would not believe what they were telling him because, according to all his manuals and all he knew, this couldn't happen.
他根本不相信他们告诉他的话，因为根据他所有的手册和他所知道的一切，这不可能发生。
The systems all couldn't go down the way they had gone down.
所有系统都不能再像以前那样崩溃了。
Specifically, explain just how badly off these people were.
具体来说，解释一下这些人的境况有多糟糕。
Oh, there had been an explosion in the tail of the airplane, which had severed the hydraulic control elements that turn the plane, and the only thing that they had to move the plane left and right and down and up were the two engines on the wings.
哦，飞机尾部发生了爆炸，导致飞机转向的液压控制元件被切断，他们唯一需要让飞机左右上下移动的就是机翼上的两个发动机。
And so they had no control except for these engines, and they had to control by the throttles.
因此，除了这些发动机之外，他们无法控制，只能通过油门来控制。
So they would, basically, let up on one throttle and push ahead on the other to turn the plane to the right and-- yeah.
所以，基本上，他们会松开一个油门，然后推动另一个油门，让飞机向右转，然后——是的。
Exactly.
确切地。
Ira Glass At the bottom of page 173 there's this moment where Captain Haynes is talking to the flight attendant, and he's giving her the instructions, "OK, here's what we're going to do to evacuate.
Ira Glass 在第 173 页的底部，海恩斯机长正在与空乘人员交谈，他向她发出指示：“好吧，这就是我们要采取的疏散措施。
Here's the command I'm going to give you to brace for landing," and, you know, all that.
这是我要给你的着陆准备命令，”而且，你知道，所有这些。
He says, "And then, if you have to evacuate, you'll get the command signal to evacuate, but I really have my doubt you'll see us standing up, honey.
他说：“然后，如果你必须撤离，你会收到撤离的命令信号，但我真的怀疑你会看到我们站起来，亲爱的。
Good luck, sweetheart."
祝你好运，亲爱的。”
I know.
我知道。
Ira Glass And then she says, "Thanks, you too."
艾拉·格拉斯（Ira Glass）然后她说：“谢谢，你也一样。”
Isn't that amazing?
这不是很神奇吗？
It's so sweet.
太甜了。
It's just so concerned and caring, you know?
这是多么的关心和关怀，你知道吗？
"Good luck, sweetheart." "Thanks, you too."
“祝你好运，亲爱的。” “谢谢，你也一样。”
You know, just to get back to something you said earlier, you know, I can't decide if I think it's a good thing or if I find it a little disturbing that people's last words are edited off of these transcripts.
你知道，回到你之前所说的，你知道，我无法决定我是否认为这是一件好事，或者我是否觉得人们的遗言被从这些笔录中删除有点令人不安。
I can kind of see it both ways.
我可以从两方面来看。
Well, I see it, pretty much, in line with the NTSB.
嗯，我认为这与 NTSB 的观点基本一致。
And there's nothing we can do about it, as you know, but the fact is that why would you want to see, or hear, or read some of the words that would come off that would be just-- I'll give you an example of what these can be like.
正如你所知，我们对此无能为力，但事实是，为什么你想看到、听到或读到一些会出现的单词，那就是——我会给你一个例子，说明这些单词是什么样的。
There was a Turkish airline, DC-10 in 1975, that crashed in Paris.
1975 年，有一家土耳其航空公司 DC-10 在巴黎坠毁。
It was taking off going to London.
正准备飞往伦敦。
And, as this thing was going down, the pilot started to sing a lullaby in Turkish, a child's lullaby.
当事情发生时，飞行员开始用土耳其语唱摇篮曲，这是一首儿童摇篮曲。
And it was extremely affecting.
这非常有影响力。
And it was just horrifying and, at the same time, it was so sad that this guy at that point knew he was seconds away.
这真是太可怕了，同时，这家伙知道他就差几秒钟了，这真是太悲伤了。
And this was his reaction.
这就是他的反应。
Why?
为什么？
What was going through his mind, what he was thinking about?
他的脑子里在想什么，他在想什么？
God only knows.
只有上帝知道。
Malcolm McPherson's book is called The Black Box: All-New Cockpit Voice Recorder Accounts of In-flight Accidents.
马尔科姆·麦克弗森的书名为《黑匣子：飞行事故的全新驾驶舱录音机记录》。
His latest book about a Navy SEAL's helicopter crash landing in Afghanistan is called Robert's Ridge.
他的最新著作《罗伯特山脊》讲述了海豹突击队直升机在阿富汗迫降的故事。
Act Six, What Goes Through Your Head.
第六幕，你脑子里想的是什么。
We have this piece of fiction from writer Tobias Wolff.
我们有作家托比亚斯·沃尔夫的这篇小说。
Anders couldn't get to the bank until just before it closed.
安德斯直到银行关门前才赶到。
So, of course, the line was endless, and he got stuck behind two women whose loud, stupid conversation put him in a murderous temper.
所以，当然，队伍没完没了，他被困在两个女人后面，她们大声、愚蠢的谈话让他脾气暴躁。
He was never in the best of tempers anyway, Anders, a book critic known for the weary, elegant savagery with which he dispatched almost everything he reviewed.
无论如何，他的脾气从来都不是很好，安德斯是一位书评家，以疲惫而优雅的野蛮方式而闻名，他几乎用这种方式评论了他所评论的所有内容。
With the line still doubled around the rope, one of the tellers stuck a "Position closed" sign in her window and walked to the back of the bank where she leaned against the desk and began to pass the time with a man shuffling papers.
当绳子仍然绕着绳子对折时，一名出纳员在她的窗户上贴了一个“头寸已关闭”的牌子，然后走到银行后面，靠在桌子上，开始与一名男子翻动文件打发时间。
The women in front of Anders broke off their conversation and watched the teller with hatred.
安德斯面前的女人们纷纷中断了谈话，目光充满仇恨地看着柜员。
"Oh, that's nice," one of them said.
“哦，那太好了，”其中一人说道。
She turned to Anders and added, confident of his accord, "One of those little human touches that keep us coming back for more."
她转向安德斯，对他的同意充满信心，补充道，“正是这些人性化的小细节让我们回来索取更多。”
Anders had conceived his own towering hatred of the teller, but he immediately turned it on the presumptuous crybaby in front of him.
安德斯本来对柜员怀有极大的仇恨，但他立刻把仇恨转向了眼前这个自以为是的爱哭鬼。
"Damned unfair," he said, "Tragic, really.
“这太不公平了，”他说，“真是悲剧。
If they're not chopping off the wrong leg or bombing your ancestral village, they're closing their positions." She stood her ground.
如果他们没有砍掉错误的腿或轰炸你的祖传村庄，他们就会关闭阵地。”她坚持自己的立场。
"I didn't say it was tragic," she said, "I just think it's a pretty lousy way to treat your customers." "Unforgivable," Anders said.
“我并没有说这是悲剧，”她说，“我只是认为这是一种非常糟糕的对待顾客的方式。” “不可原谅，”安德斯说。
"Heaven will take note." She sucked in her cheeks but stared past him and said nothing.
“天堂会注意到的。”她吸着脸颊，但目光越过他，什么也没说。
Anders saw that the other woman, her friend, was looking in the same direction.
安德斯看到另一个女人，也就是她的朋友，正朝同一个方向看去。
And then the tellers stopped what they were doing, and the customers slowly turned, and silence came over the bank.
然后出纳员停止了他们正在做的事情，顾客慢慢转过身来，银行里一片寂静。
Two men wearing black ski masks and blue business suits were standing to the side of the door.
门边站着两个戴着黑色滑雪面罩、穿着蓝色西装的男子。
One of them had a pistol pressed against the guard's neck.
其中一人用手枪顶着警卫的脖子。
The guard's eyes were closed, and his lips were moving.
守卫闭着眼睛，嘴唇在动。
The other man had a sawed-off shotgun.
另一个人拿着一把短枪。
"Keep your big mouth shut!" the man with the pistol said, though no one had spoken a word.
“闭上你的大嘴！”持枪男子说道，尽管没有人说话。
"One of you tellers hits the alarm, you're all dead meat." "Oh, bravo," Anders said.
“你们其中一个出纳员拉响了警报，你们都死定了。” “哦，太棒了，”安德斯说。
"dead meat." He turned to the woman in front of him.
“死肉。”他转身看向面前的女人。
"Great script, eh?" The stern, brass-knuckled poetry of the dangerous classes." She looked at him with drowning eyes.
“很棒的剧本，嗯？”危险阶级的严厉、铁骨铮铮的诗歌。”她用溺水的眼睛看着他。
The man with the shotgun pushed the guard to his knees.
持猎枪的男子将守卫推倒在地。
He handed the shotgun to his partner and yanked the guard's wrists up behind his back and locked them together with a pair of handcuffs.
他把猎枪递给了他的搭档，将警卫的手腕猛地拉到背后，并用手铐将它们锁在一起。
He toppled him onto the floor with a kick between the shoulder blades.
他一脚踢到了他的肩胛骨，把他摔倒在地。
Then he took his shotgun back and went over to the security gate at the end of the counter.
然后他收回猎枪，走向柜台尽头的安全门。
"Buzz him in," his partner said.
“把他叫进来，”他的搭档说道。
The man with the shotgun opened the gate and sauntered along the line of tellers, handing each of them a Hefty bag.
拿着猎枪的男子打开了大门，沿着出纳员队伍漫步，递给每个人一个巨大的袋子。
When he came to the empty position, he looked over at the man with the pistol, who said, "Whose slot is that?" Anders watched the teller.
来到空位后，他看向拿着手枪的男子，那人道：“那是谁的枪口？”安德斯看着出纳员。
She put her hand to her throat and turned to the man she'd been talking to.
她把手放在喉咙上，转向正在和她说话的那个男人。
He nodded.
他点点头。
"Mine," she said.
“我的，”她说。
"Then get your ugly [BLEEP] in gear and fill that bag." "There you go," Anders said to the woman in front of him.
“然后让你那丑陋的[BLEEP]启动并装满那个袋子。” “给你，”安德斯对面前的女人说道。
"Justice is done."
“正义得到了伸张。”
"Hey!
“嘿！
Bright boy!
聪明的男孩！
Did I tell you to talk?" "No," Anders said.
我有让你说话吗？” “没有，”安德斯说。
"Then shut your trap." "Did you hear that?" Anders said, "Bright boy.
“那就关闭你的陷阱。” “你听到了吗？”安德斯说：“聪明的孩子。
He called me 'bright boy' right out of The Killers." "Please be quiet," the woman said.
他在《杀手》中称我为‘聪明男孩’。” “请安静，”女人说。
"Hey, you deaf or what?" The man with the pistol walked over to Anders.
“嘿，你是聋子还是怎么的？”拿着手枪的男人走到安德斯身边。
He poked the weapon into Anders' gut.
他把武器戳进安德斯的肚子里。
"Do you think I'm playing games?" "No," Anders said.
“你以为我是在玩游戏吗？” “不，”安德斯说。
But the barrel tickled like a stiff finger, and he had to fight back the titters.
但枪管像一根僵硬的手指一样痒痒的，他不得不强忍住笑声。
He did this by making himself stare into the man's eyes, which were clearly visible behind the holes in the mask, pale blue and rawly red-rimmed.
他让自己凝视那个男人的眼睛，面具上的孔洞后面的眼睛清晰可见，淡蓝色，边缘略带红色。
The man's left eyelid kept twitching.
男人的左眼皮一直在抽搐。
He breathed out a piercing, ammoniac smell that shocked Anders more than anything that had happened.
他呼出一股刺鼻的氨味，这比发生的任何事情都更让安德斯震惊。
And he was beginning to develop a sense of unease when the man prodded him again with the pistol.
当他开始感到不安时，那人又用手枪戳了戳他。
"You like me, bright boy?" he said.
“你喜欢我吗，聪明的孩子？”他说。
"You want to suck my [BLEEP]?" "No," Anders said.
“你想吸我的[BLEEP]吗？” “不，”安德斯说。
"Then stop looking at me." Anders fixed his gaze on the man's shiny wing-tip shoes.
“那就别再看着我了。”安德斯的目光落在男人闪亮的翼尖鞋上。
"Not down there.
“不在那儿。
Up there." He stuck the pistol under Anders' chin and pushed it upward until Anders was looking at the ceiling.
上面。”他把手枪抵在安德斯的下巴下面，向上推，直到安德斯看着天花板。
Anders had never paid much attention to that part of the bank, a pompous old building with marble floors and counters and gilt scroll work over the teller's cages.
安德斯从来没有过多关注过银行的那一部分，那是一栋浮夸的老建筑，铺着大理石地板和柜台，出纳员的笼子上还挂着镀金的卷轴。
The domed ceiling had been decorated with mythological figures whose fleshy, toga-draped ugliness Anders had taken in at a glance many years earlier and afterward declined to notice.
圆顶天花板上装饰着神话人物，安德斯多年前曾一眼看到这些神话人物的肉质、披着长袍的丑陋，但后来却拒绝注意。
Now he had no choice but to scrutinize the painter's work.
现在他别无选择，只能端详画家的作品。
It was even worse than he remembered.
这比他记忆中的还要糟糕。
The ceiling was crowded with various dramas, but the one that caught Anders' eye was Zeus and Europa, portrayed in this rendition as a bull ogling a cow from behind a haystack.
天花板上挤满了各种戏剧，但引起安德斯注意的是宙斯和欧罗巴，在这个表演中，他们被描绘成一头公牛在干草堆后面凝视着一头牛。
To make the cow sexy, the painter had canted her hips suggestively and given her long, droopy eyelashes through which she gazed back at the bull with sultry welcome.
为了让牛变得性感，画家暗示性地倾斜了她的臀部，并给了她长而下垂的睫毛，她通过睫毛以性感的欢迎目光回望着公牛。
The bull wore a smirk, and his eyebrows were arched.
公牛露出坏笑，眉毛拱起。
If there'd been a bubble coming out of his mouth, it would have said, "Hubba, hubba."
如果他嘴里冒出一个气泡，它就会说：“哈巴，哈巴。”
"What's so funny, bright boy?" "Nothing." "You think I'm comical?
“有什么好笑的，聪明的孩子？” “没什么。” “你觉得我很滑稽吗？
You think I'm some kind of clown?" "No." "You think you can [BLEEP] with me?" "No." "[BLEEP] with me again, you're history.
你认为我是某种小丑？” “不。” “你认为你可以和我一起[BLEEP]？” “不。” “再次和我一起[BLEEP]，你就是历史。
Capiche?" Anders burst out laughing.
卡皮切？”安德斯大笑起来。
He covered his mouth with both hands and said, "I'm sorry.
他用双手捂住嘴，说道：“对不起。”
I'm sorry," then snorted helplessly through his fingers and said, "Capiche, oh, God.
我很抱歉，”然后用手指无助地哼了一声，说道，“卡皮切，哦，上帝。
Capiche." And, at that, the man with the pistol raised the pistol and shot Anders right in the head.
卡皮切。”就在这时，持枪男子举起了手枪，朝安德斯的头部开了一枪。
The bullet smashed Anders' skull and plowed through his brain and exited behind his right ear, scattering shards of bone into the cerebral cortex, the corpus callosum, back toward the basal ganglia, and down into the thalamus.
子弹击碎了安德斯的头骨，穿过他的大脑，从右耳后面射出，骨头碎片散落在大脑皮层、胼胝体中，然后返回基底神经节，最后进入丘脑。
But, before all this occurred, the first appearance of the bullet in the cerebrum set off a crackling chain of ion transports and neuro-transmissions.
但是，在这一切发生之前，子弹在大脑中的第一次出现引发了离子传输和神经传递的噼啪声。
Because of their peculiar origin, these traced a peculiar pattern, flukishly calling to life a summer afternoon some 40 years past and long since lost to memory.
由于其独特的起源，它们描绘出一种独特的模式，侥幸地唤起了大约 40 年前、早已被遗忘的夏日午后的生活。
After striking the cranium, the bullet was moving at 900 feet per second, a pathetically sluggish, glacial pace compared to the synaptic lightning that flashed around it.
击中头盖骨后，子弹以每秒 900 英尺的速度移动，与周围闪烁的突触闪电相比，速度缓慢得可怜。
Once in the brain, that is, the bullet came under the mediation of brain time, which gave Anders plenty of leisure to contemplate the scene that, in a phrase he would have abhorred, passed before his eyes.
也就是说，子弹一进入大脑，就在大脑时间的调解下进入，这给了安德斯足够的空闲时间来思考眼前经过的场景，用他可能会厌恶的一句话来说。
It is worth noting what Anders did not remember, given what he did remember.
值得注意的是，考虑到安德斯确实记得的事情，他没有记住的事情。
He did not remember his first lover, Sherry, or what he had most madly loved about her before it came to irritate him, her unembarrassed carnality and especially the cordial way she had with his unit, which she called Mr. Mole, as in, "Uh-oh, looks like Mr. Mole wants to play."
他不记得他的初恋情人雪莉，也不记得在激怒他之前他最疯狂地爱她的是什么，她毫不尴尬的肉欲，尤其是她对他的单位的亲切态度，她称之为鼹鼠先生，就像“呃哦，看起来鼹鼠先生想玩。”
Anders did not remember his wife, whom he had also loved before she exhausted him with her predictability, or his daughter, now a sullen professor of economics at Dartmouth.
安德斯不记得他的妻子，在她的预测让他精疲力竭之前，他也曾爱过她；也不记得他的女儿，现在是达特茅斯闷闷不乐的经济学教授。
He did not remember a single line of the hundreds of poems he had committed to memory in his youth so that he could give himself the shivers at will, not "Silent, upon a peak in Darien," or "My God, I heard this day," or "All my pretty ones?
他年轻时为了让自己随意颤抖而记下了数百首诗，但他没有一句记得，除了“寂静，在达里安的山峰上”，或者“我的上帝，我听到了这一天”，或者“所有我可爱的人？
Did you say all?
你都说了吗？
O hell-kite!
噢，地狱风筝！
All?" None of these did he remember, not one.
全部？”这些他都不记得了，一个也不记得。
Anders did not remember his dying mother saying of his father, "I should have stabbed him in his sleep." He did not remember Professor Josephs telling his class how Athenian prisoners in Sicily had been released if they could recite Aeschylus, and then reciting Aeschylus himself, right there, in the Greek.
安德斯不记得他临终的母亲曾这样评价他的父亲：“我应该在他睡梦中刺伤他。”他不记得约瑟夫斯教授告诉他的班级，如果西西里岛的雅典囚犯能够背诵埃斯库罗斯，他们就会被释放，然后就在那里用希腊语背诵埃斯库罗斯本人。
Anders did not remember how his eyes had burned at those sounds.
安德斯不记得他的眼睛是如何被这些声音灼伤的。
He did not remember the surprise of seeing a college classmate's name on the jacket of a novel not long after they'd graduated, or the respect he had felt after reading the book.
他不记得刚毕业不久，看到大学同学的名字出现在小说封面上时的惊讶，也不记得读完这本书后所感受到的尊重。
He did not remember the pleasure of giving respect.
他不记得给予尊重的快乐。
Nor did Anders remember seeing a woman leap to her death from the building opposite his own just days after his daughter was born.
安德斯也不记得在他女儿出生几天后，看到一名妇女从他对面的大楼跳下身亡。
He did not remember shouting, "Lord, have mercy!" He did not remember deliberately crashing his father's car into a tree, or having his ribs kicked in by three policemen at an anti-war rally, or waking himself up with laughter.
他不记得曾喊过“主啊，怜悯！”他不记得故意将父亲的车撞到树上，也不记得在反战集会上被三名警察踢中肋骨，也不记得自己被笑醒。
He did not remember when he began to regard the heap of books on his desk with boredom and dread, or when he grew angry at writers for writing them.
他不记得什么时候他开始对桌上的一堆书感到无聊和恐惧，也不记得什么时候他对写书的作家感到愤怒。
He did not remember when everything began to remind him of something else.
他不记得什么时候一切开始让他想起别的事情了。
This is what he remembered.
这是他记得的。
Heat.
热。
A baseball field.
一个棒球场。
Yellow grass, the whir of insects, himself leaning against a tree as the boys of the neighborhood gather for a pickup game.
黄色的草地，昆虫的呼呼声，他自己靠在一棵树上，邻居们聚集在一起玩游戏。
He looks on as the others argue the relative genius of Mantle and Mays.
当其他人争论曼特尔和梅斯的相对天才时，他在一旁观看。
They've been worrying this subject all summer, and it has become tedious to Anders, an oppression, like the heat.
他们整个夏天都在担心这个问题，这对安德斯来说已经变得乏味，一种压迫，就像炎热一样。
Then the last two boys arrive, Coyle and a cousin of his from Mississippi.
然后最后两个男孩到达，科伊尔和他来自密西西比州的表弟。
Anders has never met Coyle's cousin before and will never see him again.
安德斯以前从未见过科伊尔的表弟，也不会再见到他。
He says hi with the rest but takes no further notice of him until they've chosen sides and someone asks the cousin what position he wants to play.
他和其他人打了招呼，但没有再理睬他，直到他们选择了立场，有人问表弟他想踢什么位置。
"Shortstop," the boy says.
“游击手，”男孩说。
"Short's the best position they is."
“空头是他们最好的位置。”
Anders turns and looks at him.
安德斯转身看着他。
He wants to ask Coyle's cousin to repeat what he's just said, but he knows better than to ask.
他想让科伊尔的表弟重复一下他刚才说的话，但他知道最好不要问。
The others will think he's being a jerk, ragging the kid for his grammar.
其他人会认为他是个混蛋，因为语法而责骂这孩子。
But that isn't it, not at all.
但事实并非如此，根本不是。
It's that Anders is strangely roused, elated, by those final two words, their pure unexpectedness and their music.
安德斯对最后两个词、他们的纯粹出乎意料和他们的音乐感到奇怪的兴奋和兴奋。
He takes the field in a trance, repeating them to himself.
他恍惚地看着球场，对自己重复着这些话。
The bullet is already in the brain.
子弹已经射进大脑了。
It won't be outrun forever or charmed to a halt.
它不会永远被超越，也不会被魅力所吸引而停下来。
In the end it will do its work and leave the troubled skull behind, dragging its comet's tail of memory and hope and talent and love into the marble hall of commerce.
最终，它会完成它的工作，把陷入困境的头骨抛在身后，拖着它的彗星尾巴，将记忆、希望、才华和爱带入大理石的商业大厅。
That can't be helped.
这也是没办法的事。
But for now Anders can still make time, time for the shadows to lengthen on the grass, time for the tethered dog to bark at the flying ball, time for the boy in right field to smack his sweat-blackened mitt and softly chant, "They is, they is, they is."
但现在安德斯仍然可以腾出时间，让影子在草地上拉长，让拴着的狗对着飞来的球狂吠，让右外场的男孩拍打被汗水熏黑的手套，轻声吟诵：“他们是，他们是，他们是。”
Tobias Wolff's story, "Bullet in the Brain." That's from his book, The Night in Question .
托比亚斯·沃尔夫的故事“大脑中的子弹”。这是他的书《问题之夜》中的一段话。
Well, our program was produced today by Nancy Updike and myself with Alix Spiegel and Julie Snyder.
嗯，我们今天的节目是由南希·厄普代克和我、阿利克斯·斯皮格尔和朱莉·斯奈德共同制作的。
Contributing editors for this show Paul Tough, Jack Hitt, Margy Rochlin and Consigliere Sarah Vowell.
本节目的特约编辑 Paul Tough、Jack Hitt、Margy Rochlin 和 Consigliere Sarah Vowell。
Production help from Amy [?
艾米的制作帮助[?
Takahara ?], Seth Lind, and Sativa January.
高原？]、塞斯·林德和苜蓿一月。
[ACKNOWLEDGEMENTS] Our web address, www.thisamericanlife.org, where you can listen to our shows for absolutely free or buy CDs.
[致谢] 我们的网址 www.thisamericanlife.org，您可以在其中完全免费收听我们的节目或购买 CD。
Or, you know, you can download today's program and our archives at audible.com/thisamericanlife.
或者，您知道，您可以在 audible.com/thisamericanlife 下载今天的节目和我们的档案。
This American Life is distributed by Public Radio International.
《美国生活》由国际公共广播电台发行。
[FUNDING CREDITS] WBEZ management oversight for our program by Mr. Torey Malatia, who wanders the empty halls of WBEZ after each pledge drive is over saying--
[资金来源] Torey Malatia 先生对我们的项目进行 WBEZ 管理监督，每次认捐活动结束后，他在 WBEZ 空荡荡的大厅里徘徊，说道：
All my pretty ones?
都是我的美女吗？
Did you say all?
你都说了吗？
Oh hell-kite!
哦，地狱风筝！
All?
全部？
I'm Ira Glass.
我是艾拉·格拉斯。
Back next week with more stories of This American Life .
下周我们将带来更多《美国生活》的故事。
What's so funny, bright boy?
聪明的孩子，有什么好笑的？
Announcer PRI.
播音员 PRI。
Public Radio International.
国际公共广播电台。
This American Life is produced in collaboration with WBEZ Chicago and delivered to stations by PRX The Public Radio Exchange.
《This American Life》与 WBEZ Chicago 合作制作，并由 PRX 公共广播电台传送到各电台。