116: Poultry Slam 1998 - 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 #116 | November 23, 2001 116: Poultry Slam 1998 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 116 集 | 2001 年 11 月 23 日 116：Poultry Slam 1998 注：《This American Life》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 There's certain conversations that those of us who do not live on farms get into with people who do live on farms, where you know, you just know.
序言 Ira Glass 我们这些不住在农场的人会与住在农场的人进行某些对话，你知道，你就是知道。
As the city person, or the suburban homeowner, you know that the farm person you're talking to is just thinking the entire time you're talking to them, "You are so naive." A lot of these conversations have to do with animals and their deaths.
作为城市人，或者郊区房主，你知道与你交谈的农民在你与他们交谈的整个过程中都在想，“你太天真了。”其中很多对话都与动物及其死亡有关。
Take this example.
以这个例子为例。
The woman who runs the website for our radio show, Elizabeth Meister, was at the annual exhibition run by the American Poultry Association in Columbus, Ohio.
负责我们广播节目网站的女士伊丽莎白·梅斯特 (Elizabeth Meister) 正在参加由美国家禽协会在俄亥俄州哥伦布市举办的年度展览。
And here she is.
她就在这里。
She's standing in a room with 12,000 chickens.
她站在一个有 12,000 只鸡的房间里。
And she gets into this conversation with an 11-year-old girl.
她与一名 11 岁的女孩进行了对话。
I've only been in poultry and waterfowl for a year.
我只从事家禽和水禽一年。
I'm more into waterfowl.
我更喜欢水鸟。
This is Kamiko Overs from Bliss, New York, who was at the convention to show some of her own birds.
我是来自纽约布利斯的 Kamiko Overs，她在大会上展示了她自己的一些鸽子。
So do your friends think it's weird?
那么小伙伴们有没有觉得很奇怪呢？
Do they think it's strange that you show chickens and stuff?
他们认为你展示鸡之类的东西很奇怪吗？
No, because a lot of people show.
不，因为很多人都表现出来。
They'll either be showing pigs, or cows, or rabbits, or something like that.
他们要么展示猪，要么牛，要么兔子，或者类似的东西。
A lot of people in our school show different things.
我们学校有很多人表现出不同的东西。
Kamiko and Elizabeth talked for a while.
神子和伊丽莎白聊了一会儿。
And then Elizabeth tried, very, very gently, to ask a question that was on her mind.
然后伊丽莎白尝试非常非常温柔地问她心里的问题。
Do you-- this is sort of a hard question for me to ask.
你是吗——这对我来说是一个很难问的问题。
But do you ever eat them?
但你吃过它们吗？
Yeah, I do.
是的，我愿意。
Elizabeth Meister You do.
伊丽莎白·梅斯特 你确实如此。
And does it make you really sad when-- do you raise these chickens from little chicks?
当你从小鸡开始饲养这些鸡时，你真的感到难过吗？
Yeah, we hatch them out.
是的，我们把它们孵化出来。
And then, yep.
然后，是的。
We get them right from the hen.
我们直接从母鸡那里得到它们。
And we eat them a lot.
我们经常吃它们。
We do raise a lot for eating.
我们确实筹集了很多钱来吃饭。
And so when you're cooking up this chicken that you've raised from being a little chick, do you feel a little bit guilty that you're eating this chicken?
那么，当你烹饪这只你从小鸡时养大的鸡时，你会因为吃这只鸡而感到有点内疚吗？
No. Elizabeth Meister Do you ever eat the chickens that you show?
不，伊丽莎白梅斯特你吃过你展示的鸡吗？
If they're no good for show, the losers, yeah.
如果他们不擅长表演，那就是失败者。
Kamiko is untroubled by this.
卡美子对此并不担心。
If a bird has bad feathers or a lopsided comb, it might be a nice bird.
如果一只鸟的羽毛不好或者鸡冠不平衡，它可能是一只好鸟。
But it's not going to win competitions.
但它不会赢得比赛。
You eat it.
你吃它。
That's life.
这就是生活。
Those of us who do not live on farms, we divide animals off into those we love and those we eat.
我们这些不住在农场的人，我们把动物分为我们爱的动物和我们吃的动物。
In Kamiko's world, there's not such a hard line separating the two.
在神子的世界里，两者之间并没有那么严格的界限。
You can get to know a bird on an up-close and one-to-one basis and still eat it.
您可以近距离、一对一地了解一只鸟，并且仍然可以吃它。
An animal's transition from buddy to dinner is a great deal less problematic than it is for us city folks.
动物从伙伴到晚餐的转变比我们城里人的问题要少得多。
Well, from WBEZ Chicago and Public Radio International, it's This American Life.
嗯，来自芝加哥 WBEZ 和国际公共广播电台，这就是《美国生活》。
I'm Ira Glass.
我是艾拉·格拉斯。
And every year, during the period between Thanksgiving and Christmas, the highest poultry consumption time of the year in these United States, we bring you a program about poultry, our annual Poultry Slam, stories of chickens, turkeys, ducks, birds of all kinds, and our relationships with them.
每年，在感恩节和圣诞节之间，即美国一年中家禽消费最高的时期，我们都会为您带来有关家禽的节目、我们一年一度的家禽大满贯、鸡、火鸡、鸭子和各种鸟类的故事，以及我们与它们的关系。
In past years, we have brought you an opera about the life of Chicken Little.
往年，我们给大家带来了一部关于小鸡一生的歌剧。
We've brought you the story of a hand puppet duck that would not leave people's lives.
我们为您带来了一只不会离开人们生活的手偶鸭的故事。
And naturally, we've brought you real stories of actually growing up with turkeys, and chickens, and other birds.
当然，我们为您带来了与火鸡、鸡和其他鸟类一起成长的真实故事。
And in putting together this year's show, a very few particular ideas and questions kept coming up in story after story.
在整理今年的节目时，一个又一个的故事中不断出现一些特殊的想法和问题。
Without us ever intending for it to happen this way, a lot of this year's show has turned into a kind of referendum about where you draw that line between friend and food.
尽管我们从未打算以这种方式发生，但今年的很多节目已经变成了一场关于如何在朋友和食物之间划清界限的公投。
Act One of today's program, Still Life with Chicken.
今天节目的第一幕，《静物与鸡》。
Food writer Jonathan Gold tells what it's like to pan-fry a chicken with a live chicken watching you the entire time.
美食作家乔纳森·戈尔德 (Jonathan Gold) 讲述了在一只活鸡一直注视着您的情况下煎鸡的感觉。
Act Two, Last Meal.
第二幕，最后一餐。
When Francois Mitterand knew he was about to die, he decided that the last food to cross his lips would be poultry, a tiny bird that is actually illegal to eat in France, a bird that, by tradition, is eaten with a napkin covering your head.
当弗朗索瓦·密特朗知道自己即将死去时，他决定最后的食物是家禽，这种小鸟在法国实际上是非法食用的，按照传统，吃这种鸟时要用餐巾盖住头。
Michael Paterniti set out for France to try the contraband capon himself.
迈克尔·帕特尼蒂出发前往法国亲自尝试走私阉鸡。
He has a full report.
他有一份完整的报告。
Act Three, People who Love Chickens and Hate This American Life.
第三幕，爱鸡讨厌美国生活的人。
Last year, a woman named Karen Davis started a national letter-writing campaign to try to get This American Life to stop the very program you're listening to at this very moment, the annual Poultry Slam.
去年，一位名叫凯伦·戴维斯的女士发起了一场全国性的写信运动，试图让《美国生活》停止你现在正在收听的节目，即一年一度的家禽大满贯。
In this portion of our show, she explains what it is that we just do not understand about poultry, and why the whole idea of this poultry show was wrongheaded from the start.
在我们节目的这一部分中，她解释了我们对家禽的不了解，以及为什么这个家禽节目的整个想法从一开始就是错误的。
Act Four, The Meaning of a Bird.
第四幕，鸟的意义。
David Rakoff explains how his life was changed in a single evening in a room of 5,000 chickens.
David Rakoff 讲述了他的生活是如何在一个晚上在一个有 5,000 只鸡的房间里改变的。
Stay with us.
留在我们身边。
Act One, Still Life with Chicken.
第一幕，《有鸡的静物》。
It was an accident that Jonathan ended up living with the chicken.
乔纳森最终和鸡住在一起纯属意外。
He was not living the kind of lifestyle that one usually associates with chicken.
他的生活方式与人们通常认为的鸡不同。
This was during the period when I considered myself to be a performance artist of a sort, a naked performance artist, to be specific.
那是在我认为自己是某种行为艺术家的时期，具体来说，是一个裸体的行为艺术家。
These days, Jonathan Gold is a food writer in Los Angeles.
如今，乔纳森·戈尔德 (Jonathan Gold) 是洛杉矶的一名美食作家。
This all happened 15 years ago.
这一切都发生在15年前。
He was putting together a performance.
他正在组织一场表演。
He had a PA system which could put out the requisite amount of annoying feedback sound at high decibels.
他有一个扩音系统，可以发出必要数量的高分贝恼人的反馈声音。
He had the two full bottles of Glade American Beauty air freshener, which he would spray, in their entirety, in the performance space.
他有两整瓶 Glade American Beauty 空气清新剂，他会把它们全部喷在表演场地上。
And he had a live chicken, which he bought the day before the performance in one of those Chinese poultry markets in Los Angeles.
他还有一只活鸡，是演出前一天在洛杉矶的一个中国家禽市场买的。
And it comes the day of the show.
演出当天到了。
An audience gathers in a darkened warehouse in West LA.
观众聚集在西洛杉矶一个黑暗的仓库里。
I don't know if you've been to a lot of performance art, but this was really typical of the stuff that was going on in the period.
我不知道你是否看过很多行为艺术，但这确实是那个时期发生的事情的典型。
And I showed up, and I was naked.
我出现了，而且我赤身裸体。
And I was carrying a machete, and I was blindfolded.
我拿着一把砍刀，而且我的眼睛被蒙住了。
And I stood in the middle of this pile of supermarket chickens, the broilers that you buy.
我站在这堆超市鸡肉中间，你买的肉鸡。
And the chicken that I bought was tethered to a three-foot rope around me.
我买的鸡被拴在一根三英尺长的绳子上。
And I hacked up and down blindly with a machete.
我还拿着砍刀盲目地上下砍伐。
Well, I was blindfolded, so I didn't know if it was towards the chicken or not.
好吧，我被蒙住了眼睛，所以我不知道它是否是针对鸡的。
And I had fully intended that, in fact, I would kill the chicken in the midst of this performance.
事实上，我完全想在这场表演中杀鸡。
But chickens aren't that stupid.
但鸡没那么傻。
And this chicken wanted no part of the machete, stayed at the end of its rope the entire time, apparently.
显然，这只鸡不想要砍刀，一直处于绳索末端。
And after 10 minutes, when I was completely exhausted, I fell to a heap, and everybody left.
十分钟后，当我完全筋疲力尽时，我倒在了地上，所有人都离开了。
And the performance was over.
然后表演就结束了。
I don't know if you've stuck around after an art performance, but the few minutes after an art performance are some of the most depressing in the world.
我不知道你是否在一场艺术表演后留下来，但艺术表演后的几分钟是世界上最令人沮丧的几分钟。
How so?
为何如此？
Jonathan Gold You've done your wad.
乔纳森·戈尔德（Jonathan Gold）：你已经完成了你的工作。
You've done your bit for art, which has either worked or it hasn't.
你已经为艺术做出了自己的贡献，但要么成功，要么失败。
But you're sitting there.
但你却坐在那里。
You're covered with chicken effluvia, in my case.
就我而言，你全身都是鸡臭味。
It stinks to high hell.
臭气熏天。
Everybody's gone, and you've got to clean up.
人都走了，你得收拾干净。
And you're naked.
而你赤身裸体。
It's really not a pretty picture.
这确实不是一幅美丽的图画。
So Jonathan cleaned up.
于是乔纳森就清理干净了。
And when he was done, he had a chicken.
当他完成后，他得到了一只鸡。
And he didn't feel like he could kill the chicken.
而且他觉得自己杀不了鸡。
Destiny had brought them together.
命运让他们走到了一起。
He felt like he could not turn his back.
他感觉自己无法回头。
He says it was the same as if a kitten shows up on your back door, scratching, and lonely, and needy.
他说，这就像一只小猫出现在你的后门上，抓挠、孤独、贫困。
So he took the chicken home.
于是，他把鸡带回家了。
And in doing that, he stumbled across that thin, thin line that separates food items on the one hand from pets on the other, that divides the animals we eat from the animals we love.
在这样做的过程中，他偶然发现了一条细细的界线，它一方面将食品与宠物分开，另一方面将我们吃的动物与我们喜爱的动物分开。
So I get home, and I have this chicken.
所以我回到家，我有了这只鸡。
And I don't know what to do with it.
我不知道该怎么办。
So I spread out some newspaper on the top of my refrigerator, and I put the chicken up there.
于是我在冰箱顶上铺了一些报纸，然后把鸡肉放在那里。
I get a can of Green Giant brand niblets from under the counter.
我从柜台下拿了一罐绿巨人牌尼可茨。
And I open it, and I put it in a little bowl for the chicken.
我打开它，把它放在一个装鸡肉的小碗里。
And I give the chicken a little water.
我给鸡一点水。
And the chicken's on top of my refrigerator.
鸡肉在我的冰箱顶上。
Because you think chickens eat corn.
因为你认为鸡吃玉米。
You had read that or something.
你读过那个或其他东西。
And that was the available corn.
那就是可用的玉米。
That was the available corn.
那是可用的玉米。
I wish I had thought better of the niblets idea.
我希望我能更好地考虑尼比特的想法。
Why?
为什么？
Jonathan Gold Because in fact, if you're buying three or four cans of niblets a day, which is what the chicken ate, and you're existing on almost nothing, which I was, then your niblet bill turns out to be some two-figure percentage of your total income each week.
乔纳森·戈尔德：因为事实上，如果你每天买三四罐尼古乐，这就是鸡吃的东西，而你几乎什么都没有，就像我一样，那么你的尼古乐账单将占你每周总收入的大约两位数百分比。
If you can imagine living on $50 a week, but $10 of it goes for niblets.
如果你可以想象每周靠 50 美元生活，但其中 10 美元可以用来买零食。
It's just hard to justify an expense like that.
很难证明这样的费用是合理的。
Though at the remove of 15 years, I think I can probably safely admit to you now that one of the reasons that I stuck with the niblets is because I liked saying the word "niblets" so much.
虽然已经过去 15 年了，但我想我现在可以放心地向你们承认，我坚持吃尼比特的原因之一是因为我非常喜欢说“尼比特”这个词。
And this gave me the excuse to use the words like "niblet" in general conversation several times a day.
这给了我每天在一般对话中多次使用“niblet”这样的词的借口。
Usually, it just doesn't come up.
通常，它只是不会出现。
And the chicken stayed there, on top of my refrigerator, for a long time, months, six months, I think.
我想，这只鸡在我的冰箱顶上呆了很长一段时间，几个月，六个月。
This is a one room apartment?
这是一间单间公寓？
Jonathan Gold A two room apartment.
乔纳森·戈尔德 一套两室公寓。
I had a kitchen and a bedroom.
我有一个厨房和一间卧室。
So I didn't have to look at the chicken when I was sleeping, though I did have to look at it when I was cooking.
所以我睡觉时不必看鸡，但做饭时我必须看它。
Did you ever cook chicken?
你曾经煮过鸡肉吗？
Jonathan Gold Of course I cooked chicken.
乔纳森·戈尔德 当然，我煮了鸡肉。
No, I felt no particular loyalty to this chicken.
不，我对这只鸡没有特别的忠诚度。
I don't know if you've ever had chickens, but it's not like-- you don't pet chickens.
我不知道你是否养过鸡，但这并不像你不养鸡。
Chickens don't really like you to pet them.
鸡不太喜欢你抚摸它们。
And you don't hold them.
而你却没有抓住它们。
There's really no love that you feel for a chicken in your life, I don't think.
我不认为你的生活中真的没有对鸡有任何爱。
But yet you kept the chicken.
但你还是保留了鸡。
Jonathan Gold I kept the chicken because I couldn't bear to do anything else.
乔纳森·戈尔德（Jonathan Gold） 我保留了那只鸡，因为我无法忍受做其他事情。
And it's not like I could have carried it out onto Pico Boulevard and said, "Be free, little chicken.
我不可能把它带到皮克大道上并说：“自由吧，小鸡。
Be free."
自由吧。”
I never named the chicken.
我从来没有给鸡起过名字。
When I referred to the chicken in public, I always called it "the hen."
当我在公共场合提到鸡时，我总是称它为“母鸡”。
How did you not name it?
你怎么不给它起名字呢？
It was a creature in your house.
它是你家里的一个生物。
The chicken always seemed temporary.
鸡似乎总是暂时的。
It never occurred to me that I might have the chicken as long as six months.
我从来没有想过我可以拥有这只鸡长达六个月。
The chicken always seemed like something that I would have for just a couple days.
鸡肉似乎总是我只吃几天的东西。
And then what did you think was going to happen?
然后你认为会发生什么？
A, I thought about the chicken expiring.
A，我以为鸡肉会过期。
B, I have to admit that there was a possibility that someday, I would actually cook the chicken.
B，我不得不承认，有可能有一天，我真的会煮鸡肉。
I went through a lot of chicken recipes, hundreds and hundreds of chicken recipes.
我浏览了很多鸡肉食谱，成百上千的鸡肉食谱。
Thinking, "Maybe this'll be the recipe for my niblet-fed chicken?"
心想：“也许这就是我的尼丁喂鸡的食谱？”
Exactly.
确切地。
Ira Glass Possibly, I have to say, the most delicious chicken that you could ever eat, because of those niblets.
艾拉·格拉斯（Ira Glass）：我不得不说，这可能是你吃过的最美味的鸡肉，因为这些鸡肉碎。
You can't buy niblet-fed chicken for love or money, I don't think.
我不认为，你不能因为爱情或金钱而购买吃过的鸡。
I'm not sure that a recipe existed that would have lived up to the fact of the chicken, this animal who you have come to know on fairly intimate terms, and who you have raised, and you have put a certain amount of emotion into.
我不确定是否有一个食谱能够符合鸡的事实，这种动物是你已经相当亲密地了解的，你养育了它，并且你投入了一定的情感。
A chicken, if I might say, who has seen you naked.
如果我可以说，一只见过你裸体的鸡。
The fact is, we need food to be just food.
事实上，我们需要食物只是食物。
And as soon as it becomes a living thing, especially if we're city people-- we're not used to the conversion of living things into our food-- it's hard to handle without thinking it has to be bigger than food, without wanting to make it ritualized or something bigger than food.
一旦它成为一种生物，特别是如果我们是城市人——我们不习惯将生物转化为我们的食物——就很难处理而不认为它必须比食物更大，不想让它仪式化或比食物更大。
Yeah, of course.
是的，当然。
Jonathan Gold A few weeks ago, I was in this Korean restaurant in Koreatown in Los Angeles.
乔纳森·戈尔德 (Jonathan Gold) 几周前，我在洛杉矶韩国城的一家韩国餐厅。
It was this place called the Living Fish Center that I'd always wanted to go, because the name of it was so splendid.
我一直想去的就是这个叫活鱼中心的地方，因为它的名字实在是太好听了。
Living Fish Center, I imagine some sort of vast vivarium where Flipper was jumping through hoops and stuff.
活鱼中心，我想象着某种巨大的饲养场，Flipper 在那里跳过圈子之类的东西。
And I go in there, and of course, it's just a crummy Korean restaurant.
我进去了，当然，那只是一家简陋的韩国餐馆。
It's not that clean.
不是那么干净。
And there are tanks and stuff, but I didn't know what to order.
还有坦克之类的东西，但我不知道该点什么。
So I order a fish soup because it looks like they have a small fish soup specialty on the menu.
所以我点了一份鱼汤，因为看起来他们的菜单上有一个小鱼汤特色菜。
And it comes, and it's just really strong-smelling and not that great.
它来了，只是气味很浓，而且不太好闻。
And I try squid fried with bean sauce and onions, which wasn't that happening.
我尝试用豆瓣酱和洋葱炒鱿鱼，但事实并非如此。
And I'm about to give up and pay the check and go home with a vast table filled with uneaten stuff.
我正准备放弃并付清账单，然后带着一张装满未吃东西的大桌子回家。
And it suddenly occurs to me what the specialty of the restaurant is.
我突然想到这家餐厅的特色是什么。
And I wave the waitress over, and I tell her that I'd like a prawn.
我挥手让女服务员过来，告诉她我想要一只虾。
And she is puzzled.
她很困惑。
She didn't expect me to ask for a prawn.
她没想到我会要虾。
But I repeat my request.
但我重复我的要求。
And she shrugs and goes and tells the sushi chef.
她耸耸肩，走过去告诉寿司厨师。
And he goes to one side of the restaurant.
他走到餐厅的一侧。
And he climbs on this chair, this ordinary folding chair.
他爬上这张椅子，这张普通的折叠椅。
And he reaches into this long tank that's running just below the ceiling.
他把手伸进了这个位于天花板下方的长水箱。
And he wiggles his fingers in the water.
他在水中扭动手指。
When he wiggles the fingers, the prawns just become enraged.
当他摆动手指时，虾就会被激怒。
And they start nipping at his fingers, and they start attacking him.
他们开始咬他的手指，并开始攻击他。
And he picks out a couple of the liveliest ones and brings them back to his counter and, without washing his hands, mind you, just makes a few motions over it.
他挑选了几个最活泼的，然后把它们带回柜台，请注意，他没有洗手，只是在上面做了几个动作。
And a couple seconds later, the waitress comes over with the prawns on this huge mound of ice.
几秒钟后，女服务员端着巨大冰堆上的虾走了过来。
Now what he'd done is he'd taken off the exoskeleton.
现在他所做的就是脱掉外骨骼。
The head was intact, and that little part of the tail that is always on prawns was still there.
头部完好无损，虾尾上的那一小部分仍然存在。
But the middle part is naked, like a grub.
但中间部分是赤裸的，像蛴螬一样。
And I picked up the prawn with my chopsticks.
我用筷子夹起了虾。
And it was not dead, this prawn.
这只虾并没有死。
It was extremely alive.
它非常有活力。
And it was wiggling its legs.
它正在摆动它的腿。
And it was wiggling its antennas.
它正在摆动它的天线。
And its eyes were swiveling madly on its eye stalks.
而它的眼睛则在眼柄上疯狂转动。
And it was looking back at me, seeing me as actually the predator, the creature that was going to eat it.
它回头看着我，把我视为实际上的掠食者，即将吃掉它的生物。
And that was a really freakish moment, because as much stuff as I eat, and as low as I eat on the food chain, and as many prawns as I have dispatched in my life, I have never before killed a living being with my teeth.
那真是一个奇怪的时刻，因为我吃的东西有多少，食物链上的食物有多少低，我一生中吃过多少虾，我以前从未用牙齿杀死过一个活人。
And the prawn knew what I was going to do.
大虾知道我要做什么。
And he did not like it.
他不喜欢这样。
And I wasn't quite sure what to do, but if I put it down, the prawn would have died anyway.
我不太确定该怎么办，但如果我放下它，虾无论如何都会死。
It's not going to live without its shell.
没有壳它就无法生存。
Somebody else would've eaten it, blah, blah, blah.
别人会吃掉它，等等，等等。
So I bit into it.
于是我就咬了一口。
I bit its body off with my teeth.
我用牙齿咬掉了它的身体。
And the prawn just relaxed in this way that was really eerie.
而虾就这样放松下来，真是令人毛骨悚然。
And the taste of the prawn, the taste of the meat of it, was extraordinary.
而且虾的味道，它的肉的味道，是非凡的。
It was sweet.
很甜蜜。
It was like there was life coursing through it.
仿佛有生命在其中流淌。
It was the most alive thing I've ever eaten, obviously, literally.
显然，从字面上看，这是我吃过的最有活力的东西。
But again, it was freaky.
但再一次，这太奇怪了。
It was getting too close to the actual nature of consumption, which is killing a living creature with your teeth.
它太接近消费的实际本质，即用牙齿杀死生物。
When you bit into the prawn, did you actually bite off its head, its living head, and have its head and its eyes in your mouth?
当你咬虾的时候，你真的咬掉了它的头，它的活头，把它的头和眼睛含在你的嘴里吗？
No. I bit off its body, and I held the head in my hands.
不，我咬掉了它的身体，我把头捧在手里。
So you held the head in one hand and the tail in the other, and you bit the center.
所以你一手握住头部，另一只手握住尾巴，然后咬中间。
Right.
正确的。
And I thought that I'd killed it.
我以为我已经杀了它。
But in fact, when I put it down, it still had so much life in it that it grabbed a piece of salmon sashimi and wouldn't let go of it.
但事实上，当我把它放下的时候，它还有那么多的生命力，它抓起一块三文鱼生鱼片就不肯放手。
And I don't think I ever want to do that again.
我想我再也不想这样做了。
Did you feel like there was something about the experience that made it more-- this word is a little cornier than I intend, but it's the only word that I can think of-- sacred, that took it out of the mundaneness of the way that we eat, which for most of us is eating without actually tasting and experiencing and thinking about what we're eating and what on the earth it is that we're killing to survive?
你是否觉得这次经历有某种东西使它变得更加——这个词比我想要的更老套，但这是我能想到的唯一词——神圣，它使我们的饮食方式脱离了世俗，对我们大多数人来说，我们吃东西时没有真正品尝、体验和思考我们正在吃什么，以及我们到底为了生存而杀戮的是什么？
Do you think in some way that it's more acceptable to eat an animal if you are more awake to the fact that it is an animal and what's happened to it?
您是否认为，如果您更加清醒地认识到动物是动物以及它发生了什么，那么吃动物会更容易被接受吗？
Or do you think it really doesn't matter?
还是你认为这真的不重要？
I think it matters a great deal.
我认为这很重要。
One of the greatest metaphors in Western civilization is that of Christ, who gave his life so that others might live.
西方文明中最伟大的隐喻之一是基督，他献出了自己的生命，以便他人能够生存。
And I don't want to be sacrilegious, and I don't want to belittle that myth in any way.
我不想亵渎神明，也不想以任何方式贬低这个神话。
But a pig is giving its life so that we might eat.
但一头猪正在献出自己的生命，以便我们可以吃东西。
A chicken is giving its life so that we might eat.
一只鸡献出自己的生命，以便我们可以吃东西。
And I think the least that we could do is to think about that chicken, to think about that calf that we're eating.
我认为我们至少能做的就是想想那只鸡，想想我们正在吃的那头小牛。
Not necessarily to be sad for it, but to celebrate it, to be aware of the being that it was, that it wasn't just this bit of bioengineered protein that somehow managed to find its way onto our plates.
不一定要为此感到悲伤，而是要庆祝它，要意识到它的存在，不仅仅是这一点生物工程蛋白质以某种方式设法找到了进入我们盘子的方式。
Jonathan Gold writes his food column, "Counter Intelligence," for the LA Weekly.
乔纳森·戈尔德（Jonathan Gold）为《洛杉矶周刊》撰写他的美食专栏“反情报”。
He's also the restaurant critic for Los Angeles magazine.
他也是《洛杉矶》杂志的餐厅评论家。
Act Two, Last Meal.
第二幕，最后一餐。
Consider, please, poultry consumers, the role of poultry in Francois Mitterrand's last meal.
请家禽消费者考虑一下家禽在弗朗索瓦·密特朗最后一餐中的作用。
Mitterrand, you'll recall, was the president of France, died at the beginning of 1996.
您可能还记得，密特朗是法国总统，于 1996 年初去世。
A contradictory and enigmatic man, the French press used to call him the Sphinx.
他是一个矛盾而又神秘的人，法国媒体曾称他为“狮身人面像”。
He once actually staged his own assassination to help himself in the polls.
他曾经为了在民意调查中帮助自己而亲自策划了暗杀行动。
Obsessed with history and his place in it.
痴迷于历史和他在历史中的地位。
Michael Paterniti wrote about Mitterrand's last meal for the magazine Esquire.
迈克尔·帕特尼蒂为《时尚先生》杂志撰写了有关密特朗最后一顿饭的文章。
Mitterrand found out that he was dying of cancer.
密特朗发现自己死于癌症。
Our story begins just weeks before his death.
我们的故事始于他去世前几周。
Right before Christmas, Mitterrand went to Egypt to commune with the pharaohs.
圣诞节前夕，密特朗前往埃及与法老们进行交流。
Even though he was extremely ill, he decided that he had to go there one last time.
尽管他病得很重，他还是决定去那里最后一次。
You said he went to Egypt commune with the pharaohs?
你说他去埃及与法老们交流？
Yeah.
是的。
Ira Glass Literally with the pharaohs?
艾拉·格拉斯（Ira Glass）真的是和法老们在一起吗？
Well, he felt this spiritual connection to these leaders of the past.
嗯，他感受到了与过去这些领导人的精神联系。
And he studied the lives, and in particular, how many of these people died, what their last gestures were.
他研究了这些人的生活，特别是其中有多少人死亡，他们最后的姿态是什么。
And he felt that his last gesture would have to be equally fitting.
他觉得他的最后一个动作也同样合适。
Equally grand.
同样盛大。
Michael Paterniti Yeah.
迈克尔·帕特尼蒂 是的。
And while he was there, he decided that he was going to have this amazing last meal.
当他在那里时，他决定要吃一顿令人惊叹的最后一餐。
What he did was call back to France and made sure that they had this menu that he decided would be it, which was this amazing feast of oyster, and foie gras, and capon, and finally, this little songbird called ortolan, which symbolizes the French soul.
他所做的就是打电话回法国，确保他们有这份他决定的菜单，这是一顿令人惊叹的牡蛎、鹅肝、阉鸡盛宴，最后还有这只象征着法国灵魂的小鸟叫奥托兰。
And it was this completely forbidden thing to eat ortolan.
而吃奥托兰就是这种完全被禁止的东西。
It's illegal in France to do so.
在法国，这样做是违法的。
Because it's an endangered species, right?
因为它是濒临灭绝的物种，对吗？
Yeah, and people who have served ortolan, chefs who've served it in France, have been fined.
是的，在法国提供奥尔托兰的厨师，已经被罚款了。
And I think in one case, a chef was imprisoned for serving it.
我认为在一个案例中，一名厨师因提供这道菜而被监禁。
Did you look at all into why the ortolan would come to represent the soul of France?
您是否仔细研究过为什么 Ortolan 会代表法国的灵魂？
It was the food of kings in France.
这是法国国王的食物。
And once it was caught in these tiny traps, in very old times, they would actually poke the eyes of the bird out.
在很久以前，一旦它被这些小陷阱抓住，它们实际上会把鸟的眼睛戳出来。
So the bird would live in complete darkness and just eat 24 hours a day.
所以这只鸟会生活在完全黑暗的环境中，一天24小时只吃东西。
And then when it was fattened, they would drown it in a kind of cognac.
然后当它被养肥时，他们会把它淹没在一种干邑白兰地里。
And there was this ritual associated with the preparation of the bird, as well as with eating the bird.
这种仪式与准备鸟和吃鸟有关。
Actually, in Proust and Fielding, ortolan appear.
事实上，在普鲁斯特和菲尔丁的著作中，奥尔托兰就出现过。
And they symbolize seduction, and adultery, and virginity.
它们象征着诱惑、通奸和童贞。
And one of the things about ortolan is that people eat it with a napkin over their head.
奥尔托兰的一大特色是人们用餐时餐巾盖在头上。
Right, people put a large cloth napkin over their head.
是的，人们把一块大布餐巾盖在头上。
And apparently, what the napkin does is it keeps the aroma inside this tent in which you're eating.
显然，餐巾的作用是将香气保留在您正在吃的帐篷内。
And the French say that it also keeps God from seeing you eating the little birdie.
法国人说，这也可以防止上帝看到你吃小鸟。
Meaning what?
意思是什么？
Michael Paterniti Meaning that it's sinful, that the bird is so innocent.
迈克尔·帕特尼蒂（Michael Paterniti）的意思是，这只鸟是有罪的，它是如此无辜。
And the pleasure so great?
而且快乐这么大？
Michael Paterniti And the pleasure so great that it's a sin.
迈克尔·帕特尼蒂：这种快乐是如此之大，以至于这是一种罪过。
And Mitterrand, when he had his last meal, he knew he was dying.
而密特朗，当他吃完最后一顿饭时，他知道自己快要死了。
Right.
正确的。
Ira Glass And he continued to survive for quite a while after the last meal, right?
艾拉·格拉斯（Ira Glass） 他在最后一顿饭之后还继续活了很长一段时间，对吗？
He lived eight days.
他活了八天。
And he didn't eat or drink during those days.
而且那几天他没吃没喝。
He just decided he wanted the last food that he had eaten to be the ortolan.
他只是决定他吃的最后一种食物是奥尔托兰。
Yeah.
是的。
That was what was most incredible to me is that he had this huge dinner, and then consciously decided that would be his last meal, and then just readied himself for death.
最让我难以置信的是，他吃了一顿丰盛的晚餐，然后有意识地决定这将是他的最后一顿饭，然后就做好了死亡的准备。
So you arranged to go to France to try to taste this bird and have this meal, in fact, to try to recreate Mitterrand's last meal.
所以你安排去法国尝试品尝这只鸟并吃这顿饭，实际上是尝试重现密特朗的最后一餐。
Right.
正确的。
And it started with 100 phone calls just to try to locate somebody who would even entertain the notion.
一开始，我们打了 100 个电话，只是为了找到愿意接受这个想法的人。
And after, literally, months, there was one chef in Bordeaux who said that he would cook the meal.
几个月后，波尔多的一位厨师说他会做饭。
And so you have this massive meal, ending with the bird.
这样你就吃了一顿丰盛的大餐，最后以那只鸟为结束。
Yes.
是的。
Ira Glass And what do we know about when Mitterrand ate the bird?
艾拉·格拉斯（Ira Glass） 当密特朗吃掉这只鸟时，我们知道什么？
Well, we know that during the meal, he slipped in and out of consciousness in between the courses.
嗯，我们知道，在用餐期间，他在两道菜之间时不时地失去知觉。
And he would eat ravenously, and then he would just sort of pass out.
他会狼吞虎咽地吃下去，然后就昏倒了。
And he sat at a table separate from the table where all his guests were seated.
他坐在一张与所有客人就坐的桌子分开的桌子旁。
There were about 30 people there, extended family and friends.
那里大约有 30 人，包括家人和朋友。
And Mitterrand would rise up with each new course and eat.
每上一道新菜，密特朗都会站起来吃。
But he really wasn't talking to many people.
但他确实没有和很多人说话。
And he was really focused on trying to finish the meal and taste, apparently, every note in that meal.
他真的很专注于尝试吃完这顿饭，显然，品尝那顿饭中的每一个音符。
When you had your meal, do you feel like you were able to achieve that level of awareness, where you were tasting every note of the meal?
当您用餐时，您是否觉得自己能够达到那种意识水平，品尝到饭菜的每一个味道？
It seems like such a high standard to aspire to.
这似乎是一个值得追求的高标准。
I felt like it was the most incredible meal I've eaten.
我觉得这是我吃过的最令人难以置信的一餐。
And it was because I was very focused on everything that went into my mouth, and also, because when it came to the ortolan, there's no easy way to eat ortolan.
这是因为我非常专注于进入我嘴里的所有东西，而且，因为当谈到奥尔托兰时，没有简单的方法来吃奥尔托兰。
You are forced to taste every bite.
你被迫品尝每一口。
And it goes from being completely sublime to being excruciating.
它从完全崇高变成了令人痛苦。
Describe what it's like to eat the bird.
描述一下吃鸟的感觉。
We should say that the bird, you describe it as the size of your thumb, smaller than your thumbs.
我们应该说那个鸟，你形容它像你的大拇指那么大，比你的大拇指还小。
Yeah, it is.
是的，确实如此。
It's about the size of your thumb.
它大约有你的拇指大小。
And they serve it in a white cassoulet.
他们把它放在白色的砂锅里。
And you put the napkin over your head, and you duck down toward the cassoulet.
然后你把餐巾盖在头上，然后低头走向豆焖肉。
And so you are in this space that is completely white, the white napkin, the white plate, the white cassoulet.
所以你在这个完全白色的空间里，白色的餐巾，白色的盘子，白色的豆焖肉。
And then you have the bird on its back that you lift up and put into your mouth.
然后你就可以把鸟放在背上，你把它举起来放进嘴里。
You cool it by breathing in and out.
你可以通过吸气和呼气来冷却它。
And this is the entire bird, every part of it.
这是整只鸟，它的每个部分。
Yes.
是的。
In our case, the chef insisted that we bite off the head and leave the head on the plate.
在我们的例子中，厨师坚持要我们咬掉鱼头并将鱼头留在盘子上。
I think in Mitterrand's case, he ate the head, too.
我认为在密特朗的例子中，他也吃了头。
OK.
好的。
So you bite off the head.
所以你咬掉了头。
You leave the head on the plate.
你把头留在盘子上。
And then you cool it, and then you begin to chew.
然后你把它冷却，然后你开始咀嚼。
And that first bite is incredibly difficult to describe, because it's terrifying.
第一口很难描述，因为它很可怕。
I was terrified.
我很害怕。
I was nauseous with the idea of it.
我一想到这个就感到恶心。
But the first bite of the bird changed that.
但这只鸟的第一口咬了一口就改变了这一点。
It was incredibly and almost immediately delicious.
真是令人难以置信，几乎立刻就美味了。
And all these juices were flowing out of it into your mouth and mingling and commingling with everything that was already in your mouth.
所有这些汁液都从它流到你的嘴里，与你嘴里已经存在的所有东西混合在一起。
And it's like this very finely evolved consomme.
就像这个非常精细进化的清汤。
And then you begin to taste the meat.
然后你开始品尝肉的味道。
And they're little, tender bits of meat.
它们是又小又嫩的肉。
And then, I think you begin to taste the organs.
然后，我想你开始品尝器官。
And it becomes more bitter.
而且变得更加苦涩。
So the sweetness and the tenderness turns bitter.
于是，甜蜜和温柔就变成了苦涩。
And then?
进而？
Michael Paterniti And then, well, you keep chewing ortolan until you have chewed it completely.
Michael Paterniti 然后，好吧，你继续咀嚼奥尔托兰，直到完全咀嚼为止。
And then you're supposed to swallow it all at once.
然后你应该一次性吞下它。
And there's no other way, really, to consume it.
事实上，没有其他方法可以消耗它。
And as you continue to chew, it gets harder and harder, because you're working the bones, finally.
当你继续咀嚼时，它会变得越来越难，因为你最终正在锻炼骨头。
So the meat and the juices fade.
所以肉和汁液都会褪色。
And you suddenly are chewing these bones.
你突然开始咀嚼这些骨头。
And that is when you really, I think, fall into a bit of an existential crisis.
我认为，那就是你真正陷入某种生存危机的时候。
Like, what the hell am I doing?
就像，我到底在做什么？
And then also, I really think I'm going to throw up.
然后我真的觉得我要吐了。
And how am I going to swallow these bones?
我该如何吞下这些骨头呢？
And how am I going to swallow them?
我该如何吞下它们呢？
Many people who have never had ortolan before end up spitting it out on the plate.
许多以前从未吃过奥尔托兰的人最后都会把它吐到盘子里。
And in fact, at Mitterrand's last meal, a number of the people in the room did spit out their ortolan.
事实上，在密特朗的最后一顿饭中，房间里的一些人确实吐出了奥尔托兰。
That seems like incredibly bad form, though.
不过，这似乎是一种非常糟糕的形式。
You're spitting out the soul of France.
你正在吐出法国的灵魂。
Yeah, you're incredibly gauche if you pull that stunt.
是的，如果你耍这种花招，那你就太粗俗了。
Yeah, it definitely changed me.
是的，它确实改变了我。
I didn't eat chicken for a long time.
我已经很久没有吃鸡肉了。
Why?
为什么？
Michael Paterniti Because I think I felt guilty.
Michael Paterniti 因为我觉得我感到内疚。
Guilty like you didn't feel like it was right to eat a bird without the sacred quality that it had to eat the ortolan?
你是否觉得吃一只鸟而不具有吃奥尔托兰的神圣品质是不对的？
Yeah, I think it has everything to do with feeling, in some ways, like I had actually eaten the last meal.
是的，我认为这在某种程度上与感觉有关，就像我实际上吃过最后一顿饭一样。
And for me to put anything else inside of my body would mean that it would have to be somehow as sacred, or holy, or as good.
对我来说，把任何其他东西放进我的身体里就意味着它必须在某种程度上是神圣的、神圣的或美好的。
And it's not like I am suddenly a vegetarian now.
我现在也不是突然变成素食主义者了。
Finally, I ate whatever, because I was hungry, without thinking about, for instance, the life that I was putting inside of me.
最后，我什么都吃，因为我很饿，没有想到，例如，我正在把生命放在我体内。
Was it a relief not to taste the food again?
不再品尝食物是一种解脱吗？
Yeah, because it takes a lot of energy and concentration.
是的，因为这需要大量的精力和注意力。
And it takes faith, and all of these things that we don't associate with eating, when you really taste a meal.
当你真正品尝一顿饭时，它需要信心，以及所有这些我们不与饮食联系在一起的东西。
It takes concentration and silence.
这需要集中注意力和安静。
And at the same time, understand how that meal came to your table.
同时，了解这顿饭是如何来到你的餐桌上的。
The way you describe it, it's almost like you're saying that if we were really awake to what the world is giving us in a given meal, it would be hard eat the meal every single time.
按照你描述的方式，几乎就像你在说，如果我们真的意识到世界在一顿饭中给了我们什么，那么每次都很难吃掉这顿饭。
Yeah, I feel like we would age really quickly.
是的，我觉得我们会老得很快。
Do you think we would age because we'd be doing so much thinking and so much mental work during the meal?
你认为我们会因为吃饭时思考太多、脑力劳动而变老吗？
Yeah, it'd be like a time-lapse version of your life, if you were psychically, spiritually, physically, intellectually, erotically present at every meal.
是的，如果你的每顿饭都在心理上、精神上、身体上、智力上、情欲上都在场，那就像是你生活的延时版本。
But you're saying that we have to deaden ourselves in order to live.
但你是说我们必须让自己变得麻木才能活下去。
I think we do, to a degree.
我认为我们在某种程度上是这样做的。
Ira Glass But I think-- I have to say, what's radical about what you're saying is you're saying, maybe that isn't such a horrible thing.
艾拉·格拉斯（Ira Glass）：但我认为——我不得不说，你所说的激进之处在于，也许这并不是一件可怕的事情。
Maybe that actually has to be the way.
也许这实际上就是这样。
I wish it weren't.
我希望不是这样。
But I don't think we make enough time to eat.
但我认为我们没有足够的时间吃饭。
And if we haven't made enough time to eat, then it's better not to taste what we are eating.
如果我们没有足够的时间吃饭，那么最好不要品尝我们正在吃的东西。
It's easier.
更容易了。
Michael Paterniti in Portland, Maine.
迈克尔·帕特尼蒂 (Michael Paterniti)，缅因州波特兰。
Coming up, a woman who thinks that This American Life is bad for an entire species, and when a perfumed handkerchief does not do what you want it to do.
即将登场的是一位女士，她认为《美国生活》对整个物种都是有害的，而且当一块香水手帕无法达到您想要的效果时。
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, bring you a variety of stories on that theme.
当然，我们每周的节目都会选择一个主题，为您带来有关该主题的各种故事。
Today, during the weeks between Thanksgiving and Christmas, the time of year when poultry consumption is at its greatest in this country, we bring you our annual Poultry Slam, stories of chickens, turkeys, ducks, fowl of all kind, and our relationship with them.
今天，在感恩节和圣诞节之间的几周内，也就是这个国家一年中家禽消费量最大的时期，我们为您带来我们一年一度的家禽大满贯，关于鸡、火鸡、鸭子和各种家禽的故事，以及我们与它们的关系。
We have come to act three of our program, Act Three, People who Love Birds and Hate This American Life.
我们来表演节目的第三幕，第三幕，《爱鸟恨美国生活的人》。
Well, I hold in my hand a stack of, I'd say that it's about 50 letters that I've received from around the country.
嗯，我手里拿着一叠，我想说，这是我从全国各地收到的大约 50 封信。
Here is one from Yonkers, New York.
这是来自纽约扬克斯的一张。
It begins, "Dear Mr. Glass, I was profoundly shocked to learn that for two years in a row, during the Thanksgiving and Christmas season, you have produced a Poultry Slam program, in which cruel and demeaning jokes and anecdotes are told about chickens and turkeys." Here's another letter from Santa Monica.
它的开头是：“亲爱的格拉斯先生，我深感震惊地得知，您连续两年在感恩节和圣诞节期间制作了一个家禽大满贯节目，其中讲述了有关鸡和火鸡的残酷和侮辱性的笑话和轶事。”这是来自圣莫尼卡的另一封信。
It begins, "Dear Mr. Glass, we were profoundly shocked to learn that for two years in a row, during the Thanksgiving and Christmas season, you have produced a Poultry Slam program--"
它的开头是：“亲爱的格拉斯先生，我们深感震惊地得知，您连续两年在感恩节和圣诞节期间制作了家禽大满贯节目——”
The wording is identical in these.
这些的措辞是相同的。
In fact, the wording is identical in most of the letters.
事实上，大多数信件的措辞都是相同的。
The first wave of mail was organized by a woman named Karen Davis, head and founder of a group called United Poultry Concerns.
第一波邮件是由一位名叫凯伦·戴维斯（Karen Davis）的女士组织的，她是一个名为“联合家禽关注”（United Poultry Concerns）的组织的负责人和创始人。
We invited her onto the program to correct whatever misinformation she thought we were spreading.
我们邀请她加入该计划，以纠正她认为我们散布的任何错误信息。
She, in turn, invited me out to her home, out in poultry country in eastern Virginia.
反过来，她邀请我去她位于弗吉尼亚州东部家禽养殖场的家。
OK, birds, let's go.
好吧，鸟儿们，我们走吧。
Ira Glass Every morning, Karen lets 55 birds out of the converted garage behind her house.
Ira Glass 每天早上，凯伦都会从她家后面改建的车库里放出 55 只鸟。
They stay in there overnight as protection against predators.
它们在那里过夜以防止掠食者。
It's OK.
没关系。
Come on.
快点。
Hi, birds.
嗨，鸟儿们。
Come on out.
出来吧。
It's a lovely, friendly chaos, like a scene from Dr. Doolittle.
这是一种可爱、友好的混乱，就像杜立特博士的场景一样。
[ROOSTER CROWING] Karen Davis All right, good.
[公鸡啼鸣]凯伦·戴维斯 好吧，很好。
Go on outside.
到外面去吧。
Nearly all of these birds are refugees from the commercial poultry industry.
几乎所有这些鸟类都是商业家禽业的难民。
Karen started taking care of birds that had fallen out of trucks, or had been left behind, or escaped.
凯伦开始照顾从卡车上掉下来、被遗忘或逃跑的鸟儿。
She let animal shelters know that she would care for chickens.
她让动物收容所知道她会照顾鸡。
People started bringing her birds.
人们开始给她带来鸟儿。
She gets birds from school hatching projects.
她从学校孵化项目中获得鸟类。
And now, she's got a big, fenced-in back yard full of them.
现在，她有一个用栅栏围起来的大后院，里面全是它们。
These two roosters are the kinds of birds who are used by the meat industry.
这两只公鸡是肉类工业使用的鸟类。
As you can see, they're extremely large, very overweight.
正如你所看到的，它们非常大，而且非常重。
They're crippled.
他们是残废的。
They're typical.
他们很典型。
When you say crippled, how are they crippled?
当你说残废时，他们是如何残废的？
Well, one is sitting because he can't get up.
嗯，一个人坐着是因为他起不来。
And they have skeletal problems.
他们有骨骼问题。
It's their entire skeleton through their system is just not able to accommodate the rapidly growing body that's imposed upon the skeletal system when they're young.
他们的整个骨骼系统无法适应年轻时强加给骨骼系统的快速生长的身体。
So they are very susceptible to being crippled and to having a wide range of skeletal diseases.
因此，他们很容易致残并患有多种骨骼疾病。
In nature, it takes a chicken six months to grow to full maturity.
在自然界中，鸡需要六个月才能完全成熟。
But with selective breeding and specially formulated feed, the poultry industry now raises a bird to full size in just six weeks.
但通过选择性育种和特殊配制的饲料，家禽业现在只需六周就能将一只鸡饲养到成年。
Then they're butchered.
然后他们就被宰杀了。
What Karen Davis is doing is keeping birds alive that are not designed to live very long.
凯伦·戴维斯所做的就是让那些原本寿命不长的鸟类保持活力。
Putting on all this extra weight so fast, so young, strains the heart and lungs, she says.
她说，这么快、这么年轻就增加这么多额外的体重，会给心脏和肺部带来压力。
And typically, their bodies give out when they're just two years old.
通常，他们的身体在两岁时就会衰竭。
That's versus traditional breeds, which can live 10, 15 years.
这与传统品种的寿命不同，传统品种的寿命可以达到 10 年、15 年。
And what she finds when she cares for these birds in a loving way, outside the crowded chicken houses they were born into, is that they defy the stereotypes that most people have about chickens.
当她在这些鸟儿出生的拥挤鸡舍之外以爱心照顾这些鸟儿时，她发现它们打破了大多数人对鸡的刻板印象。
They're not stupid, or dirty, or cold-hearted.
他们并不愚蠢、肮脏或冷酷。
Take Henry, one of the first birds Karen brought home.
以亨利为例，它是凯伦带回家的第一批鸟之一。
Henry had fallen off a truck.
亨利从卡车上摔下来。
He was from a breeder operation.
他来自一家饲养场。
He had a severely debeaked upper beak.
他的上喙严重缺损。
And he was covered with filth.
而且他浑身都是污秽。
He eventually became very snowy white.
他最终变得非常雪白。
And he was very scared of people.
而且他非常怕人。
And he was like anybody who's lived as a creature with no identity in a mass situation.
他就像任何一个在大众环境中作为一个没有身份的生物生活的人一样。
He had no sense of who he was or where he was.
他不知道自己是谁，也不知道自己在哪里。
But this changed.
但情况发生了变化。
After he had been with me and my husband for about three or four months, he became very, very affectionate.
当他和我和我丈夫在一起大约三四个月后，他变得非常非常深情。
He liked to be held.
他喜欢被抱着。
His feathers came in very beautifully.
他的羽毛非常漂亮。
And he became a very sweet, affectionate bird.
他变成了一只非常可爱、深情的小鸟。
And he would come when I would call him up the back steps.
当我叫他上后台阶时，他就会来。
And he--
而他——
Here's one area where Karen Davis is completely in the right, and I and my radio staff have been absolutely wrong.
在这一领域，凯伦·戴维斯 (Karen Davis) 是完全正确的，而我和我的电台工作人员则完全错误。
In our earlier Poultry Slams, three or four times, people referred to chickens as stupid, as having no personality.
在我们早期的家禽大满贯中，有三四次，人们称鸡为愚蠢的，没有个性的。
In last year's show, at one point, I myself declared that if chickens had a personality, that personality seemed to be that they're a pain in the ass.
在去年的节目中，我曾一度宣称，如果鸡有个性的话，那么这种个性似乎就是它们令人讨厌。
And while this may be true for the chickens I observed, which were raised in the crowded gulag of commercial production, chickens raised properly, well, they can be kind of sweet.
虽然这对于我观察到的鸡来说可能是正确的，这些鸡是在拥挤的商业生产古拉格中饲养的，但正确饲养的鸡，嗯，它们可能有点甜。
Want to demonstrate your sweetness?
想展现你的甜蜜吗？
Do you?
你？
This hen has been with us since she was 10 weeks old.
这只母鸡从 10 周大起就一直和我们在一起了。
Haven't you been?
你没去过吗？
Karen showed me Ella, who likes her neck stroked.
凯伦给我看了埃拉，她喜欢抚摸她的脖子。
And Elise, who jumps over the fence every morning and jumps back in every night.
还有埃莉斯，她每天早上都会跳过栅栏，每天晚上都会跳回来。
And Lois and Lambrusco, a pair who stick together all the time.
还有路易斯和兰布鲁斯科，一对一直粘在一起的情侣。
And Dolores, who's sort of shy.
还有多洛雷斯，她有点害羞。
She says meat-eaters like me usually don't like to think that chickens have personalities, because then it would be too hard to eat them.
她说像我这样的肉食者通常不喜欢认为鸡有个性，因为那样的话就很难吃它们了。
They're very homey birds.
它们是非常顾家的鸟。
That's another thing is if you brought a chair out here, and you were sitting out here reading a book, or working on something, or you sat out on the steps, they'll all collect around you.
另一件事是，如果你把一把椅子带到这里，你坐在这里看书，或者在做某事，或者你坐在台阶上，它们都会聚集在你周围。
They like to be with you.
他们喜欢和你在一起。
They like to sit with you.
他们喜欢和你坐在一起。
They like to preen themselves next to you.
他们喜欢在你身边打扮自己。
And they'll sit with you for hours.
他们会陪你坐几个小时。
That was one of the first things that drew me to them.
这是吸引我的第一件事之一。
We hung around the yard for half an hour and then went inside.
我们在院子里闲逛了半个小时，然后就进去了。
She made a pot of coffee.
她煮了一壶咖啡。
And when we got to discussing This American Life , I have to say the mood got a good bit chillier.
当我们开始讨论《美国生活》时，我不得不说，气氛变得冷淡了一些。
Karen Davis sees our annual Poultry Slam as one long piece of insensitive, anti-chicken propaganda.
凯伦·戴维斯 (Karen Davis) 将我们一年一度的家禽大满贯视为一长篇麻木不仁的反鸡宣传片。
I thought it was a disgusting show.
我认为这是一个令人厌恶的节目。
And it was just in the typical tradition of let's make dirty jokes about poultry and do it in a variety of voices.
这只是我们以各种声音开有关家禽的下流笑话的典型传统。
And it's just a mean-spirited show.
这只是一场卑鄙的表演。
It's very irresponsible, very irresponsible, to present lies, to really just take a collage of hostile attitudes and complacent, smirking voices and put them all together and feel that we're doing something worthwhile.
这是非常不负责任的，非常不负责任的，提出谎言，实际上只是将敌对态度和自满、傻笑的声音拼贴在一起，然后感觉我们正在做一些有价值的事情。
I understand that the show says something to the effect that this is about America, and this American life, and how we see ourselves.
我知道这部剧表达的意思是，这是关于美国、关于美国的生活，以及我们如何看待自己。
And it's really about us and not about them.
这实际上是关于我们而不是他们。
But it's the birds who get the bad rap.
但受到诟病的是鸟类。
If you've heard much of today's program at all, if you didn't just turn on your radio a moment or two ago, then you got a pretty good sense of the tone of our previous Poultry Slams.
如果您已经听过很多今天的节目，如果您不是一两分钟前才打开收音机，那么您就会对我们之前的家禽大满贯的基调有很好的了解。
And even stories that actually tried to document cruelty to poultry, for instance one woman's rather grim memoir of growing up on a turkey farm, even this, Karen found offensive in tone and in spirit.
即使是那些实际上试图记录虐待家禽的故事，例如一位妇女在火鸡农场长大的相当残酷的回忆录，即使如此，凯伦也觉得在语气和精神上都令人反感。
I pointed out that half the stories in previous years had not even been about real chickens.
我指出，前几年的故事有一半都不是关于真正的鸡的。
One was about a duck hand puppet.
其中一个是关于鸭子手偶的。
One was about a radio superhero called Chicken Man.
其中一个是关于一位名叫“鸡人”的广播超级英雄。
One was an opera about Chicken Little, staged entirely with finger puppets.
其中一部是一部关于小鸡的歌剧，完全用手指木偶上演。
[MUSIC PLAYING FROM "LA PULCINA PICCOLA"]
[音乐播放自“LA PULCINA PICCOLA”]
I remember this woman speaking about the chicken as opera diva, which again, of course, was just a joke, and about Chicken Little being an opera diva.
我记得这个女人说小鸡是歌剧女主角，当然，这又只是一个笑话，而小鸡是歌剧女主角。
That itself is, again, disparaging.
这本身又是一种贬低。
It's not the worst kind of thing you can do.
这还不是你能做的最糟糕的事情。
But the woman's whole voice, the very tone of her voice, the attitude, the way she talked about chickens, was not in a spirit of goodwill.
但这个女人的整个声音，她说话的语气，她的态度，她谈论鸡的方式，并不是出于善意。
It's an ill-willed presentation.
这是一次恶意的演示。
I just have to differ with you.
我只是不得不与你不同。
When I think about the woman in that story, she's very affectionate towards the characters in her opera.
当我想到那个故事中的女人时，她对歌剧中的角色非常有感情。
She made some hostile comments about chickens, again, that had no connection to who chickens even are.
她再次对鸡发表了一些敌意的评论，这与鸡是谁无关。
And maybe she doesn't even know any chickens herself.
也许她自己连鸡都不认识。
She's just doing what so many people do.
她只是在做很多人都在做的事情。
She's just talking off the top of her head.
她只是凭空说话。
And chickens are easy to, again, make into characters who you can laugh and smirk over.
而且，鸡很容易被塑造成可以让你开怀大笑的角色。
But I guess I'm saying, she's not laughing and smirking.
但我想我是说，她没有大笑或假笑。
She loves her chicken characters, like all the birds in the thing.
她喜欢她的鸡角色，就像里面所有的鸟一样。
She clearly loves them.
她显然很爱他们。
She said something to the effect on that show that chickens had no personalities and didn't know who they were.
她在节目中说了一些话，大意是鸡没有个性，也不知道自己是谁。
I don't remember exactly what it was.
我不记得具体是什么了。
But it was one of those kinds of statements.
但这只是此类声明之一。
But that was just one moment in a story that, in a certain way, had less to do with chickens and much more to do with what it means to create something emotional and grand out of something so small as finger puppets.
但这只是故事中的一个时刻，在某种程度上，这个故事与鸡的关系不大，而更多地与用手指木偶这样的小东西创造出情感和宏伟的东西意味着什么有关。
Karen Davis and I argued for a long time about whether there was anything in our program at all, besides slander against chickens.
凯伦·戴维斯和我争论了很长时间，我们的节目除了诽谤鸡之外是否还有其他内容。
And in the end, we simply do not agree.
最后，我们根本不同意。
I asked her why, if there's this genocide of millions of chickens a day, with ads on television encouraging people to tear at chickens' flesh with their teeth, ads that reach many more people than we do on our radio show, why go after us?
我问她，如果每天都会发生数百万只鸡的种族灭绝，电视上的广告鼓励人们用牙齿撕扯鸡的肉，广告比我们在广播节目中接触到的人更多，为什么还要追捕我们呢？
Do you feel like somehow by stopping us, that that's going to change the situation for chickens, that that's going to have an impact on the number of birds killed and mistreated?
你是否觉得通过阻止我们，这会改变鸡的处境，这会对被杀害和虐待的鸟类数量产生影响？
It could.
可以的。
You're part of the problem.
你是问题的一部分。
As long as you do this show called a Poultry Slam, you're part of the problem.
只要你做这个被称为家禽大满贯的节目，你就是问题的一部分。
You're one of the reasons.
你就是原因之一。
You're one of the many components of the abuse.
你是虐待行为的众多组成部分之一。
You're part of the problem.
你是问题的一部分。
[MUSIC - "CHICKENS" BY HARRY BELAFONTE]
[音乐 - 哈利·贝拉方特的《鸡》]
Act Four, Meaning of a Chicken.
第四幕，鸡的意义。
For most of us who have little to no contact with living, breathing chickens, the fact is that chickens mean what we decide that they mean.
对于我们大多数人来说，他们几乎没有接触过活生生的、会呼吸的鸡，事实上，鸡的意义就是我们所认为的。
We have this story from David Rakoff, which begins far, far away from any chicken house.
大卫·拉科夫（David Rakoff）讲述了这个故事，它的开始远离任何鸡舍。
Friday nights of my childhood and early adolescence were spent at weekly meetings of a socialist, Zionist, youth movement.
我童年和青春期早期的周五晚上都是在社会主义、犹太复国主义、青年运动的每周会议上度过的。
My brother, sister, and I were members.
我的兄弟、姐妹和我都是会员。
The meetings took a variety of forms.
会议采取了多种形式。
There were the earnest discussions of Marx and the great labor Zionist thinkers like Theodore Herzl and A.
马克思和伟大的劳工犹太复国主义思想家如西奥多·赫茨尔（Theodore Herzl）和 A.
D.
D .
Gordon, bull sessions about who in the group had hurt whose feelings, and playing air guitar to "Come Sail Away" by Styx.
戈登，关于团体中谁伤害了谁的感情的公牛会议，并在 Styx 的“Come Sail Away”中弹奏空气吉他。
All activities that formed us into pretty deeply committed young socialists, ready at the age of 15 for the ultimate prize the movement could bestow, a summer living and working on a kibbutz, one of the collective farms that were a central part of settling the Jewish state.
所有这些活动都使我们成为了非常坚定的年轻社会主义者，在 15 岁时就准备好迎接运动可能授予的终极奖品，在基布兹度过一个夏天的生活和工作，基布兹是集体农场之一，是建立犹太国家的核心部分。
There, we would meet other members of the movement from all over the world and spend many a happy hour engaged in honest labor, laughingly baling sheaves of wheat, picking olives, oranges, peaches, grapes, the sweat on our brows a shining reminder of the nobility of collective farming.
在那里，我们会遇到来自世界各地的其他运动成员，并度过许多快乐的时光，从事诚实的劳动，笑着打捆小麦，采摘橄榄、橙子、桃子、葡萄，我们额头上的汗水闪烁着提醒我们集体农业的高贵性。
In the evenings, we would gather together and dance around the fire, sing Crosby, Stills, Nash, & Young songs and, if one's older siblings were any indication, lose our virginity.
晚上，我们会聚在一起围着火跳舞，唱克罗斯比、斯蒂尔斯、纳什和杨的歌曲，如果有哥哥姐姐有任何迹象，我们就会失去童贞。
Years later, we would renounce our bourgeois upbringings and return to Israel, making lives of simple, agrarian bliss.
多年后，我们放弃了资产阶级的成长，回到以色列，过着简单的农业幸福生活。
This would all change for me in one single evening, in a shed of 5,000 chickens.
在一个晚上，在一个有 5,000 只鸡的鸡舍里，这一切对我来说都会改变。
The kibbutz I was assigned to was one of the oldest in Israel, settled in 1928 by Jews from Russia, Poland, and Germany.
我所在的基布兹是以色列最古老的基布兹之一，于 1928 年由来自俄罗斯、波兰和德国的犹太人定居。
For the most part, our arrival was met with little to no notice.
在大多数情况下，我们的到来几乎没有引起任何注意。
We were just another group of volunteers, no different from the countless other Europeans and Australians just passing through, taking time out to pick fruit, work on their tans, and contract cystitis from their rampant and unchecked coitus.
我们只是另一群志愿者，与无数刚刚路过的欧洲人和澳大利亚人没有什么不同，他们花时间采摘水果，晒黑皮肤，并因猖獗且不受控制的性交而感染膀胱炎。
But we were different.
但我们不同。
We were members of the movement.
我们是该运动的成员。
I thought that our political ardor would be immediately apparent.
我以为我们的政治热情会立即显现出来。
I had visions of our bus being greeted by garlanded, folk-dancing youth, so happy to have us there to share in their dream.
我想象着我们的巴士受到戴着花环、跳着民间舞蹈的年轻人的欢迎，很高兴我们能在那里分享他们的梦想。
I had been raised on a fairly steady diet of just such socialist, utopian Ziegfeld numbers, songs, film strips, and oral histories that all attested to just this scenario.
我是在相当稳定的社会主义、乌托邦齐格菲尔德数字、歌曲、电影片段和口述历史的饮食中长大的，所有这些都证明了这种情况。
Trees weren't simply trees.
树不仅仅是树。
They were jungle gyms of plenty, with smiling children clambering over their branches.
它们就像攀登架，微笑的孩子们在树枝上攀爬。
A field was somewhere you brought your guitar, so that your comrades could dance down the rows after the day's work was over.
田野是你带上吉他的地方，这样你的战友们就可以在一天的工作结束后沿着一排排跳舞。
I was assigned to pick pears.
我被分配去摘梨。
Work would begin at 4:00 AM and finish sometime mid-morning, before the heat had set in.
工作将于凌晨 4:00 开始，并在炎热天气到来之前的上午某个时间结束。
How filled with fervor I was that first morning, the light barely dawning as I headed out in the back of the truck, wearing my simple work shirt, a pair of shorts, and the traditional sun hat worn by so many pioneers who had come before me to make the desert bloom.
第一天早上，天刚蒙蒙亮，我就坐在卡车后面出发，穿着简单的工作衬衫、短裤，戴着传统的遮阳帽，这是在我之前让沙漠绽放花朵的许多先驱者所戴的，我是多么充满热情。
I should pause here to point out that we actually said things like "make the desert bloom," all the time.
我应该在这里停下来指出，我们实际上一直在说“让沙漠绽放花朵”之类的话。
So off I headed to the orchard.
于是我就出发去果园了。
I know I sound like the Central Casting New Yorker I've turned myself into with single-minded determination when I say this, but the main problem with working in the fields is that the sun is just always shining.
我知道当我说这句话时，我听起来就像是中央选角纽约客，我一心一意地将自己变成了这样，但在田间工作的主要问题是阳光总是照耀着。
Dyed-in-the-wool Northerner that I am, it became apparent after about two days that I was completely unsuited to working outside.
我是地地道道的北方人，两天左右就发现我完全不适合在外面工作。
And I was moved around among the kibbutz's various interior jobs, the furniture factory, the metal irrigation parts factory, and the kitchen, assured all the while by the group leader that there was nothing emasculating or ersatz socialist in being moved inside.
我被调到基布兹的各种内部工作间，家具厂、金属灌溉配件厂和厨房，组长一直向我保证，调到里面不会有任何阉割或冒充社会主义的成分。
After all, each according to his needs, each according to his abilities.
毕竟，各人根据自己的需要，各人根据自己的能力。
My abilities seemed to lie in passing out from heat stroke after a scant two hours in an orchard.
我的能力似乎在于在果园呆了不到两个小时就中暑了。
This continued for weeks.
这种情况持续了几周。
It was a somewhat idyllic, if not a mite monotonous existence, that is, until the long night of the chickens.
这是一种有点田园诗般的生活，即使不是一种单调的生活，也就是说，直到鸡的漫漫长夜。
The boys of our group were gathered together one day and told in the hushed tones reserved for trying to avert impending disaster that we would forgo our regular work details and spend the night from midnight until dawn packing truckloads of poultry.
有一天，我们小组的男孩们聚集在一起，用一种为避免即将发生的灾难而保留的安静语气告诉我们，我们将放弃日常工作细节，从午夜到黎明过夜，包装一卡车的家禽。
Why this needed to be done with such urgent secrecy under cover of night and why the girls were excused was never explained to us.
为什么这需要在夜色掩护下如此紧急地保密，以及为什么女孩们被原谅，我们从未向我们解释过。
And we didn't ask.
我们没有问。
We greeted the news with the respectful Hemingway silence of the Y chromosome, no dopey girls allowed.
我们以 Y 染色体海明威般的恭敬沉默来迎接这个消息，不准有迟钝的女孩。
It was all imbued with nocturnal, testicular melodrama, like some summer stock production of Das Boot.
这一切都充满了夜间的、睾丸情节剧，就像《Das Boot》的一些夏季库存作品一样。
We slept that evening from 9:00 to 11:00, what I would come to know later, in a far different context, as a disco nap.
那天晚上我们从 9:00 睡到 11:00，我后来才知道，在一个截然不同的背景下，这是迪斯科小睡。
We rose, drank some tea.
我们起身，喝了点茶。
The girls sprayed perfume into some handkerchiefs for us to wear around our noses and mouths.
女孩们把香水喷在一些手帕上，让我们戴在鼻子和嘴巴周围。
And we were off in trucks to do battle with the insurgent chickens.
我们乘坐卡车出发去与叛乱的鸡战斗。
The scene had everything but the diner waitress standing in the road watching us go, worriedly wiping her hands on her gingham apron.
场景什么都有，除了餐厅女服务员站在路边看着我们走，担心地用格子围裙擦手。
The chicken coop of the kibbutz was a one-storied structure of corrugated iron, about half the size of a football field.
基布兹的鸡舍是一层波纹铁皮结构，大约有半个足球场那么大。
It emitted a low rumbling, a vague buzz that you could hear from far away.
它发出低沉的隆隆声，一种模糊的嗡嗡声，你从很远的地方就能听到。
And of course from even farther away, there was the smell, a smell of such head-kicking intensity as to make a perfume-sprayed handkerchief almost adorable in its valiant naivete, Wile E.
当然，从更远的地方也能闻到这种气味，这种气味的强度如此之大，以至于让一块喷了香水的手帕在其勇敢的天真中几乎变得可爱起来，怀尔·E。
Coyote warding off a falling boulder with his paper parasol.
郊狼用纸阳伞挡住了掉落的巨石。
And the combination of floral scent and dung merely increased the vileness.
而花香和粪便的结合只会增加肮脏的程度。
Chicken [BLEEP] is horrible stuff.
鸡[BLEEP]是可怕的东西。
Unlike cow manure, which according to David Foster Wallace, smells "warm and herbal and blameless," chicken [BLEEP] is an olfactory insult, a snarling, saw-toothed, ammoniac, cheesy smell, needlessly, gratuitously disgusting, a stench of such assaultive tenacity that it burns your eyes.
根据大卫·福斯特·华莱士的说法，牛粪闻起来“温暖、草本、无可挑剔”，而鸡粪则不同，鸡粪是一种嗅觉侮辱，一种咆哮的、锯齿状的、氨味的、俗气的气味，毫无必要、无缘无故地令人厌恶，这种恶臭的攻击性顽强到会灼伤你的眼睛。
Rather than making you never want to eat a chicken again, it simply makes you angry.
它不会让你再也不想吃鸡，而只会让你生气。
It makes you hold a grudge.
这会让你记恨。
You'll eat chicken again, by god, and you'll chew really, really hard.
天啊，你又会吃鸡肉了，而且你会非常非常用力地咀嚼。
One of the barrel-chested Israelis shows us what to do.
一位胸肌发达的以色列人向我们展示了该怎么做。
Pick up four chickens in each hand.
每只手拿起四只鸡。
This is done by grabbing hold of the birds by one leg.
这是通过用一条腿抓住鸟儿来完成的。
"If the leg snaps," he says, "it doesn't matter, just to get four in each hand.
“如果腿折断了，”他说，“也没关系，只要每只手拿四个就可以了。
B'seder?" he says.
B'seder？”他说。
OK?
好的？
He faces us, holding the requisite eight, four in each hand, living masses of writhing feathers.
他面对着我们，手里拿着必要的八根，每只手上有四根，活生生地扭动着羽毛。
He looks like some German expressionist cheerleader, his pom-poms alive, convulsing, filthy.
他看起来就像某个德国表现主义拉拉队队长，他的绒球充满活力，抽搐，肮脏。
"Who will see their dreams fall away into the abyss and eventually succumb to the crushing sadness and meaninglessness of it all?
“谁会看到自己的梦想坠入深渊，最终屈服于令人心碎的悲伤和毫无意义的一切？
We will.
我们会的。
And what does that spell?
这意味着什么？
Madness.
疯狂。
Louder.
大声点。
I can't hear you."
我听不到你说话。”
He crams the chickens roughly into a blue plastic crate smeared with wet guano.
他把鸡粗暴地塞进一个涂有湿鸟粪的蓝色塑料箱里。
"And you close the lid, and tchick tchack," he tells us, clapping his hands with "that's that" finality.
“然后你盖上盖子，然后嘀嘀嘀，”他告诉我们，并拍着手表示“就是这样”。
Before I even try, I know that I will not be able to do this.
在我尝试之前，我就知道我无法做到这一点。
It is midnight, and we will be here until dawn, or until the truck is piled to capacity with crated birds.
现在是午夜，我们会在这里直到天亮，或者直到卡车装满了板条箱里的鸟。
I walk out into the sea of chickens.
我走进鸡海。
I reach down and grab one, its leg a slightly thicker, segmented chopstick.
我伸手抓起一根，它的腿是一根稍粗的分段筷子。
I recoil and stand up.
我退缩并站起来。
I take a fetid breath, regroup, and bend down with new resolve, grab the chicken by its body with both hands, thinking somehow that might be preferable.
我吸了一口恶臭的气息，重新振作起来，带着新的决心弯下腰，用双手抓住鸡的身体，想着也许这样更好。
Although how I think I'm going to get eight of them this way, I'm not sure.
虽然我认为这样我能得到八个，但我不确定。
Its ribs expand and contract under my fingers, a dirty, warm, live umbrella.
它的伞骨在我的手指下膨胀和收缩，就像一把肮脏、温暖、活跃的雨伞。
I drop the bird as if it were boiling hot.
我把鸟扔了下去，就像它被烫烫了一样。
I leave the coop and go out to the trucks.
我离开鸡舍，走向卡车。
Hoisting myself up onto the flatbed, I start to help with the stacking of the full crates.
我把自己爬到平板上，开始帮忙堆放装满的板条箱。
I know that my unilateral decision to change my task is met with displeasure on the part of the men who run the coop, but I do not care.
我知道我单方面改变任务的决定会引起鸡舍经营者的不满，但我不在乎。
Their muttered comments are predicated on a direct poultry-penile relationship.
他们的低声评论是基于家禽与阴茎的直接关系。
I might as well have spurned the stag party whore or gone to the woodshop and fashioned myself a sign that said "fag." "Ma ito?
我还不如抛弃单身派对的妓女，或者去木工场给自己做一个写着“基佬”的牌子。 “伊藤真？
What's the matter with him," the head of the work detail asks when he sees me on the truck.
他怎么了？”工作细节负责人看到我在卡车上时问道。
[SPEAKING HEBREW], he is answered, using the female pronoun when referring to me.
[说希伯来语]，他在提到我时使用了女性代词。
"The lady doesn't like the chickens."
“这位女士不喜欢鸡。”
It would be years before I was referred to as "she" again, and then very rarely and only as a joke by friends.
过了好几年，我才再次被称为“她”，然后很少，只是朋友们开玩笑。
I turn around to look at the man, making it quite clear to him that I understand what they are saying.
我转身看着那个男人，向他表明我明白他们在说什么。
The man who called me "she" avoids my eyes and busies himself with straightening a pile of crates and tightening the tarpaulin on the side of the truck.
那个叫我“她”的男人避开了我的目光，忙着整理一堆板条箱，拉紧卡车侧面的防水布。
"You're right," I tell him in Hebrew.
“你是对的，”我用希伯来语告诉他。
"She doesn't like the chickens."
“她不喜欢鸡。”
Have you ever had one of those moments when you know that you are being visited by your own future?
你是否曾经经历过这样的时刻：你知道自己的未来正在拜访你？
They come so rarely and with so little fanfare, those moments.
这些时刻很少出现，也很少大张旗鼓。
They're not particularly photogenic.
它们并不是特别上镜。
There's no breach in the clouds to reveal the shining city on a hill, no folk-dancing children outside your bus, no production values to speak of, just a glimpse of such quotidian, incontrovertible truth that after the initial shock at the supreme weirdness of it all, a kind of calm sets in.
云层中没有任何缝隙可以揭示山上闪亮的城市，公共汽车外没有跳民族舞蹈的孩子，没有可言的制作价值，只是瞥见了这样一种司空见惯、无可争议的事实，在对这一切极其怪异的最初震惊之后，一种平静开始了。
So this is to be my life.
所以这就是我的生活。
At that very moment, I saw that I would never live on a kibbutz.
就在那一刻，我意识到我永远不会生活在基布兹。
I would not lose my virginity that summer to any of the girls from the group.
那年夏天我不会把我的童贞给这个团体中的任何一个女孩。
Indeed, I would not care to do so.
确实，我不愿意这样做。
I am grateful to that macho blowhard.
我很感激那个大男子主义的吹牛者。
He made me consciously realize what I had always known but been somehow unable to say to myself.
他让我有意识地意识到我一直都知道但不知何故无法对自己说出来的事情。
He's right.
他是对的。
I don't like chickens.
我不喜欢鸡。
I like men.
我喜欢男人。
Now, I live in Manhattan, the un-kibbutz, where nobody would dream of touching a live chicken, where whatever spirit of collectivist altruism people might have had dried up long ago.
现在，我住在曼哈顿，一个非基布兹的地方，没有人会梦想碰一只活鸡，那里的人们的集体主义利他主义精神早已枯竭。
At camp, when I was young, I and the other children of affluent professionals would gather under the trees every day to sing before going into lunch.
在营地，当我年轻的时候，我和其他富裕专业人士的孩子每天都会在午餐前聚集在树下唱歌。
One of the songs was always "The Internationale," the hymn of the proletariat.
其中一首歌总是《国际歌》，无产阶级的赞歌。
One summer, we were even taught to sing it with our left fists raised.
有一年夏天，我们甚至被教举起左拳来唱这首歌。
We were, none of us, by any stretch of the imagination, what could be described as prisoners of starvation, wretched of the earth, or enthralled slaves.
不管怎么想，我们都不是饥饿的囚徒、地球上的不幸者或着迷的奴隶。
Admittedly, they are all catchier metaphors and easier to scan than, "Arise, ye children of psychiatrists," but they had little to nothing to do with us personally.
诚然，它们都是比“起来，精神病学家的孩子们”更吸引人的隐喻，更容易理解，但它们与我们个人几乎没有任何关系。
And yet, for those few moments when we were singing, those words seemed so true.
然而，在我们唱歌的那几分钟里，这些话似乎是那么真实。
How can I describe to you that 11-year-old's sense of purpose, that thrill of belonging to something larger, something outside of my own body, the sheer heart-stopping beauty of a world of justice and perfection rising on new foundations.
我该如何向你描述这个 11 岁孩子的使命感，那种归属于更大的事物、超越我自己身体的事物的兴奋感，以及在新的基础上崛起的正义和完美世界的纯粹的令人心碎的美丽。
And that one line, "We have been naught.
还有那句话：“我们什么都没有。
We shall be all."
我们将成为一切。”
Naught.
没有。
It spoke as much about my wish to be delivered from this pre-adolescent self-loathing as it did to any consciousness of liberating the masses.
它既表达了我希望摆脱这种青春期前的自我厌恶的愿望，也表达了我解放群众的任何意识。
But it held such promise of what I might hope for that even now, as I write this, I can still call up that old fervor.
但它承载了我所希望的希望，即使是现在，当我写下这篇文章时，我仍然可以唤起那种古老的热情。
It still makes my breath catch in my throat.
它仍然让我的呼吸卡在喉咙里。
Well, our program was produced today by Alix Spiegel and myself with Nancy Updike and Julie Snyder, contributing editors Paul Tough, Jack Hitt, Margy Rochlin, and Consigliere Sarah Vowell.
今天我们的节目由阿利克斯·斯皮格尔和我本人、南希·厄普代克和朱莉·斯奈德、特约编辑保罗·托夫、杰克·希特、玛吉·罗克林和顾问莎拉·沃威尔共同制作。
Production help from [?
来自 [?的生产帮助
Emmie Takehara, ?] Sylvia Lemus, and [?
埃米·竹原，？] 西尔维娅·莱姆斯，和 [？
Leah Pogatchnik.
利亚·波加奇尼克。
?]
？]
[ACKNOWLEDGMENTS] If you would like to buy a cassette of this program, call us here at WBEZ in Chicago, 312-832-3380.
[鸣谢] 如果您想购买该节目的磁带，请致电我们芝加哥的 WBEZ，电话：312-832-3380。
Our email address, [email protected] .
我们的电子邮件地址，[电子邮件受保护]。
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 by Torey Malatia, who describes the experience of listening to our radio program this way.
[资金来源] WBEZ 管理监督由 Torey Malatia 负责，他描述了以这种方式收听我们广播节目的体验。
You really, I think, fall into a bit of an existential crisis.
我认为，你确实陷入了某种生存危机。
What the hell am I doing?
我到底在做什么？
I'm Ira Glass, back next week with more stories of This American Life.
我是艾拉·格拉斯，下周回来，带来更多《美国生活》的故事。
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。