153: Dolls - 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 #153 | March 3, 2000 153: Dolls 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 153 集 | 2000 年 3 月 3 日 153：玩偶 注意：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 As a species, something drives us to want to make inanimate things seem alive.
序言 Ira Glass 作为一个物种，有些东西驱使我们想要让无生命的事物看起来有生命。
There are statues where the whole idea seems to be to create a simulation of soft skin and sheer billowing cloth out of rock-- literally, out of a rock-- as if to prove this, too, can be human.
有些雕像的整个想法似乎是用岩石——字面意思是用岩石——创造出柔软的皮肤和纯粹的滚滚布料的模拟——仿佛是为了证明这也可以是人类。
There is just something about that moment when Pinocchio stops being a few strung together pieces of wood and starts to seem like he's really a little boy.
那一刻，匹诺曹不再是几块串在一起的木头，而是开始看起来像一个真正的小男孩。
This week I caught a guy named Ronn Lucas, a ventriloquist who is best known for being able to make anything talk-- a banana, a box of breakfast cereal, a sock-- to ask him what he makes of all this.
这周我遇到了一个名叫罗恩·卢卡斯（Ronn Lucas）的口技表演者，他以能够让任何东西说话而闻名——一根香蕉、一盒早餐麦片、一只袜子——问他对这一切有何看法。
His dummies are named Buffalo Billy and Scorch.
他的假人被命名为 Buffalo Billy 和 Scorch。
When I'm on stage talking to my puppets, I believe they're real.
当我在舞台上与我的木偶交谈时，我相信它们是真实的。
I believe to the point, as an actor believes in his character.
我相信这一点，就像演员相信他的角色一样。
Charles Ludlam, of the Ridiculous Theater, had a dummy called Walter.
可笑剧院的查尔斯·卢德拉姆（Charles Ludlam）有一个名叫沃尔特（Walter）的假人。
And he wrote at one point about Walter, he sometimes says unexpected things.
他曾经写过关于沃尔特的文章，他有时会说一些意想不到的事情。
Does that happen with you, with Billy or Scorch?
你、比利或斯科奇也会遇到这种情况吗？
It has happened to me.
这事就发生在我身上。
There are a couple moments, too.
也有一些时刻。
I started to get through a breakthrough as a comedian.
作为一名喜剧演员，我开始取得突破。
I was working a series of comedy clubs.
我在一系列喜剧俱乐部工作。
And someone asked me if I would do a military club.
有人问我是否愿意开一个军事俱乐部。
And I said, yeah, sure, not knowing what I was getting into.
我说，是的，当然，但我不知道自己会遇到什么。
I worked for the enlisted men.
我为士兵工作。
And they were just really into what I was doing.
他们真的很喜欢我所做的事情。
But then I went over to the officer's club.
但后来我去了军官俱乐部。
And these guys were wild.
这些家伙很狂野。
I guess it's part of the responsibility of command, is that when you get to hang out just with other officers, you can let yourself go.
我想这是指挥责任的一部分，当你和其他军官一起出去玩时，你可以放松自己。
But performing, I couldn't do my script.
但表演时，我无法完成我的剧本。
I couldn't do the show I had planned.
我无法完成我计划的演出。
So I just started doing question and answer stuff.
所以我就开始做问答的事情。
Don Rickles, ethnic jokes, nothing that would really hurt anybody.
唐·里克斯（Don Rickles），种族笑话，没有什么会真正伤害任何人。
But I was picking on everybody equally.
但我对每个人都一视同仁。
I had to preface that before I got to where I-- So one guy was an officer.
在我说到这里之前，我必须先说一下这一点——所以有一个人是一名军官。
And he was from Puerto Rico.
他来自波多黎各。
I said hey, where are you from?
我说嘿，你是哪里人？
And the guy said, Puerto Rico.
那个人说，波多黎各。
And the dummy goes, how many Puerto Ricans does it take to screw in a light bulb?
假人说，需要多少波多黎各人才能拧上一个灯泡？
And I'm thinking to myself, why did I have him say that?
我在想，为什么我要让他这么说呢？
I don't have an answer.
我没有答案。
Then, in a wink, the dummy came up with an answer.
然后，眨眼之间，假人就给出了答案。
One funny enough to make an audience laugh in an officer's nightclub.
一个足以让军官夜总会里的观众发笑的笑话。
But I have to say, not so funny that I want to alienate our lovely multicultural audience.
但我不得不说，没那么好笑，我想疏远我们可爱的多元文化观众。
And why is it so pleasurable for something inanimate to suddenly become alive through a voice coming out of it?
为什么无生命的东西突然通过声音而变得活跃起来会如此令人愉悦？
It is fascinating to hold a fork in your hand and wonder what it would say.
手里拿着一把叉子，想知道它会说什么，这是一件很有趣的事情。
I found myself doing that not too long ago around a table with some other ventriloquists.
不久前，我发现自己和其他一些口技表演者在一张桌子旁这样做了。
And what did it say?
它说了什么？
Ronn Lucas And it said, your thumb is on my butt.
罗恩·卢卡斯 它说，你的拇指在我的屁股上。
Right.
正确的。
Of course.
当然。
Exactly.
确切地。
Ronn Lucas I treated it more like a person.
罗恩·卢卡斯（Ronn Lucas）我更像是把它当作一个人来对待。
I didn't think of it as a utility, or what it was going to do.
我并不认为它是一个实用程序，也不认为它会做什么。
I saw it as a human form.
我将其视为人类形态。
And my thumb was in the wrong place.
而且我的拇指放错了地方。
Which is exactly the point.
这正是重点。
Every object Ronn Lucas makes speak, he pretends is a person.
罗恩·卢卡斯说话的每一个物体，他都假装是一个人。
This is exactly what we're doing as a species all the time.
This is exactly what we're doing as a species all the time.
Turning things into people.
化物为人。
And it begins when we're children, playing with dolls.
And it begins when we're children, playing with dolls.
That's true for men and women.
对于男人和女人来说都是如此。
Today on our program, what that's all about.
今天我们的节目，就是这样。
From WBEZ Chicago and Public Radio International, it's This American Life.
来自芝加哥 WBEZ 和国际公共广播电台的《This American Life》。
I'm Ira Glass.
我是艾拉·格拉斯。
Today's show, stories of dolls, dolls of all sorts, and what is it all about?
今天的节目，娃娃的故事，各种各样的娃娃，到底讲了什么？
Act One, Thank Heaven for Little Girls-- Made of Plastic.
Act One, Thank Heaven for Little Girls-- Made of Plastic.
The story of a company that has figured out all the different ways that girls like dolls, and is trying to sell to nearly every single way they can think of.
一家公司的故事，该公司已经弄清楚了女孩喜欢玩偶的所有不同方式，并试图向她们能想到的几乎所有方式进行销售。
Act Two, You Know What Mr. Bear Would Say.
第二幕，你知道熊先生会说什么。
The author of a once-famous series of children's books about a doll, and how her life came to resemble a doll's.
曾经著名的系列儿童读物的作者，讲述了一个洋娃娃，以及她的生活如何变得与洋娃娃相似。
Act Three, The Boy Who Would Be a Helicopter.
第三幕，想要成为直升机的男孩。
Kindergarten teacher Vivian Paley tells the story of how, in this age when schools are eliminating the doll corner at younger and younger ages, it was playing with dolls that saved a kid in her class.
幼儿园老师维维安·佩利 (Vivian Paley) 讲述了这样的故事：在这个学校逐渐取消娃娃角的时代，正是玩娃娃拯救了班上的一个孩子。
Stay with us.
留在我们身边。
Act One, Thank Heaven for Little Girls-- Made of Plastic.
第一幕，感谢上帝赐予小女孩——塑料制成的。
About a year ago, here in Chicago, just around the corner from all the fanciest stores that you can find for a three state radius-- Niketown, and the Sony Gallery, and Neiman Marcus, and all those kind-- a company began an experiment in marketing dolls to little girls.
大约一年前，在芝加哥，就在三州范围内所有最高档商店的拐角处——耐克城、索尼画廊、内曼·马库斯等等——一家公司开始了一项向小女孩推销玩偶的实验。
They opened a store, the only one that they have opened anywhere.
They opened a store, the only one that they have opened anywhere.
This American Life producer Susan Burton headed down to American Girl Place.
This American Life producer Susan Burton headed down to American Girl Place.
It's American Girl Place, not American Girl store.
It's American Girl Place, not American Girl store.
The word place was what thrilled me before I had ever set foot inside.
The word place was what thrilled me before I had ever set foot inside.
It seemed to connote a project of such grand scale.
It seemed to connote a project of such grand scale.
Build a monument on the Magnificent Mile, and they will come.
Build a monument on the Magnificent Mile, and they will come.
You see them on Saturday afternoons downtown, swarms of little girls.
周六下午你会在市中心看到她们，一群群小女孩。
What you notice first is their shopping bags, which are bright, Crayola marker red with American Girl Place stamped in white across the side.
你首先注意到的是他们的购物袋，它们是明亮的 Crayola 红色标记，侧面印有白色的 American Girl Place 印记。
Austere, grown-up looking bags.
朴素、成熟的包包。
Even if the bags are large, banging against their legs, the girls tend to carry them by themselves.
Even if the bags are large, banging against their legs, the girls tend to carry them by themselves.
In good coats and tights and Mary Janes, they look like little girls pretending to be little girls.
In good coats and tights and Mary Janes, they look like little girls pretending to be little girls.
The question of what to wear to American Girl Place has clearly been given careful consideration.
The question of what to wear to American Girl Place has clearly been given careful consideration.
Some girls are dressed like their dolls.
有些女孩穿得像她们的洋娃娃。
I have the purple 2000 millennium outfit.
我有紫色的 2000 千年服装。
There are purple tights that are sparkly and a purple skirt that goes down to about my knees.
There are purple tights that are sparkly and a purple skirt that goes down to about my knees.
I have a purple tank top with a purple cardigan.
我有一件紫色背心和一件紫色开衫。
Whitney Robertson is 11 years old and came here from Saint Louis with her mother, Laura.
Whitney Robertson is 11 years old and came here from Saint Louis with her mother, Laura.
She has short blond hair, braces.
她有一头金色短发，戴着牙套。
She moves with a heightened formality.
她的动作非常正式。
It's as if she is wearing something magical and doesn't dare disturb the spell.
就好像她穿上了某种神奇的东西，不敢去打扰那咒语。
The most interesting thing is when she got her braces this year at Christmas time, she had to have purple-- what do you call them, spacers?
最有趣的是，当她今年圣诞节戴牙套时，她必须戴紫色的——你怎么称呼它们，垫片？
The purple rubber bands.
紫色橡皮筋。
Because I got my braces a few days after Christmas, so I knew I got the 2000 outfit.
因为圣诞节后几天我就戴上了牙套，所以我知道我买的是 2000 的衣服。
So that's the only reason I got purple.
所以这就是我变成紫色的唯一原因。
Otherwise would have gotten my favorite color, blue.
否则就会得到我最喜欢的颜色，蓝色。
Whitney and her mother have come to American Girl Place, not to Chicago, in the same way that you go to Disney World, rather than to Orlando.
Whitney and her mother have come to American Girl Place, not to Chicago, in the same way that you go to Disney World, rather than to Orlando.
This is Whitney's first time here.
这是惠特尼第一次来这里。
Her parents gave her the trip for Christmas.
她的父母给她安排了圣诞节旅行。
There was a series of presents.
有一系列的礼物。
The first one was a necklace that said, northern expressions.
第一个是一条项链，上面写着“北方表情”。
And I really didn't get it at the time, but it was a clue there we go north from Saint Louis.
And I really didn't get it at the time, but it was a clue there we go north from Saint Louis.
And then the next one was something from AG.
然后下一个是AG的东西。
I think it was a necklace.
我认为那是一条项链。
AG.
股份公司。
American Girl.
美国女孩。
Whitney Robertson And then the next one was airline tickets to the AG Place.
惠特尼·罗伯逊 (Whitney Robertson) 接下来是飞往 AG Place 的机票。
Whitney had this questioning look on her face, like, what?
惠特尼脸上带着疑问的表情，比如，什么？
And then it dawned on her.
然后她恍然大悟。
And she just went, oh my gosh, and started to cry.
她就走了，天哪，然后开始哭泣。
True.
真的。
Susan Burton In the store's first year, about 40% of it's million visitors have come from out of town.
苏珊·伯顿 (Susan Burton) 商店开业第一年，其百万访客中约 40% 来自外地。
This is retail as theme park.
这是零售主题公园。
Destination shopping.
目的地购物。
There is a concierge desk, coat checks on both the first and third floors.
一楼和三楼均设有礼宾台和衣帽寄存处。
There is a cafe, and a clothing department, a museum, and a live musical, loads of furniture and accessories, shelves of souvenirs, and, of course, the dolls themselves, which cost $82 each.
这里有一家咖啡馆、一个服装部门、一个博物馆、一场现场音乐剧、大量的家具和配件、纪念品货架，当然还有娃娃本身，每个娃娃售价 82 美元。
A former school teacher with a storybook name, Pleasant Rowland, thought up the American Girl dolls about 15 years ago.
大约 15 年前，一位名叫普莱森特·罗兰 (Pleasant Rowland) 的前学校老师发明了美国女孩娃娃。
There are six historic dolls.
有六个历史娃娃。
Each represents a different era, and is accompanied by a series of chapter books about her life and times.
每个人都代表了不同的时代，并附有一系列关于她的生活和时代的章节书。
Samantha, the most popular doll, is a Victorian girl.
最受欢迎的娃娃萨曼莎是维多利亚时代的女孩。
Molly misses her father, who is fighting in World War II.
莫莉想念她在第二次世界大战中战斗的父亲。
Addie escaped slavery and moved north to Philadelphia.
艾迪逃离了奴隶制，向北搬到了费城。
The girls are spunky and independent, and the books are full of historical detail.
女孩们勇敢而独立，书中充满了历史细节。
Quiting bees, suffragettes, victory gardens.
退出蜜蜂、妇女参政论者、胜利花园。
About 5 million dolls have been sold since 1986, mostly by catalog.
自 1986 年以来，已售出约 500 万个娃娃，其中大部分是通过目录销售的。
The company won't say to whom, but as a fourth grade teacher, Whitney's mother has noticed which girls tend to own the dolls.
该公司没有透露给谁，但作为一名四年级老师，惠特尼的母亲注意到哪些女孩倾向于拥有这些娃娃。
I teach in a poorer area outside of Saint Louis.
我在圣路易斯以外的贫困地区任教。
Most of the people would be lower middle class.
大多数人都是中下阶层。
I would say about 5% of my 9 to 10-year-olds right now.
我想说，现在我的 9 至 10 岁孩子中大约有 5% 是这样。
Now, my daughter's school, who is in the more middle class, maybe upper middle class, area, probably a good 80%--
现在，我女儿的学校，属于中产阶级，也许是上中产阶级，地区，可能有 80%——
80%.
80%。
Out of the whole school.
整个学校都出来了。
Laura Robertson Out of the whole school.
劳拉·罗伯逊 整个学校都出去了。
Yes.
是的。
Because you'll see them wearing the t-shirts.
因为你会看到他们穿着 T 恤。
You'll see them carrying the dolls.
你会看到他们拿着娃娃。
And they talk about it a lot.
他们谈论了很多。
And it's a big thing.
这是一件大事。
The crowd in the store seems well off.
店里的人群看起来很富裕。
Mostly, but not entirely, white.
大部分但不完全是白色。
One girl, who must be all of seven, with elegant upswept hair and a long burgundy coat, carries her wire shopping basket around all day with the authority of a duty free heiress.
一个女孩，已经七岁了，留着优雅的上翘头发，穿着一件酒红色长外套，整天提着铁丝购物篮，带着免税女继承人的权威。
Whitney didn't even like dolls, her mother tells me, until she got the first Samantha book three years ago.
惠特尼的母亲告诉我，她甚至不喜欢洋娃娃，直到三年前她收到第一本萨曼莎的书。
The history drew Whitney into the doll.
这段历史将惠特尼吸引到了这个娃娃中。
And lots of other girls I talked to do seem to genuinely like, and learn from, the books.
和我交谈过的许多其他女孩似乎真的很喜欢这些书，并从中学习。
But mostly, the girls play with these dolls the way they play with any dolls.
但大多数情况下，女孩们玩这些娃娃就像玩任何娃娃一样。
They insert them into various domestic dramas.
他们将它们插入到各种国产剧中。
New school.
新学校。
Orphan.
孤儿。
The universally popular "my girl's coming over to your girl's house."
广为流传的“我的姑娘要到你姑娘家来”。
And they do their hair.
他们做头发。
I hear that the problem with Molly is that her pigtails always fall out, that most girls prefer to undo Kirsten's braids.
我听说莫莉的问题是她的辫子总是掉下来，大多数女孩都喜欢解开克尔斯滕的辫子。
You get a little piece of the hair, and you brush it from the underside with a certain kind of brush for five minutes.
你取一小块头发，用某种刷子从下面刷五分钟。
And then it turns out more shiny than it was, and it won't be as frizzy.
然后它会变得比原来更有光泽，而且不会那么卷曲。
The ingenious thing about American Girl Place is not only that they seem to understand what a girl wants to do when she plays with her doll, but that they know how to participate in the game with her.
American Girl Place的巧妙之处不仅在于他们似乎明白女孩玩洋娃娃时想做什么，而且还知道如何与她一起参与游戏。
It's as if the marketers have stepped into the center of a girl's dream and are selling to her from a perch in her own unconscious.
就好像营销人员已经走进了一个女孩梦想的中心，并在她自己的无意识中向她推销。
The doll hair care products in this store rival a beauty salon's offerings.
这家店里的娃娃护发产品可与美容院的产品相媲美。
Employees roam the floor, dispensing styling tips.
员工们在地板上走来走去，分发造型技巧。
Frizzy.
卷曲。
Laura Robertson The lady was showing them down there how to brush their hair, and how they could put it up into little curlers.
劳拉·罗伯逊 这位女士正在那里向他们展示如何梳理头发，以及如何将头发扎成小卷发器。
And put water on it, and it would be shinier and it would be curly.
然后浇上水，它就会更闪亮，而且会卷曲。
I mean, they were taking the time to do this down there.
我的意思是，他们花时间在那里做这件事。
Unbelievable.
难以置信。
American Girl Place knows what girls want.
American Girl Place 知道女孩想要什么。
And these days, this includes a look-alike doll.
如今，其中包括一个看起来很像的洋娃娃。
The American Girls of Today are available in 20 different skin, hair, and eye color combinations.
《今日美国女孩》有 20 种不同的皮肤、头发和眼睛颜色组合。
Almost every single girl I talked to with a Today doll says she picked the one she did because it looked like her.
几乎每一个和我聊过“Today”娃娃的女孩都说，她选择这个娃娃是因为它看起来像她。
And the Today accessories are varied enough to allow any girl to pursue her particular obsession.
Today 的配饰种类繁多，足以让任何女孩都能追求自己独特的痴迷。
I'm pretty set, because I knew I wanted the wheelchair and the cast.
我已经准备好了，因为我知道我想要轮椅和演员。
I've been wanting one for about a year.
我想要一个已经有一年了。
True.
真的。
We're not sure why.
我们不确定为什么。
The medical thing.
医疗的事情。
I don't know.
我不知道。
--husky right there.
——哈士奇就在那里。
Susan Burton That's Carrie.
苏珊·伯顿 那是嘉莉。
She's eight.
她八岁了。
She and her sister got the wheelchair yesterday.
她和她姐姐昨天拿到了轮椅。
They've come back for the Apres-Ski set, which includes a tic-tac-toe board, a tiny thermos, and, most important, a bright yellow cast.
他们回来购买滑雪后套装，其中包括井字棋盘、小保温瓶，以及最重要的亮黄色铸件。
They also want the dog sled, for accidents.
他们还想要狗拉雪橇，以防发生意外。
They were in the midst of a complicated disaster narrative.
他们正处于一场复杂的灾难叙述之中。
A sort of Wild America meets Little House docudrama, which they began during their car trip to Chicago.
一部《狂野美国》与《小房子》的纪录片，是他们在去芝加哥的汽车之旅中开始拍摄的。
Carrie needs the cast for a related story.
《嘉莉》需要相关故事的演员阵容。
Because we're playing a game.
因为我们在玩游戏。
And they're going on a camping trip.
他们要去野营旅行。
Horseback riding.
骑马。
And on the way back, she falls and gets stomped on the leg.
在回来的路上，她摔倒了，腿被踩到了。
Then there are the collectors, the mint in boxers.
然后是收藏家、平角内裤的铸币厂。
By making the dolls collectible, American Girl Place can keep girls buying dolls long past the age they normally would.
通过使娃娃具有收藏价值，American Girl Place 可以让女孩们在超过正常年龄后购买娃娃。
Their families can be a little spooky.
他们的家人可能有点令人毛骨悚然。
I meet one grandmother who pulls from her handbag photographs of her granddaughter's closet.
我遇到一位祖母，她从手提包里拿出她孙女衣柜的照片。
Yes, photos of a closet, filled with American Girl accessories.
是的，壁橱的照片，里面装满了美国女孩的配饰。
The stepgrandmother, who is also in the store, tells me that the girl has everything for Kirsten.
继祖母也在店里，她告诉我这个女孩为克尔斯滕准备了一切。
For a while there, she thought that this was too babyish for her, so got out of it.
有一段时间，她觉得这对她来说太幼稚了，所以就离开了。
But then I think she has realized that this is something that you collect, and you can just enjoy your whole life, really.
但后来我想她已经意识到这是你收集的东西，你可以享受你的一生，真的。
I was telling her about Demi Moore, that she has a collection of dolls, and she has a special house for all her dolls.
我告诉她关于黛米·摩尔的事，她收藏了很多洋娃娃，而且她有一个专门的房子来存放她所有的洋娃娃。
So it's just a nice hobby.
所以这只是一个很好的爱好。
Downstairs on the first floor, Whitney and her mother look at the dioramas.
在一楼楼下，惠特尼和她的母亲正在观看立体模型。
There are glassed-in living rooms filled with period furniture, one for each historic character, and display cases of accessories and clothing.
带玻璃的起居室里摆满了仿古家具，每个历史人物都有一件，还有配饰和服装的展示柜。
Samantha's bathing outfit.
萨曼莎的泳衣。
How would you like to be over at Lake Carlyle in the summer, when it's 104, and have to wear something like that?
夏天气温为 104 度时，你会喜欢在卡莱尔湖度过，并且必须穿这样的衣服吗？
Girls move past the dioramas in chronological order, as if in a museum.
女孩们按照时间顺序走过立体模型，就像在博物馆里一样。
But not in a desultory field trip shuffle.
但不是在断断续续的实地考察中。
They love this stuff.
他们喜欢这个东西。
A girl dressed as Samantha lingers before Samantha's showcase, posing for pictures, staring at the doll's nightstand and her tiny copy of The Wizard of Oz.
一个打扮成萨曼莎的女孩在萨曼莎的陈列柜前徘徊，摆姿势拍照，盯着娃娃的床头柜和她的小本《绿野仙踪》。
These items are called realia, which is the perfect word to describe what's so compelling about American Girl.
这些物品被称为“realia”，这个词完美地描述了《美国女孩》的魅力所在。
Everything you buy makes the world of the doll more real.
您购买的所有物品都让娃娃的世界更加真实。
It makes her more real, which is what a lot of girls wish about their dolls.
这让她更加真实，这也是很多女孩对娃娃的期望。
And now, our last contestant, Miss Samantha Parkington.
现在，我们的最后一位参赛者是萨曼莎·帕金顿小姐。
In the musical review-- the theater is just past the dioramas-- the dolls are literally brought to life, channeled through six rosy-cheeked, middle school-age girls who act out stories the audience already knows from the American Girl books.
在音乐评论中——剧院就在立体模型后面——通过六个脸颊红润的中学生女孩的表演，娃娃们被赋予了生命，她们表演了观众从《美国女孩》书中已经知道的故事。
After the musical, I have tea with Whitney and her mother.
音乐剧结束后，我与惠特尼和她的母亲一起喝茶。
The cafe is elegant, in a cartoonish way.
咖啡馆很优雅，有一种卡通风格。
Dark pink carpet, lamps studded with plastic Gerbera daisies, overstuffed striped chairs.
深粉色地毯、镶满塑料非洲菊雏菊的灯、加厚条纹的椅子。
There is a harpist playing a Backstreet Boys song.
有一位竖琴手正在演奏后街男孩的歌曲。
Scones and tea sandwiches are served on tiered platters.
烤饼和茶三明治盛在分层的浅盘上。
Girls sip from iced pink lemonade.
女孩们喝着冰镇粉红柠檬水。
They sit up straight.
他们坐直了。
They're giggly and polite.
他们咯咯笑，很有礼貌。
There is a way in which the whole American Girl Place experience seems orchestrated around this moment, that hour when a girl plays out her own story book scene, steps into the illustration.
在某种程度上，整个美国女孩广场的体验似乎都是围绕这一刻精心策划的，即当一个女孩表演她自己的故事书场景时，走进插图。
Whitney evaluates the menu.
惠特尼评估菜单。
Then she says this.
然后她说了这句话。
In the theater and in the American Girl Place, the employees make the dolls feel like they're real, and make you feel like they're real.
在剧院和美国女孩广场，工作人员让娃娃感觉像真的一样，让你感觉它们是真的。
And it's really, really neat.
它真的非常非常整洁。
What do they do that makes the dolls feel real?
他们做了什么让娃娃感觉真实？
In the tea and the lunch, in the cafe room, they get a chair for the doll, and if she has a dress on, fix the dress and set her in it, and then put her on the table.
在喝茶和吃午饭的时候，在咖啡厅里，他们为娃娃准备一把椅子，如果她穿了衣服，就把衣服修好，把她放在里面，然后把她放在桌子上。
Almost everyone in the room clips one of these miniature chairs to her table.
房间里几乎每个人都将其中一把微型椅子夹在桌子上。
The girl at the table next to us neatly hangs Molly's winter coat over the back.
我们邻桌的女孩把莫莉的冬衣整齐地挂在背后。
And even though the chairs are for sale outside for $25, there's something lovely about seeing everyone engaged in the same game of pretend together.
尽管这些椅子在外面以 25 美元的价格出售，但看到每个人一起玩同一个假装游戏还是很可爱的。
Whitney is on the upper end of the American Girl demographic.
惠特尼属于美国女孩中的上层。
She says that in sixth grade, a lot of kids think that dolls are babyish, that she doesn't take her around too many places.
她说，六年级时，很多孩子认为洋娃娃很幼稚，她不会带她去太多地方。
And as she gives Samantha a sip from a tiny teacup, slips the napkin holder-- that also serves as a scrunchy-- into her hair, it's clear that one of the things she likes so much about the store is that it's a public space for playing dolls, maybe the only such place anywhere.
当她用小茶杯给萨曼莎喝了一口，然后将餐巾架（也可用作发圈）塞进她的头发时，很明显，她非常喜欢这家商店的原因之一是，这是一个玩娃娃的公共空间，也许是世界上唯一这样的地方。
It's almost 5 o'clock when we finish tea.
喝完茶已经快五点了。
And Whitney has to make her last purchases.
惠特尼必须进行最后一次购买。
She heads to the American Girl of Today room, which is the only place in the store where you see packs of seven-year-old girls shopping without their mothers.
她前往“今日美国女孩”房间，这是商店中唯一可以看到成群结队的七岁女孩在没有母亲陪伴的情况下购物的地方。
The atmosphere is that of a slumber party gone awry.
气氛就像一场出了差错的睡衣派对。
The walls are painted black.
墙壁被漆成黑色。
It feels like a night club for little girls.
感觉就像是小女孩的夜总会。
Whitney wants to get a fleece jacket for her doll, one that looks exactly like a fleece jacket from the Gap would if you threw it in the dryer for a month.
惠特尼想为她的洋娃娃买一件羊毛夹克，如果你把它扔进烘干机一个月，它看起来就和 Gap 的羊毛夹克一模一样。
You sure that's absolutely what you want?
你确定这绝对是你想要的吗？
Yep.
是的。
Laura Robertson But it's not a theme outfit.
劳拉·罗伯逊但这不是主题服装。
I thought you wanted another theme outfit.
我以为你想要另一套主题服装。
A theme outfit means an historical outfit.
主题服装意味着历史服装。
Whitney's mother is pushing for the educational experience.
惠特尼的母亲正在推动教育体验。
We take the escalators down two floors to the turn of the century Samantha clothing.
我们乘自动扶梯下了两层楼，来到了世纪之交的萨曼莎服装店。
Whitney points at a striped dress with a pinafore.
惠特尼指着一件带围裙的条纹连衣裙。
That's the birthday outfit.
这就是生日服装。
The pink-striped dress with the little pinafore thingy over it.
粉色条纹连衣裙，上面有一件小围裙。
I like that one.
我喜欢那个。
$22.
22 美元。
Whitney Robertson But I also like the plaid cape and gaiters.
Whitney Robertson 但我也喜欢格子斗篷和绑腿。
I thought you liked the blue dress in the back?
我以为你喜欢后面那件蓝色的裙子？
I do.
我愿意。
But I like the regular clothes up there better.
但我更喜欢那里的普通衣服。
We head back up to the American Girl of Today room.
我们回到“今日美国女孩”房间。
Girls pulling out boxes, trying on slippers, crowding the aisles in a final shopping frenzy.
女孩们拿出盒子，试穿拖鞋，挤满过道，进行最后的购物狂潮。
This is the only thing in the store that's not a game of make believe believe.
这是商店里唯一不是虚幻游戏的东西。
Buying.
购买。
What's the decision?
决定是什么？
Whitney Robertson I want the regular clothes, the AG of Today.
惠特尼·罗伯逊（Whitney Robertson） 我想要常规服装，即今日的 AG。
Whitney shows us her final pick.
惠特尼向我们展示了她的最终选择。
It's an outfit the girls wore in the musical's finale, white overalls emblazoned with a silver star.
这是女孩们在音乐剧结局中穿的一套衣服，白色工装裤上饰有一颗银色星星。
She also has a doll-sized American Girl Place t-shirt and a snow dome that trills a song from the musical.
她还有一件娃娃尺寸的 American Girl Place T 恤和一个雪穹顶，上面会响起音乐剧中的一首歌曲。
These accessories aren't about history, or anything other than the experience of coming to the store.
这些配饰与历史无关，与来到商店的体验无关。
The brand itself.
品牌本身。
One thing Whitney likes about the outfit she has bought for her doll, she tells me, is that it comes with a miniature red shopping bag stamped with the words American Girl Place.
惠特尼告诉我，她为娃娃买的这套衣服有一点让她喜欢，那就是它配有一个小型红色购物袋，上面印有“American Girl Place”字样。
The cashier puts Whitney's items into a bright red sack of her own.
收银员将惠特尼的物品放入她自己的鲜红色袋子中。
And she and her mother head out to Michigan Avenue.
她和她的母亲前往密歇根大道。
Susan Burton.
苏珊·伯顿。
[MUSIC - "AMERICAN GIRL," TOM PETTY AND THE HEARTBREAKERS]
[音乐 - “美国女孩”，汤姆·佩蒂和伤心者乐队]
Act Two, You Know What Mr. Bear Would Say.
第二幕，你知道熊先生会说什么。
There is a children's book that just came back in print that is truly one of the most remarkable books I have ever seen, the kind of book that all this week, whenever anybody from our staff mentioned the book to somebody who happened to have read it as a child, there was actually this bonding moment.
有一本刚刚出版的儿童读物，它确实是我见过的最了不起的书之一，这周，每当我们工作人员中的任何人向小时候碰巧读过这本书的人提到这本书时，实际上就有了这种亲密的时刻。
That's the only way to describe it.
这是唯一的描述方式。
There would be a bonding moment, and then excited stories about what the book meant to them as a kid.
会有一段亲密的时刻，然后是关于这本书对他们小时候的意义的激动人心的故事。
Jean Nathan tells the story of the book and its author, and how the author's life came to resemble something from her book.
吉恩·内森（Jean Nathan）讲述了这本书及其作者的故事，以及作者的生活如何与她书中的某些内容相似。
It was in the spring of 1997 that the artist's image floated into my mind, the cover of a children's book I hadn't seen, or even thought of, in more than 30 years.
1997年春天，这位艺术家的形象浮现在我的脑海中，那是一本我30多年没有见过、甚至没有想到过的儿童读物的封面。
There it lodged, and there it remained.
它停在那里，一直留在那里。
It felt as if it were a message, and its insistence startled me.
感觉就像是一条信息，它的坚持让我吃了一惊。
After all, I live among the grown-ups now.
毕竟我现在生活在大人中间。
But the image just kept flashing in my mind.
但那个画面一直在我脑海中闪现。
Pink and white gingham inset with a black and white photograph of Edith, the lonely doll, an open book between her spread, outstretched legs.
粉色和白色的格子布上镶嵌着伊迪丝的黑白照片，这个孤独的娃娃，她张开的双腿之间夹着一本打开的书。
My own copy of The Lonely Doll was long lost.
我自己的《孤独的娃娃》早已丢失。
And I soon learned from a bookstore clerk, who gave me the name of the author, Dare Wright, that the book was out of print.
很快我就从书店店员那里得知，这本书已经绝版了，他告诉了我作者的名字，戴尔·赖特 (Dare Wright)。
The New York Public Library's computer listed three copies, all damaged or missing.
纽约公共图书馆的计算机列出了三份副本，全部损坏或丢失。
When I called a children's book searcher listed in the phone book, she said she knew the book well, and would add my name to her waiting list.
当我打电话给电话簿中列出的儿童图书搜索者时，她说她很了解这本书，并将把我的名字添加到她的等候名单中。
Meaning to close the phone book, I found myself turning distractedly to the listings for the name Wright.
正想合上电话簿，我发现自己心烦意乱地翻到了赖特这个名字的列表。
And there, jumping out at me from blurred columns of typeface, was Wright, Dare.
在那里，从模糊的字体栏里跳出来的是赖特，敢于。
11 East 80th Street, 249-6965.
东 80 街 11 号，249-6965。
I don't think I could have been any more amazed if the address given had been, say, second to the right, and then straight on till morning, Peter Pan's address on the island of Neverland.
如果给出的地址是，比如说，右边第二个，然后一直到早上，彼得·潘在梦幻岛的地址，我想我不会再感到惊讶了。
In the weeks to come, I dialed the number several times.
在接下来的几周里，我多次拨打了这个号码。
There was never an answer.
始终没有答案。
I also sent a letter expressing how much the book had meant to me as a child, and asking if she knew where I could find a copy.
我还写了一封信，表达了这本书对我小时候的意义，并询问她是否知道我在哪里可以找到一本。
Several months later, I finally received The Lonely Doll from the book searcher.
几个月后，我终于收到了寻书人寄来的《孤独的娃娃》。
Illustrated with black and white photographs, The Lonely Doll is the story of a doll named Edith, mired in loneliness, seemingly parentless, eating her cereal alone, going to bed alone, begging some pigeons on the windowsill to be her friends, and watching as they just fly away.
《孤独的玩偶》以黑白照片作为插图，讲述了一个名叫伊迪丝的玩偶的故事，她深陷孤独之中，似乎没有父母，独自吃麦片，独自上床睡觉，乞求窗台上的一些鸽子做她的朋友，然后看着它们飞走。
One morning, two teddy bears, Mr. Bear and Little Bear, appear in her garden.
一天早上，两只泰迪熊，熊先生和小熊，出现在她的花园里。
They tell her they've come to be her friends.
他们告诉她，他们是来成为她的朋友的。
They move right in.
他们就搬进去了。
Home alone, one rainy day, Edith and Little Bear discover, behind a set of louvered doors, a grown-up woman's closet and dressing room.
一个下雨天，伊迪丝和小熊独自在家，在一扇百叶窗门后面发现了一个成年女性的衣柜和更衣室。
The identity of the woman, and her absence, are never explained.
这名女子的身份以及她的缺席从未得到解释。
She might be Edith's mother, but from all indications Edith has no mother.
她可能是伊迪丝的母亲，但从种种迹象来看，伊迪丝没有母亲。
A frenzied dress-up session follows, in which Edith and Little Bear adorn themselves with rhinestones and pearls, a petticoat, and a hat with roses and ribbons, high-heeled shoes, a leopard handbag.
接下来是疯狂的装扮环节，伊迪丝和小熊用水钻和珍珠、衬裙、带有玫瑰和丝带的帽子、高跟鞋和豹纹手提包来装饰自己。
In their recklessness, they knock over a vase with one long-stemmed rose.
他们鲁莽行事，打翻了装有一朵长茎玫瑰的花瓶。
The water spills into a jewelry box, but they are oblivious.
水溅进了珠宝盒，但他们却浑然不觉。
Wielding a fully swiveled out lipstick, Little Bear goads Edith to put it on.
小熊挥舞着一支完全旋转出来的口红，怂恿伊迪丝涂上它。
She says she wouldn't dare.
她说她不敢。
You know what Mr. Bear would say.
你知道熊先生会说什么。
Then, just as Little Bear uses the lipstick to scrawl "Mr. Bear is just a silly old thing" across the oval mirror, who should appear but Mr. Bear.
然后，正当小熊用口红在椭圆形镜子上写下“熊先生只是个愚蠢的老东西”时，除了熊先生之外，应该出现的是谁。
Spankings ensue, but the deeper issue striking terror in Edith is that her disobedience could jeopardize the whole arrangement, and that Edith would be, once again, abandoned and lonely.
打屁股随之而来，但让伊迪丝感到恐惧的更深层次的问题是，她的不服从可能会危及整个安排，伊迪丝将再次被抛弃和孤独。
Yet when the little ones clean up the mess and promise never to do it again, Mr. Bear solemnly promises that he and Little Bear will stay with her forever and ever.
然而，当小家伙们收拾残局并承诺不再这样做时，熊先生郑重承诺，他和小熊将永远和她在一起。
About the time the book arrived, I received a phone call from a woman named Brooke Ashley.
大约在这本书到达的时候，我接到了一位名叫布鲁克·阿什利（Brooke Ashley）的女士打来的电话。
She said my letter had been forwarded to her in California.
她说我的信已转交给加利福尼亚的她。
She said she was Dare's unofficial goddaughter and legal guardian, and that Dare, now 84, was in a hospital on life support.
她说她是戴尔的非官方教女和法定监护人，戴尔现年 84 岁，正在医院靠生命维持系统维持生命。
She said she was coming to New York to begin closing up Dare's apartment.
她说她来纽约是为了开始关闭戴尔的公寓。
Did I want to meet her at 11 East 80th Street?
Did I want to meet her at 11 East 80th Street?
When I arrived at the apartment, Brooke met me at the door and led me to the living room.
当我到达公寓时，布鲁克在门口迎接我，并带我到客厅。
I was spellbound.
我被迷住了。
The living room was filled with portraits, some life-sized, of a beautiful blond woman.
客厅里摆满了一位美丽的金发女郎的肖像，有些是真人大小的。
That's Dare, Brooke said.
That's Dare, Brooke said.
They were all painted by her mother.
They were all painted by her mother.
Dare, I was shocked to realize, looked very much like Edith, the lonely doll.
我震惊地发现，“敢”看起来很像伊迪丝，那个孤独的娃娃。
And Edith, I learned, was named for Dare's mother.
据我所知，伊迪丝是以戴尔母亲的名字命名的。
As I left, Brooke gave me Dare's fat, leather-bound scrapbook, containing the record of her publishing career, including jacket covers, reviews, and other articles relating to the first 12 of her 19 books for children.
当我离开时，布鲁克给了我戴尔厚厚的皮革封面剪贴簿，其中包含她出版生涯的记录，包括封面、评论和其他与她 19 本书中的前 12 本书相关的文章。
The Lonely Doll was her first book.
The Lonely Doll was her first book.
I had never known of the rest.
其余的我一无所知。
The Lonely Doll received mountains of publicity when it was first published in 1957.
《孤独的玩偶》于 1957 年首次出版时，受到了广泛的关注。
It was serialized in Good Housekeeping.
It was serialized in Good Housekeeping.
It climbed the children's best seller list in the New York Times.
它登上了《纽约时报》儿童畅销书排行榜。
It was translated into 6 foreign languages, and remained in print, in various formats, for 35 years.
它被翻译成 6 种外语，并以各种格式印刷了 35 年。
I sorted through the piles of clippings and photographs I had been given by Brooke.
我整理了布鲁克给我的一堆剪报和照片。
Mostly, they were photographs of Dare.
Mostly, they were photographs of Dare.
There were magnificent photos of Dare playing dress-up in elaborate costumes.
有一些 Dare 穿着精致服装进行装扮的华丽照片。
But the most startling ones depicted Dare across a spectrum of ages in what could be described as undress, or partially so.
但最令人震惊的作品描绘了各个年龄段的敢于脱衣，或者部分脱衣。
These photos were just as posed as those of her in costume.
这些照片的姿势和她穿着戏服的照片一模一样。
Dare, as I just began to discover, had lived in her own version of a wonderland.
我刚刚开始发现，黛尔曾生活在她自己的仙境中。
I spent the next two years talking to anyone I could find who knew her, trying to make sense of the world I had stumbled into.
在接下来的两年里，我和所有我能找到的认识她的人交谈，试图理解我偶然进入的世界。
In 1917, when Dare was three, her parents divorced.
1917 年，当戴尔三岁的时候，她的父母离婚了。
Her father was given custody of Dare's five-year-old brother, Blaine.
她的父亲获得了戴尔五岁弟弟布莱恩的监护权。
Her parents seem to have made a pact that the brother and sister should never see each other again.
她的父母似乎已经做了一个约定，兄妹俩永远不会再见面。
Dare and her mother moved to Cleveland, Ohio.
Dare and her mother moved to Cleveland, Ohio.
Her mother put a doll made by the Italian company Lenci on will call at Halle Brothers, a department store near their home, until she could make the full $11.50 payment.
她的母亲将意大利公司 Lenci 生产的娃娃放在家附近的 Halle Brothers 百货公司，直到她付清 11.50 美元。
The two named the doll Edith.
The two named the doll Edith.
Edie, as Dare's mother was known, was a portrait painter of some renown.
戴尔的母亲伊迪（Edie）是一位颇有名气的肖像画家。
Those who sat for her included Winston Churchill, Calvin Coolidge, and Greta Garbo.
为她坐席的人包括温斯顿·丘吉尔、卡尔文·柯立芝和葛丽泰·嘉宝。
And in 1924, one of her subjects offered her the use of the penthouse of his Cleveland office building as her studio.
1924 年，她的一位拍摄对象向她提供了克利夫兰办公楼的顶层公寓作为她的工作室。
For the next 45 years, its 1,500 square feet with a northern exposure skylight would be her home.
在接下来的 45 年里，这座 1,500 平方英尺、带有朝北天窗的房子将成为她的家。
The same year she moved in, Edie enrolled Dare as a boarding student in a private girls' school.
搬进来的同一年，伊迪在一所私立女子学校招收了戴尔作为寄宿生。
Dare graduated from high school in 1934 and moved to New York to attend drama and art school.
1934 年，戴尔高中毕业，搬到纽约就读戏剧和艺术学校。
She didn't know that her brother, Blaine, was also living in the city.
她不知道她的哥哥布莱恩也住在城里。
Their uncle orchestrated a reunion in Central Park of the 22-year-old tall, handsome Blaine and the 19-year-old newly-golden Dare.
他们的叔叔精心策划了 22 岁高大英俊的布莱恩和 19 岁的新金童戴尔在中央公园的重聚。
According to one of Dare's cousins, Blaine and Dare fell in love.
据戴尔的一位堂兄弟说，布莱恩和戴尔坠入爱河。
They even considered concealing their brother and sister relationship in order to marry, an idea they eventually dropped.
他们甚至考虑过为了结婚而隐瞒兄妹关系，但最终放弃了这个想法。
Dare tried, with little success, to be an actress, and then went on to work as a fashion model, including a stint as the Maidenform bra girl.
戴尔尝试成为一名演员，但收效甚微，然后继续担任时装模特，还曾担任过 Maidenform 胸罩女孩。
Soon she switched to the other side of the camera, and her fashion photography began appearing in Vogue, Harper's Bazaar, and Town and Country.
很快她就转向了相机的另一边，她的时尚摄影开始出现在《Vogue》、《Harper's Bazaar》和《Town and Country》上。
In the early '40s, Blaine introduced Dare to a British friend of his, named Philip Sandeman, whose family produced port and sherry.
四十年代初期，布莱恩将戴尔介绍给了他的一位英国朋友菲利普·桑德曼 (Philip Sandeman)，他的家族生产波特酒和雪利酒。
Though tall, blond, and dazzlingly beautiful, Dare was strangely childlike, avoidant, and shy, and seemed somehow confused by her powers over men.
尽管戴尔身材高大，金发碧眼，美丽得令人眼花缭乱，但她却异常孩子气、回避和害羞，而且似乎对自己对男人的力量感到困惑。
Philip was ideal for Dare.
Philip was ideal for Dare.
Throughout their five year courtship, he remained at a safe distance.
在他们五年的求爱过程中，他始终保持着安全距离。
First there was the war, and afterward he lived across the ocean.
先是战争，后来他漂洋过海。
They were engaged, but a week before the wedding, Philip called things off.
他们订婚了，但婚礼前一周，菲利普取消了婚礼。
In the years that followed, Dare's close friend, Donald Sewell, said, men always did beat a path to her door.
戴尔的密友唐纳德·休厄尔说，在接下来的几年里，男人们确实总是挤到她家门口。
Dare wasn't interested.
不敢有兴趣。
She never seemed quite of this world, he said.
She never seemed quite of this world, he said.
She was ethereal, somehow above normal courtship.
她很飘逸，某种程度上超出了正常的求爱方式。
Throughout all of this, Dare seems to have hung onto the dream that Philip would come back to her.
在这一切过程中，黛尔似乎一直坚持着菲利普会回到她身边的梦想。
Edie no doubt fanned this fantasy.
Edie no doubt fanned this fantasy.
Dare sent Philip's mother photographs of alluring portraits Edie painted of her in this period.
戴尔向菲利普的母亲发送了伊迪在这一时期为她画的迷人肖像的照片。
In all of them, Dare had posed in low-cut white gowns.
在所有这些照片中，戴尔都穿着低胸白色礼服摆出姿势。
Edie also did many portraits of Philip, painting him from Dare's photographs.
伊迪还根据戴尔的照片为菲利普画了许多肖像。
These were signed by both mother and daughter.
These were signed by both mother and daughter.
Dare also staged elaborate photographs of herself, seated at her dressing table, a sort of shrine to Philip, with a pencil drawing of him that she had sketched, and a bottle of Sandeman sherry.
黛尔还精心制作了自己的照片，坐在梳妆台前，梳妆台就像是菲利普的神殿，上面放着她用铅笔画的菲利普素描，还有一瓶桑德曼雪利酒。
Clutched in her hands is a letter he had sent to her.
她手里攥着他写给她的一封信。
She is turned, glancing at the camera wistfully, hopefully.
她转过身，满怀希望地望着镜头。
But in 1951, at the age of 30, Philip was killed flying in a demonstration airshow.
但 1951 年，30 岁的菲利普在一次飞行表演中不幸身亡。
After Philip's death, Dare rented her first New York apartment, having lived until then in a series of hotel rooms.
菲利普去世后，黛尔租下了她在纽约的第一套公寓，在此之前她一直住在一系列酒店房间里。
She hung her portraits of Philip throughout the apartment, with one by the front door.
她在整个公寓里挂满了菲利普的肖像，其中一张挂在前门。
She made voluminous drapes for the windows and installed smoked glass mirrors.
她为窗户制作了厚重的窗帘，并安装了烟色玻璃镜。
Her all-white boudoir was fitted out with a taffeta canopied princess bed.
她的全白色闺房里配有一张塔夫绸带天篷的公主床。
And next to that, set off by louvered doors, was a dressing room with a vanity table, an oval mirror, and a large closet.
旁边是一间更衣室，里面有百叶窗门，里面有梳妆台、椭圆形镜子和一个大衣柜。
Dare and her mother were virtually inseparable.
Dare and her mother were virtually inseparable.
Dare made frequent visits to her mother's penthouse in Cleveland.
戴尔经常去她母亲位于克利夫兰的顶层公寓。
And Edie spent at least one week a month in New York with Dare, sleeping, as was their custom, in the same bed.
伊迪每个月至少在纽约呆上一周，和戴尔一起睡在同一张床上，这是他们的习惯。
They seemed to have no idea of the oddness of this arrangement.
他们似乎并没有意识到这种安排的奇怪之处。
As Edie told Brooke, I reach over and pat her little bottom in the night.
正如伊迪告诉布鲁克的那样，我在夜里伸手拍拍她的小屁股。
Now that Dare had her own apartment, Edie sent along her belongings, including her childhood dolls.
现在戴尔有了自己的公寓，伊迪把她的物品都寄了过来，包括她童年的玩偶。
After the first, and biggest, trauma of Dare's life, losing her father and brother, consolation had come in the form of Edith, her doll.
在戴尔一生中第一次也是最大的创伤——失去了父亲和兄弟——之后，她的玩偶伊迪丝给了她安慰。
Now, after the second, losing Philip, Edith was back again.
现在，在第二次失去菲利普之后，伊迪丝又回来了。
Edith was a mess.
伊迪丝一团糟。
Her wig was yellowed and tangled, and her clothes were in shreds.
她的假发泛黄，缠结在一起，衣服也成了碎片。
Dare quickly set about giving her a completely new look.
敢很快就开始给她一个全新的面貌。
Long, straight blond hair, usually worn tied up in a high ponytail, and gold hoop earrings.
金色长直发，通常扎成高马尾辫，佩戴金色耳环。
Edith the doll now looked very like Dare herself.
伊迪丝娃娃现在看起来非常像戴尔本人。
I don't think of Edith as a doll, Dare told an interviewer.
“我不认为伊迪丝是一个洋娃娃，”戴尔告诉采访者。
She's a personality in her own right.
She's a personality in her own right.
A suitor told me that one day it began with Dare chiding, you didn't say hello to Edith, as though he had rudely neglected to acknowledge a human presence.
一位追求者告诉我，有一天，戴尔责骂你，你没有向伊迪丝打招呼，就好像他粗鲁地忽视了人类的存在一样。
Another time, when he tried to kiss her, she held the doll out in front of her to block his advances.
还有一次，当他试图亲吻她时，她把洋娃娃举到面前阻止他的求爱。
Dare also acquired some teddy bears in this period, after her brother went on a drunken shopping spree with Dorothy Tivis Pollack, a former model, who headed the Figureheads modeling agency where Dare was registered for a time.
在此期间，Dare 还买了一些泰迪熊，此前她的哥哥与前模特多萝西·蒂维斯·波拉克 (Dorothy Tivis Pollack) 醉酒后疯狂购物，Dorothy Tivis Pollack 曾是 Dare 注册的Figureheads 模特经纪公司的负责人。
Blaine was drunk, Dorothy told me, and got weird, as he always did when he drank.
多萝西告诉我，布莱恩喝醉了，而且变得很奇怪，就像他喝酒时总是做的那样。
We passed FAO Schwarz, and he saw a teddy bear in the window.
我们经过FAO Schwarz，他看到橱窗里有一只泰迪熊。
He decided I had to have one.
He decided I had to have one.
In we went.
我们进去了。
But when he saw the bears, he said it would be terrible to buy just one, because the bear would be lonely.
但当他看到这些熊时，他说只买一只会很糟糕，因为熊会很孤独。
With that, he directed the saleswoman to pack up the entire lot, about a dozen stuffed bears.
说完，他指示女售货员把整批东西收拾起来，大约有十几只毛绒玩具熊。
Hundreds of dollars of bears.
几百块钱的熊。
Since Dare's apartment was just around the corner, we went over there, carrying all these damn teddy bears.
由于戴尔的公寓就在拐角处，我们就带着这些该死的泰迪熊去了那里。
Within minutes of their arrival, Dorothy recalled, Blaine and Dare were seated on the floor, surrounded by bears, telling bear stories in various bear voices.
多萝西回忆说，他们到达后几分钟内，布莱恩和戴尔就坐在地板上，周围都是熊，用各种熊的声音讲述熊的故事。
Soon Dare added Edith, the doll, to the party.
Soon Dare added Edith, the doll, to the party.
Edith, Dare later told an interviewer, looked so happy with the bears that she decided to photograph them all together.
戴尔后来告诉采访者，伊迪丝看起来对这些熊非常满意，所以她决定把它们一起拍下来。
Soon, she was making them into a book.
很快，她就把它们写成了一本书。
She thought up a storyline, made Edith outfits, and photographed her doll and bears in her apartment and around New York.
她构思了一个故事情节，为伊迪丝制作了服装，并在她的公寓和纽约周围拍摄了她的洋娃娃和小熊。
In all her poses, Edith appears to be an animated, thinking, feeling little girl.
从她所有的姿势来看，伊迪丝似乎都是一个活泼、思考、感情丰富的小女孩。
The story of the lonely doll was, in some measure, Dare's own story.
从某种程度上来说，孤独娃娃的故事就是戴尔自己的故事。
The book and her life share the same set of themes.
这本书和她的生活有着相同的主题。
Seeking love and approval, fearing abandonment, risking separation and autonomy.
寻求爱和认可，害怕被抛弃，冒着分离和自治的风险。
In other words, the issues inherent in growing up.
换句话说，就是成长过程中固有的问题。
But in the book, she found a way to make it right, removing a mother from the proceedings, and providing her alter ego, Edith, with love and rescue in the form of two mail teddy bears.
但在书中，她找到了一种纠正错误的方法，将一位母亲从诉讼程序中剔除，并以两只邮件泰迪熊的形式为她的另一个自我伊迪丝提供爱和救援。
With the publication of The Lonely Doll, and the 18 books that followed, came recognition that Dare had never experienced, and with which she seemed highly uncomfortable.
随着《孤独的玩偶》和随后的 18 本书的出版，戴尔认识到了自己从未经历过的事情，而且她似乎对此感到非常不舒服。
She would have been 43 in 1957, the year the book was published.
1957 年，也就是这本书出版的那一年，她已经 43 岁了。
48 when she gave her age as 35 to the Saturday Evening Post.
当她向《周六晚邮报》透露自己的年龄为 35 岁时，她已经 48 岁了。
Her mother, Edie, however, was completely at home with all the attention.
然而，她的母亲伊迪却完全在家里，受到了所有的关注。
The two became a sort of team, with Edie in the assistant's role.
两人成了一个团队，伊迪担任助理。
They adored traveling, and built it into the story lines of Dare's books, the most elaborate one being Lona: A Fairy Tale.
他们热爱旅行，并将其融入到戴尔书籍的故事情节中，其中最详尽的一本是《洛娜：童话》。
For this, they traveled throughout Europe, scouting out scenery for the story of a princess who must overcome the spell of an evil wizard who has changed her into a tiny doll.
为此，他们走遍了欧洲，为公主的故事寻找风景，公主必须克服邪恶巫师的咒语，巫师将她变成了一个小洋娃娃。
Dare herself posed as the princess in her full-size incarnation.
Dare 本人扮成全尺寸的公主。
She would set up the shot, focus the camera, don her gown, and have her mother trip the shutter.
她会布置镜头，对焦相机，穿上礼服，然后让她的母亲按下快门。
A version of Jean Nathan's story first appeared in the literary journal Tin House.
吉恩·内森的故事的一个版本首次出现在文学杂志《Tin House》上。
She's working on a book about Dare Wright to be published by Random House.
她正在写一本关于 Dare Wright 的书，该书将由兰登书屋出版。
Coming up, girl turns helicopter into baby and other true stories, in a minute, from Public Radio International, when our program continues.
接下来，当我们的节目继续时，来自国际公共广播电台的女孩将直升机变成婴儿和其他真实故事在一分钟内。
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 different kinds of stories on that theme.
当然，每周我们的节目都会选择一个主题，为您带来有关该主题的各种不同类型的故事。
Today's program, dolls.
今天的节目，娃娃。
Most important, from the beginning, they are characters to be nurtured.
最重要的是，从一开始，他们就是需要培养的角色。
Hugging it, feeling it against your cheek, rocking it, just having it.
拥抱它，感受它贴近你的脸颊，摇晃它，只是拥有它。
It's a bulwark against loneliness.
这是抵御孤独的堡垒。
Vivian Paley was a kindergarten teacher for decades, won the MacArthur Genius Grant for her many books about the stories that children invent, and the way they play, and what it's about.
维维安·佩利（Vivian Paley）担任幼儿园老师数十年，因其多本关于儿童发明的故事、他们玩耍的方式以及故事内容的书籍而获得了麦克阿瑟天才奖。
She says, children use dolls and they make up stories for similar reason, to act out moments and feelings that are knocking around in their heads.
她说，孩子们使用洋娃娃，他们出于类似的原因编故事，来表演在他们脑海中盘旋的时刻和感受。
In her classroom, Vivian Paley would have her students invent stories and then act them out.
在她的课堂上，维维安·佩利会让她的学生编造故事，然后将它们表演出来。
And she says, there's one idea that comes up in small children's stories more than any other.
她说，有一个想法在儿童故事中出现的次数比其他任何想法都多。
So many of the stories that young children tell have to do with an animal or a little girl or boy being lonely, and walking in the woods, and finding someone to play with.
小孩子们讲述的许多故事都与动物或小女孩或男孩的孤独有关，在树林里散步，寻找有人一起玩。
It is the universal, most successful story.
这是一个普遍的、最成功的故事。
And if you have a kindergarten class, or a preschool class, or a first grade class, and-- although this would never happen-- but let's say, all 24 children told this story.
如果你有一个幼儿园班级，或者一个学前班，或者一个一年级班级，并且——虽然这永远不会发生——但我们可以说，所有 24 个孩子都讲述了这个故事。
There was a lonely deer.
有一只孤独的鹿。
He had no one to play with.
他没有人可以一起玩。
And then a cougar came up and said, I'll be your friend.
然后一只美洲狮走过来说，我会成为你的朋友。
Next story.
下一个故事。
There was a lonely boy.
有一个孤独的男孩。
He had no one to play with.
他没有人可以一起玩。
And on and on.
不断地。
Not one child in the class would say, what, again?
班上没有一个孩子会说，又怎样？
Haven't we had enough of that already?
我们还没有受够吗？
No. They would say, more.
不，他们会说，更多。
More.
更多的。
Tell us again that when you're lonely, someone's going to come up and say, I'll play with you.
再次告诉我们，当你孤独的时候，会有人走过来说，我陪你玩。
Vivian Paley says that it's by making up stories together that small children become friends.
维维安·佩利说，通过一起编故事，小孩子们才能成为朋友。
In one of her books, she tells the story of one of the children in her classroom who used a doll and a story to isolate himself from other students, and how it was through other stories and dolls that other children finally pulled him out of his isolation.
在她的一本书中，她讲述了教室里一个孩子的故事，他用一个洋娃娃和一个故事将自己与其他学生隔离开来，以及其他孩子如何通过其他故事和洋娃娃最终将他从孤立中拉出来。
The doll in this case was a toy helicopter.
本例中的娃娃是一架玩具直升机。
Vivian now tells the story with actors recreating scenes from her classroom from transcriptions of what really occurred.
维维安现在与演员们一起讲述这个故事，他们根据真实发生的事情的转录重现了她教室里的场景。
Every day in the corner of the classroom, nestled between the black cabinet and the bay window bench, Jason arranges big wooden blocks into walls and crouches behind them.
每天，杰森都会在教室的角落里，在黑色柜子和凸窗长凳之间，将大木块排列在墙上，然后蹲在它们后面。
He calls this his airport.
他称这里为他的机场。
The walls surround him, high enough so he can barely be seen over the top.
墙壁围绕着他，墙壁足够高，从上面几乎看不到他。
This blade is turning around.
这把刀正在转动。
Now you're going faster.
现在你走得更快了。
Now you're going faster.
现在你走得更快了。
Now you're going to crash.
现在你要崩溃了。
Now you're going off the ground.
现在你要离开地面了。
And now you're going up, up, up.
现在你正在上升，上升，上升。
Now you're going loud.
现在你的声音越来越大了。
Brrrrm.
嗯。
Now you're going to land.
现在你要着陆了。
OK.
好的。
All safely.
一切平安。
Jason plays alone.
杰森独自一人玩耍。
He tells stories to himself.
他给自己讲故事。
He seems unaware of our habits and customs.
他似乎不了解我们的习惯和习俗。
He wails in fright if his helicopter is touched, and he breaks up our talk with ear-splitting noises.
如果他的直升机被触碰，他就会吓得大哭起来，并用震耳欲聋的噪音打断我们的谈话。
[MAKING NOISES] Vivian Paley His helicopter story isolates him.
[制造噪音]维维安·佩利 (Vivian Paley) 直升机的故事使他感到孤立。
If you ask him a question, he says his helicopter is broken.
如果你问他问题，他会说他的直升机坏了。
If you suggest an activity, he rushes away to fix his helicopter.
如果你建议一项活动，他就会冲过去修理他的直升机。
He hasn't learned to listen to anyone else's story, and stories are the way children get to know each other.
他还没有学会听别人的故事，而故事是孩子们相互了解的方式。
[MAKING NOISES] Joseph Pretend a bad alligator peeked downstairs.
[发出声音]约瑟夫假装一只坏鳄鱼在楼下偷看。
Yeah, and then we hiss him.
是的，然后我们对他发出嘶嘶声。
Then we fighted him.
然后我们就跟他打了起来。
But who's the alligator?
但鳄鱼是谁？
Hey, Jason.
嘿，杰森。
You're the alligator.
你是鳄鱼。
OK, Jason?
好吧，杰森？
Up, up, up.
向上，向上，向上。
Down, down, down.
下来，下来，下来。
Oh, we're going to crash.
哦，我们要崩溃了。
Children usually take part in each other's stories because they need friends and they want to be part of a drama.
孩子们通常会参与彼此的故事，因为他们需要朋友并且他们想成为戏剧的一部分。
If Jason would agree to be the alligator, Joseph and Simon would later tell their families, Jason is my friend.
如果杰森同意成为鳄鱼，约瑟夫和西蒙后来会告诉他们的家人，杰森是我的朋友。
It's that easy when it works.
当它起作用时就这么简单。
Jason, look at me.
杰森，看着我。
You want to be an alligator or not?
你想不想成为鳄鱼？
This is a rescue helicopter.
这是一架救援直升机。
Someone broke it.
有人打破了它。
I have to fix the blades.
我必须修理刀片。
I got an idea, Jason.
我有一个主意，杰森。
Your helicopter has to rescue us, OK?
你的直升机必须来救我们，好吗？
Help, help.
救命，救命。
A monster alligator in the dark.
黑暗中的巨型鳄鱼。
Save me, helicopter.
救救我，直升机。
To the rescue.
来救援。
Save the day.
拯救这一天。
Jason is silent, bent over his helicopter.
杰森沉默不语，弯腰看着他的直升机。
Joseph glares at him.
约瑟夫瞪着他。
His best logic isn't working, and he's puzzled.
他最好的逻辑不起作用，他很困惑。
I heard Joseph call for help, Jason.
我听到约瑟夫呼救，杰森。
Can your helicopter save the snakes?
你的直升机能拯救蛇吗？
My blade is broken.
我的刀片坏了。
Someone broke this blade.
有人折断了这把刀。
Can you show Joseph and Simon how you fix it?
你能向约瑟夫和西蒙展示如何解决这个问题吗？
He calls the children someone.
他称孩子们为某人。
After two months, he refers to no one but me by name.
两个月后，除了我之外，他没有提到任何人的名字。
He enters the classroom feeling different, frightened, attacked, that he must defend himself.
他进入教室时感觉不同、害怕、受到攻击，他必须保卫自己。
But every child knows these feelings, in one way or another.
但每个孩子都以某种方式了解这些感受。
Every day, after I've collected 10 or 12 stories, we act the stories out.
每天，当我收集了 10 或 12 个故事后，我们就会把这些故事表演出来。
I read each story out loud, and the children take different roles.
我大声朗读每个故事，孩子们扮演不同的角色。
The stage where we do this is a taped square in the center of the story room rug.
我们执行此操作的舞台是位于故事室地毯中央的一个用胶带粘贴的正方形。
It is sacrosanct when stories are performed.
故事的表演是神圣不可侵犯的。
The children learn to keep off the stage unless they are in the story.
孩子们学会远离舞台，除非他们出现在故事中。
Jason refuses to follow the rule, and it upsets every one.
杰森拒绝遵守规则，这让每个人都感到不安。
His motor tunes up as each story begins, and within a sentence or two he is flying around the stage.
他的马达随着每个故事的开始而调整，在一两句话之内他就在舞台上飞来飞去。
He does this as we act out Simon's story.
当我们表演西蒙的故事时，他这样做了。
[MAKING NOISES] Vivian Paley Simon, is there a helicopter in this story?
[发出声音] Vivian Paley Simon，这个故事里有直升机吗？
No. Vivian Paley Then you mustn't come on stage, Jason.
不。维维安·佩利 那么你就不能上台了，杰森。
Jason has heard this reasoning before.
杰森以前听过这个推理。
I ask this question all the time when he forges on stage.
当他在舞台上表演时，我总是问这个问题。
Is there a helicopter in this story?
这个故事里有直升机吗？
The answer is always no.
答案始终是否定的。
Simon, is there a helicopter in your story?
西蒙，你的故事里有直升机吗？
Do the squirrels see a helicopter?
松鼠看到直升机了吗？
No. Yeah.
不，是的。
They do.
他们确实这么做了。
They heard it flying over there, then it lands, on this spot, right here.
他们听到它飞到那边，然后它降落在这个地方，就在这里。
Jason stops, just where Simon pointed.
杰森停在了西蒙所指的地方。
He has deliberately furthered another child's story.
他故意进一步讲述另一个孩子的故事。
Today, Jason has listened.
今天，杰森听了。
The next day, I tell Jason, you turned off your motor when Simon told you to land.
第二天，我告诉杰森，当西蒙告诉你着陆时，你关掉了发动机。
Now you know all about stories.
现在你知道所有关于故事的事情了。
Do you want to tell one?
你想告诉一个吗？
He says yes, and launches right in.
他说是的，然后就开始了。
And a helicopter, a turbo prop.
还有一架直升机，一架涡轮螺旋桨飞机。
It's flying.
它正在飞翔。
How could his first story be anything else?
他的第一个故事怎么可能是别的呢？
In the story room, Jason zooms around the rug as I read his story.
在故事室里，当我读杰森的故事时，他在地毯上转来转去。
He continues to fly several moments after I'm done reading.
我读完后，他继续飞了一会儿。
I wonder if the helicopter sees another plane?
我想知道直升机是否看到另一架飞机？
Squirrel someone.
松鼠某人。
Simon He means me.
西蒙 他指的是我。
I'm the plane, right?
我是飞机吧？
Jason nods, and the two aircraft zoom around the room.
杰森点点头，两架飞机在房间里盘旋。
Chins forward, arms in motion, the two boys fly together in formation.
下巴向前，手臂摆动，两个男孩排成队形一起飞行。
Young children see themselves always inside a story.
小孩子总是在故事中看到自己。
A young child will spend easily 3/4 of his time in fantasy play.
一个小孩子很容易就会将 3/4 的时间花在幻想游戏中。
It's through stories and fantasies that children understand the world.
孩子们通过故事和幻想来了解世界。
It is their intuitive approach to all occasions.
这是他们应对所有场合的直观方法。
It is the way they think.
这就是他们的想法。
Jason still plays alone.
杰森仍然一个人玩。
Jason I want to.
杰森 我想要。
I always have to be a helicopter.
我总是必须是一架直升机。
But you always tell me not to.
但你总是告诉我不要这样做。
I didn't tell you not to be a helicopter, Jason.
我没告诉你不要当直升机，杰森。
But Simon asked you to come into his squirrelly hole.
但西蒙邀请你进入他的松鼠洞。
And I thought you didn't hear him since you didn't answer.
我以为你没有听到他的话，因为你没有回答。
Because that squirrelly guy is outside the window.
因为那个松鼠家伙就在窗外。
Jason seems surprised that he's gotten such an intense response.
杰森似乎对自己得到如此强烈的回应感到惊讶。
I hate you, Jason.
我恨你，杰森。
You're never my friend.
你从来都不是我的朋友。
Jason still doesn't play with the other children.
杰森仍然不和其他孩子一起玩。
But one day, he points at Simon.
但有一天，他指向西蒙。
No. I'm not in there.
不，我不在里面。
Jason Simon is in my airport.
杰森·西蒙在我的机场。
You're lying, you doody head.
你在撒谎，你这个笨蛋。
Jason Simon is in my airport.
杰森·西蒙在我的机场。
Don't say my name.
别说我的名字
Tell him not to, teacher.
告诉他不要这样做，老师。
Jason, Simon doesn't want you to pretend he's in your airport.
杰森，西蒙不想让你假装他在机场。
Do you really want him to come in?
你真的想让他进来吗？
Really come in?
真的进来吗？
No. Vivian Paley Jason, can I help you find someone to play inside your airport?
不，Vivian Paley Jason，我可以帮你找人在机场玩吗？
Teachers do that, you know.
老师们就是这么做的，你知道的。
Once I helped Simon find a mother squirrel.
有一次我帮西蒙找到了一只松鼠妈妈。
Remember, Simon?
还记得吗，西蒙？
Who do you want?
你想要谁？
Jason Someone hiding in my airport.
杰森 有人躲在我的机场。
OK.
好的。
Listen everyone.
大家听着。
Jason needs someone to hide in his airport.
杰森需要有人躲在他的机场里。
Who will do that?
谁会这么做？
Only if I can be the mother.
只要我能成为母亲。
Jason It's a helicopter house.
杰森 这是一个直升机屋。
I'll be the mother, and you be the baby.
我当妈妈，你当孩子。
No. Samantha I'm She-Ra and you're the helicopter?
不，萨曼莎，我是希拉，你是直升机？
Yes.
是的。
Vivian Paley Samantha climbs behind the wall of blocks gingerly, and sits down next to Jason.
维维安·佩利·萨曼莎小心翼翼地爬到墙后，坐在杰森旁边。
We have to make beds.
我们必须铺床。
I'll get the pillows.
我去拿枕头。
Save my place.
保存我的位置。
Jason covers Samantha's place with one hand, and blows on the helicopter blades.
杰森用一只手挡住萨曼莎的位置，然后吹了吹直升机的桨叶。
[BLOWS] Turn around.
[吹] 转身。
Turn around.
回转。
Ooh, not such a good spinning.
哦，旋转不太好。
Kick the house down.
把房子踢倒。
Kick the house down.
把房子踢倒。
Lie down, little helicopter.
躺下，小直升机。
Vivian Paley She has pillows and sheets, and she makes Jason into a baby as delicately as she can.
维维安·佩利（Vivian Paley）她有枕头和床单，她尽可能精致地把杰森变成了婴儿。
Kick the house down.
把房子踢倒。
Samantha Shh, little helicopter.
萨曼莎嘘，小直升机。
With this one episode, Samantha launches a wholehearted pursuit of Jason that, more than any other event in the school year, brings him out of the helicopter house, and into the social life of the classroom.
在这一集中，萨曼莎对杰森展开了全心全意的追求，这比学年中的任何其他事件都更能把他带出直升机小屋，融入课堂的社交生活。
She is determined to make Jason into her baby, however he may object.
她决心让杰森成为她的孩子，但他可能会反对。
Other times, Jason shows he's unable to join the other children's fantasy play.
其他时候，杰森表现出他无法加入其他孩子的幻想游戏。
When he wanders into a game the boys are playing, he doesn't understand what they're doing, and everyone yells at him to get out.
当他走进男孩们正在玩的游戏时，他不明白他们在做什么，每个人都对他大喊让他出去。
Don't go there, Jason.
别去那里，杰森。
You're breaking up the marshway.
你正在破坏沼泽地。
Get out, Jason.
出去吧，杰森。
Alex Don't.
亚历克斯 别。
It's the marshway.
这是沼泽地。
I'm going there now because-- because-- there isn't a--
我现在要去那里因为-因为-那里没有--
No, Jason.
不，杰森。
You don't even know what school is.
你根本不知道什么是学校。
Jason starts to cry.
杰森开始哭泣。
This is also a very emotional moment for me.
这对我来说也是一个非常激动的时刻。
Alex is right.
亚历克斯是对的。
Jason has interrupted play in an illogical way, in a way that shows he doesn't know that a story is going on.
杰森以不合逻辑的方式打断了比赛，这表明他不知道故事正在发生。
And Alex knows enough to say, you don't know what school is.
亚历克斯知道得足以说，你不知道学校是什么。
Which is to say, you don't know what story is.
也就是说，你不知道故事是什么。
You don't know what fantasy is.
你不知道什么是幻想。
You don't know what the most logical relationship between human beings is.
你不知道人与人之间最符合逻辑的关系是什么。
Because stories work by the most basic logic, logic a child can understand.
因为故事是按照最基本的逻辑运作的，是孩子可以理解的逻辑。
It is not too much to say that the only time a child understands everything is in a story.
可以说，孩子唯一一次了解一切的时候就是在故事中。
As the weeks pass, Samantha's pursuit of Jason grows more inventive.
几周过去了，萨曼莎对杰森的追求变得越来越有创意。
I'm putting you in my story, Jason.
我要把你放进我的故事里，杰森。
Come here and listen.
来这里听听。
I don't want to.
我不想。
Samantha Yes, you have to.
萨曼莎 是的，你必须这样做。
Or I won't give you a piece of gum when my daddy buys some.
或者我爸爸买口香糖时我不会给你一块口香糖。
Jason sits down next to Samantha and watches as she dictates her story.
杰森坐在萨曼莎旁边，看着她口述故事。
If a teacher had threatened him in that way, he would have withdrawn.
如果老师这样威胁他，他就会退缩。
When Samantha threatens him, his interest in Samantha's story is heightened.
当萨曼莎威胁他时，他对萨曼莎的故事的兴趣更加浓厚。
He correctly interprets her warning as a sign of friendship, and the story proves him correct.
他正确地将她的警告解读为友谊的象征，而这个故事证明他是正确的。
Once upon a time, there was a little girl.
从前，有一个小女孩。
Then a helicopter came.
然后一架直升机来了。
Then the little girl said hello to the helicopter.
然后小女孩就向直升机打了招呼。
Then a kitty says hello to the helicopter.
然后一只小猫向直升机打招呼。
Then the kitty, and the girl, and the helicopter are friends.
那么小猫、女孩和直升机就是朋友。
After she's done, Jason gathers up a pile of papers for his helicopter drawings.
她完成后，杰森收集了一堆文件来制作他的直升机图纸。
Don't draw now, Jason.
现在别画画了，杰森。
You want to be my husband?
你想成为我的丈夫吗？
No, because I'm busy.
不，因为我很忙。
Samantha Or the baby, or the cook?
萨曼莎 还是婴儿，还是厨师？
Do you want to make a birthday cake?
你想做生日蛋糕吗？
Do you want to be dead, but then you come alive?
你想死然后又活过来吗？
Remember, you liked it that time?
还记得吗，当时你喜欢它吗？
As Samantha imagines other scenes, she doesn't notice that Jason has stopped drawing, and instead, has cut out a large oval shape.
当萨曼莎想象其他场景时，她没有注意到杰森已经停止画画，而是剪出了一个大椭圆形。
This is your cape, Samantha.
这是你的斗篷，萨曼莎。
Be a queen.
成为女王。
I'm the king.
我是国王。
But when I glance at their block castle a while later, Jason seems to be the queen's baby.
但过了一会儿，当我瞥见他们的街区城堡时，杰森似乎是女王的孩子。
Does Samantha continue to push Jason into the baby role because he appears babyish to her?
萨曼莎是否会继续让杰森扮演婴儿角色，因为他在她看来很幼稚？
I doubt it.
我对此表示怀疑。
I've seen too many mature children prefer the baby crib in play.
我见过太多成熟的孩子在玩耍时更喜欢婴儿床。
Samantha's motives, I think, are simple and understandable.
我认为萨曼莎的动机很简单，也可以理解。
She likes being the mother and she's fond of Jason.
她喜欢当母亲，也喜欢杰森。
To express her true feelings, she must act the role of his mother.
为了表达自己的真实感受，她必须扮演母亲的角色。
The mother-baby or father-baby relationship spells love most dramatically for many children.
对于许多孩子来说，母婴或父婴关系最能体现爱。
By year's end, Samantha will have moved to the big sister-little sister version of the same emotion.
到年底，萨曼莎将转向同样情感的姐姐与小妹妹版本。
Once changes begin, they happen fast.
改变一旦开始，就会发生得很快。
In one week in April, Jason is a she-baby airplane on Monday, a smaller person looking for Easter eggs on Tuesday, a morning and night boy on Wednesday, an angry fighting person on Thursday.
在四月的一周里，杰森周一是一架母婴飞机，周二是一个寻找复活节彩蛋的小个子，周三是一个早起和夜班的男孩，周四是一个愤怒的战斗者。
And on Friday, he finds a remarkable new role for his helicopter that takes my breath away in admiration and wonder.
周五，他为他的直升机找到了一个非凡的新角色，这让我惊叹不已，惊叹不已。
Do you want to play, Jason?
杰森，你想玩吗？
Jason Yes.
杰森 是的。
You sit there.
你坐那儿。
I made a two seater.
我做了一个两人座的。
Wait.
等待。
A three seater.
三人座。
One more seat it needs.
它还需要一个座位。
Why?
为什么？
Jason Because I'm going to pick up someone at school, because not anyone will come to pick them up and walk them home.
杰森：因为我要去学校接一个人，因为没有人会来接他们并送他们回家。
Jason is letting someone else into the helicopter.
杰森正在让其他人进入直升机。
And when his helicopter finally emerges from its house, he gives it a single task.
当他的直升机最终从房子里出来时，他给了它一个任务。
To take a mother and her child home after school.
放学后送母亲和她的孩子回家。
Underlying this fantasy is a basic fear.
这种幻想的背后是一种基本的恐惧。
No one has arrived to take the school child home.
没有人来接小学生回家。
The child is lost at school.
孩子在学校走失了。
I'm going to pick up someone at school.
我要去学校接一个人。
Because not anyone will come to pick them up and walk them home.
因为没有人会来接他们并送他们回家。
They're going to hold everyone's hand.
他们将握住每个人的手。
One kid's going to hold the other kid's hand.
一个孩子会握住另一个孩子的手。
And I'm the mom, OK?
我是妈妈，好吗？
Jason Yes.
杰森 是的。
And everyone, when I get out of school, I'm going to pick them up in my airplane.
大家，当我放学时，我会用飞机接他们。
I'll be the kid, Jason.
我会是那个孩子，杰森。
OK?
好的？
Jason Yes, you're the kid.
杰森 是的，你就是那个孩子。
Hold your mom's hand.
握住你妈妈的手。
I'm flying you home.
我送你回家。
Well, Vivian Paley's book, The Boy Who Would Be a Helicopter, from which this was adapted, is published by Harvard University Press.
嗯，改编自维维安·佩利的书《想要成为直升机的男孩》，由哈佛大学出版社出版。
The children's dialogue was reenacted from classroom transcripts by Joe Robinson, Jason [?
孩子们的对话由乔·罗宾逊 (Joe Robinson)、杰森 (Jason) 根据课堂记录重演[?
Bogart, ?] [?
鲍嘉，？] [？
Aisha ?] [?
艾莎？] [？
Harmon, ?] [?
哈蒙，？] [？
Matt ?] [?
马特？] [？
Kady, ?] Anna [?
凯迪，？] 安娜 [？
Klumsky ?] Beth [?
克鲁姆斯基？] 贝丝 [？
Iams, ?] and Jenny [?
艾姆斯，？] 和珍妮 [？
Banachefski, ?] who played Jason.
巴纳切夫斯基，？]谁扮演杰森。
Funding came from the University of Chicago's William Benton Broadcast Project, Claudia [?
资金来自芝加哥大学的威廉本顿广播项目，克劳迪娅[？
Daily, ?] and the late Louis Friedman, supervising producers.
Daily，？] 和已故的路易斯·弗里德曼（Louis Friedman），监督制片人。
Our program was produced today by Susan Burton and myself, with Alex Blumberg, Blue Chevigny, and Julie Snyder.
今天我们的节目由苏珊·伯顿和我、亚历克斯·布隆伯格、布鲁·切维尼和朱莉·斯奈德共同制作。
Contributing editors Paul Tough, Jack Hitt, Margy Rochlin, Alix Spiegel, Nancy Updike, and conciliary Sarah Vowell.
特约编辑 Paul Tough、Jack Hitt、Margy Rochlin、Alix Spiegel、Nancy Updike 和调解人 Sarah Vowell。
Production help from Todd Bachmann and Eric [?
托德·巴赫曼 (Todd Bachmann) 和埃里克 (Eric) 提供制作帮助 [?
Harverston.
哈弗斯顿。
?] Musical help from Mr. John Connors.
？] 约翰·康纳斯先生的音乐帮助。
[ACKNOWLEDGEMENTS] To buy a cassette of this program, call us here at WBEZ in Chicago, 312-832-3380.
[鸣谢] 要购买该节目的磁带，请致电我们芝加哥的 WBEZ，电话：312-832-3380。
Or you know, you can listen to most of our programs for free on the internet at our website at www.thislife.org.
或者您知道，您可以在我们的网站 www.thislife.org 上免费收听我们的大部分节目。
Thanks to Elizabeth Meister, who runs the site.
感谢该网站的运营者伊丽莎白·梅斯特 (Elizabeth Meister)。
This week a photo on there of Dare Wright.
本周有一张 Dare Wright 的照片。
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 can be found every morning in his office--
[资金来源] WBEZ 管理由 Torey Malatia 负责监督，他每天早上都在他的办公室里——
Seated on the floor, surrounded by bears, telling bear stories in various bear voices.
坐在地板上，周围都是熊，用各种熊的声音讲述熊的故事。
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。
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。