343: Poultry Slam 2007 - 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 #343 | November 23, 2007 343: Poultry Slam 2007 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 343 集 | 2007 年 11 月 23 日 343：Poultry Slam 2007 注：This American Life 是为耳朵而制作的，旨在让人们听到。
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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, as somebody from the city or the suburbs, that the farm person that you're talking to is just thinking, you are so naive.
序言 Ira Glass 我们这些不住在农场的人与住在农场的人进行某些对话，你知道，作为来自城市或郊区的人，与你交谈的农场人只是想，你太天真了。
Often these conversations have to do with animals and their deaths.
这些对话通常与动物及其死亡有关。
Take this example.
以这个例子为例。
The woman who started our program's website, Elizabeth Meister, was at the annual exhibition run by the American Poultry Association in Columbus, Ohio.
创办我们项目网站的女士伊丽莎白·梅斯特 (Elizabeth Meister) 参加了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, standing in a room with 12,000 chickens.
她就在这里，站在一个有 12,000 只鸡的房间里。
And she gets into a conversation with an 11-year-old girl.
她与一名 11 岁的女孩交谈。
I've only been in poultry and water fowl for a year.
我只从事家禽和水禽一年。
I'm more into water fowl.
我更喜欢水禽。
This is Kamiko Overs from Bliss, New York, who was at the convention to show some of her chickens.
我是来自纽约布利斯的 Kamiko Overs，她在大会上展示了她的一些鸡。
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、牛、兔子，或类似的东西。
A lot of people at our school show different things.
我们学校的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和地提出她心中的问题。
This is sort of a hard question for me to ask, but do you ever eat them?
这对我来说是一个很难问的问题，但你吃过它们吗？
Yeah.
是的。
Elizabeth Meister And does it make your really sad?
伊丽莎白·梅斯特 这真的让你伤心吗？
I mean, do you raise these chickens from little chicks?
我的意思是，这些鸡是你从小鸡开始养的吗？
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, and we eat them a lot.
我们直接从母鸡那里得到它们，并且我们吃了很多。
We do raise a lot for feeding.
我们确实养了很多东西来喂养。
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.
如果他们不适合表演。
The losers, yeah.
失败者，是的。
Kamiko's untroubled by this.
Kamiko对此并不担心。
If a bird has bad feathers or a lopsided comb, it might be a nice bird, but if it's not going to win competitions, you eat it.
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，但如果它不能赢得比赛，你就会吃掉它。
That's life.
这就是生活。
Those of us who don't live on farms, we tend to divide animals often into those we love and those we eat.
我们这些不住在农场的人，往往将动物分为我们所爱的动物和我们所吃的动物。
In Kamiko's world, there isn't such a hard line separating the two.
在神子的世界里，两者之间并没有那么强硬的界限。
You can get to know a bird on an up close, one-to-one basis, and still eat it.
您可以一对一地近距离了解一只鸟，并且仍然可以吃它。
From WBEZ Chicago, it's This American Life , distributed by Public Radio International.
来自芝加哥 WBEZ 的《This American Life》，由国际公共广播电台发行。
I'm Ira Glass.
我是艾拉·格拉斯。
And today, during this 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 Poultry Slam, stories of chickens, turkeys, ducks, birds of all kinds, and our relationships with them.
今天，在感恩节和圣诞节之间，美国一年中家禽消费最高的时期，我们为您带来一档关于家禽、我们的家禽大满贯、鸡、火鸡、鸭子和各种鸟类的故事以及我们与它们的关系的节目。
Poultry Slams have been a not-quite annual tradition on our show around this time of year.
每年这个时候，家禽大满贯并不是我们节目中的年度传统。
And putting together this year's program, a very few particular ideas and questions kept coming up in story after story, without us ever intending for it to happen that way.
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定的想法和问题，而我们从未打算让它以这种方式发生。
A lot of this year's show has turned into a kind of referendum about where you draw the line between friend and food.
今年的很多节目都变成了一场关于朋友和食物之间界限的公投。
Act one of today's show, Still Life With Chicken.
表演今天的节目之一，《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) 讲述了在一只活鸡全程注视下用平底锅煎鸡的感觉。
Act two, Last Meal.
第二幕，最后一餐。
When the President of France, Francois Mitterrand, knew he was about to die, he decided that the very 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.
当法国总统弗朗索瓦·密特朗（Francois Mitterrand）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。
Act three, Chicken Diva.
第三幕，鸡女主角。
Jack Hitt tells the story of a chicken opera complete with, yes, avian supernumeraries.
杰克·希特讲述了一部关于鸡的歌剧的故事，当然，还有鸟类的多余表演。
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 full of 5,000 chickens.
David Rakoff 讲述了他的生活是如何在一个晚上在一个装满 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 a chicken.
乔纳森最终和一只鸡住在一起纯属偶然。
He wasn't living the kind of life one usually associates with chickens.
他过的并不是人们通常认为的鸡的生活。
This was during the period when I considered myself to be a performance artist of sorts, a naked performance artist to be specific.
那是在我认为自己是一个行为艺术家的时期，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.
我出现了。
And I was naked.
我赤身裸体。
And I was carrying a machete.
我还带着一把砍刀。
And I was blindfolded.
我被蒙住了眼睛。
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 had bought was tethered to a three-foot rope around me.
我买的鸡被一根三英尺长的绳子拴在我身上。
And I hacked up and down blindly with the 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.
这只鸡不想要砍刀的一部分。
It stayed at the end of its rope the entire time, apparently.
显然，它自始至终都处于束手无策的状态。
And after 10 minutes, when I was completely exhausted, I fell to a heap.
10分钟后，当我完全精疲力尽时，我倒在了地上。
And everybody left.
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.
我不知道你看完艺术表演后是否还留下来。
But the few minutes after an art performance are some of the most depressing in the world.
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.
大家都走了。
And you've got to clean up.
而且你必须清理干净。
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，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.
于是我在冰箱顶上铺了一些报纸。
And I put the chicken up there.
我把鸡放在那里。
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.
我打开它。
And I put it in a little bowl for the chicken.
我把它放在一个小碗里放鸡肉。
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零食（这就是鸡吃的东西），而你几乎什么都没有，就像我一样，那么你的零食账单就会占到你每周总收入的两位数百分比。
I mean, if you could imagine living on $50 a week, but $10 of it goes for niblets.
我的意思是，如果你能想象每周靠 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 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，我坚持使用尼布利特的原因之一是因为我非常喜欢说尼布利特这个词。
And this gave me the excuse to use a word like niblet in general conversation several times a day.
这给了我在日常对话中每天多次使用“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.
鸡肉在我的冰箱顶上呆了很长时间。
Months, six months, I think.
几个月，六个月，我想。
A two-room apartment.
一套两居室的公寓。
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.
这样我睡觉的时候就不用看鸡了。
Though I did have to look at it when I was cooking.
虽然我做饭的时候确实得看它。
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 you don't pet chickens.
我不知道你是否养过鸡，但你不养鸡。
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.
乔纳森·戈尔德 我保留了鸡肉。
Because I couldn't bear to do anything else.
因为我已经不忍心再做别的事情了。
I mean, it's not like I could have carried it out onto Pico Boulevard and said, "be free, little chicken, be free."
我的意思是，我不可能在皮克大道上说：“自由吧，小鸡，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？
I guess A, I thought about the chicken expiring.
我猜是 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 will be the recipe for my niblet-fed chicken?
想也许这会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，由于这些小块，这可能是您吃过的最美味的鸡肉。
You can't buy niblet-fed chicken, for love or money, I don't think.
我不认为，无论出于爱还是金钱，你都买不到喂食的鸡。
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 who 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，这种动物是你以相当亲密的方式认识的，你养育了它，你对它投入了一定的情感。
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——如果不认为它必须比食物更大，不想让它仪式化或比食物更大，就很难处理。
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.
活鱼中心。
I imagined some sort of vast vivarium where Flipper was jumping through hoops and stuff.
我想象了某种巨大的动物饲养场，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。
I mean, it's not that clean.
我的意思是，它不是那么干净。
And there are tanks and stuff, but I don'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.
它来了。
And it's just really strong smelling and not that great.
而且味道真的很浓，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, and it suddenly occurs to me what the specialty of the restaurant is.
我正要放弃，付了帐，带着一大桌未吃的东西回家，突然想到这家餐厅的特色菜是什么。
And I wave the waitress over.
我挥手让女服务员过来。
And I tell her that I'd like a prawn.
我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 question.
但我重复我的问题。
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, and he climbs on this chair, this ordinary folding chair.
他走到餐厅的一侧，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.
他们开始咬他的手指。
And they start attacking him.
他们开始攻击他。
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东西，把它们带回柜台，然后——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。
Essentially the head was intact, and that little part of the tail that is always on prawns is still there.
基本上头部是完整的，而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, and it was wiggling its antennas, and its eyes were swiveling madly on its eye stalk.
它在摆动它的腿，它在摆动它的触角，它的眼睛在它的眼柄上疯狂地转动。
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.
那真是一个奇怪的时刻。
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.
因为我一生中吃过多少东西，吃过多少食物链上的低级食物，吃过多少虾，我从来没有用牙齿杀死过一个生灵。
And the prawn knew what I was going to do, and he did not like it.
大虾知道我要做什么，但他不喜欢这样做。
And I wasn't quite sure what to do.
我不太确定该怎么做。
But if I put it down, the prawn would have died anyway.
但如果我放下它，虾无论如何都会死掉。
It's not going to live without its shell, and somebody else would have eaten it, blah-blah-blah.
没有壳它就无法生存，其他人就会吃掉它，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。
I mean, it was sweet.
我的意思是，这很甜蜜。
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，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.
不，我咬掉了它的身体。
And I held the head in my hands.
我双手捧着头。
So you held the head in one hand and the tail in the other and you bit the center?
所以你一手拿着头，另一只手拿着尾巴，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-- that made it more sacred?
你是否觉得这段经历中有些东西让它变得更加——这个词比我想要的有点老套，但这是我能想到的唯一的词——让它变得更加神圣？
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?
这脱离了我们饮食方式的世俗性，对我们大多数人来说，我们吃东西时没有真正品尝和体验，也没有思考我们吃的是什么，以及我们为了生存而杀戮的到底是什么？
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。
I mean, one of the greatest metaphors in Western civilization is that of Christ, who gave his life so that others might live.
我的意思是，西方文明中最伟大的隐喻之一就是基督，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, but a pig is giving its life so that we might eat.
我不想亵渎神明，也不想以任何方式贬低这个神话，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 can 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 bio-engineered 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，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进入我们的盘子。
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》撰写美食专栏《反情报》。
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.
家禽消费者请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 President of France who 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.
一个矛盾而又神秘的人。
The French press used to call him the Sphinx.
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 to commune with the pharaohs?
你说他去埃及是为了和法老们交流？
Yeah.
是的。
Ira Glass Like, literally with the pharaohs?
艾拉·格拉斯（Ira Glass） 就像法老王一样？
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，确保他们有他认为的菜单，这是一顿令人惊叹的牡蛎、鹅肝和阉鸡盛宴，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.
是的。
And people who have served ortolan-- chefs have served it in France-- have been fined.
供应奥尔托兰的人——厨师在法国供应奥尔托兰——已被罚款。
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 so the bird would live in complete darkness and just eat 24 hours a day.
在很久以前，一旦被这些小陷阱捕获，他们实际上会把鸟的眼睛挖出来，这样鸟就可以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.
实际上在普鲁斯特和菲尔丁中，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?
Ortolan 的特点之一是人们吃它时餐巾盖在头上？
Right.
正确的。
People put a large cloth napkin over their head.
人们将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，餐巾纸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 意思是这是有罪的，这只鸟是如此无辜——
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。
And he continued to survive for quite a while after the last meal, right?
而且从最后一顿饭之后，他还继续活了很长一段时间吧？
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 had just decided he wanted the last food that he had eaten to be the ortolan?
他刚刚决定要吃的最后一顿食物是奥尔托兰？
Yeah.
是的。
That was what was most incredible to me, is that he had this huge dinner, and then consciously decided that that would be his last meal and then just readied himself for death.
对我来说最不可思议的是，他吃了一顿丰盛的晚餐，然后有意识地决定那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?
所以你吃了一顿丰盛的大餐，最后还是以那只鸟结束的吗？
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.
他会狼吞虎咽地吃东西。
And then he would just sort of pass out.
然后他就会昏过去。
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品尝饭菜每一个味道的意识水平？
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.
这是因为我非常专注于进入我嘴里的所有东西。
And also, because when it came to the ortolan, there's no easy way to eat ortolan.
而且，对于奥尔托兰来说，吃奥尔托兰并不容易。
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 thumb.
我们应该说那只鸟——你把它描述成你的拇指那么大，比你的拇指还小。
Yeah.
是的。
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 it sits in a-- they serve it in a white cassoulet.
它放在一个——他们把它放在一个白色的砂锅里。
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, you leave the head on the plate.
所以你咬掉头，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 mean, I was terrified.
我的意思是，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，而且几乎立刻就变得美味可口。
And all these juices were flowing out of it into your mouth, and sort of mingling and co-mingling with everything that was already in your mouth.
所有这些汁液都从它流到你的嘴里，并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.
它们是小块嫩肉。
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, and you suddenly are chewing these bones.
所以肉和汁液都消失了，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？
I mean, many people who have never had ortolan before end up spitting it out on the plate.
我的意思是，很多以前从未吃过奥尔托兰的人最终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。
Writer Mike Paterniti.
作家迈克·帕特尼蒂。
He says after focusing so intensely on eating that one meal, where, like Mitterrand, he tried to taste every flavor, it felt weird to get back to normal eating.
他说，在如此专注地吃一顿饭之后，他像密特朗一样，试图品尝每一种味道，但回到正常饮食感觉很奇怪。
It felt a little dirty not to pay attention.
不注意感觉有点脏。
Because it takes a lot of energy and concentration when you really taste a meal.
因为真正品尝一顿饭的时候需要耗费大量的精力和注意力。
It takes concentration and silence.
这需要集中注意力和安静。
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 to 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，那么每次都很难吃到这顿饭。
Yeah, I feel like we would age really quickly.
是的，我觉得我们会老得很快。
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.
我想我们做到了。
I don't think we make enough time to eat.
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。
Coming up, tiny Styrofoam balls singing in Italian.
即将到来的是，泡沫塑料小球用意大利语唱歌。
That's in a minute from Chicago Public Radio and Public Radio International when our program continues.
一分钟后，芝加哥公共广播电台和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, and bring you a variety of different kinds of stories on that theme.
当然，我们的节目每周都会选择一个主题，并为您带来有关该主题的各种不同类型的故事。
Today, during this time between Thanksgiving and Christmas, a time of year when poultry consumption in this country is at its greatest, we bring you our 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这段时间，这个国家的家禽消费量达到顶峰，我们为您带来我们的家禽大满贯，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.
我们来表演我们的节目的第三幕。
Act Three, Chicken Diva.
第三幕，鸡女主角。
Chickens are what we make of them so much of the time.
很多时候，鸡都是我们用它们做的。
And if you need any proof of that, we have this story from Jack Hitt.
如果您需要任何证据，我们有杰克·希特的这个故事。
Oddly enough, it wasn't Susan who was obsessed with chickens.
奇怪的是，痴迷于鸡的并不是苏珊。
It was Kenny, a pal who worked backstage at the 92nd Street Y in New York.
这是肯尼，一位在纽约第 92 街 Y 后台工作的朋友。
His house was filled with chicken cups, chicken masks, porcelain chickens.
他的家里摆满了鸡杯、鸡面具、瓷鸡。
He got the whole staff onto chickens, including Susan.
他让全体员工都去养鸡，包括苏珊。
For a time there in the '80s, poultry related jokes and references became the fast way to get a laugh at the Y.
在 80 年代，有一段时间，与家禽相关的笑话和参考文献成为嘲笑 Y 的快捷方式。
I guess most of us are condemned to see nothing more than the easy comedy of chickens.
我想我们大多数人注定只会看到鸡的简单喜剧。
But Susan Vitucci saw something else, their potential greatness, their hidden beauty, their grandeur.
但苏珊·维图奇看到了其他东西，他们潜在的伟大，他们隐藏的美丽，他们的宏伟。
One day, she glued together some finger puppets for a 10-minute rendition of the Chicken Little story for her nephew.
有一天，她把一些手指木偶粘在一起，为她的侄子表演了 10 分钟的《小鸡小故事》。
That was 14 years ago.
那是14年前的事了。
Today, it is a full-length opera, enjoyed by a cult following whenever it goes up in a workshop or a cafe or a small theater.
如今，它已成为一部长篇歌剧，每当在工作室、咖啡馆或小剧院上演时，都会受到狂热追随者的喜爱。
It's still performed with finger puppets, but now it has a complete score written by a noted composer, Henry Krieger, who did Dreamgirls.
它仍然用手指木偶表演，但现在它有一个完整的乐谱，由著名作曲家亨利·克里格（Henry Krieger）创作，他曾创作过《梦幻女孩》。
The Chicken Little opera he wrote with Susan Vitucci is called Love's Fowl.
他与苏珊·维图奇（Susan Vitucci）合作创作的《小鸡》歌剧名为《爱情之鸡》。
Needless to say, that's F-O-W-L.
不用说，那就是F-O-W-L。
Well, we were going to start with the opening-- "Siamo del teatro repetorio delle mollette," "we are the clothespin repertory theatre"-- and we have a special singing guest for you, which I don't know--
好吧，我们要从开场开始——“Siamo del teatro repetorio delle mollette”，“我们是衣夹剧目剧院”——我们为你们准备了一位特别的歌唱嘉宾，我不知道——
Susan and I are sitting at Henry's baby grand piano.
苏珊和我坐在亨利的小型三角钢琴前。
Henry's guest is his Maltese terrier named Toby.
亨利的客人是他的马耳他梗犬托比。
Perhaps Toby would be kind enough to join me up here--
也许托比会很友善地和我一起来这里——
Yeah, would he sit on your lap for this?
是啊，他会为此坐在你腿上吗？
--at the piano.
——在钢琴旁。
Yeah, let's see what we can do.
是的，让我们看看我们能做什么。
[PIANO PLAYING] Jack Hitt OK, listen carefully.
[钢琴演奏] Jack Hitt 好的，仔细听。
Because once Toby gets going, he actually harmonizes with Henry and Susan.
因为一旦托比开始行动，他实际上就与亨利和苏珊融为一体。
[MUSIC - "SIAMO DEL TEATRO REPETORIO DELLE MOLLETTE"]
[音乐-“SIAMO DEL TEATRO REPETORIO DELLE MOLLETTE”]
You may have noticed that this libretto is in Italian, just like a real opera.
您可能已经注意到，这个剧本是意大利语的，就像真正的歌剧一样。
Before it was just a bunch of puppets in a box with a good idea.
以前它只是盒子里的一堆木偶，有一个好主意。
And then suddenly, as soon as it went into Italian, it became something bigger than what it had been.
然后突然间，当它进入意大利语时，它就变得比原来更大了。
And it's because when it's in English, we all know it, and it's really not that interesting.
这是因为当它是英文的时候，我们都知道它，而且它真的没那么有趣。
It's like, yeah, yeah, yeah.
就好像，是啊，是啊，是啊。
As soon as it's in Italian, it gives us enough distance that we can come in.
一旦它是意大利语，它就给了我们足够的距离，让我们可以进来。
It's like the lover who doesn't want you-- you don't want anybody more than you want the one who doesn't want you.
这就像一个不想要你的情人——你不想要任何人，就像你不想要那个不想要你的人一样。
Right?
正确的？
And so then it's sort of the same thing.
所以这也是同样的事情。
You may recall that when you last heard of Little, back in kindergarten, she was just an average barn-door fowl who had an acorn drop on her head, which she mistakenly understood to be the sky falling.
你可能还记得，当你最后一次听说利特尔的时候，还是在幼儿园，她只是一只普通的家禽，头上掉了一粒橡子，她错误地认为这是天塌下来的。
Her alarms excited her friends, Goosey Loosey, Turkey Lurkey, and Ducky Lucky.
她的闹钟让她的朋友 Goosey Loosey、Turkey Lurkey 和 Ducky Lucky 兴奋不已。
And they join her for a journey to the king to tell him the important news.
他们和她一起去见国王，告诉他重要的消息。
On the way, they meet up with Sly Fox, Little's pals eagerly accept his invitation for dinner.
途中，他们遇到了狡猾的狐狸，利特尔的朋友们热切地接受了他的晚餐邀请。
Literally, as it turns out.
从字面上看，事实证明。
Fortunately for Little, hunger is not enough to distract her from her mission and she treks on.
对于利特尔来说幸运的是，饥饿不足以分散她对使命的注意力，她继续跋涉。
When she meets the King, he tells her that the sky is not falling.
当她遇见国王时，国王告诉她天不会塌下来。
It's just an acorn.
这只是一个橡子。
So the enlightened Chicken Little returns to her coop.
于是，开明的小鸡回到了她的鸡舍。
And that's where the story ends.
故事到此结束。
Like Goldilocks and so many children's fables, the actual meaning of the story is obscure.
就像《金发姑娘》和许多儿童寓言一样，这个故事的实际意义是晦涩难懂的。
What are we to take away from Little's experience?
我们可以从利特尔的经历中得到什么？
I like to think it's that Little is rewarded with life, precisely because she went off on this quixotic mission, totally in the grip of a wrong idea.
我喜欢认为利特尔得到了生命的回报，正是因为她完全被一个错误的想法所束缚，开始了这个堂吉诃德式的任务。
By clinging to that belief, however crazy, she managed to free herself from the ugly, Darwinian world of the barnyard and of its mandate, eat or be eaten.
通过坚持这种信念，无论多么疯狂，她成功地将自己从谷仓的丑陋的达尔文世界中解放出来，摆脱了它的使命：吃或被吃。
The children's fable barely figures into the story.
儿童寓言几乎没有出现在故事中。
It's just one small episode in the life of Chicken Little, now known as La Pulcina Piccola.
这只是小鸡（现在被称为“La Pulcina Piccola”）生活中的一小段插曲。
After the acorn incident, she goes on to become an internationally renowned figure in almost every field imaginable, a diva of politics, academe, theatre, art, derring-do.
橡子事件后，她几乎在所有可以想象的领域成为国际知名人物，政治、学术、戏剧、艺术、英勇的天后。
Like Venus, she arrives from some other world, transported on a scallop shell.
和维纳斯一样，她是乘坐扇贝壳从另一个世界来到这里的。
But the triumphs of her life begin after a youthful love affair with a fighting cock ends bitterly.
但在她年轻时与斗鸡的爱情以痛苦结束后，她人生的胜利才开始。
And she consoles herself, as we all do at some point in our lives, by plunging into Shakespeare.
正如我们在生活中的某个时刻所做的那样，她通过沉浸在莎士比亚的作品中来安慰自己。
She becomes an overnight sensation as an actress, celebrated all over the world for one role.
作为一名演员，她一夜成名，并因一个角色而享誉全球。
Juliet?
朱丽叶？
Cleopatra?
克利奥帕特拉？
Ophelia?
奥菲莉亚？
The company then performs an excerpt, a recreation of her signature role, which is Richard III.
随后剧团表演了一段片段，再现了她的标志性角色——理查三世。
Well, you know, Sarah Bernhardt did Hamlet.
嗯，你知道，莎拉·伯恩哈特演过《哈姆雷特》。
Well, there's a great tradition of women playing the men's roles in Shakespeare.
嗯，莎士比亚有一个由女性扮演男性角色的伟大传统。
But I think Richard III is one of the more rare roles to be played by a woman.
但我认为理查三世是由女性扮演的较为罕见的角色之一。
Well, that's how adventuresome an actress this chicken was.
嗯，这就是这只鸡的女演员的冒险精神。
I can assure you, there's nothing like watching a four-inch tall finger puppet crying out "a horse, a horse, my kingdom for a horse," in Italian.
我可以向你保证，没有什么比观看一个四英寸高的手指木偶用意大利语喊出“一匹马，一匹马，我的王国换一匹马”更好的了。
Not to mention that that puppet is a chicken surrounded by a whole supporting cast of poultry and other avian supernumeraries.
更不用说那个木偶是一只鸡，周围是一整套家禽和其他鸟类的辅助演员。
Susan says that artistically, there's something special about chickens.
苏珊说，从艺术角度来说，鸡有一些特别之处。
They're a clean slate, in a way.
从某种程度上来说，他们是干净的。
You can put anything on them.
你可以在上面放任何东西。
You can project anything onto them.
你可以将任何东西投射到它们上面。
Because it's not like they have-- to me, at least-- a very strong personality.
因为他们——至少对我来说——没有很强的个性。
Except for La Pulcina.
除了拉普尔西纳。
In the opera, she moves into the field of archaeology-- masters it, needless to say-- and makes a great discovery, the last tomb of Gallapatra.
在歌剧中，她进入了考古学领域——不用说，她掌握了它——并做出了一项伟大的发现，即加拉帕特拉的最后一座坟墓。
But not before she sails the seven seas, is shipwrecked, gets rescued, but it's by pirates, and then she meets the pirate king.
但在她航行七大洋之前，遭遇海难，被海盗救起，然后她遇到了海贼王。
As soon as he meets her, he falls in love with her, because of her sweet spirit.
他一见到她，就爱上了她，因为她的甜美气质。
Because she comes in, and she says, here you see a little chicken who, although I'm dripping wet, I'm proud and yellow.
因为她进来了，她说，在这里你看到一只小鸡，虽然我浑身湿透，但我很自豪，而且是黄色的。
Let me repeat that lyric for you in a pure translation.
让我以纯翻译形式为您重复一遍这句歌词。
"Although I stand before you, a chicken, who is dripping wet, I am proud, and I am yellow." OK, back to Susan.
“虽然我站在你面前，一只鸡，浑身湿淋淋的，但我骄傲，我黄了。”好吧，回到苏珊。
And although I've loved and I have lost, I have learned to follow the call of adventure.
尽管我爱过也失去过，但我学会了跟随冒险的召唤。
So let's sail on.
那么，让我们继续航行吧。
Keep in mind that all of the action-- like everything that occurs in every Susan Vitucci production, ever since the first one for her nephew and continuing to this day-- occurs among characters created by sticking a small painted Styrofoam ball onto a larger painted Styrofoam ball, poking in two map tacks for eyes, gluing on a tiny felt beak, and then impaling the whole thing on top of one of those really old-fashioned clothespins that a '40s cartoon figure would clamp to his nose around a chunk of Limburger cheese.
请记住，所有的动作——就像苏珊·维图奇每一部作品中发生的一切一样，从她侄子的第一部作品开始一直持续到今天——都发生在角色中，这些角色是通过将一个小的彩绘聚苯乙烯泡沫塑料球粘在一个较大的彩绘泡沫塑料球上，用两个地图钉戳出眼睛，粘上一个小毛毡喙，然后将整个东西刺穿在一个 40 年代的老式衣夹上。卡通人物会用鼻子夹住一块林堡奶酪。
And I could go on.
我还可以继续。
She takes a cowboy lover on the American frontier while on a lecture tour.
她在巡回演讲时带着一位牛仔情人来到美国边境。
Then there's an affair with an Italian professor, modeled on a real 15th century naturalist who wrote a treatise on chickens.
然后是与一位意大利教授的风流韵事，这位教授模仿了一位真正的 15 世纪博物学家，写了一篇关于鸡的论文。
There's always another adventure, even outside the opera.
总是有另一种冒险，即使是在歌剧之外。
Susan has written-- or as she puts it, translated-- La Pulcina Piccola's diaries, which detail the other adventures that happen in between those in the opera.
苏珊写了——或者用她的话说，翻译了——拉普尔西娜·皮科拉的日记，其中详细描述了歌剧中的人物之间发生的其他冒险。
There are 60 pages so far, excerpts of which have appeared in Clotheslines, the official fan club newsletter of the opera.
到目前为止，共有 60 页，其中的摘录已出现在该歌剧的官方歌迷俱乐部时事通讯《晾衣绳》上。
It's masthead lists every category of donor.
它的报头列出了每个类别的捐赠者。
Zealot, fanatic, worshiper, admirer.
狂热者，狂热者，崇拜者，仰慕者。
A zealot has to give $250, a fanatic $100.
狂热者必须捐献 250 美元，狂热者则捐献 100 美元。
Do you have any zealots?
你有狂热分子吗？
Oh yeah.
哦，是的。
In fact, actually, you can just give however much you want and call yourself whatever you want, so that we have people called-- what is it-- belli amici pennuti, which means fine feathered friends.
事实上，实际上，你可以给自己想要的任何东西，并随心所欲地称呼自己，所以我们有人被称为——这是什么——belli amici pennuti，意思是长着羽毛的朋友。
We have a couple of those.
我们有几个。
And we have lovers.
而且我们还有恋人。
We have a couple of lovers.
我们有一对恋人。
I'm not joking when I tell you that the high-end donation is $500.
当我告诉你高端捐款是 500 美元时，我不是在开玩笑。
People take this campy finger-puppet opera quite seriously.
人们非常认真地对待这部做作的手指木偶戏。
When I was talking to Henry Krieger, he recalled the night he first saw a bare-bones production of it at the West Bank Cafe in New York.
当我与亨利·克里格交谈时，他回忆起他在纽约西岸咖啡馆第一次看到该剧的简陋制作的那天晚上。
And it was Krieger who approached Vitucci, begging to write music for it.
克里格找到维图奇，请求为其创作音乐。
Love's Fowl has this strange effect on people.
爱情之鸟对人有这种奇怪的影响。
I didn't understand it until Susan loaned me a videotape of one performance.
直到苏珊借给我一盘表演的录像带时我才明白。
To be honest, I thought I would be annoyed at the intentional irony and hokiness of the puppets.
说实话，我以为我会对木偶的故意讽刺和矫揉造作感到恼火。
But there I was with my three-year-old daughter, who loved the show, watching a plastic bird pantomime one of the simplest human moments, but also one of the most profound-- the confession of a great love, in this case, with a Cock Robin.
但我和我三岁的女儿一起观看了一部塑料鸟哑剧，她很喜欢这个节目，这是人类最简单的时刻之一，但也是最深刻的时刻之一——对伟大爱情的表白，在这个例子中，是与知更鸟。
The song that she sings as she enters goes, "I am a chicken and ready for love.
她进来时唱的歌是这样的：“我是一只鸡，准备好迎接爱情。
My heart is as fragile as the egg from which I was born.
我的心就像诞生我的鸡蛋一样脆弱。
Treat me gently, and so will I treat you.
对我温柔，我也会对你温柔。
Together from earthly love, we will reach for the divine." And then she sings, "I'm a chicken and I can't fly without love.
我们将从尘世的爱中一起走向神圣。”然后她唱道：“我是一只鸡，没有爱我就无法飞翔。
My heart is as strong as the egg from which I was born." And so forth.
我的心就像诞生我的鸡蛋一样坚强。”等等。
And so it is only with Cock Robin that she flies.
因此，只有与知更鸟一起，她才能飞翔。
And after they've agreed to fly together and they are soaring in the air, Cock Robin is shot and killed, murdered by a jealous sparrow.
当他们同意一起飞行并在空中翱翔时，知更鸟被一只嫉妒的麻雀射杀。
I couldn't believe it, but I was getting choked up, especially when Cock Robin appeared on the stage, his Styrofoam body spray-painted black for the lament, his little magic marker eyes drawn as X's.
我简直不敢相信，但我感到哽咽，尤其是当公鸡罗宾出现在舞台上时，他的泡沫塑料身体被喷成黑色以表达哀悼，他的小魔法标记眼睛被画成X的。
I gathered my daughter in my arms and held on tight, as I was helplessly drawn into an expression of the grief and suffering of this little sad bird.
我把女儿抱在怀里，紧紧地抱住，我无助地被这只悲伤的小鸟的悲伤和痛苦的表情所吸引。
In this era of slick special effects, there was something unexpectedly liberating in the marriage of this crude medium-- painted Styrofoam balls bobbing up and down behind a cardboard box-- and the high, melodramatic art of Italian opera.
在这个特效华丽的时代，这种粗糙的媒介（在纸板箱后面上下摆动的彩色聚苯乙烯泡沫塑料球）与意大利歌剧的高调戏剧艺术的结合，带来了意想不到的解放。
Picture it.
想象一下。
I want a subscription to that newsletter.
我想要订阅该新闻通讯。
Are you going to do this?
你打算这样做吗？
I mean, are you going to be working with Pulcina Piccola, you think, for the rest of your life?
我的意思是，您认为您会在余生中与 Pulcina Piccola 一起工作吗？
It's possible.
这是有可能的。
And I like working with her because I get to go into a world that's inhabited by a very sweet spirit.
我喜欢和她一起工作，因为我可以进入一个充满甜蜜精神的世界。
And because it's very small.
而且因为它非常小。
I could never have afforded to produce this show with people.
我永远无法承担与人一起制作这个节目的费用。
But I could afford to do it with clothespins.
但我可以用衣夹来做这件事。
So I can do as big a production as I want with clothespins.
这样我就可以用衣夹制作尽可能大的作品。
I can have stuff fly in and out and come in from traps.
我可以让东西飞进飞出，也可以从陷阱里飞进来。
And I can have all kinds of fancy, flashy stuff that costs millions of dollars to do on Broadway.
我可以在百老汇拥有各种花哨、华而不实的东西，这些东西要花费数百万美元才能完成。
And it would cost me $200, because I had to buy lots and lots and lots of Styrofoam and clothespins and stuff, and all this, and a new table maybe.
这将花费我 200 美元，因为我必须购买很多很多泡沫塑料、衣夹之类的东西，以及所有这些，也许还需要一张新桌子。
And I get to do whatever I want.
我可以做任何我想做的事。
Jack Hitt lives in New Haven.
杰克·希特住在纽黑文。
The online home of the opera is pulcina.org.
歌剧的在线主页是 pulcina.org。
Act Four, The Meaning of a Chicken.
第四幕，鸡的意义。
We close our show today with this story from David Rakoff, which begins far from any chicken house.
我们今天以大卫·拉考夫（David Rakoff）的故事来结束我们的节目，这个故事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.
马克思和伟大的工党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坚定的年轻社会主义者，我们在 15 岁时就做好了准备，迎接这场运动所能给予的终极奖赏——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，笑着打捆麦子，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, and 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、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.
对我来说，在一个有 5,000 只鸡的鸡舍里的一个晚上，这一切都会改变。
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 contracts 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，并因猖獗和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某个时间上午结束。
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 of the time.
我应该在这里暂停一下，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.
我知道当我说这句话时，我听起来就像是我一心一意地将自己变成了中央选角纽约客。
But the main problem with working in the fields is that the sun is just always shining.
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, 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.
我是地地道道的北方人，大约两天后就发现我完全不适合在外面工作，于是我被调到基布兹的各种室内工作，家具厂、金属灌溉配件厂和厨房，而组长一直向我保证，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 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昏倒了。
This continued for weeks.
这种情况持续了几周。
It was a somewhat idyllic, if not a mite monotonous, existence.
这是一种有点田园诗般的生活，即使不是一种单调的生活。
That is, until the long night of the chickens.
也就是，直到鸡鸣的漫漫长夜。
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, and we didn't ask.
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，从来没有向我们解释过，我们也没有询问。
We greeted the news with the respectful Hemingway silence of the Y chromosome.
我们以 Y 染色体海明威般的恭敬沉默来迎接这个消息。
No dopey girls allowed.
不允许愚蠢的女孩。
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 naivety, 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强烈，以至于让一块喷了香水的手帕在其勇敢的天真中显得几乎可爱，Wile 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。
Chicken [BLEEP] is horrible stuff, 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.
鸡[BLEEP]是一种可怕的东西，不像牛粪，根据大卫·福斯特·华莱士的说法，牛粪闻起来“温暖、草药和无可指责”，鸡[BLEEP]是一种嗅觉侮辱，一种咆哮的、锯齿状的、氨味的、奶酪味的气味，毫无必要地令人厌恶。
A stench of such assaultive tenacity that it burns your eyes.
一股顽强的恶臭刺痛着你的眼睛。
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.
“如果腿折断了，”他说，“也没关系。
Just to get four in each hand.
只是为了每手拿四个。
B'seder," he says, "OK?" He faces us holding the requisite eight, four in each hand, living masses of writhing feathers.
B'seder，”他说，“好吗？”他面向我们，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 pompoms 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 meaningless 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, I can't hear you!"
你大声点，我听不见！”
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 chick chack," he tells us, clapping his hands with that's-that finality.
“然后你盖上盖子，小鸡，”他告诉我们，拍了拍手，就这样结束了。
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.
我伸手抓起一个。
Its leg a slightly thicker segmented chopstick.
它的腿是稍粗的分段筷子。
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。
My friends are all grabbing handfuls of poultry and shoving them into crates, unmindful of splayed wings, attempted peckings of their forearms, and the horrible premorbid squawking of birds on their way to slaughter.
我的朋友们都抓起一把家禽，把它们塞进板条箱，全然不顾张开翅膀、试图啄它们的前臂，以及鸟类在被屠宰的途中可怕的病前叫声。
My sensibilities are not offended by the processing of animals for foods.
将动物加工成食品并不会冒犯我的情感。
I don't care about chickens.
我不关心鸡。
I fairly define anthropocentric.
我对人类中心主义的定义相当准确。
I'm crazy about the food chain and love being at the top of it.
我对食物链很着迷，喜欢站在食物链的顶端。
But like the making of sausages, federal legislation, and the heartwarming film work of Robin Williams, there are some things I just don't want to witness.
但就像香肠的制作、联邦立法和罗宾·威廉姆斯的温馨电影作品一样，有些事情我只是不想见证。
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。
[SPEAKING HEBREW] "What's the matter with him," the head of the work detail asks when he sees me on the truck.
[希伯来语]“他怎么了？”工作细节负责人看到我在卡车上时问道。
[SPEAKING HEBREW] He has 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来回答。
"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 men, making it quite clear to them that I understand what they're saying.
我转身看着那些人，让他们清楚地知道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。”
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 the words Karl and Marx generally bring up associations of Lagerfeld and Groucho.
现在我住在曼哈顿，一个非基布兹，在那里，Karl 和 Marx 这两个词通常会让人联想到 Lagerfeld 和 Groucho。
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 in to lunch.
当我年轻的时候，在露营时，我和其他富裕专业人士的孩子每天都会聚集在树下唱歌，然后才去吃午饭。
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 told to sing it with our left fists raised.
有一年夏天，我们甚至被告知要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.
诚然，它们都是比精神病学家的孩子们更容易理解、更容易理解的隐喻。
But they had little to nothing to do with us personally.
但他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?
我该如何向你描述这个11岁孩子的使命感呢？
That thrill of belonging to something larger, something outside of my own body?
那种属于更大的东西、属于我自己身体之外的东西的兴奋感？
The sheer heart-stopping beauty of a world of justice and perfection rising on new foundations?
在新的基础上崛起的正义与完美世界的纯粹令人心碎的美丽？
And that one line, "we have been naught, we shall be all." Naught-- 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.
还有那句台词：“我们曾经一无所有，但我们将成为一切。”没什么——它既表达了我从这种青春期前的自我厌恶中解脱出来的愿望，也表达了任何解放群众的意识。
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.
嗯，我们今天的节目是由阿利克斯·斯皮格尔和我本人以及南希·厄普代克和朱莉·斯奈德制作的。
Special thanks today to Mark Smith, creator of Chicago's semi-legendary Poetry Slam.
今天特别感谢芝加哥半传奇诗歌大满贯的创始人马克·史密斯。
Our Poultry Slam is named in tribute to it and to him.
我们的家禽大满贯以这个名字命名，以纪念它和他。
The title in no way is intended to demean or denigrate poultry.
这个标题绝不是为了贬低或诋毁家禽。
This American Life is distributed by Public Radio International.
《美国生活》由国际公共广播电台发行。
[FUNDING CREDITS] WBEZ management oversight for our show by Mr. Torey Malatia, who describes listening to our program this way.
[资金来源] Torey Malatia 先生对我们的节目进行 WBEZ 管理监督，他描述了通过这种方式收听我们的节目。
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。
Like, what the hell am I doing?
就像，我到底在做什么？
I really think I'm going to throw up.
我真的觉得我要吐了。
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。