时间:2019-01-16 作者:英语课 分类:2017年NPR美国国家公共电台2月


英语课

 


LOURDES GARCIA-NAVARRO, HOST:


Argentina can be beguiling 1. But its grand, European architecture and lively coffee culture obscure a dark and sometimes macabre 2 history. Under the country's dictatorship, thousands of people were tortured and killed. Children were kidnapped, sometimes to be raised by their parents' murderers. That troubled past sets the backdrop for Mariana Enriquez's new book of unsettling and gruesome short stories called "Things We Lost In The Fire." She joins us now from Buenos Aires. Hello. Welcome.


MARIANA ENRIQUEZ: Hello. Thank you for having me.


GARCIA-NAVARRO: In these stories, there's a feeling of the supernatural that becomes more and more present as the story goes on. What draws you to this idea of domestic horror?


ENRIQUEZ: To me, it's a mixture that comes very natural when I think about the tradition of my literature, of the literature that is written in my language. And when I mean my language, I mean language of Argentina - not only Spanish. And, also, me as a person and as a writer - I'm very interested in that kind of weird 3 fiction. I'm interested in ghost stories. I'm interested in witches. I'm interested in the occult.


But I'm also interested in inequality, in social issues, in violence in our societies, in what's happening or what happened politically in our country, especially in my country. So to me, when I started writing stories, I thought, how can I mix this? And the mix was there. It was in the tradition. It was very close to me, and it came very natural to me.


GARCIA-NAVARRO: Let's talk a little bit about what overshadows all of this, which is, of course, Argentina and its history. You hear echoes of it in the stories. You know, in one of the stories, a little girl disappears into a haunted house, and she's never seen again. In another, a young boy is murdered in what could be a satanic ritual. Argentina has a difficult history. We know that children were taken from their parents during the Dirty War under Argentina's dictatorship. And then they were often raised by people that weren't actually their parents, but they were supporters of the then-government. Is this an echo of that very difficult history?


ENRIQUEZ: I did not try specifically to write about the dictatorship and its consequences in the present. But I couldn't hide away from it when they kept appearing in the stories. I'm 43. I'm a bit older than the children that have disappeared but not all of them because some have my age. Some are older, et cetera.


But what always haunted me once I knew the stories of the children is that there's a question of identity. I don't know if they were who they were, if they were raised by their parents or by the killers 4 of the parents or were given by the killers to other families. So there is a ghostly quality to everyday life.


So it's almost like something is floating in the air, something that is not resolved. And there's a fear - a real fear - that was in the air that kind of got through my skin. And that mixed with the literature I love, kind of produced the stories that I'm writing now.


GARCIA-NAVARRO: I want to talk about women because most of the characters, with one notable exception - most of the characters are women in your stories. And there's this instability that's haunting the women in - each in different ways. Can you talk about that and why that is?


ENRIQUEZ: I wrote the stories in quite a long period of time. And being a woman - gender 5 issues, feminism, everything was in there in the last few years. And it kind of made me think about me as a woman. It was not something I did consciously. I don't think very interesting fiction comes when you are very conscious of something. And I started to think about all these impositions on women's body and...


GARCIA-NAVARRO: And the women in your stories are perpetrators of violence, as well as victims of violence. They're on both sides of that.


ENRIQUEZ: Yeah. Yes, of course. I think, in the end, that's real equality, I think (laughter). I don't want to write about women that are good and that don't leave, you know, footprints in the snow - angelic women, goddesses. I think women should be - in fiction, also be allowed to be villains 6, also be allowed to be brutal 7.


GARCIA-NAVARRO: What I'm hearing here is that you, like some of the characters that you write about, are reading things in the newspaper or seeing things around you, these dark moments and stories, and weaving them into your fiction. Why are you so drawn 8 to the darkness?


ENRIQUEZ: I guess I've always been a dark child. I was a bit lonely when I was little. And fiction is very important in my life. I think half of my life I live in fiction. And the fiction I love is a very dark world. And the fact that I know that this exists there somewhere - it's a weird thing to say, but it comforts me, I think. Yes.


GARCIA-NAVARRO: Yes.


ENRIQUEZ: There's comfort in the darkness for me.


GARCIA-NAVARRO: Mariana Enriquez's short-story collection is called "Things We Lost In The Fire." Thanks so much for being with us today.


ENRIQUEZ: No, thank you very much. It was wonderful.



adj.欺骗的,诱人的v.欺骗( beguile的现在分词 );使陶醉;使高兴;消磨(时间等)
  • Her beauty was beguiling. 她美得迷人。
  • His date was curvaceously beguiling. 他约会是用来欺骗女性的。 来自《简明英汉词典》
adj.骇人的,可怖的
  • He takes a macabre interest in graveyards.他那么留意墓地,令人毛骨悚然。
  • Mr Dahl was well-known for his macabre adult stories called 'Tales of the Unexpected'.达尔先生以成人恐怖小说集《意料之外的故事》闻名于世。
adj.古怪的,离奇的;怪诞的,神秘而可怕的
  • From his weird behaviour,he seems a bit of an oddity.从他不寻常的行为看来,他好像有点怪。
  • His weird clothes really gas me.他的怪衣裳简直笑死人。
凶手( killer的名词复数 ); 消灭…者; 致命物; 极难的事
  • He remained steadfast in his determination to bring the killers to justice. 他要将杀人凶手绳之以法的决心一直没有动摇。
  • They were professional killers who did in John. 杀死约翰的这些人是职业杀手。
n.(生理上的)性,(名词、代词等的)性
  • French differs from English in having gender for all nouns.法语不同于英语,所有的名词都有性。
  • Women are sometimes denied opportunities solely because of their gender.妇女有时仅仅因为性别而无法获得种种机会。
n.恶棍( villain的名词复数 );罪犯;(小说、戏剧等中的)反面人物;淘气鬼
  • The impression of villains was inescapable. 留下恶棍的印象是不可避免的。 来自《简明英汉词典》
  • Some villains robbed the widow of the savings. 有几个歹徒将寡妇的积蓄劫走了。 来自《现代英汉综合大词典》
adj.残忍的,野蛮的,不讲理的
  • She has to face the brutal reality.她不得不去面对冷酷的现实。
  • They're brutal people behind their civilised veneer.他们表面上温文有礼,骨子里却是野蛮残忍。
v.拖,拉,拔出;adj.憔悴的,紧张的
  • All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
  • Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。
学英语单词
-s
5'-Deoxyadenosyl-B12
acid fast red
Aegerita
albumin milk
almeida pilosa
amoralists
amphoteric ion-exchangeresin
anti-impact gear
batouti
blast furnace smelting
bunss
cabinetmaker
cauliflora
CD Video
Churumuco
COBOL transaction program
collapsible keel block
corecipients
dihydropyrimidinase
direct exporttrade
draw-
drip-drying
escrowing
esterifiable
Ethydan
ethyl cyanamide
filtered signal
fire bricks
flamdoodle
Florence crystals
foam solution
folded potential
forestry production statistics
fully arisen sea
general fixed assets group of accounts
genus Hamamelis
genus irenas
Grecian nose
groaners
Guengant
Haskins
hcb
ill-humo(u)redly
in conjunction with
input/output stream control
inseminating catheter
insured risk
joint buying office
Kentish fire
lande's g factor
Lincolnshire
look-at-me signal
magon
managed economies
merphenyl
metropolitan broadband network
mobile control room
Muncimir
national switching network
network for arc welding
non-metered tap
not the done thing
nuclei cochleares
Oetinghausen
pastures newer pastures
Pelargonium limoneum
pen lid
penetration method
permeably
Ping Pong buffer
powerful radio-frequency cable
pump for sludge tank
punctuation space
Quinalspan
redalder
reduced flange
regulating error
requirement for tax exemption
self-skill
shape straighten
shelf front
ST_including-and-excluding_covering-and-adding-layers
suele
taper-reamer
taste acuity
technico-
telecommunication route
throw up one's hat
transiliac
travel card
triatic
uncountry
variation in testing temperature
vibroplatform
Villaputzu
Virtual File Allocation Table
vision distance
well-illuminated
what are we waiting for
yester-morrows
z transform inverse