The Shadowland of Dreams 梦想的阴暗之面

Many people cherish the fond dream of becoming a writer but not many are able to see their dream come true. Alex Haley also wanted to be a writer and he succeeded. Read the following for reasons of his success.

许多人怀有美好的愿望，期望能成为作家，但是能够梦想成真的人不多。艾力克斯? 哈利也想成为作家，可是他成功了。阅读下面这篇文章，看一看他成功的原因。

Many a young person tells me he wants to be a writer. I always encourage such people, but I also explain that there's a big difference between \a writer\and writing. In most cases these individuals are dreaming of wealth and fame, not the long hours alone at a typewriter. \be a writer.\

许多青年人对我说，他们想成为作家。我一直鼓励这样的人，但是我也向他们解释“成为作家”和写作之间存在着巨大的差别。多数情况下这些年轻人梦寐以求的是财富与名誉，从未想到要孤身一人长久地坐在打字机旁。“你们渴望的应该是写作，”我对他们说，“而不应该是当作家。”

The reality is that writing is a lonely, private and poor-paying affair. For every writer kissed by fortune there are thousands more whose longing is never requited. Even those who succeed often know long periods of neglect and poverty. I did. 事实上，写作是一项孤单寂寞而又收入微薄的工作。有一个被命运之神垂青的作家，就有成千上万个永远无法实现梦想的人。即使那些成功人士也经常受到长久的冷落，穷困不堪。我便是其中之一。

When I left a 20-year-career in the Coast Guard to become a freelance writer, I had no prospects at all. What I did have was a friend in New York City, George Sims, with whom I'd grown up in Henning, Tenn. George found me my home, a cleaned-out storage room in the Greenwich Village apartment building where he worked as superintendent. It didn't even matter that it was cold and had no bathroom. I immediately bought a used manual typewriter and felt like a genuine writer. 我放弃了在海岸警卫队做了二十年的工作，为的是成为一名自由撰稿人，这时，我根本没有前途可言。我所拥有的只是一位住在纽约市的朋友，乔治? 西姆斯，他和我是在田纳西州的赫宁一起长大的。乔治为我找了个家，位于格林威治村公寓大楼中的一间腾空的储藏室，而他是那幢大楼的管理员。房子里冷嗖嗖的，没有卫生间，不过这没什么。我马上买了一台旧的手动打字机，感觉自己颇象一位名符其实的作家。

After a year or so, however, I still hadn't gotten a break and began to doubt myself. It was so hard to sell a story that I barely made enough to eat. But I knew I wanted to write. I had dreamed about it for years. I wasn't going to be one of those people who die wondering, What if? I would keep putting my dream to the test － even though it meant living with uncertainty and fear of failure. This is the Shadowland of hope, and anyone with a dream must learn to live there.

然而，大约一年后，我的写作生涯依然没有任何起色，我开始怀疑自己。卖出一篇小说是如此艰难，以至我几乎填不饱肚子。但是，我清楚的是我想写作，我已梦寐以求了许多年。我并不准备成为一名到死时还在想假如的人。我会坚持把我的梦想付诸实践 -- 即使这梦想意味着不稳定的生活和对失败的恐惧。这是希望的阴暗面，任何心存梦想的人都必须学会在这阴暗面下生存。

Then one day I got a call that changed my life. It wasn't an agent or editor offering a big contract. It was the opposite － a kind of siren call tempting me to give up my dream. On the phone was an old acquaintance from the Coast Guard, now stationed in San Francisco. He had once lent me a few bucks and liked to egg me about it. \am I going to get that $15, Alex?\

后来有一天，我接到了一个电话，由此改变了我的一生。这并不是一位代理人或编辑打来电话，主动要求与我签大的稿约。恰恰相反 -- 是一声鸣笛，诱使我放弃梦想。打电话来的是海岸警卫队的老熟人，现在在旧金山。他曾经借给我几美元，喜欢催我还给他。“我什么时候才能拿到那十五美元，艾力克斯？”他逗我说。 \“等我下一次卖出作品吧。”

\here, and we're paying $6 000 a year. If you want it, you can have it.\

“我有个好主意，”他说，“我们这儿需要一位新的公共信息管理员，年薪六千美元。若想干，那就是你的了。”

Six thousand a year! That was real money in 1960. I could get a nice apartment, a used car, pay off debts and maybe save a little something. What's more, I could write on the side.

年薪六千美元！这个数目在1960年可真是值钱啊。我可以有一套上好的公寓，一辆二手车，可以还清债务，也许还可有些结余。另外，我还可以业余写作。 As the dollars were dancing in my head, something cleared my senses. From deep inside a bull-headed resolution welled up. I had dreamed of being a writer － full time. And that's what I was going to be.\but no,\I heard myself saying. \going to stick it out and write.\当这些美元在我的脑海里晃动时，某种东西却使我神志清醒起来。我的内心深处升起一个坚强的信念。我曾经梦想成为一名作家 -- 一名专业作家。那才是我的追求。“谢谢你，但是我不去，”我听见自己在说。“我会坚持到底来写作。”

Afterward, as I paced around my little room, I started to feel like a fool. Reaching into my cupboard－an orange crate nailed to the wall － I pulled out all that was there: two cans of sardines. Plunging my hands into my pockets, I came up with 18 cents. I took the cans and coins and jammed them into a crumpled paper bag. There, Alex, I said to myself. There's everything you've made of yourself so far. I'm not sure I've ever felt so low.

后来，我在蜗居里踱来踱，开始觉得自己象个傻瓜。我打开橱柜 -- 一只钉在墙上的桔黄色板条箱 -- 把里面的东西全部弄了出来：两罐沙丁鱼。我把手伸进口袋，只摸出十八美分。我把罐头和硬币一起塞进一个皱巴巴的纸袋中。你看，艾力克斯，我自言自语道，你迄今为止努力的结果都在这里。我不知道，自己是不是曾经情绪如此低落过。

I wish I could say things started getting better right away. But they didn't. Thank goodness I had George to help me over the rough spots. 我希望自己能说，情况马上开始好转。但是并没有。感谢上帝，幸亏有乔治帮我渡过了难关。 Through him I met other struggling artists like Joe Delaney, a veteran painter from Knoxville, Tenn. Often Joe lacked food money, so he'd visit a neighborhood butcher who would give him big bones with morsels of meat and a grocer who would hand him

some wilted vegetables. That's all Joe needed to make down-home soup.

通过乔治，我结识了另外一些正在艰苦奋斗的艺术家，象乔? 德拉尼，一位来自田纳西州科诺科斯威尔市的老画家。乔经常常没吃饭的钱，于是就去光顾附近社区的一位屠户和一个食品商。屠户会送给他一些带点肉的大骨头，从食品商那里他可以弄到一些 枯萎的蔬菜。乔做南方炖汤需要的就是这些。 Another Village neighbor was a handsome young singer who ran a struggling restaurant. Rumor had it that if a customer ordered steak the singer would dash to a supermarket across the street to buy one. His name was Harry Belafonte.

村里另一位邻居是个年少英俊的歌手，他惨淡经营着一家餐馆。据说，如果有客人点牛排，这位歌手会火速冲到街对面的超市买一个。他的名字是哈利? 百拉芬特。

People like Delaney and Belafonte became role models for me. I learned that you had to make sacrifices and live creatively to keep working at your dream. That's what living in the Shadowland is all about.

德拉尼和百拉芬特这样的人都成了我笔下角色的原型。我懂得了，若要一直奋斗实现梦想，就得作出牺牲，创造性地生活。那就是生活在阴影里面的含义所在。

As I absorbed the lesson, I gradually began to sell my articles. I was writing about what many people were talking about then: civil rights, black Americans and Africa. Soon, like birds flying south, my thoughts were drawn back to my childhood. In the silence of my room, I heard the voices of Grandma, Cousin Georgia, Aunt Plus, Aunt Liz and Aunt Till as they told stories about our family and slavery.

在认识到这一点的同时，我逐渐开始卖出我的文章。我写的都是当时人们经常谈论的话题：人权、美国黑人和非洲。不久，我的思绪象鸟儿南飞一样回到了我的童年时光。在静寂的房间里，我仿佛听见了祖母、乔治亚堂兄、普鲁斯姑妈、利兹姑妈和提尔姑妈的声音，听见他们在娓娓而谈我们的家族和奴隶制的故事。

These were stories that black Americans had tended to avoid before, and so I mostly kept them to myself. But one day at lunch with editors of Reader's Digest I told these stories of my grandmother and aunts and cousins; and I said that I had a dream to trace my family's history to the first African brought to these shores in chains. I left that lunch with a contract that would help support my research and writing for nine years.

这些故事是美国黑人以前尽量回避的，因此多数时候我并不对外人说。但是有一天，在与《读者文摘》的编辑们共进午餐时，我讲起了我的祖母、姑妈与堂兄们的那些故事，我还告诉他们，我梦想追溯我的家族史，一直追溯到第一批戴着手镣脚铐被运到美国海岸的非洲黑人。午餐结束离开时，我手中多了一张足以供我从事研究和写作长达九年的合同。

It was a long, slow climb out of the shadows. Yet in 1976, 17 years after I left the Coast Guard, Roots was published. Instantly I had the kind of fame and success that few writers ever experience. The shadows had turned into dazzling limelight. 那是为摆脱阴影进行的一次漫长而缓慢的攀登。然而，1976年，也就是我离开海岸警卫队十七年后，《根》出版了。立刻我拥有了那种唯有少数作家有幸体验的名望与成功。阴影此时已变成了令人眼花燎乱的聚光灯。

For the first time I had money and open doors everywhere. The phone rang all the time with new friends and new deals. I packed up and moved to Los Angeles, where I could help in the making of the Roots TV mini-series. It was a confusing, exhilarating time, and in a sense I was blinded by the light of my success.

有生以来第一次我是如此富有，第一次享受到处处受欢迎的礼遇。电话铃响个不停，带来了新朋新友，新交易。我收拾行装，搬到了洛杉矶。在那儿我可以协助制作《根》的电视 短篇系列片。那是一段令人困惑，又令人欣喜若狂的时期；从某种意义上说，我被成功的光芒照花了眼。

Then one day, while unpacking, I came across a box filled with things I had owned years before in the Village. Inside was a brown paper bag.

后来有一天，在打开包着的东西时，我偶然发现了一个盒子，里面装着我数年前在格林威治村的全部家当，其中有一个棕色纸袋。

I opened it, and there were two corroded sardine cans, a nickel, a dime and three pennies. Suddenly the past came flooding in like a riptide. I could picture myself once again huddled over the typewriter in that cold, bleak, one-room apartment. And I said to my self, The things in this bag are part of my roots too. I can't ever forget that.

我打开纸袋，里面有两罐腐败的沙丁鱼，一枚五分硬币，一枚一角硬币和三枚一美分硬币。霎时，往事巨浪般地奔涌而来。我又一次看到 自己在寒气逼人、冷冷清清的单室公寓里蜷缩在打字机旁的情景。我自言自语道，袋子里的东西也是我的根的一部分，我永远也不能忘记。

I sent them out to be framed in Lucite. I keep that clear plastic case where I can see it every day. I can see it now above my office desk in Knoxville, along with the Pulitzer Prize; a portrait of nine Emmys awarded the TV production of Roots; and the Spingarn medal － the NAACP's highest honor. I'd be hard pressed to say which means the most to me. But only one reminds me of the courage and persistence it takes to stay the course in the Shadowland. 我把这些东西送到鲁西提，用框架装起来。我一直把那个透明的塑料盒摆在天天能看得到的地方。现在它就放在科诺科斯威尔我的办公桌上，与普利策奖放在一起，还有一张《根》的电视制作 获得的九项艾美奖的照片，以及斯宾卡奖章 - NAACP(全国有色人种促进协会)的最高荣誉。很难说哪一个对我最重要，然而，仅有一件能提醒我在阴影之地坚持下去所需要的勇气和坚韧不拔精神。

It's a lesson anyone with a dream should learn. 这是每一位拥有梦想的人都必须汲取的教训。

3、通过活动，使学生养成博览群书的好习惯。 B比率分析法和比较分析法不能测算出各因素的影响程度。√ C采用约当产量比例法，分配原材料费用与分配加工费用所用的完工率都是一致的。Ｘ C采用直接分配法分配辅助生产费用时，应考虑各辅助生产车间之间相互提供产品或劳务的情况。错 C产品的实际生产成本包括废品损失和停工损失。√ C成本报表是对外报告的会计报表。× C成本分析的首要程序是发现问题、分析原因。× C成本会计的对象是指成本核算。× C成本计算的辅助方法一般应与基本方法结合使用而不单独使用。√ C成本计算方法中的最基本的方法是分步法。X D当车间生产多种产品时，“废品损失”、“停工损失”的借方余额，月末均直接记入该产品的产品成本 中。× D定额法是为了简化成本计算而采用的一种成本计算方法。× F“废品损失”账户月末没有余额。√ F废品损失是指在生产过程中发现和入库后发现的不可修复废品的生产成本和可修复废品的修复费用。Ｘ F分步法的一个重要特点是各步骤之间要进行成本结转。(√) G各月末在产品数量变化不大的产品，可不计算月末在产品成本。错 G工资费用就是成本项目。(×)