2020年经济学人 爱尔兰女诗人伊万·博兰德(3)

（单词翻译）

Shockingly, a wife who believed "I was not myself, myself" in her everyday dutifulness felt herself remade when her husband, coming home tight, split her lip and knuckled¹ her neck "to its proper angle"; and was grateful for his remodelling². Yet the all-too-ordinary often slipped into something else. She was too deeply read in the myths and epics³ of Ireland for it to be otherwise. The life that was lived in a brick house could still have a visionary quality.

令人震惊的是，一个尽着日常责任，并认为“这不是真正的我”的妻子，在丈夫准点回家，掰开她的双唇，用手将她的脖子按到“合适的角度”后，感觉自己被重塑了，并且对他的改造感到感激。但是这些过于平常的事经常会发生变化。她对爱尔兰的神话和史诗太了解了，以致于无法接受。在砖房中的生活里可能仍然会产生远见卓识。

In "Night Feed", she noticed not only the rosy⁴ zipped sleeper⁵, the hard suckling, the silt⁶ of milk left in the bottle, but the movements of earth and stars, and the "long fall from grace" as the feed ended. The stopping of the tumble-dryer, like death, began "to bury/The room in white spaces." An old florin, brushed on a shelf, turned into a silver salmon⁷. That everyday life was also not remote from history. But she preferred to call it The Past: a place of shadows, fragments, defeats, rather than heroics.

在《夜间喂食》中，她不仅注意到了玫瑰色的拉链枕木，坚实的吸吮，瓶中残留的牛奶淤泥，还有地球和星星的运动，还有在喂食结束后感到的“长时间的失宠”。烘干机的停止就像死亡一般，开始将“房间埋葬在白色的空间内”。刷洗过在架子上的二先令银币变成了银色的鲑鱼。日常的生活也并非远离历史。但是她更喜欢叫它“过去”：一个充满阴影，碎片，失败，而不是英雄的地方。

The Troubles appeared, through an ancient television set, as "grey and greyer tears" and "moonlight-coloured funerals". Emigration to America was a woman in a gansy-coat on the deck of the Mary Belle⁸, holding her half-dead baby to her. In "Quarantine" the worst year of the famine, 1847, was encapsulated in a couple found frozen, he still carrying her, holding her feet against his breastbone to try to warm them.

通过一个古老的电视机，引出了北爱尔兰暴力问题，有“比灰色更灰的眼泪”，还有“月色葬礼”。“移民到美国”讲的是一名穿着在甲板上的穿着羊毛毛衣的女人，她抱着自己的半死婴儿。在《检疫》中饥荒最严重的一年，1847年，一对夫妇被冻死。他仍然抱着她，把她的脚放在自己的胸骨上，试图温暖它们。