海明威如何成爲了著名作家海明威
Ernest Hemingway was not only a commanding figure in 20th-century literature, but he was also a pack rat. He saved even his old passports and used bullfight tickets, leaving behind one of the longest paper trails of any author.
歐內斯特·海明威(Ernest Hemingway)不僅是20世紀文壇中一位舉足輕重的人物，同時也是個收集狂。他就連舊護照和鬥牛比賽票根也要留着，因此在身後留下了龐大的書面資料，在作家當中堪稱數一數二。
So how is it possible that “Ernest Hemingway: Between Two Wars,” which opens on Friday at the Morgan Library & Museum, is the first major museum exhibition devoted to Hemingway and his work? It could be simply that no one thought of it before. Most of Hemingway’s papers are at the John. F. Kennedy Presidential Library and Museum in Boston. After Hemingway’s death in 1961, President Kennedy, a fan, helped his widow, Mary, get into Cuba and retrieve many of his belongings there. Partly in gratitude, she later donated Hemingway’s archive to the new presidential library. But the Kennedy Library, where this exhibition will travel in March, is not accustomed, as the Morgan is, to putting on big crowd-pleasing shows.
“歐內斯特·海明威：兩次世界大戰之間”(Ernest Hemingway: Between Two Wars)將於週五在摩根圖書館與博物館(Morgan Library & Museum)開展，人們不禁奇怪，之前怎麼根本就沒有關於海明威及其作品的大型博物館展覽呢？答案可能只是的確沒有人想到吧。海明威的大多數文件都保存在波士頓的約翰·F·肯尼迪總統圖書館與博物館(John. F. Kennedy Presidential Library and Museum)。海明威於1961年去世後，崇拜他的肯尼迪總統幫助他的遺孀瑪麗到古巴取回許多遺物。部分是爲了表示感謝，瑪麗後來把海明威的資料捐獻給了新落成的肯尼迪總統圖書館。但是肯尼迪圖書館並不像摩根圖書館這樣擅長舉辦人們喜聞樂見的大型展覽（本展覽亦將於明年3月來到肯尼迪圖書館）。
Even at the Morgan, Hemingway was something of an afterthought. Declan Kiely, the museum’s head of literary and historical manuscripts and the show’s curator, said recently that he and Patrick Milliman, the director of communications, began idly talking about Hemingway in 2010, after concluding that an exhibition about J. D. Salinger, who had just died, was probably not feasible. The Hemingway exhibition, mounted on walls that have been painted tropical blue to suggest his years in Key West and in Cuba, takes him all the way from high school (where one of his classmates described him as “egotistical, dogmatic and somewhat obnoxious”) to roughly 1950, when he turns up as a self-caricature in Lillian Ross’s famous New Yorker profile. But the largest and most interesting section focuses on the ’20s, Hemingway’s Paris years, and reveals a writer we might have been in danger of forgetting: Hemingway before he became Hemingway.
即便是在摩根，海明威展也並非優先考慮。博物館文學與歷史手稿部門的負責人、本次展覽的策展人迪克蘭·基利(Declan Kiely)前不久說，2010年，他和博物館的公關主管帕特里克·米利曼(Patrick Milliman)聊起，爲當時剛剛去世不久的J·D·塞林格(J. D. Salinger)做一次展覽似乎不太現實，然後他們才隨口聊起了海明威。在這次海明威展上，牆壁被漆成頗具熱帶風情的藍色，象徵着他在基韋斯特與古巴度過的歲月，展品從他的中學時光（有個同學形容當時的他“任性、固執，有點討人厭”）一直來到20世紀50年代，那時他的形象已經成了莉莉安·羅斯(Lillian Ross)在《紐約客》發表的那篇著名報道中的自我諷刺形象。但展覽中最重頭也是最有趣的部分集中在20世紀20年代，海明威的巴黎歲月，它揭示出一位我們有可能會忘記的作家——成爲著名作家之前的海明威。
The exhibition does not fail to include pictures of the bearded, macho, Hem, the storied hunter and fisherman. He’s shown posing with some kudu he has just shot in Africa and on the bridge of his beloved fishing yacht, the Pilar, with Carlos Gutiérrez, the fisherman who became the model for “The Old Man and the Sea.”
展覽中也有不少照片，展示那個留大鬍子，富於男性氣概的“海姆”，那個傳奇的獵手和漁夫。一張照片是他在非洲與自己獵殺的大羚羊的合影，還有一張是他在自己最心愛的釣魚艇“皮拉爾”上，與漁夫卡洛斯·古鐵雷茲(Carlos Gutiérrez)的合影，此人正是《老人與海》(The Old Man and the Sea)中老漁夫的原型。
But the first photo the viewer sees is a big blowup of a handsome, clean-shaven, 19-year-old standing on crutches. This is from the summer of 1918, when Hemingway was recovering from shrapnel wounds at the Red Cross hospital in Milan and trying to turn his wartime experiences into fiction. For the first time, he tried out the Nick Adams persona. The manuscript is at the Morgan, scrawled in pencil on Red Cross stationery.
但展覽上的第一張照片是一張放大照，19歲的海明威相貌英俊，面龐光潔，拄着雙柺。照片攝於1918年的夏天，海明威在“一戰”中身受槍傷，正在米蘭紅十字醫院中休養，試着把自己的戰時經歷寫成小說。當時他第一次在小說中使用“尼克·亞當斯”(Nick Adams)這個角色。手稿也在這次摩根的展覽中展出，用鉛筆寫在紅十字醫院的信紙上。
Perhaps because of the famous “For Whom the Bell Tolls” jacket photo (also at the Morgan), which shows Hemingway bent over a Royal portable, or because of the cleanness and sparseness of his prose, we tend to think of him as someone who wrote on the typewriter. But the evidence at this exhibition suggests that, in the early days anyway, he often wrote in pencil, mostly in cheap notebooks but sometimes on whatever paper came to hand. The first draft of the short story “Soldier’s Home” is written on sheets he appears to have swiped from a telegraph office. The impression you get is of a young writer seized by inspiration and sometimes barreling ahead without an entirely clear sense of where he is going.
或許是因爲海明威在《喪鐘爲誰而鳴》(For Whom the Bell Tolls)一書封套上用皇家手提打字機打字的照片太有名了（這張照片也出現在摩根展上），又或者是因爲他的文風簡潔明快，我們都覺得他肯定是用打字機寫作的人。但這次展覽上的展品卻表明，他早期經常用鉛筆寫作，經常是寫在廉價的筆記本上，有時也寫在手頭的任何紙張上。他的短篇小說《士兵之家》(Soldier’s Home)的第一稿寫在顯然是從電報局偷回來的紙片上。你會覺得這是一個被靈感火花抓住的年輕作家，有時一氣呵成地飛快寫下去，幾乎不清楚自己究竟在寫什麼。
He began the original draft of his first novel, “The Sun Also Rises,” which he finished in just nine weeks during the summer of 1925, on loose sheets and then switched over to notebooks. It wasn’t until the end of the third notebook that he wrote a chapter outline on the back cover (which also records his travel expenses and his daily word counts, something Hemingway kept careful track of), and some of the pages on display show him slashing out not just words and sentences but whole passages as he writes. “Writing it first in pencil gives you one-third more chance to improve it,” Hemingway wrote later in an Esquire article. “That is .333, which is a damned good average for a hitter.”
他的第一部小說《太陽照常升起》(The Sun Also Rises)是1925年夏天花九個星期寫完的，初稿寫在活頁紙上，後來又在筆記本上寫。直到寫完第三個本子，他纔開始在本子封底上寫章節大綱（這頁封底上還記錄了他的旅費與每天說了幾個單詞，海明威有時候會細心地去數），本子裏有幾頁顯示他不僅大刀闊斧地刪掉字句，有時整段都會刪掉。“先用鉛筆寫，這樣你就多了1/3的修改機會，”海明威後來在給《Esquire》雜誌的文章中寫道。“這就是.333，對於擊球手來說是個極好的平均數。”
F. Scott Fitzgerald (some of whose correspondence with Hemingway, beginning that year, is also on view) famously urged him to cut the first two chapters of “The Sun Also Rises,” complaining about the “elephantine facetiousness” of the beginning, and Hemingway obliged, getting rid of a clunky opening that now seems almost “meta”: “This is a story about a lady. Her name is Lady Ashley and when the story begins she is living in Paris and it is Spring. That should be a good setting for a romantic but highly moral story.” In 1929, in a nine-page penciled critique, Fitzgerald also suggested numerous revisions for “A Farewell to Arms.” Hemingway took some of these, but less graciously, and soon afterward his friendship with Fitzgerald came to an end. At the bottom of Fitzgerald’s letter he wrote: “Kiss my ass/E.H.”
F·斯科特·菲茨傑拉德是經常與海明威書信來往的人之一，他們的通信正是從這一年開始，它們也在這次展覽中展出。菲茨傑拉德曾經建議海明威把《太陽照常升起》的前兩章刪掉，說它們作爲小說開頭有種“笨拙的滑稽”，這件事非常著名。而海明威也照辦了，刪去了笨重的，現在看來近乎“龐大”的開頭：“這是關於一個女人的故事，她的名字就叫做阿什莉小姐，故事開頭時，她住在巴黎，當時正是春天。這樣的環境更適合浪漫故事而不是道德感極強的故事。”1929年，菲茨傑拉德用鉛筆寫來長達九頁的評論，對《永別了，武器》(A Farewell to Arms)提出大量修改意見。海明威採納了其中一些，但並不那麼有風度，不久後他和菲茨傑拉德的友誼也走到了盡頭。在菲茨傑拉德的來信末尾，海明威寫道：“親我的屁股/E.H.”。
The papers at the Morgan show a Hemingway who is not always sure of himself. There are running lists of stories he kept fiddling with, including one with his own evaluations: “Tour de force,” “Pretty good,” “Maybe good.” And there are lists and lists of possible titles, including the 45 he considered for “Farewell” (among the discards, thank goodness, were “Sorrow for Pleasure,” “The Carnal Education” and “Every Night and All”).
摩根展上的文件表明，海明威並不總是那麼自信。他列了很多單子，上面是他一直在修改的短篇小說，旁邊還有他自己的評語：“傑作”，“不錯”，“也許還行”。還有無數給小說起的名字，比如他光是爲《永別了，武器》就想了45個名字（被放棄的名字中包括“歡娛的悔恨”、“肉體教育”和“每個夜晚與一切”，真是謝天謝地）。
Hemingway also tried 47 different endings for that novel. Those on view at the Morgan include the so-called “Nada” ending (“That is all there is to the story. Catherine died and you will die and that is all I can promise you”) and the only slightly more hopeful one suggested by Fitzgerald, in which the world “kills the very good and very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”
海明威還爲這部小說寫了47個不同的結尾。摩根展中有一個被稱爲“虛無”的結局（“故事就是這樣的，凱瑟琳死了，你也會死，我只能說這麼多”），還有一個稍微帶點希望色彩的結局，是菲茨傑拉德建議的，在這個結局裏，“世界一視同仁地殺死那些好人、溫柔的人與勇敢的人。如果這三種你都不是，它當然也會殺掉你，不過不會特別着急。”
In display case after display case, you see Hemingway during his Paris years inventing and reinventing himself, discovering as he goes along just what kind of writer he wants to be. In a moving 1925 letter to his parents, who refused to read “In Our Time,” his second story collection, he writes: “You see I’m trying in all my stories to get the feeling of the actual life across — not just to depict life — or criticize it — but to actually make it alive. So that when you have read something by me you actually experience the thing. You cant do this without putting in the bad and the ugly as well as what is beautiful.” As the years go by, he also puts on weight, grows a mustache (seen in a Man Ray photograph) and for some unfathomable reason poses for an oil painting as “Kid Balzac,” a challenger ready to knock out the great 19th-century realist.
走過一個又一個展櫃，你可以看到海明威在巴黎是如何一再重新塑造自己，漸漸發現自己希望成爲什麼樣的作家。他的父母不願讀他的第二本短篇小說集《在我們的時代裏》(In Our Time)，1925年，他在一封感人的信中對他們說：“你們看，我試着爲我全部的小說注入真實生活的感覺——不是去描寫生活或是批判生活——而是讓它真的活起來。這樣當你們讀到我寫的東西時，你們就可以真的體驗到那些事物。要做到這一點，就得把壞的、醜的東西也放進去，就像把美好的東西放進去一樣。” 幾年後，他發了福，留起了鬍子（正如曼·雷[Man Ray]的照片所示），由於某些無法瞭解的原因，他還爲一幅名叫《少年巴爾扎克》(Kid Balzac)的油畫當模特，在這幅畫中，巴爾扎克被塑造成一個衝擊偉大的19世紀現實主義文學的挑戰者形象。
By the time the Second World War broke out, Hemingway had solidified — fossilized even — into the iconic figure we now remember: Papa. Even J. D. Salinger calls him this, in a 1946 letter written while Salinger is in an Army psychiatric hospital, in which he says of the war that a 1944 meeting with Hemingway in Paris was “the only helpful minutes of the whole business.” Hemingway, often drinking and despondent, didn’t know it, but his best work was behind him by then, though there is perhaps an inkling of diminished expectation in a July 1949 letter he wrote to the screenwriter and novelist Peter Viertel that ends: “I don’t know any place left in the states where it’s the kind of wild I like.”
“二戰”爆發期間，海明威的形象已經固定下來——而且像化石一般堅不可摧——就是那個我們如今熟悉的“爸爸”(Papa)的符號形象。就連J·D·塞林格都這麼稱呼他，1946年，塞林格在一家陸軍精神病院給他寫信，說在這場戰爭中，1944年在巴黎見到海明威是“整件事中唯一充滿希望的時刻。”海明威經常喝酒，陷入沮喪，他不知道這封信，但當時他最好的作品正呼之欲出。1949年7月，他給編劇和小說家彼得·維爾特爾(Peter Viertel)的信以這樣一句話結尾：“美國已經沒有我喜歡的曠野。”這或許流露出了一絲小小的跡象。
A blustery, cranky Hemingway appears in 1949 when aboard the Pilar he grabs an old fishing diary and begins scrawling an angry letter to Harold Ross, the editor of The New Yorker (whom he addresses as “Mister Harold”), complaining about Alfred Kazin’s review of “Across the River and Into the Trees,” not, in truth, a very good book. Kazim or Kasim, or whatever his name is, Hemingway tells Ross, can take his review and shove it you know where, and he will supply the grease. As Hemingway gets angrier and angrier his pencil almost goes through the paper, and then, as suddenly as it struck, the squall passes. The letter was never sent.
1949年，一個愛吵鬧，怪脾氣的海明威登上“皮拉爾”的甲班，他拿過一本老舊的打漁日誌，開始憤怒地給《紐約客》的編輯哈羅德·羅斯(Harold Ross)寫信，稱他爲“哈羅德先生”，抱怨阿爾弗萊德·卡津(Alfred Kazin)評價《過河入林》(Across the River and Into the Trees)不算一本好書。海明威告訴羅斯：卡津還是卡辛，不管這人叫什麼，可以拿上他的評論塞進自己的某個器官，他會幫他上油的。海明威愈寫愈氣，鉛筆快要戳穿紙背，然而憤怒來得快去得也快，這封信從來沒有被寄出去。
A more endearing writer is the one who reveals himself in a series of uncharacteristically shy wartime letters to Mary Welsh, who would become his fourth wife. In one, he apologizes for not knowing enough adjectives. In another, in a sort of stream-of-consciousness vision of intimacy apparently written in darkness while he is traveling with the infantry as a war correspondent, he says: “It would be lovely to be in bed now, legs close and all held tight and lip like when you’ve pulled the pin from a grenade and let the handle ease up under your hand.”
在致第四任妻子瑪麗·威爾士(Mary Welsh)的戰時信件中，這位作家顯得可親可愛得多，這些信少有的羞澀，展示出他的自我。在一封信中，他道歉說自己不怎麼會用形容詞。另一封信有點像親暱的意識流，顯然是他在做戰地記者隨步兵行軍時，在黑暗中寫的，他寫道：“現在能上牀就好了，腿緊緊合在一起，嘴脣也是，你把引信從手榴彈裏拔出來，用你的手愛撫手柄。”
