| 双语新闻 Bilingual News | 双语对照阅读 分级系列阅读 智能辅助阅读 在线英语学习 |
|
| 双语新闻 Bilingual News | 双语对照阅读 分级系列阅读 智能辅助阅读 在线英语学习 |
| [英文] [中文] [双语对照] [双语交替] [] |
| HONG KONG — Xi Xi, whose poems and stories described with playful humor and poignancy life in the margins of Hong Kong and the city’s limbo between British and Chinese rule, died on Sunday in Hong Kong. She was 85. | 香港——西西的作品以幽默和辛酸的方式描写了香港的边缘生活，以及这个城市夹在英国和中国统治之间的困境。她于周日在香港去世，享年85岁。 |
| Her death, in a hospital, was announced by a writer’s collective she co-founded, Plain Leaves Workshop. Another founder of the collective, Ho Fuk Yan, said the cause was heart failure. | 她在医院去世的消息由她参与创立的作家团体“素叶工作坊”对外宣布。该团体的另一位创始人何福仁表示，西西的死因是心脏衰竭。 |
| A keen observer of city life, Xi Xi (pronounced SIGH-sigh in Cantonese) focused on the quiet strength of underdogs and the overlooked significance of Hong Kong itself. Her incisive and poetic writing cemented the city’s place in Chinese-language literature and beyond. | 作为城市生活的敏锐观察者，西西专注于弱势群体的安静力量和香港本身遭到忽视的意义，而她精辟而富有诗意的写作巩固了这座城市在华语文学和世界文学中的地位。 |
| Using language that was deceptively simple, almost childlike, Xi Xi infused her fiction and poetry with eclectic references to literature, cinema, art, architecture and fairy tales. In one of her best-known works, the novella “The Floating City” (1986), she described Hong Kong as a vibrant city suspended in time and space as she explored the city’s pending transfer to Beijing. | 西西的语言看似简单、近乎孩童，她的小说和诗歌中融合了文学、电影、艺术、建筑和童话故事。在她最著名的作品之一《浮城》（1986年）中，她将香港描述为悬浮在时空中的一座充满活力的城市，同时探索这座城市即将被移交给北京的问题。 |
| “The pumpkin turns into a carriage; mice turn into horses; Cinderella’s rags turn into a ball gown. But at midnight everything turns back into what it was,” she wrote. “Was the floating city just another Cinderella?” | “南瓜变成马车，老鼠变成骏马，破烂的灰衣裳变成华丽的舞衣。不过，到了子夜十二时正，一切都会变成原来的样子，”她写道。“浮城也是一则‘灰姑娘’的童话吗？” |
| Decades after Hong Kong was transferred from Britain to China in 1997, she suggested that the question was far from settled. | 在香港1997年从英国移交给中国几十年之后，她表示这个问题远未解决。 |
| “As 1997 approached, people wrestled with the question of identity,” she said when she accepted the Newman Prize for Chinese Literature in 2019, becoming the first Hong Kong writer to win that accolade. “Many young people are still wrestling with this question today. Don’t assume that a change in governance is an easy fix.” | “1997年临近，人们在身份问题上苦苦挣扎。”2019年，她在成为首位获得纽曼华语文学奖的香港作家时说道。“许多年轻人至今仍在纠结这个问题。不要以为改变治理方式就能轻松解决。” |
| In nominating her for the prize, the Hong Kong poet Tammy Lai-Ming Ho described Xi Xi’s poetry as “feminine, tender, witty, observant, and capable of tugging at the heartstrings,” adding that it “speaks to the character of the city and its people.” | 香港诗人何丽明在提名西西为该奖候选人时，形容西西的诗歌“阴柔、纤细、机智、敏锐，动人心弦”，并说，她的诗“道出了这座城市及其居民的品格”。 |
| Xi Xi also published one of the first Chinese literary narratives about breast cancer, “Mourning a Breast,” in 1992, three years after her own diagnosis with the disease. She said she wrote the book to support other patients and, in part, to challenge the societal taboo against speaking about illness. | 1989年，西西被诊断出患有乳腺癌，之后，她还发表了中国最早的关于乳腺癌的文学叙述之一《哀悼乳房》（1992年）。她说，她写这本书是为了支持其他病人，在某种程度上，也是为了挑战社会对谈论疾病的禁忌。 |
| A former public-school teacher, she wrote poems about animals and children that were often steeped in commentary about wealth disparity and David-and-Goliath power dynamics. In one, “Butterflies Are Lightsome Things,” heartless butterflies flutter freely as kangaroos are weighed down by the worries and concerns collected in their pouches. In another, “The Butterfly and the Crocodile,” a butterfly defeats a crocodile by sealing its eyes shut with “soft, sweet-smelling pollen.” | 作为一名前公立学校教师，她写了一些关于动物和儿童的诗，这些诗经常充斥着对贫富差距，以及大卫与巨人式的权力平衡问题的讨论。在《蝴蝶轻》中，没有心的蝴蝶自由飞翔，袋鼠则被袋中收集的烦恼和担忧拖累。在另一首诗《蝴蝶与鳄鱼》中，一只蝴蝶用“温柔的、芬芳的”花粉让鳄鱼闭上眼睛，打败了它。 |
| “She’s like the butterfly,” said Jennifer Feeley, who translated some of Xi Xi’s work, including the poetry collections “Not Written Words” (2016) and “Carnival of Animals” (2022). “She’s really good at showing how things that people might dismiss — that seem very light, sometimes feminine, tender and whimsical — are actually very important and strong.” | “她就像那只蝴蝶，用的是‘温柔的、芬芳的花粉’，”费正华(Jennifer Feeley)说，她曾翻译过西西的一些作品，包括诗集《不是文字》和《动物嘉年华》。“她非常擅长展示人们可能会忽视的东西——那些看起来非常轻盈、有时非常女性化、温柔和异想天开的东西——它们实际上非常重要而且强大。” |
| Xi Xi was born Cheung Yin in Shanghai in 1937, to parents of Cantonese descent. Her father, Cheung Lok, was a clerk at a British shipping company, Butterfield & Swire, and her mother, Luk Wah Chun, took care of the couple’s five children and their aging parents. | 西西原名张彦，1937年出生于上海，父母都是广东人。她的父亲张乐是英国船务公司Butterfield & Swire的职员，母亲陆华珍负责照顾这对夫妇的五个孩子和年迈的父母。 |
| Xi Xi is survived by two brothers, David Cheung Yung and Cheung Yiu. | 西西在世的亲人包括两位兄弟，张勇和张尧。 |
| In 1950 the family moved to Hong Kong, where Mr. Cheung found work as a bus inspector. Money was scarce, and Cheung Yin was always two days late in paying her monthly school fees. While still a student, she began selling poems and essays to newspapers for pocket money. | 1950年，他们全家搬到了香港，张乐在那里找到了一份巴士督察的工作。家里缺钱，张彦每月的学费总是晚交两天。学生时代，她就开始向报纸投稿诗歌和散文，赚取零花钱。 |
| She trained as a teacher at the Grantham College of Education, now part of the Education University of Hong Kong, from 1957 to 1960, and later taught Chinese, English and mathematics in primary schools for more than two decades. | 1957年至1960年，她在葛量洪教育学院（现为香港教育大学的一部分）接受教师培训，后来在小学教授语文、英语和数学超过20年。 |
| She wrote widely and prolifically while teaching. She published hundreds of pieces of film criticism under different pen names and, using the pseudonym Hai Lan, wrote scripts for the Hong Kong movie studio Shaw Brothers, including a 1967 adaptation of “Little Women.” | 她在教书期间进行大量创作。她以“海兰“这个笔名为香港邵氏电影制片厂创作剧本，包括1967年对《小妇人》的改编，并执导了一部实验电影《银河系》。 |
| In 1970, she adopted the pen name Xi Xi because its Chinese characters, 西西, evoked for her the motion of a girl jumping from one hopscotch square to the next. She soon began writing the serialized novel “My City,” which zeroed in on the perspectives of working-class Hong Kong residents, as well as the neglected value of mundane items like a discarded page of poetry. | 1970年，她起了笔名“西西”，因为这两个汉字让她联想到玩跳房子的女孩从一个方块跳到另一个方块的动作。不久后，她开始写连载小说《我城》，小说聚焦香港工人阶级居民视角，以及被忽视的世俗物品的价值，比如被丢弃的一页诗。 |
| She retired from teaching in 1979 to focus on writing full time. | 1979年，她从教职退休，全身心投入写作。 |
| The next year she wrote one of the first literary pieces to refer obliquely to the looming handover of Hong Kong to China: “Glass Slippers,” a short story describing the adaptability of Hong Kong residents, including their ability to squeeze into ever-smaller apartments. | 第二年，她写了《玻璃鞋》（1980年），这是第一批间接提及香港即将移交给中国的文学作品之一。这篇短篇小说描述了香港居民的适应能力，包括他们如何挤进越来越小的公寓。 |
| In “The Floating City,” translated into English in 1992 by Linda Jaivin with Geremie Barmé, Xi Xi questioned whether the apparent solidity of Hong Kong was chimerical, like the Surrealist painter René Magritte’s image of an apple. | 1992年，在贾佩林(Linda Jaivin)与白杰明(Geremie Barmé)合作翻译成英文的《浮城志异》中，西西质疑香港表面上的坚固是否像超现实主义画家雷奈·马格列特笔下的苹果那样，是一种空想。 |
| “The apple in the picture was not a real apple,” she wrote. “The city that existed so miraculously might not remain stable forever. But could the floating city control its own destiny?” | “图画中的苹果只是假象，”她写道。“靠奇迹生存的浮城，恐怕也不是恒久稳固的城市。然则，浮城的命运难道可以掌握在自己手中？” |
| Her writing often emphasized the importance of the voices of children and young people, as well as the working class. In her short story “The Case of Mary” (1986), she questioned why a child should not have a say in a battle over her custody. She took aim at Hong Kong’s education system in a 1997 poem, “A Primary One Interview at a Band One School,” in which she wrote about a girl who gave a fake address to increase her chances of admission into first grade. | 她的作品经常强调儿童和年轻人以及工人阶级的声音有多么重要。在1986年的《玛丽个案》中，她质疑为什么一个孩子在争夺监护权的斗争中不应该有发言权。在1997年的一首诗中，她把矛头指向香港的教育系统。在诗中，她写了一个女孩为了增加进入一年级的录取机会而谎报地址的故事。 |
| Xi Xi earned a wide following in the Chinese-speaking world after winning Taiwan’s United Daily News fiction prize in 1983 for “A Woman Like Me,” a story about a mortuary makeup artist on the cusp of revealing the full truth of her profession to a new boyfriend. Another story, “The Cold” (1982), presented a soccer match as a reprieve to a perplexing love triangle. | 1983年，西西凭借《像我这样的一个女子》获得台湾《联合报》小说奖，在华语世界赢得了广泛的读者。《像我这样的一个女子》讲述的是一位殡仪馆化妆师即将向新男友透露自己职业的全部真相。另一个故事《感冒》讲述了一场足球比赛，它缓和了一段令人困惑的三角恋。 |
| In “Mourning a Breast,” she chronicled feelings of isolation and alienation from her own body, observations of how illness is portrayed in literature and art, and the frustrations of maintaining the healthful diet of a cancer patient. She described forays into wealthy neighborhoods, where she combed supermarket shelves for groceries free of carcinogenic additives. | 1989年被诊断出乳腺癌后，她写了《哀悼乳房》（1992年），记录了她与自己身体隔离和疏离的感觉，对文学和艺术中如何描绘疾病的观察，以及癌症患者保持健康饮食的挫折感。她描述了自己跑去有钱人住的街区，在超市货架上寻找不含致癌添加剂的食品的经历。 |
| The cancer treatment damaged a nerve in her right hand, forcing her to learn to write with her left. She began making puppets and mohair teddy bears as a form of physical therapy, dressing them as figures from Chinese mythology, literature and history. Photographs of the bears and her notes on their muses were published as “The Teddy Bear Chronicles” in 2009. | 癌症治疗损伤了她右手的神经，迫使她学会用左手写字。作为一种物理疗法，她开始制作木偶和马海毛泰迪熊，把它们打扮成中国神话、文学和历史中的人物。2009年，泰迪熊的照片和她对其灵感来源的笔记结集为《缝熊志》。 |
| Her work inspired the opera “Women Like Us” (2020), by the composer Daniel Lo and the librettist Wong Yi, and a graphic narrative, “The Cat’s Coming (in a Left-Handed Version),” by Chihoi. | 她的作品启发了作曲家卢定彰和编剧黄怡的歌剧《两个女子》，以及智海的漫画《左撇子漫画之猫来了》。 |
| For Xi Xi, life in the city provided endless inspiration. | 对西西来说，城市生活给了她无尽的灵感。 |
| “The Hong Kong experience is actually a treasure trove for writing,” she said at the Newman Prize ceremony. “Because of our unique cultural context, perspective, way of thinking and manner of expression, Hong Kong writers are different from other Sinophone writers, and undeniably are a boon to the Sinophone world.” | “香港的经历实际上是写作的宝库，”她在纽曼奖颁奖典礼上说。“由于我们独特的文化背景、视角、思维方式和表达方式，香港作家与其他华语作家不同，不可否认，这对华语世界是一种福音。” |
OK阅读网 版权所有(C)2017 | 联系我们