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| In the winter of 1982, Bhuchung Sonam left his home in Central Tibet. For five days, he trekked with his father across the Himalayas to the Nepali border. Only around 11 years old then, he knew little about what they were fleeing — China’s decades-long colonization of his homeland — and why. He also didn’t realize that he would never again see his homeland, his mother or his six siblings. |
| 1982年冬天，布琼索南(Bhuchung Sonam)离开了在西藏中部的家，和父亲一起长途跋涉了五天，穿越喜马拉雅山来到尼泊尔边境。当时他只有11岁左右，几乎不知道他们出逃的原因——中国对他的家乡长达数十年的殖民统治——也没有意识到自己从此永离故土，与母亲和六个兄弟姐妹天各一方。 |
| After arriving in Nepal, Sonam and his father made a pilgrimage to Buddhist sites in neighboring India, the home of the Dalai Lama and of many other Tibetans in exile. Without offering much explanation, the father then returned to Tibet, leaving Sonam under the care of a family friend. |
| 抵达尼泊尔后，布琼索南和父亲去了邻国印度的一个佛教圣地朝圣，那里是达赖喇嘛和许多流亡藏人的驻地。父亲没有太多解释就返回了西藏，把布琼索南留下来，由他家的一个朋友照顾。 |
| Sonam never again saw his father, who died when he was in the 11th grade. He last spoke to his mother nine years ago. During the short call, she promised, “We will meet one more time.” But by then, Sonam knew that the political situation in Tibet made that nearly impossible. |
| 布琼索南从此再也没有见过父亲，因为在他上高二那年，父亲去世了。他最后一次与母亲通话是九年前。在那次短暂通话中，母亲承诺：“我们还会再见面。”但布琼索南那时已经知道，西藏的政治现状让见面几乎不可能。 |
| Left in a foreign country without kin, he said, everything was new: bananas, dal, the notorious Indian monsoon. Writing and literature became a salve to help survive the loss of his homeland and his family. “The writing seals the pain,” he said. “It’s a process of negotiating this really harsh and endless barrage of obstacles and challenges that exile throws at you.” |
| 他说，在没有亲人的异国他乡生活，一切都新鲜：香蕉、豆泥糊、出了名的印度季风。写作和文学成了帮助他在失去故土和家人后继续生存的灵丹妙方。“写作封盖了痛苦，”他说。“那是一个与流亡带来的极为严酷且无休止的障碍和挑战进行谈判的过程。” |
| He became a writer and editor, publishing nine books of poetry and anthologies. But arguably his more important literary contribution has been as editor and publisher of TibetWrites, a press and online platform for Tibetan writing. Now in its 20th year, TibetWrites and its publishing offshoot, Blackneck, have printed more than 50 books and become the engine of a small but growing Tibetan literary ecosystem. |
| 他成了一名作家和编辑，发表了九本诗集和选集。但可以说，他对文学更重要的贡献是担任TibetWrites的编辑和出版商，那是一个发表藏人写作的出版社和在线平台。如今，20年前成立的TibetWrites及其出版分支Blackneck已出版了50多本书，成为藏人文学生态系统一个规模虽小但仍在增长的推动力。 |
| As the Chinese government continues to clamp down on Tibet and detain its writers and intellectuals, many Tibetans say Sonam’s publishing house has provided a sense of home for a stateless population coping with exile, with literature becoming a proxy for the nation-state. |
| 随着中国政府继续压制西藏、拘留西藏作家和知识分子，许多藏人说，布琼索南的出版社为一个应对流亡生活的无国籍群体提供了一种家的感觉，让文学成了民族国家的替代物。 |
| “It’s not like I can live my life on Tibetan land,” said Tenzin Dickie, a writer and editor, “but I can live it in Tibetan literature.” |
| “我不可能在西藏土地上生活，”作家、编辑丹增·迪基(Tenzin Dickie)说，“但我能在藏文学中生活。” |
| The idea for TibetWrites began in 2003. After working for a publication in Delhi, Sonam moved back to Dharamsala, in India, and connected with Tenzin Tsundue, a writer and activist. Like Sonam, Tsundue was concerned by the limited avenues for Tibetan writers, and in particular, with the dearth of secular Tibetan literature available in English. At the time, Sonam was editing what he believes was the first English-language anthology of Tibetan poetry, “Muses in Exile.” But that was only one anthology. He wanted to do more to cultivate a Tibetan literary tradition. |
| 创办TibetWrites的想法始于2003年。在德里一家出版社工作了一段时间后，布琼索南回到了印度达兰萨拉，与作家、活动人士丹增尊珠(Tenzin Tsundue)建立了联系。丹增尊珠与布琼索南一样，也对藏人作家有限的出版途径感到担忧，尤其是缺乏用英文发表藏人世俗文学的途径。当时，布琼索南正在编辑《流亡的缪斯》(Old Demons, New Deities)，他相信这是第一本用英文发表的藏人诗选。但那只是一本选集。他想为培养藏文学传统做更多的事情。 |
| For over a millennium, Tibetan literature centered on the Buddhist quest for enlightenment, which Dickie argues is diametrically opposed to fiction. In an introduction to a story anthology she edited, “Old Demons, New Deities,” Dickie writes, “The Buddhist ideal has always been the elimination of desire,” and “fiction, of course, begins with desire.” |
| 一千多年来，藏文学一直把佛教对开悟的追求当作中心，迪基认为这与小说截然相反。迪基在她编辑的一本故事选集《旧魔新神》的序言中写道，“佛教的理想一直是消除欲望”，而“小说当然是从欲望开始的”。 |
| While writers in Tibet worked around the constraints of censorship, Tibetan-run publications in India largely focused on Buddhism, history and politics. In the West, Sonam felt that Tibetan writers wrestled against narratives with a spiritual focus that flattened the experience of Tibetans. And he believed that a Tibetan editor could best help shape the voice and sensibility of Tibetan writers. |
| 在西藏从事写作的人需要绕过审查制度的限制，而藏人在印度经营的出版物把重点主要放在佛教、历史和政治上。布琼索南觉得，生活在西方的藏人作家需要努力处理以精神世界为焦点的叙事将藏人的经历扁平化的问题。他相信，藏人编辑能为藏人作家塑造自己的声音和情感提供最好的帮助。 |
| With the exception of a short-lived literary magazine founded by Tibetan students at Delhi University in the late 1970s, there were few avenues for Tibetan writers to express the lived experiences of ordinary people, and least of all, the experiences of Tibetans in exile. |
| 除了20世纪70年代末由德里大学的藏人学生创办的一本短命文学杂志外，藏人作家几乎没有途径发表以普通民众的生活经历为题材的作品，尤其是流亡藏人的经历。 |
| Sonam, Tsundue and another founder decided to create an online platform for writing from Tibet and the diaspora. After much deliberation, the trio named their company TibetWrites. It was declarative, Sonam said; it demanded the world look at Tibetans “as human beings, first and foremost.” |
| 布琼索南、丹增尊珠，以及另一名创始人决定为来自西藏和侨居海外的作家创建一个在线平台。经过慎重考虑后，他们仨给公司起名“TibetWrites”。布琼索南说，这个宣言性的名字要求世界“首先将藏人作为人”看待。 |
| Sonam and Tsundue’s partnership thrived. Within a few years, they began publishing their own books under their imprint, Blackneck. The quieter and more soft-spoken of the two, Sonam handles the editorial duties. Tsundue — who wears a red bandanna that he has vowed to not take off until Tibet is free from Chinese rule — is more outspoken, and handles the marketing. |
| 布琼索南与丹增尊珠的合作茁壮成长。没过几年，他们就开始以Blackneck这个品牌出版自己的书籍。布琼索南是两人中性格比较安静、说话比较温和的一个，他负责编辑工作。丹增尊珠更加直言不讳，他负责营销工作。头上戴着一条红色围巾的丹增尊珠发誓，在西藏摆脱中国统治之前不会把围巾摘掉。 |
| Among the books they’ve published are “Broken Portraits,” a feminist poetry collection by Kaysang, a third-generation Tibetan born in exile, and “Wangdu’s Diary,” which recounts the experiences of a government-in-exile official’s visit to Tibet in 1980. |
| 他们出版的书籍包括第三代流亡藏人凯桑(Kaysang)的女权主义诗集《破碎的肖像》(Broken Portraits)，以及讲述藏人流亡政府官员1980年访问西藏经历的《旺都日记》(Wangdu’s Diary)。 |
| Sonam and Tsundue both work from home, and neither is compensated for his work. Until only a few years ago, because of TibetWrites’ shoestring budget, writers took on the costs of printing their books; in return, they got a platform and promotion. |
| 布琼索南和丹增尊珠都是在家上班，而且都是无偿工作。直到几年前，由于TibetWrites极少的预算，印刷书籍的费用一直由作家承担。他们得到的回报是出版平台和广告宣传。 |
| In addition to publishing original work by Tibetan authors who write in English, Sonam also translates writing from Tibetan into English. Last year, his translation work was honored in Italy with the Ostana Prize, which recognizes writers who help preserve literature in minority languages. |
| 除了出版藏人作家用英文写作的的原创作品外，布琼索南也把藏文作品翻译成英文。去年，他的译作在意大利获得了奥斯塔纳奖，该奖旨在表彰那些帮助保护少数民族语言文学的作家。 |
| In an unusual move that carries great legal risk, Sonam doesn’t seek copyright permission when publishing translated works by Tibetan writers. He does this to avoid putting the writers in jeopardy, he said: If the Chinese government had evidence that authors from Tibet were collaborating with exiles or “separatists,” as the government calls them, they could face detention. |
| 布琼索南在出版西藏作家作品的译作时，不寻求版权许可，这是一个存在巨大法律风险的不寻常做法。他这样做是为了避免让作家面临危险，他说：如果中国政府拿到西藏作家与流亡者或（用中国政府的话说）“分裂分子”勾结的证据的话，他们可能会面临牢狱之灾。 |
| Shelly Bhoil, a scholar and editor of “Resistant Hybridities: New Narratives of Exile Tibet,” praised Sonam's press for helping to change perceptions of Tibet and Tibetan writers. “He made the world see that Tibetans are the authors of their own stories,” she said. |
| 学者雪莉·博伊尔是《抵抗混合：流亡藏人的新叙事》(Resistant Hybridities: New Narratives of Exile Tibet)一书的编辑，她赞扬布琼索南的出版社帮助改变了外界对西藏和藏人作家的看法。“他让世界看到藏人是他们自己故事的写作者，”她说。 |
| In making literature from Tibet widely available in English to Tibetans across the diaspora, many of whom can’t read Tibetan, Sonam has also “extended a brotherhood across Tibetans, across the borders, across the Himalayas,” Bhoil said. |
| 博伊尔说，通过用英文出版来自西藏的文学，使其在旅居世界各地的藏人（其中许多人不认识藏文）中广泛传播，布琼索南也“让手足之情延伸到所有藏人中，跨越了国界，跨越了喜马拉雅山”。 |
| Academics are paying attention to TibetWrites, too. Bhoil has noticed an increase in interest in Tibetan literature in a field historically dominated by research on Buddhism and history. Sonam often receives inquiries from scholars and others interested in Tibetan literature. |
| 学术界也在关注TibetWrites。博伊尔已注意到，在传统上主要关注佛教和历史研究的领域，人们对藏文学的兴趣已有所增加。布琼索南经常收到学者和其他对藏文学感兴趣的人的询问。 |
| After Sonam included stories by Luguma Wangje, a young Tibetan writer based in New York, in a collection of short stories and poems he edited, “Under the Blue Skies,” she was contacted by a university press that wanted to print her work in an anthology. |
| 布琼索南在他编辑的短篇小说和诗集《蓝天下》(Under the Blue Skies)中收录了旅居纽约的年轻藏族作家拉鲁古玛旺杰(Luguma Wangje)写的故事后，一家大学出版社与后者进行联系，希望在一个选集中使用她的作品。 |
| They’ve never met in person, but Sonam has encouraged Wangje, urging her to keep writing. “He is a mentor and inspires me,” said Wangje. |
| 虽然他们从未见过面，但布琼索南鼓励旺杰，敦促她继续写作。“他是激励我写作的导师，”旺杰说。 |
| Whether TibetWrites will lead authors to success outside the Tibetan literary sphere is yet to be determined. But Tsering Yangzom Lama, a Tibetan Canadian writer and a TibetWrites collaborator, said over email that the success of her novel, “We Measure the Earth With Our Bodies,” which was released by Bloomsbury Publishing last year, suggested that “readers are hungry for Tibetan stories.” Dickie is also hopeful that TibetWrites will soon launch the careers of writers: “If it hasn’t already, it will.” |
| TibetWrites是否会让作家在藏文学领域外取得成功还有待判断。但旅居加拿大的藏人作家、TibetWrites的合作者次仁央宗拉马 (Tsering Yangzom Lama)在电子邮件中写道，她的小说《我们用身体丈量地球》(We Measure the Earth With Our Bodies)的成功表明，“读者渴望看到藏人的故事”，这部小说已在去年由布鲁姆斯伯里出版社出版。迪基也对TibetWrites很快将为作家开启职业生涯充满希望：“如果还没有的话，它一定会。” |
| Sonam and Tsundue are also attempting to correct the imbalance of translation between Tibetan and Western languages. The West has translated much from Tibet, mostly Buddhist texts, Sonam said: “Whatever we have, we’ve given.” |
| 布琼索南和丹真宗智也在试图纠正藏文与西方语言间翻译的不平衡。西方已经翻译了许多藏文作品，主要是佛教文献，布琼索南说：“我们拥有的东西，我们都提供给了世界。” |
| But few works have been translated into Tibetan. He’s trying to remedy that, and has already begun translating books like John Steinbeck’s “The Pearl” and Charles Dickens’s “Great Expectations.” |
| 但被翻译成藏文的西方作品却很少。他正在努力补偿，已开始翻译约翰·斯坦贝克的《珍珠》和查尔斯·狄更斯的《远大前程》等书。 |
| In an unexpected turn, as TibetWrites and its audience has grown, Sonam has begun receiving submissions from non-Tibetan writers, including Indians and writers from the West. But he remains adamant that his publication is exclusively for Tibetans who have few paths to more mainstream publications. |
| 出乎意料的是，随着TibetWrites及其读者群的增加，布琼索南开始收到来自非藏人作家的投稿，其中包括印度和西方作家。但他仍坚持认为，他的出版社是专门出版藏人作品的，因为藏人几乎没有进入更主流出版的途径。 |
| And Tibetans inside Tibet are paying attention. Sonam said a friend there told him that writers are asking about authors in exile, including Sonam himself. Knowing that his work is being recognized in Tibet has affirmed his commitment to both the inherent value of literature and its service to the Tibetan movement for self-determination. |
| 西藏境内的藏人也在注意他的出版社。布琼索南说，那里的一名朋友告诉他，作家们正在询问流亡作家的情况，包括布琼索南本人的情况。知道自己的工作正在西藏得到承认，坚定了他致力于文学的内在价值、让文学为西藏自决运动服务的决心。 |
| “Until we find a political solution, we have to hold and build this idea of Tibet — whether you call it a home or an idea,” he said, “and art does that.” |
| “在我们找到政治解决方案之前，我们不得不将西藏作为一种理念保持下去并予以加强，无论你称它为家园还是理念，”他说，“而艺术做的就是这个。” |
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