A Writer Reflects on the Japanese Earthquake and Tsunami, Two Years Later
2013-03-08 21:48:00


JEFFREY BROWN: Finally tonight: Monday marks two years since a devastating tsunami hit Japan. We take a look back through the words of a writer.(1)
JEFFREY BROWN:最后今晚: 星期一标志着两年,由于破坏性海啸袭击日本。我们看看一位作家的话说回来。

Gretel Ehrlich is best known for her nature and travel writing. She's authored 13 books, including three of poetry.(2)
莱特艾氏最出名的是她性质和旅行写作。她已创作 13 本书,包括诗的三个。

It was the most powerful earthquake ever to hit Japan, triggering a tsunami that reached over 130 feet, taking close to 16,000 lives and causing the meltdown of three nuclear reactors, a disaster of epic proportions.(3)
这是最强烈的地震以往任何时候都要打日本,触发海啸,达到超过 130 英尺,同时考虑接近 16,000 生命并导致崩溃的三个核反应堆的史诗般的灾难。

Beginning in the 1960s, Gretel Ehrlich began visiting Japan regularly to study and write about its culture, its religion -- she's a practicing Buddhist -- and its literature.(4)
从上世纪 60 年代开始,莱特艾氏开始访问日本,定期进行研究并写关于它的文化,其宗教--她是修习佛法 — — 和其文学。

Soon after the tsunami, she returned for the first of three trips to document the physical and emotional aftermath.(5)
海啸发生后不久她返回三个行程中的第一个身体和情绪之后的文档。

GRETEL EHRLICH, Author: I felt a need to go. And it's been a lifelong thing about Japan that has called me. I wanted to hear the stories. I wanted to help people tell what had happened to them.(6)
GRETEL EHRLICH, Author:我觉得有必要去。它一直是终身的事情已经打电话给我的日本。我想要听到的故事。我想要帮助人告诉他们发生了什么事。

JEFFREY BROWN: The result was the new book, part reportage, part personal reflection, titled "Facing the Wave: A Journey in the Wake of the Tsunami."(7)
JEFFREY BROWN:其结果是新书、 一部分报告文学、 部分个人思考,题为"面临波: 海啸之后的旅程。"

She talked to us about it recently on Kent Island, Md., where she spends the winter.(8)
她便向我们谈论它最近肯特岛,马里兰州,她花了冬天。

GRETEL EHRLICH: We came to cove after cove of villages that just didn't exist anymore.(9)
GRETEL EHRLICH:我们来到后的只是再也不存在的村庄科夫科夫。

You would see parts of boats up in the trees and clothing and -- from rocks and -- but it was when we got to the larger towns, three of them right in a row, where you drive down a street, and the rubble on either side would maybe be two or three stories high.(10)
你会看到部分的船了树木和服装 — — 和从岩石和 — — 但这是当我们到较大的城镇,其中三个行,而你开车沿着一条街道,两侧废墟也许会高的两个或三个故事中右。

It became this illegible collage of a society that had been completely taken apart and left there.(11)
它成为了一个社会,完全拆开并留在那里这难以辨认的抽象拼贴画。

JEFFREY BROWN: For Ehrlich, one response was in poetry, writing verse based on what she was seeing.(12)
JEFFREY BROWN:艾氏的一种反应是在诗歌中,写诗 (基于什么她看到的。

GRETEL EHRLICH: My old friend William Stafford, a poet now gone, said, a poem is an emergency of the spirit.(13)
GRETEL EHRLICH:我的老朋友威廉 · 斯塔福德,现在走了,一位诗人说,诗歌是精神的紧急情况。

And I think that's -- were the moments that I wrote a poem, when I couldn't sort of tell the news anymore.(14)
我觉得,这就有 — — 是的我写了一首诗,当我再也不能种告诉这个消息时的时刻。

"Here, the earth altar breaks. We have always been on the move. Past and future, those are places I have never reached. Where the tsunami wave came and went, that's where I am."(15)
"在这里,地球坛休息。我们一直在移动。过去和未来,那些从未达到的地方。海啸波来了,去了,这是我的位置。

Everything in Japanese culture is about beauty framed by impermanence. And a poem can be very brief and, in a way, explode out like an open door.(16)
在日本文化中的一切都是无常被诬告的美丽。一首诗可以很简短,并在某种程度上,出爆炸像一扇打开的门。

It draws the mind and the heart in, and then it lets go. It sort of steps aside. Everything is transient. Everything is in flux.(17)
它将绘制头脑和心脏的,然后放手。它的步骤一边进行排序。一切都是瞬态的。一切都是在不断变化。

JEFFREY BROWN: But many things in Japan, she says, also have historical resonance.(18)
JEFFREY BROWN:但在日本,很多事情她说,也有历史的共振。

One of her poems, referring to the 17th century poet Matsuo Basho, makes a comparison between the Fukushima Daiichi meltdown and the bombing of Hiroshima and Nagasaki.(19)
她的诗,指的十七世纪诗人松尾芭蕉之一使福岛第一核电站危机和轰炸广岛和长崎的比较。

GRETEL EHRLICH: "At Ishinomaki, where Matsuo Basho once wrote a poem, finally, the twisted roadbed drains and the daily flood tides at Ishinomaki dry out.(20)
GRETEL EHRLICH:"石,凡松尾芭蕉曾写过一首诗,在最后,扭的路基排水渠及每日潮在石干。

The sky unmists itself and loss upon loss begins to feel like company. Nothing touches. Nights are brittle and soft, ink scraped smooth.(21)
天空 unmists 本身和损失损失后的开始感受到了像公司一样。东西碰上了。夜是刮光滑的脆性和软,墨迹。

To the South, Fukushima Daiichi blazes, flames we can't see. Sixty-six years ago, two other seacoast towns vanished. I stick my forearm out in moonlight looking seaward. My skin burns."(22)
向南,福岛第一核电站扑火,我们不能看到火焰。第六十一届六年前,其他两个海岸城镇消失了。我坚持我的前臂在月光下看海。我皮肤灼伤"。

There was a sense of survival euphoria that came up, because it was so -- in such a field of loss, the possibility that you were still alive was kind of overwhelming.(23)
有感生存兴奋,上来,因为它是这样 — — 在这一领域的损失,你还活着的可能性是有点压倒性。

JEFFREY BROWN: Amid the devastation, Ehrlich says, she found a remarkable resilience. This is a country and a people with long experience of natural disasters, including tsunamis.(24)
JEFFREY BROWN:海啸,埃利希说,她发现了惊人的复原力。这是一个国家和人民同自然灾害,包括海啸的长期经验。

GRETEL EHRLICH: "Oceans. Even underwater, I try to see, is the abyss dark or fed by fire? I hold a cracked tea bowl in my mind. It is lopsided, beautiful, spilling.(25)
GRETEL EHRLICH:"海洋。甚至在水下,我尝试看看,是深渊暗或美联储的火吗?我在脑海中举行裂纹的茶碗。它是一面倒,美丽,漏。

The chilled depths into which I slide break open like doors. Abyss-san says, you have to be alive to die."(26)
冰鲜的深处到其中我滑中断打开门一样。深渊 san"说,你一定要活着死。

JEFFREY BROWN: Ehrlich says she hopes to return to Japan soon to help with efforts to move people from temporary government housing into permanent homes.(27)
JEFFREY BROWN:埃利希说,她希望返回到日本不久,帮助努力将人从临时政府房屋移动到永久的家园。

And there's more online, where you can watch Gretel Ehrlich read from her poetry. That's on our Art Beat page.(28)
有更多在线,您可以观看莱特艾氏读她的诗。这是我们艺术拍页面上。


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