2023考研英語閱讀書卷中的英倫風光

　　Englishlandscape;Up hill, down dale

　　書卷中的英倫風光;風光無限好

　　TOM FORT pedals down the A303 in Britains soft south. Paul Barker trudges roundHebden Bridge in the hard north. Both writers are seeking something distinctive about theirchosen places. By the same token, both are sensitive to the idea of non-place, a phraseMr Fort uses to describe service stations, shopping centres, airports and the space-bubblesinhabited by drivers. Mr Barker does not name it, but he nonetheless conveys his sense ofthe same thingat the fancy grocers, selling Japanese wakame and cranberry press, or theexecutive houses with stone bed-warmers on the windowsill and Range Rovers in the drive.These places might be anywhere or, for his purposes, nowhere.

　　Tom Fort 騎自行車從英國平坦的南部A303道順道而下。Paul Barker在崎嶇的北部的HebdenBridge附近艱難跋涉。兩位作家都在尋找他們所選擇的地點的獨特之處。同樣的，二者都敏感關注 非場所 這個概念：Fort 用非場所來稱呼服務站、購物中心、機場或車手居住的太空泡泡車Barker雖然沒有使用非場所這個詞，但他卻表達了同一種概念：在銷售日本若目和蔓越橘調酒蘇打水的花里胡哨的小店鋪、窗臺上放著暖床石壺的 行政 別墅，路途中的攬勝越野車。這些地方既可以是任何地方，而相對他的所求目標，又或根本不存在。

　　Both try not to be nostalgic, but in the end neither can help himself. The conflict isroughest in Hebden Bridge, partly because the author himself is implicated. He grew upthere and in neighbouring Mytholmroyd. Back in the 1940s the place was enwrappe, as heputs it, in the old ways. Weaving mills and sewing factories that had claimed generations ofhis family were still in business, oblivious to their coming collapse. Mr Barker then madethe now classic move, the first in his family, to leave home for university, and never comeback, except to visit.

　　兩者都盡量使自己不要太過于懷揣著鄉愁，然而，他們最終都情不自已。這一沖突在《HebdenBridge》一書中表現得尤為突出，有部分原因是因為Barker本人與此地有著千絲萬縷的聯系。這兒以及附近的Mytholmroyd是他成長的地方。追溯到二十世紀四十年代，按他的說法，這里曾以老傳統方式纏繞著生存。那些讓他的家族數代人為之操勞的紡織業與服裝廠雖然運作如常，卻沒有預料到它們隨后倒閉的命運。于是，Barker作出了舉動：他成為家中第一個離鄉進大學的人，并且除了探訪便不再回來了。

　　Meanwhile, others came in, offcomers, with new wayshippies, artists, pagansjust inthe nick of time, as the demolition balls were swinging and the stone terraces falling. Theysquatted and protested. The planners retreated. Bookshops sprang up; mills and chapelsbecame workshops, galleries and flatsthen luxury flats, bringing different newcomers. Withgreat foresight, in the late 1970s Mr Barker began to tape-record the old inhabitants, whosestories now fill the most interesting pages of his book.

　　在同一時刻，吊錘在空中來回搖晃撞擊，大理石的陽臺墜落塵土，在這千鈞一發之際，外來者嬉皮士，藝術家，異教徒以一種新潮的方式涌入當地，他們占據舊址以示抗議。規劃者撤退了下去;新書店則紛紛開張，磨坊和小教堂變成了工廠，畫廊和公寓迎來了新人落戶。Barker卓有遠見，早在二十世紀七十年代末，他就開始用錄音帶錄下那些老居民的故事，現在那些故事占據了他書中最有趣的章節。

　　Mr Barker has also taped an ageing hippy, a graphics designer, a tattoo lady,puppeteers and others, for he knows how much the place owes to them. But the book onlyreally comes alive when he is talking to the old sexton or the weavers who started work at 13 . Mr Barker knows these people and they know himand his uncles andcousins. They speak easily, casually, slipping out the detail that hits the spot: the smell ofcorduroy in the sewing room; a jar taken to the grocer for a haporth[注10] of treaclewords to a mill child for steadying himself with one hand and workingwith the otherBarker, we pay thee to use two hands.

　　Barker也同樣錄下了一位老嬉皮士，一個平面設計師，一位紋身女，一些玩木偶劇的人，因為他清楚這片土地虧欠了他們。但是，只有當Barker在與教堂司事或者那些從13歲開始做紡織工交談時，這本書才真正生動起來。他了解這些人，這些人也了解他，還有他的叔叔們以及表兄弟姐妹們。他們輕松而隨意地交談，言語中不經意間就道出了那些應景的細節：縫紉車間燈芯絨的氣味、一只被帶到雜貨鋪要求裝上半便士糖漿的罐子、對那個用一只手穩定身體用另一只手工作的磨坊童工說的話巴克，我們付你工資可是要用兩只手工作的。

　　Tom Forts book, named for a well-used English road, is a smoother ride: elegantlywritten, with a dry humour and an eyebrow raised at the failed smart solutions oftransport ministers. His object is to reveal the special beauty of the landscape, particularlySalisbury Plain[ and Stonehenge . Mr Fort is a charming and knowledgeableguide, who can people the hills with shepherds, and the manors and rectories with eccentricantiquarians; who can tell you about an ancient system for flooding water meadows or thecommon names of chalk-loving flowers and butterflies. It is enough to make Wiltshire yournext holiday destination.

　　Tom Fort的書以一條常被使用的英國公路命名，并且有著更為流暢的內容：優雅的筆觸，帶著些冷幽默，使讀者在讀到交通部長失敗的聰明解決方案時揚起眉毛。他的目的是為了展現了風景的特殊的美麗，特別是索爾茲伯里原野和巨石陣。Fort是一個富有魅力且極具知識的向導，他可以與牧羊人一起居住在山丘上，也可以與性情古怪的古玩收藏家一起居住在莊園中。他也可以向你講述無邊草甸的古老制度或是喜鈣的花朵或蝴蝶的常用名。這些都足夠使威爾特郡成為你下一次度假的目的地。

　　The bits that stick, though, are his non-places: the Little Chef restaurant at Popham,Amesburys Solstice Park, a business development, and above all a hilarious riff on TheAncestor, a huge sculpture outside a Holiday Innitself an example of Neolithic chic, thebrochure says. Very boutiquey, very contemporary.

　　然而，當論該書令人按卷難忘之處，都是Fort所謂的非場所：據小冊子上所述，波帕姆的小廚師餐廳，埃姆斯伯里冬至公園，一樁生意的開發。所中之最是一句對假日酒店外一座巨大雕塑祖先的評論，令人捧腹雕塑本身就是一個典型的新石器時代的時尚女，介紹手冊上如是說：它非常精品，非常現代

　　Englishlandscape;Up hill, down dale

　　書卷中的英倫風光;風光無限好

　　TOM FORT pedals down the A303 in Britains soft south. Paul Barker trudges roundHebden Bridge in the hard north. Both writers are seeking something distinctive about theirchosen places. By the same token, both are sensitive to the idea of non-place, a phraseMr Fort uses to describe service stations, shopping centres, airports and the space-bubblesinhabited by drivers. Mr Barker does not name it, but he nonetheless conveys his sense ofthe same thingat the fancy grocers, selling Japanese wakame and cranberry press, or theexecutive houses with stone bed-warmers on the windowsill and Range Rovers in the drive.These places might be anywhere or, for his purposes, nowhere.

　　Tom Fort 騎自行車從英國平坦的南部A303道順道而下。Paul Barker在崎嶇的北部的HebdenBridge附近艱難跋涉。兩位作家都在尋找他們所選擇的地點的獨特之處。同樣的，二者都敏感關注 非場所 這個概念：Fort 用非場所來稱呼服務站、購物中心、機場或車手居住的太空泡泡車Barker雖然沒有使用非場所這個詞，但他卻表達了同一種概念：在銷售日本若目和蔓越橘調酒蘇打水的花里胡哨的小店鋪、窗臺上放著暖床石壺的 行政 別墅，路途中的攬勝越野車。這些地方既可以是任何地方，而相對他的所求目標，又或根本不存在。

　　Both try not to be nostalgic, but in the end neither can help himself. The conflict isroughest in Hebden Bridge, partly because the author himself is implicated. He grew upthere and in neighbouring Mytholmroyd. Back in the 1940s the place was enwrappe, as heputs it, in the old ways. Weaving mills and sewing factories that had claimed generations ofhis family were still in business, oblivious to their coming collapse. Mr Barker then madethe now classic move, the first in his family, to leave home for university, and never comeback, except to visit.

　　兩者都盡量使自己不要太過于懷揣著鄉愁，然而，他們最終都情不自已。這一沖突在《HebdenBridge》一書中表現得尤為突出，有部分原因是因為Barker本人與此地有著千絲萬縷的聯系。這兒以及附近的Mytholmroyd是他成長的地方。追溯到二十世紀四十年代，按他的說法，這里曾以老傳統方式纏繞著生存。那些讓他的家族數代人為之操勞的紡織業與服裝廠雖然運作如常，卻沒有預料到它們隨后倒閉的命運。于是，Barker作出了舉動：他成為家中第一個離鄉進大學的人，并且除了探訪便不再回來了。

　　Meanwhile, others came in, offcomers, with new wayshippies, artists, pagansjust inthe nick of time, as the demolition balls were swinging and the stone terraces falling. Theysquatted and protested. The planners retreated. Bookshops sprang up; mills and chapelsbecame workshops, galleries and flatsthen luxury flats, bringing different newcomers. Withgreat foresight, in the late 1970s Mr Barker began to tape-record the old inhabitants, whosestories now fill the most interesting pages of his book.

　　在同一時刻，吊錘在空中來回搖晃撞擊，大理石的陽臺墜落塵土，在這千鈞一發之際，外來者嬉皮士，藝術家，異教徒以一種新潮的方式涌入當地，他們占據舊址以示抗議。規劃者撤退了下去;新書店則紛紛開張，磨坊和小教堂變成了工廠，畫廊和公寓迎來了新人落戶。Barker卓有遠見，早在二十世紀七十年代末，他就開始用錄音帶錄下那些老居民的故事，現在那些故事占據了他書中最有趣的章節。

　　Mr Barker has also taped an ageing hippy, a graphics designer, a tattoo lady,puppeteers and others, for he knows how much the place owes to them. But the book onlyreally comes alive when he is talking to the old sexton or the weavers who started work at 13 . Mr Barker knows these people and they know himand his uncles andcousins. They speak easily, casually, slipping out the detail that hits the spot: the smell ofcorduroy in the sewing room; a jar taken to the grocer for a haporth[注10] of treaclewords to a mill child for steadying himself with one hand and workingwith the otherBarker, we pay thee to use two hands.

　　Barker也同樣錄下了一位老嬉皮士，一個平面設計師，一位紋身女，一些玩木偶劇的人，因為他清楚這片土地虧欠了他們。但是，只有當Barker在與教堂司事或者那些從13歲開始做紡織工交談時，這本書才真正生動起來。他了解這些人，這些人也了解他，還有他的叔叔們以及表兄弟姐妹們。他們輕松而隨意地交談，言語中不經意間就道出了那些應景的細節：縫紉車間燈芯絨的氣味、一只被帶到雜貨鋪要求裝上半便士糖漿的罐子、對那個用一只手穩定身體用另一只手工作的磨坊童工說的話巴克，我們付你工資可是要用兩只手工作的。

　　Tom Forts book, named for a well-used English road, is a smoother ride: elegantlywritten, with a dry humour and an eyebrow raised at the failed smart solutions oftransport ministers. His object is to reveal the special beauty of the landscape, particularlySalisbury Plain[ and Stonehenge . Mr Fort is a charming and knowledgeableguide, who can people the hills with shepherds, and the manors and rectories with eccentricantiquarians; who can tell you about an ancient system for flooding water meadows or thecommon names of chalk-loving flowers and butterflies. It is enough to make Wiltshire yournext holiday destination.

　　Tom Fort的書以一條常被使用的英國公路命名，并且有著更為流暢的內容：優雅的筆觸，帶著些冷幽默，使讀者在讀到交通部長失敗的聰明解決方案時揚起眉毛。他的目的是為了展現了風景的特殊的美麗，特別是索爾茲伯里原野和巨石陣。Fort是一個富有魅力且極具知識的向導，他可以與牧羊人一起居住在山丘上，也可以與性情古怪的古玩收藏家一起居住在莊園中。他也可以向你講述無邊草甸的古老制度或是喜鈣的花朵或蝴蝶的常用名。這些都足夠使威爾特郡成為你下一次度假的目的地。

　　The bits that stick, though, are his non-places: the Little Chef restaurant at Popham,Amesburys Solstice Park, a business development, and above all a hilarious riff on TheAncestor, a huge sculpture outside a Holiday Innitself an example of Neolithic chic, thebrochure says. Very boutiquey, very contemporary.

　　然而，當論該書令人按卷難忘之處，都是Fort所謂的非場所：據小冊子上所述，波帕姆的小廚師餐廳，埃姆斯伯里冬至公園，一樁生意的開發。所中之最是一句對假日酒店外一座巨大雕塑祖先的評論，令人捧腹雕塑本身就是一個典型的新石器時代的時尚女，介紹手冊上如是說：它非常精品，非常現代