站在澎拜记者的肩膀上

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Where to begin? I have asked myself this question dozens of times, gazing at a blank page. As if I needed to find the one, the only sentence that would give me entry into the writing of the book and remove all doubts in one fell swoop – a sort of key. Today, as I confront a situation which, the initial stupor having passed – ‘is it really me this is happening to?’ – my imagination represents in a way that instils a growing terror, I am overwhelmed by the same necessity. Finding the sentence that will give me the freedom and the firmness to speak without trembling in this place to which you have invited me this evening.

该从哪里开始？我凝视着一张白纸，已经问过自己这个问题几十次。似乎我需要找到那个，唯一能让我进入写作并一举消除所有疑虑的句子——它是一把钥匙。今天，当我面对一个情况时，最初的迷茫已经过去了——“这真的发生在我身上吗？”——我的想象力以一种不断增长的恐惧的方式表现出来，我被同样的需要所淹没。找到能让我在今晚受邀来到的这个地方毫不颤抖地自由而坚定地说话的句子。

该从哪里说起呢？我已经为此盯着白纸，问过自己十几遍了。仿佛要开始写一本书，必须找到那一句，那唯一的一句，才能像找到钥匙一般进入状态，一举消除所有疑虑。今天，当我面对这种状况——最初的眩晕，“真的是我吗？”，已经过去——的时候，想象力使我的恐惧不断增长，我又被找到句子的需要所淹没，找到那句能够让我在这个受邀的场合自由地、坚定地讲述，而不至于颤抖的句子。

To find that sentence, I don’t have to look very far. It instantly appears. In all its clarity and violence. Lapidary. Irrefutable. Written in my diary sixty years ago. ‘I will write to avenge my people, j’écrirai pour venger ma race’. It echoed Rimbaud’s cry: ‘I am of an inferior race for all eternity.’ I was twenty-two, studying literature in a provincial faculty with the daughters and sons of the local bourgeoisie, for the most part. I proudly and naively believed that writing books, becoming a writer, as the last in a line of landless labourers, factory workers and shopkeepers, people despised for their manners, their accent, their lack of education, would be enough to redress the social injustice linked to social class at birth. That an individual victory could erase centuries of domination and poverty, an illusion that school had already fostered in me by dint of my academic success. How could my personal achievement have redeemed any of the humiliations and offences suffered? That’s not a question I ever asked myself. I had a few excuses.

要找到那句话，我不必看得很远。它瞬间就出现了。在所有的暴力中，它就像一颗宝石那般耀眼，无可辩驳。六十年前，我在日记中写道：“我写作，为了给我的人民报仇。”它呼应了兰波的呐喊：“我永远属于劣等种族。”我当时22岁，大部分时间在省级学院和当地资产阶级的子女一起学习文学。我骄傲而天真地相信，写作，成为一名作家，是为了无产劳工、工厂工人和店主中最末等的一类人，为那些他们的举止、口音、缺乏教育而被轻视的人，以纠正社会不公与人们出生时的社会阶层有关。个人的胜利可以消除几个世纪的统治和贫困，这是学校已经凭借我的学业成功在我心中培养的幻想。我个人的成就怎么能弥补我所遭受的任何屈辱和冒犯呢？这不是我曾经问过自己的问题。对此我有几个借口。

找到这样一句，也不必想太远。它突然就跳出来了，清晰而暴烈，光芒四射，无可辩驳。六十年前就写在我的日记本里：“我将为给人民讨回公道而写作”。这是在呼应Rimbaud的呐喊，“我将永远属于劣等种族”。当时的我22岁，在一个乡间学院学习文学，大部分时间跟当地的中产阶级子女们在一起。我天真而骄傲地相信，作为跟无产劳工，工厂工人和杂货店主一样最底层，作为因为举止、口音和缺乏教育而被鄙视一类人，写几本书，成为作家，是足以纠正那些跟出生的阶层联系在一起的社会不公的。个人成就完全可以消除几个世纪积累下来的压迫和穷困。这是籍由我学业上的成功，学校在我心中培养的幻觉。我个人的成功到底如何弥补遭受的任何屈辱和冒犯呢？这个问题我从未想过。对此，我也有几个借口。

From the time I could read, books were my companions, and reading was my natural occupation outside of school. This appetite was nurtured by a mother who, between customers, in her shop, read a great many novels, and preferred me reading rather than sewing and knitting. The high cost of books, the suspicion with which they were regarded at my religious school, made them even more desirable. Don Quixote, Gulliver’s Travels, Jane Eyre, the tales of Grimm and Andersen, David Copperfield, Gone with the Wind, and later Les Misérables, The Grapes of Wrath, Nausea, The Stranger: chance, more than the school’s prescriptions, determined what I read.

从我学会识字开始，书籍就是我的伙伴，阅读是我课外的自然职业。这种爱好是由一位母亲培养出来的。在她的店里，在她的顾客之中，我读了很多小说。比起缝纫和编织，她更喜欢我读书。书籍的高昂成本，以及在我的宗教学校中对它们的怀疑，使它们更加令人向往。《堂吉诃德》《格列佛游记》《简·爱》《格林童话》《安徒生童话》《大卫·科波菲尔》《飘》，后来还有《悲惨世界》《愤怒的葡萄》《恶心》《异乡人》……通常是机缘巧合，而不仅仅是学校的要求，决定了我读的是什么。

从识字开始，书就是我的伙伴，阅读是我课外自然的第二职业。这种胃口由母亲培养出来，因为她在店里，招呼顾客的间隙，读了很多小说，也更愿意我去读书，而不是做针线。书籍高昂的价格，加上宗教学校对它们的疑虑，使得阅读格外令人向往。《堂吉诃德》，《格列佛游记》，《简·爱》，格林和安徒生的童话，《大卫·科波菲尔》，《飘》，后来还有《悲惨世界》，《愤怒的葡萄》，《恶心》，《异乡人》……通常是机缘巧合，而不是学校的要求，决定了我读什么。

By choosing literary studies I elected to remain inside literature, which had become the thing of greatest value, even a way of life that led me to project myself into the novels of Flaubert or Virginia Woolf and literally live them out. Literature was a sort of continent which I unconsciously set in opposition to my social environment. And I conceived of writing as nothing less than the possibility of transfiguring reality.

通过选择文学研究，我选择留在文学中。文学成为了我人生中最有价值的东西，甚至是一种生活方式，它让我把自己投射到福楼拜或弗吉尼亚·伍尔夫的小说中，并真正地活出它们。文学是我不自觉地与我的社会环境相对立的一块大陆。在我看来，写作意味着一种改变现实的可能性。

通过选择文学研究，我实际上选择了留在文学中——当时，文学已经是我的生活中最有价值的东西，乃至是一种生活方式。它使我可以把自己投射到福楼拜或弗吉尼亚·伍尔夫的小说中，并真正地活成那个样子。文学成了我不自觉建立的，与自身社会环境对立的一块大陆。当时我所设想的写作，其实是一种改变现实的可能性。

It was not the rejection of my first novel by two or three publishers – a novel whose sole merit was its attempt to find a new form – which subdued my desire and my pride. It was life situations in which the weight of difference between a woman’s existence and that of a man was keenly felt in a society where roles were defined by gender, where contraception was prohibited and termination of pregnancy a crime. Married with two children, a teaching position and full responsibility for household affairs, each day I moved further and further away from writing and my promise to avenge my people. I could not read the parable ‘Before the Law’ from Kafka’s The Trial without seeing the shape of my own destiny: to die without ever having entered the gate made just for me, the book that only I could write.

并不是两三个出版商拒绝了我的第一部小说——一部小说的唯一优点在于它试图找到一种新的形式——这抑制了我的欲望和我的骄傲。在一个按性别定义角色、禁止避孕和终止妊娠是犯罪的社会中，人们能敏锐地感受到女性与男性存在的重要差异。我已婚并育有两个孩子，担任教职并全权负责家务，每一天，我都离写作和为人民报仇的承诺越来越远。我读了卡夫卡的《审判》中的寓言“法律面前”，看到了自己命运的形状：在没有进入为我量身定做的大门的情况下死去，那是一本只有我能写的书。

压制了我的梦想和骄傲的，并不是两三个出版商对我第一部小说的拒绝——这部小说唯一的可取之处在于它试图找到一种新的形式——而是现实生活。在当时的现实中，男人和女人存在的重要性差别随处可见，社会角色被性别所确定，避孕被禁止，终止妊娠是犯罪行为。已婚并育有两个孩子，担任教职并全权负责家务，每天的我都离写作和为人民讨回公道的承诺越来越远。每次读到卡夫卡的《审判》中的寓言“在法律面前”时，我都能看到自己的宿命：至死也未能进入那专为我而造的门，那是一本只有我能写的书。

But that is without taking account of private and historical circumstance. The death of a father who passed away three days after I arrived home on holiday, a job teaching students from working-class backgrounds similar to my own, protest movements everywhere in the world: all these factors brought me back, through byroads that were unforeseen and proximate to the world of my origins, to my ‘people’, and gave my desire to write a quality of secret and absolute urgency. No more of the illusory ‘writing about nothing’ of my twenties; now it was a matter of delving into the unspeakable in repressed memory, and bringing light to bear on how my people lived. Of writing to understand the reasons, inside and outside of myself, which had caused me to be distanced from my origins.

但这是没有考虑到个人和历史环境的。我的父亲在我回家度假三天后就去世了，我的工作是教和我自己背景相似的工人阶级学生，世界各地的抗议运动——所有这些因素把我带回来，穿过那些无法预见的、接近我起源的世界、接近我的“人民”的道路，让我的写作欲望具有一种隐秘而绝对的紧迫性，而不再是20多岁时那种虚幻的“无所事事”。我现在要做的是深入挖掘被压抑的记忆中无法言说的东西，让人们了解我的人民是如何生活的。写作是为了了解那些使我与自己的本源疏远的内在和外在的原因。

但是这还没有考虑个人和历史环境。父亲在我回家度假三天之后去世，日常工作是教一群跟我背景类似的工人阶级学生，以及世界各地的抗议运动，所有这些因素以不曾预知的、接近我出身的方式将我带回，带回我的人民，让我的写作欲平添隐秘和绝对的紧迫性。再不能像20多岁幻想的那样“随便写写”，现在需要深入挖掘被压抑的记忆中无法言说的东西，让人们了解我的人民是如何生活的。现在，写作是为了理解自己的内在和周遭，是它们使我一度远离自己的出身。

In writing, no choice is self-evident. But those who, as immigrants, no longer speak their parents’ language, and those who, as class defectors, no longer have quite the same language, think and express themselves with other words, face additional hurdles. A dilemma. They indeed feel the difficulty, even the impossibility of writing in the acquired, dominant language, which they have mastered and admire in works of literature, anything that relates to their world of origin, that first world made up of sensations and words describing daily life, work, one’s place in society. On the one hand is the language in which they learned to name things, with its brutality and silences, for example that of the intimate exchange between a mother and a son in the very beautiful text by Albert Camus, ‘Between Yes and No’. On the other hand are the models of admired, internalized works which made that first world open out and to which they feel indebted for their elevation; which they sometimes even considered their true homeland. Mine included Flaubert, Proust, Virginia Woolf. None of them, when I went back to writing, were of any help to me. I had to break with ‘writing well’ and beautiful sentences – the very kind I taught my students to write – to root out, display and understand the rift running through me. What came to me spontaneously was the clamour of a language which conveyed anger and derision, even crudeness; a language of excess, insurgent, often used by the humiliated and offended as their only response to the memory of others’ contempt, of shame and shame at feeling shame.

在写作中，没有选择是不言而喻的。但是，那些作为移民、不再说父母语言的人，以及那些作为阶层叛逃者，不再使用完全相同的语言，用其他语言思考和表达自己的人，面临着额外的障碍。这是一个两难的局面。他们确实感到很难，甚至不可能用他们所掌握的主流语言写作。他们已经掌握了这种语言，并在文学作品中欣赏这种语言，欣赏任何与他们的起源世界有关的作品，即由描述日常生活、工作和社会地位的感觉和词汇组成的第一世界。一方面是他们用来给事物命名的语言，带有残忍和沉默，例如阿尔贝·加缪那篇非常优美的文章《在“是”与“否”之间》中，一位母亲和一个儿子之间的亲密交流。另一方面是受人钦佩的，内化的作品的典范，这些作品使第一个世界开放，他们为自己的提升而感到感激。他们有时甚至认为这里是他们真正的家园。对我来说这包括福楼拜、普鲁斯特和弗吉尼亚·伍尔夫。当我重新开始写作时，他们中没有一个对我有任何帮助。我必须打破“写得好”和漂亮的句子——正是我教我的学生们写的那种——来根除、展示和理解贯穿我内心的裂痕。我不由自主地想到的是一种表达愤怒和嘲笑，甚至粗俗的语言的喧嚣，一种过度的、反叛的语言，经常由被羞辱和被冒犯的人所使用，作为他们对别人的蔑视记忆的唯一反应，对羞愧和感到羞愧的唯一反应。

在写作中，没有任何选择是不言自明的。但是，那些不再使用父母语言的移民，那些叛变自己阶级而不再使用原来的语言、转而使用另外的词汇的人，面临额外的障碍。当他们使用后来掌握的、处于统治地位的第二语言，来描绘跟他们出身的第一世界有关的任何事的时候，就会遇到困难，甚至是不可能的境况。虽然他们已经完全掌握了第二语言，也欣赏那些由第二语言写作的文学作品，但这个第一世界里才有他们的情绪，和用来描述日常生活，工作和社会地位的词汇。这是一种两难处境，一边是他们惯于给事物取名的母语，粗粝、时有留白，比如在Albert Camus的《在是与不是两可之间》中母子对话所使用的美妙语句；另一边则是那些令人景仰的，已经被内化的范本。这些作品使第一世界更加开放，这种提升令人心存感激，甚至认为这个第二世界才是自己真正的家园。对我来说这些典范包括福楼拜、普鲁斯特和弗吉尼亚·伍尔夫。但当我重新开始写作的时候，这些作品对我都不再有任何帮助。为了根除，也为了展示和理解那些贯穿我一生的裂痕，我不得不跟“良好写作”和漂亮句子——我教给学生们写的正是这种——决裂。不由自主涌上心头的，是一种喧闹——一种传达愤怒和嘲讽，甚至是粗俗的语言；一种过度的、叛逆的、常常由被羞辱和被冒犯的人作为唯一回应的语言。他们的记忆中饱含来自他人的蔑视、羞辱，以及对羞辱感感到羞耻。

Very quickly too, it seemed self-evident – to the point that I could not imagine any other way to start – to anchor the story of the rift in my social being in the situation that had been mine as a student, a revolting situation to which the French state still condemned women, the need to seek out clandestine terminations at the hands of backstreet abortionists. And I wanted to describe everything that had happened to my girl’s body; the discovery of pleasure, periods. And so, without being aware of it at the time, that first book, published in 1974, mapped out the realm in which I would situate my writing, a realm both social and feminist. Avenging my people and avenging my sex would, from that time on, be one and the same thing.

很快，这似乎是不言自明的——以至于我无法想象有任何其他方式开始——我的社会存在于我学生时代的裂痕，一个令人作呕的状况，法国国家仍然谴责妇女通过地下诊所偷偷堕胎。我想描述发生在我女性身体上的一切，如何发现快乐，如何体验月经。所以，当时我并没有意识到，我1974年出版的第一本书，就描绘了我写作的领域，一个社会和女性主义的领域。从那时起，为我的人民报仇和为我的性别报仇，成为了同一件事。

很快，似乎是不言自明地——以至于我无法想象任何其它方式——我开始把我学生时代的社会存在中的裂痕与法国国家仍然声讨女性通过地下诊所偷偷堕胎联系在一起。我想描述发生在我女孩儿身体上的一切，如何发现快乐，如何体验月经。所以，在没有意识到的情况下，我于1974年出版的第一本书，勾勒出了我的写作领域，一个社会学和女性主义领域。从那时起，“给人民讨回公道”和“给我的性别讨回公道”合而为一。

How can one reflect on life without also reflecting on writing? Without wondering whether writing reinforces or disrupts the accepted, interiorized representations of beings and things? With its violence and derision, did insurgent writing not reflect the attitude of the dominated? When the reader was culturally privileged, he maintained the same imposing and condescending outlook on a character in a book as he would in real life. Therefore, originally, it was to elude this kind of gaze which, when directed at my father whose story I was going to tell, would have been unbearable and, I felt, a betrayal, that, starting with my fourth book, I adopted a neutral, objective kind of writing, ‘flat’ in the sense that it contained neither metaphors nor signs of emotion. The violence was no longer displayed; it came from the facts themselves and not the writing. Finding the words that contain both reality and the sensation provided by reality would become, and remain to this day, my ongoing concern in writing, no matter what the subject.

一个人怎么能不反思写作而反思生活呢？怎么能不去想写作是否会加强或破坏对存在和事物的公认的、内化的表征？以其暴力和嘲讽，反叛的写作难道不正是反映了被统治者的态度吗？当读者在文化上享有特权时，他们对书中的人物保持着和现实生活中一样的威严和居高临下的态度。因此，最初的时候，为了避免这种凝视，当我将要讲述我父亲的故事时，这种凝视是无法忍受的，我觉得这是一种背叛。从我的第四本书开始，我采用了一种中立、客观的写作方式，“平淡”的意思是它既不包含隐喻，也不包含情感的迹象。暴力不再出现，它来自事实本身，而不是写作。寻找既包含现实又包含现实所提供的感觉的词语，成为了我至今在写作中持续关注的问题，无论主题是什么。

一个反思生活的人怎么能不反思写作呢？怎么能不思考写作到底是加强还是破坏了对人和事物的公认的、内化的表征？充满暴力和嘲讽的反叛写作，反映的不正是被压迫者的态度吗？当读者来自文化上的特权群体时，他对书中人物保持着和现实生活中一样的威严和居高临下的态度。因此，在最开始，是为了避开这种凝视，因为我准备讲述我父亲的故事，而这种对我父亲的凝视是我无法忍受的，我感到一种背叛。因此，从第四本书开始，我才用了一种中立、客观的，“平面化”的写作方式，不再有情感的隐喻和迹象。暴力不再被展示，暴力来自于事实本身，而不是描述方式。寻找既包含现实又包含现实所提供的感觉的词语，成为了我持续关注的问题，无论主题是什么，至今依然如此。

It was necessary for me to continue to say ‘I’. In literary use, the first person – the one through which we exist, in most languages, from the moment we know how to speak until death – is often considered narcissistic when referring to the author rather than an ‘I’ presented as fictitious. It is worth remembering that the ­‘I’, hitherto the privilege of nobles recounting feats of arms in memoirs, was in France a democratic conquest of the eighteenth century, the affirmation of the equality of individuals and the right to be the subject of their story, as claimed by Jean-Jacques Rousseau in this first preamble to the Confessions: ‘And let no one object that, being a man of the people, I have nothing to say that deserves the attention of readers. […] In whatever obscurity I may have lived, if I thought more and better than the Kings, the story of my soul is more interesting than that of theirs.’

我有必要继续说“我”。在文学作品中，第一人称——在大多数语言中，从我们会说话的那一刻起直到死亡，我们都是通过第一人称存在的——在提到作者而不是虚构的“我”时，通常被认为是自恋的。值得记住的是，“我”，迄今为止是贵族们在回忆录中讲述武功的特权。在18世纪的法国是民主的征服，是对个人平等和成为自己故事主题的权利的肯定，正如让-雅克·卢梭在《忏悔录》的第一个序言中所宣称的那样：“没有人反对，作为一个平民的人，我没有什么可说的值得读者注意……无论我生活得多么默默无闻，如果我比国王们思考得更多、更好，我灵魂的故事就比他们的故事更有趣。”

有必要接着说说“我”。 用第一人称——在大多数语言中，从我们会说话起直到死亡，我们都是通过第一人称存在的——来指代作者而不是虚构的“我”时，通常被认为是自恋的。值得记住的是，“我”的这种用法，曾一直是贵族在回忆录中记述其武功的特权，直到18世纪民主思想在法国胜出。这种用法确立了个人成为主语讲述自己故事的平等权利，如让雅克卢梭在《忏悔录》的第一个序言里面所说：愿无人表示反对，作为人民之一员，我并无行迹值得读者特别留意……无论我的身世多么卑微，只要我思考得比国王更多更好，我的灵魂就会比他们的更有趣。

It was not this plebeian pride that motivated me (although, having said that…), but the desire to use the ‘I’ – a form both masculine and feminine – as an exploratory tool that captures sensations: those which memory has buried, those which the world around us keeps on giving, everywhere and all the time. The prerequisite of sensation has for me become both the guide and guarantee of the authenticity of my research. But to what end? Not to tell the story of my life nor free myself of its secrets but to decipher a lived situation, an event, a romantic relationship, and thereby reveal something that only writing can bring into being and perhaps pass on to the consciousness and memories of others. Who could say that love, pain and mourning, shame, are not universal? Victor Hugo wrote: ‘Not one of us has the honour of living a life that is only his own.’ But as all things are lived inexorably in the individual mode – ‘it is to me this is happening’ – they can only be read in the same way if the ‘I’ of the book becomes transparent, in a sense, and the ‘I’ of the reader comes to occupy it. If this ‘I’, to put it another way, becomes transpersonal.

激励我的不是这种平民的骄傲（虽然我曾说过），而是使用“我”——一种男性和女性的形式——作为一种捕捉感觉的探索工具的愿望：那些被记忆掩埋的感觉，那些我们周围的世界无时无刻不在给予我们的感觉。感觉的前提对我来说既是我研究真实性的向导，也是研究真实性的保证。但是目的是什么呢？不是要讲述我的生活故事，也不是要让自己摆脱生活的秘密，而是要破译一个活生生的情景、一件事、一段浪漫的关系，从而揭示一些只有写作才能实现的东西，也许还能传递给别人的意识和记忆。谁能说爱、痛苦、哀悼、羞耻不是普遍存在的呢？维克多·雨果曾写道:“我们没有人有幸过着只属于自己的生活。”但是，由于所有事物都不可避免地以个体的方式存在——“这是发生在我身上的”——只有当书中的“我”在某种意义上变得透明，而读者的“我”开始占据它时，它们才能以同样的方式被阅读。如果这个“我”，换句话说，超越了个人的体验。

激励我的不是这种平民的骄傲（当然，话虽如此……），而是使用“我”——这种无关男女的指代方式——作为捕捉感觉的探索工具的愿望：那些记忆被掩埋的人们，那些周围世界无时无刻不在给予的人们，都可以是“我”。这个感受的前提，对我而言，变成了研究真诚的向导和保证。那么目的是什么呢？不是要讲述我的生活故事，也不是要让自己摆脱生活的秘密，而是要破译一个活生生的情景、一个事件、一段浪漫关系，从而揭示唯有通过写作才能揭示的东西，而后让更多人意识到或者记住。谁能说爱、痛苦、哀悼、羞耻不是普世的呢？维克多·雨果曾写道：“无人有幸过只属于自己的生活”。 但是，由于所有事物都不可避免地以个体的方式存在——“这事正在我身上发生”——只有当书中的“我”在某种意义上变得透明，读者的“我”取而代之的时候，阅读的体验才是一致的。换句话说，书中的“我”超越了个体体验。

This is how I conceived my commitment to writing, which does not consist of writing ‘for’ a category of readers, but in writing ‘from’ my experience as a woman and an immigrant of the interior; and from my longer and longer memory of the years I have lived, and from the present, an endless provider of the images and words of others. This commitment through which I pledge myself in writing is supported by the belief, which has become a certainty, that a book can contribute to change in private life, help to shatter the loneliness of experiences endured and repressed, and enable beings to reimagine themselves. When the unspeakable is brought to light, it is political.

这就是我对写作的承诺的构想，它不包括“为”一类读者写作，而是“根据”我作为一个女人和一个内陆移民的经历来写作，从我对我所生活的岁月越来越长的记忆中，以及从现在开始，我不断地提供他人的图像和文字。我在书中许下的承诺，是基于一种已经确定的信念：一本书有助于改变个人生活，有助于打破忍受和压抑的孤独经历，使人们能够重新想象自己。当无法言说的事情被曝光时，它就是政治性的。

这就是我构想中的对写作的承诺，其中没有“为一类读者而写”，而是从我做为一个女人和一个内陆移民的经历“出发”来写作，从我日渐累积的记忆出发，从现在出发——其中有无尽的图像和文字的提供者。这种承诺，我通过写作矢志追求的承诺，现在被信念所支持。这种信念已经变成了确定性：一本书可以帮助改变个人生活，可以帮助击碎在忍耐和压制中体验到的孤独，可以使人重新想象自己。当无法言说的事情被曝光的时候，它就具有了政治属性。

We see it today in the revolt of women who have found the words to disrupt male power and who have risen up, as in Iran, against its most archaic form. Writing in a democratic country, however, I continue to wonder about the place women occupy in the literary field. They have not yet gained legitimacy as producers of written works. There are men in the world, including the Western intellectual spheres, for whom books written by women simply do not exist; they never cite them. The recognition of my work by the Swedish Academy is a sign of hope for all female writers.

今天，我们在女性的反抗中看到了这一点，她们找到了破坏男权的话语，并站起来反对这种最古老的形式。然而，我仍然想知道女性在文学领域所占的地位。她们还没有获得书面作品生产者的合法性。在这个世界上，包括西方知识界在内，对一些男人来说，女人写的书根本不存在，他们从不引用它们。瑞典学院对我作品的认可，是所有女作家希望的象征。

今天，我们可以从那些找到用来破坏男权的女性，那些比如在伊朗，站出来反对最古老的男权形式的女性，从她们的反抗中看到这一点。而作为在民主国家写作的我，仍然想知道女性在文学领域的地位。她们还没有获得作为书面作品制作人的合法性。世界上有些男人，包括在西方知识界，对他们来说根本不存在女人写的书； 他们从不引用它们。 瑞典学院对我的作品的认可对所有女性作家都标志着希望。

In the bringing to light of the social unspeakable, of those internalized power relations linked to class and/or race, and gender too, felt only by the people who directly experience their impact, the possibility of individual but also collective emancipation emerges. To decipher the real world by stripping it of the visions and values that language, all language, carries within it is to upend its established order, upset its hierarchies.

在揭露那些无法言说的社会问题、那些与阶级和种族以及性别相关的内化权力关系时，只有直接体验其影响的人才能感受到，个人解放和集体解放的可能性就出现了。通过剥夺语言，所有语言所承载的愿景和价值观来破译现实世界，就是颠覆其既定秩序，颠覆其等级制度。

在揭露那些无法言说的社会问题、那些与阶级和种族以及性别相关那些只有直接体验其影响的人才能感受到的内化权力关系时，个体和集体解放的可能性就浮现出来。通过剥离语言、所有语言所承载的愿景和价值观来破译现实世界，就是在颠覆既有秩序，颠覆既有等级。

But I do not confuse the political action of literary writing, subject to its reception by the reader, with the positions I feel compelled to take with respect to events, conflicts and ideas. I grew up as part of the post-war generation, following World War II, when writers and intellectuals positioned themselves in relation to French politics and became involved in social struggles as a matter of course. Today, it is impossible to say whether things would have turned out differently had they not spoken out and committed themselves. In today’s world, where the multiplicity of information sources and the speed at which images flash past condition a form of indifference, to focus on one’s art is a temptation. But, meanwhile, in Europe, an ideology of withdrawal and closure is on the rise, still concealed by the violence of an imperialist war waged by the dictator at the head of Russia, and steadily gaining ground in hitherto democratic countries. Founded on the exclusion of foreigners and immigrants, the abandonment of the economically weak, the surveillance of women’s bodies, this ideology requires a duty of extreme vigilance, for me and all those for whom the value of a human being is always and everywhere the same.

但我不会把文学写作的政治作用与我在事件、冲突和思想方面被迫采取的立场混为一谈。我成长为“二战”后的一代，作家和知识分子将自己定位于法国政治，理所当然地参与到社会斗争中。今天，我们不可能说，如果他们没有大声疾呼并作出承诺，事情是否会有不同的结果。在当今世界，信息来源的多样性和图像闪过的速度形成了一种冷漠的形式，专注于自己的艺术成为了一种诱惑。但与此同时，在欧洲，一种撤退和封闭的意识形态正在抬头。这种意识形态是建立在排斥外国人和移民、抛弃经济弱者、监视妇女身体的基础上的，对我和所有那些认为人的价值在任何地方都是一样的人来说，需要有极端警惕的责任。

但我不会把文学写作的政治属性跟我在面对事件、冲突和观念时不得不采取的立场混为一谈。我在二战后成长为战后一代，当时的作家和知识分子通过法国政治定位自己，理所当然地参与到社会斗争中。今天，我们无法得知，假如没有他们大声疾呼并做出努力，情况是否会完全不同。在当今世界，信息来源的多样性和图像闪过的速度导致了某种形式的冷漠，专注于自己的艺术成为一种诱惑。然而与此同时，在欧洲，一种抽离和封闭的意识形态正在抬头。暂时被以俄罗斯为首的独裁者发动的帝国主义战争的暴力所掩盖，它在迄今为止的民主国家中稳步发展。这种意识形态建立在排斥外国人和移民、抛弃经济弱势群体、监视女性身体的基础上。对我和跟我一样认为人的价值在哪里都是一样的人来说，这种意识形态需要极端尽责的警惕。

By granting me the highest literary distinction that can be, a bright light is being shone on work that consists of writing and personal research carried out in solitude and doubt. This light does not dazzle me. I do not regard as an individual victory the Nobel prize that has been awarded me. It is neither from pride nor modesty that I see it, in some sense, as a collective victory. I share the pride of it with those who, in one way or another, hope for greater freedom, equality and dignity for all humans, regardless of their sex or gender, the colour of their skin, and their culture; and with those who think of future generations, of safeguarding an Earth where a profit-hungry few make life increasingly unliveable for all populations.

我被授予了最高的文学荣誉，它就像一盏明灯照耀着我在孤独和怀疑中进行的写作和个人研究。这光并不使我眼花缭乱。我不认为授予我的诺贝尔奖是个人的胜利。在某种意义上，我把它看作是一场集体的胜利，这既不是出于骄傲，也不是出于谦虚。我与那些以这样或那样的方式希望全人类享有更大的自由、平等和尊严的人一样感到自豪，而不论其性别、肤色和文化；与那些为子孙后代着想的人站在一起，保护一个因少数人的逐利而使所有人越来越不适合居住的地球。

由于授予我最高的文学荣誉，明亮的光芒照亮了那些在孤独和忧疑当中进行个人研究和写作的工作。着光亮不会使我眼花缭乱。我不认为授予我的诺贝尔奖是个人的胜利。我将它视为某种意义上的集体胜利，这既不是出于骄傲，也不是出去谦虚。我于那些以这样或者那样方式希望全人类，无论性别、肤色和文化，都能享有更多的自由、平等和尊严的人们一起，共享这份荣耀；与那些为子孙后代着想，为保护地球——在这里，少数追逐利润的人正在使所有人的生活越来越艰难——的人们一起共享这份荣耀。

If I look back on the promise made at twenty to avenge my people, I cannot say whether I have carried it out. It was from this promise, and from my forebears, hardworking men and women inured to tasks that caused them to die early, that I received enough strength and anger to have the desire and ambition to give them a place in literature, amid this ensemble of voices which, from very early on, accompanied me, giving me access to other worlds and other ways of being, including that of rebelling against and wanting to change it, in order to inscribe my voice as a woman and a social defector in what still presents itself as a space of emancipation, literature.

如果我回顾二十岁时所作的为我的人民报的承诺，我不能说我是否已经实现了。正是来自这个承诺，来自我的祖先们，勤劳的男男女女，习惯了那些导致他们早逝的任务，我得到了足够的力量和愤怒，有了在文学中给他们一席之地的愿望和雄心。这群人的声音，从很早的时候就伴随着我，让我接触到其他世界和其他存在方式，包括反抗和想要改变它的方式，以便将我作为一个女人和一个社会叛逃者的声音铭刻在那个解放的空间里，那就是文学。

回顾“讨回公道”的承诺，我不能说我是否兑现了这个承诺。从这个承诺中，从我的祖先们那里——那些勤恳的男男女女，他们惯于承担那些使他们早逝的任务——我得到了足够的力量和愤怒，有了在文学中，在这个多重声音组合之中，给他们一席之地的愿望和雄心。正是这个从小陪伴着我的多重声音组合，带我走入了另外的世界，和不同的存在方式，也带来了反抗它和改变它的想法，以便我作为女性和社会叛逃者的声音也能够铭刻其中。而这多重声音组合将一直是解放的空间，这就是文学。