課文原文加翻譯

1、Unit1名氣之尾 Para1 An artist who seeks fame is like a dog chasing his own tail who, when he captures it, does not know what else to do but to continue chasing it.The cruelty of success is that it often leads those who seek such success to participate in their own destruction.藝術(shù)家追求成名，如同狗自逐其尾，一旦追到手，

2、除了繼續(xù)追逐不知還能做些什么。成功之殘酷正在于它常常讓那些追逐成功者自尋毀滅。Para2 "Don't quit your day job!" is advice frequently given by understandably pessimistic family members and friends to a budding artist who is trying hard to succeed. The conquest of fame is difficult at best, and many end up emotionally if not f

3、inancially bankrupt. Still, impure motives such as the desire for worshipping fans and praise from peers may spur the artist on. The lure of drowning in fame's imperial glory is not easily resisted.對(duì)一名正努力追求成功并剛剛嶄露頭角的藝術(shù)家，其親朋常常會(huì)建議“正經(jīng)的飯碗不能丟！”他們的擔(dān)心不無(wú)道理。追求出人頭地，最樂(lè)觀(guān)地說(shuō)也困難重重，許多人到最后即使不是窮困潦倒，也是幾近精神崩潰。盡管如此，

4、希望贏(yíng)得追星族追捧和同行贊揚(yáng)之類(lèi)的不太純潔的動(dòng)機(jī)卻在激勵(lì)著他們向前。享受成功的無(wú)上光榮，這種誘惑不是能輕易抵擋的。Para3 Those who gain fame most often gain it as a result of exploiting their talent for singing, dancing, painting, or writing, etc. They develop a style that agents market aggressively to hastenpopularity, and their ride on the express elevat

5、or to the top is a blur. Most would be hard-pressed to tell you how they even got there. Artists cannot remain idle, though. When the performer, painter or writer becomes bored, their work begins to show a lack of continuity in its appeal and it becomes difficult to sustain the attention of the publ

6、ic. After their enthusiasm has dissolved, the public simply moves on to the next flavor of the month. Artists who do attempt to remain current by making even minute changes to their style of writing, dancing or singing, run a significant risk of losing the audience's favor. The public simply dis

7、counts styles other than those for which the artist has become famous.成名者之所以成名，大多是因?yàn)榘l(fā)揮了自己在歌唱、舞蹈、繪畫(huà)或?qū)懽鞯确矫娴奶亻L(zhǎng)，并能形成自己的風(fēng)格。為了能迅速走紅，代理人會(huì)極力吹捧他們這種風(fēng)格。他們青云直上的過(guò)程讓人看不清楚。他們究竟是怎么成功的，大多數(shù)人也都說(shuō)不上來(lái)。盡管如此，藝術(shù)家仍然不能閑下來(lái)。若表演者、畫(huà)家或作家感到無(wú)聊，他們的作品就難以繼續(xù)保持以前的吸引力，也就難以保持公眾的注意力。公眾的熱情消磨以后，就會(huì)去追捧下一個(gè)走紅的人。有些藝術(shù)家為了不落伍，會(huì)對(duì)他們的寫(xiě)作、跳舞或唱歌的風(fēng)格稍加變動(dòng)，但這將

8、冒極大的失寵的危險(xiǎn)。公眾對(duì)于他們藉以成名的藝術(shù)風(fēng)格以外的任何形式都將不屑一顧。Para4 Famous authors' styles a Tennessee Williams play or a plot by Ernest Hemingway or a poem by Robert Frost or T.S. Eliotare easily recognizable.The same is true of painters like Monet, Renoir, or Dali and moviemakers like Hitchcock, Fellini, Spielberg,

9、Chen Kaige or Zhang Yimou. Their distinct styles marked a significant change in form from others and gained them fame and fortune. However, they paid for it by giving up the freedom to express themselves with other styles or forms.知名作家的文風(fēng)一眼就能看出來(lái)，如田納西·威廉斯的戲劇、歐內(nèi)斯特·海明威的情節(jié)安排、羅伯特·弗羅斯特或 T.S

10、.艾略特的詩(shī)歌等。同樣，像莫奈、雷諾阿、達(dá)利這樣的畫(huà)家，希區(qū)柯克、費(fèi)里尼、斯皮爾伯格、陳凱歌或張藝謀這樣的電影制作人也是如此。他們鮮明獨(dú)特的藝術(shù)風(fēng)格標(biāo)志著與別人不同的藝術(shù)形式上的重大變革，這讓他們名利雙收，但也讓他們付出了代價(jià)，那就是失去了用其他風(fēng)格或形式表現(xiàn)自我的自由。Para5 Fame's spotlight can be hotter than a tropical junglea fraud is quickly exposed, and the pressure of so much attention is too much for most to endure.It t

11、akes you out of yourself: You must be what the public thinks you are, not what you really are or could be. The performer, like the politician, must often please his or her audiences by saying things he or she does not mean or fully believe.名氣這盞聚光燈可比熱帶叢林還要炙熱。騙局很快會(huì)被揭穿，過(guò)多的關(guān)注帶來(lái)的壓力會(huì)讓大多數(shù)人難以承受。它讓你失去自我。你必須是

12、公眾認(rèn)可的那個(gè)你，而不是真實(shí)的你或是可能的你。藝人，就像政客一樣，必須常常說(shuō)些違心或連自己都不完全相信的話(huà)來(lái)取悅聽(tīng)眾。Para6 One drop of fame will likely contaminate the entire well of a man's soul, and so an artist who remains true to himself or herself is particularly amazing. You would be hard-pressed to underline many names of those who have not comp

13、romised and still succeeded in the fame game. An example, the famous Irish writer Oscar Wilde, known for his uncompromising behavior, both social and sexual, to which the public objected, paid heavily for remaining true to himself. The mother of a young man Oscar was intimate with accused him at a b

14、anquet in front of his friends and fans of sexually influencing her son. Extremely angered by her remarks, he sued the young man's mother, asserting that she had damaged his "good" name. He should have hired a better attorney, though. The judge did not second Wilde's call to have t

15、he woman pay for damaging his name, and instead fined Wilde. He ended up in jail after refusing to pay, and evenworse, was permanently expelled from the wider circle of public favor. When things were at their worst, he found that no one was willing to risk his or her name in his defense. His price f

16、or remaining true to himself was to be left alone when he needed his fans the most.一滴名氣之水有可能玷污人的心靈這一整口井，因此一個(gè)藝術(shù)家若能保持真我，會(huì)格外讓人驚嘆。你可能答不上來(lái)哪些人沒(méi)有妥協(xié)，卻仍然在這場(chǎng)名利的游戲中獲勝。一個(gè)例子就是愛(ài)爾蘭著名作家?jiàn)W斯卡·王爾德，他在社交行為和性行為方面以我行我素而聞名于世。雖然他的行為遭到公眾的反對(duì)，卻依然故我，他也因此付出了慘痛的代價(jià)。在一次宴會(huì)上，他一位密友的母親當(dāng)著他的朋友和崇拜者的面，指責(zé)他在性方面影響了她的兒子。他聽(tīng)了她的話(huà)以后大為光火，起訴了這個(gè)年

17、輕人的母親，聲稱(chēng)她毀了自己的“好”名聲。但是，他真該請(qǐng)一個(gè)更好的律師。結(jié)果是，法官不僅不支持他提出的讓這個(gè)女人賠償他名聲損失費(fèi)的請(qǐng)求，反而對(duì)他本人進(jìn)行了罰款。他由于拒交罰款最終還被送進(jìn)了監(jiān)獄。更糟糕的是，他再也無(wú)法獲得更多公眾的寵愛(ài)。在最糟糕的時(shí)候，他發(fā)現(xiàn)沒(méi)有一個(gè)人愿意拿自己的名聲冒險(xiǎn)來(lái)替他說(shuō)話(huà)。為保持真我，他付出的代價(jià)是，在最需要崇拜者時(shí)，誰(shuí)也不理他。Para7 Curiously enough, it is those who fail that reap the greatest reward: freedom! They enjoy the freedom to express the

18、mselves in unique and original ways without fear of losing the support of fans. Failed artists may find comfort in knowing that many great artists never found fame until well after they had passed away or in knowing that they did not sell out. They may justify their failure by convincing themselves

19、their genius is too sophisticated for contemporary audiences.奇怪的是，收獲最大的恰恰是失敗者。他們收獲了自由！他們可以自由地表達(dá)，獨(dú)辟蹊徑，不落窠臼，不用擔(dān)心失去崇拜者的支持。失敗的藝術(shù)家尋求安慰時(shí)，可以想想許多偉大的藝術(shù)家都是過(guò)世多年以后才成名，或是他們沒(méi)有出賣(mài)自己。他們也可以為自己的失敗辯解：自己的才華實(shí)在過(guò)于高深，不是當(dāng)代聽(tīng)眾或觀(guān)眾所理解得了的。Para8 Single-minded artists who continue their quest for fame even after failure might also

20、like to know that failure has motivated some famous people to work even harder to succeed. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Angel rejected 39 times before it was finally published. Beethoven overcame his father, who did not believe that he had any potential as

21、a musician, to become the greatest musician the world. And Pestalozzi, the famous Swiss educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education. Thomas Edison was thrown

22、out of school in the fourth grade, because he seemed to his teacher to be quite dull. Unfortunately for most people, however, failure is the end of their struggle, not the beginning.那些失敗了卻仍不肯放棄的頑固派也許會(huì)樂(lè)于知道，某些名人曾經(jīng)如何越挫越勇，直至成功。美國(guó)小說(shuō)家托馬斯·伍爾芙的第一本小說(shuō)向家鄉(xiāng)看吧，安琪兒被拒39次后，才最終得以出版。貝多芬戰(zhàn)勝了父親認(rèn)為他毫無(wú)音樂(lè)家潛質(zhì)的偏見(jiàn)，成為世界上最偉大

23、的音樂(lè)家。19世紀(jì)瑞士著名教育家裴斯泰洛齊原先干的工作沒(méi)有一件成功，直到他想到去教小孩子，并研究出一種新型教育模式的基礎(chǔ)理論。托馬斯·愛(ài)迪生在四年級(jí)時(shí)被趕出了學(xué)校，因?yàn)槔蠋熡X(jué)得他似乎太遲鈍。但不幸的是，對(duì)大多數(shù)人而言，失敗是奮斗的結(jié)束，而不是開(kāi)始。Para9 I say to those who desperately seek fame and fortune: good luck. But alas, you may find that it was not what you wanted. The dog who catches his tail discovers that

24、it is only a tail. The person who achieves success often discovers that it does more harm than good. So instead of trying so hard to achieve success, try to be happy with who you are and what you do. Try to do work that you can be proud of. Maybe you won't be famous in your own lifetime, but you

25、 may create better art.對(duì)那些孤注一擲的追名逐利之徒，我要說(shuō)：祝你們好運(yùn)。但是，遺憾的是，你會(huì)發(fā)現(xiàn)這不是你想得到的。狗自逐其尾所得到的只是一條尾巴而已。獲得成功的人常常發(fā)現(xiàn)成功對(duì)他來(lái)說(shuō)弊大于利。所以要為真實(shí)的你、為自己的所為感到高興，而不是拼命去獲得成功。做那些你為之感到驕傲的事情。可能在有生之年你默默無(wú)聞，但你可能創(chuàng)作了更好的藝術(shù)。Unit2 查理·卓別林Para1 He was born in a poor area of South London. He wore his mother's old red stockings cut down fo

26、r ankle socks. His mother was temporarily declared mad.Dickens might have created Charlie Chaplin's childhood. But only Charlie Chaplin could have created the great comic character of "the Tramp", the little man in rags who gave his creator permanent fame.他出生在倫敦南部的一個(gè)貧困地區(qū)。他穿的短襪是從媽媽的紅色長(zhǎng)襪

27、上剪下來(lái)的。他的媽媽一度被診斷為精神失常。狄更斯或許能創(chuàng)作出查理·卓別林的童年故事，但只有查理·卓別林才能塑造出了不起的喜劇角色“流浪漢”，這個(gè)使其創(chuàng)作者聲名永駐的衣衫襤褸的小人物。Para2 Other countriesFrance, Italy, Spain, even Japanhave provided more applause (and profit) where Chaplin is concerned than the land of his birth.Chaplin quit Britain for good in 1913 when he journ

28、eyed to America with a group of performers to do his comedy act on the stage, where talent scouts recruited him to work for Mack Sennett, the king of Hollywood comedy films.就卓別林而言，其他國(guó)家，如法國(guó)、意大利、西班牙，甚至日本，都比他的出生地給予了他更多的掌聲（和更多的收益）。在1913年，卓別林永久地離開(kāi)了英國(guó)，與一些演員一起啟程到美國(guó)進(jìn)行舞臺(tái)喜劇表演。在那里，他被星探招募到好萊塢喜劇片之王麥克·塞納特的旗下

29、工作。Para3 Sad to say, many English people in the 1920s and 1930s thought Chaplin's Tramp a bit, well, "crude". Certainly middle-class audiences did; the working-class audiences were more likely to clap for a character who revolted against authority, using his wicked little cane to trip

30、it up, or aiming the heel of his boot for a well-placed kick at its broad rear. All the same, Chaplin's comic beggar didn't seem all that English or even working-class. English tramps didn't sport tiny moustaches, huge pants or tail coats: European leaders and Italian waiters wore things

31、 like that. Then again, the Tramp's quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by English audiencesthat's how foreigners behaved, wasn't it? But for over half of his screen career, Chaplin had no screen voice to confirm his British nat

32、ionality.令人遺憾的是，20世紀(jì)二、三十年代的很多英國(guó)人認(rèn)為卓別林的“流浪漢”多少有點(diǎn)“粗俗”。中產(chǎn)階級(jí)當(dāng)然這樣認(rèn)為。勞動(dòng)階層反倒更有可能為這樣一個(gè)反抗權(quán)勢(shì)的角色拍手喝彩：他以頑皮的小拐杖使絆子，或用皮靴后跟對(duì)準(zhǔn)權(quán)勢(shì)者肥大的臀部踢一下。盡管如此，卓別林的滑稽乞丐形象并不那么像英國(guó)人，甚至也不像勞動(dòng)階級(jí)的人。英國(guó)流浪者并不留小胡子，也不穿肥大的褲子或燕尾服：歐洲的領(lǐng)導(dǎo)人和意大利的侍者才那樣穿戴。另外，“流浪漢”瞟著漂亮女孩的眼神也有些粗俗，被英國(guó)觀(guān)眾認(rèn)為不太正派只有外國(guó)人才那樣，不是嗎？ 而在卓別林大半的銀幕生涯中，銀幕上的他是不出聲的，也就無(wú)從證明他是英國(guó)人。Para4 Indeed,

33、 it was a headache for Chaplin when he could no longer resist the talking movies and had to find "the right voice" for his Tramp. He postponed that day as long as possible: In Modern Times in 1936, the first film in which he was heard as a singing waiter, he made up a nonsense language whi

34、ch sounded like no known nationality. He later said he imagined the Tramp to be a college-educated gentleman who'd come down in the world. But if he'd been able to speak with an educated accent in those early short comedies, it's doubtful if he would have achieved world fame. And the Eng

35、lish would have been sure to find it "odd". No one was certain whether Chaplin did it on purpose but this helped to bring about his huge success.事實(shí)上，當(dāng)卓別林再也無(wú)法抵制有聲電影，不得不為他的“流浪漢”尋找“合適的聲音”時(shí)，他確實(shí)很頭疼。他盡可能地推遲那一天的到來(lái)：在 1936 的摩登時(shí)代里，他第一次在影片里發(fā)聲唱歌。在片中，他扮演一名侍者，滿(mǎn)口胡言亂語(yǔ)，聽(tīng)起來(lái)不像任何國(guó)家的語(yǔ)言。后來(lái)他說(shuō)，他想象中的“流浪漢”是一位受過(guò)大學(xué)教育

36、，但已經(jīng)沒(méi)落的紳士。但假如他在早期那些短小的喜劇電影中能操一口受教育人的口音，那么他是否會(huì)聞名世界就難說(shuō)了，而英國(guó)人也肯定會(huì)覺(jué)得這很“古怪”。沒(méi)有人知道卓別林這么干是不是有意的，但這促使他獲得了巨大的成功。Para5 He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. His huge fame gave him the freedomand, more importantly, the moneyto be his own master.

37、He already had the urge to explore and extend a talent he discovered in himself as he went along. "It can't be me. Is that possible? How extraordinary," is how he greeted the first sight of himself as the Tramp on the screen.他是一個(gè)才能非凡的人，他的決心之大甚至在好萊塢明星中也十分少見(jiàn)。他的巨大名聲為他帶來(lái)了自由，更重要的是帶來(lái)了財(cái)富，他因此得

38、以成為自己的主人。在事業(yè)發(fā)展之初，他就感到一種沖動(dòng)要去發(fā)掘并擴(kuò)展自己身上所顯露的天才。當(dāng)他第一次在銀幕上看到自己扮演的“流浪漢”時(shí)，他說(shuō)：“這不可能是我。那可能嗎？瞧這角色多么與眾不同啊！”P(pán)ara6 But that shock roused his imagination. Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along. Li

39、feless objects especially helped Chaplin make "contact" with himself as an artist. He turned them into other kinds of objects. Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their

40、soles eaten with salt and pepper like prime cuts of fish (the nails being removed like fish bones). This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin's great comedy.這種震驚喚起了他的想象。卓別林并沒(méi)有把他的笑料事先寫(xiě)成文字。他是那種邊表演邊根據(jù)感覺(jué)去創(chuàng)造藝術(shù)的喜劇演員。沒(méi)有生命的物體特

41、別有助于卓別林發(fā)揮自己藝術(shù)家的天賦。他將這些物體想象成其他東西。因此，在當(dāng)鋪老板中，一個(gè)壞鬧鐘變成了正在接受手術(shù)的“病人”；在淘金記中，靴子被放在鍋里煮，靴底被蘸著鹽和胡椒吃掉，就像上好的魚(yú)片一樣（鞋釘就像魚(yú)骨那樣被剔除）。這種對(duì)事物的轉(zhuǎn)化，以及他一次又一次做出這種轉(zhuǎn)化的技巧，正是卓別林偉大喜劇的奧秘所在。Para7 He also had a deep need to be lovedand a corresponding fear of being betrayed. The two were hard to combine and sometimesas in his early mar

42、riagesthe collision between them resulted in disaster. Yet even this painfully-bought self-knowledge found its way into his comic creations. The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdo

43、ux, the French wife killer, into a symbol of hatred for women.他也深切地渴望被愛(ài)，同時(shí)也害怕遭到背叛。這兩者很難結(jié)合在一起，有時(shí)這種沖突導(dǎo)致了災(zāi)難，就像他早期的幾次婚姻那樣。然而即使是這種以沉重代價(jià)換來(lái)的自知之明也在他的喜劇創(chuàng)作中得到了表現(xiàn)?！傲骼藵h”始終沒(méi)有失去對(duì)賣(mài)花女的信心，相信她正等待著與自己共同走進(jìn)夕陽(yáng)之中；而卓別林的另一面使他的凡爾杜先生，一個(gè)殺了妻子的法國(guó)人，成為了仇恨女人的象征。Para8 It's a relief to know that life eventually gave Charlie Chapl

44、in the stability and happiness it had earlier denied him. In Oona O'Neill Chaplin, he found a partner whose stability and affection spanned the 37 years age difference between them, which had seemed so threatening, that when the official who was marrying them in 1942 turned to the beautiful girl

45、 of 17 who'd given notice of their wedding date, he said, "And where is the young man? "Chaplin, then 54, had cautiously waited outside. As Oona herself was the child of a large family with its own problems, she was well prepared for the battle that Chaplin's life became as many un

46、founded rumors surrounded them bothand, later on, she was the center of calm in the quarrels that Chaplin sometimes sparked in his own large family of talented children.令人寬慰的是，生活最終把卓別林先前沒(méi)能獲得的穩(wěn)定和幸福給了他。他找到了沃娜·奧尼爾·卓別林這個(gè)伴侶。她的沉穩(wěn)和深情跨越了他們之間37歲的年齡差距。他們的年齡差別太大，以致當(dāng)1942年他們要結(jié)婚時(shí)，新娘公布了他們的結(jié)婚日期后，為他們辦理手續(xù)的官

47、員問(wèn)這位漂亮的17歲姑娘：“那個(gè)年輕人在哪兒？”當(dāng)時(shí)已經(jīng)54歲的卓別林小心翼翼在外面等候著。由于沃娜本人出生在一個(gè)被各種麻煩困擾的大家庭，她對(duì)卓別林生活中將面臨的挑戰(zhàn)也做好了充分準(zhǔn)備，因?yàn)楫?dāng)時(shí)關(guān)于他倆有很多毫無(wú)根據(jù)的流言。后來(lái)在他那個(gè)有那么多天才孩子的大家庭中，卓別林有時(shí)會(huì)引發(fā)爭(zhēng)吵，而她則成了安寧的中心。Para9 Chaplin died on Christmas Day 1977. A few months later, a couple of almost comic body thieves stole his body from the family burial chamber a

48、nd held it for money. The police recovered it with more efficiency than Mack Sennett's clumsy Keystone Cops would have done, but one can't help feeling Chaplin would have regarded this strange incident as a fitting memorialhis way of having the last laugh on a world to which he had given so

49、many.卓別林死于1977年圣誕節(jié)。幾個(gè)月后，幾個(gè)近乎可笑的盜尸者從他的家庭墓室盜走了他的尸體以借此詐錢(qián)。警方追回了他的尸體，其效率比麥克·塞納特拍攝的啟斯東喜劇片中的笨拙警察要高得多。但是人們不禁會(huì)感到，卓別林一定會(huì)把這一奇怪的事件看作是對(duì)他的十分恰當(dāng)?shù)募o(jì)念他以這種方式給這個(gè)自己曾為之帶去這么多笑聲的世界留下最后的笑聲。Unit3渴望新的福利制度Para1 A welfare client is supposed to cheat. Everybody expects it. Faced with sharing a dinner of raw pet food with the

50、 cat, many people in wheelchairs I know bleed the system for a few extra dollars. They tell the government that they are getting two hundred dollars less than their real pension so they can get a little extra welfare money. Or, they tell the caseworker that the landlord raised the rent by a hundred

51、dollars.人人都覺(jué)得福利救濟(jì)對(duì)象是在騙人。當(dāng)我認(rèn)識(shí)的許多坐輪椅的人面臨與寵物貓分吃生貓食的窘境時(shí)，都會(huì)向福利機(jī)構(gòu)多騙取幾美元。為了能領(lǐng)到一點(diǎn)額外的福利款，他們告訴政府說(shuō)他們實(shí)際上少拿了200美元的養(yǎng)老金，或告訴社會(huì)工作者，說(shuō)房東又將房租漲了100 美元。Para2 I have opted to live a life of complete honesty. So instead, I go out and drum up some business and draw cartoons. I even tell welfare how much I make! Oh, I'm

52、tempted to get paid under the table. But even if I yielded to that temptation, big magazines are not going to get involved in some sticky situation. They keep my records, and that information goes right into the government's computer. Very high-profile.我選擇了過(guò)一種完全誠(chéng)實(shí)的生活，因此我不會(huì)那樣做，而是四處找活，攬些畫(huà)漫畫(huà)的活。我甚至還

53、告訴福利機(jī)構(gòu)我賺了多少錢(qián)！哦，私下里領(lǐng)一筆錢(qián)當(dāng)然對(duì)我挺有吸引力，但即使我擋不住這種誘惑，我投稿的那些大雜志也不會(huì)去給自己惹麻煩。他們會(huì)保留我的記錄，而這些記錄會(huì)直接進(jìn)入政府的電腦。真是態(tài)度鮮明，毫不含糊。Para3 As a welfare client I'm expected to bow before the caseworker. Deep down, caseworkers know that they are being made fools of by many of their clients, and they feel they are entitled to ha

54、ve clients bow to them as compensation. I'm not being bitter. Most caseworkers begin as college-educated liberals with high ideals. But after a few years in a system that practically requires people to lie, they become like the one I shall call "Suzanne", a detective in shorts.作為一名福利救濟(jì)

55、對(duì)象，我必須在社會(huì)工作者面前卑躬屈膝。社會(huì)工作者心里知道，許多救濟(jì)對(duì)象在欺騙他們，因此他們覺(jué)得，作為補(bǔ)償，他們有權(quán)讓救濟(jì)對(duì)象向他們點(diǎn)頭哈腰。我并不是故意感到忿忿不平。大多數(shù)社會(huì)工作者剛開(kāi)始時(shí)都是些大學(xué)畢業(yè)生，有理想，而且思想開(kāi)明?？墒牵谶@個(gè)實(shí)際上是要人撒謊的體制里干了幾年后，他們就變得與那個(gè)叫“蘇珊娜”的人一樣了一個(gè)穿運(yùn)動(dòng)短褲的偵探。Para4 Not long after Christmas last year, Suzanne came to inspect my apartment and saw some new posters pasted on the wall. "W

56、here'd you get the money for those? " she wanted to know.去年圣誕節(jié)過(guò)后不久，蘇珊娜到我家來(lái)了解情況，看到墻上貼著新的宣傳畫(huà)，便想知道：“你從哪兒弄到錢(qián)來(lái)買(mǎi)這些？”P(pán)ara5 "Friends and family."Para6 "Well, you'd better have a receipt for it, by God. You have to report any donations or gifts."“從朋友和家人那兒?！薄澳敲矗阕詈靡獜埵論?jù)，真的，你接受任

57、何捐獻(xiàn)或禮物都要報(bào)告?！盤(pán)ara7 This was my cue to beg. Instead, I talked back. "I got a cigarette from somebody on the street the other day. Do I have to report that? "Para8 "Well, I'm sorry, but I don't make the rules, Mr. Callahan."她這是在暗示我：得哀求她了。但是我卻將她頂了回去?！澳翘煸隈R路上有人給我一根煙，我也得報(bào)告嗎？”“對(duì)不

58、起，卡拉漢先生，可是規(guī)定不是我制訂的?！盤(pán)ara9 Suzanne tries to lecture me about repairs to my wheelchair, which is always breaking down because welfare won't spend money maintaining it properly."You know, Mr. Callahan, I've heard that you put a lot more miles on that wheelchair than average."蘇珊娜試圖就修理輪

59、椅的問(wèn)題訓(xùn)斥我。由于福利部門(mén)不愿意花錢(qián)好好地修理，所以它總是壞?！澳侵赖模ɡ瓭h先生，我聽(tīng)說(shuō)您的那輛輪椅比一般人用得多得多?！盤(pán)ara10 Of course I do. I'm an active worker, not a vegetable. I live near downtown, so I can get around in a wheelchair. I wonder what she'd think if she suddenly broke her hip and had to crawl to work.我當(dāng)然用得多，我是個(gè)工作很積極的人，又不是植物人。我住在鬧市區(qū)附近，可以坐著輪椅到處走走。我真想知道如果她突然摔壞臀部，不得不爬著去上班時(shí)，會(huì)是什么感受。Para11 Government cuts in welfare have resulted in hunger and suffering for a lot of people, not just me. But people with spinal cord injuries felt the cuts in a unique way: The government stopped taking care of our chairs. Each time mine bro