Louise Gluck has been no stranger to awards over her long and storied career, since her first publication in 1968. In 1993, she won the Pulitzer Prize for her collection of poems, The Wild Iris. And on Oct 8 she became the 16th woman to win the Nobel Prize in literature with the Nobel prizes first awarded in 1901.
自1968年出版首部作品以來，露易絲·格麗克在其長(zhǎng)期的創(chuàng)作生涯中獲獎(jiǎng)無數(shù)。1993年，她的詩集《野鳶尾》獲得普利策獎(jiǎng)。10月8日，她成為自1901年諾貝爾獎(jiǎng)?lì)C獎(jiǎng)以來，第16位獲得諾貝爾文學(xué)獎(jiǎng)的女性。

Gluck was honored “for her unmistakable poetic voice that, with austere beauty, makes individual existence universal”. Often said to be an autobiographical poet, drawing from the inner parts of her life, “she is not to be regarded as a confessional poet. Gluck seeks the universal,” Nobel Committee Chair Anders Olsson said in a statement.
格麗克因“其精準(zhǔn)的詩意語言所營(yíng)造的樸素之美，讓個(gè)體的存在獲得普遍性”而獲得嘉獎(jiǎng)。她取材于自己人生的內(nèi)在部分，常常被稱為自傳體詩人，“她并非是告白派詩人，格麗克尋求的是普遍性，”諾貝爾委員會(huì)主席安德斯·奧爾森在一份聲明中如此表示。

Gluck, 77, the author of 12 poetry collections, has been able to turn her life experiences into universal themes covering life, loss, and isolation. Because of this, readers have often found her poetry to be “dark”. However, there is much more than darkness in her voice, as noted by Olsson. “It is candid and ... also a voice full of humor and biting wit,” he said.
現(xiàn)年77歲的格麗克著有12部詩集，她能將自己的人生經(jīng)歷轉(zhuǎn)化為生命、失去、孤獨(dú)等普世主題。因此，讀者們往往會(huì)覺得她的詩歌有些“黑暗”。然而，正如奧爾森所指出的那樣，她的發(fā)聲中并不只有黑暗。“她的作品既直白，又展現(xiàn)了充分的幽默與風(fēng)趣，”他表示。

For example, in her poem Snowdrops, she uses the coming of spring after winter to show rebirth of life after death. She leads readers down a depressing path only to reconnect with the light at the near end. At the conclusion of the poem, readers are left to feel the “raw wind of the new world” as they watch a new spring. This is often the case in Gluck’s poetry, being able to feel joy even after not having done so for a long time.
比如，在詩歌《雪花蓮》中，她使用冬去春來的意象體現(xiàn)生命的死后重生。她帶領(lǐng)著讀者走上一條絕望小徑，在即將走到盡頭之處又重見光明。在詩歌的結(jié)尾，讀者們見證了一個(gè)全新的春天，感受到了“新世界的狂風(fēng)”。格麗克的詩歌往往便是如此 —— 哪怕身處長(zhǎng)久的苦悶之中也能感受到歡樂。

When her work Faithful Virtuous Night received a National Book Award for Poetry in 2014, a judge for the award went on to say, the collection comes from “a world where darkness blurs ordinarily sharp edges around the oppositions ... [of] our lives – loss and renewal, male and female, the living and the dead”.
當(dāng)她的作品《忠誠(chéng)與善良之夜》2014年獲得美國(guó)國(guó)家圖書獎(jiǎng)時(shí)，該獎(jiǎng)項(xiàng)的一位評(píng)審認(rèn)為，這本詩集源于“一個(gè)世界，那里的黑暗模糊了我們生命中對(duì)立面原本鋒利的邊界，如失去與更新、男性與女性、生與死等等”。

Although she’s already a well-known writer, experienced in exploring trauma and healing, Gluck did feel honored to be given the prestigious Nobel award. However, when asked what the prize means to her, the lyric poet responded by saying, “It’s too new … I don’t know really what it means.” Her only hope is that she can preserve her daily life.
盡管她已是位著名作家，經(jīng)歷了對(duì)于痛苦與治愈的探索，但格麗克仍對(duì)獲得享有盛名的諾貝爾獎(jiǎng)感到榮幸。然而，在問及該獎(jiǎng)項(xiàng)對(duì)她的意義時(shí)，這位抒情詩人如此回應(yīng)：“這太突然了……我還不知道這真正意味著什么?！彼ㄒ坏南Ｍ闶悄軌虮３肿约旱娜粘Ｉ?。

以上文章內(nèi)容選自《21世紀(jì)學(xué)生英文報(bào)高中版》，詳情請(qǐng)見《21世紀(jì)學(xué)生英文報(bào)高中版》高二808期