Episódios
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Estão a faltar episódios?
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Dear Scott:I liked it and I didn't. It started off with that marvelous description of Sara and Gerald (goddamn it Dos took it with him so I can't refer to it. So if I make any mistakes-). Then you started fooling with them, making them come from thing they didn't come from, changing them into other people and you can't do that, Scott. If you take real people and write about them you cannot give them other parents than they have (they are made by their parents and what happens to them) you cannot make them do anything they would not do. You can take you or me or Zelda or Pauline or Hadley or Sara or Gerald but you have to keep them the same and you can only make them do what they would do. You can't make one be another. Invention is the finest thing but you cannot invent anything that would not actually happen.
That is what we are supposed to do when we are at our best-make it all up-but make it up so truly that later it will happen that way.
Goddamn it you took liberties with peoples' pasts and futures that produced not people but damned marvellously faked case histories. You, who can write better than anybody can, who are so lousy with talent that you have to - the hell with it. Scott for gods sake write and-write truly no matter who or what it hurts but do not make these silly compromises. You could write a fine book about Gerald and Sara for instance if you knew enough about them and they would not have any feeling, except passing, if it were true.（看得出海明威很看好杰拉德的写作才华，但依然丝毫不客气的批评他身上的写作问题。）
There were wonderful places and nobody else nor none of the boys can write a good one half as good reading as one that doesn't come out by you, but you cheated too damned much in this one. And you don't need to.
In the first place I've always claimed that you can't think. All right, we'll admit you can think. But say you couldn't think; then you ought to write, invent, out of what you know and keep the people's antecedants straight. Second place, a long time ago you stopped listening except to the answers to your own questions. You had good stuff in too that it didn't need. That's what dries a writer up (we all dry up. That's no insult to you in person) not listening. That is where it all comes from. Seeing, listening. You see well enough. But you stop listening.
It's a lot better than I say. But it's not as good as you can do.
You can study Clausewitz in the field and economics and psychology and nothing else will do you any bloody good once you are writing. We are like lousy damned acrobats but we make some mighty fine jumps, bo, and they have all these other acrobats that won't jump.
For Christ sake write and don't worry about what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the wastebasket. You feel you have to publish crap to make money to live and let live. All write but if you write enough and as well as you can there will be the same amount of masterpiece material (as we say at Yale). You can't think well enough to sit down and write a deliberate masterpiece and if you could get rid of Seldes and those guys that nearly ruined you and turn them out as well as you can and let the spectators yell when it is good and hoot when it is not you would be all right.
Forget your personal tragedy. We are all bitched from the start and you especially have to hurt like hell before you can write seriously. But when you get the damned hurt use it - don't cheat with it. Be as faithful to it as a scientist-but don't think anything is of any importance because it happens to you or anyone belonging to you.
About this time I wouldn't blame you if you gave me a burst. Jesus it's marvellous to tell other people how to write, live, die etc.
I'd like to see you and talk about things with you sober. You were so damned stinking in N. Y. we didn't get anywhere. You see, Bo, you're not a tragic character. Neither am I. All we are is writers and what we should do is write. Of all people on earth you needed discipline in your work and instead you marry someone who is jealous of your work, wants to compete with you and ruins you. It's not as simple as that and I thought Zelda was crazy the first time I met her and you complicated it even more by being in love with her and, of course you're a rummy（酒鬼）. But you're no more of a rummy than Joyce is and most good writers are. But Scott, good writers always come back. Always. You are twice as good now as you were at the time you think you were so marvellous. You know I never thought so much of Gatsby at the time. You can write twice as well now as you ever could. All you need to do is write truly and not care about what the fate of it is.
Go on and write.
Anyway I'm damned fond of you and I'd like to have chance to talk sometimes. We had good times talking. Remember that guy we went out to see dying in Neuilly? He was down here this winter. Damned nice guy Canby Chambers. Saw a lot of Dos. He's in good shape now and he was plenty sick this time last year. How is Scotty and Zelda? Pauline sends her love. We're all fine. She's going up to Piggott for a couple of weeks with Patrick. Then bring Bumby back. We have a fine boat. Am going good on a very long story. Hard one to write.
Always your friend
Ernest -
D'Arline I adore you, sweetheart. I know how much you like to hear that - but I don't only write it because you like it - I write it because it makes me warm all over inside to write it to you. It is such a terribly long time since last I wrote to you - almost two years but I know you'll excuse me because you understand how I am, stubborn and realistic; and I thought there was no sense to writing. But now I know my darling wife that it is right to do what I have delayed in doing, and that I have done so much in the past. I want to tell you I love you. I want to love you. I always will love you. I find it hard to understand in my mind what it means to love you after you are dead-but I stillwant to comfort and take care of you - and I want you to love me and care for me. I want to have problems to discuss with you - I want to do little projects with you. I never thought until just now that we can do that. What should we do. We started to learn to make clothes together - or learn Chinese - or getting a movie projector. Can't I do something now? No. I am alone without you and you were the "idea-woman" and general instigator of all our wild adventures. When you were sick you worried because you could not give me something that you wanted to and thought I needed. You needn't have worried. Just as I told you then there was no real need because I loved you in so many ways so much. And now it is clearly even more true - you can give me nothing now yet I love you so that you stand in my way of loving anyone else--but I want you to stand there. You, dead, are so much better than anyone else alive. I know you will assure me that I am foolish and that you want me to have full happiness and don't want to be in my way. I'll bet you are surprised that I don't even have a girlfriend (except you, sweetheart) after two years. But you can't help it, darling, nor can I - I don't understand it for I have met many girls and very nice ones and I don't want to remain alone - but in two or three meetings they all seem ashes. You only are left to me. You are real. My darling wife, I do adore you. I love my wife. My wife is dead. Rich. PS Please excuse my not mailing this -but I don't know your new address.
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The Power of Example
Often, when small children become bored and distracted, at home or in nursery school, adults will decide that they "need more structure." I tend to be wary of that term, since those who use it generally mean only one thing: some adult standing over the child telling him what to do and making sure he does it.
Many young children do indeed need to be introduced to tasks and activities that take time, concentration, effort, and skill. But this isn't a matter of "giving" harder tasks and making the child persist until he or she is finished. In such situations the controlling factor is the will of the adult, not, as it should be, the requirements of the task. Instead, what young children need is the opportunity to see older children and adults choosing and undertaking various tasks and working on them over a period of time until they are completed. Children need to get some sense of the processes by which good work is done. The only way they can learn how much time and effort it takes to build, say, a table, is to be able to see someone building a table, from start to finish. Or painting a picture. Or repairing a bicycle, or writing a story, or whatever it may be.
At the Ny Lille Skole, the wonderful small school in Denmark about which I have often written, the six adult "teachers" had all done many kinds of work before they began teaching, and all brought to the school a number of visible and interesting skills. One woman was a good musician and dancer, another a skilled weaver, several of the men were good at working with tools in both wood and metal. One teacher was actually making himself bass viol at the school. It took a long time: it was a serious instrument. Some of the older kids worked with him on the project; younger kids hung around, helped a little, asked questions; still younger children watched less attentively, for shorter stretches of time. But even the youngest children were aware of that project going on, and kept track of its progress.
Children need to see things done well. Cooking, and especially baking, where things change their texture and shape (and taste yummy), are skills that children might like to take part in. Typing might be another, and to either or both of these could be added bookmaking and bookbinding. These are crafts that children could take part in from beginning to end. Skilled drawing and painting or woodworking might be others.
Adults must use the skills they have where children can see them. In the unlikely event that they have no skills to speak of, they should learn some, and let the children see them learning, even if only as simple a thing as touch typing. They should invite children to join them in using these skills. In this way children can be slowly drawn, at higher and higher levels of energy, commitment, and skill, into more and more serious and worthwhile adult activities.
When parents point out to me that their work is not as impressive in its progress as, say, that of a boat builder, I use my own work as an example While writing is less easy to understand than the work of a carpenter or farmer, it is not necessarily opaque or meaningless to a child. Writing is a process that takes place in time. I begin with raw materials and scraps of notes, write rough drafts, correct them, change them, finally produce a smooth draft, turn this over to someone else for further editing, and see it go into galleys or some kind of proof sheets and eventually find its way into the finished newspaper, magazine, or book. Even if what I write about might not make much sense to children they will surely be interested in many of the things I actually do. At every stage of the process outlined above, parents who are writers might show their child what they have done and talk a little (as much as the child wants) about what they are going to do next, and why. In the end, they could show the child their articles when they finally appear in print. They might even keep all their notes and rough drafts for a particular article, and on a big piece of cardboard paste up an exhibit showing everything from the first steps to the final product. This would also be an easy and interesting thing to do in schools; it would show students what none of them now know or could imagine-the amount of work that goes into serious writing.
It is this sense of process over time that children want and need to learn about, and much of this is visible in most kinds of work. Even if parents can't show children their actual workplace, they can show them similar places. For instance, for the child of journalist, any small offset press would be fascinating: the noise, all those things going round and round, the paper flying out with stuff printed on it. A mystery! But children would see that a grown-up understands it and controls it, and thinks that maybe someday, if they wanted, they could too. They would also learn that their parents did not think of them as too small and stupid to be included in a central part of their own lives.
大朋友们可以思考一下：
你在生活中，如何一点点的用学徒式的方式，带着孩子学习的？
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Multiply Milestones
Hitting a milestone sparks pride. Think about how good it feels to flip through the stamps on your passport. Success comes from pushing to the finish line. What milestones do is compel us to make that push, because (a) they're within our grasp, and (b) we've chosen them precisely because they're worth reaching for.
LEVEL 1: Commit to one violin lesson per week, and practice 15 minutes per day for six months.
LEVEL 2: Relearn how to read sheet music and complete Celtic Fiddle Tunes by Craig Duncan.
LEVEL 3: Learn to play "Concerning Hobbits" from The Fellowship of the Ring on the violin.
LEVEL 4: Sit and play the fiddle for 30 minutes with other musicians.
LEVEL 5: Learn to play "Promontory" from The Last of the Mohicans on the violin.
BOSS BATTLE: Sit and play the fiddle for 30 minutes in a pub in Ireland.
LEVEL1: Order meal in Spanish.
LEVEL 2: Have a simple conversation in Spanish with a taxi driver.
LEVEL 3: Glance at Spanish newspaper and understand at least one headline.
LEVEL4: Follow the action in Spanish cartoon.
LEVEL 5: Read a kindergarten-level book in Spanish.
LEVEL 1: Try to squeeze in a Spanish study session.
LEVEL 2: Try to squeeze in a Spanish study session.
LEVEL 3: Try to squeeze in a Spanish study session.
LEVEL 4: Try to squeeze in a Spanish study session.
LEVEL 5: Try to squeeze in a Spanish study session.
DESTINATION: Someday, eventually: "know" Spanish.
Milestones define moments that are conquerable and worth conquering.
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Let's talk about language learning!
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Let's talk about language learning!
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Let's talk about language learning!
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Let's talk about language learning!
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