Unit 2 Bards of the Internet 课文翻译

Unit 2

Bards of the Internet

Phillip Elmer-Dewitt 1. One of the unintended side effects of the invention of the telephone was that writing went out of style. Oh, sure, there were still full-time scribblers — journalists, academics, professional wordsmiths. And the great centers of commerce still found it useful to keep on hand people who could draft a memo, a brief, a press release or a contract. But given a choice between picking up a pen or a phone, most folks took the easy route and gave their fingers — and sometimes their mind — a rest.

2. Which makes what’s happening on the computer networks all the more startling. Every night, when they should be watching television, millions of computer users sit down at their keyboards; dial into CompuServe, Prodigy, America Online or the Internet; and start typing — E-mail, bulletin-board postings, chat messages, rants, diatribes, even short stories and poems. Just when the media of McLuhan were supposed to render obsolete the medium of Shakespeare, the online world is experiencing the greatest boom in letter writing since the 18th century.

3. “It is my overwhelming belief that E-mail and computer conferencing is teaching an entire generation about the flexibility and utility of prose,” writes Jon

Carroll, a columnist at the San Francisco Chronicle. Patrick Nielsen Hayden, an editor at Tor Books, compares electronic bulletin boards with the “scribblers’ compacts” of the late 18th and early 19th centuries, in which members passed letters from hand to hand, adding a little more at each turn. David Sewell, an associate editor at the University of Arizona, likens netwriting to the literary scene Mark Twain discovered in San Francisco in the 1860s, “when people were reinventing journalism by grafting it onto the tall-tale folk tradition.” Others hark back to Tom Paine and the Revolutionary War pamphleteers, or even to the Elizabethan era, when, thanks to Gutenberg, a generation of English writers became intoxicated with language.

4. But such comparisons invite a question: If online writing today represents some sort of renaissance, why is so much of it so awful? For it can be very bad indeed: sloppy, meandering, puerile, ungrammatical, poorly spelled, badly structured and at times virtually content free. “HEY 1 !” reads an all too typical message on the Internet, “I THINK METALLICA IZ REEL KOOL DOOD! 1 ”

5. One reason, of course, is that E-mail is not like ordinary writing. “You need to think of this as ‘written speech’,” says Gerard Van der Leun, literary agent based in Westport, Connecticut, who has emerged as one of the preeminent stylists on the Net. “These things are little more considered than coffeehouse talk and a lot less considered than a letter. They’re not to have and hold; they’re to fire and forget.” Many online postings are composed “live” with the clock ticking, using rudimentary word processors on computer systems that charge by the minute and in some cases will shut down without warning when an hour runs

out.

6. That is not to say that with more time every writer on the Internet would produce a sparkling copy. Much of the fiction and poetry is second-rate or worse, which is not surprising, given that the barriers to entry are so low. “In the real world,” says Mary Anne Mohanraj, a Chicago-based poet, “it takes a hell of a lot of work to get published, which naturally weeds out a lot of the garbage. On the Net, just a few keystrokes sends your writing out to thousands of readers.”

7. But even among the reams of bad poetry, gems are to be found. Mike Godwin, a Washington-based lawyer who posts under the pen name “mnemonic,” tells the story of Joe Green, a technical writer at Cray Research who turned a moribund discussion group called rec.arts.poems into a real poetry workshop by mercilessly critiquing the pieces he found there. “Some people got angry and said if he was such a god of poetry, why didn’t he publish his poems to the group?” recalls Godwin. “He did, and blew them all away.” Green’s Well Met in Minnesota, a mock-epic account of a face-to-face meeting with a fellow network scribbler, is now revered on the Internet as a classic. It begins, “The truth is that when I met Mark I was dressed as the Canterbury Tales. Rather difficult to do as you might suspect, but I wanted to make a certain impression.”

8. The more prosaic technical and political discussion groups, meanwhile, have become so crowded with writers crying for attention that a Darwinian survival principle has started to prevail. “It’s so competitive that you have to work on your style if you want to make any impact,” says Jorn Barger, a software designer

in Chicago. Good writing on the Net tends to be clear, vigorous, witty and above all brief. “The medium favors the terse,” says Crawford Kilian, a writing teacher at Capilano College in Vancouver, British Columbia. “Short paragraphs, bulleted lists and one-liners are the units of thought here.”

9. Some of the most successful netwriting is produced in computer conferences, where writers compose in a kind of collaborative heat, knocking ideas against one another until they spark. Perhaps the best examples of this are found on the WELL, a Sausalito, California bulletin board favored by journalists. The caliber of discussion is often so high that several publications — including the New York Times and the Wall Street Journal — have printed excerpts from the WELL.

10. Curiously, what works on the computer networks isn’t necessarily what works on paper. Netwriters freely lace their prose with strange acronyms and “smileys,” the little faces constructed with punctuation marks and intended to convey the winks, grins and grimaces of ordinary conversations. Somehow it all flows together quite smoothly. On the other hand, polished prose copied onto bulletin boards from books and magazines often seems long-winded and phony. Unless they adjust to the new medium, professional writers can come across as self-important blowhards in debates with more nimble networkers. Says Brock Meeks, a Washington-based reporter who covers the online culture for Communications Daily: “There are a bunch of hacker kids out there who can string a sentence together better than their blue-blooded peers simply because they log on all the time and write, write, write.”

11. There is something inherently democratizing — perhaps even revolutionary — about the technology. Not only has it enfranchised thousands of would-be writers who otherwise might never have taken up the craft, but it has also thrown together classes of people who hadn’t had much direct contact before: students, scientists, senior citizens, computer geeks, grassroots (and often blue-collar) bulletin-board enthusiasts and most recently the working press.

12. “It’s easy to make this stuff look foolish and trivial,” says Tor Books’ Nielsen Hayden. “After all, a lot of everyone’s daily life is foolish and trivial. I mean, really, smileys? Housewives in Des Moines who log on as VIXEN?”

13. But it would be a mistake to dismiss the computer-message boards or to underestimate the effect a lifetime of dashing off E-mail will have on a generation of young writers. The computer networks may not be Brook Farm or the Globe Theatre, but they do represent, for millions of people, a living, breathing life of letters. One suspects that the Bard himself, confronted with the Internet, might have dived right in and never logged off.

1. 电话的发明，产生了一个始料不及的后果，书写过时了。诚然，全职的写字工仍然存在，包括记者、学者以及职业写手。大型商业中心仍然很有必要保留一些能草拟备忘录、会议纪要、新闻稿或者合同的人。但是在举笔和拿起话筒之间选择的话，大多数人都会走便道，让手指——有时还有大脑——休息片刻。

2. 与之相比，当前计算机网络上发生的现象就更为惊人了。每个夜晚，当人们本应该看电视的时候，成千上万的计算机用户坐在键盘前，点击进入“电脑服务”、“奇才”、

“美国在线”或互联网，并开始打字 —— 发电子邮件、发布信息、聊天、夸夸其谈、谩骂，甚至创作短篇小说和诗歌。当麦克卢汉所说的媒介正在淘汰莎士比亚时代的媒介时，网络世界正经历着18世纪以来信件书写最为迅猛的发展。

3. “我确信电子邮件和网上会议正在教会整整一代人写文章是多么有用，可以灵活到何种程度，”《旧金山纪事报》的专栏 作家乔恩·卡洛尔这样写道。石山图书出版社的编辑帕特里克·尼尔森·海顿把当今的电子公告板比作18世纪末19世纪初的“文字盒”：这是个小盒子，盒内的文章在多人间传递，每人经 手时都会增加一些句子。来自亚利桑那大学的副主编大卫·塞维尔则将网络写作喻为马克·吐温在19世纪60年代在旧金山所发现的文学景象，“当时人们将新闻报道嫁接到夸张的民俗传统故事之中，创造了新的新闻报道方式 ”。更有甚者，有人想起了汤姆·潘恩和美国革命时期政治小册子作家，甚至还想起了伊丽莎白一世时期，古腾堡活字印刷术的发明，令一代英国作家沉迷在语言之中。

4. 可是这种比较又引出一个问题：如果说当今的网络写作代表了某种复兴，但为何这么多网络作品又如此糟糕呢？网络写作可能会低劣不堪：文体拖沓、漫无边际、愚蠢幼稚、不合语法、拼写糟糕、结构不当，有时甚至毫无内容可言，正如网络上典型的短信息所示：“嗨！！！1！我觉得金属乐队酷毙了！1 ！！！”

5. 当然，原因之一就是电子邮件不同于常规写作。“你得把它看成是‘写下来的话’，”康涅狄格州西港镇的文学作品经纪人杰勒德·凡·德·勒恩如是说，此人是最近在网络上窜红的文体家,“这种东西和咖啡屋里的闲谈相差无几，但和书信相差甚远。它们不用储存保留，而是要删除遗忘。”许多网络 公告内设“实况”计时系统，利用计算机系统中基本的文字处理器，这类公告以分钟收费，往往一小时后不给提示就自动关闭。

6. 这并不是说，所有的网络作家多花一点时间都能生产出惊世之作。网上许多小说

和诗歌都属二流水平或者更差，这倒并不足为怪，因为入这行的门槛太低了。“在现实世界中，”芝加哥诗人玛丽·安妮·穆罕拉吉说，“文学作品要出版，要做非常辛勤的劳动，这自然就剔除了大量的垃圾。而在网络世界，区区几次按键就可以将自己的作品发给成千上万的读者。”

7. 但是尽管劣质诗歌充斥泛滥，网络上仍有珍宝可寻。以笔名“记忆术”发贴的华盛顿律师迈克·戈德温讲述了乔·格林的故事。格林是克雷公司的技术文档撰写人员，他通过犀利地批评在一个名为“娱乐·艺术·诗”讨论组上发现的诗作，将这个行将湮灭的讨论组变成了名符其实的诗歌创作工作坊。这触怒了一些人。他们说，如果他是个诗神，为什么不在组内发表自己的诗作？”戈德温回忆说，“他不但发表了自己的诗作，而且把他们彻底镇住了。”还有格林的《缘定明尼苏达》，一部记录他与一位网 络写手会面的仿史诗作品，则成了互联网上备受尊崇的经典之作。该书开篇写道：“实际上我去见马克的时候，打扮得像《坎特伯雷故事集》中的人物。您一定认为这太难了，但我想 给人留点印象 。”

8. 与此同时，在那些平庸点的技术与政治讨论组，大量写手纷纷涌入，频频鼓噪，以期夺人耳目，于是达尔文适者生存的法则开始应验。芝加哥的软件设计师乔恩·巴格说：“网络上竞争激烈 ，要想脱颖而出，就必须在风格上下功夫。”网上的好作品通常风格明快、机智简练。不列颠哥伦比亚省温哥华市卡毕兰诺大学的写作教师克劳福德·基利莲说，“网络媒介偏爱简洁。它的思想单元就是简短的段落、公告式的标题和单行的句子。”

9. 有些最为成功的网络作品是在网上会议中产生的。写手们通力协作，思想相互碰撞，最后擦出火花。最好的例子或许可以首推加州索萨利托市颇受记者青睐的社区网站“井”的公告板。此处讨论的水准通常很高，包括《纽约时报》和《华尔街日报》在内的好几家出版机构都曾经节选刊登过“井”上的内容。

10. 奇怪的是，在网络上行得通的事在纸上未必也能行得通。网络写手可随意用奇怪的缩写和用标点符号构成的“笑脸”——那些表达日常交谈中的眨眼、笑容和怪相的笑脸——点缀自己的文章，而且行文十分流畅。另一方面，从书本和杂志上复制的美文贴到网络公告板上，却往往显得冗长虚假。职业作家如不根据这种新媒介与时俱进，作出调整，要与反应敏捷的网络写手一争高下，只能沦为自以为是的吹牛狂人。在华盛顿《传播日报》负责报道网络文化的记者布洛克·米 克斯说：“网上有一帮黑客青年，他们的串字水平远远高于那些出身名校的同龄人，这是因为他们总是在线，不停地写啊、写啊、写啊。”

11. 网络技术蕴含着某种民主的 —— 甚至是革命性的 —— 因素。它不仅赋予数以千计的未来作家发言权，否则他们也许永远不会从事这个行业，而且它也把以前从未有谋面的不同阶 层的人们齐聚一堂：学生、科学家、老市民、电脑迷、公告 板狂热草根（通常为蓝领）以及最近加盟的在职新闻工作者。

12. “这种事很容易搞得荒唐琐碎，”石山图书出版社的尼尔森·海顿说，“毕竟我们每个人大部分的生活都是荒唐琐碎的。我意思是说，真的，难道“笑脸”不荒唐琐碎吗？登陆名为“雌狐”的得梅因家庭主妇难道也不荒唐琐碎吗？”

13. 可是话说回来，无视电脑信息板的存在，或者低估一辈子匆匆撰写电邮的生活对青年一代作家的影响，都将是错误的。电脑网络或许不是布鲁克农场或环球剧院，但它确实代表了无数人的生活方式 ，一种鲜活的文字生活。不难猜想，当年的吟游诗人倘若遇到互联网，也可能会立即上线并且永不下线。