馬爾克斯檔案落戶德州大學

Gabriel García Márquez, who died in April at 87, was a strong critic of American imperialism who was banned from entry to the United States for decades, even after “One Hundred Years of Solitude” vaulted him to international celebrity and, in 1982, the Nobel Prize in Literature.

加夫列爾·加西亞·馬爾克斯(Gabriel García Márquez)今年4月去世，享年87歲。他曾猛烈抨擊美帝國主義，曾有幾十年被禁止進入美國，甚至在《百年孤獨》(One Hundred Years of Solitude)讓他成爲世界名人，並在1982年獲得諾貝爾文學獎之後也是如此。

But now García Márquez, who was born in Colombia and lived much of his adult life in Mexico City, has “gone to Texas,” as they say.

但現在，在哥倫比亞出生、在墨西哥城度過大部分成年時光的加西亞·馬爾克斯，就像他們說的，要在“德克薩斯州落戶了”。

The Harry Ransom Center at the University of Texas in Austin will announce on Monday that it has acquired García Márquez’s archive, which contains manuscripts, notebooks, photo albums, correspondence and personal artifacts, including two Smith Corona typewriters and five Apple computers.

週一，德克薩斯大學奧斯汀分校的哈里·蘭塞姆中心(Harry Ransom Center)將宣佈它獲得了加西亞·馬爾克斯的檔案，包括手稿、筆記、影集、信件和私人物品——兩部史密斯·科羅納打字機(Smith Corona)和五臺蘋果電腦。

At the Ransom Center, one of the nation’s leading literary archives — and the only one “in the country’s borderlands with Latin America,” noted Steve Enniss, its director — García Márquez’s literary remains will be preserved alongside those of James Joyce, Ernest Hemingway, William Faulkner, Jorge Luis Borges and other global figures.

蘭塞姆中心的主管史蒂夫·恩尼斯(Steve Enniss)指出，該中心是美國首屈一指的文學檔案館，也是唯一一個“位於美國與拉美交界地區”的文學檔案館。這裏不僅擁有加西亞·馬爾克斯的文學遺產，還有詹姆斯·喬伊斯(James Joyce)、歐內斯特·海明威(Ernest Hemingway)、威廉·福克納(William Faulkner)和豪爾赫·路易斯·博爾赫斯(Jorge Luis Borges)等其他世界文學大師的檔案。

“It’s almost as if James Joyce meets Gabriel García Márquez, whose influence on the 20th-century novel in some way mirrored his own,” Mr. Enniss said of the acquisition. “It’s very fitting that García Márquez is joining our collections. It’s hard to think of a novelist who has had as wide-ranging an impact.”

“這幾乎等於詹姆斯·喬伊斯與加夫列爾·加西亞·馬爾克斯的相會，兩人對於20世紀小說的影響力從某種程度上說旗鼓相當。”恩尼斯對獲得馬爾克斯檔案一事評論說，“加西亞·馬爾克斯加入我們的收藏非常合適。你很難想出還有哪位小說家有如此廣泛的影響力。”

The archive, purchased from his family, includes material relating to all of García Márquez’s important books, from the landmark “One Hundred Years of Solitude” — represented by the finished typescript sent to his publisher, bearing a hand-lettered title page and only a few corrections — to “We’ll See Each Other in August,” his final, unfinished novel, which exists in as many as 10 versions. Both the Ransom Center and the family declined to provide the price of the deal.

這份檔案是從他的家人手中購得的，包括與加西亞·馬爾克斯所有重要作品相關的材料，從標誌性作品《百年孤獨》到最後一部尚未完成的小說《我們八月份再見》(We’ll See Each Other in August)——前者包括他發給出版社的最終打印稿，扉頁上有他手寫的書名，稿件中僅有幾處改動；後者有十個版本。蘭塞姆中心和他的家人都拒絕透露交易價格。

“Solitude,” published in Spanish in 1967 and in English in 1970, may have transformed world literature and turned García Márquez into a global celebrity, but it is the messier drafts of subsequent books that may be of most interest to scholars.

《百年孤獨》的西班牙語版1967年出版，英文版1970年出版。它改變了世界文壇，讓加西亞·馬爾克斯成爲世界名人，但是學者們最感興趣的可能是之後幾本書更混亂的草稿。

“It’s like an open window into the lab of a renowned alchemist who didn’t always love the idea of having the recipes of his potions be known,” said Jose Montelongo, a Latin American literature specialist at the University of Texas who visited the García Márquez home in Mexico City with Mr. Enniss in July to evaluate the material. “They show you the weaknesses, the discarded versions, the eliminated words. You really see the struggle of creation.”

“它就像打開了一位不愛透露魔水配方的著名鍊金士的實驗室窗戶，”德克薩斯大學拉美文學專家約瑟·蒙特隆戈(Jose Montelongo)說。今年7月，他和恩尼斯一同前往墨西哥城加西亞·馬爾克斯家中評估這份檔案的價值。“它們展示出作品的缺點、捨棄的版本以及遭到刪除的文字。你真的能從中看出創作的艱辛。”

García Márquez certainly expressed wariness at the prospect of scholars picking over his traces. “It’s like being caught in your underwear,” he told Playboy in 1983.

加西亞·馬爾克斯當然表達出對學者們可能研究自己蹤跡的警惕。“那就像你只穿條內褲被人看見，”1983年他對《花花公子》(Playboy)說。

He destroyed his daily working notes and family trees for “One Hundred Years of Solitude,” according to Gerald Martin’s 2009 biography.

據傑拉爾德·馬丁(Gerald Martin)2009年的傳記，馬爾克斯銷燬了《百年孤獨》的每天工作筆記和人物家譜圖。

“My father was a perfectionist, and a perfectionist doesn’t show work in progress,” Rodrigo García, one of the author’s two sons, said in an interview. “He would always tell anecdotes about characters in the book he was writing, but would only show it when it was about 90 percent there.”

“我父親是個完美主義者，完美主義者是不會展示工作過程的，”加西亞·馬爾克斯的長子羅德里戈·加西亞(Rodrigo García)在採訪中說。“他經常談論正在創作的人物的趣事，但只在差不多完成90%時才談論。”

The author did not object that his wife, Mercedes, saved manuscripts of later books, Mr. García said, but was “adamant” about more private material. On their engagement, family legend has it, he offered to buy back the love letters he wrote to Mercedes so he could destroy them.

這位作家不反對妻子梅塞德斯(Mercedes)保留以往作品的手稿，但是羅德里戈·加西亞說，父親對私密文件的態度“很強硬”。據他家裏人說，訂婚時，他要求買回寫給梅塞德斯的情書，以便銷燬。

“I don’t think he wanted to leave a personal paper trail,” Mr. García said, calling his father a “phone person” who wrote few family letters. “What he would say was, ‘Everything I’ve lived, everything I’ve thought, is in my books.’ ”

“我覺得他不想留下私人文件記錄，”羅德里戈·加西亞說。他說父親“愛打電話”，很少寫家信。“他會說，‘我的生活和思想都在我的書裏。’”

García Márquez, who kept few copies of outgoing letters, did correspond with other writers. The estimated 2,000 pieces of correspondence in the archive include letters from Graham Greene, Milan Kundera, Julio Cortázar, Günter Grass and Carlos Fuentes, who in 1979 discussed preparing a letter with Mr. Cortázar “to publicly address the issue of U.S. blacklists.” (The travel ban against García Márquez, ostensibly stemming from his involvement with the Colombian Communist Party in the 1950s, was lifted by President Bill Clinton in 1995.)

加西亞·馬爾克斯確實與其他作家通過信，但只保留了少量信件。檔案中的約2000封信包括格雷厄姆·格林(Graham Greene)、米蘭·昆德拉(Milan Kundera)、胡里奧·科塔薩爾(Julio Cortázar)、君特·格拉斯(Günter Grass)和卡洛斯·富恩特斯(Carlos Fuentes)的來信。1979年，卡洛斯·富恩特斯在信中說他打算和科塔薩爾寫一封“批評美國黑名單問題的公開信”（針對加西亞·馬爾克斯的旅行禁令表面上是因爲他在20世紀50年代與哥倫比亞共產黨有牽連，1995年比爾·克林頓總統[President Bill Clinton]取消了這項禁令）。

The archive contains little material relating to his friendship with Fidel Castro or to his political activities, not because anything was held back by the family, his son said, but because García Márquez preferred to conduct such business in person or on the phone.

檔案中幾乎沒有關於馬爾克斯和菲德爾·卡斯特羅(Fidel Castro)的友誼或者他的政治活動的材料。他兒子說，這不是因爲家人隱藏了這些材料，而是因爲加西亞·馬爾克斯喜歡當面或者通過電話處理這些事務。

“My father believed in behind-the-scenes political work,” Mr. García said. “Like with his books, he was interested in the results, not necessarily in people knowing what had been done to achieve what.”

“我父親喜歡幕後政治活動，”羅德里戈·加西亞說，“跟寫書一樣，他只對結果感興趣，而不一定想讓人們知道他是如何實現的。”

The archive, which was prepared for sale by the dealer Glenn Horowitz but has yet to be fully cataloged, does show García Márquez’s political side “in oblique ways,” Mr. Montelongo said.

這份檔案是經商人格倫·霍羅威茨(Glenn Horowitz)整理後出售的，不過仍需徹底整理。蒙特隆戈說，這份檔案的確“隱晦地”展現出加西亞·馬爾克斯的政治傾向。

He cited correspondence with the Spanish-language edition of Life, in which García Márquez declined to be interviewed for that magazine because he felt it would create a false sense of Life’s openness to left-wing ideas.

他引用了馬爾克斯與《生活》(Life)雜誌西班牙語編輯的通信。加西亞·馬爾克斯在信中說，他拒絕接受該雜誌採訪是因爲他覺得那會造成一種《生活》雜誌包容左翼思想的虛假印象。

The archive also contains notes on a 1998 visit to the White House, when García Márquez asked Mr. Clinton if he had any advisers who weren’t “fanatically anti-Castro,” Mr. Montelongo said.

蒙泰隆戈說，檔案中還有加西亞·馬爾克斯1998年訪問白宮的筆記，馬爾克斯問克林頓他的顧問中有沒有不是“瘋狂反對卡斯特羅的人”。

The more than 40 photo albums in the collection contain some images of Mr. Castro, as well as a visual chronicle of the private Gabo, as García Márquez was affectionately known throughout Latin America, beginning with his early life in rural Colombia, Mr. Montelongo said.

蒙泰隆戈說，檔案中的40多本相冊生動記錄了加博（Gabo，拉美人對加西亞·馬爾克斯的愛稱）的私人生活，從他早年在哥倫比亞農村時起。相冊中還有卡斯特羅的一些照片。

There is also the matter of the unfinished novel. Mr. García, a director and screenwriter living in California, said he, his mother and his brother had not decided whether to publish that book, about a middle-aged married woman having an affair on a tropical island. It has been excerpted in The New Yorker and the Spanish newspaper La Vanguardia.

還有未竟小說的問題。羅德里戈·加西亞目前生活在加州，是一名導演和劇作家。他說，他和媽媽、弟弟還沒決定是否出版該書。它講述的是一個熱帶小島上一個已婚中年婦女發生婚外情的故事。《紐約客》和西班牙語報紙《先鋒報》(La Vanguardia)已經刊登了它的節選。

But that story was certainly not the last tale his father wanted to tell, Mr. García said.

羅德里戈·加西亞說，那一定不是父親最後想講述的故事。

He recalled a comment his father made not long before his death: “One of the saddest things about dying is that it’s the only event in my life I won’t be able to write about.”

他回憶起父親去世前不久說的一句話：“死亡最可悲的一點是，它是我生命中唯一不能用筆來講述的故事。”