Or perhaps it is not any more. Sometimes I think that those of us who are now in our thirties were born into the last generation to carry the burden of "home," to find in family life the source of all tension and drama. I had by all objective accounts a "normal "and a "happy " family situation, and yet I was almost thirty years old before I could talk to my family on the telephone without crying after I had hung up. We did not fight. Nothing was wrong. And yet some nameless anxiety colored the emotional charges between me and the place that I came from. The question of whether or not you could go home again was a very real part of the sentimental and largely literary baggage with which we left home in the fifties; I suspect that it is irrelevant to the children born of the fragmentation after World War II. A few weeks ago in a San Francisco bar I saw a pretty young girl on crystal take off her clothes and dance for the cash prize in an "amateur-topless" contest. There was no particular sense of moment about this, none of the effect of romantic degradation, of "dark journey," for which my generation strived so assiduously. What sense could that girl possibly make of, say, Long Day's Journey into Night? Who is beside the point?
【参考译文】
或许，现在情况变了。我有时想，我们这些三十几岁的人，注定成为承担“家”的重负、并经受家庭生活中种种紧张和冲突的最后一代人。在别人的眼里，无论从哪方面看，我都曾拥有一个“正常”而“幸福”的家。然而，直到将近三十岁以前，我与娘家人通电话后总是要哭鼻子。我们没吵过架，也没出过岔子。但一丝莫名的忧虑，浸染了我和生我养我的家之间的情感纠葛。五十年代我们离家时，背负着一个装着伤感、多半是书籍的行囊。还能回家吗?这个问题便是行囊中实实在在的一部分。我想，这个问题大概与二战后破碎家庭里出生的孩子无关。几个礼拜前，在旧金山的一个酒吧里，我看见一位吸了毒的漂亮姑娘，脱去衣服跳舞，仅仅是为得到一场“业余无上装”比赛的现金奖励!这没有什么特别的意思，与浪漫沉沦沾不上边儿，与我们这一代人所趋之若鹜的“黑暗之旅”也沾不上边儿。那位姑娘呀，你对《进入黑夜的漫长旅程》作何理解?到底是谁离题了?
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