来自《耶鲁大学开放课程：1945年后的美国小说 第12集 第12集》

• 
  
  going back and forth across those wires.
  来回穿梭在电话线之间
• 
  
  So, if Pynchon gives us the pattern of meaning,
  如果品钦告诉我们小说含义的框架
• 
  
  rather than meaning itself in this novel,
  而不是小说含义本身
• 
  
  he also gives us a vision of what it means to embody that pattern.
  那么他也从一种视角具体化了这些框架
• 
  
  This is very different from Nabokov's idea of embodiment
  这与纳博科夫的具体化思想不同
• 
  
  as a kind of alternate or rival creativity.
  后者的思想是一种交替性或者竞争性创造力
• 
  
  Remember, I argued that Lolita has a dead child,
  还记不记得我说洛丽塔的孩子死了
• 
  
  and she dies in childbirth, in a way, because it's a kind of creativity
  她也在分娩中死去 因为那种创造力
• 
  
  that Nabokov wants to cancel, or that Humbert wants to cancel.
  是纳博科夫或者哈姆波特想绝杀的
• 
  
  In this novel, it's not a rival creativity.
  在这本小说中 它不是一种竞争性创造力
• 
  
  It's what creativity has to be, in the literary sense.
  它是文学意义上的创造力
• 
  
  Now, Pynchon was a student of Nabokov for a couple of years
  60年代早期的几年里在康奈尔大学