来自《耶鲁大学开放课程：1945年后的美国小说 第6集 第6集》

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  By a paradox of pictorial thought, the average lowland North
  按照图画思想的悖论 当我第一次看到北美乡村的大片低地时
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  American countryside had at first seemed to me something I accepted
  我惊奇于这如同之前某种
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  with a shock of amused recognition,
  可笑的认知
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  because of those painted oil cloths which were imported from America
  因为那些旧时从美国进口的彩绘油布
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  in the old days to be hung above washstands in central European nurseries,
  就挂在中欧地区育婴室脸盆架的上方
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  and which fascinated a drowsy child at bedtime with the rustic green
  油布上那土气的绿色描绘的景色深深吸引着昏昏欲睡的小孩子
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  views they depicted: opaque, curly trees, a barn, cattle, a brook,
  不透光的 卷曲的树 谷仓 家畜 小溪
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  the dull white of vague orchards in bloom,
  朦胧的开着白花的果园
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  and perhaps a stone fence, or hills of greenish gouache.
  石头围栏 又或是绿色颜料画的山
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  So, so far the American landscape is already a work of art,
  美国风光一定程度上已然是一件艺术品
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  already part of a European memory.
  是欧洲回忆的一部分
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  Then something else happens: "But gradually the models of those
  这时发生了点其他事情 然而渐渐地