听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿，供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:多莉·帕顿是如何让我顿悟的，希望你会喜欢！

【演讲者及介绍】Jad Abumrad

作为一名制作人、联合广播节目“Radiolab”(以及其他许多节目和播客)的创造者和主持人，Jad Abumrad讲述了真实的故事，帮助人们在混乱的世界中发现美。

【演讲主题】多莉·帕顿是如何让我顿悟的

How Dolly Parton led me to an epiphany

00:00

I want to tell you about my search for purpose as a journalist and how Dolly Parton helped me figure it out.

我这次想分享的，是我身为记者寻找意义的旅程，以及多莉·帕顿如何指引了我。

00:16

So I've been telling audio stories for about 20 years, first on the radio and then in podcasts. When I started the radio show "Radiolab" in 2002, here was the quintessential story move we would do. We'd bring on somebody --

我讲了近二十年的有声故事，先是电台，后来是播客。2002年我开始做《Radiolab》电台节目，那时每期节目都有很程序化的流程：我们会先邀请嘉宾——

00:29

(Audio) Steven Strogatz: It's one of the most hypnotic and spellbinding spectacles in nature, because, you have to keep in mind, it is absolutely silent.

（音频）史蒂文·斯特罗加兹（StevenStrogatz）：这可谓是大自然中最引人入胜的景象，别忘了，那可是个万赖俱寂的环境。

00:37

Jad Abumrad: Like this guy, mathematician, Steve Strogatz, and he would paint a picture.

贾德·阿布穆拉德：譬如这个人，数学家史蒂文·斯特罗加兹，他会先描绘一个画面。

00:42
SS: Picture it. There's a riverbank in Thailand,in the remote part of the jungle,you're in a canoe, slipping down the river.There's no sound of anything,maybe the occasional, you know, exotic jungle bird or something.

史蒂文：想象一下，在泰国雨林深处有片僻静的河岸，你乘着一叶扁舟，顺流而下。周围一片幽静，偶尔林间会传来三两声鸟叫虫鸣。

00:53

JA: So you're in this imaginary canoe with Steve, and in the air all around you are millions of fireflies. And what you see is sort of a randomized starry-night effect. Because all the fireflies are blinking at different rates. Which is what you would expect. But according to Steve, in this one place, for reasons no scientist can fully explain --

贾德：史蒂夫带你走进了他的意象，空中围绕着成千上万只萤火虫。你想象的应该是每只萤火虫在不同的频率闪烁着，营造出类似夜空中的繁星随机闪耀的效果。但据史蒂夫所说，这个地方的景象就连科学家也无法解释——

01:14

SS: Whoop. Whoop. Whoop. With thousands of lights on and then off, all in sync.

史蒂文：呜。呜。呜。数千盏灯，一齐亮起，一齐熄灭。

01:22

(Music and electric sounds)

（音乐和电音）

01:29

JA: Now it's around this time that I would generally bring in the beautiful music, as I just did, and you'd start to get that warm feeling. A feeling, that we know from science, kind of localizes in your head and chest and spreads through your body. It's that feeling of wonder.

贾：一般这时，我就会插入柔美的音乐，就像刚才那样，而你会开始有种温暖的感觉。科学告诉我们，这种感觉从头部和胸腔而发，蔓延至全身。那是一种惊奇感。

01:43

From 2002 to 2010, I did hundreds of these stories. Sciency, neurosciency, very heady, brainy stories that would always resolve into that feeling of wonder. And I began to see that as my job, to lead people to moments of wonder. What that sounded like was:

从2002年到2010年，我做了上百期类似的故事节目。很多故事发人深思，触及科学、神经学，最后总以那种惊奇感收尾。我把这视为我的工作，带领大家走向惊奇的刹那。大家的反应听上去都是：

02:01

(Various voices) "Huh!" "Wow!" "Wow!" "That's amazing." "Whoa!" "Wow!"

（各种声音）“嚯！”“哇！”“哇！‘“太美妙了。”“喔！”“哇！”

02:08

JA: But I began to get kind of tired of these stories. I mean, partially, it was the repetition. I remember there was a day I was sitting at the computer, making the sound of a neuron.

贾：但我逐渐对这些故事感到厌倦。部分归因于工作的重复性。记得有一天，我坐在电脑前制作神经元的音效。

02:18

(Crackling sound)

（噼啪声）

02:19

You know, take some white noise, chop it up, very easy sound to make. I remember thinking, "I have made this sound 25 times." But it was more than that -- there was a familiar path to these stories. You walk the path of truth, which is made of science, and you get to wonder.

做起来很简单，剪辑一些白噪音即可。我当时就想，“这音效我都做了25次了。”但不仅如此——那些故事的情节也高度相似。你在科学的真理之路上前行，惊奇感不断涌现。

02:34

Now, I love science, don't get me wrong. My parents emigrated from a war-torn country, came to America, and science for them was, like, more their identity than anything else, and I inherited that from them. But there was something about that simple movement from science to wonder that just started to feel wrong to me. Like, is that the only path a story can take?

当然，别误会，我热爱科学。我的父母从战乱国家移民到美国，科学对于他们来说，更像是一种身份认同，而我也继承了他们这一点。但那个简单的转换，从科学转到惊奇，让我感到哪里不太对劲。譬如，难道故事只能这样发展吗？

02:56

Around 2012, I ran into a bunch of different stories that made me think, "No." One story in particular, where we interviewed a guy who described chemical weapons being used against him and his fellow villagers in the mountains of Laos. Western scientists went there, measured for chemical weapons, didn't find any. We interviewed the man about this, he said the scientists were wrong. We said, "But they tested." He said, "I don't care, I know what happened to me." And we went back and forth and back and forth, and make a long story short, the interview ended in tears. I felt ... I felt horrible. Like, hammering at a scientific truth, when someone has suffered. That wasn't going to heal anything. And maybe I was relying too much on science to find the truth. And it really did feel, at that moment, that there were a lot of truths in the room, and we were only looking at one of them. So I thought, "I've got to get better at this."

2012年左右，我遇见了一堆不同的故事，让我认为：“不，并非如此。”其中有一次，我们采访了一个人，他说在老挝的山林中，他和其它村民被化学武器攻击了。于是西方科学家前去检测化学武器的痕迹，却一无所获。我们访谈时问了他，他说科学家错了。我们说：“可他们检测过了。”他说：“我不在乎，我知道自己经历了什么。”我们继续交流着，简单形容一下就是：那次采访以泪水收场。我感觉——我感觉糟糕透了。当着一名受难者的面坚守科学的真相，什么都治愈不了。或许是我过于依赖科学寻求真相。那一刻我也感觉，当面前摆着许多不同的真相，我们却只专注于其中一个。于是我心想，“我必须做得更好。”

03:53

And so for the next eight years, I committed myself to doing stories where you heard truths collide. We did stories about the politics of consent, where you heard the perspective of survivors and perpetrators whose narratives clashed. We did stories about race, how black men are systematically eliminated from juries, and yet, the rules that try and prevent that from happening only make things worse. Stories about counter terrorism, Guantanamo detainees, stories where everything is disputed, all you can do is struggle to try and make sense. And this struggle kind of became the point. I began to think, "Maybe that's my job." To lead people to moments of struggle. Here's what that sounded like:

于是在接下来的八年，我全心投入了有真相碰撞的故事。我们有关于“政治共识”的故事，幸存者和加害人的观点相互碰撞。我们讲述了关于种族，关于黑人如何因体制原因被陪审团拒之门外，而本应防止该问题的规定又为何适得其反。我们讲了关于反恐、关塔那摩被拘留者的故事，争议和冲突无处不在，你只能绞尽脑汁试着理出头绪。而挣扎似乎成了重点。我心想：“也许这才是我的工作。”带领大家走向挣扎的刹那。而这次，大家的反应都是：

04:29

(Various voices) "But I see -- I, like --"

（各种声音）“但我知道——我就——”

04:32

"Uh, I --" (Sighs)

“呃，我——”（叹气）

04:33

"Well, so, like, huh --"

“哦，所以就是，呃——”（叹气）

04:35

"That, I mean, I --"

“我是说，我——”

04:36

"You know -- golly -- I --" (Sighs)

“你知道——天啊——我——”（叹气）

04:41

JA: And that sigh right there, I wanted to hear that sound in every single story, because that sound is kind of our current moment, right? We live in a world where truth is no longer just a set of facts to be captured. It's become a process. It's gone from being a noun to being a verb. But how do you end that story? Like, what literally kept happening is we'd be, you know, telling a story, cruising along, two viewpoints in conflict, you get to the end and it's just like -- No, let me see. What do I say at the end? Oh, my God. What do you -- how do you end that story? You can't just happily-ever-after it, because that doesn't feel real. At the same time, if you just leave people in that stuck place, like, "Why did I just listen to that?" Like, it felt like there had to be another move there. Had to be a way beyond the struggle.

贾德：那声叹息，就是我每次都想要听到的声音，因为那声叹息基本上代表了我们当下的境况，对吧？在我们所处的世界，真相早已不是一系列等待捕捉的事实。真相成了一个过程。它从名词变成了动词。可这种故事该如何收尾？要知道，一直以来我们都在讲一个故事，随着情节的发展，两个观点互相冲突，然后到了结尾就成了——不，我想想。我该怎么收尾？哦，天啊。你该如何——如何为这故事收尾？不能总是大团圆的结局，因为那太不真实了。而同时，如果你就把听众卡在那儿，大家就会觉得，“我刚刚听那些干嘛？”我总感觉好像还差一步。超越挣扎的一步。

05:29

And this is what brings me to Dolly. Or Saint Dolly, as we like to call her in the South. I want to tell you about one little glimmer of an epiphany that I had, doing a nine-part series called "Dolly Parton's America" last year. It was a bit of a departure for me, but I just had this intuition that Dolly could help me figure out this ending problem.

而就在此时，我接触了多莉。或者圣多莉，我们南方人都这么叫她。我想简短分享一下我在去年制作九集系列节目《多莉·帕顿的美国》时的感悟。这和我往常做的节目不太一样，但我的直觉告诉我，多莉能帮我想通这个收尾的问题。

05:49

And here was the basic intuition: You go to a Dolly concert, you see men in trucker hats standing next to men in drag, Democrats standing next to Republicans, women holding hands, every different kind of person smashed together. All of these people that we are told should hate each other are there singing together. She somehow carved out this unique space in America, and I wanted to know, how did she do that?

基本的直觉大概是这样：你去多莉的演唱会，能看到戴球帽和穿女装的男人站在一起，民主党和共和党站在一起，手牵手的女人，形形色色的人聚在一起。各种大家本认为应该势不两立的人聚在那里一起唱歌。她似乎在美国划出了一块独特的空间，而我想知道，她是如何做到的？

06:11

So I interviewed Dolly 12 times, two separate continents. She started every interview this way:

于是我横跨两片大陆，访问了多莉十二次。她每次都这么开头：

06:17

(Audio) Dolly Parton: Ask me whatever you ask me, and I'm going to tell you what I want you to hear.

（音频）多莉·帕顿：问我任何你想问的，我只回答我想听的。

06:23

JA: She is undeniably a force of nature. But the problem that I ran into is that I had chosen a conceit for this series that my soul had trouble with. Dolly sings a lot about the South. If you go through her discography, you will hear song after song about Tennessee.

贾德：她身上无疑有一股自然的力量。而我碰到了个问题：我为这系列节目选择的一种幻想，让我心神不宁。多莉的歌常以南方为主题。如果你听遍她的唱片，你会不断听到有关田纳西的歌曲。

06:41

(Music) DP: (Singing, various songs) Tennessee, Tennessee... Tennessee homesick ... I've got those Tennessee homesick blues runnin' through my head. Tennessee.（音乐）多莉：（唱着各种歌）田纳西，田纳西……田纳西乡愁……我脑海里充满了田纳西乡愁引起的忧思。田纳西。

06:53

JA: "Tennessee Mountain Home," "Tennessee Mountain Memories." Now I grew up in Tennessee, and I felt no nostalgia for that place. I was the scrawny Arab kid who came from the place that invented suicide bombing. I spent a lot of time in my room. When I left Nashville, I left.

贾德：《田纳西山舍》、《忆田纳西山》。我在田纳西长大，却从来没对那里怀有过故乡情。我一直是那个来自发明人肉炸弹的地方、干瘦的阿拉伯孩子。我在自己的房间里度过了很多时光。当我离开纳什维尔时，就是彻底离开了。

07:12

I remember being at Dollywood, standing in front of a replica, replica of her Tennessee Mountain Home. People all around me were crying. This is a set. Why are you crying? I couldn't understand why they were so emotional, especially given my relationship to the South. And I started to honestly have panic attacks about this. "Am I not the right person for this project?"

记得当时在多莱坞，站在她田纳西山舍的仿造建筑前。我周围的人都在哭。可这就是个布景而已，有什么可哭的？特别加上我和南方的关系，我根本无法理解他们为何那么情绪化。我甚至开始焦虑，怀疑自己。“我是不是不适合做这个项目？”

07:34

But then ... twist of fate. We meet this guy, Bryan Seaver, Dolly's nephew and bodyguard. And on a whim, he drives producer Shima Oliaee and I out of Dollywood, round the back side of the mountains, up the mountains 20 minutes, down a narrow dirt road, through giant wooden gates that look right out of "Game of Thrones," and into the actual Tennessee Mountain Home. But the real place. Valhalla. The real Tennessee Mountain Home.

但接着……命运扭转。我遇到了布莱恩·西弗，多莉的侄子兼保镖。有一次，他心血来潮地带着我和制作人西玛·欧莱俄开出多莱坞，绕到后山，往山上开了二十分钟，上了一条小泥路，又穿过了类似《权力的游戏》中那个巨大的木门，来到了真正的田纳西山舍。真正的地点——有如神殿——真正的田纳西山舍。

08:04

And I'm going to score this part with Wagner, because you've got to understand, in Tennessee lore, this is like hallowed ground, the Tennessee Mountain Home.

我要用瓦格纳的音乐搭配这一段，因为你要知道，在田纳西坊间，田纳西山舍就算是圣地。

08:12

So I remember standing there, on the grass, next to the Pigeon River, butterflies doing loopty loops in the air, and I had my own moment of wonder. Dolly's Tennessee Mountain Home looks exactly like my dad's home in the mountains of Lebanon.

我记得站在那里的草地上，旁边流淌着鸽子河，蝴蝶在空中轻飞曼舞，我拥有了属于自己惊奇的刹那。多莉的田纳西山舍看上去完全就是我父亲在黎巴嫩山中的家。

08:29

Her house looks just like the place that he left. And that simple bit of layering led me to have a conversation with him that I'd never had before, about the pain he felt leaving his home. And how he hears that in Dolly's music. Then I had a conversation with Dolly where she described her songs as migration music. Even that classic song, "Tennessee Mountain Home," if you listen to it --

她的房子和他离开的地方一模一样。而那一点连接，促使我和父亲聊起了我们以前从未提及的话题，他离开家乡时的痛苦，而他又如何与多莉的歌产生共鸣。我后来和多莉访谈时，她称自己的音乐为迁移之曲。就连那首经典的歌，《田纳西山舍》，如果你仔细听——

08:53

(Dolly Parton "Tennessee Mountain Home") "Sittin' on the front porch on a summer afternoon In a straight-backed chair on two legs, leaned against the wall."

（多莉·帕顿《田纳西山舍》）“夏日午后的阳台上，坐在两条腿支撑的直背椅上，倾靠着墙。”

09:08

It's about trying to capture a moment that you know is already gone. But if you can paint it, vividly, maybe you can freeze it in place, almost like in resin, trapped between past and present. That is the immigrant experience.

贾德：关键在于试图捕捉你明知已经逝去的时刻。但如果你能生动地刻画它，或许就能把它冻结起来，像树脂做的琥珀，将它固定于过去与当下之间。这就是移民的体验。

09:25

And that simple thought led me to a million conversations. I started talking to musicologists about country music as a whole. This genre that I've always felt so having nothing to do with where I came from is actually made up of instruments and musical styles that came directly from the Middle East. In fact, there were trade routes that ran from what is now Lebanon right up into the mountains of East Tennessee.

而那一缕思绪带我走进了千万场对谈。我开始和音乐学家讨论乡村音乐的整个体系。一种我一向感觉和我家乡毫无关联的音乐风格，竟然由直接来自中东的乐器和曲风组成。甚至有商路从当今的黎巴嫩直至田纳西东边的山上。

09:48

I can honestly say, standing there, looking at her home, was the first time I felt like I'm a Tennessean. That is honestly true.

老实说，站在那儿，看着她的屋子，是我第一次感觉到自己是一名田纳西人。这就是真相。

09:58

And this wasn't a one-time thing, I mean, over and over again, she would force me beyond the simple categories I had constructed for the world. I remember talking with her about her seven-year partnership with Porter Wagoner. 1967, she joins his band, he is the biggest thing in country music, she is a backup singer, a nobody. Within a short time, she gets huge, he gets jealous, he then sues her for three million dollars when she tries to leave. Now it would be really easy to see Porter Wagoner as, like, a type: classic, patriarchal jackass, trying to hold her back. But any time I would suggest that to her, like, come on.

而且，不仅这一次，她还一而再，再而三迫使我突破了我曾为世界创造的简单分类。我记得和她聊到她和波特·瓦格纳长达七年的合作关系。1967年，多莉加入了他的乐队，当时他已经是乡村音乐界的大咖，而多莉只是后备歌手，无名之辈。然而很快，多莉火了起来，他心生嫉妒。多莉打算离开时，他起诉了多莉，索要三百万美金。从这一点，我们很容易把波特·瓦格纳视为一个典型的大男子主义混球，试图阻挡她的事业发展。但每次我向这方面暗示，我说，拜托！

10:35

(Audio) This is a guy, I mean, you see it in the videos too, he's got his arm around you. There's a power thing happening, for sure.

（音频）这个男人，你在视频里也看到了，他用胳膊搂着你。背后肯定有控制欲之类的情结。

10:44

DP: Well, it's more complicated than that. I mean, just think about it. He had had this show for years, he didn't need me to have his hit show. He wasn't expecting me to be all that I was, either. I was a serious entertainer, he didn't know that. He didn't know how many dreams I had.

多莉：哦，没那么简单。你想想看。他演出了那么多年，根本不需要我来让他爆红。他也没想到我是这样的人。我是个认真的艺人，他不知道。他并不了解我的各种梦想。

11:04

JA: In effect, she kept telling me, "Don't bring your stupid way of seeing the world into my story, because that's not what it was. Yeah, there was power, but that's not all there was. You can't summarize this."

贾德：事实上，她还经常提醒我，“不要把你愚昧的看法强行加入我的故事，因为事实并非如此。是的，这里的确有控制欲，但还有其他的。你不能就这样盲目下结论。”

11:17

Alright, just to zoom out. What do I make of this? Well, I think there's something in here that's a clue, a way forward. As journalists, we love difference. We love to fetishize difference. But increasingly, in this confusing world, we need to be the bridge between those differences. But how do you do that?

好，退后一步来看。我能从中得到什么？其实，我认为这其中包含了如何前进的线索。我们记者喜欢，甚至迷恋差异。但在这个混乱的世界，我们更加需要桥梁来连接事物之间的差异。但是该怎么做呢？

11:34

I think for me, now, the answer is simple. You interrogate those differences, you hold them for as long as you can, until, like up on that mountain, something happens, something reveals itself. Story cannot end in difference. It's got to end in revelation.

对于我而言，我觉得答案很简单。你究诘这些差异，并尽可能守住这些差异，直到最后，好比在那座山上，让答案自己道来，自己呈现在你面前。故事不能以差异收场，只能以升华落幕。

11:53

And coming back from that trip on the mountain,a friend of mine gave me a book that gave this whole idea a name.In psychotherapy, there's this idea called the third,which essentially goes like this.Typically, we think of ourselves as these autonomous units.I do something to you, you do something to me.But according to this theory, when two people come togetherand really commit to seeing each other,in that mutual act of recognition,they actually make something new.A new entity that is their relationship.You can think of Dolly's concerts as sort of a cultural third space.The way she sees all the different parts of her audience,the way they see her,creates the spiritual architecture of that space.

从那次上山之旅回来后，有朋友赠与了我一本书，启发了我如何为这个想法取名。在心理治疗学中，有套叫“第三”的理论，简单解释一下就是：我们一般把自己视为独立的个体。我为你做了点事，你为我做了点事。但根据这套理论，当两个人在一起并真心想要了解对方时，那种相互的认同会萌生一个新的东西。一个诠释他们关系的新载体。你可以把多莉的演唱会看作文化界的第三空间。她看待不同观众的方式，观众看她的方式，在那个空间创造出了新的灵性结构。

12:36

And I think now that is my calling. That as a journalist, as a storyteller, as just an American, living in a country struggling to hold, that every story I tell has got to find the third. That place where the things we hold as different resolve themselves into something new.

我认为那就是我的呼吁。身为一名记者，一名故事人，一名美国人，处身一个竭力挣扎中的国家，我叙述的故事都必须抵达“第三”的境界。只有在那儿，我们之间的差异才会化作新的可能。

12:59

Thank you.

谢谢。