回应”某禁播名单“ — 且看美国高考文章如何看待漫画
题记：
这段时日，”禁播“事件在网上可谓闹的沸沸扬扬；关于此举，诸位网友多有言论，而我本人，则恰合适宜地想到了之前备课SAT（”美国高考“之一，与另一考试ACT齐名）阅读时所接触的一篇讨论漫画的文章；动漫不分家，对于漫画的态度亦可关照对于动画的态度。且看专为美国高中生准备的文章如何看待此事。为方便阅读，下面贴出此文双语版，中文为我所译。
说明：
1. 文章选自College Board的SAT OG第二版Practice Test #2
具体选自Section9长对比阅读的Passage 2，p488（Passage 1所持态度与Passage 2相反，但也颇为值得一读，这样多元化的阅读，的确很值得国内学习）
2. 本书豆瓣地址：http://book.douban.com/subject/3889358/
Adapted from a 1965 analysis of the major comic books of the 1940s and 1950s.
改编自1965年一篇文章，该文章分析了二十世纪40年代以及50年代的主流漫画书。
Surprisingly, there are old comic book fans, a small army of them: adults wearing school ties and tweeds, teaching in universities, writing ad copy, writing for chic magazines, writing novels-who continue to be addicts, who save old comic books, buy them, trade them, who publish mimeographed "fanzines," strange little publications deifying what is looked back on as "the golden age of comic books." Ruined by the critics. Ruined by growing up.
令人惊讶的是，这世上有一些旧漫画书的爱好者，确实存在这么一小批人：这些成年人打着领带，身着学校花呢制服，或任教于大学，或撰写广告文案，或供稿于时髦杂志，抑或从事小说创作 — 他们依旧沉溺于漫画之中，留有一些旧漫画，购买或者交易它们，甚至还出版油印“粉丝杂志（fanzines）”；这些奇怪的小型杂志所崇拜的，乃是往昔的“漫画书鼎盛期”。可惜这个时代已经让批评家毁了，也让成长毁了。
The charges against comic books in the 1950's – that they were participating factors in juvenile delinquency, that they were, in general, a corrupting influence, glorifying crime and depravity – can only, in all fairness, be answered: "But of course. Why else read them?"
二十世纪五十年代针对漫画书的控告 — 其乃导致青少年犯罪的重要因素；广义而言，亦是腐蚀人心，美化犯罪与堕落的消极势力 — 只能以最最公允的口吻应答：“当然咯，难道阅读漫画书还有其他原因？”
Comic books, first of all, are junk. To accuse them of being what they are is to make no accusation at all: there is no such thing as uncorrupt junk or moral junk or educational junk-though attempts at the latter have, from time to time, been foisted upon us. But education is not the purpose of junk (which is one reason why half-hearted attempts to bring reality or literature to comic books invariably look embarrassing.) Junk is there to entertain on the basest, most compromised of levels. It finds the lowest common denominator and proceeds from there. A good many readers, when challenged, will say defiantly: "I know it's junk, but I like it." Which is the whole point about junk. It is there to be nothing else but liked. Junk is a second-class citizen of the arts, a status of which we and it are constantly aware. There are certain privileges inherent in second-class citizenship. Irresponsibility is one. Not being taken seriously is another. Junk can get away with doing or saying anything because, by its very appearance, it is already in disgrace.
漫画书，首先，便是垃圾。指控漫画书是垃圾，此举毫无意义：既然是垃圾，便不存在不堕落的垃圾，亦不存在富含教育意义的垃圾 — 话虽如此，还是有人时不时地试着将后者强加给我们。可是，教育并非垃圾的目的（同理可知，赋予文学现实意义，或是赋予漫画书文学意义，这两种心不在焉的尝试，皆难免让人尴尬。）垃圾存在的目的，便是以最最低级的标准，来娱乐大众。它先找准最小公约数，然后以此为起点出发。受人质疑时，许多读者会毫不含糊地答道：“我当然知道这是垃圾，但我还是乐在其中。”这便是垃圾的意义所在 —— 除了让人喜欢，其它一概不管。垃圾乃文艺界的二等公民，这一地位我们与垃圾本身都心知肚明。当然，二等公民也有二等公民与生俱来的优势。其一便是不用负责，另一优势则是读者毋需以严肃态度待之。垃圾毋需为自己的任何言行负责，毕竟其一经出场，便已声名狼藉。
What critics of comic books dismiss is the more positive side of junk, their underground antisocial influence. Children are bombarded with hard work, labeled education. They rise at the same time or earlier than their parents, start work without office chatter, go till noon without coffee breaks, have waxed milk for lunch, then back at the desk until three o'clock. And always at someone else's convenience. It should come as no surprise, then, that within this shifting hodgepodge of external pressures, children, simply to stay sane, must go underground. Have a place to hide where they cannot be got at by grownups. A relief zone. And the basic sustenance for this relief was, in my day, comic books.
批评家拒绝接受的，乃是垃圾更为阳光的一面，即其抗争社会、引人走向地下的影响力。孩童们饱受苦役的狂轰乱炸，这种苦役上贴有“教育”的标签。他们同父母一道起床，甚至早于父母，无暇闲聊便开始工作，直至饷午，期间并无茶歇；午餐时喝些不新鲜的牛奶，然后回到自己的课桌，一直学习到下午三点。所有一切，还得趁他人方便时进行。那么，这样的说法并不足为奇：外界压力纷繁复杂，不停变化，孩童位居期间，纯粹为保证神志清醒，便必须从事些地下活动。他们需要免受成人打扰的藏身之处，需要一块净土。在我们那个年代，维系这样一块净土的基础，便是漫画书。
With them we were able to roam free, disguised in costume, committing the greatest of feats- and the worst of sins. And, in every instance, getting away with them. For a little while, at least, it was our show. For a little while, at least, we were the bosses. Psychically renewed, we could then return above ground and put up with another couple of days of victimization.
漫画书在手，我们能自由游走，乔装打扮，做些丰功伟绩 — 甚至犯下滔天大罪。至少，短时间内，舞台由我们做主。至少，短时间内，我们为自己打工。稍后，我们容光焕发，便可回归地面，再熬过几日摧残。
这段时日，”禁播“事件在网上可谓闹的沸沸扬扬；关于此举，诸位网友多有言论，而我本人，则恰合适宜地想到了之前备课SAT（”美国高考“之一，与另一考试ACT齐名）阅读时所接触的一篇讨论漫画的文章；动漫不分家，对于漫画的态度亦可关照对于动画的态度。且看专为美国高中生准备的文章如何看待此事。为方便阅读，下面贴出此文双语版，中文为我所译。
说明：
1. 文章选自College Board的SAT OG第二版Practice Test #2
具体选自Section9长对比阅读的Passage 2，p488（Passage 1所持态度与Passage 2相反，但也颇为值得一读，这样多元化的阅读，的确很值得国内学习）
2. 本书豆瓣地址：http://book.douban.com/subject/3889358/
Adapted from a 1965 analysis of the major comic books of the 1940s and 1950s.
改编自1965年一篇文章，该文章分析了二十世纪40年代以及50年代的主流漫画书。
Surprisingly, there are old comic book fans, a small army of them: adults wearing school ties and tweeds, teaching in universities, writing ad copy, writing for chic magazines, writing novels-who continue to be addicts, who save old comic books, buy them, trade them, who publish mimeographed "fanzines," strange little publications deifying what is looked back on as "the golden age of comic books." Ruined by the critics. Ruined by growing up.
令人惊讶的是，这世上有一些旧漫画书的爱好者，确实存在这么一小批人：这些成年人打着领带，身着学校花呢制服，或任教于大学，或撰写广告文案，或供稿于时髦杂志，抑或从事小说创作 — 他们依旧沉溺于漫画之中，留有一些旧漫画，购买或者交易它们，甚至还出版油印“粉丝杂志（fanzines）”；这些奇怪的小型杂志所崇拜的，乃是往昔的“漫画书鼎盛期”。可惜这个时代已经让批评家毁了，也让成长毁了。
The charges against comic books in the 1950's – that they were participating factors in juvenile delinquency, that they were, in general, a corrupting influence, glorifying crime and depravity – can only, in all fairness, be answered: "But of course. Why else read them?"
二十世纪五十年代针对漫画书的控告 — 其乃导致青少年犯罪的重要因素；广义而言，亦是腐蚀人心，美化犯罪与堕落的消极势力 — 只能以最最公允的口吻应答：“当然咯，难道阅读漫画书还有其他原因？”
Comic books, first of all, are junk. To accuse them of being what they are is to make no accusation at all: there is no such thing as uncorrupt junk or moral junk or educational junk-though attempts at the latter have, from time to time, been foisted upon us. But education is not the purpose of junk (which is one reason why half-hearted attempts to bring reality or literature to comic books invariably look embarrassing.) Junk is there to entertain on the basest, most compromised of levels. It finds the lowest common denominator and proceeds from there. A good many readers, when challenged, will say defiantly: "I know it's junk, but I like it." Which is the whole point about junk. It is there to be nothing else but liked. Junk is a second-class citizen of the arts, a status of which we and it are constantly aware. There are certain privileges inherent in second-class citizenship. Irresponsibility is one. Not being taken seriously is another. Junk can get away with doing or saying anything because, by its very appearance, it is already in disgrace.
漫画书，首先，便是垃圾。指控漫画书是垃圾，此举毫无意义：既然是垃圾，便不存在不堕落的垃圾，亦不存在富含教育意义的垃圾 — 话虽如此，还是有人时不时地试着将后者强加给我们。可是，教育并非垃圾的目的（同理可知，赋予文学现实意义，或是赋予漫画书文学意义，这两种心不在焉的尝试，皆难免让人尴尬。）垃圾存在的目的，便是以最最低级的标准，来娱乐大众。它先找准最小公约数，然后以此为起点出发。受人质疑时，许多读者会毫不含糊地答道：“我当然知道这是垃圾，但我还是乐在其中。”这便是垃圾的意义所在 —— 除了让人喜欢，其它一概不管。垃圾乃文艺界的二等公民，这一地位我们与垃圾本身都心知肚明。当然，二等公民也有二等公民与生俱来的优势。其一便是不用负责，另一优势则是读者毋需以严肃态度待之。垃圾毋需为自己的任何言行负责，毕竟其一经出场，便已声名狼藉。
What critics of comic books dismiss is the more positive side of junk, their underground antisocial influence. Children are bombarded with hard work, labeled education. They rise at the same time or earlier than their parents, start work without office chatter, go till noon without coffee breaks, have waxed milk for lunch, then back at the desk until three o'clock. And always at someone else's convenience. It should come as no surprise, then, that within this shifting hodgepodge of external pressures, children, simply to stay sane, must go underground. Have a place to hide where they cannot be got at by grownups. A relief zone. And the basic sustenance for this relief was, in my day, comic books.
批评家拒绝接受的，乃是垃圾更为阳光的一面，即其抗争社会、引人走向地下的影响力。孩童们饱受苦役的狂轰乱炸，这种苦役上贴有“教育”的标签。他们同父母一道起床，甚至早于父母，无暇闲聊便开始工作，直至饷午，期间并无茶歇；午餐时喝些不新鲜的牛奶，然后回到自己的课桌，一直学习到下午三点。所有一切，还得趁他人方便时进行。那么，这样的说法并不足为奇：外界压力纷繁复杂，不停变化，孩童位居期间，纯粹为保证神志清醒，便必须从事些地下活动。他们需要免受成人打扰的藏身之处，需要一块净土。在我们那个年代，维系这样一块净土的基础，便是漫画书。
With them we were able to roam free, disguised in costume, committing the greatest of feats- and the worst of sins. And, in every instance, getting away with them. For a little while, at least, it was our show. For a little while, at least, we were the bosses. Psychically renewed, we could then return above ground and put up with another couple of days of victimization.
漫画书在手，我们能自由游走，乔装打扮，做些丰功伟绩 — 甚至犯下滔天大罪。至少，短时间内，舞台由我们做主。至少，短时间内，我们为自己打工。稍后，我们容光焕发，便可回归地面，再熬过几日摧残。
