演講MP3+雙語文稿:如果我有一個女兒

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聽力課堂TED音頻欄目主要包括TED演講的音頻MP3及中英雙語文稿，供各位英語愛好者學(xué)習(xí)使用。本文主要內(nèi)容為演講MP3+雙語文稿:如果我有一個女兒，希望你會喜歡！

【演講者及介紹】Sarah Kay

薩拉 凱(Sarah Kay)——詩人、演員、教育家，也是“聲音計劃”(Project VOICE)的創(chuàng)始人（“聲音計劃”是一個利用口語詩歌娛樂、教育學(xué)生和教師的組織）。

【演講主題】如果我有一個女兒

【中英文字幕】

Translated by AiHack King. Reviewed by Ralph Jin

00:13

If I should have a daughter, instead of "Mom," she's going to call me "Point B," because that way she knows that no matter what happens, at least she can always find her way to me. And I'm going to paint solar systems on the backs of her hands so she has to learn the entire universe before she can say, "Oh, I know that like the back of my hand." And she's going to learn that this life will hit you hard in the face, wait for you to get back up just so it can kick you in the stomach. But getting the wind knocked out of you is the only way to remind your lungs how much they like the taste of air. There is hurt, here, that cannot be fixed by Band-Aids or poetry. So the first time she realizes that Wonder Woman isn't coming, I'll make sure she knows she doesn't have to wear the cape all by herself, because no matter how wide you stretch your fingers, your hands will always be too small to catch all the pain you want to heal. Believe me, I've tried. "And, baby," I'll tell her, don't keep your nose up in the air like that. I know that trick; I've done it a million times. You're just smelling for smoke so you can follow the trail back to a burning house, so you can find the boy who lost everything in the fire to see if you can save him. Or else find the boy who lit the fire in the first place, to see if you can change him. But I know she will anyway, so instead I'll always keep an extra supply of chocolate and rain boots nearby, because there is no heartbreak that chocolate can't fix. Okay, there's a few that chocolate can't fix. But that's what the rain boots are for, because rain will wash away everything, if you let it. I want her to look at the world through the underside of a glass-bottom boat, to look through a microscope at the galaxies that exist on the pinpoint of a human mind, because that's the way my mom taught me. That there'll be days like this. (Singing) There'll be days like this, my momma said. When you open your hands to catch and wind up with only blisters and bruises; when you step out of the phone booth and try to fly and the very people you want to save are the ones standing on your cape; when your boots will fill with rain, and you'll be up to your knees in disappointment. And those are the very days you have all the more reason to say thank you. Because there's nothing more beautiful than the way the ocean refuses to stop kissing the shoreline, no matter how many times it's sent away. You will put the wind in win some, lose some. You will put the star in starting over, and over. And no matter how many land mines erupt in a minute, be sure your mind lands on the beauty of this funny place called life. And yes, on a scale from one to over-trusting, I am pretty damn naive. But I want her to know that this world is made out of sugar. It can crumble so easily, but don't be afraid to stick your tongue out and taste it. "Baby," I'll tell her, "remember, your momma is a worrier, and your poppa is a warrior, and you are the girl with small hands and big eyes who never stops asking for more." Remember that good things come in threes and so do bad things. Always apologize when you've done something wrong, but don't you ever apologize for the way your eyes refuse to stop shining. Your voice is small, but don't ever stop singing. And when they finally hand you heartache, when they slip war and hatred under your door and offer you handouts on street-corners of cynicism and defeat, you tell them that they really ought to meet your mother.

如果我有一個女兒，而不是媽媽，她會叫我B點（Point B），因為她知道不管發(fā)生什么，她總會找到辦法回到我身邊。我會把太陽系畫到她手背上，她要了解整個宇宙 在她能說“哦，我知道這個就像我手背上的圖畫一樣?！敝啊Ｋ龝W(xué)到 這一生會迎面直擊很多困難，等著你奮力反擊時好再次踢你的肚子。讓曠野之風(fēng)把你狠狠地擊倒 這是唯一喚醒你脾肺的方法 這嘗起來多么像空氣的味道。但這傷痛依舊 創(chuàng)可貼或者詩歌也不能修復(fù)。所以第一次她意識到 神奇女俠不會出現(xiàn)，我確信她知道 她自己不用再穿神奇女俠套裝。因為不管再怎么伸長你的手指，你的雙手還是那么小 而承擔不了你想愈合的所有痛苦。相信我，我試過。我會告訴她“寶貝兒，” 不要再那樣趾高氣揚。我知道那噱頭；我做過不下上萬次。你要是聞到煙味 你能循著這煙味來到一個燃燒中的房屋，你能發(fā)現(xiàn)一個落難于火海的男孩 看看你能否救他?；蛘哂龅绞掳l(fā)前點火的那個男孩，看看你能否改變他?！?我知道她無論如何也會做到，所以近旁我會常有 巧克力和雨靴的額外獎勵，因為巧克力可以融化所有傷心事。好吧，但少許傷心事是巧克力所不能融化的。但這就是雨靴的用途。因為雨水會沖洗得一干二凈，如果你想那樣的話。讓她 從一個玻璃船底的下面，透過顯微鏡看 這個星系，它也存在于 人類的心靈中，來展望這世界，因為我媽媽正是以這樣方式來教我的。所以才會有這樣的日子。我媽媽說，還會有這樣的日子。 當你展開雙手去迎接時，得到的卻是瘀皰腫傷； 當你走出電話亭，想要高飛時，你想要救助的那些非常特別的人們 卻站在你的斗篷上讓你飛不起來； 當你的雨靴浸滿雨水時，你會失望至極。正是在這些非常特別的日子里，你更有理由得說聲謝謝。因為再沒有比這兒更美的事，當大海不斷吻合著海岸線時，不管多少次大海被沖刷回去，它依舊在那兒潮起潮落。在風(fēng)中奇緣中你會贏人心，即會失人心。在星辰下你得 周而復(fù)始地循環(huán)。不管有多少地雷一觸即發(fā)，要確信你的心靈會 在這個曼趣的地方所謂“美麗人生”里扎根。是的，從個體到過度信任的轉(zhuǎn)變中，我的確過于天真。但讓她知道這世界是由蜜糖構(gòu)成的。它也會輕易間蕩然無存，但是不要害怕用舌頭來品嘗它。我會告訴她“寶貝兒，記住，你媽媽是個杞人憂天者，你爸爸是個戰(zhàn)士，你是一個有著小巧玲瓏的雙手，又有雙大眼睛的女孩，那雙眼睛從來都因好奇而問個沒完兒?！?記住好事成三兒 壞事兒亦然。當你做錯事時，常要道歉。但決不要為 不能讓你雙眼熠熠生輝的事而道歉。你的聲音雖小，但決不要停止歌唱。當他們最終交給你的只有心痛，當他們把戰(zhàn)火和仇恨席卷到你的家門口，在街頭巷口鼓動你的 那些冷嘲熱諷和幻滅的宣傳語時，你告之他們，他們的確應(yīng)該來見見你的母親。

03:37

Thank you. Thank you.

謝謝。謝謝。

03:40

(Applause）

（掌聲）

03:44

Thank you.

謝謝。

03:45

(Applause)

（掌聲）

03:47

Thanks.

謝謝。

03:49

(Applause)

（掌聲）

03:53

Thank you.

謝謝。

03:54

(Applause)

（掌聲）

03:57

All right, so I want you to take a moment, and I want you to think of three things that you know to be true. They can be about whatever you want -- technology, entertainment, design, your family, what you had for breakfast. The only rule is don't think too hard. Okay, ready? Go. Okay.

好吧，我想讓大家想一會兒，思考3件事 你們知道這3件事會是真的。它們會是你想到的任何事-- 科技，娛樂，設(shè)計，你的家庭，你早餐吃了什么等等。這僅有的規(guī)則就是不要想得特復(fù)雜。準備好了嗎？開始。好吧。

04:23

So here are three things I know to be true. I know that Jean-Luc Godard was right when he said that, "A good story has a beginning, a middle and an end, although not necessarily in that order." I know that I'm incredibly nervous and excited to be up here, which is greatly inhibiting my ability to keep it cool. （Laughter) And I know that I have been waiting all week to tell this joke. (Laughter) Why was the scarecrow invited to TED? Because he was out standing in his field. (Laughter) I'm sorry. Okay, so these are three things I know to be true. But there are plenty of things I have trouble understanding. So I write poems to figure things out. Sometimes the only way I know how to work through something is by writing a poem. Sometimes I get to the end of the poem, look back and go, "Oh, that's what this is all about," and sometimes I get to the end of the poem and haven't solved anything, but at least I have a new poem out of it.

這是我認為的3件真事。我知道讓·盧克·戈達爾是對的 他說過，“一個好故事 有開頭，發(fā)展和結(jié)尾，但不需要都是這順序?！?我知道我站在著兒異常緊張和興奮，我努力控制好我自己保持冷靜。（笑聲） 我知道 我已經(jīng)等了整整一周才來講這笑話。（笑聲） 稻草人為什么會被邀請到TED大會？ 因為他站在那舞臺上特顯眼。（笑聲） 抱歉。好的，這3件事對我而說是真的。但有很多事是我不理解的。所以我用寫詩來搞明白。有時唯一讓我搞明白事情的方式 就是通過寫詩。有時我寫完詩 回過頭看看，“哦，這是怎么一回事。” 有時我完成詩 卻沒有解決任何事，但至少我有一首新詩。

05:24

Spoken-word poetry is the art of performance poetry. I tell people it involves creating poetry that doesn't just want to sit on paper, that something about it demands it be heard out loud or witnessed in person. When I was a freshman in high school, I was a live wire of nervous hormones. And I was underdeveloped and over-excitable. And despite my fear of ever being looked at for too long, I was fascinated by the idea of spoken-word poetry. I felt that my two secret loves, poetry and theater, had come together, had a baby, a baby I needed to get to know. So I decided to give it a try. My first spoken-word poem, packed with all the wisdom of a 14-year-old, was about the injustice of being seen as unfeminine. The poem was very indignant, and mainly exaggerated, but the only spoken-word poetry that I had seen up until that point was mainly indignant, so I thought that's what was expected of me. The first time that I performed, the audience of teenagers hooted and hollered their sympathy, and when I came off the stage, I was shaking. I felt this tap on my shoulder, and I turned around to see this giant girl in a hoodie sweatshirt emerge from the crowd. She was maybe eight feet tall and looked like she could beat me up with one hand, but instead she just nodded at me and said, "Hey, I really felt that. Thanks." And lightning struck. I was hooked.

口語詩是詩歌的藝術(shù)表現(xiàn)。我告訴人們口語詩創(chuàng)新了詩歌 使它不是只出現(xiàn)在書本上，它使詩歌被大聲朗讀傳詠 或讓人們親身體驗口語詩。當我是高一新生時，我是一個神經(jīng)激素異?；钴S的人。我發(fā)育不良 但又過度興奮。盡管我向來害怕 被人瞧太久，我卻對口語詩歌的想法著迷。我感到我2個秘密的愛好，詩歌和戲劇 可以結(jié)合為一體，有了新生兒，我得去了解這新藝術(shù)。所以我決定試一下。我第一首口語詩，集成我14歲時的所有智慧，它是有關(guān) 被視為無女人味的侵權(quán)問題。這詩是非常氣憤的，大部分夸張了，但除了這一點外，我看這口語詩 主要是義憤填膺，我想這就是我所期望的效果。我第一次表演 年輕觀眾們歡呼雀躍以示同情，但我走下舞臺我在發(fā)抖。有人在我肩膀上輕拍了一下，我轉(zhuǎn)身看到 這個從觀眾群中脫身而出穿著連帽運動衫的高大女孩。她或許有8英尺高 好像她要一拳把我擊倒在地，與此相反她對我只是點點頭 說到，“嗨，我的確和你同感。謝謝?！?頓時像雷擊一樣。我被吸引住了。

06:51

I discovered this bar on Manhattan's Lower East Side that hosted a weekly poetry open Mic, and my bewildered, but supportive, parents took me to soak in every ounce of spoken word that I could. I was the youngest by at least a decade, but somehow the poets at the Bowery Poetry Club didn't seem bothered by the 14-year-old wandering about. In fact, they welcomed me. And it was here, listening to these poets share their stories, that I learned that spoken-word poetry didn't have to be indignant, it could be fun or painful or serious or silly. The Bowery Poetry Club became my classroom and my home, and the poets who performed encouraged me to share my stories as well. Never mind the fact that I was 14. They told me, "Write about being 14." So I did and stood amazed every week when these brilliant, grown-up poets laughed with me and groaned their sympathy and clapped and told me, "Hey, I really felt that too."

我發(fā)現(xiàn)曼哈頓下東區(qū)的這個酒吧 它主持每周公眾詩歌朗讀表演，我那困惑，但又支持我的父母帶我 完全沉浸在這口語詩表演中。至少在10年里我是最年輕的詩人，不知怎的，鮑威利詩社的詩人 并不介意14歲的我在此流連忘返-- 事實上，他們歡迎我的加入。就是在這兒，聽著這些詩歌，分享著他們的故事，從中我了解到口語詩不是要義憤填膺，它可能是有趣的，痛苦的，嚴肅的或者無聊的詩。鮑威利詩社變成了我的課堂和我家。表演的詩人 也鼓勵我去分享我的故事。從不介意我只是14歲-- 他們告訴我，“要14歲那樣的寫詩?！?每周我那樣寫詩，驚奇地站著表演，這些聰明的成年詩人 和我一起笑，呻吟著他們的同情 同時鼓掌告訴我，“嗨，我也和你同感?！?/p>

07:46

Now I can divide my spoken-word journey into three steps. Step one was the moment I said, "I can. I can do this." And that was thanks to a girl in a hoodie. Step two was the moment I said, "I will. I will continue. I love spoken word. I will keep coming back week after week." And step three began when I realized I didn't have to write indignant poems, if that's not what I was. There were things that were specific to me, and the more that I focused on those things, the weirder my poetry got, but the more that it felt like mine. It's not just the adage "Write what you know." It's about gathering up all of the knowledge and experience you've collected up to now to help you dive into the things you don't know. I use poetry to help me work through what I don't understand, but I show up to each new poem with a backpack full of everywhere else that I've been.

現(xiàn)在我可以把我口語詩經(jīng)歷分為 三階段。第一階段那時我會說，“我能，我能做到這個?！?這要感謝那個連帽衫的女孩。第二階段時我說，“我會，我會繼續(xù)。我愛上口語詩。我會每周回來表演?！?第三階段開始時 我意識到我不必寫些憤青的詩，如果這表達的不是真的我。有些事對我來說是很獨特的，我更關(guān)注這些事，我的詩歌就更離奇怪誕，但這也更像是我自己。這不只是一句格言“寫你所知的，” 而這是有關(guān)集合所有知識和體驗 到現(xiàn)在你已收集到的一切 來幫助你深入了解你所不知道的東西。我用詩歌幫助我經(jīng)歷我所不理解的事，但我展示每一首新詩 它是用 我已去過其他地方的一打故事來寫的。

08:39

When I got to university, I met a fellow poet who shared my belief in the magic of spoken-word poetry. And actually, Phil Kaye and I coincidentally also share the same last name. When I was in high school I had created Project V.O.I.C.E. as a way to encourage my friends to do spoken word with me. But Phil and I decided to reinvent Project V.O.I.C.E., this time changing the mission to using spoken-word poetry as a way to entertain, educate and inspire. We stayed full-time students, but in between we traveled, performing and teaching nine-year-olds to MFA candidates, from California to Indiana to India to a public high school just up the street from campus.

我在大學(xué)時，我遇見同校詩人 他和我堅信口語詩的神奇。的確，我和菲爾·凱 巧合也同姓。在高中我已創(chuàng)建V.O.I.C.E.計劃 它是鼓勵我的朋友和我一起創(chuàng)作口語詩的一種方式。但我和菲爾決定徹底改造V.O.I.C.E.計劃-- 這次改變它的使命 為：用口語詩作為一種娛樂，教育和激勵的方式。我們還是全日制學(xué)生，但中間我們旅行，表演和傳授給 9歲到美術(shù)碩士的任何申請人，他們來自從加州到印地安那州，到印度，到公立高中，到校園剛剛注冊的街角等。

09:18

And we saw over and over the way that spoken-word poetry cracks open locks. But it turns out sometimes, poetry can be really scary. Turns out sometimes, you have to trick teenagers into writing poetry. So I came up with lists. Everyone can write lists. And the first list that I assign is "10 Things I Know to be True." And here's what happens, you would discover it too if we all started sharing our lists out loud. At a certain point, you would realize that someone has the exact same thing, or one thing very similar, to something on your list. And then someone else has something the complete opposite of yours. Third, someone has something you've never even heard of before. Fourth, someone has something you thought you knew everything about, but they're introducing a new angle of looking at it. And I tell people that this is where great stories start from -- these four intersections of what you're passionate about and what others might be invested in.

我們看到 口語詩遍地興起 好似雨后春筍一樣。但有時結(jié)局卻是 詩歌可真嚇人。有時結(jié)局是 你得循循善誘地讓青少年寫詩。我有了列表。每個人都能寫列表。我分配的第一次列表 是“我所確信的10件事”。隨后發(fā)生的事，你會同樣發(fā)現(xiàn)的事 如果我們都開始大聲讀出我們的列表。就某一點，你會意識到 某人完全分享了同樣的事，或者一件非常類似的事，那些同樣在你的列表上事。而有些人 和你的列表完全不同。第三，有人例舉的事，你從來沒有聽說過。第四，有人例舉的事，你認為你都知道，但這些事是以一種新視角展現(xiàn)的。我告訴大家這就是偉大故事的創(chuàng)作點-- 這4個交集互動 分享大家所熱愛的事情 和其他人可能會關(guān)注的事。

10:19

And most people respond really well to this exercise. But one of my students, a freshman named Charlotte, was not convinced. Charlotte was very good at writing lists, but she refused to write any poems. "Miss," she'd say, "I'm just not interesting. I don't have anything interesting to say." So I assigned her list after list, and one day I assigned the list "10 Things I Should Have Learned by Now." Number three on Charlotte's list was, "I should have learned not to crush on guys three times my age." I asked her what that meant, and she said, "Miss, it's kind of a long story." And I said, "Charlotte, it sounds pretty interesting to me." And so she wrote her first poem, a love poem unlike any I had ever heard before. And the poem began, "Anderson Cooper is a gorgeous man." (Laughter) "Did you see him on 60 Minutes, racing Michael Phelps in a pool -- nothing but swim trunks on -- diving in the water, determined to beat this swimming champion? After the race, he tossed his wet, cloud-white hair and said, 'You're a god.' No, Anderson, you're the god."

多數(shù)人對這個練習(xí)反應(yīng)良好。但我其中的一個學(xué)生，新生夏洛特 不太相信。夏洛特非常善于寫列表，但她決不寫詩。她說，“女士，我就是不感興趣。我沒什么好表達的?！?我就分配給她不同的列表，一天我分配的列表是 “到目前我應(yīng)該學(xué)會的10件事”。在她列表里第3條，“我應(yīng)該學(xué)會不要迷戀上 大我3倍年齡的男人?！?我問她這意味什么，她說，“女士，這說來話長?！?我說，“夏洛特，這故事讓我有了極大的興趣?！?所以她寫了她的第一首詩，一首我以前從來沒聽過的愛情詩。詩開頭是 “安德森·庫珀是個風(fēng)度翩翩的男人?！?（笑聲） “你可曾看他的節(jié)目60分鐘，同泳池蛟龍邁克爾·菲爾普斯競技-- 只穿一襲泳褲-- 潛水入池，決心挑戰(zhàn)這游泳冠軍？ 賽后，他甩動他那濕漉漉的銀白頭發(fā) 說到，‘你是上帝?！?不，安德森-你才是上帝?！?/p>

11:21

(Laughter)

（笑聲）

11:23

(Applause)

（掌聲）

11:27

Now, I know that the number one rule to being cool is to seem unfazed, to never admit that anything scares you or impresses you or excites you. Somebody once told me it's like walking through life like this. You protect yourself from all the unexpected miseries or hurt that might show up. But I try to walk through life like this. And yes, that means catching all of those miseries and hurt, but it also means that when beautiful, amazing things just fall out of the sky, I'm ready to catch them. I use spoken word to help my students rediscover wonder, to fight their instincts to be cool and unfazed and, instead, actively pursue being engaged with what goes on around them, so that they can reinterpret and create something from it.

現(xiàn)在我知道要扮酷的第一法則 要顯得不為所動，從來都不承認會有嚇著你 或令你驚訝或使你興奮的事。有人曾告訴我 人生之旅就像這樣護緊雙臂。你得保護你自己 免于那所有可能出現(xiàn)的出人意料的痛苦或傷害。但我會像這樣展開雙臂地迎向生活。是的，這意味著接住所有這些痛苦和傷害，但同時也意味當那些美好，驚喜的事情 從空中墜落，我準備好要接住它們。我用口語詩幫助我的學(xué)生 重新發(fā)現(xiàn)奇跡，與他們自身本能要扮酷和無動于衷做挑戰(zhàn)，反而代之的是他們積極追尋，參與其中與他們周圍打成一片兒，以致于他們能從日常中重新解讀或者創(chuàng)作些詩。

12:12

It's not that I think that spoken-word poetry is the ideal art form. I'm always trying to find the best way to tell each story. I write musicals; I make short films alongside my poems. But I teach spoken-word poetry because it's accessible. Not everyone can read music or owns a camera, but everyone can communicate in some way, and everyone has stories that the rest of us can learn from. Plus, spoken-word poetry allows for immediate connection. It's not uncommon to feel like you're alone or that nobody understands you, but spoken word teaches that if you have the ability to express yourself and the courage to present those stories and opinions, you could be rewarded with a room full of your peers, or your community, who will listen. And maybe even a giant girl in a hoodie who will connect with what you've shared. And that is an amazing realization to have, especially when you're 14. Plus, now with YouTube, that connection's not even limited to the room we're in. I'm so lucky that there's this archive of performances that I can share with my students. It allows for even more opportunities for them to find a poet or a poem that they connect to.

這并不是說我認為口語詩 就是理想的藝術(shù)形式。我常試著找到更好方式來講不同的故事。我寫音樂劇，伴隨我詩歌我制作短片。但我傳授口語詩 因為它是易懂的。并不是每個人能讀懂音樂 或者擁有一臺照相機 但每個人可以用某種方式來交流，每個人都有故事 我們其他人都可以借鑒學(xué)習(xí)。并且，口語詩會有即時互動聯(lián)系。人們感到他們孤獨 或者沒人理解他們，這是司空見慣的，但口語詩傳授給他們 如果你有能力表達你自己 有勇氣展示些故事和觀點，你可以得到 那些聆聽你講的滿屋子同伴們，或者詩社團的鼓勵。甚至有一個連帽衫的高大女孩 會和你分享的連為一體。這種感同身受是不可思議的，特別當你是14歲時。另外，現(xiàn)在有了YouTube，人們之間聯(lián)系不再受限于我們所處空間。我如此有幸能有這演講的存檔視頻 這樣我能和我學(xué)生分享了。它提供了甚至更多機遇 讓人們在人與人聯(lián)系中發(fā)現(xiàn)一個詩人 或者一首詩。

13:20

Once you've figured this out, it is tempting to keep writing the same poem, or keep telling the same story, over and over, once you've figured out that it will gain you applause. It's not enough to just teach that you can express yourself. You have to grow and explore and take risks and challenge yourself. And that is step three: infusing the work you're doing with the specific things that make you you, even while those things are always changing. Because step three never ends. But you don't get to start on step three, until you take step one first: "I can."

它也是很誘人的--一旦你要搞明白這個-- 它誘使人們不斷創(chuàng)作同樣詩歌，或者不斷訴說同樣的故事，一遍又一遍，一旦你搞明白了它就會贏得掌聲。僅是傳授你能表達你自己，這是不夠的； 你得成長和探尋 冒險挑戰(zhàn)自己。這是第三階段： 傾注到你做的事中去 做些屬于你與眾不同的特別事，即使這些事情總是在變化。因為第三階段永遠不會結(jié)束。但你不會從第三階段開始，除非你從第一階段向開始：我能行。

13:54

I travel a lot while I'm teaching, and I don't always get to watch all of my students reach their step three, but I was very lucky with Charlotte, that I got to watch her journey unfold the way it did. I watched her realize that, by putting the things that she knows to be true into the work she's doing, she can create poems that only Charlotte can write, about eyeballs and elevators and Dora the Explorer. And I'm trying to tell stories only I can tell -- like this story. I spent a lot of time thinking about the best way to tell this story, and I wondered if the best way was going to be a PowerPoint, a short film -- And where exactly was the beginning, the middle or the end? I wondered whether I'd get to the end of this talk and finally have figured it all out, or not.

我傳授口語詩的同時也旅行了很多地方，我并不總是去期望我所有學(xué)生能達到第三階段，但我非常幸運有夏洛特，我要看看她曾展開旅程的新方式，我看她意識到 通過寫些她確信為真的事穿插到她當下作品來，她可以創(chuàng)作詩歌，只有夏洛特能寫出-- 關(guān)于眼珠，電梯和《愛探險的朵拉》的詩。我試著講的故事也只有我能講述-- 像這樣的故事。我花了很多時間思考講這故事的最好方式，我心想如果最好方式 是展示一個幻燈片或者一個短片-- 那么到底哪里是開頭，發(fā)展或者結(jié)尾呢？ 我納悶是否我該在這講話結(jié)尾 最終把這一切都搞明白了，或是行不通。

14:34

And I always thought that my beginning was at the Bowery Poetry Club, but it's possible that it was much earlier. In preparing for TED, I discovered this diary page in an old journal. I think December 54th was probably supposed to be 24th. It's clear that when I was a child, I definitely walked through life like this. I think that we all did. I would like to help others rediscover that wonder -- to want to engage with it, to want to learn, to want to share what they've learned, what they've figured out to be true and what they're still figuring out.

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