关于《夜航西飞》 找本书《夜航西飞》的电子版
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http://www.iwant-book.com/book/9578278470/index_a.htm
west with the night 《夜航西飞》作者 Beryl Markham出版社: North Point Press
出版年: 1982
海明威称它为“一本非常棒的书”，确实如此。这是一本关于非洲的书，一本优异的飞行文学。故事讲到狮子，讲到搜寻爱人失事坠落的飞机。Markham的第三任丈夫，作家Raoul Schumacher，为本书的语言大作润色。那又如何？这本书，以及它所描述的生活依旧散发着激越的狂热。
我学到 倘若你必须离开一个曾经住过，爱过以及保藏自己所有过去的地方时，不要慢慢离开，要绝然离去。 不要回首，也不要相信记忆中已逝去的美好时光，过往的岁月看来总是最无害，被经历过的， 而未来的光阴潜藏在云雾中，因为骨折一段距离，所以令人心怀畏惧。但当你跨足进入时，云雾便会悄悄散去。
-----夜航西飞 Beryl Markham在自传里的一段话。
Beryle Markham在West with the Night书中写：
“世间有许多种不同的静默，每一种都有不同的意味。有一种寂静是伴随清晨的树林一同降临，它有别于一座安睡的城市的寂静。有暴风雨前的寂静以及暴风雨后的寂静，这两者也不尽相同。虚无之静默，惊惧之静默，疑惑之静默。有一种静默可以从没有生命的物体中散发出来，比如说从一把最近使用过的椅子，或者从一架琴键蒙尘的钢琴，甚至从任何一件曾满足人们需求的物品之中，无论是为了取乐还是为了工作。这样的静默会说话。它的嗓音或许忧郁，却也并非总是如此，比方说：椅子是一个欢笑的孩子留下的，钢琴的最后几个音符曾经喧闹而欢快。无关氛围与场景，事物的本质将在随之而来的静默中延展。它是无声的回响。”
There are all kinds of silences and each of them means a different thing. There is the silence that comes with morning in a forest, and this is different from the silence of a sleeping city. There is silence after a rainstorm, and before a rainstorm, and these are not the same. There is the silence of emptiness, the silence of fear, the silence of doubt. There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.
美呆了，是吧。
所以海明威在给朋友的信中写，Beryle这个女人令人不快，因为她让他觉得自己像个拼装文字的木匠。信的末尾海明威嘱咐他的朋友一定要看看这本书，因为它bloody wonderful。
West With the Night Beryl Markham一个特立独行的女性,虽然还没能读到她的原著,先摘抄一些《夜航西飞》里的句子及介绍。“飞行在黑暗中，山丘、森林、巨岩、平原都是同一种东西，而黑暗本身是无止境的，地球不再是你的星球，而是一颗远方之星。远方的星星至少还发亮呢。这一刻的飞机才是你的星球，而你是其中唯一的居民……”——Beryl Markham《West With the Night》
One of the most beautifully crafted books I have ever read, with some of the most poetic prose passages I could imagine, such as the following, resonating with a stately and timeless quality so absent in our modern life:
There are all kinds of silences and each of them means a different thing. There is the silence that comes with morning in a forest, and this is different from the silence of a sleeping city. There is silence after a rainstorm, and before a rainstorm, and these are not the same. There is the silence of emptiness, the silence of fear, the silence of doubt. There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.
Born in England in 1902, Markham was taken by her father to East Africa in 1906. She spent her childhood playing with native Maruni children and apprenticing with her father as a trainer and breeder of racehorses. In the 1930s, she became an African bush pilot, and in September 1936, became the first person to fly solo across the Atlantic from east to west. --This text refers to an out of print or unavailable edition of this title.
----amazon.com editorial description
It seemed to me beyond the realms of possibility that I should travel so far that I should "go such a long way." This was linked up with the limitations and poverty of our conditions of life. My longing to travel was no doubt also the expression of a wish to escape from that pressure, like the force which drives so many adolescent children to run away from home. I had long seen clearly that a great part of the pleasure of travel lies in the fulfillment of these early wishes, that it is rooted, that is, in dissatisfaction with home and family.
Kibii into Arab Ruta--Beru into Memsahib!--this stilted word that ends my youth and reminds me always of its ending-- What a child does not know and does not want to know of race and colour and class, he learns soon enough as he grows to see each man flipped inexorably into some predestined groove like a penny or a sovereign in a banker's rack. Kibii, the Nandi boy, was my good friend. Arab Ruta, who sits before me, is my good friend, but the handclasp will be shorter, the smile will not be so eager on his lips, and though the path is for a while the same, he will walk behind me now, when once, in the simplicity of our nonage, we walked together.
When you fly, you get a feeling of possession that you couldn't have if you owned all of Africa. You feel that everything you see belongs to you--all the pieces are put together, and the whole is yours; not that you want it, but because, when you're alone in a plane, there's no one to share it. It's there and it's yours.
You can live a lifetime and, at the end of it, know more about other people than you know about yourself. You learn to watch other people, but you never watch yourself because you strive against loneliness. If you read a book,... you are avoiding yourself. The abhorrence of loneliness is as natural as wanting to live at all. If it were otherwise, men would never have bothered to make an alphabet, nor to have fashioned words out of what were only animal sounds.
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绛旓細west with the night 銆婂鑸タ椋炪浣滆 Beryl Markham 鍑虹増绀: North Point Press 鍑虹増骞: 1982 娴锋槑濞佺О瀹冧负鈥滀竴鏈潪甯告鐨勪功鈥濓紝纭疄濡傛銆傝繖鏄竴鏈鍏充簬闈炴床鐨勪功锛屼竴鏈紭寮傜殑椋炶鏂囧銆傛晠浜嬭鍒扮嫯瀛愶紝璁插埌鎼滃鐖变汉澶变簨鍧犺惤鐨勯鏈恒侻arkham鐨勭涓変换涓堝か锛屼綔瀹禦aoul Schumacher锛屼负鏈功鐨勮瑷澶т綔娑﹁壊銆...
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