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歌手名：新概念第四册
歌曲名：39
专辑名：hgjjhjj
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Lesson 39 What every writer wants
First listen and then answer the following question.
How do professional writers ignore
what they were taught at school about writing?
I Have known very few writ-ers,
but those I have known, and whom I respect,
confess at once that they have little idea
where they are going when they first set pen to paper.
They have a character, perhaps two;
they are in that condition of eager discomfort
which passes for inspiration;
all admit rad-ical changes of destination
once the journey has begun; one,to my certain knowledge,
spent nine mon-ths on a novel about Kashmir,
then reset the whole thing in the Scottish Highlands.
I never heard of anyone making a ＇skeleton＇,
as we were tau-ght at school. In the breaking and remaking,
in the timing, interweaving, beginning afresh,
the writer comes to discern things in his material
which were not consciously in his mind when be began.
This organic process,
often leading to moments of extraordinary self-discovery,
is of an indescribable fascination.
A blurred image appears; he adds a brushstroke and another,
and it is gone; but something was there,
and he will not rest till he has captured it.
Sometimes the yeast within a writer
outlives a book he has written.
I have heard of writers who read nothing but their own books;
like adolescents they stand before the mirror,
and still cannot fathom the exact
outline of the vision before them.
For the same reason, writers talk interminably
about their own books, winkling out hi-dden meanings,
super-imposing new ones,
begging response from those around them.
Of course a wr-iter doing this is misunderstood:
he might as well try to explain a crime or a love affair.
He is also, incidentally, an unforgivable bore.
This temptation to cover the distance between himself
and the reader,to study his image
in the sight of those who do not know him,
can be his undo-ing: he has be-gun to write to please.
A young English writer made the pertinent observation
a year or two back that the talent goes into the first draft,
and the art into the drafts that follow.
For this reason also the writer,
like any other artist, has no resting place,
no crowd move-ment in which he may take comfort,
no judgment from outside which can replace the judgment
from within A writer makes order
out of the anarchy of his heart;
he submits him-self to a more ruthless discipline
than any critic dreamed of , and when he flirts with fame,
he is taking time off from living with himself,
from the search for what his wo-rld contains at its inmost point.