这条最硬的汉子 

——丹飞访谈录之沃勒篇

 

一、Tango continues the exploration of… Such a life involves an amazement at the shallow consumerism passing for happiness. 《高原上的探戈》延续了写作和阅读的历险，与浅薄的实用主义和享乐主义相比，这样的生活方式无异于惊世骇俗。  

 

[Daniel Dan, "DAN" in short]  What does High Plains Tango inherit from The Bridges of Madison County? Can we say the only connection between the two is that Carlisle McMillan is the result of another love affair between Robert Kincaid and another lady or there are more intrinsic factors? 

 

[Robert James Waller, "RJW" in short]  If you are looking for inheritance, A Thousand Country Roads, the second book in the loose trilogy, must be included.  In Roads, Carlisle is introduced to readers as he searches for his father, Robert Kincaid.  Tango continues the exploration of, what I labeled in Tango, the cryptozoic life, a strategy for living alongside but not part of what is thought of as progress and contemporary society.  Such a life involves an amazement at the shallow consumerism passing for happiness, all the while dealing with aloneness but not loneliness.  Robert Kincaid and Carlisle McMillan share that persona, as do I.    

 

Furthermore, all the books are about decision making, in one form or another.  For example, Bridges is not a story of adultery; it is a story about the hardest kind of decisions, those involving matters of the heart.  

 

丹飞：从《廊桥遗梦》到《高原上的探戈》，都有哪些血脉得以传承？是否可以这么理解：两书惟一的联系就是卡莱尔．麦克米伦是罗伯特．金凯另一场风花雪月的结晶？或者存在更多内在联系？  

 

罗伯特．詹姆斯．沃勒（以下称沃勒）：谈到传承，三部曲里的第二部《梦系廊桥》必须囊括在内。在《梦系廊桥》中，读者们已经认识了卡莱尔，他寻找生身父亲罗伯特．金凯的故事相信打动了读者的心。《高原上的探戈》延续了写作和阅读的历险，在这里我讲述了荒僻之地的生息故事，那种徘徊在“主流”边缘却与发展进步及当代社会这些所谓的“主流”毫不相关的生活。与浅薄的实用主义和享乐主义相比，这样的生活方式无异于惊世骇俗：从来独处却从不孤独。罗伯特．金凯和卡莱尔．麦克米伦就很受用这种生活，当然我也是。  

 

此外，这三本书都呈现了——以这样那样的方式——“选择”的主题。比如说，《廊桥遗梦》讲述的绝对不是一个“通奸”故事；它讲述的难度系数最高的“选择”：来自灵魂深处的悸动。

 

 

二、I do think that one knows when love happens. 我认为每个人都知道爱情何时会发生。  

 

[DAN]  You don’t create a son or daughter of Kincaid and Francesca, the more famed partners, as the leading character in HPT but a son from another secret affair. I guess you have your consideration. Can we take this as your expression of love, like one doesn’t know exactly where love happens?   

 

[RJW]  Remember that Francesca was forty-five, Kincaid fifty-two, in Bridges.  Biologically, the odds were against conception.  I do think that one knows when love happens.  

 

丹飞：你没有为《廊桥遗梦》的主角金凯和弗朗西丝卡这一对名角“造”出一个儿子或女儿来出任《高原上的探戈》的主角，而选择了金凯另一场不为人知的风流韵事的结晶。我相信你这样做有你的理由。我们是否可以说这是你在表达你的爱情观，比如谁也无法预知何时何地爱情这出戏会上演？  

 

沃勒：别忘了《廊桥遗梦》里弗朗西丝卡45岁，金凯52岁。从生物学角度讲，怀孕的几率微乎其微。我认为每个人都知道爱情何时会发生。

 

 

三、Gally and Susanna present two ends of lifestyle and, especially love style, one is materialized, and the other is "a presence in your mind as well as a physical entity". 佳莉与苏珊娜代表了两种类型的生活方式尤其是爱情方式，一种停留在纯物质层面，一种达到灵肉合一的境界。  

 

[DAN]  Love is the theme of the two masterpieces across 13 years. Bridges tells of an erotic, bittersweet tale of lingering memories and forsaken possibilities, and HPT tells of Carlisle’s love with two charming girls and more. Could we conclude that Gally and Susanna present two ends of lifestyle and, especially love style, one is materialized, and the other is “a presence in your mind as well as a physical entity”?   

 

[RJW]  Yes, I think that captures very well Carlisle's feelings for Gally and Susanna.  I find them both extremely attractive women.  It took me a long time to get Susanna's character just right because she is quite elusive as a person.  

 

丹飞：横跨13年，爱情是这两部小说的主题。《廊桥遗梦》洋溢着无法抑制的思念，而这根思念之弦随时都可能断掉，这里的爱情欲望充盈又苦乐参半。《高原上的探戈》袒露的是卡莱尔与两个光焰四射的女郎的灵肉之爱，以及其他元素。是否可以说佳莉与苏珊娜代表了两种类型的生活方式尤其是爱情方式，一种停留在纯物质层面，一种达到灵肉合一的境界？  

 

沃勒：没错，你抓住了卡莱尔对佳莉和苏珊娜的感受。可不得不说她俩的魅力让人无法拒绝。因为苏珊娜这个角色实在太让人捉摸不定了，我就花了很长时间才摸透苏珊娜的脾性。

 

 

四、I certainly am a mixture of Robert Kincaid and Carlisle McMillan. 我是罗伯特．金凯和卡莱尔．麦克米伦的混合体。  

 

[DAN]  Gally and Susanna come up from your view of women in human world? Were any characters in them taken from people in your life? Like the saying goes, “arts originate from life”, are there any origination relation between Gally, Susanna, Carlisle, Francesca, Kincaid, etc. and people living around you? You put more of you into Kincaid or Carlisle, i.e., could we tell the more similarity in RJW-Kincaid (two Robert) or RJW-Carlisle? Or it is nonsense to suppose so.  

 

[RJW]  Fiction always is a marriage of imagination and reality, so I undoubtedly used people I have met or known and real events as part of the stories.  The carpentry and battle against the highway came directly from my own experiences.  I certainly am a mixture of Robert Kincaid and Carlisle McMillan, more of Robert than Carlisle.  

 

丹飞：你是否从身边人身上归纳提炼出佳莉与苏珊娜这两个角色？她们身上哪些特征取自你生活中的女人？有一句有名的论断是“艺术源于生活”，佳莉、苏珊娜、卡莱尔、弗朗西丝卡、金凯等角色是否源于生活在你周围的人们？你的个性更多地投射在金凯身上还是在卡莱尔身上？也就是说，罗伯特．沃勒－罗伯特．金凯、沃勒－卡莱尔两对关系中，哪一对相似系数更高？或者说这么附会毫无道理。  

 

沃勒：小说永远来自想象与现实的联姻，因此毋庸置疑，我从来都将我遇见或听人说起的人物以及生活中真实的事件植入我的小说之中。卡莱尔的木工绝技，与“发展”的抗争，其实都是我个人的切身经历。当然，我是罗伯特．金凯和卡莱尔．麦克米伦的混合体，与罗伯特的相似度略高一些。

 

 

五、I do not think the relationship between Carlisle and Susanna is one of "complete beauty." 我不认为卡莱尔与苏珊娜之间的关系堪称“完美”。  

 

[DAN]  The sense of responsibility, a sudden abruption after four days’ deep attachment in Bridges moves your readers deeply. Now in HPT, Carlisle and Susanna love and live together. On the one hand, it’s a state of satisfactory in love; on the other, an "incomplete beauty" touches hearts more. What’s your expectation for this “complete beauty” to move people like HPT did?  

 

[RJW]  I'm not certain I understand the question.  But I do not think the relationship between Carlisle and Susanna is one of "complete beauty."  At the end of the book, there remains a certain ambiguity, a vague tenuousness to their relationship, which Carlisle recognizes.   

 

丹飞：《廊桥遗梦》里体验出来的责任、四天缠绵之后从此渊别，深深打动了你的读者。《高原上的探戈》里，卡莱尔、苏珊娜相爱相守。一方面，这是一份完美的爱情；另一方面，“缺陷之美”更能撼动人心。你认为这份“完美”怎样像《廊桥遗梦》那样感动读者？  

 

沃勒：我不认同你的观点。我不认为卡莱尔与苏珊娜之间的关系堪称“完美”。在小说末尾，他们的关系其实不甚明朗，正如卡莱尔意识到的那样，他们之间存在着晦暗不明的细微差别。

 

 

六、I had never written a novel prior to Bridges… something more complex never occurred to me. 在《廊桥遗梦》之前我还没处理过这么复杂的题材。  

 

[DAN]  We note that aside from love, new factors appear in HPT: mystery, magic, carpentry, gang and money (politics), suspense, court arguments, the conflict of urbanization and rural life, Indian culture, etc. Can we take it that you can’t envelop all these factors in a length as Bridges (192 pages for Bridges and 304 pages for HPT) ‘coz it’s extremely complicated and difficult to unravel this time?  

 

[RJW]  I suppose, with enough cleverness, all of it could have been combined into one book, but I am not that clever.  In addition, I had never written a novel prior to Bridges, and I simply wrote the little story as it unfolded in my mind; something more complex never occurred to me.  If I want to say more about the issues listed, I probably will do it in essays and have already done it in such essays I wrote in the 1980s.   

 

丹飞：我们注意到爱情之外，《高原上的探戈》还囊括进新的元素：神秘，巫术，木工，黑金，悬疑，法庭辩论，都市化与原生态的冲突，印第安文化等等。是否可以理解成《高原上的探戈》表达的意蕴更立体，《廊桥遗梦》那样的篇幅无法完整融合进这些元素？  

 

沃勒：如果我足够聪明，所有这些元素是可以融合进一本书的，可惜我没那么聪明。此外，在《廊桥遗梦》之前我没写过小说，当我脑海里形成这个短小的故事，我就将它忠实记录了下来；在此之前我还没处理过这么复杂的题材。那时如果我想表达清楚你列出的这些元素，我可能会写成一个个短篇——就像我在1980年代所作的那样。

 

 

七、The trilogy is as follows: The Bridges of Madison County, A Thousand Country Roads, High Plains Tango.  I think the trilogy finishes the bridges theme, though I have one more idea, an idea I researched more than ten years ago but have not pursued any further. 三部曲包括：《廊桥遗梦》，《梦系廊桥》，《高原上的探戈》，廊桥系列到此为止。我会创作一个新的三部曲，十多年前我就开始琢磨这件事，只是还没行诸文字。  

 

[DAN]  Bridges has been a classic. The bridge appearing on the cover of Bridges was made a love spot since Bridges was printed. It’s said the bridge was on a fire on Sep. 3, 2002. Could you please tell us a real story of this bridge? Are you offering a love scene/spot in HPT like the bridge you set in Bridges? Is HPT the sequel to the loose Bridges trilogy? You won’t write a theme related to Bridges any more?  

 

[RJW]  A lot of questions here.  First off, I'm wary of overusing the word "love," since it is a rare and profound feeling.  Indeed, the bridge was burned, but has now been rebuilt.  Another of the bridges was burned several years before Bridges was published--the world has its quota of strange, sick people, and the quiet solidity and dignity of the bridges reminds certain people of all they are not.  The trilogy is as follows: The Bridges of Madison County, A Thousand Country Roads, High Plains Tango.  I think the trilogy finishes the bridges theme, though I have one more idea, an idea I researched more than ten years ago but have not pursued any further.  

 

丹飞：《廊桥遗梦》已成经典。该书出版之后，封面照片上那座廊桥就被当作爱情圣地。据说2002年9月3日这座桥毁于大火。可否告诉我们真实的廊桥故事？你在《高原上的探戈》里是否设置了类似于廊桥的爱情圣境？《高原上的探戈》一出，“廊桥”三部曲已成绝唱吗？你未来的小说会否涉及《廊桥遗梦》？  

 

沃勒：一言难尽。首先，我不愿意频繁使用“爱”这个字眼，因为爱是发自内心因而弥足珍贵的情感。没错，那座桥毁于一场大火，不过业已复建。《廊桥遗梦》出版之前的几年，另一座廊桥被人烧毁——世上总有一些病得不轻的怪人，座座廊桥固若金汤，以自身的尊严无声地蔑视这些人的胡作非为。三部曲包括：《廊桥遗梦》，《梦系廊桥》，《高原上的探戈》，廊桥系列到此为止。我会创作一个新的三部曲，十多年前我就开始琢磨这件事，只是还没行诸文字。

 

 

八、…(why) people complain that romances (fictions) can’t warm and touch their hearts as before is because they have allowed their hearts to turn cold. 人们抱怨如今的浪漫小说不如以前那样动人心扉是因为读者放任自己变得铁石心肠。  

 

[DAN]  The philosophy of life and love varies as time goes by. How do you regard this variety? Do you present this change in your novels? We heard people complain that romances (fictions) can’t warm and touch their hearts as before. It’s because people turn tough-minded and don’t believe in love or that romances don’t meet this change of readers’ appetite?   

 

[RJW]  It is because they have allowed their hearts to turn cold.  The romantic life is different than romance, though romance is part of it; they have cooled because of over-intellectualizing everything about them and have lost the capacity for romance because hard logic and too much academic thinking often leads away from the romantic life.  As someone who has worked in economics and applied mathematics, I have had to work to retain and maintain elements of the romantic life.   

 

丹飞：时代变迁，人生哲学、爱情哲学（人生观、爱情观）也变化万千。你怎么看待这种变迁？你的小说是否反映了这种变化？我们常常听到人们抱怨如今的浪漫小说不如以前那样动人心扉。是因为人们变得太实际因此不相信爱情，还是因为浪漫小说没去感应读者阅读口味的变化？  

 

沃勒：这是因为读者放任自己变得铁石心肠。浪漫的生活有别于浪漫，尽管浪漫的生活之中不乏浪漫成分；读者兴趣冷却的原因在于读者面对任何事物都过于理智，已经丧失了浪漫的能力，僵化的逻辑判断和循规蹈矩的思维与浪漫背道而驰。因为我曾致力于经济学和数学领域，我只有加倍努力才能获取浪漫生活的元素并使之得以保鲜。

 

 

 

九、I never have paid any attention to markets or trends, following instead my own sense of magic and my own personal vision. 我从不关注市场与潮流，我只会听从自己的灵感指引，只会听从自己个人的判断。  

 

[DAN]  Are you an eremite (leading a rural/town life) or society enthusiast (writing about realities happening here and there)? Will you study what readers and markets want to pursue for commercial success? Which would you take to title yourself, classical writer or popular writer? Or are you more alike a classical popular writer or a popular classical writer? Do you read modern and contemporary novels like Nicholas Evans, Nicholas Sparks, Ian McEwan, John Banville, etc.? In your opinion, what tells an author from another? Are there any comparability and difference between the top writers?  

 

[RJW]  I lead a semi-reclusive life, completely disinterested in popular culture.  I never have paid any attention to markets or trends, following instead my own sense of magic and my own personal vision.  I refuse to be categorized in the terms above.  If pressed, I simply state that I tell campfire stories, those that might be told around an evening fire after a hard day of fly fishing.  I do not read novels, usually, concentrating instead on technical reading in economics, mathematics, photography, music, and trout fishing.  I have no idea who the current bestselling writers are, so I cannot make comparisons.  

 

丹飞：你是遁世者（居住在小镇）还是热心家（写作题材颇具现实意义）？你是否会为了追求商业上的成功而去研究读者和市场的需求？你认为哪个头衔适合你，严肃作家还是通俗作家？或者说你更像个严肃的通俗作家还是更像通俗的严肃作家？你读现当代小说么，比如尼古拉斯．埃文斯、尼古拉斯．斯帕克斯、伊恩．麦克尤恩、约翰．邦维尔等人的小说？在你看来，是什么将一个作家与另一个作家区分开来？大师之间有什么可比性及差异性没有？  

 

沃勒：我过着半遁世的生活，对通俗文化了无兴趣。我从不关注市场与潮流，我只会听从自己的灵感指引，只会听从自己个人的判断。我不希望被如此归类。如果非得归类，我可以说我在讲述围炉夜话——忙了一天飞蝇钓[1]，晚上围着壁炉听到的故事。我一般不读小说，我阅读的范围仅限于经济学、数学、摄影、音乐、钓鲑鱼方面的专业书籍。我不知道当下的畅销书作家都有谁，因为无法比较。

 

 

十、In Tango, my academic training and interests clearly show.  I was a member of a small group that fought such a highway, and I used my economics and mathematics to destroy the logic of the pro-highway people.  We won, by the way.  I dislike intensely the idea of fame and celebrity… 《高原上的探戈》中，我的学院背景和个人兴趣表露无遗。我是同样一场公路战中为数不多的反对派，我运用自己的经济学和数学知识储备瓦解支持派。顺便说一句：我们赢了。我强烈恶感所谓名誉、声望……  

 

[DAN]  As we know, you’re an author, a photographer, a musician, an economist, and a mathematician. Does this background benefits your view and figure of characters in your books? The fame of top bestselling author brings you any trouble or benefits?   

 

[RJW]  Yes, of course, my training and interests enter my novels.  I taught a rigorous course in decision theory for years, and as I said earlier Bridges is a book about hard choices.  In Tango, my academic training and interests clearly show.  I was a member of a small group that fought such a highway, and I used my economics and mathematics to destroy the logic of the pro-highway people.  We won, by the way.  I dislike intensely the idea of fame and celebrity, which is why I lived for years on a remote ranch in the high-desert mountains of west Texas.  It's all puffery and nonsense that can constrain and damage the mind and a life. I am grateful to my readers for buying and reading my books, however.   

 

丹飞：据我们所知，你是作家、摄影家、音乐家、经济学家、数学家。这样的背景对你观察和塑造你笔下的人物是否有所裨益？作为顶级畅销书作家，声名给你带来什么便利，你是否为声名所累？  

 

沃勒：没错，当然，我接受的训练和个人兴趣化用到我的小说之中。我曾经开过一门繁难的决策论课程达数年，我在前面说过，《廊桥遗梦》的主题是最繁难的选择。《高原上的探戈》中，我的学院背景和个人兴趣表露无遗。我是同样一场公路战中为数不多的反对派，我运用自己的经济学和数学知识储备瓦解支持派。顺便说一句：我们赢了。我强烈恶感所谓名誉、声望，这就是为什么我常年居住在得克萨斯西部高地沙漠上一处偏远的农场。谁如果说这样的生活会压抑和损伤脑力和生命力，那绝对是胡说八道。当然，感谢我的读者们购买我的书，阅读我的书。

 

 

十一、I don't even think about that possibility and have no actors or directors in mind.  I can't comment on Brokeback Mountain since I have not seen the film and do not intend to see it. 我甚至认为《高原上的探戈》没法拍成电影，因此没去想用哪些人做演员和导演。我无法评判《断背山》，因为我没看过这部电影，以后也不打算看。  

 

[DAN]  Is HPT being adapted for a film like Bridges did? Which screenwriter, director and starring list are on your mind? Brokeback Mountain is frequently compared with Bridges. Reviewers said that the “emotional core…is surprisingly similar”, “offer similar themes in different settings”, and “(Brokeback) didn't affect me as deeply as…The Bridges of Madison County”. What’s your opinion?  

 

[RJW]  There has been some interest in HPT as a film, but nothing concrete.  I don't even think about that possibility and have no actors or directors in mind.  I can't comment on Brokeback Mountain since I have not seen the film and do not intend to see it.  I have not heard about any comparisons with Bridges.   

 

丹飞：《高原上的探戈》会像《廊桥遗梦》一样改编成电影吗？你心目中理想的编剧、导演和演员阵容？人们频频将《断背山》与《廊桥遗梦》对比。评论家称“情感……惊人相似”，“不同情境，相似主题”，“（《断背山》）不像《廊桥遗梦》那样让我感动”。你怎么看？  

 

沃勒：总有人找我谈《高原上的探戈》的改编权，不过还未成定论。我甚至认为《高原上的探戈》没法拍成电影，因此没去想用哪些人做演员和导演。我无法评判《断背山》，因为我没看过这部电影，以后也不打算看。我没听说过谁拿《廊桥遗梦》与别的作品相比。

 

 

十二、I try to write intelligent books for intelligent people.  Other than that, I do not think about my audience in terms of specific profiles.  My readership… there is no definite profile, anyway.  I estimate that about 40 percent of my readership is male. 我努力为高智商的人写高智商的书。我不会依据个别参数去揣测我的观众的口味。谁都可能是我的读者。我估计我的读者中40％的人是男性。 

 

[DAN]  Have you ever imagined the outline of your readers, i.e., their age group, career, education, household, gender, interests and tastes or other background? Talking about your characters (in your books), you “understand completely how they think and walk and move their hands”, and talking about your readers, to what extent do you know about them? What’s your expectation for global readers and global markets of HPT? And what’s for Chinese readers and Chinese market?  

 

[RJW]  I try to write intelligent books for intelligent people.  Other than that, I do not think about my audience in terms of specific profiles.  My readership ranges from housewives to doctors to truck drivers to lawyers, so there is no definite profile, anyway.  I estimate that about 40 percent of my readership is male.  I'm pleased, of course, that the books do well in foreign markets, the Chinese readership included, but I don't consider any of that when writing.  Bridges is in thirty-six languages and seven stage versions are currently being performed, so apparently there is something universal in at least some of my writing.  My other books also have been published in a number of non-English languages.  

 

丹飞：你在心里描摹过你的读者的轮廓吗？比如，年龄结构，职业，教育背景，家庭背景，性别，兴趣，品味等等。你说过，“（笔下人物的）所思所想、举手投足我了如指掌”；你对自己的读者了解到什么程度？你对《高原上的探戈》的全球读者和全球市场有何期待？对中国读者和中国市场有何期待？  

 

沃勒：我努力为高智商的人写高智商的书。我不会依据个别参数去揣测我的观众的口味。从主妇到医生，从卡车司机到律师，谁都可能是我的读者，总之，没有固定参数可循。我估计我的读者中40％的人是男性。当然，我很开心我的书在国外市场包括中国读者当中畅销，只是我在写作之时心无旁骛。《廊桥遗梦》迄今已以36种语言出版，剧场版也有7个版本之多，显然我的小说之中存在某些全球共通性。英语版之外，我的其他书也都以数目可观的语种印行。

 

 

十三、I do not take myself seriously as a writer or as anything else, but I do take my work and the consumers of my work very seriously. That is my life philosophy--one glance toward the heavens on any given night reminds me of my unimportance measured against the great sweep of time and space. 我没把自己严格定位为作家或别的身份，但是，我绝对重视我的作品和我的读者。这是我的人生哲学——夜晚仰望苍穹，如聆天启：在浩瀚时空面前，个体如此渺小。  

 

[DAN]  Have you been to China before? How do you know about China? Could you please give a briefing of your personal experience as an author and more? 

 

[RJW]  No, I have not been to China, unfortunately.  I used to travel quite a bit, mostly as part of my work, e.g., India several times, Japan, Britain, Europe, Nepal, Saudi Arabia, and so forth.  Most of my travel now is in connection with my fly fishing.  Approaching the age of sixty-seven, I find long-haul travel very tiring, though I did spend two weeks in the Amazon jungle a year ago, doing research on a possible novel.  

 

I do not take myself seriously as a writer or as anything else, but I do take my work and the consumers of my work very seriously. That is my life philosophy--one glance toward the heavens on any given night reminds me of my unimportance measured against the great sweep of time and space.  

 

Frankly, I think there is far too much intellectualizing about my books and fiction in general.  I get an idea for story, something that interests me, and write it without any agenda or intent beyond telling the story.  

 

丹飞：你到过中国吗？你了解中国吗？请简要介绍自己，以作家身份，兼及其他。  

 

沃勒：很遗憾，我还没去过中国。我一度热衷旅行，大多也是我工作的一部分，比如，我数度去过印度，也去过日本、英国、其他欧洲国家、尼泊尔、沙特阿拉伯等地。如今我一般为了去某处飞蝇钓才会去那儿。年近67，我发现长途跋涉太累人，尽管一年前，我在亚马逊丛林待了两周，为我未来某部小说做一些研究。  

 

我没把自己严格定位为作家或别的身份，但是，我绝对重视我的作品和我的读者。这是我的人生哲学——夜晚仰望苍穹，如聆天启：在浩瀚时空面前，个体如此渺小。  

 

坦白地说，我的小说融合进了太多知识，主体则源于虚构。通常一个念头引起我写作的兴致，我就会着手创作，也不订计划，除了讲故事，我别无他念。

 

 

又及、Thanks very much for your interest and challenging questions. 十分感谢你提出这些充满挑战性的问题。  

 

[DAN] Could you present a photo with your signature for Chinese readers or me if I’m lucky enough to keep privately or use in media?  

 

[RJW] See attached photo taken May 20005.  This photo cannot be used without permission.  No photo with signature available.  

 

Thanks very much for your interest and challenging questions. Let me know if I can be more helpful.  

 

[DAN] Thank you so much for your answers and photo. Your readers will be over flattered. Answers will be picked up to question lists from this paper and that, and a complete Q&A will come up in China Book Commercial, the biggest paper in publishing industry.  

 

Luck and pleasure to sell every copy of HPT and try to find a good result. Any necessary in the future, should I bother you.  

 

丹飞：不知道我或者中国读者是否有幸得到您的签名照片？我可以雪藏，也可以用在媒体上。  

 

沃勒：附上2005年5月摄制的照片。未得到我许可不可他用。我手头没有签名照片。  

 

十分感谢你提出这些充满挑战性的问题。乐意效劳。  

 

丹飞：谢谢接受我采访，谢谢赐照。你的读者一定乐坏了。我会挑选其中一些问答发表在一些报章上，问答全本将发表在中国出版业头牌报纸《中国图书商报》上。每销售出一本《高原上的探戈》我都满怀感激与快乐，希望能达成好的预期。日后若有叨扰，请不吝赐教。  

 

[1] Fly fishing，用皮毛等材料做成毛钩，模仿鱼儿喜欢吃的昆虫，以假乱真，引诱眼花的鱼儿上钩。