2001，少年时的终极科幻

[benadryl]

刘慈欣在一个访谈里说过：“我所有的作品，都是对阿瑟克拉克的拙劣模仿”。大刘做人是很谦虚的，这句话谦虚的甚至有点过，不过阿瑟克拉克估计的确是对大刘影响最大的一个作家。他说他的书桌上永远有一本80年代出版的谭允基翻译的《2001》放在那里，2018年他更是在获得Arthur C. Clarke Award后这样致奖感言：

“在上世纪八十年代初，中国出版了《2001:A Space Odyssey》和《Rendezvous With Rama》。当时文革刚刚结束，旧的生活和信仰已经崩塌，新的还没有建立起来，我和其他年轻人一样，心中一片迷茫。这两本书第一次激活了我想象力，思想豁然开阔许多，有小溪流进大海的感觉。读完《2001:A Space Odyssey》的那天深夜，我走出家门仰望星空，那时的中国的天空还没有太多的污染，能够看到银河，在我的眼中，星空与过去完全不一样了，我第一次对宇宙的宏大与神秘产生了敬畏感，这是一种宗教般的感觉。而后来读到的《Rendezvous With Rama》,也让我惊叹如何可以用想象力构造一个栩栩如生的想象世界。正是Clarke带给我的这些感受，让我后来成为一名科幻作家。”

后来大刘在访谈里也继续说：“我读《2001》的时候，刚刚高考填完了志愿，但就在那个晚上，看完《2001》之后，躺在床上，觉得所有的事情都没有那么重要了”，这的确是一种像是存在于宗教中的感觉一般，像是超脱了，生活中的各种“苟且”都不重要了，心灵来到了前所未有的广阔天地。

[benadryl]

网上找到的几个视频截图

[benadryl]

现在是时候亮出我自己的那本谭允基译版的《2001》了，品相要大大好于大刘手里拿的那本！


我这本是小时候老爸从旧书店里淘来的，很神奇的是，他同时淘来的另外两本就是《与拉玛相会》和阿西莫夫的《我是机器人》。前些年回国的时候在老爸书架上找了出来并带回到美国，仿佛是找到了丢失很久的珍宝。

《2001》是那种开篇第一句话就让你决定要看下去的书，它第一章开头就来了这么一句：“干旱至今已经持续了一千万年。。。”，那时候没那么多科幻奇幻看，哪儿受得了这种“洪荒流”的开篇啊，干涸的好奇心一下就被紧紧抓住了，虽然里面有些情节对于那个年纪而言还是很晦涩，不过还是很快就看完了，之后就产生了和大刘描述的类似的情绪，震撼，不知道这个世界还能这么想象，科幻还能这么写，天马行空不足为过。

[wh]

现在是时候亮出我自己的那本谭允基译版的《2001》了，品相要大大好于大刘手里拿的那本！


我这本是小时候老爸从旧书店里淘来的，很神奇的是，他同时淘来的另外两本就是《与拉玛相会》和阿西莫夫的《我是机器人》。前些年回国的时候在老爸书架上找了出来并带回到美国，仿佛是找到了丢失很久的珍宝。

《2001》是那种开篇第一句话就让你决定要看下去的书，它第一章开头就来了这么一句：“干旱至今已经持续了一千万年。。。”，那时候没那么多科幻奇幻看，哪儿受得了这种“洪荒流”的开篇啊，干涸的好奇心一下就被紧紧抓住了，虽然里面有些情节对于那个年纪而言还是很晦涩，不过还是很快就看完了，之后就产生了和大刘描述的类似的情绪，震撼，不知道这个世界还能这么想象，科幻还能这么写，天马行空不足为过。

你爸也是科幻迷呀，怪不得你深受熏陶 这本2001什么时候出版的？封面都没有作者译者哦。看这个开头，很有百年孤独的味道。查到这本小说是电影之后改编的，电影是根据他的短篇The Sentinel和其他短篇改编的，是作者自己编写的剧本。你这本是小说版是吧？那和电影故事应该一样？你是先看小说、再看电影吗？

[wh]

刘慈欣在一个访谈里说过：“我所有的作品，都是对阿瑟克拉克的拙劣模仿”。大刘做人是很谦虚的，这句话谦虚的甚至有点过，不过阿瑟克拉克估计的确是对大刘影响最大的一个作家。他说他的书桌上永远有一本80年代出版的谭允基翻译的《2001》放在那里，2018年他更是在获得Arthur C. Clarke Award后这样致奖感言：

“在上世纪八十年代初，中国出版了《2001:A Space Odyssey》和《Rendezvous With Rama》。当时文革刚刚结束，旧的生活和信仰已经崩塌，新的还没有建立起来，我和其他年轻人一样，心中一片迷茫。这两本书第一次激活了我想象力，思想豁然开阔许多，有小溪流进大海的感觉。读完《2001:A Space Odyssey》的那天深夜，我走出家门仰望星空，那时的中国的天空还没有太多的污染，能够看到银河，在我的眼中，星空与过去完全不一样了，我第一次对宇宙的宏大与神秘产生了敬畏感，这是一种宗教般的感觉。而后来读到的《Rendezvous With Rama》,也让我惊叹如何可以用想象力构造一个栩栩如生的想象世界。正是Clarke带给我的这些感受，让我后来成为一名科幻作家。”

后来大刘在访谈里也继续说：“我读《2001》的时候，刚刚高考填完了志愿，但就在那个晚上，看完《2001》之后，躺在床上，觉得所有的事情都没有那么重要了”，这的确是一种像是存在于宗教中的感觉一般，像是超脱了，生活中的各种“苟且”都不重要了，心灵来到了前所未有的广阔天地。

记得奥巴马看刘慈欣的三体也这么说，看了书就觉得office politics在洪荒宇宙面前太不值一提了，心胸为之一宽 呼吁在政治版吵架的网友看arthur clake或大刘，看完来灌我们版吧，别吵了

[benadryl]

再附上大刘2018年的英文致辞。他是个幸福的人。

November 8, 2018

REMARKS BY IMAGINATION AWARDEE CIXIN LIU

Ladies and Gentleman,

Good evening! It’s my great honor to receive the Clarke Award for Imagination in Service to Society. Thank you.

This award is a reward for imagination. Imagination is a capability that should have exclusively belonged to God but we, as human beings, luckily have this too. It is far beyond our imagination to grasp the meaning of the existence of imagination. A historian used to say that the main reason why human beings have been able to surpass other species on earth and to build civilizations is that we are able to create something in our heads that does not exist in reality. In the future, when artificial intelligence becomes smarter than us, imagination may be the only advantage we have over AI.

Science fiction is a literary genre based on imagination. And the first sci-fi works that impressed me were those by Arthur C. Clarke. Together with Jules Verne and George Wells, Arthur Clarke was among the first Western modern sci-fi writers to enter China. In the early 1980s, the two novels 2001: A Space Odyssey and Rendezvous with Rama were published in my country. At that time, the Cultural Revolution just ended. While the old life and faith had collapsed, the new ones had not yet been established. Like other young people, I felt lost during that period.
These two books, for the first time, however, brought my imagination to life. My mind opened up like it has never before. I felt like a narrow stream finally embracing the sea. At midnight when I finished reading 2001: A Space Odyssey, I walked out of the house and stared at the starry sky. I was able to see the galaxy, thanks to the unpolluted sky of China back then. That night, I noticed that the starry sky looked nothing like before. For the first time in my life, I was awed by the magnitude and mystery of our universe, the feeling which you only get facing religion. Later on, the novel Rendezvous with Rama stunned me by showing how imagination could build a lifelike, fantastic world. It was Arthur Clarke who opened up this world of feelings to me, and who paved my way to become a sci-fi writer.

Today, more than 30 years later, it gradually dawns on me that people like me, who were born in the 1960s in China, are probably the luckiest people in human history. No generation is like us, no generation has been able to witness such tremendous changes in the world around us. The world we are living in today is completely different from that of our childhood. And such changes are taking place with even greater speed. China is a highly futuristic country. It is true that the future of China may be full of challenges and risks, but never has this country been so attractive like today. This reality provides fertile soil for the growth of science fiction, and it is enjoying unprecedented attention in the country. As a Chinese sci-fi author, who was born in the 1960s, I’m the luckiest from the luckiest generation.

I started writing sci-fi because I looked for a way to escape the dull life, and to reach out, with imagination, to the mysterious time and space that I could never truly reach. But then I realized that the world around me became more and more like science fiction, and this process is speeding up. Future is like pouring rain. It reaches us even before we have time to open the umbrella. Meanwhile, when sci-fi becomes reality, it loses all its magic, and that frustrates me.

Sci-fi will soon become part of our lives. The only thing I can do, is to push my imagination further to even more distant time and space to hunt for the mysteries of sci-fi. As a sci-fi author, I think my job is to write things down before they get really boring.

This being said, the world is moving in the direction opposite to Clarke’s predictions. In 2001: A Space Odyssey, in the year of 2001, which has already passed, human beings have built magnificent cities in space, and established permanent colonies on the moon, and huge nuclear-powered spacecraft have sailed to Saturn. However, today, in 2018, the walk on the moon has become a distant memory. And the furthest reach of our manned space flights is just as long as the two-hour mileage of a high-speed train passing through my city. At the same time, information technology is developing at an unimaginable speed. The entire world is connected via the internet and people have gradually lost their interest in space, as they find themselves increasingly comfortable in the space created by IT. Instead of an exploration of the real space, which is full of difficulties, people now just prefer to experience virtual space through VR. Just like someone said, “You promised me an ocean of stars, but you actually gave me Facebook.”

This reality is also reflected in science fiction. Arthur Clarke’s magnificent imagination about space has gradually faded away. People stopped looking at starry skies. In the sci-fi works today, there are more imagination about how we live in cyber utopia or dystopia. Writers focus more on various problems we encounter in reality. The imagination of science fiction is abandoning the vastness and profoundness that Arthur Clarke once opened up, instead people are now embracing the narrowness and introversion of cyberpunk.

As a sci-fi writer, I have been striving to continue Arthur Clarke’s imagination. I believe that the boundless space is still the best direction and destination for human imagination. I have always written about the magnitude and mysteries of the universe, interstellar expeditions, and the lives and civilizations happening in distant worlds. This remains today, although this may seem childish or even outdated. It says on Arthur Clarke’s epitaph, “He never grew up, but he never stopped growing.”

Many people misunderstand sci-fi as trying to predict the future, but this is not true. It just makes a list of possibilities of what may happen in the future, like displaying a pile of cobblestones for people to see and play with. Science fiction can never tell which scenario of the future will actually become the real future. This is not its job. It’s also beyond its capabilities. But one thing is certain: in the long run, for all these countless possible futures, any future without space travel is gloomy, no matter how prosperous our own planet becomes.

Sci-fi was writing about the age of digital information and it eventually became true. I now look forward to the time when space travel finally becomes the ordinary. By then, Mars and the asteroid belts will be boring places and countless people are building a home over there. Jupiter and its many satellites will be tourist attractions. The only obstacle preventing people from going there for good, will be the crazy price.
But even at that time, the universe is still unimaginably big that even our wildest imagination fails to catch its edge. And even the closest star remains out of reach. The vast ocean of stars can always carry our infinite imagination.

Thank you all.

[benadryl]

你爸也是科幻迷呀，怪不得你深受熏陶 这本2001什么时候出版的？封面都没有作者译者哦。看这个开头，很有百年孤独的味道。查到这本小说是电影之后改编的，电影是根据他的短篇The Sentinel和其他短篇改编的，是作者自己编写的剧本。你这本是小说版是吧？那和电影故事应该一样？你是先看小说、再看电影吗？

版主很用功，还做了功课

刚看了下，这本书是1981年出版的，其实这本书是一个名叫《科学小说译丛》的第一本，不过我不知道后来这个译丛有没有出后续的集子。这本书里除了《2001》之外还有几则短篇。原著据说是和电影同步的，一边拍一边写。我当然是先看的小说，电影要到后来很久才看到。

[sugarbabylove]

刘慈欣很像范伟阿

2001我现在还没看过，只记得有一次房东在楼下看电视，我听到“哔，哔”的声音，感觉有些恐怖。我鼓起勇气下楼查看，发现他在看这部电影。

[sugarbabylove]

记得奥巴马看刘慈欣的三体也这么说，看了书就觉得office politics在洪荒宇宙面前太不值一提了，心胸为之一宽 呼吁在政治版吵架的网友看arthur clake或大刘，看完来灌我们版吧，别吵了

来这里鸡飞狗跳，接着炒。

[sugarbabylove]

[wh]

再附上大刘2018年的英文致辞。他是个幸福的人。

November 8, 2018

REMARKS BY IMAGINATION AWARDEE CIXIN LIU

Ladies and Gentleman,

Good evening! It’s my great honor to receive the Clarke Award for Imagination in Service to Society. Thank you.

This award is a reward for imagination. Imagination is a capability that should have exclusively belonged to God but we, as human beings, luckily have this too. It is far beyond our imagination to grasp the meaning of the existence of imagination. A historian used to say that the main reason why human beings have been able to surpass other species on earth and to build civilizations is that we are able to create something in our heads that does not exist in reality. In the future, when artificial intelligence becomes smarter than us, imagination may be the only advantage we have over AI.

Science fiction is a literary genre based on imagination. And the first sci-fi works that impressed me were those by Arthur C. Clarke. Together with Jules Verne and George Wells, Arthur Clarke was among the first Western modern sci-fi writers to enter China. In the early 1980s, the two novels 2001: A Space Odyssey and Rendezvous with Rama were published in my country. At that time, the Cultural Revolution just ended. While the old life and faith had collapsed, the new ones had not yet been established. Like other young people, I felt lost during that period.
These two books, for the first time, however, brought my imagination to life. My mind opened up like it has never before. I felt like a narrow stream finally embracing the sea. At midnight when I finished reading 2001: A Space Odyssey, I walked out of the house and stared at the starry sky. I was able to see the galaxy, thanks to the unpolluted sky of China back then. That night, I noticed that the starry sky looked nothing like before. For the first time in my life, I was awed by the magnitude and mystery of our universe, the feeling which you only get facing religion. Later on, the novel Rendezvous with Rama stunned me by showing how imagination could build a lifelike, fantastic world. It was Arthur Clarke who opened up this world of feelings to me, and who paved my way to become a sci-fi writer.

Today, more than 30 years later, it gradually dawns on me that people like me, who were born in the 1960s in China, are probably the luckiest people in human history. No generation is like us, no generation has been able to witness such tremendous changes in the world around us. The world we are living in today is completely different from that of our childhood. And such changes are taking place with even greater speed. China is a highly futuristic country. It is true that the future of China may be full of challenges and risks, but never has this country been so attractive like today. This reality provides fertile soil for the growth of science fiction, and it is enjoying unprecedented attention in the country. As a Chinese sci-fi author, who was born in the 1960s, I’m the luckiest from the luckiest generation.

I started writing sci-fi because I looked for a way to escape the dull life, and to reach out, with imagination, to the mysterious time and space that I could never truly reach. But then I realized that the world around me became more and more like science fiction, and this process is speeding up. Future is like pouring rain. It reaches us even before we have time to open the umbrella. Meanwhile, when sci-fi becomes reality, it loses all its magic, and that frustrates me.

Sci-fi will soon become part of our lives. The only thing I can do, is to push my imagination further to even more distant time and space to hunt for the mysteries of sci-fi. As a sci-fi author, I think my job is to write things down before they get really boring.

This being said, the world is moving in the direction opposite to Clarke’s predictions. In 2001: A Space Odyssey, in the year of 2001, which has already passed, human beings have built magnificent cities in space, and established permanent colonies on the moon, and huge nuclear-powered spacecraft have sailed to Saturn. However, today, in 2018, the walk on the moon has become a distant memory. And the furthest reach of our manned space flights is just as long as the two-hour mileage of a high-speed train passing through my city. At the same time, information technology is developing at an unimaginable speed. The entire world is connected via the internet and people have gradually lost their interest in space, as they find themselves increasingly comfortable in the space created by IT. Instead of an exploration of the real space, which is full of difficulties, people now just prefer to experience virtual space through VR. Just like someone said, “You promised me an ocean of stars, but you actually gave me Facebook.”

This reality is also reflected in science fiction. Arthur Clarke’s magnificent imagination about space has gradually faded away. People stopped looking at starry skies. In the sci-fi works today, there are more imagination about how we live in cyber utopia or dystopia. Writers focus more on various problems we encounter in reality. The imagination of science fiction is abandoning the vastness and profoundness that Arthur Clarke once opened up, instead people are now embracing the narrowness and introversion of cyberpunk.

As a sci-fi writer, I have been striving to continue Arthur Clarke’s imagination. I believe that the boundless space is still the best direction and destination for human imagination. I have always written about the magnitude and mysteries of the universe, interstellar expeditions, and the lives and civilizations happening in distant worlds. This remains today, although this may seem childish or even outdated. It says on Arthur Clarke’s epitaph, “He never grew up, but he never stopped growing.”

Many people misunderstand sci-fi as trying to predict the future, but this is not true. It just makes a list of possibilities of what may happen in the future, like displaying a pile of cobblestones for people to see and play with. Science fiction can never tell which scenario of the future will actually become the real future. This is not its job. It’s also beyond its capabilities. But one thing is certain: in the long run, for all these countless possible futures, any future without space travel is gloomy, no matter how prosperous our own planet becomes.

Sci-fi was writing about the age of digital information and it eventually became true. I now look forward to the time when space travel finally becomes the ordinary. By then, Mars and the asteroid belts will be boring places and countless people are building a home over there. Jupiter and its many satellites will be tourist attractions. The only obstacle preventing people from going there for good, will be the crazy price.
But even at that time, the universe is still unimaginably big that even our wildest imagination fails to catch its edge. And even the closest star remains out of reach. The vast ocean of stars can always carry our infinite imagination.

Thank you all.

这是他自己写的吗？读也是用英语读的？他英语很好？

[wh]

版主很用功，还做了功课

刚看了下，这本书是1981年出版的，其实这本书是一个名叫《科学小说译丛》的第一本，不过我不知道后来这个译丛有没有出后续的集子。这本书里除了《2001》之外还有几则短篇。原著据说是和电影同步的，一边拍一边写。我当然是先看的小说，电影要到后来很久才看到。

嗯，白天看了2001的wiki词条开头，晚上又读了导演kubrick和clarke的合作过程，很有意思。电影主旨是kubrick定的，然后通过朋友找能够实现这一科幻主题的作家。找到clarke后，clarke提供自己的几个短篇给kubrick参考。kubrick选中the sentinel作为主线。然后两人又看了其他相关的书和电影，一起讨论构思，创作新的情节，再加上clarke其他几个短篇里的情节，最后编出2001的剧本。同时也写了同名小说，不过按照合约，等到电影发行之后再出版小说。剧本以kubrick为主导，小说以clarke为主笔。kubrick主张nonverbal，让画面代替语言来刺激观众的深层意识；clarke则在小说里给科幻部分做出更清晰的解释。
两人一起合写小说/剧本肯定矛盾很多。我以前和同学一起翻译小说，就很相持不下，都觉得自己的翻译更好 以后再也不合作了，比单干更慢，还伤感情。原创的差异就更大了。
kubrick的电影情节很跳跃，常常看不懂。2001给我印象深的是开头，还有thus spake zarathustra的音乐。后面的情节都忘了，只记得结尾。

[wh]

刘慧慈很像范伟阿

2001我现在还没看过，只记得有一次房东在楼下看电视，我听到“哔，哔”的声音，感觉有些恐怖。我鼓起勇气下楼查看，发现他在看这部电影。

刘慧慈是谁？

[sugarbabylove]

刘慧慈是谁？

唉，我估计大脑短路了，我打那行字时用的是语音识别，不知道为什么下意识说了“刘慧慈”

不过现在你知道了，我没看过三体，和流浪地球。

[verdelite]

2001我看过电影，感觉莫名其妙。

书没读过。

[benadryl]

就是这个版本，是网上找的还是你自己的收藏？

[benadryl]

嗯，白天看了2001的wiki词条开头，晚上又读了导演kubrick和clarke的合作过程，很有意思。电影主旨是kubrick定的，然后通过朋友找能够实现这一科幻主题的作家。找到clarke后，clarke提供自己的几个短篇给kubrick参考。kubrick选中the sentinel作为主线。然后两人又看了其他相关的书和电影，一起讨论构思，创作新的情节，再加上clarke其他几个短篇里的情节，最后编出2001的剧本。同时也写了同名小说，不过按照合约，等到电影发行之后再出版小说。剧本以kubrick为主导，小说以clarke为主笔。kubrick主张nonverbal，让画面代替语言来刺激观众的深层意识；clarke则在小说里给科幻部分做出更清晰的解释。
两人一起合写小说/剧本肯定矛盾很多。我以前和同学一起翻译小说，就很相持不下，都觉得自己的翻译更好 以后再也不合作了，比单干更慢，还伤感情。原创的差异就更大了。
kubrick的电影情节很跳跃，常常看不懂。2001给我印象深的是开头，还有thus spake zarathustra的音乐。后面的情节都忘了，只记得结尾。

赞钻研

电影后面的故事就更多了，阴谋论甚至把这部电影和登月都扯上了关系。但咱这个版是严肃的哈，就先不聊这些了。说说电影本身吧。

我看2001的电影是很晚了，那个时候已经被好莱坞大片的CG洗脑过，所以第一次怀着膜拜的心情看这部神作的时候的反应是：就这？

相信很多后来才看这个片子的人都差不多会是这个反应（其实当年影院里播放的时候也差不多是这效果），包括那个令后人津津乐道的，号称电影史上最经典的蒙太奇——人猿扔出骨头，瞬间切换成飞船的镜头现在看上去也毫无惊艳之处。另外电影本身台词极少，情节晦涩，对剧情不了解的观众多半会觉得很boring。但二刷三刷的时候慢慢就看出感觉来了。

首先要说的是，这部电影是1968年拍摄的，当时登月还没有发生，卢卡斯的星球大战也是9年之后的事情（还没2001贵，2001花了1200万美元，星球大战花了1100万，当然这俩在当年都是绝对的大制作），用阿瑟克拉克的原话来讲：当时科学家们甚至都在争论当登月舱降落在月面的时候是否会沉下去。而库布里克硬是凭着想象力把空间站，登月舱的设计以及整个流程都给在电影里实现了，而且，所有的细节都和未来人们在真实的空间站以及登月的过程丝丝相扣。

网上分析评论这部电影的文章太多了，我也讲不出别的的花样，就说几个我后来刷了好几遍之后意识到/喜欢的一些细节：一个是宇航员们在飞船上看新闻用的都是平板电脑，和现在的iPad别无二致，光这份想象力就真是不可思议！还有宇航员们那个旋转重力舱真是酷极了！他们的饮食，餐盘，甚至刀叉这些细节你要仔细看的话都非常有趣。另外那时候可没有电脑特效，所以小物件失重的镜头是将其用透明胶粘在玻璃上然后工作人员缓缓移动玻璃拍出来的，因为实在没法子拍出来头发丝在失重时的效果，最后库布里克只能让航天仓中的乘务员戴上了个大大的帽子把头发藏起来。

这部电影还有书有趣的地方太多了，写着写着我又想念起它们来，不说了，再去刷一遍电影去。

[sugarbabylove]

就是这个版本，是网上找的还是你自己的收藏？

网上的，不过缺目录和序的几页。

我刚“倍速”看了这部电影，希望不是亵渎了大师之作。 其实剧情和音乐是优秀的，只是节奏对我来说太慢了。最后用餐和在床上的镜头没看懂。

[maverick]

早年忘了在哪儿看过小说（也许是电影翻译？）没看懂。
后来看了几眼电影就更加不喜欢。库布里克的电影基本是我最不喜欢的类型。

[wh]

唉，我估计大脑短路了，我打那行字时用的是语音识别，不知道为什么下意识说了“刘慧慈”

不过现在你知道了，我没看过三体，和流浪地球。

哦明白了。我以为刘慧慈是大刘哪个作品改编的影视剧主角
三体好像没有改编得特别好的版本。倒是网友自拍的几个动画短剧口碑最好。流浪地球我记得1的语文水平很差，不过场面壮观。2我好像没看，假期问问小朋友要不要一起看。