点进source链接，这个老奶奶作家/诗人关于第二语言，翻译，还有为什么选择写作，都说得超棒的！
比如说，文字实际上是一种magic trick……我的essay里刚刚写到我的梦想是做个巫婆，文字让我实现了这个逗逼的梦想……好开心哈哈哈哈！
本周六布朗小棕的面试就靠你了！
Is there an argument to be made that knowing other languages could be a liability for a writer?
I can't speak for other people, but that's definitely not the case for me, and I can't imagine how it could be the case for others, frankly. I think that the real danger is parochial monolingualism: you are trapped in a language so you don't have any margin of self-awareness about that language. That expands to cultural matters—you don't have a margin of self-awareness about your own culture and its assumptions. It's crucial to have at least one foreign language. Especially for writers. Writers need to be super, super, super conscious about the strangeness of language. One of the essential imperatives for a writer is to treat your own language as a foreign language.
It's sometimes difficult to hear the sounds of the words of your own language. To hear the sounds apart from their meaning.
It's hard to hear the sounds. And it's hard to hear the clichés because you are used to them and they sound natural to you. It's hard to hear the multiple meanings in certain words and the oddness of the grammatical possibilities in your own language. Unless you've studied another language and you become alive to the possibility of many different ways of construing reality.
It's about a relation to reality. One thing that I think is so exciting about grammar is that grammar is an ethical structure and a dynamic structure. What’s fundamental about reality? It's: Who is doing the action? Who is suffering the action? Who is participating in the action? Where is it happening? All this really matters politically, morally, emotionally, and erotically.