Most of Guo Xuebo's other fiction works arealso tragedies caused not so much by the desert orany mysterious force as by man himself. They im-part, therefore, a profound and serious message formankind.
But Guo Xuebo's tragedies are a clear cutabove ordinary tragedies. There is much to medi-tate upon in his fiction, which inspire rage, respector admiration for the strength of ordinary men andwomen. His tragedies are unique because he has in-corporated the philosophy of religion in his narra-tion. At the beginning of one story he quotes thefollowing words from a Buddhist scripture, "Thereis no peace in the human world, which resembles afiery residence. " The "fiery residence" in his story,the desert, is dominated by men's struggle, care,anxiety and fear, bound up with a desire for sur-vival, yet in the end destruction is inevitable.
Guo Xuebo describes the desert flora and fau-na in detail, not just because they are rare and pre-cious or because he likes to use them as a foil for hischaracters, but because " all animate things in the葬》中雲燈喇嘛所說：“沙漠裏凡是有生命的東西都一樣可貴，不分高低貴賤。”
郭雪波現實主義的小說，不僅得力於他的獨特的生活經曆，也因為他有深厚的文學修養。他喜歡並認真閱讀了傑克·倫敦、福克納、屠格涅夫、梅裏美等強而有力的作家的作品。結構現實主義也對郭雪波頗有影響。為了和電影爭取讀者，結構現實主義往往采取多層次、多角度的寫法，使小說具有立體感，《沙狼》就有三條線索交叉進行：金嘎達老漢、阿木《知識分子》和沙狼。長篇《火宅》以你我他三種眼光寫書中的人和事，以“黑沙豹”與“獨眼女”的命運為線索，采取多層次、多角度的立體交叉手法，展現了風雲變幻、狼奔泵突的沙漠生活，塑造了眾多人物形像。desert are equally precious", as Yundeng Lama saysin "The Sand Burial".
Guo Xuebo's realistic fiction has arisen fromboth his particular life experience and his solidfoundation in literature. He has read and appreci-ated Jack London, William Faulkner, Turgenev,Prosper Merimee, etc. He is also much influencedby structural realism. In competition with the filmindustry, structural realists adopt a multi-layeredapproach, with the narration taking differentpoints of view in order to achieve a three-dimen-sional effect. Thdre are three entwined themes in"The Desert Wolf": Old Jingad, Ahm and DesertWolf. The Fiery Residence adopts three angles,taking the story of Black Sand-Leopard and One-eyed Woman as the central theme. The style is wellsuited to the complex life of the desert.Translated by Wang Chiying忠實翻譯的多種手法
溫晉根
翻譯的第一件事就是“忠實”，也就是表達出原文的意思，不要走樣。這並不總是容易做到的。《沙狐》的英語譯文用了不同手段忠實地再現原文內容。比如，這篇小說裏用到一個詞“放生”，這個詞並不生僻，一般人都知道它的意思是把捉住的動物放了。查查詞典，也能得到同樣的解釋。例如《現代漢語詞典》的解釋：
放生把捉住的小動物放掉，特
指信佛的人把別人捉住的魚烏等買
來放掉。
《漢英詞典》的解釋是：
［放生］free captive animals;
( of Buddhists) buy captive fish or
birds and set them free.
這是“放生”這個詞一般情況下的意思。但詞語在活的話語中意義常常會有細微的變化。請看本篇小說中“放生”出現的上下文：
“爸爸，你看，那邊跑的是啥？”小
沙柳一上蛇子什麼都問。
“一隻跳兔。生活在沙蛇上的小
動物。”
“爸，逮住它，我要玩！
“孩子，不能逮它。咱們這兒，一
裸小草，一隻小蟲子都要放生。”
“放生？為啥？”
“因為咱們這兒活著的東西太少
了。孩子，在這裏，不管啥生命互相都
是個依靠。等你長大就明白了。”
這裏“放生”顯然並不是捉住了再放掉的意思，而是給動物一條生路，讓它們活，不要捉的意思。譯文沒有死扣“放生”這個詞，卻準確和杏文母從書地傳達出了它在這篇小說中的意思
"What isthere, daddy?"that runningasked the daughter. She was always asking aboutthe sand dunes.
"A hare. A small animal thatlives in the dunes. "
"Catch it, daddy. I wantit.
"No. We mustn't do that,child. We mustn't hurt a singleblade of grass or insect here. "
" Why?"
"Because we have so few liv-ing things here, and life dependson other life. You'll understandwhen you grow up. "
翻譯要準確，還要根據不同的上下文搭配選用盡可能地道《idiomatic》的表達法。例如：
白天酷熱、夜晚又寒冷的沙漠氣
候，毀了他的支氣管和肺，他患了嚴
重的哮喘病，腰腿也日益不中用了。
“不中用”一詞，《漢一英詞典》上的譯文是：unfit for anything: no good; useless．並給出例句：
這鐵不中用，This spade isno good…我老了，不中用啦！I'm get-ting old and useless !
可是如果這裏也用這類的表達法，卻不夠味。譯者用了failing一詞， 比useless, nogood, unfit for anything等好得多：
The hot days and cold nightsof the desert hurt his windpipeand lungs and gave him bad asth-ma. His back and legs were fail-ing too.
有時譯文與原文字麵並不處處對應，也不失準確。請比較：
“爸，你不能去，你不能去呀！”沙
柳乞求著， 才卜過來，跪在父親的腳邊，
抱著他的雙腿。
" You mustn't go, dad.please. " she begged, throwing her-self at his feet and hugging hislegs.
原文的“撲過來”、“跪在父親的腳邊”兩個動作，譯文雖然字麵上沒有“跪”字，卻包含在throw herself at his feet中了。如果譯成throw herself at him and knelt down at hisfeet反而顯得不夠精煉《注意原文是精煉的》。
譯者還善於巧妙地處理一些漢語特有的表達方式：如：
“峨……”老沙頭看一眼大胡子，琢磨著他“隨便轉轉”的意味，心裏“格嘮”了一下， 目光隨即落到老主任肩上背著的那杆老獵槍上。
“格哈”本來是個摹擬聲音的詞，作家用在這裏表示心裏猛得‘驚。這是地道、生動的漢語口語的表達方式。譯者沒有被這個詞難住，用地道的英語習語輕巧地表達出原文的內容和意味：
" Well一”Sandy looked athim, pondering what he had said一his heart had missed a beat atthat "just take a turn”一and hisglance fell on Beardy's shotgun.
但是， 由於漢語民族和英語民族語言文化的差異，要想處處株兩悉稱準確也是很難做到的。有時不得不有所取舍。比如：
他為報仇當了土匪， 入了“黑河流子”《解放後流竄於關裏關外的土匪》並為此蹲的大牢等等。這裏“黑河流子”是方言，即使中國人，也不是人人都懂，因此作家在原文中加了注解。這類詞語富有地方特色。但譯成英語，卻不可能原原分分保留這種中國的地方特色了《好比普通話的“我”與山東方言的“俺”，在英語中大約也隻好都譯為另外，“黑河流子”在整篇小說中隻出現一次，是偶爾提及。如果譯成下邊這樣：
to avenge his parents hehad joined a group of "black rivervagabonds" (bandits who wan-dered in the Northeast and North Chi-na in the early years of the Peo-pie's Republic of China) but hadbeen sent to prison for it
用一些篇幅來說明“黑河流子”，雖然“準確”一些，但在譯文中顯得很突出，與原文中一帶而過的效果並不完全相同。小說譯者譯成下邊這樣，原文內容自然難免有點“損失”：
he had joined a group of ban-dits to avenge his parents but hadbeen sent to prison for it.
權衡兩種譯文的得失，也許後一種譯文好些。
有的詞卻是照原文譯出為好：
“老夥計， 日子過得不賴吧？”大胡子主任胡子還是那麼濃密，還是那麼直率。
“湊合著活口貝。”
“湊合著活？承包了這麼一大片蛇子，又是草木褲，又是沙打旺，沙打旺草籽一斤就是兩塊八！你快發冒泡了吧，啊？”好像承包給老沙頭的是畝產超千金的黃金土地，而那些植物又像雨後的春筍般會生長一樣，…
"How have you been getting a-long, old chap?" The center chiefstill had a bushy beard and was justas straightforward as ever.
"So so.
"Only so so? With all the landyou've contracted and all you'vegrown? Why, the seeds alone willfetch five yuan sixty a kilo. You'llbe rolling in money. " He spoke asif the land would yield gold andcrops shoot up like bamboo after
譯文略去了“草木揮”、“沙打旺”這兩種沙漠上特有的植物，原文表現的沙漠地方特色就減弱《當然譯者也會有譯者的困難，比如工具書中找不到，而譯稿又必須在一定時間內完成，這些是普通讀者不了解的》。
至於一些關鍵性的詞語，最好不要一帶而過，必要時甚至可以加注解。如：
這兩年，這裏興起了承包和落實責任製的熱風。
In the last two Fears peoplehad begun to contract land and beresponsible for its output.