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《推销员之死》作者的布鲁克林

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【中国原创歌词网】《推销员之死》作者的布鲁克林 Arthur Millers Brooklyn 《推销员之死》作者的布鲁克林 When Arthur Miller first visited his country cousins in Brooklyn in the early 1920s, Midwood was not just a neighborhood, it was a description. Patches of wo

《推销员之死》作者的布鲁克林

Arthur Miller’s Brooklyn

《推销员之死》作者的布鲁克林

When Arthur Miller first visited his country cousins in Brooklyn in the early 1920s, Midwood was not just a neighborhood, it was a deｓｃｒｉｐｔion. Patches of woods stood thick enough near their East Fifth Street home that the boys could hunt squirrels, rabbits and other small game. There were muddy paths and tomato fields, and big sacks of potatoes in the cellar.

上世纪20年代初，当阿瑟·米勒(Arthur Miller)第一次到布鲁克林探望乡下的亲戚时，米德伍德（Midwood，意为丛林）不仅是一个社区，也是一片密林。在东五街的亲戚家附近是一片片枝繁叶茂的树林，男孩们可以捉到松鼠、野兔和其他小猎物。这里还有泥泞小路和番茄地，地窖里储藏着大袋的土豆。

Miller’s two salesman uncles — on whom he would base the character Willy Loman — were urban pioneers, planting roots in the borough just after World War I.

米勒的两个推销员叔叔——他后来创作的戏剧人物威利·洛曼(Willy Loman)的原型——是城市的拓荒者，第一次世界大战后不久就在布鲁克林扎了根。

The woods have been replaced by houses and streets, but much of what Miller loved and used as inspiration for his plays can still be found.

这些树林如今已经被房屋和街道取代，但许多米勒爱过、给他以创作灵感的东西并没有消失。

The centennial of Miller’s birth on Oct. 17, 1915, has put his name front and center in the New York theater world. Among revivals of his work, a spare, searing British production of “A View From the Bridge,” has drawn stellar reviews; “The Crucible,” starring Saoirse Ronan, starts previews in a few weeks; and a centennial celebration reading will be held at the Lyceum Theater in Midtown on Monday.

在出生于1915年10月17日的米勒的百年诞辰之际，他的名字被纽约的戏剧界摆在了最突出的位置。在复排的阿瑟·米勒的戏剧中，英国版的《桥上一瞥》(A View from the Bridge)以张力十足的表演赢得了如潮好评；西尔莎·罗南(Saoirse Ronan)主演的《萨勒姆的女巫》(The Crucible)将于几个星期后预演；阿瑟·米勒百年诞辰纪念朗诵会将于周一在纽约中城的兰心大戏院举行。

But nowhere is Miller more alive than in the streets of Brooklyn, from Ocean Parkway to Avenue M, to Coney Island and Brighton Beach, down the old Culver Line to Brooklyn Heights, over to the Navy Yard and the Red Hook piers.

然而为米勒的生命注入最多活力的地方，还是布鲁克林的大街小巷。从海洋公园大街到M大道，从科尼岛、布莱顿海滩、老卡尔弗线，到布鲁克林高地，海军造船厂和红钩码头。

Miller was born in Manhattan and lived as a boy in Harlem in a spacious apartment overlooking Central Park. His father, Isidore, a Jewish émigré from Poland, owned a clothing business that allowed the family a certain level of luxury: three bathrooms, a chauffeur-driven car and a summer place in Far Rockaway.

米勒出生于曼哈顿，童年期间生活在哈莱姆区一套可以俯瞰中央公园的大公寓里。他的父亲伊西多尔(Isidore)是波兰犹太裔移民，经营着一家服装厂，让全家享受着一定程度的奢侈：三个卫生间，一台配有家庭司机的汽车，以及在法罗克维(Far Rockaway)的度假别墅。

Before the stock market crash, the business began to fail, and so, in 1928, Isidore and his wife, Augusta — Izzie and Gussie — moved the family to the borough of churches and cheap rents. After a short stint at 1277 Ocean Parkway, the Millers bought for $5,000 a six-room house on East Third Street and Avenue M in the Parkville section, a couple of blocks from Gussie’s family.

在股市崩盘之前，米勒家的生意就已经开始衰败。1928年，伊西多尔和妻子奥古斯塔(Augusta)——简称伊琪(Izzie)和古西(Gussie)——把家搬到了以教堂和廉价出租屋为特色的布鲁克林。在海洋公园大街1277号住了一段时间后，米勒全家在东三街花5000美元购买了一栋六室的房屋，这里与古西的娘家只隔了几个街区。

In his 1987 memoir, “Timebends: A Life,” Miller writes about the wonder of moving to that dead-end street tucked between the Midwood and Gravesend sections. He was 13, an impressionable age, and was thrilled by the village-like feel of his neighborhood and its many characters. On weekends, he and his cousins would ride the wooden carriages of the elevated Culver line (now the F train) to Coney Island, where they would fish off the rocks for flounder and sea bass.

在1987年撰写的回忆录《时间枢纽》(Timmbends：A Life)中，米勒提到了搬到米德伍德和格拉夫森德(Gravesend)之间那条贫民窟街道的妙处。他那时13岁，已经开始记事，村庄的感觉和形形色色的人让他兴奋不已。周末，米勒和表亲会乘坐卡尔弗线（现在的地铁F线）的木车厢，到科尼岛的岩石上钓鲽鱼和鲈鱼。

In Holiday magazine, Miller wrote about his first job delivering bread for the local bakery for $4 a week, rising before the sun and riding his bike down Ocean Parkway, a wide, six-lane boulevard that had its own bridle path, used by people from the riding academy near Prospect Park.

在《假日》(Holiday)杂志上，米勒曾写到他人生当中的第一份工作：给当地的面包房送面包。他天不亮就起床，骑自行车沿着海洋公园大道递送，每周赚4美元。这是一条宽阔的六车道的大街，有自己的马道，供展望公园(Prospect Park)附近的骑术学校使用。

Miller spent $12 of that money on wood to build a back porch onto his family’s house, which did not quite connect to the kitchen. He planted tulips, roses, an apple tree and a pear tree.

米勒花12美元的工资购买木材，修了一条通向自家房屋的后门廊，这条走廊并没有连接到厨房。他还种起了郁金香、玫瑰，一棵苹果树和一棵梨树。

The tattered white clapboard and red brick house at 1350 East Third Street still stands, although the back porch is gone. The apple tree fell during a storm many years ago. Miller used it in his 1947 play “All My Sons,” his first hit, as a symbol for the family’s lost son.

东三街1350号破败的白墙板和红砖房依然挺立，不过那条后门廊已经不在。苹果树在多年前的一场风暴中折断。米勒在他的第一部成功之作《吾子吾弟》(All My Sons)中，用它来象征家庭中逝去的儿子。

His sister, the actress Joan Copeland, 93, visited the house about 10 years ago, around the time Miller died, and was happy to see his pear tree had grown as tall as the house. The building needed a paint job. “But we needed one back then, too,” she said with a laugh in a recent interview.

阿瑟·米勒的妹妹、演员琼·卡普兰(Joan Copeland)现年93岁，10年前米勒去世前后，她曾来看过这所旧宅。她很高兴地看到，米勒的梨树已经有房子那么高。房屋需要刷漆了。“我们住的时候就需要，”她在最近的采访中大笑着说。

“It was a happy home,” Ms. Copeland said. “We loved our parents and they loved us.”

“那是一个快乐的家，”卡普兰说。“我们和父母相亲相爱。”

Gussie also loved books and would read even when waiting in line in the neighborhood stores.

古西同样手不释卷，甚至在小区的商店排队时也在读书。

One of Ms. Copeland’s first memories is of her brothers, Arthur and Kermit, bouncing her between them atop their feet. “They treated me like a little toy,” she recalled.

在卡普兰的童年记忆中，哥哥阿瑟和克米特(Kermit)曾让她在两人的脚上跳来跳去。“他们把我当成了一个小小的玩具，”她回忆说。

One time, at Gussie’s urging, Arthur took Joan for a walk in the baby carriage and, inspired by passers-by admiring his beautiful sister, offered to sell her for $3.

有一次，在古西的要求下，阿瑟推着婴儿车里的琼出门散步，路人都夸妹妹漂亮，于是阿瑟突发奇想，提出以3美元的价格把妹妹卖给他们。

Later, Miller would hoist her over the fence at the end of their street to the tennis courts, where he taught her to play, and to a field that he sometimes mowed for 25 cents. The courts and the field are still there, with Washington Cemetery stretching behind them.

在一条通向网球场和田野的路上，米勒会把妹妹抱过栅栏，在网球场上带她玩耍。他也曾为了25美分的报酬在田野里除草。网球场和田野仍在，后面蔓延开来的是华盛顿公墓。

The neighborhood, once a mix of Jews, Italians and Irish, is now inhabited mostly by Orthodox Jews. Glatt Kosher delis, hat and wig stores and Moisha’s Supermarket dot Avenue M. The elevated train still rattles by, two blocks away.

这个社区曾经居住着犹太人、意大利人和爱尔兰人，如今主要居民是正统犹太人。格拉特犹太熟食店(Glatt Kosher delis)、帽子和假发商店，以及Moisha超市零散地开在M大道上。两个街区之外，高架铁路列车仍在哐啷哐啷地运行。

At Miller’s house recently, an Orthodox woman answered the door. She said that she remembered Ms. Copeland’s visit, but that Arthur’s pear tree was no longer alive, a victim of Hurricane Sandy. All that was left was a jagged stump.

最近拜访米勒的故居时，开门的是一位正统的犹太女性。她说，她记得卡普兰女士来过，但阿瑟的梨树已经死了，是飓风桑迪的受害者。如今只剩下一截参差不齐的树桩。

Nearly three miles away on Ocean Parkway in Brighton Beach stands Miller’s alma mater, Abraham Lincoln High School, built in 1930 and now surrounded by the Belt Parkway and towering Trump Village. Lincoln’s imposing classical facade has not changed much; inside, marble floors, walls and giant W.P.A. murals give it a stately air. Old wooden boards hang in the halls, with honor students’ names painted in gold for each year.

近三英里之外，在布莱顿海滩的海洋公园大道上，矗立着米勒的母校林肯高中。这所学校建于1930年，如今被带状公园大道(Belt Parkway)和高耸的Trump Village环绕。林肯高中气势雄伟、优雅古典的建筑外立面没有多少改变；内部是大理石地板、墙壁和美国公共事业振兴署(W.P.A.)资助创作的巨幅壁画，营造出庄严肃穆的氛围。大厅里挂着的旧木板上用金字写着荣誉校友的名字。

Miller, class of 1932, is conspicuously absent.

1932届毕业生米勒竟然不在其中。

Ari Hoogenboom, the principal there now, said the head of the English department, who taught until 1965, would brag that he nearly failed Miller, giving him a 65 because he couldn’t spell.

林肯高中现任校长阿里·胡根布姆(Ari Hoogenboom)说，1965年退休的一位英语学科负责人常常炫耀自己曾经差点让米勒不及格，因为他的拼写错误，只给了他65分。

“Arthur Miller didn’t love Lincoln,” Mr. Hoogenboom acknowledged.

“阿瑟·米勒不喜欢林肯高中，” 胡根布姆承认道。

Lincoln, however, loves Miller.

不过，林肯高中喜欢米勒。

“The Crucible,” a play about the Salem witch trials, widely seen as an allegory of McCarthy-era paranoia, and “A View from the Bridge” are required reading, and teachers make sure students know not only Miller, but also the novelist Joseph Heller, the Nobel laureate Arthur Kornberg and the singer Neil Diamond, other famous alumni.

讲述萨勒姆审巫案的剧本《萨勒姆的女巫》被认为是对麦卡锡时代全貌的映射，它和《桥上一瞥》被列为必读书目。学校努力确保学生们不仅知道米勒，还知道小说家约瑟夫·海勒(Joseph Heller)、诺贝尔奖得主阿瑟·科恩伯格(Arthur Kornberg)、歌手尼尔·戴蒙德(Neil Diamond)以及其他知名校友。

Miller kept a low profile at Lincoln. He didn’t write for its newspaper, The Lincoln Log. Beneath his yearbook photo he wrote that he would attend Stanford University, though his grades were not good enough. The entry also said he was in the French Club, was on the swim team and, like Biff in “Salesman,” had played football. It was on the school’s football field, now covered in artificial turf, that Miller ripped a ligament in his knee, which kept him out of World War II.

米勒在林肯高中十分低调。他从未给校报《林肯日志》(The Lincoln Log)写过文章。在他毕业纪念册的照片下面，他写到想上斯坦福大学，不过，他的分数不够。纪念册上还显示，他参加了法语俱乐部，是游泳队成员，就像《推销员之死》里的比夫(Biff)一样，他也玩橄榄球。在如今铺着人工草坪的学校橄榄球场上，米勒弄伤了膝盖上的一条韧带，因此没有参加“二战”。

There are 2,200 students at the school now. In the 1930s, there were as many as 7,000, forcing the administration to graduate two classes a year. (Miller got his diploma in January.) It was easy for a student to get lost in such a crowd, said Mr. Hoogenboom, especially during the Great Depression. Miller’s parents did not come to his graduation ceremony.

林肯高中现在有2200名学生。上世纪30年代，学生数量多达7000人，学校的管理人员不得不每年让两届学生毕业（米勒是1月份毕的业）。胡根布姆说，学生在这种情况下很容易迷失方向，尤其是在大萧条期间。米勒的父母没有参加他的毕业典礼。

As the Depression tightened its hold, worries grew in the small white house. Miller’s grandfather moved in and shared a room with him, adding to the tension. Unemployed young men played touch football on the side streets, and suicides were not uncommon in the neighborhood.

随着大萧条的加剧，米勒家的白色小房子变得愁云惨淡。米勒的祖父搬了进来，跟他住一个房间，气氛变得更加紧张局促。失业的年轻男子在侧街上玩触身式橄榄球，街区里自杀事件屡有发生。

Gussie played bridge for money. When the games were raided by the police, she would sweet talk them into letting her go home to cook dinner.

古西靠打桥牌赚钱。当警察突然来检查时，她会说些甜言蜜语，让他们允许自己回家做饭。

Despite his grades, Miller persuaded the University of Michigan to accept him. Christopher Bigsby, one of his biographers, said Miller found his writer’s voice in Michigan, “though it was growing up in Brooklyn, during the Depression, with suicides on his street, that became a major influence on his work.”

尽管米勒成绩不太好，他还是说服密歇根大学录取了自己。他的传记作者之一克里斯托弗·比格斯比(Christopher Bigsby)说，米勒在密歇根显露出成为作家的潜质，“不过，在布鲁克林童年的经历、大萧条、街上的自杀事件，这些都对他的作品产生了重要影响。”

After graduating and marrying his college sweetheart, Mary Slattery, Miller returned to Brooklyn in 1940 and moved in with her and her roommates in a seven-room apartment at 62 Montague Street in Brooklyn Heights, an impressive Queen-Anne-style building. Built in the 1880s, the 10-story red brick, mortar and terra cotta building near the Promenade is now called the Arlington.

毕业之后，米勒跟大学时的女友玛丽·斯莱特里(Mary Slattery)结了婚，并于1940年回到布鲁克林，跟玛丽及其室友住在布鲁克林高地Montague大街62号的七个房间的公寓里，这是一座令人印象深刻的安妮女王式建筑。这座10层高的红砖砂浆赤土建筑建于19世纪80年代，位于布鲁克林高地步道附近，现在叫做Arlington。

The poet W.H. Auden lived around the corner at 1 Montague Terrace.

诗人W·H·奥登(W.H. Auden)曾经住在附近的Montague Terrace1号。

“The neighborhood was a haven for artists because it was one of the cheapest places to live in New York,” said Stephen Marino, a professor at St. Francis College in Brooklyn Heights and editor of The Arthur Miller Journal, which celebrates his life and work. Back then, there was no Brooklyn-Queens Expressway separating Brooklyn Heights from the East River. Steps ran down a hill to the waterfront.

“这片社区是艺术家的避风港，因为它是全纽约租金最便宜的地方，”布鲁克林高地圣弗朗西斯学院(St. Francis College)教授、《阿瑟米勒学刊》(The Arthur Miller Journal)主编斯蒂芬·马里诺(Stephen Marino)说。这本杂志主要宣传米勒的生平和作品。当时，布鲁克林高地和东河之间没有布鲁克林皇后高速公路。沿着台阶就可以下山并抵达码头。

It was here that Miller began writing his first Broadway play, “The Man Who Had All the Luck” (it closed after four performances in 1944), as well as his first radio plays, including his first broadcast, “Joe, the Motorman,” about a desperate subway driver who rides all day between Coney Island and Manhattan.

在这里，米勒开始写作他的第一部百老汇戏剧《天之骄子》（The Man Who Had All the Luck，在四场演出后停演），以及他的第一部广播剧《摩托车手乔》(Joe, the Motorman)。该剧讲的是一位每天在科尼岛和曼哈顿之间往返的绝望的地铁司机的故事。

Over the next decade and a half, the Millers moved four times, each place just blocks from the last. Dr. Marino attributes this to Miller’s state of mind. “He was unsettled,” he said. “He was still finding himself as a person.”

接下来的15年里，米勒家搬了四次家，每次都只是搬到几个街区之外。马里诺把这归因于米勒的心态。“他还是没有稳定下来，”他说，“他仍在寻找自己。”

In 1941, the couple moved to 18 Schermerhorn Street, one of the first single-family homes in the Heights to be converted into apartments. The newly remodeled flat ran through the whole floor and was spacious. From his “quiet, leafy village,” Miller watched the ships come and go in the harbor and observed the neighborhood diversity: Muslims ate in the garden behind his apartment, Mohawk Indians lived a few blocks away, working to build Manhattan’s skyscrapers and bridges.

1941年，米勒夫妇搬到了舍默霍恩街18号，布鲁克林高地第一批被改造成公寓的独户住宅。新的公寓占了一整层，空间很大。透过他那“安静的、树木繁茂的村庄”，米勒看到了港口中进出的船只和多元化的社区：在他公寓后面的花园里用餐的穆斯林，还有住在几个街区之外的莫霍克印度人，他们的工作是建设曼哈顿的摩天大楼和桥梁。

Though he was writing radio plays, Miller worked nights at the Brooklyn Navy Yard for nearly two years, repairing ships.

米勒在写广播剧的同时，晚上还在布鲁克林海军造船厂修理船只，这份工作做了差不多两年。

During World War II, the Navy Yard was a center of America’s industrial might. It was a chaotic, clanking world of cobblestone streets crammed with 70,000 men — and women — pushing through its turnstiles with tin lunchboxes and thermoses, clocking in and out 24 hours a day, seven days a week. There were belching smokestacks, dry docks filled with damaged battleships and aircraft carriers, and the New York skyline and Williamsburg Bridge in the distance.

“二战”期间，这座海军造船厂是美国工业的中心之一。这是一个喧嚣而混乱的世界，鹅卵石铺就的道路上挤着7万男女工人，他们手持锡铁饭盒和热水壶，推动旋转闸门，打卡进出，天天如此。大烟囱吐着汽，干船坞上到处是破损的舰船和航空母舰，远处可以看见纽约的天际线和威廉斯堡大桥。

Based on his time there, Miller wrote a short story in 1966, “Fitter’s Night,” about a man whose goal is to avoid work in the busy yard, but who ends up being a hero.

1966年，米勒根据在造船厂的经历创作了短篇小说《钳工之夜》(Fitter’s Night)。故事中主人公原本想躲避在繁忙的造船厂工作，最后却成了英雄。

“The shipfitter’s helper,” Miller wrote, “the burner, the chipper, the welder, painters, carpenters, riggers, drillers, electricians — hundreds of them might spend the first hour of each shift asking one stranger after another where he was supposed to report.”

“钳工的助手，”米勒写道，“烧炭工人、削片工、焊工、油漆工、木工、装配工、钻工、电工——几百名工人在每个班次的第一个小时都在询问应该向谁报告。”

“Someone must know what was supposed to be happening,” Miller wrote, “if only because damaged ships did limp in under tow from the various oceans and after days, weeks, or sometimes months they did sail out under Brooklyn Bridge, ready once again to fight the enemy.”

“肯定有人在掌控着一切，”米勒写道，“因为来自不同大洋的破损舰船会缓慢地行驶回来，在几天、几个星期乃至几个月后，它们又会从布鲁克林大桥下行驶出去，再次做好准备抗击敌人。”

These days, the Navy Yard is an industrial park, with artisans and manufacturers occupying the original buildings. Though it is not nearly as crowded, Miller would recognize its warehouses and dry docks.

如今，造船厂变成了一座工业园区，原有建筑已被艺术家和制造商们占据。尽管不像以往那样拥挤，米勒应该能认得出那些仓库和干船坞。

In 1944, he moved to a wood-paneled duplex at 102 Pierrepont Street, where, coincidentally, Norman Mailer’s parents lived. Whenever he was home from war, Mailer lived upstairs. One day, Mailer approached Miller and said he had seen “All My Sons.” The play, his first Broadway hit, was about a factory owner accused of making faulty parts for wartime planes. “I could write a play like that,” Mailer bragged. Miller just laughed.

1944年，米勒搬进了Pierrepont大街102号的一套拥有木质墙板的复式公寓，巧合的是，诺曼·梅勒(Norman Mailer)的父母也住在那里。梅勒每次从战场回到家，都会住在楼上。一天，梅勒找到米勒，说自己看了《吾子吾弟》。这部戏是米勒在百老汇的第一部成功之作，讲的是一名工厂主被指控生产了有问题的战机零件的故事。“这样的剧本我也能写啊，”梅勒夸口说。米勒笑而不语。

After some financial success with the play, Miller, by then the father of two children, Jane and Robert, bought a four-story brownstone at 31 Grace Court in 1947. The Millers rented out the bottom two floors to the president of the Brooklyn Savings Bank.

凭借这个剧本赚到了一些钱之后，米勒于1947年购买了Grace Court 31号的一栋四层的褐石房屋。米勒把楼下两层租给了当时的布鲁克林储蓄银行的行长。

“Death of a Salesman,” which traces the last day in the failed life of an aging, regretful man, was conceived and finished on Grace Court, though the first draft was written in the family’s new country house in Roxbury, Conn., in a studio Miller built himself.

《推销员之死》描述了一位老迈而充满悔恨的男子失败人生的最后一天，米勒在Grace Court的房子里构思和完成了这部作品，但第一稿是在全家位于康涅狄格州罗克斯伯里的新的乡村住宅中写成的，米勒在那里为自己建了一个工作室。

While living on Grace Court, Miller took long walks over the Brooklyn Bridge and under it, to the working docks where he noticed graffiti that said, “Dove Pete Panto,” Italian for “Where Is Pete Panto?”

在Grace Court大街居住期间，米勒经常在布鲁克林大桥和桥下长时间散步，并注意到了一些仍在使用的船坞墙上的涂鸦：“皮特·潘托在哪里？”

“It was down near the piers that this mysterious question covered every surface,” he wrote in “Timebends,” adding, “it was not hard to guess that it was still more evidence of the other world that existed at the foot of peaceful, old-fashioned Brooklyn Heights, the sinister waterfront world of gangster-ridden unions, assassinations, beatings, bodies thrown into the lovely bay at night.”

“就在码头附近，这个神秘的问题占据着每一面墙壁，”他在《时间枢纽》中写道，“不难猜测，还有更多证据证明，在平静老派的布鲁克林高地脚下，存在着另一个世界，那是邪恶的码头区世界，由暴徒把持的工会，谋杀，斗殴，夜里有人把尸体扔进景色宜人的海湾里。”

Mr. Panto had been battling the International Longshoremen’s Association, and disappeared, his body eventually turning up in New Jersey. Miller read about Mr. Panto’s case in the press and tried talking to the longies, or longshoremen, on Columbia Street in Red Hook to write a screenplay.

潘托曾与国际码头工人协会抗争，他的尸体最终在新泽西被发现。米勒在媒体上读到了潘托的案子，试图与红钩的哥伦比亚大街的码头工人交谈，打算创作一个剧本。

“He tried asking questions but people thought he was a company spy or some kind of cop,” Nathan Ward, author of “Dark Harbor: The War for the New York Waterfront.” said in an interview this month.

“他想要问一些问题，但人们把他当成了企业间谍或警察，”《黑暗的港口：纽约码头的战争》（Dark Harbor: The War for the New York Waterfront）的作者内森·沃德(Nathan Ward)本月接受采访时说。

With help from a local lawyer, Vincent Longhi, Miller got to know some of the longshoremen, visiting their watering holes and eventually their apartments. The only longie bars still standing are Montero, on Atlantic Avenue, and Sunny’s, on Conover Street. The bordello, the red building that some sailors would visit as soon as they stepped off their ships, still stands at the foot of DeGraw Street, not far from the cranes and modern, containerized port and marine terminals.

在本地律师文森特·隆吉(Vincent Longhi)的帮助下，米勒认识了一些码头工人，参观了他们的聚会场所，还去了他们的公寓。码头工人常去的酒吧中，如今只剩下亚特兰大大街的Montero和位于康诺弗街的Sunny’s。妓院的小红楼仍然矗立在DeGraw大街脚下，那是当年有些水手一下船就会去的地方，不远处就是起重机、现代的集装箱港口，以及海运码头。

Back then, foremen would organize the shape-ups near each pier and choose who would work that day. America ended, Miller wrote, on Columbia Street.

当时，工头们会在码头附近挑选临时工，决定谁在哪天工作。美国完了，米勒在哥伦比亚大街上写道。

“There were certain clothing stores and barbershops, even places to buy grapes for winemaking, even if you weren’t making wine, where you were ‘encouraged’ to go by the union,” said Mr. Ward, describing the union’s power over the workers.

“有些服装店、理发店，甚至卖酿酒的葡萄的地方，虽然你不酿葡萄酒，工会也‘鼓励’你去这些地方，”在描述工会对工人拥有的权力时，沃德说。

Before Mr. Longhi died in 2006, he told Mr. Ward about a trip to southern Italy he and Miller took in 1948. Mr. Longhi told Miller about the two illegal immigrants who became characters in “A View From the Bridge,” the story of a longshoreman’s taboo love for his niece. Mr. Longhi himself was the model for the narrator in the play.

在2006年去世之前，隆吉曾跟沃德说起他和米勒1948年在意大利南部的旅行。隆吉跟米勒讲了两个非法移民的故事，他们后来成了《桥上一瞥》的人物原型。这个剧本讲的是一个码头工人对侄子的禁忌之爱。隆吉本人就是剧本中叙述者的原型。

From his waterfront research, Miller wrote “The Hook,” a screenplay based on Mr. Panto’s life, which he pitched in Hollywood with Elia Kazan in 1951. The screenplay was never produced, but he met Marilyn Monroe on that trip west.

根据在码头的调查，米勒以潘托的经历为素材，创作了《钩子》(The Hook)。1951年，米勒在好莱坞向伊利亚·卡赞(Elia Kazan)推荐了这个剧本。这部剧没有被排演出来，但在这趟西部旅行中，米勒遇见了玛丽莲·梦露(Marilyn Monroe)。

That same year, Miller, tired of being a landlord, sold the Grace Court house to W.E.B. Dubois. He moved with his family to their final home together at 155 Willow Street, a Federal-style, red brick house two blocks from where Truman Capote would soon live.

同年，厌倦了当房东的米勒把Grace Court的房子卖给了W·E·B·杜波依斯(W.E.B. Dubois)。米勒把全家搬到了他们一起拥有的最后的一个家，位于Willow大街155号的一栋联邦式的红砖房屋。不久之后，杜鲁门·卡波特(Truman Capote)搬到了两个街区以外的地方。

Among the oldest in the neighborhood, the house was built in the 1820s. In his top-floor office, Miller wrote “The Crucible” and an early version of “A View From the Bridge.” Trying to be a good husband, and guilty about his feelings for Monroe, Miller installed kitchen cabinets and a tile floor in the hallway.

这栋房子是社区中最古老的一栋，建于19世纪20年代。在顶层的办公室，米勒创作了《萨勒姆的女巫》，以及《桥上一瞥》的早期版本。出于做丈夫的责任感，以及对梦露的感情带来的愧疚感，米勒为家里装了橱柜，在走廊铺了地砖。

According to Miller, the marriage was already floundering when he met Monroe. He moved from Brooklyn to Manhattan in 1955, where he spent time in a West Side brownstone and in Monroe’s Waldorf Tower apartment. They eventually moved to a house in Roxbury.

按照米勒的说法，这段婚姻在他遇见梦露的时候已经摇摇欲坠。1955年，米勒从布鲁克林搬到了曼哈顿，他在West Side的褐石房屋住了一段时间，后来又住进了梦露在Waldorf Tower的公寓。他们最终搬进了罗克斯伯里的一栋住宅。

In the spring of 1956, he briefly took up residence in Nevada, divorced his wife and promptly married Monroe. Their marriage lasted five turbulent years, during which he wrote the screenplay for the film “The Misfits” for her.

1956年春天，米勒在内华达住了一小段时间，与妻子离了婚，并迅速与梦露结婚。他们五年的婚姻中风波不断，在此期间，他为她创作了电影剧本《乱点鸳鸯谱》(The Misfits)。

Miller remained close to his children, who continued to live on Willow Street with their mother.

米勒和孩子的关系仍然亲密。孩子们那时仍旧与母亲住在Williow大街上。

After he married Monroe, Miller took her to meet his parents in the house where he had grown up. His sister remembers the neighborhood children climbing on one another’s shoulders to peek through the windows for a look.

结婚后，米勒带着梦露到童年的家中看望父母。他的妹妹还记得邻居的孩子们骑在肩膀上在窗缝偷看梦露时的情景。

“My mother would open the window and yell at them to go away,” Ms. Copeland said.

“我的母亲会打开窗户，把他们轰走，”科普兰说。

The Willow Street house is still owned by the family who bought it in 1982 from Miller’s first wife, who moved to nearby Monroe Place. On a recent visit, the owner offered a tour of the first floor, with its graceful archway in the entrance hall, and its black marble fireplaces in both the living room and dining room. The house, with its maid’s quarters and strip kitchen, had undergone a major renovation.

1982年，米勒的第一任妻子把Willow大街的房子卖给了房子现在的主人，然后搬到了附近的Monroe Place。最近的一次访问中，房主邀请我们参观了房子的一层。门厅里修建了优雅的拱门，起居室和餐厅里是黑色的大理石壁橱。这栋房子配有女佣宿舍，厨房狭长，经历了大规模的翻修。

Though Miller moved out of New York and lived in Roxbury for the rest of his life, his work and characters still have that accent that can be found only in Brooklyn, along with particulars of the borough: the Brooklyn Paramount, the bowling alley on Flatbush Avenue, St. Agnes Church and Red Hook, “the gullet of New York.”

尽管米勒离开了纽约，一直住在罗克斯伯里，他的作品和角色仍然有那种布鲁克林特有的腔调，以及这个区的独特印记：布鲁克林派拉蒙剧院、Flatbush大街的保龄球场、圣阿格尼丝教堂，以及红钩，“纽约的咽喉”。

The actor Brian Dennehy first met Miller in Brooklyn in 1988 while performing in a production of Chekhov’s “The Cherry Orchard” at the Brooklyn Academy of Music with Miller’s daughter Rebecca (the child from his third marriage, to the photographer Inge Morath).

演员布莱恩·丹尼希(Brian Dennehy)1988年第一次在布鲁克林见到米勒，当时他正在布鲁克林音乐学院(Brooklyn Academy of Music)与米勒的女儿丽贝卡（Rebecca，与摄影师英格·莫拉斯[Inge Morath]的第三次婚姻的女儿）演绎契诃夫的《樱桃园》(The Cherry Orchard)。

Miller and Mr. Dennehy, who played Willy Loman in “Death of a Salesman” a decade later, hung out in bars together, though Miller wasn’t a heavy drinker. “He was a very serious man,” Mr. Dennehy said. But he loved to laugh and tell stories, and he told them “in a real Brooklyn accent,” Mr. Dennehy recalled, noting: “It was a very sophisticated version of the accent. He used big words. But the accent was still there.”

米勒和丹尼希常常一起去酒吧，虽然米勒并不怎么喝酒。10年后，丹尼希在《推销员之死》中饰演了威利·洛曼。“他是一个非常认真的人，” 丹尼希说。他喜欢大笑和讲故事，而且是“用正宗的布鲁克林口音”，丹尼希回忆说，并强调， “他的布鲁克林口音精致老练。他用宏大的词汇。但仍然有口音。”

Gregory Mosher, who directed a Broadway production of “A View From the Bridge” starring Liev Schreiber and Scarlett Johansson five years ago and is the director of the centennial reading on Monday, said that when we see Brooklyn, we see Miller.

格里高利·莫舍(Gregory Mosher)五年前在百老汇执导了《桥上一瞥》，主演是列维·施瑞博尔(Liev Schreiber)和斯嘉丽·约翰逊(Scarlett Johansson)，他也是周一百年诞辰朗诵会的导演。他说，当我们看见布鲁克林，也就看见了米勒。

“Brooklyn is Miller’s waterfront, or the Loman house being dwarfed by new buildings, and that little garden he’s planting,” Mr. Mosher said. “He made us see a place differently, and that’s a trick not many artists can pull off.”

“布鲁克林是米勒的码头，是洛曼黯淡无光的旧房子，也是他种下的小花园，”莫舍说。“他让我们以不同的方式看待这个地方，这是许多艺术家做不到的。

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