孫在

“有沒(méi)有發(fā)現(xiàn)，你很多襪子少了一只？”

“是呀是呀，我抽屜里的好多襪子都只剩一只啦！”

“知道另一只襪子去哪里了嗎？有一群襪子精靈住在我們家，他們最愛(ài)吃襪子，特別是棉線襪子和羊毛襪子，嗯，如果有點(diǎn)味道……那就更好了。不過(guò)他們只拿走一只襪子，給你留下另一只?！?/p>

“我丟的襪子就是棉線的！”

“你想不想找到襪子精靈？襪子精靈平時(shí)是看不見(jiàn)的，他們像變色龍一樣‘隱身了，世界上只有兩個(gè)人見(jiàn)過(guò)他們……”

我用這樣的一段對(duì)話來(lái)“引誘”家里的小男孩兒來(lái)讀這套書。聽(tīng)到最后一句，他已經(jīng)按捺不住要尋找襪子精靈的心情了。

這套“襪子精靈”有三本——《奇怪的襪子精靈》《襪子精靈回來(lái)了》《永遠(yuǎn)的襪子精靈》，它與《鼴鼠的故事》一樣，是家喻戶曉的捷克國(guó)寶級(jí)童書，其中文簡(jiǎn)體版剛剛由浙江文藝出版社推出。

4月28日，在浙江文藝出版社副總編輯柳明曄的辦公室里，我看到了“襪子精靈”。就在一周前的4月21日，這套書剛在印刷廠加急制作完畢，第二天她就拎了一大箱去了北京。4月25日，在捷克駐華大使館有一場(chǎng)中捷建交70周年慶?；顒?dòng)，這些書到了現(xiàn)場(chǎng)嘉賓的手中。捷克總統(tǒng)澤曼、捷克文化部長(zhǎng)很高興地給三本書簽名祝賀。

為了更好的品質(zhì)，寧愿等一等

說(shuō)起來(lái)，浙江文藝出版社與這套書的“結(jié)識(shí)”有些偶然。

在2017年的BIBF（北京國(guó)際圖書博覽會(huì)）上，在多部圖書的版權(quán)洽談結(jié)束之后，柳明曄和同事難得有了一點(diǎn)自己的時(shí)間，就在博覽會(huì)現(xiàn)場(chǎng)四處逛逛。正好，“襪子精靈”一書的插畫師加林娜·米克林諾娃正在做這本書的推介活動(dòng)。柳明曄一下子就被“襪子精靈”的插畫吸引住了。

對(duì)捷克文學(xué)，柳明曄情有獨(dú)鐘，她說(shuō)捷克雖然面積不大，但它是個(gè)文學(xué)大國(guó)，出了卡夫卡這樣的大家?！啊洱B鼠的故事》影響了很多人，也讓捷克的兒童文學(xué)贏得了人們的尊敬和喜愛(ài)，‘襪子精靈和《鼴鼠的故事》齊名，我很看好這套書?！?/p>

2018年8月，電影《奇怪的襪子精靈》登錄中國(guó)各大電影院線，這也從一個(gè)側(cè)面說(shuō)明浙江文藝出版社在圖書引進(jìn)方面的前瞻性。

在電影《奇怪的襪子精靈》中，精靈們生活在車水馬龍的城市里，與人類和平共處，無(wú)憂無(wú)慮。直到有一天，一群野心膨脹的精靈試圖打破“教父”定下的規(guī)矩，開始成雙成對(duì)地偷襪子。善良的精靈和野心家們因立場(chǎng)不同展開一場(chǎng)激烈的較量。一位孤獨(dú)的人類老教授發(fā)現(xiàn)了精靈的蹤跡，試圖要把精靈們抓起來(lái)進(jìn)行研究，小精靈們面臨著前所未有的挑戰(zhàn)。

可以說(shuō)，電影的故事基本忠實(shí)于原著，但是原著更為豐厚且具有深遠(yuǎn)的想象空間。

在人們的預(yù)想中，“襪子精靈”在前一年談定版權(quán)事宜，一定會(huì)在2018年暑期出版，借助電影來(lái)一波營(yíng)銷熱潮。但是它背后的出版人沒(méi)有這樣做。

“對(duì)于引進(jìn)圖書來(lái)說(shuō)，我們面臨的最大問(wèn)題是尋找合適的譯者。”柳明曄說(shuō)，引進(jìn)類的文學(xué)作品，其實(shí)很難得以完美的呈現(xiàn)，“因?yàn)樗鼘?duì)譯者在兩種語(yǔ)言上的造詣都提出了很高的要求。即使你找到了合適的譯者，他當(dāng)時(shí)也未必有時(shí)間來(lái)從事你這套書的翻譯。”

最后，浙江文藝出版社找到了翻譯家徐偉珠，她曾以《嚴(yán)密監(jiān)視的列車》入圍第七屆魯迅文學(xué)獎(jiǎng)文學(xué)翻譯獎(jiǎng)。徐偉珠與另外兩位捷克語(yǔ)學(xué)者翟東鈺、王煒濤，共同完成了三冊(cè)書的翻譯。

柳明曄說(shuō)，這樣的慢，實(shí)現(xiàn)了浙江文藝出版社對(duì)于出版的用心，為了更好的品質(zhì)，他們很多時(shí)候不趕潮流，而是愿意等一等。

捷克的想象力，提供多元文化的滋養(yǎng)

4月25日的中捷建交70周年慶?；顒?dòng)，特別有文藝氣息——樂(lè)隊(duì)、冷餐都有濃濃的捷克味道，而最特別是的，每一張高腳桌上都放了一本“襪子精靈”?；顒?dòng)現(xiàn)場(chǎng)，捷克文化部部長(zhǎng)將中文版“襪子精靈”作為中捷建交70周年禮物送給了中國(guó)文化和旅游部部長(zhǎng)雒樹剛。

“捷克不僅重視和中國(guó)經(jīng)濟(jì)方面的往來(lái)，對(duì)文化交流也特別重視，我們這個(gè)書正好趕在這個(gè)時(shí)候出版，他們也很高興?！绷鲿险f(shuō)，在捷克，“襪子精靈”很有名，他們也愿意把這本書介紹到中國(guó)。

站在中國(guó)文化的角度，柳明曄所在的浙江文藝出版社為什么愿意花大力氣去引進(jìn)并精心制作這套書？

單從圖書來(lái)講，柳明曄覺(jué)得自己被“襪子精靈”的想象力所折服。“它的開篇就是小孩子經(jīng)常會(huì)丟掉一只襪子，它去哪里呢？襪子精靈偷走了！這套書充滿了很奇妙的想象，特別可愛(ài)?！敝型馕幕尘暗牟町?，造成了想象力的差異，作為出版人，柳明曄說(shuō)她非常愿意將這個(gè)極富想象力的故事介紹給中國(guó)兒童。

而站在更高角度上講，她希望自己和其他出版人一起，能通過(guò)優(yōu)質(zhì)的引進(jìn)圖書，為孩子們提供多元文化的滋養(yǎng)。當(dāng)然，對(duì)成年人也是如此——“在閱讀中去擴(kuò)展自己的眼界和審美能力，多方面的吸收，可以成就我們更為高雅的審美趣味?！?/p>

正是如此，柳明曄認(rèn)為，圖書引進(jìn)應(yīng)該有海納百川的包容，這種包容，對(duì)于我們的文化構(gòu)建有極為深遠(yuǎn)的意義。

落腳于兒童文學(xué)，柳明曄常跟社里的編輯說(shuō)，要多引進(jìn)和貓貓狗狗相關(guān)的兒童文學(xué)，“這是小朋友們喜歡的，它表現(xiàn)了孩子和自然之間天然的聯(lián)系。”當(dāng)然，柳明曄也有自己的選擇標(biāo)準(zhǔn)：應(yīng)該是像《夏洛的網(wǎng)》這樣的圖書，“它注重小動(dòng)物和小朋友之間暖心的溫情，讓孩子在這種交往互動(dòng)中，得以成長(zhǎng)?！?h3>助讀

《奇怪的襪子精靈》《襪子精靈回來(lái)了》《永遠(yuǎn)的襪子精靈》

[捷克]帕維爾·施魯特 著

[捷克]加林娜·米克林諾娃 繪

徐偉珠 翟東鈺 王煒濤 譯

浙江文藝出版社

Chinese Edition ofOddsockeatersCelebrates 70-Year Ties between China and Czech

By Sun Zai

In April 2019， Zhejiang Literature and Art Publishing House released the simplified Chinese translation of ， a set of three books authored by Czech writer Pavel ?rut （1940-2018） and illustrated by Galina Miklínová. On April 21， the printer delivered a case of books just off the press machine to the office of the publishing house. The next day， the books were carried over to Beijing just in time to be present at a celebration at Czech Embassy to China marking the 70th anniversary of the founding of diplomatic relations between China and Czech. The copies were distributed to the VIPs present at the ceremony， including Czech President Milos Zeman and Minister of Culture Indrek Saar， who gladly autographed the set on the spot.

It was at the Beijing International Book Fair in 2017 that Liu Mingye， a vice chief of the Zhejiang Literature and Art Publishing House， and her colleagues spotted? while strolling around pavilions of other countries. They ran into Galina Miklínová who was promoting the book. Liu and her colleagues were fascinated by the colorful illustrations.

Liu has a special penchant for the literary masterpieces from Czech. Though a small country， Czech is proud of Kafka， a unique literary giant in the world literature. She is also a huge fan of ， an animated character in a series of Czech cartoon that has enjoyed enormous popularity in China， especially in the 1970s and the 1980s. She decided to buy the copyrights of the book and publish a simplified Chinese edition.

The publishing house did not rush even though Liu and her colleagues knew that? was scheduled to be screened across the country in August 2018 and that would help the sales of the set of the books if they could be published then. But they didnt wish to rush. First of all， they wanted to find a translator best suitable for the job. Eventually they decided to commission Xu Weizhu to do the translation. Xu is an experienced translator and winner of Lu Xun prize in translation in 2018. Xu Weizhu collaborated with Zhai Dongyu and Wang Weitao， two specialists of the Czech language. Such a no-rush work arrangement reflects the publishers pursuit of excellence. The publisher prefers quality to timelines.

“The biggest challenge to introducing foreign stories to Chinese readers is to find a suitable translator，” comments Liu Mingye. “It is very difficult to produce a Chinese translation of a foreign story. A translator must have a mastery of both the source and the target languages. Sometimes you find a perfect translator， but the translator runs a work schedule so tight that she cant find time to do the translation for us.”

appeals greatly to Liu Mingye. “The difference between cultural backgrounds gives rise to a huge difference in imagination，” Liu notes. As a publisher， she was willing to introduce this story of wild imagination to Chinese children. In fact， she loves stories that feature lovely tiny creatures such as moles， cats， and dogs. “Children love small animals， and such a love reflects a natural tie between children and nature，” she emphasizes to her colleagues on many occasions. She says books from foreign countries create a cultural diversity that helps children grow. “Cultural diversity helps adults too，” she says. “Book reading broadens our vision and enriches our aesthetics.”

Liu attended the celebration at the Czech Embassy in Beijing. “The Republic of Czech not only gives top priority to the economic exchanges between the two countries， but also pays special attention to cultural exchanges. The timing of Chinese version of? made everyone happy. All of us were happy on the occasion.” At the ceremony， the copies of the series were given as a gift to Luo Shugang， Chinese Minister of Culture. The copies were signed by his Czech counterpart Minister of Culture Indrek Saar.