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At the end of the avenue lay a games field, with a goalpost askew and a few boys playing. Their bicycles were sprawled by the path. Across the field stood a small green tin pavilion, like a bus shelter. There Smiley had found, at head-height, the shiny mi6drawing pin whose message was Proceed to the rendezvous, no danger sighted, together with Vladimir's chalked reply. Here, too, Smiley's shadow walked. A plump figure, balding, bespectacled and breathtakingly ordinary; keenly observant, wise, cunning, yet also shy, embarrassed by life, convinced that his clothes were wrong. He had emerged in 1961, in Call for the Dead, a fully fledged combination of several people from the le Carre past; he took his bow in 2017, giving lectures in "A Legacy of Spies".
在大街的尽头有一个运动场，门柱歪了，几个男孩在玩。他们的自行车散开在小路边。田野对面矗立着一个绿色的小锡亭，像一个公共汽车候车亭。斯迈利在头部的高度发现了一枚闪闪发光的军情六处的图钉，上面写着要去集合点，没有发现危险，还有弗拉基米尔的粉笔答覆。斯迈利的影子也走了过来。丰满的身材，秃顶，戴着眼镜，平凡得惊人；敏锐的观察力，睿智的，狡猾的，但也害羞，对生活感到尴尬，确信他的衣服是错的。他在1961年出现在《召唤死者》中，一个成熟的组合，几个人从勒卡雷过去；他鞠躬在2017年，在“间谍的遗产”讲座。
And he had exposed his creator, through the books and films and especially the tv series of"Tinker Tailor Soldier Spy", to the blaze of literary fame. It was not wanted. "John le Carré" was a mask for a man, as much as a necessity for an author in the intelligence service. As a writer, like a spy, he needed to go incognito, sit at a back table, slip through doors, avoid the crowd. If he wanted he could unleash in a warm, military tone a fund of good stories, such as his near-seduction at 16, in front of her husband, by a countess at dinner in Panama, which drew him to the country later to set a novel of a crooked tailor. Storytelling was what he did.
他还通过书籍和电影，特别是电视连续剧《补锅匠-裁缝-士兵-间谍》，向他的创作者展示了文学名气。这不是我们想要的。”约翰·勒卡雷“是一个男人的面具，也是情报部门一个作家的必需品。作为一个作家，就像一个间谍一样，他需要隐姓埋名，坐在后座，溜过门，避开人群。如果他愿意的话，他可以用一种温暖的、军事的语调释放出大量的好故事，比如他16岁时的近乎诱惑，在她丈夫面前，一位伯爵夫人在巴拿马的晚宴上，这使他后来到乡下去写了一本关于一个骗子的小说。他就是这么讲故事的。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
