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One Hundred Years of Solitude
《百年孤独》
From the shelf to the couch
从书架到沙发
Netflix hopes great literature can translate into great television.
网飞希望伟大的文学可以改编成伟大的电视剧。
It would be hard, Gabriel García Márquez thought, to do justice to the surreal, sprawling tale on screen.
加夫列尔·加西亚·马尔克斯认为，要在屏幕上恰如其分地呈现这个超现实的、庞杂的故事是很难的。
By his reckoning, “One Hundred Years of Solitude”, his celebrated novel of 1967, would need a runtime of 100 hours; it would also have to be filmed in Colombia, entirely in Spanish.
据他估计，他于1967年出版的著名小说《百年孤独》需要100个小时的时长，而且还必须在哥伦比亚拍摄，完全用西班牙语。
Netflix, with the support of Márquez’s estate, has honoured two of those three proclamations.
网飞在马尔克斯文学遗产管理者的支持下已经兑现了这三项宣言中的两项。
The streamer boasts that its new adaptation of Márquez’s novel—the first on screen—is “one of the most ambitious productions in Latin American history”.
该流媒体夸耀，其对马尔克斯小说的最新改编——这是首次搬上银幕——是“拉丁美洲历史上最雄心勃勃的作品之一”。
(“Ambitious” is also a synonym for “expensive”: Netflix will not reveal the budget but claims it is the largest ever for a production in the region.)
（“雄心勃勃”也是“昂贵”的同义词：网飞不透露预算，但声称这是拉美地区有史以来预算最高的制作。）
But keeping in mind how much solitude viewers actually want, it has opted to compress Márquez’s novel into 16 episodes, with the first tranche released on December 11th.
但考虑到观众实际上想看多少年的孤独，网飞选择将马尔克斯的小说压缩成16集，第一部分于12月11日开播。
The book presents a formidable challenge to film-makers for two reasons.
这本书给电影制作人带来了巨大的挑战，原因有二。
One is its status: many think “One Hundred Years of Solitude” was the greatest novel of the 20th century.
其一在于小说的地位：许多人认为《百年孤独》是20世纪最伟大的小说。
It helped Márquez win the Nobel prize in literature in 1982 and has sold some 50m copies worldwide.
它帮助马尔克斯赢得了1982年的诺贝尔文学奖，并且在全球范围内售出了约5000万册。
With affection comes expectation.
因爱而生期待。
When the TV show was announced, fans online were quick to express their fears about an oversimplified, “caricatured” retelling.
当宣布小说将改编为电视剧时，粉丝们很快就在网上表达了担忧，担心电视剧会变成过度简化、“漫画式”的重新讲述。
Those remarks point to the other test for adaptors, which is the novel’s sheer complexity.
这些言论指出了改编者面临的另一个考验，那就是小说本身的复杂性。
Set in around 1850-1950, the book traces the fortunes of the Buendía family across several generations, from the time José Arcadio and his wife, ?rsula, establish the town of Macondo to the moment their last descendant dies, with civil war, modernisation, economic prosperity and ruin in between.
小说设定在大约1850年至1950年间，追溯了布恩迪亚家族几代人的命运，从何塞·阿尔卡蒂奥和妻子乌苏拉建立马孔多镇，到他们最后一个后代去世，期间经历了内战、现代化、经济繁荣和毁灭。
Time, in this tale, is a “turning wheel” that yields “unavoidable repetitions”.
在这个故事中，时间是一个“旋转的轮子”，产生了“不可避免的重复”。
Male scions are all called some combination of José, Arcadio or Aureliano.
男性后代的名字都是何塞、阿尔卡蒂奥、奥雷里亚诺的各种组合。
(Readers everywhere are grateful to whoever thought to include a family tree at the front of the book.)
（世界各地的读者都很感激那位想到在书的开头附上一张家谱的人。）
There are more unusual occurrences, too.
也有更多不寻常的事件发生。
Characters die, only to return as ghosts.
人物死亡，却又以鬼魂的形式归来。
One man is permanently surrounded by a kaleidoscope of yellow butterflies; another cracks his head open, leaking not blood but an “amber-coloured oil that was impregnated with that secret perfume”.
一个男人永远被一群绚烂的黄蝴蝶环绕，另一个男人砸破了自己的脑袋，但流出来的不是血，而是一种“浸透着神秘芬芳的琥珀色的油”。
On the page this magical realism, as Márquez’s style came to be known, can be entrancing.
在书页上，这种魔幻现实主义（马尔克斯的风格后来被赋予这个名字）可能会令人着迷。
The risk is that it could look oddly unconvincing on screen.
但风险在于，这种风格在屏幕上看起来可能是奇怪且匪夷所思的。
When Netflix approached Alex García López, a director, about the project, he was excited but apprehensive.
当网飞与导演亚历克斯·加西亚·洛佩斯接洽这个项目时，洛佩斯既兴奋又不安。
“I remember the book having very little dialogue.
“我记得这本书几乎没有对话。
I remember it being a very existential kind of book and jumping all over the place.
我记得那是一本非常存在主义的书，情节非常跳跃。
I thought: ‘This is just not really doable, is it?’”
我想：‘改编其实是做不到的，不是吗？’”
It was.
确实是做不到的。
José Rivera, one of the screenwriters, decided that the story should proceed chronologically and that it needed a narrator.
其中一位编剧何塞·里韦拉决定这个故事应该按时间顺序进行，并且需要一个叙述者。
It quotes from the novel verbatim.
它逐字引用了小说中的原文。
“It was a great way of having Gabo’s voice guide us through the story,” Mr López says, and a way to be “faithful to the book…to its execution, to its style”.
“让加博的声音引导我们了解故事是一个好办法，”洛佩斯说，也是一种“忠于原著手法，忠于原著风格”的办法。
As a result, the film-makers have captured the strangeness of the story, in which events are at once fantastical and mundane.
结果电影制作人捕捉到了这个故事的奇特之处，其中的事件既奇幻又平凡。
They have also retained its sensuality.
制作人也保留了故事的肉欲。
At times this makes for uneasy viewing: the novel recounts several incidents of incest and one of paedophilia.
有时这会让观众感到不安：小说讲述了几起乱伦事件和一起恋童事件。
“We do not want to rewrite history,” asserts Francisco Ramos, Netflix’s vice-president of Latin American content: “That’s the way things happened.”
“我们不想改写历史，”网飞负责拉丁美洲内容的副总裁弗朗西斯科·拉莫斯坚称，“事情就是这样发生的。”
In fact, keeping in Aureliano’s wooing of Remedios, a nine-year-old girl, makes the tale more timely.
事实上，保留奥雷里亚诺对九岁女孩蕾梅黛斯的追求使这个故事更具时效性。
Only last month Colombia passed legislation prohibiting anyone under the age of 18 from getting married.
就在上个月，哥伦比亚通过了一项法律，禁止18岁以下的任何人结婚。
To write “One Hundred Years of Solitude” Márquez drew on his childhood town of Aracataca.
为了创作《百年孤独》，马尔克斯借鉴了他童年时期的家乡阿拉卡塔卡。
The novel “couldn’t be more specific and more grounded…in a very specific part of a huge, huge country”, Mr Ramos says, but “because of the way he tells the story it has global resonance”.
拉莫斯先生说，这部小说“发生在一个非常庞大国家的一个非常具体的地区，无法更具体，无法更落地”，但“由于他的讲述方式，故事在全球产生了共鸣”。
Almost 60 years later, Netflix is hoping this is true of its own version.
差不多60年后，网飞希望这句话也能适用于他们自己的版本。
Márquez’s book, after all, is about history repeating itself.
毕竟，马尔克斯的这本书讲述的是历史的自我重复。
