William Golding's story of boys descending into violence is a 20th-Century classic.
威廉·戈尔丁笔下男孩们滑向暴力的故事，是20世纪的经典之作。
Now Adolescence writer Jack Thorne is behind a new TV version speaking to a rancorous world.
如今，《Adolescence》的编剧杰克·索恩正主导一部新的电视版改编，回应这个充满怨怼与对立的世界。
William Golding's Lord of the Flies, his classic novel about boys who turn to savage violence after a plane crash strands them on a deserted island, has had a remarkably longer and varied lives.
威廉·戈尔丁的经典小说《蝇王》讲述一群男孩在飞机失事后被困荒岛并转向野蛮暴力的故事，它拥有异常漫长而多样的生命力。
It has inspired two films, a dance shows by Matthew Bourne, a parody on The Simpsons and a female knockoff in the television series Yellowjackets.
它启发了两部电影、马修·伯恩的一部舞蹈作品、《辛普森一家》中的戏仿，以及电视剧《黄蜂》中一部女性版仿作。
Stephen King has cited it as a major influence on his entire writing career.
斯蒂芬·金曾说，它对自己的整个写作生涯产生了重要影响。
Generations of schoolchildren hasn't either embraced it or balked at being force-fed it as required reading.
一代又一代学生要么接受了它，要么反感它被作为必读书强行灌输。
And amazingly, this 1954 novel, deeply rooted in its own era, feels especially timely today.
令人惊讶的是，这部深深扎根于自身时代的 1954 年小说，在今天显得格外及时。
It has been adapted into a bold, touching new series that has just landed on Netflix, written by Jack Thorne, the writer of the similarly themed megahit Adolescence, about a 13-year-old boy accused of murder.
它已被改编成一部大胆而动人的新剧，刚刚登陆 Netflix，编剧是杰克·索恩；他也创作了主题相近的热门剧《青春期》，讲述一名 13 岁男孩被控谋杀的故事。
At its core, the book explores the nature of evil – but while its basic meaning hasn't changed, says Tim Kendall, Professor of English Literature at the University of Exeter and leading Golding expert, "what changes is the urgency of that question depending on what the government or the world situation in the day happens to be".
埃克塞特大学英国文学教授、戈尔丁研究权威蒂姆·肯德尔说，从核心上看，这本书探讨邪恶的本质；虽然基本含义没有改变，但“会变化的是这个问题的紧迫性，取决于当时政府或世界局势如何”。
Judy Carver, Golding's daughter and a director of his estate, tells the BBC: "I think a good book belongs to each generation successively.
戈尔丁的女儿、其遗产管理机构董事朱迪·卡弗告诉 BBC：“我认为一本好书会依次属于每一代人。
In fact, my father actually said in an essay about the book that he no longer believed the author had a sorts of father's right over the novel.
事实上，我父亲曾在一篇关于这本书的文章中说，他不再认为作者对小说拥有某种父亲般的权利。
He believed it belonged to the readers, and their interpretation was valid."
他相信它属于读者，而读者的解读是成立的。”
Thorne tells the BBC: "We didn't impose anything on the book.
索恩告诉BBC：“我们没有把任何东西强加给这本书。”
I just think there's a resonance in what Golding is writing about that works for where we are right now."
我只是觉得戈尔丁所写的内容与我们当下所处的位置产生了共鸣。”
The world has changed since he was a teenager in the 1990s, Thorne says.
索恩说，自他在20世纪90年代还是青少年以来，世界已经变了。
"There was a genuine optimism in the air, and there was a genuine feeling of community.
“当时空气中弥漫着真正的乐观情绪，也有一种真实的共同体感。
The world that seems to be out[side] the window for my son right now is a world where it's easier to hated than love, where it's easier to disparage someone else rather than help them."
眼下我儿子窗外的世界，似乎是一个恨比爱更容易、贬低别人比帮助别人更容易的世界。”
Television seemed the perfect vehicle for bringing the book and its timeliness to a new audience.
电视似乎是把这本书及其时代意义带给新观众的完美载体。
"The chapters of TV, the episodes of TV, can't speak to a book," Thorne says.
索恩说：“电视的章节、电视的分集，可以与一本书对话。”
Unlike the novel, the series is structured so that each of the four episodes focuses on a different character's point of viewed, a strategy Thorne saw as a fresh way of illuminating Golding's work.
与小说不同，这部剧的结构是四集分别聚焦不同角色的视角，索恩认为这是一种以新鲜方式阐明戈尔丁作品的策略。
Thorne adds backstories for the boys and tweaks some episodes, while staying true to the novel's plot and characters.
索恩为男孩们增加了背景故事，并调整了一些情节，同时仍忠于小说的情节和人物。
Piggy is the bullied, bespectacled boy known for his intellect, and Ralph is the natural leader, who insists that rules and order will keep the island civilised.
猪仔是那个因聪明而知名、戴着眼镜并遭受欺凌的男孩；拉尔夫则是天生的领导者，坚持规则和秩序会让岛上保持文明。
Ralph's adversary, the power-hungry Jack, leads the other boys to anarchy and violence against each other.
拉尔夫的对手、渴望权力的杰克把其他男孩带向无政府状态和彼此之间的暴力。
Simon is a visionary, a sacrificial figure who understands that the evil on the island comes from inside the boys themselves.
西蒙是一个有洞察力的人物，也是一个牺牲性角色，他明白岛上的邪恶来自男孩们自身内部。
Golding orchestrated these types with such balance that the book has long been viewed as a microcosm of society.
戈尔丁如此平衡地安排了这些人物类型，以至于这本书长期被视为社会的缩影。
And it is classroom-ready, loaded with debatable questions about good versus evil and order versus chaos.
而且它非常适合课堂使用，充满了关于善与恶、秩序与混乱的可讨论问题。
For all its universality, though, the novel was definitely a product of its time.
不过，尽管这部小说具有普遍性，它也确实是其时代的产物。
Kendall, who is the editor of William Golding: The Faber Letters, a collection of correspondence between Golding and his book editor, says: "You can seeing in the manuscript form, its initial conception, that it is actually a World War Three novel.
肯德尔是《威廉·戈尔丁：费伯书信》的编辑，这本书收录了戈尔丁与其图书编辑之间的通信；她说：“从手稿形态和最初构想中可以看出，它其实是一部第三次世界大战小说。
It's a nuclear war that's being described and that the boys are being evacuated away from."
这里描写的是一场核战争，而男孩们正被疏散以远离它。”
In the first few manuscript pages, deleted from the book, "It says if they were only big enough to be able to see through the airplane windows they would see the big mushroom cloud behind them.
在被删去的最初几页手稿中，“书里写道，如果他们个子够高，能够透过飞机舷窗看出去，就会看到身后巨大的蘑菇云。”
So that really hammers home what's going on, which is that the boys only end up doing on the island what the adults are doing on a global scale."
所以这真正强调了正在发生的事：男孩们最终只是在岛上做了成年人在全球范围内正在做的事。”
The original version, Kendall says, "is very much aware of the nuclear age and the dangers that that brings."
肯德尔说，原版“非常清楚地意识到核时代以及它带来的危险”。
But the book has only one specific reference, to "the Reds", hinting at the Cold War, and that vagueness has made it far more open to various interpretations over the decades.
但书中只有一个明确指涉，即“红色分子”，暗示冷战；这种含糊性使它在几十年里更能容纳各种解读。
Carver says: "To begin with, people saw it in very clearly religious terms and made Simon, as I think he was meant to be, into a Christ figure."
卡弗说：“起初，人们非常明确地从宗教角度看待它，并把西蒙视为基督式人物，而我认为他本来就是这样设计的。”
More recently, she notes, "the environmental angle has come to the fore" – with people referencing, for example, the way the boys set fire to the island – while she also believes that today "it's hard to ignore the rise of autocratic rulers around the world, and to not see that in terms of Jack… the rules of warfare, the rules of the right to a fair trial, all these things are on a knife edge and I think the book is relevant to that".
她指出，近来“环境视角变得更加突出”，例如人们会提到书中男孩们放火烧岛的情节；同时她也认为，如今“很难忽视世界各地专制统治者的兴起，也很难不从杰克的角度看待这一点……战争规则、公平审判权的规则，这些都处在危险边缘，我认为这本书与此相关”。
Thorne's approach is less political, and involved mining the book for nuances that many readers have failed to see, especially on a first encounter.
索恩的方法较少从政治角度出发，而是挖掘书中许多读者没有看见的细微之处，尤其是初读时容易忽略的部分。
"When I read Jack as a kid, I hated him, I just hated him.
“我小时候读到杰克这个角色时，我讨厌他，我就是讨厌他。
I knew who he was on the playground and I despised him.
我知道他在操场上是什么样的人，也鄙视他。
When I read Jack as an adult, I thought this is a much more tender portrait than I was expecting," Thorne says.
索恩说：“成年后再读杰克这个人物时，我觉得这是一幅比我预想中温柔得多的画像。”
"Destruction, chaos, all these things that result from Jack aren't necessarily purely as a result of some sort of black heart beating within him.
“由杰克引发的毁灭、混乱以及所有这些事情，并不一定完全源自他内心某种黑暗之心的跳动。
It's about little decisions that Jack makes along the way to try to maintain his authority, to try to keep himself from being scared."
它关乎杰克一路上做出的一些小决定：试图维持自己的权威，也试图让自己不再害怕。”
The episode from Jack's point of view shows him as a vulnerable, lonely boy, his quest for power at least partly a kind of bravado.
从杰克视角展开的那一集把他呈现为一个脆弱而孤独的男孩，他对权力的追逐至少部分是一种逞强。
Finding universal themes in specific characters is exactly the kind of story Thorne says he is attracted to.
索恩说，他所吸引的正是那种能在具体人物中找到普遍主题的故事。
"Golding isn't writing about all boys.
“戈尔丁写的并不是所有男孩。
Golding is writing about British boys in the 1950s.
戈尔丁写的是20世纪50年代的英国男孩。
Golding is writing about kids that have seen the trauma of war, not themselves but through their fathers' eyes, and are playing out the way that they've been socialised."
戈尔丁写的是一群看见了战争创伤的孩子，不是亲眼经历，而是透过父亲们的眼睛；他们正在演出自己被社会化的方式。”
Similarly, he says, "Adolescence isn't a show about every boy in the world.
同样，他说：“《Adolescence》并不是一部关于世界上每个男孩的剧。”
It's about one kid in Pontefract and the influences upon him and how he reacts to those influences."
它讲的是庞蒂弗拉克特的一个孩子、他受到的各种影响，以及他如何回应这些影响。”
After seeing those distinct characters and situations, he says, "You think about your own world".
他说，看过那些鲜明不同的人物和处境之后，“你会想到自己的世界”。
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And our world, he says, is fraught for young men.
他说，而我们的世界对年轻男性来说充满困境。
The term toxic masculinity has become commonplace, but Thorne doesn't use it.
“有毒男性气质”这个术语已经很常见，但索恩并不使用它。
"The difficulty of that phrase is that now you can't hear masculinity without toxic added on the front," he says, adding that the term is so widespread that "If you’re a kid who's trying to work out how to be male it's almost terrifying to work out what the right way to be male is.
他说：“这个说法的难点在于，如今你一听到男性气质，就会自动在前面加上有毒二字。”他还说，这个术语如此普遍，以至于“如果你是一个正在试图弄明白如何成为男性的孩子，要想弄清什么才是正确的男性方式，几乎会令人害怕。”
"In fact, Golding's decision to put only boys on the island was likely a reflection of the 1950s power structure rather than a comment on masculinity itself.
“事实上，戈尔丁决定只把男孩放在岛上，很可能反映的是 20 世纪 50 年代的权力结构，而不是对男性气质本身的评论。
In that period, Kendall says, "If the boys are the world leaders writ small, then they have to be boys, not girls."
肯德尔说，在那个时期，“如果这些男孩是世界领导人的缩影，那么他们就必须是男孩，而不是女孩。”
Carver says: "I think it would be anachronistic to say that he wrote it about masculinity.
卡弗说：“如果说他写这本书是为了讨论男性气质，那会有些时代错置。
But you can get that out of it" – as Thorne certainly does.
但你可以从中读出这一点”——索恩显然就是这样做的。
His eloquent, affecting flashbacks to the boys' lives before the plane crash lean heavily into their relationships with their fathers, but not in a simplistic way that blames bad male role models.
他用动人而有说服力的闪回呈现飞机失事前男孩们的生活，重点描写他们与父亲的关系，但并不是简单地把问题归咎于糟糕的男性榜样。
Thorne says: "I didn't wanted to suggest that Jack has a distant relationship with his father, so therefore Jack is drawn to darkness.
索恩说：“我不想暗示杰克与父亲关系疏远，所以杰克因此被黑暗吸引。
Simon also has a distant relationship with his father, and Simon is drawn to the light.
西蒙也和父亲关系疏远，而西蒙被光明所吸引。
What I just wanted to do is have them discussing their parents [as a way] to show more complication on those faces".
我只是想让他们讨论自己的父母，以此在那些脸上呈现更多复杂性。”
By now, the book's title has become a shorthand for social dysfunction, which Thorne thinks greatly underestimates Golding's accomplishment and the novel's lasting appeal.
如今，这本书的书名已经成为社会失序的简明说法，但索恩认为这大大低估了戈尔丁的成就和小说持久的吸引力。
He says, "People do apply it in all sorts of ways when there's a crisis in the world: 'This is the Lord of the Flies moment.'
他说：“当世界发生危机时，人们确实会以各种方式套用它：‘这就是《蝇王》时刻。’”
And no, that's not what Golding wrote.
不，那并不是戈尔丁写的内容。
Golding wrote a really complicated and tender portrait of pre-adolescent boys, and he somehow managed to capture truth in that.
戈尔丁写出了青春期前男孩们非常复杂而温柔的画像，并以某种方式在其中捕捉到了真实。
And the truth that he caught is still just as interesting today as it was when he wrote it, because it's that well written."
而他捕捉到的真相，如今仍像他写下它时一样耐人寻味，因为它写得实在太好。”
Lord of the Flies is available to watch on Netflix in the US and BBC iPlayer in the UK
《蝇王》可在美国的 Netflix 和英国的 BBC iPlayer 上观看。
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