梦千寻《爱丽斯漫游奇境》读后感精选，本文是英语读书网站上点赞最高的读后感之一。中文为机器翻译，仅供参考！
梦千寻书社带你走进英语文学的世界。
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I think that the failure not only of Children’s Literature as a whole, but of our very concept of children and the child’s mind is that we think it a crime to challenge and confront that mind. Children are first protected from their culture–kept remote and safe–and then they are thrust incongruously into a world that they have been told is unsafe and unsavory; and we expected them not to blanch.
我认为，不仅儿童文学作为一个整体，而且我们对儿童和儿童思想的概念的失败，是我们认为挑战和面对这种思想是一种犯罪。儿童首先受到保护，不受其文化的影响——远离和安全——然后他们被不协调地推入一个他们被告知是不安全和不健康的世界；我们希望他们不要脸色苍白。
It has been my policy that the best literature for children is not a trifling thing, not a simplification of the adult or a sillier take on the world. Good Children’s literature is some of the most difficult literature to write because one must challenge, engage, please, and awe a mind without resorting to archetypes or life experience.
我的政策是，最好的儿童文学不是一件小事，不是对成人的简单化，也不是对世界更愚蠢的看法。好的儿童文学是一些最难写的文学作品，因为一个人必须挑战、参与、取悦和敬畏一个头脑，而不诉诸原型或生活经验。
Once a body grows old enough, we are all saddened by the thought of a breakup. We have a set of knowledge and memories. The pain returns to the surface. Children are not born with these understandings, so to make them understand pain, fear, and loss is no trivial thing. The education of children is the transformation of an erratic and hedonistic little beast into a creature with a rational method by which to judge the world.
一旦一个人长大了，我们都会为分手而难过。我们有一套知识和记忆。疼痛又回到表面。孩子不是天生就有这些理解力的，所以要让他们理解痛苦、恐惧和失落不是小事。对孩子的教育就是用一种理性的方法来判断世界，把一个反复无常、享乐主义的小动物变成一个生物。
A child must be taught not to fear monsters but to fear instead electrical outlets, pink slips, poor people, and lack of social acceptance. The former is frightening in and of itself, the latter for complex, internal reasons. I think the real reason that culture often fears sexuality and violence in children is because they are such natural urges. We fear to trigger them because we cannot control the little beasts. We cannot watch them every minute.
必须教育孩子不要害怕怪物，而要害怕电源插座、粉色纸条、穷人和缺乏社会认同感。前者本身就很可怕，后者有复杂的内在原因。我认为，文化之所以经常害怕儿童的性行为和暴力行为，真正的原因是因为它们是如此自然的冲动。我们害怕触发它们，因为我们无法控制这些小动物。我们不能每分钟都看。
So, to write Children’s Literature, an author must create something complex and challenging, something that the child can turn over in their mind without accidentally revealing some terrible aspect of the world that the child is not yet capable of dealing with. Carroll did this by basing his fantasies off of complex, impersonal structures: linguistics and mathematical theory. These things have all the ambiguity, uncertainty, and structure of the grown-up world without the messy, human parts.
所以，要写儿童文学，作者必须创造一些复杂而富有挑战性的东西，一些孩子可以在脑海中翻开的东西，而不会意外地暴露出孩子还没有能力处理的世界的某些可怕的方面。卡罗尔通过建立在复杂的、客观的结构上的幻想来做到这一点：语言学和数学理论。这些东西都有成人世界的模糊性、不确定性和结构，没有杂乱的人类部分。
This is also why the Alice stories fulfill another requirement I have for Children’s Lit: that it be just as intriguing and rewarding for adults. There is no need to limit the depth in books for children, because each reader will come away with whatever they are capable of finding. Fill an attic with treasures and the child who enters it may find any number of things–put a single coin in a room and you ensure that the child will find it, but nothing more.
这也是为什么爱丽丝故事满足了我对儿童文学的另一个要求：对成年人来说，它同样有趣和有益。没有必要限制儿童读物的深度，因为每个读者都会带着他们能找到的东西离开。把宝藏装满阁楼，进阁楼的孩子可能会发现很多东西——把一枚硬币放在一个房间里，你就可以确保孩子会找到它，但再也找不到了。
Of course, we must remember that nothing we can write will ever be more strange or disturbing to a child than the pure, unadulterated world that we will always have failed to prepare them for. However, perhaps we can fail a little less and give them Alice. Not all outlets are to be feared, despite what your parents taught you. In fact, some should be prodded with regularity, and if you dare, not a little joy.
当然，我们必须记住，对于一个孩子来说，我们所能写的任何东西都不会比我们一直未能为之做好准备的纯洁、纯洁的世界更奇怪或更令人不安。不过，也许我们可以少失败一点，给他们爱丽丝。不是所有的渠道都是可怕的，不管你父母教你什么。其实，有些人应该有规律地督促，如果你敢，一点也不高兴。
