Iva Toguri
关键词： ToguriIva Toguri
户粟郁子
Oct 5th 2006
From The Economist print edition
Iva Toguri, a victim of mistaken identity, died on September 26th, aged 90
户粟郁子(Iva Toguri D\'Aquino) 身份错认的受害者，于九月二十六日逝世，无疾而终，享年九十
MANY years after the end of the war in the Pacific, a former tail-gunner who had been stationed in New Guinea wrote a letter to a veterans' magazine. He wished to share his memories of a voice. Every night in the spring of 1944, huddled in a tent with his comrades, he would hear a woman speaking behind the crackle and whistling of the Halicrafter radio. “Hi, boys!” she would say, or sometimes “Hi, enemies! This is your favourite playmate.” She would play swing and jazz, introduce “some swell new records from the States” and then, almost as an afterthought, mention that a Japanese attack was coming: “So listen while you are still alive.”
二战太平洋战场上的战争结束数十年后，一名原驻扎在新几内亚的前战机尾部机枪手给一本老兵杂志写了一封信，希望能和其他人一起分享关于“声音”的记忆。那是在1944年的春天，每天夜里，他都和他的战友们一起挤在帐篷里听广播，伴随着嘈杂干扰声，哈里克拉福特牌收音机里传来一个女人的声音。这个声音有时会说：“嗨 男孩们好啊”，有时也会说：“嗨，我的敌人们你们好啊，我是你们的好伴侣。”她播放一些摇摆乐，或是爵士乐，介绍一些美国最新最棒的音乐，然后再加上一句，提醒我们日本人又要进行新一波攻击了，所以，趁着还活着，享受音乐吧。
They listened happily, as did American troops all over the Pacific. It was rare and good to hear a female voice, even through several layers of interference and even with the sneer of death in it. Whether it was one woman, or many different women, did not matter. They could picture her: a full lipstick smile, ample curves, perfect skin, part Hedy Lamarr and part the sweetheart left at home. She was a temptress and a vixen, and her name was Tokyo Rose. For even myths must have names and addresses.
尽管广播信号很不清晰，内容中充斥着对死亡的嘲弄，但就像太平洋战场上的所有美军士兵一样，他们仍对此乐在其中。因为在战场上能听到女人的声音感觉实在太好了，甚至广播中的女声是否来自同一个人并不重要。士兵们在脑中勾绘着她的样子：她有撅着嘴唇的笑容，丰满的身材和完美的皮肤，长得既像海蒂•拉玛，又像家乡那亲爱的恋人。她的声音拥有妖妇一样的魔力。所有迷一样的人物都会有名字和地址，她也不例外，她的名字叫做“东京玫瑰”。
After the war American pressmen descended on ruined Tokyo to search for the girl they had invented. The Hearst empire was offering $2,000 for an interview and, after a while, a slight, pale, smiling young woman came forward. She had worked for Radio Tokyo and, for two years, had part-hosted a programme called “The Zero Hour”. Her name was Iva Toguri: an American citizen, born and raised in California, and now in desperate need of money to get home. She had never called herself Tokyo Rose, on air or otherwise, but there seemed no harm in taking the identity when the Hearst men asked her.Yes, she was “the one and only”, the “original”.
战后，美国的记者们来到已是一片废墟的东京，寻找这个只闻其声，不见其人的女孩，赫斯特报业集团甚至开出了2000美元，希望能对她做一个专访。过了一些日子，一个面带微笑，脸色苍白，身材瘦弱的女孩说自己为东京电台工作了两年，主持了一部分被称作“午夜时分”的节目，她的名字叫户粟郁子。并且她说自己是个土生土长的加利福尼亚人，现在很需要回家的路费。但无论是在广播中还是在其他地方，她从不管自己叫“东京玫瑰”。当赫斯特报业集团的人问她身份时，承认自己的身份似乎并无什么坏处，于是她说：“是的，我就是那个人，那个广播中的声音”。
For a while it was glamorous to be this person. Troops mobbed her for her “Tokyo Rose” autograph. She was photographed with them, a schoolgirl figure in white blouse and black slacks amid a sea of beige uniforms. But if she was Tokyo Rose, and an American, then she was also probably a traitor. So, after the fun, she was arrested.
曾经有一段时间，能成为东京玫瑰是件美事，士兵们围着她要签名，和她合影，照片上的她穿着白色长衫，黑色长袜，被簇拥在一群海军士兵中间。但如果她就是东京玫瑰，而且她还是个美国人，那么，她也应该是个叛徒，于是在一段欢乐时光之后，她被捕了。
For a year she was kept in a military brig while her broadcasts were investigated. The authorities, finding nothing against her, concluded she was not Tokyo Rose and set her free. Others were not so easily robbed of their chimeras. A populist ranter and broadcaster, Walter Winchell, started a campaign to get her rearrested and retried. In 1948 she was indicted on eight counts of treason, one of which stuck: that in October 1944 “she did speak into a microphone concerning the loss of ships.” She was sentenced to ten years in prison and a fine of $10,000.
在广播节目被调查的一年间，她被关押在一个军事监狱里，但官方没有找到任何不利于她的证据，因此作出结论，她并不是东京玫瑰，然后将她释放了。可其他人却不会轻易放过这个他们眼中的魔女，一个美国电台的民粹主义倡导者，沃尔特•温切尔发起了一场要将她重新绳之以法的运动。1948年，她被指控八项叛国罪，其中一项证据确凿，她的确在1944年十月间广播了关于战舰损失的消息。最终，她被判十年监禁，罚款一万美元。
In fact, Miss Toguri's story was all innocence. She had gone to Japan for the first time in 1941 to visit a dying aunt; the outbreak of war had trapped her there, an “enemy alien” without money and almost without the language. She was forced, like many other Allied prisoners-of-war, to work in propaganda broadcasting. Unlike her mythical persona, however, she had delivered no threats and nothing to demoralise the troops. Her radio manner was jolly rather than sultry. She was “Orphan Ann”, after Little Orphan Annie, and her theme tune, “Strike up the Band”, had been the fight song of her alma mater, the University of California at Los Angeles.
事实上，郁子小姐是无辜的，她的确在1941年去日本探望一个生病的阿姨，但战争突然爆发了，她被困在了日本，成为了一个身无分文，语言不通的外国奸细，于是只能像其他战俘一样，从事宣传广播工作。然而她所主持的广播并不像她本人那么神秘，内容毫无威胁，并且无损士气。
她的主持风格是欢快而不沉闷的，受电影《孤儿安妮》影响，她在广播中称自己为“孤儿安”, 而她节目的主题曲《笙歌喧腾》是其母校加州大学的校歌。
An alien in Japan
身在曹营心在汉
Ostensibly she was working for the Japanese. But she and her mentor, Charles Cousens, a major in the Australian army, had found ways of undermining them. Odd pauses or silly asides (“You are liking, please?”) would make nonsense of chilling remarks. And the records Miss Toguri chose were often British rather than American, entertaining the troops without making them think miserably of home.
表面上，她在为日本人工作，而实际上，她和她的朋友，澳陆军少校查尔斯•库森斯找到了很多方式来破坏宣传工作。例如在广播中奇怪的停顿，愚蠢的旁白（希望你是喜欢的？）都并不是什么刺耳的评论。并且郁子小姐所选播的歌曲大多数是英国歌，而不是美国歌，既让军队放松了神经，又不钩起他们的思乡之情。
As a nisei, the daughter of first-generation Japanese immigrants, she looked thoroughly Japanese. Not so. She was American to her fingertips, a Girl Scout, keen on big-band music and a regular at her Methodist church. Her father, though he ran a Japanese-import store, had insisted on that identity, wanting his children to speak and write only English. Iva—the name she had embraced, casting off “Ikuko”—had set off for Japan in 1941 with her trunks full of American food, and her letters home wailed at the misery of three rice meals a day. Stuck in Tokyo, she was pestered by the military police to give up her American citizenship. She clung to it fiercely until in 1949, as part of her treason sentence, it was revoked by her own country.
作为一名第二代日裔美国人，她看起来就是个彻头彻尾的日本人，但其实她的心完全属于美国，她当过女童子军，喜欢乐队音乐，并常去卫斯理教堂。尽管她的父亲从事日本进口货物生意，但坚持自己的美籍身份，并希望自己的孩子只讲英语。她的名字叫伊娃，而不是那个1941年在日本使用的日语名字“郁子”，初到日本时，她带着一堆美国食物，并且她给家里写信哭诉自己一日三餐都是米饭的痛苦。困在东京后，她被军警纠缠胁迫，逼她放弃自己的美国国籍。但她始终坚持说不，直到1949年，在对她的审判过程中，由于她的叛国罪，国籍被美国人自己剥夺。
The mistake was eventually acknowledged. Gerald Ford pardoned Miss Toguri on the last day of his presidency, in 1977: the first-ever pardon of any American convicted of treason. By then, she had been released early for good behaviour, had paid her fine and had moved to Chicago, to live obscurely and to help out sometimes in her father's Japanese-goods shop, selling bags of the hated rice to midwesterners.
美国政府最后承认了错误。在1977年，福特总统在任期的最后一天特赦了郁子小姐，这是犯下叛国罪的美国人中唯一一个被宽恕的，随后，她由于表现出色而被提前释放，并付清了罚金搬去芝加哥。隐姓埋名地生活着，只是偶尔去她父亲的日本货商店帮忙，把那些她最讨厌的大米卖给中西部人。
Her pardon seemed an admission that she was not Tokyo Rose. But the American government still considered she was, even if wrongfully convicted. Hollywood, and the public, still thought so. And for many old servicemen “her” voice, and their dream of “her” face, still fill their memories of war in the Pacific, as real as the kamikaze aircraft plunging into the sea.
她的特赦似乎证明她并非东京玫瑰，但即便错判了她，美国政府，好莱坞与广大公众仍认为她就是那个人。而对于很多老兵而言，她的声音，和在梦中“她”的容颜一起，仍存在于那些在太平洋战场上的记忆中，犹如零式战斗机坠入海中那一刻一样真实。
注释：她于１９１６年７月４日出生在美国的洛杉矶，在美国的芝加哥长大，喜欢运动，爬山、音乐，是一个好学生
东京玫瑰在战时被美国政府和美国军方通缉
她的一段播音内容：
当时，日军为瓦解美军的斗志，利用广播宣传打心理战，用女播音员企图勾起美军的乡愁和引起他们对上司的怨恨。户粟郁子战后被指为其中一个女播音员。其被指派播音的定期节目是“零点时刻”。而她温柔、机智、诙谐、幽默的播音风格极受美军欢迎，节目也成为太平洋战场上最受欢迎的一个。
斯人已逝，过去的一切就都随着云烟一起消失把。翻译 by 高雅
户粟郁子
Oct 5th 2006
From The Economist print edition
Iva Toguri, a victim of mistaken identity, died on September 26th, aged 90
户粟郁子(Iva Toguri D\'Aquino) 身份错认的受害者，于九月二十六日逝世，无疾而终，享年九十
MANY years after the end of the war in the Pacific, a former tail-gunner who had been stationed in New Guinea wrote a letter to a veterans' magazine. He wished to share his memories of a voice. Every night in the spring of 1944, huddled in a tent with his comrades, he would hear a woman speaking behind the crackle and whistling of the Halicrafter radio. “Hi, boys!” she would say, or sometimes “Hi, enemies! This is your favourite playmate.” She would play swing and jazz, introduce “some swell new records from the States” and then, almost as an afterthought, mention that a Japanese attack was coming: “So listen while you are still alive.”
二战太平洋战场上的战争结束数十年后，一名原驻扎在新几内亚的前战机尾部机枪手给一本老兵杂志写了一封信，希望能和其他人一起分享关于“声音”的记忆。那是在1944年的春天，每天夜里，他都和他的战友们一起挤在帐篷里听广播，伴随着嘈杂干扰声，哈里克拉福特牌收音机里传来一个女人的声音。这个声音有时会说：“嗨 男孩们好啊”，有时也会说：“嗨，我的敌人们你们好啊，我是你们的好伴侣。”她播放一些摇摆乐，或是爵士乐，介绍一些美国最新最棒的音乐，然后再加上一句，提醒我们日本人又要进行新一波攻击了，所以，趁着还活着，享受音乐吧。
They listened happily, as did American troops all over the Pacific. It was rare and good to hear a female voice, even through several layers of interference and even with the sneer of death in it. Whether it was one woman, or many different women, did not matter. They could picture her: a full lipstick smile, ample curves, perfect skin, part Hedy Lamarr and part the sweetheart left at home. She was a temptress and a vixen, and her name was Tokyo Rose. For even myths must have names and addresses.
尽管广播信号很不清晰，内容中充斥着对死亡的嘲弄，但就像太平洋战场上的所有美军士兵一样，他们仍对此乐在其中。因为在战场上能听到女人的声音感觉实在太好了，甚至广播中的女声是否来自同一个人并不重要。士兵们在脑中勾绘着她的样子：她有撅着嘴唇的笑容，丰满的身材和完美的皮肤，长得既像海蒂•拉玛，又像家乡那亲爱的恋人。她的声音拥有妖妇一样的魔力。所有迷一样的人物都会有名字和地址，她也不例外，她的名字叫做“东京玫瑰”。
After the war American pressmen descended on ruined Tokyo to search for the girl they had invented. The Hearst empire was offering $2,000 for an interview and, after a while, a slight, pale, smiling young woman came forward. She had worked for Radio Tokyo and, for two years, had part-hosted a programme called “The Zero Hour”. Her name was Iva Toguri: an American citizen, born and raised in California, and now in desperate need of money to get home. She had never called herself Tokyo Rose, on air or otherwise, but there seemed no harm in taking the identity when the Hearst men asked her.Yes, she was “the one and only”, the “original”.
战后，美国的记者们来到已是一片废墟的东京，寻找这个只闻其声，不见其人的女孩，赫斯特报业集团甚至开出了2000美元，希望能对她做一个专访。过了一些日子，一个面带微笑，脸色苍白，身材瘦弱的女孩说自己为东京电台工作了两年，主持了一部分被称作“午夜时分”的节目，她的名字叫户粟郁子。并且她说自己是个土生土长的加利福尼亚人，现在很需要回家的路费。但无论是在广播中还是在其他地方，她从不管自己叫“东京玫瑰”。当赫斯特报业集团的人问她身份时，承认自己的身份似乎并无什么坏处，于是她说：“是的，我就是那个人，那个广播中的声音”。
For a while it was glamorous to be this person. Troops mobbed her for her “Tokyo Rose” autograph. She was photographed with them, a schoolgirl figure in white blouse and black slacks amid a sea of beige uniforms. But if she was Tokyo Rose, and an American, then she was also probably a traitor. So, after the fun, she was arrested.
曾经有一段时间，能成为东京玫瑰是件美事，士兵们围着她要签名，和她合影，照片上的她穿着白色长衫，黑色长袜，被簇拥在一群海军士兵中间。但如果她就是东京玫瑰，而且她还是个美国人，那么，她也应该是个叛徒，于是在一段欢乐时光之后，她被捕了。
For a year she was kept in a military brig while her broadcasts were investigated. The authorities, finding nothing against her, concluded she was not Tokyo Rose and set her free. Others were not so easily robbed of their chimeras. A populist ranter and broadcaster, Walter Winchell, started a campaign to get her rearrested and retried. In 1948 she was indicted on eight counts of treason, one of which stuck: that in October 1944 “she did speak into a microphone concerning the loss of ships.” She was sentenced to ten years in prison and a fine of $10,000.
在广播节目被调查的一年间，她被关押在一个军事监狱里，但官方没有找到任何不利于她的证据，因此作出结论，她并不是东京玫瑰，然后将她释放了。可其他人却不会轻易放过这个他们眼中的魔女，一个美国电台的民粹主义倡导者，沃尔特•温切尔发起了一场要将她重新绳之以法的运动。1948年，她被指控八项叛国罪，其中一项证据确凿，她的确在1944年十月间广播了关于战舰损失的消息。最终，她被判十年监禁，罚款一万美元。
In fact, Miss Toguri's story was all innocence. She had gone to Japan for the first time in 1941 to visit a dying aunt; the outbreak of war had trapped her there, an “enemy alien” without money and almost without the language. She was forced, like many other Allied prisoners-of-war, to work in propaganda broadcasting. Unlike her mythical persona, however, she had delivered no threats and nothing to demoralise the troops. Her radio manner was jolly rather than sultry. She was “Orphan Ann”, after Little Orphan Annie, and her theme tune, “Strike up the Band”, had been the fight song of her alma mater, the University of California at Los Angeles.
事实上，郁子小姐是无辜的，她的确在1941年去日本探望一个生病的阿姨，但战争突然爆发了，她被困在了日本，成为了一个身无分文，语言不通的外国奸细，于是只能像其他战俘一样，从事宣传广播工作。然而她所主持的广播并不像她本人那么神秘，内容毫无威胁，并且无损士气。
她的主持风格是欢快而不沉闷的，受电影《孤儿安妮》影响，她在广播中称自己为“孤儿安”, 而她节目的主题曲《笙歌喧腾》是其母校加州大学的校歌。
An alien in Japan
身在曹营心在汉
Ostensibly she was working for the Japanese. But she and her mentor, Charles Cousens, a major in the Australian army, had found ways of undermining them. Odd pauses or silly asides (“You are liking, please?”) would make nonsense of chilling remarks. And the records Miss Toguri chose were often British rather than American, entertaining the troops without making them think miserably of home.
表面上，她在为日本人工作，而实际上，她和她的朋友，澳陆军少校查尔斯•库森斯找到了很多方式来破坏宣传工作。例如在广播中奇怪的停顿，愚蠢的旁白（希望你是喜欢的？）都并不是什么刺耳的评论。并且郁子小姐所选播的歌曲大多数是英国歌，而不是美国歌，既让军队放松了神经，又不钩起他们的思乡之情。
As a nisei, the daughter of first-generation Japanese immigrants, she looked thoroughly Japanese. Not so. She was American to her fingertips, a Girl Scout, keen on big-band music and a regular at her Methodist church. Her father, though he ran a Japanese-import store, had insisted on that identity, wanting his children to speak and write only English. Iva—the name she had embraced, casting off “Ikuko”—had set off for Japan in 1941 with her trunks full of American food, and her letters home wailed at the misery of three rice meals a day. Stuck in Tokyo, she was pestered by the military police to give up her American citizenship. She clung to it fiercely until in 1949, as part of her treason sentence, it was revoked by her own country.
作为一名第二代日裔美国人，她看起来就是个彻头彻尾的日本人，但其实她的心完全属于美国，她当过女童子军，喜欢乐队音乐，并常去卫斯理教堂。尽管她的父亲从事日本进口货物生意，但坚持自己的美籍身份，并希望自己的孩子只讲英语。她的名字叫伊娃，而不是那个1941年在日本使用的日语名字“郁子”，初到日本时，她带着一堆美国食物，并且她给家里写信哭诉自己一日三餐都是米饭的痛苦。困在东京后，她被军警纠缠胁迫，逼她放弃自己的美国国籍。但她始终坚持说不，直到1949年，在对她的审判过程中，由于她的叛国罪，国籍被美国人自己剥夺。
The mistake was eventually acknowledged. Gerald Ford pardoned Miss Toguri on the last day of his presidency, in 1977: the first-ever pardon of any American convicted of treason. By then, she had been released early for good behaviour, had paid her fine and had moved to Chicago, to live obscurely and to help out sometimes in her father's Japanese-goods shop, selling bags of the hated rice to midwesterners.
美国政府最后承认了错误。在1977年，福特总统在任期的最后一天特赦了郁子小姐，这是犯下叛国罪的美国人中唯一一个被宽恕的，随后，她由于表现出色而被提前释放，并付清了罚金搬去芝加哥。隐姓埋名地生活着，只是偶尔去她父亲的日本货商店帮忙，把那些她最讨厌的大米卖给中西部人。
Her pardon seemed an admission that she was not Tokyo Rose. But the American government still considered she was, even if wrongfully convicted. Hollywood, and the public, still thought so. And for many old servicemen “her” voice, and their dream of “her” face, still fill their memories of war in the Pacific, as real as the kamikaze aircraft plunging into the sea.
她的特赦似乎证明她并非东京玫瑰，但即便错判了她，美国政府，好莱坞与广大公众仍认为她就是那个人。而对于很多老兵而言，她的声音，和在梦中“她”的容颜一起，仍存在于那些在太平洋战场上的记忆中，犹如零式战斗机坠入海中那一刻一样真实。
注释：她于１９１６年７月４日出生在美国的洛杉矶，在美国的芝加哥长大，喜欢运动，爬山、音乐，是一个好学生
东京玫瑰在战时被美国政府和美国军方通缉
她的一段播音内容：
Hello, boneheads. This is your favorite enemy, Ann. How are all you orphans of the Pacific? Are you enjoying yourselves while your wives and sweethearts are running around with the 4F\'s in the States? How do you feel now when all your ships have been sunk by the Japanese Navy? How will you get home? Here\'s another record to remind you of home."
老年时的照片当时，日军为瓦解美军的斗志，利用广播宣传打心理战，用女播音员企图勾起美军的乡愁和引起他们对上司的怨恨。户粟郁子战后被指为其中一个女播音员。其被指派播音的定期节目是“零点时刻”。而她温柔、机智、诙谐、幽默的播音风格极受美军欢迎，节目也成为太平洋战场上最受欢迎的一个。
斯人已逝，过去的一切就都随着云烟一起消失把。翻译 by 高雅
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