تدريب Shadowing: Ocean Vuong Tells Oprah What It Means to Live Only Once - تعلم التحدث بالإنجليزية مع YouTube

That's how the book begins.

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That's how the book begins.

The hardest thing in the world is to live only once.

Yeah.

Well, in a sense, you know,

the idea of YOLO, you only live once,

has been really destructive to our world.

You know, corporations think they only have one life to harvest the most profit out of the environment

and therefore harm the environment.

You know, we're told again and again,

no regrets, just seize the day.

and it's very self-centered in a way.

But I think another way to think about you only live once is what

if you only have one chance to live with care,

consideration, a sense of obligation to each other?

And it's not even like this,

you know, goody, woo-woo, selflessness,

but it actually makes your life much better when you live with the obligation that you owe each other everything.

both strangers and family and your environment and your community.

And so I wanted to just change the meaning of YOLO.

And as a poet, I love that one phrase could have double meaning.

You can approach it that if you only have one life,

what if you didn't just grab everything you can in the candy store,

leaving it a total catastrophe in your wake?

But what if you did it so that other people can also inhabit that space and you can improve it?

And, you know, our culture often thinks that's silly, that's childish, right?

It's too wholesome and earnest.

But I think earnestness is an incredible, courageous thing.

I respect it immensely in the people I meet and the students I have.

If you're earnest and sincere,

it's the most greatest truth because it means that you're willing to risk vulnerability and ridicule.

You're willing to be wrong and come off silly because you believe in everything.

I think it's okay to believe in everything.

It's okay to believe that if you have this one life,

you should try to make it better for other people.

Children just have that.

It's not a question to them.

But as you get older,

we start to be more fearful of that because we think that if I believe in goodness too much,

then I've fallen for something.

I've been duped.

I've been stymied into believing goodness.

And sometimes it's really hard.

There are days where I can't do it.

But that's my North Star.

And that's why I started the book with that North Star,

is that the hardest thing is to live only once.

So make it count and make it count for others as well.

Thank you, Prashida.

When you started the book,

did you start it with high story?

Because I've talked to authors,

they start in the middle.

Wally Lamb told me he started,

you know, this much is true.

He started it in the middle because he had the idea for the twins.

Where did it start for you?

It started with landscape.

It started with the town.

I write by hand.

So I wrote this the day after the election in 2020.

When the results were coming in,

it was kind of chaotic.

No one knew what was the results were.

And I said, all right,

I'm gonna rent a room.

I live in Western Massachusetts.

I'm gonna rent a little cabin and just go away.

And when I come back,

hopefully we'll know what's happening.

But it got more and more convoluted,

as you remember from that election.

Yeah.

And no one knew where the country was going to be headed,

who was going to head it.

And I turned off all the radios and TV.

I went to this cabin.

I started writing by hand.

And I spent nine pages writing about the towns in the Connecticut River Valley that sustained me,

that I grew up in.

Because I wanted to really think,

like, what is my America?

What is America?

and I want to really sink in to the town as a character, as description.

I wanted to really love it in all of its difficulty to just present it and not go on with a plot.

So it started with space.

It started with land and the history of land because land is tied to history.

And at the end of the day,

I think I write historical fiction,

not in the sense of a period piece,

but I write fiction that has history involved in it,

and land is a part of history.

Yeah, this is on page three where you're just scribing the natural area,

and you say, Look how the birches,

blackened all night by starlings,

shatter when dawn's first sparks touch their beaks.

I went, holy Jesus, who is this guy?

When dawn's first shadow touches their beaks,

It felt like we were right there watching them disperse, right?

Well, the sentence is a linear technology.

100

So it's a kind of a track.

101

And what you do as an author is that you're asking a reader for their trust to say,

102

just stay with me in this track.

103

Because it's a big leap of faith.

104

It's almost like when you're riding on a roller coaster, it's one track.

105

And as an author, you have to say,

106

well, let's just come with me and we're going to zoom in on something

107

that people often drive past and don't think about.

108

And so the book is a wonderful opportunity to recalibrate value systems,

109

to create a different hierarchy of values.

110

And let's just stay on these starlings and love this landscape because it's so brutal,

111

because it's so fruitful to the communities that live it.

112

And also, what is America?

113

You know, I was haunted by that.

114

I don't know what next week is going to look like,

115

but I know that this landscape in all of its paradoxes has sustained my imagination

116

and I want it to be true to its history.

117

Wow.

118

Crystal is here.

119

I hear the small town setting of this story.

120

Really, you connected with this?

121

Very much so.

122

Thank you so much, Ocean,

123

for giving us this book.

124

It was incredible.

125

I loved it.

126

Thank you.

127

So I know that this is set in New England,

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but it felt like East Gladness could be any small town really suspended in time.

129

I grew up in middle America in and around towns that were left behind.

130

And it immediately transported me in chapter one when I was really feeling something deeply familiar.

131

So I felt really life at the edge of nothing,

132

the looming presence of addiction,

133

the randomness of tragedy, working poverty, fast food.

134

And this isn't the first time that you've written about small towns and near rural life.

135

And I wanted to know what draws you to this kind of setting

136

and what continues to inspire you about places like this.

137

I grew up in Hartford and Hartford is interesting because if you drive,

138

you're in the middle of the city and it's the city that's often been forgotten.

139

We often have a saying that all the good things are sucked up by Boston and New York.

140

And so it is a place where when you come to it,

141

the people there are the people who can't get out.

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They're what's left over.

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We have that mentality.

144

And Hartford's interesting.

145

You drive 20 minutes and you'll be in a cornfield.

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You could be in the middle of skyscrapers,

147

drive 20 minutes in any direction.

148

You'd be in a smack dab in a cornfield.

149

I was surprised to hear that because I used to go to Hartford.

150

My friend Gail started her career there in Hartford.

151

Really?

152

WFSB in Hartford, yes.

153

And so I was thinking,

154

I didn't know there were cornfields near Hartford at all.

155

Yeah, yeah.

156

It's right across the river.

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And a lot of people work in the fields and then live in the city and vice versa.

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And I realized that when you live in a small town,

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a small community, you owe respect to everybody.

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Because you can't be, pardon my French, an asshole.

161

If you are, people know your name and they know your family and they know your grandmother.

162

And I felt like there's an incredible obligation that you have by offering each other dignity because there's nowhere to hide.

163

You can be a jerk in New York and you just fade into the subway and then that's it.

164

But there's no anonymity.

165

You have to stand by what you believe.

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You have to defend and argue yourself.

167

And then you have to face each other when you don't agree.

168

You might have to work side by side.

169

And so I wanted to see that that's actually not a place left behind.

170

That's an advantageous, even innovative way to relate to people.

171

When you cannot hide behind anything,

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you have to face each other with respect,

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dignity, and a kind of proximity that so much of America really is.

174

If you talk to people,

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everybody kind of wants the same thing.

176

Even though we have vastly chaotic and disparate political beliefs,

177

at the end of the day,

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we want to live with dignity and respect for each other.

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And living in a small town forces you to do that.

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And it allows you dexterity with the language.

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You know how to talk about something without offending each other, right?

182

You talk so that you can see each other again at the laundromat, because you will.

183

Because you will.

184

Everybody knows your business.

185

Yeah.

186

Thank you.

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تدريب Shadowing: Ocean Vuong Tells Oprah What It Means to Live Only Once - تعلم التحدث بالإنجليزية مع YouTube

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حبكات النطق الشائعة

ما هي تقنية التظليل الصوتي؟

تدريب Shadowing: Ocean Vuong Tells Oprah What It Means to Live Only Once - تعلم التحدث بالإنجليزية مع YouTube

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لماذا يجب ممارسة التحدث باستخدام هذا الفيديو؟

النحو والتعبيرات في السياق

حبكات النطق الشائعة

ما هي تقنية التظليل الصوتي؟