TED2007
Maira Kalman: The illustrated woman
マイラ・カルマン： 絵を描く女
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作家でありイラストレーターであるマイラ・カルマンが彼女の人生や、ニューヨーカー誌の表紙や子ども・大人向けの本を手掛けた仕事について語ります。カルマンが描く本のように、彼女の賢くて風変わりな素晴らしい性格が感じられます。
Maira Kalman - Illustrator, author
Maira Kalman's wise, witty drawings have appeared on numberless New Yorker covers, in a dozen children's books, and throughout the pages of the Elements of Style. Her latest book, The Principles of Uncertainty, is the result of a year-long illustrated blog she kept for the New York Times. Full bio
Maira Kalman's wise, witty drawings have appeared on numberless New Yorker covers, in a dozen children's books, and throughout the pages of the Elements of Style. Her latest book, The Principles of Uncertainty, is the result of a year-long illustrated blog she kept for the New York Times. Full bio
Double-click the English transcript below to play the video.
00:25
What I am always thinking about
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私は この集いの内容と同じく
00:28
is what this session is about, which is called simplicity.
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常に簡素さに関して考えています
00:32
And almost, I would almost call it being simple-minded,
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簡潔さとは 単純な性格を指すように思いますが
00:36
but in the best sense of the word.
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その言葉が持つ良い意味でとらえてください
00:38
I'm trying to figure out two very simple things:
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私が追求するのは 非常に単純な二つの事
00:42
how to live and how to die, period.
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いかに生きて いかに死ぬか
00:44
That's all I'm trying to do, all day long.
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一日中それしか考えていません
00:46
And I'm also trying to have some meals, and have some snacks,
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他にも食事をしたり おやつをつまんだり
00:49
and, you know, and yell at my children, and do all the normal things
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子どもに大声を上げたり 普通のことをやって
00:53
that keep you grounded.
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しっかりしていなくちゃいけません
00:56
So, I was fortunate enough to be born a very dreamy child.
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私は幸運にも夢見る少女として生まれました
01:03
My older sister was busy torturing my parents,
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姉は両親に手を焼かせていたし
01:07
and they were busy torturing her.
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両親も姉のことで手いっぱいだったので
01:09
I was lucky enough to be completely ignored,
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幸運にも 私は完全にほったらかしにされていました
01:12
which is a fabulous thing, actually, I want to tell you.
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なんとも ありがたいことです
01:14
So, I was able to completely daydream my way through my life.
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おかげで ずっと空想にふけっていることができ
01:20
And I finally daydreamed my way into NYU, at a very good time, in 1967,
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1967年という良い時期に 夢見がちなままニューヨーク大学に入学しました
01:27
where I met a man who was trying to blow up the math building of NYU.
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そこでニューヨーク大学の数学科の建物を爆破しようとした男と出会い
01:33
And I was writing terrible poetry and knitting sweaters for him.
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彼にセンスのない詩を書いたり セーターを編んだりしました
01:37
And feminists hated us, and the whole thing was wretched
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フェミニストは私たちを嫌って 最初から終わりまで全てが
01:42
from beginning to end.
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悲惨でした
01:44
But I kept writing bad poetry, and he didn't blow up the math building,
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でも私は詩を書き続け 彼は爆破計画を実行せずに
01:48
but he went to Cuba.
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キューバへ行ってしまいました
01:49
But I gave him the money, because I was from Riverdale
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でも彼にはお金をあげました
01:51
so I had more money than he did.
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恵まれた環境にいたのでね
01:53
(Laughter)
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（笑）
01:54
And that was a good thing to help, you know, the cause.
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彼の使命を助けるには良かったのですが
01:58
But, then he came back, and things happened,
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彼が帰って来て 事の成り行きが変わりました
02:02
and I decided I really hated my writing,
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私は自分の文章が嫌になったのです
02:05
that it was awful, awful, purple prose.
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あまりにも表現が華やか過ぎて ひどい作品でした
02:09
And I decided that I wanted to tell --
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それでもやっぱり私は
02:11
but I still wanted to tell a narrative story
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物語を書きたかったのです
02:13
and I still wanted to tell my stories.
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自分の物語というやつね
02:15
So I decided that I would start to draw. How hard could that be?
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それで絵を描く事にしました 簡単でしょう
02:18
And so what happened was that I started
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それで何をしたかと言うと 私は
02:23
just becoming an editorial illustrator through, you know,
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編集イラストレーターになりました
02:26
sheer whatever, sheer ignorance.
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まったくの無知から始めたんです
02:29
And we started a studio.
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私たちはスタジオを開きました
02:31
Well, Tibor really started the studio, called M&Co.
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M&Company というスタジオです
02:33
And the premise of M&Co was, we don't know anything,
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M&Companyは専門知識は何もないけど
02:37
but that's all right, we're going to do it anyway.
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とにかくやってみましょう というものでした
02:39
And as a matter of fact, it's better not to know anything,
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知らないほうがいい事もあります
02:41
because if you know too much, you're stymied.
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知りすぎていて困る事もありますからね
02:44
So, the premise in the studio was,
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ですから 我々のスタートは
02:47
there are no boundaries, there is no fear.
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境界線も恐怖も無い というものでした
02:50
And I -- and my full-time job, I landed the best job on Earth,
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そして私はこの世で最高の仕事にありつけたのです
02:53
was to daydream, and to actually come up with absurd ideas
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それは空想して おかしな考えを思いつく事
02:58
that -- fortunately, there were enough people there,
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幸運にもチームを組むだけの
03:00
and it was a team, it was a collective,
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十分な人がいて
03:02
it was not just me coming up with crazy ideas.
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他にも馬鹿げた考えの人はいましたが
03:04
But the point was that I was there as myself, as a dreamer.
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でも私は空想家として私自身でいました
03:09
And so some of the things -- I mean, it was a long history of M&Co,
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M&Companyは長いこと
03:12
and clearly we also needed to make some money,
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明らかに利益を上げなければならず
03:16
so we decided we would create a series of products.
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さまざまな商品をつくることにしました
03:20
And some of the watches there,
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ここに見える時計は
03:23
attempting to be beautiful and humorous --
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美しさとユーモアを出そうと努力しています
03:25
maybe not attempting, hopefully succeeding.
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努力というより 成功を狙っているのかも
03:28
That to be able to talk about content,
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内容について話し
03:31
to break apart what you normally expect, to use humor and surprise,
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通念をとっぱらって ユーモアや驚き
03:35
elegance and humanity in your work was really important to us.
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上品さや人間味を取り入れることを優先したのです
03:40
It was a very high, it was a very impersonal time in design
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その頃のデザインは人間味のない時代で
03:45
and we wanted to say, the content is what's important,
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私たちが言いたかったのは
03:49
not the package, not the wrapping.
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内容が大事だということ
03:51
You really have to be journalists, you have to be inventors,
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ジャーナリストや発明家になる必要があり
03:54
you have to use your imagination more importantly than anything.
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何よりも大事なのは想像力を使う事です
03:58
So, the good news is that I have a dog
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私には飼い犬がいます
04:03
and, though I don't know if I believe in luck --
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私は運を信じるかはわかりませんし
04:05
I don't know what I believe in, it's a very complicated question,
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何を信じているのかも複雑すぎてわかりませんが
04:07
but I do know that before I go away, I crank his tail seven times.
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私は旅に出る前に 愛犬のしっぽを７回ぐるぐる回します
04:11
So, whenever he sees a suitcase in the house,
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いつも誰かが旅行に出かける家で
04:13
because everybody's always, you know, leaving,
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みんながしっぽをぐるぐる回すものだから
04:16
they're always cranking this wonderful dog's tail,
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家の中でスーツケースが目に入ると
04:18
and he runs to the other room.
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犬は他の部屋へ行ってしまいます
04:20
But I am able to make the transition from working for children and --
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私は子ども向けの本も 大人向けの本も
04:25
from working for adults to children, and back and forth,
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どちらも書けます
04:28
because, you know, I can say that I'm immature,
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なぜなら ある意味で
04:30
and in a way, that's true.
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私は大人になっていないからです
04:33
I don't really -- I mean, I could tell you that I didn't understand,
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自慢にはなりませんが 打ち明けてしまうと
04:38
I'm not proud of it, but I didn't understand
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今回のTEDで聴いた講演の
04:40
let's say 95 percent of the talks at this conference.
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95％は理解できませんでした
04:43
But I have been taking beautiful notes of drawings
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でも素晴らしい絵を描いたんです
04:45
and I have a gorgeous onion from Murray Gell-Mann's talk.
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ゲルマンの講演では 見事な玉ねぎを描けたし
04:48
And I have a beautiful page of doodles from Jonathan Woodham's talk.
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ウッダムの講演でも 様々な絵を描けました
04:52
So, good things come out of, you know, incomprehension --
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理解できないことからも 良い事は生まれるのです
04:55
(Laughter)
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（笑）
04:57
-- which I will do a painting of, and then it will end up in my work.
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描いた絵は 後に私の作品になります
05:00
So, I'm open to the possibilities of not knowing
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ですから 知らなかった内容も受け入れて
05:04
and finding out something new.
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新しいものを生み出しています
05:06
So, in writing for children, it seems simple, and it is.
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子ども向けの本を書くのは見た目どおり簡単です
05:11
You have to condense a story into 32 pages, usually.
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たいてい 物語を32ページに集約しなくてはいけません
05:15
And what you have to do is, you really have to edit down to what you want to say.
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大切なのは伝えたい内容だけに編集すること
05:18
And hopefully, you're not talking down to kids
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そして子どもを見下すような言い方はせず
05:21
and you're not talking in such a way that you,
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一度読んだら おしまい というような
05:23
you know, couldn't stand reading it after one time.
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語りにはしないことです
05:26
So, I hopefully am writing, you know,
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ですから おそらく私の書く本は
05:28
books that are good for children and for adults.
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誰もが楽しめる本です
05:30
But the painting reflects --
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でも私が描く絵は
05:32
I don't think differently for children than I do for adults.
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子どもと大人と対象に関わらず
05:34
I try to use the same kind of imagination, the same kind of whimsy,
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想像力も 風変わりなアイデアも
05:37
the same kind of love of language.
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言葉に対する愛情も同じように使っています
05:40
So, you know, and I have lots of wonderful-looking friends.
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私の友人はかっこいい人が多く
05:44
This is Andrew Gatz, and he walked in through the door and I said,
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アンドリュー ギャッツが訪れてきた時は
05:46
"You! Sit down there." You know, I take lots of photos.
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座ってもらって 写真をたくさん撮りました
05:49
And the Bertoia chair in the background is my favorite chair.
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後ろにあるのはお気に入りの椅子
05:52
So, I get to put in all of the things that I love.
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好きなものは絵に取り入れます
05:55
Hopefully, a dialog between adults and children will happen on many different levels,
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大人と子どもの会話が いろいろなレベルで繰り広げられるでしょうし
05:59
and hopefully different kinds of humor will evolve.
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様々なユーモアも生まれると思います
06:03
And the books are really journals of my life.
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本とは私の人生の日記です
06:05
I never -- I don't like plots.
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構想をたてるのは好きではありません
06:07
I don't know what a plot means.
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あらすじという意味が私にはわかりません
06:09
I can't stand the idea of anything that starts in the beginning,
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始まり 中間 終わりという流れに
06:12
you know, beginning, middle and end. It really scares me,
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耐えられないんです
06:14
because my life is too random and too confused,
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なぜなら私の人生自体が行き当たりばったりで ごちゃごちゃしていて
06:17
and I enjoy it that way.
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それを楽しんでいるからです
06:18
But anyway, so we were in Venice,
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さて 私たちがベネチアにいたときのことです
06:23
and this is our room. And I had this dream
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これは私たちの部屋で こんな夢を見ました
06:25
that I was wearing this fantastic green gown,
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私が素敵な緑のガウンを着ていて
06:27
and I was looking out the window,
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外を眺めています
06:29
and it was really a beautiful thing.
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素敵なイメージだったので
06:31
And so, I was able to put that into this story, which is an alphabet,
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アルファベットの話の中に取り入れました
06:34
and hopefully go on to something else.
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違ったものへと変化していくと思います
06:37
The letter C had other things in it.
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Cのページには違う事を書いてあります
06:39
I was fortunate also, to meet the man who's sitting on the bed,
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ベッドに座っている男性に会えたのも幸いでした
06:42
though I gave him hair over here and he doesn't have hair.
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彼には髪の毛があるように描きました
06:45
Well, he has some hair but -- well, he used to have hair.
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髪の毛が薄い人なんでね
06:48
And with him, I was able to do a project that was really fantastic.
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彼と取り組んだ素晴らしい企画があります
06:53
I work for the New Yorker, and I do covers, and 9/11 happened
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私はニューヨーカー誌の表紙を担当しているのですが 同時多発テロが起こり
06:58
and it was, you know, a complete and utter end of the world as we knew it.
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世界の完全なる終わりとでも言うような状況でした
07:03
And Rick and I were on our way to a party in the Bronx,
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彼とパーティに行くのに ブロンクスに向かっていたとき
07:07
and somebody said Bronxistan,
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ある人が ブロンキスタンと言い
07:09
and somebody said Ferreristan,
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ある人はファレリスタンと言いました
07:10
and we came up with this New Yorker cover,
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そこからニューヨーカー誌の この表紙が生まれました
07:13
which we were able to -- we didn't know what we were doing.
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その時はよくわからなかったけれど
07:15
We weren't trying to be funny, we weren't trying to be --
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ふざけていたのではありません
07:18
well, we were trying to be funny actually, that's not true.
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実はね 面白がっていたの
07:20
We hoped we'd be funny, but we didn't know it would be a cover,
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面白いだろうって思ったけど 表紙になるとは知らなかったんです
07:23
and we didn't know that that image, at the moment that it happened,
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当初は この絵がたくさんの人に
07:27
would be something that would be so wonderful for a lot of people.
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気に入られるとは思いもしませんでした
07:31
And it really became the -- I don't know, you know,
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ここに書いてある内容を見て
07:33
it was one of those moments people started laughing at what was going on.
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たくさんの人の笑いをとれたんです
07:36
And from, you know, Fattushis, to Taxistan to, you know,
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ファットシとかタクシスタンなんて感じに 架空の
07:41
for the Fashtoonks, Botoxia, Pashmina, Khlintunisia, you know,
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人種を作り上げて名前をつけました
07:45
we were able to take the city
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この街を使って
07:47
and make fun of this completely foreign, who are -- what's going on over here?
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完全に異国であるものを笑いにしました
07:51
Who are these people? What are these tribes?
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他にはどんな人がいるの？ってね
07:54
And David Remnick, who was really wonderful about it,
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この案に乗り気だったデイビッド レムニックは
07:57
had one problem. He didn't like Al Zheimers,
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アルツハイマーは アルツハイマー病の人に対して失礼なので
08:02
because he thought it would insult people with Alzheimer's.
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やめたほうがいいと言いました
08:05
But you know, we said, "David, who's going to know?
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“彼らが気がつくと思う？” と彼に言いました
08:07
They're not."
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気づくはずないわよ
08:09
(Laughter)
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（笑）
08:11
So it stayed in, and it was, and, you know, it was a good thing.
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それで結局 この案を使う事にしました
08:19
You know, in the course of my life, I never know what's going to happen
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私の人生において 何が起こるかなんてわかりません
08:22
and that's kind of the beauty part.
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そこがいいんですよね
08:24
And we were on Cape Cod, a place, obviously, of great inspiration,
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インスピレーションを得るには最高の場所であるケープコッドで
08:28
and I picked up this book, "The Elements of Style," at a yard sale.
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ヤードセールに行き 英語文章作法の本を見つけました
08:32
And I didn't -- and I'd never used it in school,
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学生時代に使った事はありませんでした
08:34
because I was too busy writing poems, and flunking out,
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詩を書いてばかりで勉強をせず
08:37
and I don't know what, sitting in cafes.
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カフェにいりびたっていたからです
08:39
But I picked it up and I started reading it and I thought, this book is amazing.
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でも読み始めてみると この本の素晴らしいこと！
08:42
I said, people should know about this book.
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この本の存在は知るべきよ
08:45
(Laughter)
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（笑）
08:48
So I decided it needed a few -- it needed a lift, it needed a few illustrations.
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この本に少しイラストがあれば もっと良くなると思ったので
08:51
And basically, I called the, you know, I convinced the White Estate,
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出版社に電話をして説得して
08:55
and what an intersection of like, you know,
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ポーランド系ユダヤ人や
08:57
Polish Jew, you know, main WASP family. Here I am, saying,
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アングロサクソン系白人家族のような人が入り混じる中 私が
09:03
I'd like to do something to this book.
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この本に何かしたいと言うと
09:05
And they said yes, and they left me completely alone,
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承知してくれて 私に任せてくれました
09:07
which was a gorgeous, wonderful thing.
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本当に素晴らしいことでした
09:10
And I took the examples that they gave,
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彼らから見本をもらって
09:14
and just did 56 paintings, basically.
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56枚の絵を描きました
09:16
So, this is, I don't know if you can read this.
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ここには こう書いてあります
09:18
"Well, Susan, this is a fine mess you are in."
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“スーザン 窮地に入り込んでしまったね”
09:20
And when you're dealing with grammar,
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文法を扱うというのは
09:22
which is, you know, incredibly dry,
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非常に無味乾燥なものですが
09:24
E.B. White wrote such wonderful, whimsical -- and actually, Strunk --
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ストランク氏が素晴らしいものを書きました
09:28
and then you come to the rules and, you know,
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そして文法規則のページです
09:30
there are lots of grammar things. "Do you mind me asking a question?
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文法に関する表記がたくさんあります
09:33
Do you mind my asking a question?"
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meをmyに変えたニュアンスなんかもね
09:36
"Would, could, should, or would, should, could."
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助動詞の挿絵には
09:38
And "would" is Coco Chanel's lover, "should" is Edith Sitwell,
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ココ シャネルの愛人やエディス シットウェル
09:42
and "could" is an August Sander subject.
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オーガスト サンダーを用いています
09:45
And, "He noticed a large stain in the center of the rug."
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“彼はじゅうたんのシミに気がついた”
09:47
(Laughter)
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（笑）
09:49
So, there's a kind of British understatement, murder-mystery theme
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表現が英国風の殺人推理ものの絵は
09:52
that I really love very much.
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私のお気に入りです
09:54
And then, "Be obscure clearly! Be wild of tongue in a way we can understand."
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“わかりやすく曖昧となれ！ 我々の理解できる方法で楽しい言葉となれ！”
09:58
E.B. White wrote us a number of rules,
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ホワイト氏が書いた規則を見ると
10:00
which can either paralyze you and make you loathe him
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無力にさせられるか
10:02
for the rest of time, or you can ignore them, which I do,
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私のように やる気をなくしたり どうでもよくなって
10:07
or you can, I don't know what, you know, eat a sandwich.
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サンドイッチを食べだしたりします
10:10
So, what I did when I was painting was I started singing,
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私は絵を描きながら歌をうたいました
10:13
because I really adore singing,
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私は歌が大好き
10:15
and I think that music is the highest form of all art.
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音楽とはすべての芸術の頂点にあると思います
10:18
So, I commissioned a wonderful composer, Nico Muhly,
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作曲家のニコ ミュリーに依頼して
10:21
who wrote nine songs using the text,
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本文を使って９曲作曲してもらい
10:25
and we performed this fantastic evening of --
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その曲を私たちが披露しました
10:29
he wrote music for both amateurs and professionals.
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彼はアマチュアとプロの両方に向けて音楽を書き
10:32
I played the clattering teacup and the slinky
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私がカップとおもちゃを使い
10:34
in the main reading room of the New York Public Library,
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ニューヨーク公共図書館でコンサートをしました
10:37
where you're supposed to be very, very quiet,
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普段は音を立ててはいけない場所で
10:39
and it was a phenomenally wonderful event,
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とても素晴らしい催しを行いました
10:41
which we hopefully will do some more.
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またやりたいと思っています
10:45
Who knows? The New York TimesSelect, the op-ed page,
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ニューヨークタイムズの論評に
10:49
asked me to do a column, and they said, you can do whatever you want.
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コラムを書きました 内容も任されていたので
10:52
So, once a month for the last year,
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去年は月に一度
10:53
I've been doing a column called "The Principles of Uncertainty,"
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「確信のなさの法則」と題したコラムを書きました
10:57
which, you know, I don't know who Heisenberg is,
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ハイゼンベルグって誰か知りませんけど
10:59
but I know I can throw that around now. You know,
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今となっては その言葉はわかります
11:01
it's the principles of uncertainty, so, you know.
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不確定性原理ですよね
11:04
I'm going to read quickly -- and probably I'm going to edit some,
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時間がないので省略しながら
11:07
because I don't have that much time left -- a few of the columns.
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ちょっとだけ読んでみます
11:10
And basically, I was so, you know, it was so amusing,
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面白かったのは 字数制限が気になって
11:13
because I said, "Well, how much space do I have?"
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尋ねたら
11:14
And they said, "Well, you know, it's the Internet."
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“インターネットだよ” と言われました
11:16
And I said, "Yes, but how much space do I have?"
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“でも どれくらい使えるの？” と尋ねると
11:18
And they said, "It's unlimited, it's unlimited."
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無制限だと言われました
11:20
OK. So, the first one I was very timid, and I'll begin.
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一作目はとても控えめです では読んでみます
11:25
"How can I tell you everything that is in my heart?
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“私の心はどうやって明かせるの？
11:27
Impossible to begin. Enough. No. Begin with the hapless dodo."
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始めることなど不可能 もう十分だ 不幸なドードーから始めなさい”
11:30
And I talk about the dodo, and how the dodo became extinct,
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なぜドードーが絶滅してしまったのか という内容で
11:34
and then I talk about Spinoza.
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次にスピノザについて話します
11:36
"As the last dodo was dying, Spinoza was looking for a rational explanation
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“最後のドードーが死んでしまう時 スピノザは
11:40
for everything, called eudaemonia.
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幸福主義の合理的な説明を探していた
11:42
And then he breathed his last, with loved ones around him,
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そして最愛の人たちに囲まれ息を引き取った
11:45
and I know that he had chicken soup also, as his last meal."
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彼が最後に食べたのはチキンスープ”
11:47
I happen to know it for a fact.
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これは本当です
11:49
And then he died, and there was no more Spinoza. Extinct.
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彼は亡くなり スピノザは死滅しました
11:53
And then, we don't have a stuffed Spinoza,
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スピノザの剥製はありませんが
11:55
but we do have a stuffed Pavlov's dog,
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パブロフの犬の剥製ならあります
11:57
and I visited him in the Museum of Hygiene in St. Petersburg, in Russia.
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サンクトペテルブルグの博物館でパブロフの犬を見ました
12:01
And there he is, with this horrible electrical box on his rump
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お尻の部分に電気の箱がくっついています
12:06
in this fantastic, decrepit palace.
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美しき 古い城の中にいます
12:10
"And I think it must have been a very, very dark day
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“ボリシェヴィキが来た日は
12:12
when the Bolsheviks arrived.
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とても暗い日だったに違いない
12:13
Maybe amongst themselves they had a few good laughs,
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彼らは楽しい時を過ごしたかもしれないが
12:15
but Stalin was a paranoid man, even more than my father."
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スターリンは私の父以上に偏執性の人間だった”
12:19
(Laughter)
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（笑）
12:20
You don't even know.
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本当にすごかったのよ
12:21
"And decided his top people had to be extinctified."
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“そして 彼のトップの人間は死滅する運命にあった”
12:26
Which I think I made up, which is a good thing.
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私の造語も加えました
12:28
And so, this is a chart of, you know, just a small chart,
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この小さな図は
12:31
because the chart would go on forever of all the people that he killed.
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彼が殺した人を表しています
12:33
So, shot dead, smacked over the head, you know, thrown away.
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撃たれたり 頭を殴られたり はじき出されたりした人たち
12:39
"Nabokov's family fled Russia. How could the young Nabokov,
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“ナボコフの家族はロシアから逃げ出した 若いナボコフが
12:42
sitting innocently and elegantly in a red chair,
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赤い椅子に純粋に優雅に座って
12:44
leafing through a book and butterflies,
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蝶々の本をパラパラめくり
12:46
imagine such displacement, such loss?"
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そんな追放や喪失を いかに想像できたであろう”
12:50
And then I want to tell you that this is a map.
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これは地図だと伝えておきます
12:52
So, "My beautiful mother's family fled Russia as well.
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“私の大切な母の家族もロシアから逃げた
12:56
Too many pogroms.
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頻繁に起きるユダヤ人大虐殺のため
12:58
Leaving the shack, the wild blueberry woods, the geese, the River Sluch,
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掘っ立て小屋や ブルーベリーや ガチョウやスルチ川を後にして
13:01
they went to Palestine and then America."
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彼らはパレスチナから米国へと渡った”
13:04
And my mother drew this map for me of the United States of America,
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これは母が描いた米国地図です
13:06
and that is my DNA over here, because that person who I grew up with
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私の遺伝子がここに現れています 私を育ててくれた母は事実というものを
13:15
had no use for facts whatsoever.
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使う事はしませんでした
13:17
Facts were actually banished from our home.
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我が家から事実は消え去ってしまったのです
13:20
And so, if you see that Texas -- you know, Texas and California
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テキサスとカリフォルニアがカナダの真下にあり
13:24
are under Canada, and that South Carolina is on top of North Carolina,
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ノースカロライナの北にサウスカロライナが位置しています
13:27
this is the home that I grew up in, OK?
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こんな家庭で育ったのですから
13:29
So, it's a miracle that I'm here today.
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今日 私がここにいるのは奇跡なんです
13:31
But actually, it's not. It's actually a wonderful thing.
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それも素晴らしい事ではあるんですが…
13:35
But then she says Tel Aviv and Lenin,
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母は言ったものです
13:37
which is the town they came from, and, "Sorry, the rest unknown, thank you."
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母の家族の故郷であるテルアビブとレーニン以外は
13:40
But in her lexicon, "sorry, the rest unknown, thank you" is
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何も知りませんとね
13:42
"sorry, the rest unknown, go to hell,"
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そんなの知るもんか くらいにしか
13:44
because she couldn't care less.
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母は思ってませんでした
13:45
(Laughter)
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（笑）
13:46
"The Impossibility of February"
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２月の不可能性と題したのは
13:48
is that February's a really wretched month in New York
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２月のニューヨークはとても不快に感じる月だからです
13:51
and the images for me conjure up these really awful things.
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私にはこのような恐ろしい出来事が目に浮かぶのです
13:54
Well, not so awful.
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あまり恐ろしい訳ではないけれど…
13:56
I received a box in the mail and it was wrapped with newspaper
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新聞に包まれた小包が届き
13:59
and there was the picture of the man on the newspaper and he was dead.
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その新聞には男性が死んでいる写真が載っていました
14:03
And I say, "I hope he's not really dead,
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“彼は死んでいるのではなく
14:05
just enjoying a refreshing lie-down in the snow,
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雪に体を埋めて楽しんでるといいけど
14:07
but the caption says he is dead."
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ここには死んでるって書いてある”
14:09
And actually, he was. I think he's dead, though I don't know,
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本当に死んでるのかは
14:12
maybe he's not dead.
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よくわからないけれどね
14:14
"And this woman leans over in anguish, not about that man,
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“悲しい事に打ちひしがれた女性
14:16
but about all sad things. It happens quite often in February."
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２月はそんなことがよく起きる季節”
14:21
There's consoling.
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これは慰めを描いた絵
14:23
This man is angry because somebody threw onions all over the staircase,
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誰かが玉ねぎを階段に散らかしたことに腹を立てている男
14:27
and basically -- you know, I guess onions are a theme here.
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玉ねぎはここのテーマのようね
14:30
And he says, "It is impossible not to lie.
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彼曰く “嘘をつかないことは出来ない
14:32
It is February and not lying is impossible."
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２月なんだから 嘘をつかないのは不可能”
14:34
And I really spend a lot of time wondering,
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疑問に思うことは よくあります
14:36
how much truth do we tell?
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私たちは真実を語っているのか
14:38
What is it that we're actually -- what story are we actually telling?
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どんな物語を語っているのか
14:41
How do we know when we are ourselves?
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自分に素直でいるのか
14:43
How do we actually know that these sentences coming out of our mouths
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私たちが口に出す文章が本物だと―
14:46
are real stories, you know, are real sentences?
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どうやってわかるのでしょうか
14:48
Or are they fake sentences that we think we ought to be saying?
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表向きの見せかけの文章なのでしょうか
14:51
I'm going to quickly go through this.
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簡単に紹介します
14:54
A quote by Bertrand Russell,
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バートランド ラッセル曰く
14:56
"All the labor of all the ages, all the devotion, all the inspiration,
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“いかなる人の労働 貢献 インスピレーション
15:00
all the noonday brightness of human genius
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人間の才能の真昼の明るさ これら全ては
15:03
are destined to extinction.
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絶滅する運命にある
15:05
So now, my friends, if that is true,
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さぁ友よ これが真実だとして
15:07
and it is true, what is the point?"
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実際真実なれば その意味は何なのだ”
15:10
A complicated question.
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複雑な問いですね
15:11
And so, you know, I talk to my friends
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私は友人と語り
15:14
and I go to plays where they're singing Russian songs.
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ロシアの歌を聴ける演劇に行きます
15:17
Oh my God, you know what?
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あらそうだ
15:19
Could we have -- no, we don't have time.
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音楽をかけられる？
15:21
I taped my aunt. I taped my aunt singing a song in Russian from the --
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ロシア語で歌う叔母の歌です
15:23
you know, could we have it for a second?
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ちょっとかけてもらえますか？
15:26
Do you have that?
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再生できる？
15:28
(Music)
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（音楽）
15:47
OK. I taped my -- my aunt used to swim in the ocean
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叔母が85歳位になるまで毎日
15:50
every day of the year until she was about 85.
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海で泳いでいた時にかけていた曲を録音しました
15:57
So -- and that's a song about how everybody's miserable
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誰もが悲惨であることを唄っている曲です
15:59
because, you know, we're from Russia.
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私たちはロシア出身ですから
16:01
(Laughter)
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（笑）
16:02
I went to visit Kitty Carlisle Hart, and she is 96,
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96歳のキティ カーライル ハート
16:04
and when I brought her a copy of "The Elements of Style,"
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彼女に文章作法の本を差し上げたら
16:07
she said she would treasure it.
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大切にする と言ってくれました
16:09
And then I said -- oh, and she was talking about Moss Hart, and I said,
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彼女がモス ハートの話をしていたので
16:11
"When you met him, you knew it was him."
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彼「が」運命の人だったのね と言ったら
16:13
And she said, "I knew it was he."
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彼「は」 と言われました
16:14
(Laughter)
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（笑）
16:17
So, I was the one who should have kept the book, but it was a really wonderful moment.
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文法の本が必要なのは私でした あれは良い思い出です
16:20
And she dated George Gershwin, so, you know, get out.
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彼女はジョージ ガーシュウィンとお付き合いし
16:23
Gershwin died at the age of 38.
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彼は38歳で亡くなりました
16:26
He's buried in the same cemetery as my husband.
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彼は私の主人と同じ墓地に眠っています
16:29
I don't want to talk about that now.
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その話はまた今度
16:31
I do want to talk -- the absolute icing on this cemetery cake
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“この墓地で一際目立つのは
16:33
is the Barricini family mausoleum nearby.
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近くにあるバリシーニ家のお墓
16:36
I think the Barricini family should open a store there and sell chocolate.
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バリシーニ家はそこでチョコレート屋をやるべきよ”
16:39
(Laughter)
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（笑）
16:40
And I would like to run it for them.
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お手伝いしちゃうのに
16:41
And I went to visit Louise Bourgeoise,
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ルイーズ ブルジョワに会いに行きました
16:43
who's also still working, and I looked at her sink,
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彼女は現役で 彼女の家の洗面台は
16:45
which is really amazing, and left.
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素晴らしかったです
16:47
And then I photograph and do a painting of a sofa on the street.
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それから写真を撮り 通りにあるソファを描きました
16:50
And a woman who lives on our street, Lolita.
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私たちと同じ通りに住むロリータ
16:53
And then I go and have some tea.
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お茶を少し飲みました
16:55
And then my Aunt Frances dies, and before she died,
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叔母のフランシスは亡くなる前に
16:58
she tried to pay with Sweet'N Low packets for her bagel.
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ベーグルを砂糖代用品で買おうとしました
17:01
(Laughter)
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（笑）
17:03
And I wonder what the point is and then I know, and I see
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要点はなんだろうと考えてましたが
17:05
that Hy Meyerowitz, Rick Meyerowitz's father,
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ハイ マイロウィッツを見ました
17:07
a dry-cleaning supply salesman from the Bronx,
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彼はクリーニング屋に出入りする営業マンで
17:09
won the Charlie Chaplin look-alike contest in 1931.
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1931年にチャップリンそっくりさんコンテストで優勝しました
17:14
That's actually Hy.
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これがハイです
17:16
And I look at a beautiful bowl of fruit,
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果物を入れた器です
17:19
and I look at a dress that I sewed for friends of mine.
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友人に縫ってあげたドレス
17:22
And it says, "Ich habe genug," which is a Bach cantata,
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これはバッハのカンタータです
17:24
which I once thought meant "I've had it, I can't take it anymore,
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これ以上は耐えられない という意味だと
17:27
give me a break," but I was wrong.
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思っていましたが それは違いました
17:30
It means "I have enough." And that is utterly true.
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私は満足している という意味だそうです
17:33
I happen to be alive, end of discussion. Thank you.
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こんな感じに生きています ありがとう
17:35
(Applause)
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（拍手）
ABOUT THE SPEAKER
Maira Kalman - Illustrator, authorMaira Kalman's wise, witty drawings have appeared on numberless New Yorker covers, in a dozen children's books, and throughout the pages of the Elements of Style. Her latest book, The Principles of Uncertainty, is the result of a year-long illustrated blog she kept for the New York Times.
Why you should listen
Children know Maira Kalman for her series of Max storybooks, adults for her New Yorker covers and the gotta-have-it illustrated version of the Elements of Style -- simple proof that her sensibility blends a childlike delight with a grownup's wry take on the world.
With her husband, the legendary designer and art director Tibor Kalman, Maira spent several decades designing objets and assembling books like (un)FASHION. But after Tibor's untimely death in 1999, Maira herself became a cultural force. Her colorful, faux-naif illustrations -- and her very perspective -- tap a desire in all of us to look at the world the way she does.
Her latest book, The Principles of Uncertainty, is perhaps the most complete expression of Maira's worldview. Based on a monthly blog she kept for the New York Times website for one year, it is filled with carefully observed moments and briskly captured thoughts, an omnivore's view of life in the modern world.
Maira Kalman | Speaker | TED.com