以下為嘗試翻譯稿，請謹慎閱讀。如有誤導(dǎo)，概不負責。

一位荷蘭朋友問我是否想去看郁金香花田。暗地里，我其實并不想去（看郁金香花田）。不知為何，我總覺得去看那么多紅的、黃的、白的、紫的郁金香，有些過（于多彩）了。（所以）不管怎樣，我都不太想去看。但我的朋友極力說服我和他一起去。我很慶幸他說服了我。他帶我走進了一個更深的視角。當我們沿著穿過郁金香田的道路騎行時，我開始理解蒙德里安。我一直以為他是一位“國際畫家”；（直到那時）我才明白他是一位“荷蘭畫家”。讓我想起蒙德里安的并非郁金香的顏色，而是種植郁金香的沙和土的密度。那是一種濃稠的氛圍。場所，土地，泥土，全是密密麻麻的。五顏六色的花朵并非原因所在。那些被困在塵土里的光晶體無限投射、壓縮，將空氣照亮成一種灰色的體量……荷蘭灰。

以下英文原稿

A Dutch friend asked me if I would like to see the tulip fields. Inwardly I really did not want to see the tulip fields. For some reason l thought that seeing so many tulips-red, yellow, white, purple-would be too much. In any case I did not want to see the tulips. My friend persuaded me to go with him. I am glad that he did. He brought me into a deep view. When we rode along the roads which moved through the tulip fields I began to understand Mondrian. I always thought him to be an international painter; I found him to be a Dutch painter. It was not the color of the tulips but the density of the sand and earth where the bulbs were planted which reminded me of Mondrian. It was the atmosphere of opacity. The place, the land, the earth was dense opacification. The colored flowers were not the issue, it was the infinite penetration and the compaction of trapped light crystals in the earth which illuminated the air into a grey solidity . . . Dutch grey.

1. 本篇英文原稿及封面來自Mask of Medusa，by John Hejduk；

2. 更多相關(guān)翻譯歡迎關(guān)注個人ID：IDsCeLeee?