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I've been a political cartoonist on the global stage for the last 20 years.
在过去的二十年里，我是一个活跃在世界舞台上的政治漫画家。
Hey, we have seen a lot of things happen in those 20 years.
这二十年间，我们见证了很多事情的发生。
We saw three different Catholic popes, and we witnessed that unique moment:
我们看到了三位不同的教皇，并且见证了那个独一无二的时刻：
the election of a pope on St. Peter's Square -- you know, the little white smoke and the official announcement.
圣彼得广场上的教皇选举--烟囱里传出的白烟以及官方的正式通告。
We saw four American presidents. Obama, of course. Oh, Europeans liked him a lot.
我们见证了四位美国总统。奥巴马当然也是其中一位。对了，欧洲人很喜欢他。
He was a multilateralist. He favored diplomacy. He wanted to be friends with Iran.
他是一个多边主义者。他青睐外交手段。他想跟伊朗交朋友。
And then ... reality imitated caricature the day Donald Trump became the President of the United States of America.
然后...在特朗普当选为美国总统那天，现实世界模仿了讽刺漫画。
You know, people come to us and they say, "It's too easy for you cartoonists. I mean -- with people like Trump?"
人们跑过来对我们说，“要讽刺像特朗普这样的人，对你们漫画家来说应该太容易了吧？”
Well, no, it's not easy to caricature a man who is himself a caricature. No.
其实不是这样的，要讽刺一个本身就是一个讽刺的人并不容易。不容易。
Populists are no easy target for satire because you try to nail them down one day, and the next day, they outdo you.
民粹主义者对于讽刺文学来说不是一个容易的目标，因为有一天你终于画出比较贴合他们的漫画，第二天，他们又做出比你的漫画还讽刺的行为。
For example, as soon as he was elected, I tried to imagine the tweet that Trump would send on Christmas Eve.
例如，在他一当选后，我就马上试着想象特朗普平安夜会在推特上说什么。
So I did this, OK?
所以我画了这幅漫画。
And basically, the next day, Trump tweeted this. It's the same!
然后第二天特朗普在推特上写道：是一样的！
This is the era of strongmen.
这是政治强人的时代。
And soon, Donald Trump was able to meet his personal hero, Vladimir Putin, and this is how the first meeting went.
很快，特朗普就有机会见到了心中的英雄，普京，这是他们第一次会见的场景。
And I'm not inventing anything.
这都不是我发明创造出来的。
He came out of that first meeting saying that the two of them had agreed on a joint task force on cybersecurity.
他在结束第一次会见后说他们已经同意建立一个网络安全联合工作组。
This is true, if you do remember. Oh, who would have imagined the things we saw over these 20 years.
如果你还记得的话，这些都是真的。谁能预先想到这二十年我们所见证的事情呢。
We saw Great Britain run towards a European Union exit.
我们看到英国跑向了欧盟的出口处。
In the Middle East, we believed for a while in the democratic miracle of the Arab Spring.
在中东地区，我们有一段时间相信过“阿拉伯之春”这一所谓的民主奇迹。
We saw dictators fall, we saw others hang on.
我们看到一些独裁者倒下了，但是其他的还在继续坚持。
And then there is the timeless Kim dynasty of North Korea.
然后还有永恒不变的朝鲜金家王朝。
These guys seem to be coming straight out of Cartoon Network.
这些人看起来好像是直接从卡通频道里走出来似的。
I was blessed to be able to draw two of them.
我很幸运能够画出他们中的两父子。
Kim Jong-il, the father, when he died a few years ago, that was a very dangerous moment.
父亲金正日，几年前当他去世的时候，真的是一个非常危险的时刻。
That was -- And then the son, Kim Jong-un, proved himself a worthy successor to the throne.
差点...然后是他儿子，金正恩，他证明了自己是一个合格的接班人。
He's now friends with the US president. They meet each other all the time, and they talk like friends.
他现在是美国总统的朋友。他们经常会面，像朋友一样谈话。
Should we be surprised to be living in a world ruled by egomaniacs?
我们应该为生活在一个极端自我主义者治下的世界而感到惊讶吗？
What if they were just a reflection of ourselves? I mean, look at us, each of us.
如果他们只是我们自身的一个映射呢？我是说，看看我们每一个人。
Yeah, we love our smartphones; we love our selfies; we love ourselves.
我们热爱自己的智能手机；我们热衷于自拍；我们爱自己。
And thanks to Facebook, we have a lot of friends all over the world. Mark Zuckerberg is our friend.
感谢Facebook让我们的朋友遍布世界。马克·扎克伯格是我们的朋友。
You know, he and his peers in Silicon Valley are the kings and the emperors of our time.
他和他在硅谷的同事是我们这个时代的帝王。
Showing that the emperors have no clothes, that's the task of satire, right?
展现国王没穿衣服这一事实是讽刺文学的任务，对吧？
Speaking truth to power. This has always been the historical role of political cartooning.
对权力说出真相。这一直是政治漫画的历史使命。
In the 1830s, postrevolutionary France under King Louis Philippe,
1830年代，后革命时代的法国处于菲利普国王的统治之下，
journalists and caricaturists fought hard for the freedom of the press.
记者和讽刺漫画家们为新闻自由而艰苦斗争。
They were jailed, they were fined, but they prevailed.
他们被关押，被处罚，但最终获胜。
And this caricature of the king by Daumier came to define the monarch.
杜米埃的这张关于国王的讽刺画定义了君王。
It marked history. It became the timeless symbol of satire triumphing over autocracy.
它书写了新的历史篇章。它成为了讽刺文学战胜专制政权的永恒标志。
Today, 200 years after Daumier, are political cartoons at risk of disappearing?
距离杜米埃200年之后的今天，政治漫画正面临消失的风险吗？
Take this blank space on the front page of Turkish opposition newspaper "Cumhuriyet."
拿土耳其反对派报纸《共和报》头版的这一块空白来说。
This is where Musa Kart's cartoon used to appear.
这里曾经刊登过穆萨·卡特的漫画。
In 2018, Musa Kart was sentenced to three years in jail.
2018年，穆萨·卡特被判入狱三年。
For doing what? For doing political cartoons in Erdogan's Turkey.
他为何被判刑？因为他在埃尔多安统治下的土耳其发表政治漫画。
Cartoonists from Venezuela, Russia, Syria have been forced into exile.
委内瑞拉、俄罗斯、叙利亚的漫画家们都被迫流亡。
Look at this image. It seems so innocent, right? Yet it is so provocative.
看看这张漫画。它看起来似乎毫无恶意，是吧？但它又具有很强的煽动性。
When he posted this image, Hani Abbas knew it would change his life.
当发表这张漫画的时候，哈尼·阿巴斯就知道它会改变他的人生。
It was in 2012, and the Syrians were taking to the streets.
那是2012年，叙利亚民众走向了街头。
Of course, the little red flower is the symbol of the Syrian revolution.
显然，画上的小红花是叙利亚革命的象征。
So pretty soon, the regime was after him, and he had to flee the country.
很快，政府就开始追捕他，而他也逃离了这个国家。
A good friend of his, cartoonist Akram Raslan, didn't make it out of Syria. He died under torture.
他的一个好朋友，漫画家阿克拉姆·拉斯兰没能逃出叙利亚。他被折磨至死。
In the United States of America recently, some of the very top cartoonists, like Nick Anderson and Rob Rogers
最近在美国，一些很顶尖的漫画家，比如尼克·安德森和罗伯·罗杰斯，
this is a cartoon by Rob -- they lost their positions because their publishers found their work too critical of Trump.
这是一张罗伯的漫画作品，他们已经失业了，因为出版商发现他们的作品对特朗普有太多的批评。
And the same happened to Canadian cartoonist Michael de Adder. Hey, maybe we should start worrying.
这样的事情也同样发生在加拿大漫画家迈克尔身上。也许我们应该开始担心。
Political cartoons were born with democracy, and they are challenged when freedom is.
政治漫画生来与民主息息相关，当自由受到挑战时它也难逃厄运。
You know, over the years, with the Cartooning for Peace Foundation and other initiatives, Kofi Annan
过去这些年，在和平漫画基金会和其他人的倡导下，科菲·安南，
this is not well known -- he was the honorary chair of our foundation, the late Kofi Annan, Nobel Peace Laureate.
鲜为人知的是，他是我们基金会的誉主席，已逝的他曾获诺贝尔和平奖。
He was a great defender of cartoons.
他是一个伟大的政治漫画捍卫者。
Or, on the board of the Association of American Editorial Cartoonists,
在美国报刊漫画家协会的董事会里，
we have advocated on behalf of jailed, threatened, fired, exiled cartoonists.
我们为那些被关押、威胁、辞退、流亡的漫画家们辨护。
But I never saw a case of someone losing his job over a cartoon he didn't do. Well, that happened to me.
但我从来没遇到过一个人因为一幅他没画过的漫画而失业的案例。那是发生在我身上的。
For the last 20 years, I have been with the "International Herald Tribune" and the "New York Times." Then something happened.
过去二十年，我一直跟《国际先驱导报》以及《纽约时报》合作。然后突然发生了一些事。
In April 2019, a cartoon by a famous Portuguese cartoonist,
2019年4月，一幅由一个著名的葡萄牙漫画家画的漫画，
which was first published in a newspaper "El Expresso" in Lisbon,
首先发表在了里斯本的《El Expresso》上，
was picked by an editor at the "New York Times" and reprinted in the international editions. This thing blew up.
然后又被《纽约时报》的编辑选中并转载在了它的国际版上。然后事情爆发了。
It was denounced as anti-Semitic, triggered widespread outrage, apologies and a lot of damage control by the Times.
它被谴责为反犹太主义，引起了广泛的愤怒，《纽约时报》不停的道歉并且采取了很多措施止损。
A month after, my editor told me they were ending political cartoons altogether.
一个月后，编辑告诉我他们将要彻底停止刊发政治漫画。
So we could, and we should, have a discussion about that cartoon.
我们可以，并且应该讨论一下那幅漫画。
Some people say it reminds them of the worst anti-Semitic propaganda.
有些人说它使他们想起了最极端的反犹太主义宣传。
Others, including in Israel, say no, it's just a harsh criticism of Trump,
而其他人，包括以色列国内的，却说，不，它只是对特朗普的严厉批评，
who is shown as blindly following the Prime Minister of Israel.
批评他盲目跟随以色列总理。
I have some issues with this cartoon, but that discussion did not happen at the "New York Times."
我对这幅漫画也有一些疑问，但是那场讨论却并没有真的在《纽约时报》进行。
Under attack, they took the easiest path:
被攻击之下，他们选择了最容易的路：
in order to not have problems with political cartoons in the future, let's not have any at all.
为了将来不再因政治漫画惹上麻烦，现在就将它们一刀切的停掉。
Hey, this is new. Did we just invent preventive self-censorship? I think this is bigger than cartoons.
这是一件新鲜事。我们刚刚创造了预防性的自我审查吗？我想这件事比漫画本身更重大。
This is about opinion and journalism. This, in the end, is about democracy.
这是事关观点和新闻业的。最终，是事关民主的。
We now live in a world where moralistic mobs gather on social media and rise like a storm.
我们现在生活在一个道德暴徒在社交媒体聚集并像暴风雨一样增长的世界。
The most outraged voices tend to define the conversation, and the angry crowd follows in.
谁的声音最义愤填膺谁就最有理，而愤怒的民众也会紧随而上。
These social media mobs, sometimes fueled by interest groups, fall upon newsrooms in an overwhelming blow.
这些社交媒体上的暴徒，有时被利益集团推动压倒性地进攻新闻编辑部。
They send publishers and editors scrambling for countermeasures.
他们让出版商和编辑疲于应对。
This leaves no room for meaningful discussions. Twitter is a place for fury, not for debate.
这样就无法留下任何有意义的讨论空间。推特是一个发怒的地方，而不是辩论的平台。
And you know what? Someone described pretty well our human condition in this noisy age.
你知道吗？有人很好地描述了人类在这个嘈杂年代里的处境。
You know who? Shakespeare, 400 years ago.
你知道是谁吗？是四百年前的莎士比亚。
This speaks to me. Shakespeare is still very relevant, no? But the world has changed a bit.
这是对我说的。莎士比亚的话仍然很切题，是吗？但是世界已经发生了一些变化。
It's true. You know, social media is both a blessing and a curse for cartoons.
这是事实。你知道，社交媒体对漫画来说既是祝福也是诅咒。
This is the era of the image, so they get shared, they get viral, but that also makes them a prime target.
这是一个图像时代，它们被分享、爆红，但这也使它们成为主要被攻击目标。
More than often, the real target behind the cartoon is the media that published it.
而通常，漫画后面真正的目标是发表它的媒体。
That relationship between traditional media and social media is a funny one.
传统媒和社交媒体的关系非常有趣。
On one hand, you have the time-consuming process of information, verification, curation.
一方面，你得有一个很费时的对信息、核实、监管的处理过程。
On the other hand, it's an open buffet, frankly, for rumors, opinions, emotions, amplified by algorithms.
另一方面，坦率地说，它是一个被算法放大的谣言、观点、情绪的开放式自助餐。
Even quality newspapers mimic the codes of social networks on their websites.
甚至高质量的报纸在它们的网站上都要模仿社交网络上的规则。
They highlight the 10 most read, the 10 most shared stories.
他们会标出十个最多人阅读的，以及十个最多人分享的故事。
They should put forward the 10 most important stories.
但他们应该推出十个最重要的故事。
The media must not be intimidated by social media, and editors should stop being afraid of the angry mob.
传统媒体一定不能被社交媒体吓倒，而编辑们也应该不再害怕愤怒的暴徒。
We're not going to put up warnings the way we do on cigarette packs, are we? Come on.
我们不会像在香烟盒上那样设立警示，对吗？拜托。
Political cartoons are meant to provoke, just like opinions.
政治漫画意味着要激发比如说观点。
But before all, they are meant to be thought-provoking.
但首先，它们是能够引人深思的。
You feel hurt? Just let it go. You don't like it? Look the other way.
你感觉受到伤害？随它去吧。你不喜欢它？那就视而不见好了。
Freedom of expression is not incompatible with dialogue and listening to each other.
言论自由跟对话以及互相倾听并不矛盾。
But it is incompatible with intolerance.
但它跟偏狭是不相容的。
Let us not become our own censors in the name of political correctness.
让我们不要变得因政治正确之名而自我审查。
We need to stand up, we need to push back, because if we don't, we will wake up tomorrow in a sanitized world,
我们需要站起来，我们需要反抗，因为如果我们不这样做，那么明天我们将在一个美化了的世界醒来，
where any form of satire and political cartooning becomes impossible.
在那里，任何的讽刺文学和政治漫画都不可能存在。
Because, when political pressure meets political correctness, freedom of speech perishes.
因为当政治压力遇上政治正确，言论自由就消失了。
Do you remember January 2015?
还记得2015年1月吗？
With the massacre of journalists and cartoonists at "Charlie Hebdo" in Paris,
通过发生在巴黎《查理周刊》的针对记者和漫画家的袭击事件，
we discovered the most extreme form of censorship: murder. Remember how it felt.
我们发现最极端的审查禁言就是：谋杀。记住那种感觉。
Whatever one thought of that satirical magazine, however one felt about those particular cartoons,
不管人们对这本讽刺漫画杂志有什么看法，也不管人们对这幅漫画有什么感觉，
we all sensed that something fundamental was at stake, that citizens of free societies
我们都感觉到有些基本的东西正处于危险当中，自由社会中的民众，
actually, citizens of any society -- need humor as much as the air we breathe.
事实上，任何社会中的民众，都像需要空气一样需要幽默。
This is why the extremists, the dictators, the autocrats and, frankly, all the ideologues of the world cannot stand humor.
这就是为什么极端主义分子、专制独裁者，以及坦白地说，所有意识形态的拥护者都忍受不了幽默。
In the insane world we live in right now, we need political cartoons more than ever. And we need humor. Thank you.
我们现在生活的这个疯狂的世界，比任何时候都更需要政治漫画。同时我们需要幽默。谢谢。
