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Anders worked at a gym and Oona taught yoga, and their bodies were youthful and fit, and if we, writing or reading this, were to find ourselves indulging in a kind of voyeuristic pleasure at their coupling, [qh]
安德斯在健身房工作，乌娜教瑜伽，他们的身材年轻健美，如果我们写这篇作品或读这篇作品，会发现自己沉浸在一种偷窥他们结合的快感中，[qh]
we could perhaps be forgiven, for they too were experiencing something not entirely dissimilar, pale-skinned Oona watching herself performing her grind with a dark-skinned stranger, [qh]
或许我们可以得到谅解，因为他们也在经历着一种并非完全不同的事情，皮肤苍白的乌娜看着自己和一个皮肤黝黑的陌生人结合，[qh]
Anders the stranger watching the same, and the performance was strong for them, visceral, touching them where, unexpectedly, or not so unexpectedly, they discovered a jarring and discomforting satisfaction at being touched.[qh]
陌生人安德斯也在看着同样的事情，这种行为对他们来说是强烈的，出于本能的，触碰时，出乎意料的，或者不那么出乎意料的是，他们发现了一种不和谐的、令人不安的满足感。[qh]
A phrase from a later scene, “arousal shadowed by gloom,” captures the general feeling. [qh]
后面场景中的一个短语，“被阴郁笼罩的觉醒”，抓住了大致的感觉。[qh]
The novel evinces the worst of Hamid’s style, intensifying his turn in Exit West (2017) toward folksy transitions (“and so it was”), diction that manages to be both officious and purple (“the performance was strong for them, visceral”),[qh]
这部小说展现了哈米德最糟糕的风格，在2017年的《西缺口》中，他更倾向于随意的过渡(“然后就是”)，措辞既装腔作势又华而不实(“这种行为对他们来说是强烈的，发自内心的”)，[qh]
and run-ons that feel less breathless than halting, laden as they are with comma-capped redundancies (“maybe both doing both, in a way”) and reversals (“unexpectedly, or not so unexpectedly”). [qh]
还有让人感觉不是喘不过气来而是结结巴巴的连篇累牍，充满了以逗号结尾的冗余(“也许在某种程度上，两者兼而有之”)和转折(“出乎意料，或不那么出乎意料”)。[qh]
As in his earlier novels about social mobility and immigration, romance supplies the plot and casts an aura of “love” over the politico-speculative gimmick.[qh]
正如他早期关于社会流动和移民的小说一样，浪漫主义为情节提供了素材，并在政治投机的噱头上投了一层“爱”的光环。[qh]
But Hamid here emphasizes the familial, perhaps as a stand-in for the genetic: The love between generations meets the idea that race is an inherited trait.[qh]
但哈米德在这里强调了家族，也许是作为基因的替代品:世代之间的爱符合种族是一种遗传特征的观点。[qh]
The titular last white man is in fact Anders’s widowed father, who responds to his son’s new condition by weeping “like a shudder, like an endless cough, without a sound,” then giving him a gun. [qh]
名义上的最后一个白人男性实际上是安德斯丧偶的父亲，面对儿子的新情况，他哭得“颤颤巍巍，咳得停不下来，却静默无声”，然后给了他一把枪。[qh]
Anders feels guilty for his darkness; “just by being here, Anders was taking something from his father, taking his dignity.”[qh]
安德斯为他的黑肤感到内疚;“就在这里，安德斯从他父亲那里夺走了一些东西，夺走了他的尊严。”[qh]
But his father makes it his dying task to accept Anders, even though he could understand those who wanted his son gone from town now, who were afraid of him, or threatened by him, by the dark man his boy had become, [qh]
但他的父亲把接纳安德斯作为他的临终任务，尽管他可以理解那些现在想让他的儿子离开镇上的人，他们害怕他，或受到他儿子的威胁，受到和他儿子一样黑肤人的威胁，[qh]
and they had a right to be, he would have felt the same in their shoes, he liked it no better than they did, and he could see the end his boy signaled, the end of things.[qh]
他们有权利这样做，但他站在他们的立场上也会有同样的感受，他和他们相比，也没有喜欢到哪里去，他能看到他儿子发出的信号，一切都结束了。[qh]
Family blood and racial blood are pitted against each other.[qh]
家族血统和种族血统相互对立。[qh]
