2018年5月CATTI一笔真题练习，请各位老师批评斧正

In December 2015, British publishing stood accused of woeful blindness to diversity, and not for the first time, after World Book Night (WBN) announced its titles, and none of the 15 books was by a writer of colour. An apology was issued by organisers but a wider malaise had already set in, and along with it, the troubling feeling that WBN’s oversight was less an isolated incident and more a recurring pattern of exclusion that stretched across the literary establishment.

      2015年12月，英国出版界因严重缺乏多样性遭到诟病，这已经不是第一次了。之前，“世界图书之夜”（WBN）公布的入围名单中，15本书没有一本的作者是有色人种。组织方发布了道歉声明，但已经引发了大范围负面情绪，人们还担心，“世界图书之夜”对有色人种的忽视并非偶然，而是反映了遍及整个文学界不断重现的排外现象。

A report on the state of the books industry had been published earlier that year by the development agency Spread the Word, which drew attention to how intransigently white, middle-class (and further up the ladder, male) it remained, from literary festivals and prizes to publications and personnel. The industry has been announcing strategies for change since 2015. Publishing houses have rolled out paid internships, mentoring schemes and traineeships to attract socially under-represented and BAME applicants on an unprecedented scale, as well as creating opportunities for women to move into boardrooms.

       同年早些时候，一家名为“文字传播”（Spread the Word）的发展咨询机构公布了一份图书行业情况报告，指出从出席文化节，到作品或个人获奖，中产阶级白人（男性，如果再往细分）都占据了统治地位。2015年起，业内就开始出台改革政策，各出版社开展了带薪实习、辅导课程和学徒计划，以前所未有的规模吸引了社会少数族群和非白人族裔的应聘者，也为女性晋升管理层创造了机会。

To name a few recent initiatives: Penguin Random House is offering interest-free rent loans to draw more applicants from outside London, and has set a company goal “for all new hires and the books we acquire to reflect UK society by 2025 in terms of social mobility, ethnicity, gender, disability, and sexuality”. HarperCollins is launching programmes for BAME employees and those taking long-term parental leave, while Hachette is encouraging diversity at an executive level in a mentoring scheme with board members. Some schemes show promising signs. Penguin’s campaign, which connects aspiring writers from socially excluded communities to agents, editors and authors, is helping to deverstify these professions.

       举几个近期发生的例子：企鹅兰登书屋提供免息租房贷款，旨在吸引更多伦敦市外的应聘者，同时制定了公司目标，要在“2025年以前，让新入职员工和新出版图书反应英国社会的现状，包括社会流动性、民族构成、性别特征、残疾人群体和性取向”。哈珀柯林斯出版社为非白人族裔和需要长期休育婴假的人出台了相关政策。而阿歇特出版社则为高层开设辅导课程，从而提高管理层成员的多样性。其中一些活动呈现出了喜人态势，比如企鹅出版社让社会边缘群体的优秀作者跻身出版机构、编辑行业和作家行列，丰富了这些领域的多样性。

It appears to be a turning point for British publishing, and yet those who have been around for long enough feel a profound sense of disappointment, because there have been mentorship schemes and initiatives before, yet the industry has always failed to maintain the diversity it has achieved. And where some publishers continue to reach for “schemes” or blame blockages elsewhere in the pipeline, independent publishers have long been weaving inclusivity into their lists without the need for formal targets or traineeships.

       英国出版界似乎正在出现转机，但资深业内人士却深感失望，因为此前也出现过类似的辅导课程和激励措施，但出版界并没有维持住由之而来的多样性。某些出版商仍执迷于这些所谓的“计划”，或指责业内其他环节造成了行业封闭。与此同时，有的独立出版商早已将包容性融入了自己的出版书单，并不需要借助正式目标和学徒计划。

Margaret Busby, the writer and pioneering publisher, regards the endeavour for better representation in publishing as a struggle begun decades ago and still no closer to being won. Mainstream publishing, she says, is too institutionalised in its biases to be corrected by a few new authors or schemes.

       玛格雷特·巴斯比（Margaret Busby）既是作家也是有影响力的出版商，她认为提升出版界社会代表性的努力几十年前就开始了，直到现在也远未成功。她指出，主流出版界的偏见根深蒂固，并不是几个新作家或新计划能改变得了的。

In the 1980s she helped to found a group that campaigned to diversify the industry. An article she wrote in 1988 posed questions that are still being asked today, such as: “What are publishers doing to make their companies a more accurate reflection of their lists, readers and society?”

       上世纪80年代，巴斯比协助建立了一个组织，力图提升出版行业的多样性。在1988年的一篇文章中，她提出过几个今天仍值得思考的问题，比如“出版商该怎样让公司更准确地反映其书单、读者和社会的情况”。

A decade later, the Arts Council brought in publishing traineeships for black and Asian candidates, whom Busby mentored. Another Arts Council scheme followed 10 years later to address representation in the workforce. In 2005, the Diversity in Publishing Network (Dipnet) was started and after that, Equip, a Publishing Equalities Charter in 2012. “What’s happening now is more initiatives,” Busby says. “But the problem can’t be solved with initiatives.”

       十年之后，艺术理事会为黑人和亚裔推出了出版行业学徒计划，由巴斯比负责指导。又过了十年，艺术理事会推出了另一个旨在提高从业人员社会代表性的项目。2005年，出版行业多样性组织（Dipnet）成立，之后在2012年，出版行业平权宪章《Equip》出台。“活动越来越有创意，”巴斯比指出，“但光有创意解决不了问题。”

There is overwhelming agreement among excluded communities that systemic change can only happen when inclusivity is filtered upwards. There is not yet gender parity on boards, even though women outnumber men in the industry; a lack of social diversity is one of its most stubborn problems.

       被出版界抛弃的群体中，绝大部分人认为只有提升包容性，才能促成系统性变革。虽然行业内的女性从业人数超过男性，但管理层还未实现性别平等，缺乏社会多样性是出版业的痼疾。