Abstract Rosario Ferre has been a self-translator since the mid-1980s. For just as long, criticism of her work has been snarled in essentialist arguments that assume that language embodies the values of the culture from which it derives and that words transmit an essence regardless of context. Following this logic, English and Spanish are systems in opposition. This essay compares “El cuento envenenado” (1986) to Ferre’s self-translation, “The Poisoned Story” (1991) in order to recast her as a bilingual writer. Using Marilyn Gaddis Rose’s concept of stereoscopic reading, the essay places two autonomous but interrelated texts in a theory-informed relationship that renders them as one textual space and captures the creative interliminality of a bilingual writer. This reading traces Ferre’s evolution as a writer from the late seventies to the nineties and beyond, when she envisioned a short story of greater inscrutability and resistance that reflected the legacy of colonialism within a Puerto Rican household.

中文翻译：

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立体阅读罗莎里奥·费雷（RosarioFerré）的《悲剧》和《中毒故事》

摘要罗萨里奥·费雷（Rosario Ferre）自1980年代中期以来一直是一名自我翻译。长期以来，对她的作品的批评一直在本质论论据中争论不休，这些论据认为，语言体现了语言所源自的文化的价值，而言语却传达了本质，而与语境无关。按照这种逻辑，英语和西班牙语是对立的体系。本文将“ El cuento envenenado”（1986）与Ferre的自译本“ The Poisoned Story”（1991）进行了比较，以重塑她成为双语作家。运用玛丽莲·加迪斯·罗斯（Marilyn Gaddis Rose）的立体阅读概念，本文将两种自治但相互关联的文本置于一种理论知情的关系中，从而将它们呈现为一个文本空间，并抓住了双语作家的创造力。