boundaries between past and present, between language and expression” (165). So it was argued in Probable Fictions about Munro’s narrative techniques. Yet this awareness by Munro, and the affecting techniques she has devised to tell her stories throughout, also demonstrates this fine and discerning assertion by coeditor Amelia DeFalco: “Munro’s writing engages the problem of affect, that as affective creatures we are constantly at risk, susceptible to the world. But the urge to minimize that risk, to minimize susceptibility, involves retreat, avoidance, and ultimately, as Munro’s stories suggest, ethical failure since the refusal to risk being affected is the refusal to engage and to be responsible” (43). The publisher quotes Magdalene Redekop calling this collection “groundbreaking” (v). It is not really that, but it is pretty good.

中文翻译：

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LM 蒙哥马利和自然之物

过去与现在、语言与表达之间的界限”（165）。因此，在可能的小说中就芒罗的叙事技巧进行了争论。然而，芒罗的这种意识，以及她为讲述自己的故事而设计的感人技巧，也证明了共同编辑阿米莉亚·德法尔科（Amelia DeFalco）的这种精妙而敏锐的断言：“芒罗的写作涉及情感问题，作为情感生物，我们经常处于危险之中，对世界敏感。但是，最小化风险、最小化易感性的冲动涉及退却、回避，最终，正如芒罗的故事所暗示的那样，道德失败，因为拒绝冒险受到影响就是拒绝参与和承担责任”（43）。出版商引用 Magdalene Redekop 的话说，这个系列是“开创性的”（v）。事实并非如此，但它非常好。