This article is the result of research and reflection undertaken in the process of translating Vercoquin et le plancton. Focusing on music-related references in Boris Vian's first published novel, this article will discuss different layers of meaning and a variety of techniques that can be discerned in Vian's punning and wordplay. The complexity and compactness of his writing make for an exceptional case study. Whilst much of the wordplay may justifiably be classed as ‘juvenile’, its many facets also reflect life in Occupied France, document the Zazou movement, voice a manifesto for jazz, and stage playfulness that can be viewed as ranging from the very silly to a form of resistance. Such sophistication – largely overlooked, hitherto – justifies re-evaluation of Vian's early work. Analysis of a number of challenges to translation gives rise to discussion of possible solutions, based on different considerations – genre, function and audience – and using different ‘tools’. This article seeks not to justify my own choices in translation. Rather, it should illustrate the point that research is essential, and that interpretation and creativity are necessary if one's strategy in literary translation is to try to provide a new audience with similar opportunities for their own readings as a Francophone audience might have.

本文是Vercoquin et le plancton翻译过程中研究和反思的结果。本文将重点关注鲍里斯·维安 (Boris Vian) 第一部出版小说中与音乐相关的参考资料，将讨论维安的双关语和文字游戏中可以看出的不同层次的含义和各种技巧。他写作的复杂性和紧凑性使其成为一个特殊的案例研究。虽然大部分文字游戏都可以合理地归类为“少年”，但它的许多方面也反映了被占领法国的生活，文件Zazou运动，为爵士乐发声，以及舞台上的嬉戏，可以被视为从非常愚蠢到一种形式的抵抗。这种复杂性——迄今为止在很大程度上被忽视了——证明了重新评估维安早期作品的合理性。对翻译面临的诸多挑战的分析引发了对可能解决方案的讨论，基于不同的考虑因素——体裁、功能和受众——并使用不同的“工具”。本文旨在不证明我自己在翻译中的选择是合理的。相反，它应该说明研究是必不可少的，如果一个人在文学翻译中的策略是试图为新的读者提供与法语读者可能拥有的相似的阅读机会，那么解释和创造力是必要的。