这贮藏室于是成了我一生中唯一的书房，也许称之为小作坊更为贴切。狭长逼仄的一小间，北窗下靠墙置一旧书桌，进门处兀立两只叠起来的玻璃书柜，都是原先住户废弃的家具。除了窗下书桌可容纳我的一把旧藤椅，就没有多余的空间了。不过，这样的一间书房，一个人躲在里面写作，思想很集中。我利用一切节假日、下班后的全部业余时间，独处斗室，创作的思维和想象空间都很广阔。
The storeroom was the only study I’ve ever had in my life. Perhaps it could be aptly called a workshop. It was long, narrow and small. An old desk stood against a wall under the northern window. Two piled-up glass bookcases rose erect near the entrance. They were the furniture abandoned by a former resident. There was no room for anything else besides my old cane chair placed before the desk under the window. However, enjoying the privacy of a so-called study like this, I could do writing with high concentration. All festivals and holidays as well as all after-hours spare time would find me confined in solitude to the tiny room to experience the delight of giving free rein to my literary thought and imagination.
要点：
1，“狭长逼仄的一小间，北窗下靠墙置一旧书桌，进门处兀立两只叠起来的玻璃书柜，都是原先住户废弃的家具。”每个分句的信息都很复杂，修饰成分很多，因此译者又采用了分译的方法处理此句，译为4个分句
2，’这样的一间书房，一个人躲在里面写作，思想很集中”译为enjoying the privacy of a so-called study like this, I could do writing with high concentration.其中“一个人躲在里面…”译者并没有按照字面意思直译，而是意译为enjoying the privacy of，比直译更加贴切
3，“创作的思维和想象空间都很广阔“即”任凭自己的的创作思维和想象力自由驰骋“译为giving free rein to my literary thought and imagination.
五十年代的上海寒冬腊月，气候比现在冷得多。寒夜，窗上玻璃结满冰凌，呵气如雾。我拉上窗帘，以炭盆烤火取暖，让身边的小水壶在炭火上嘶嘶作响，伴随我逐渐投入创作境界。室内四壁都伸手可及，我在墙钉上挂着几条绳索，以便挂上大小纸片。纸片上有创作素材的零星记录，有词海语林偶得的一鳞半爪，也有已成篇尚待修改的原稿。短短几年，我在这作坊里，写了不少长短文章，其中有些小文，至今还受到读者的青睐，这是我想不到的。
In the fifties, Shanghai was much colder in winter than now. the window panes would ice up and one’s breath would freeze in the cold air. I would, with the window curtains drawn together, warm myself by a charcoal brazier over which a small kettle was sizzling away, and gradually move into the best state of readiness for creative writing. On the four walls, which I could easily reach by holding out my hand, I had several strings with scraps of paper hung on them stretched between nails. On these scraps of paper, I kept jottings of fragmentary materials for creative work, some linguistic gems and my original manuscripts awaiting revision. In this workshop, I turned out in a few years a large number of articles, both long and short, and, to my great surprise, some of the short essays I then wrote are today still to the lignin of the reading public.
要点：
1，“五十年代的上海…“译为 In the fifties, Shanghai was…中文关于时间的表述译成英文时，大部分是做状语的，这一点在《西欧的夏天》中也有体现，有时也作主语，如《我对于运动会的感想》中The third time, however, found me rising to my feet in spite of myself to join my fellow students in cheering like mad.
(看到第三次，我也不知不觉的站起来，跟着我们的同学们拼命的喊那助威的“呼声”)
2，”我拉上窗帘，以炭盆烤火取暖，让身边的小水壶在炭火上嘶嘶作响，伴随我逐渐投入创作境界。”多动词句，以“我“作为核心，译为I would, with the window curtains drawn together, warm myself by a charcoal brazier over which a small kettle was sizzling away, and gradually move into the best state of readiness for creative writing.其中注意找准其他名词与核心主语的关系~
3，” 逐渐投入创作境界“即”逐渐进入创作的最佳状态“，译为gradually move into the best state of readiness for creative writing. the best state of readiness意为”最佳的准备状态“。
4,” 室内四壁都伸手可及，我在墙壁上…”中前一句的主语“墙壁”在后一句中作状语，宜进行合译，将“室内四壁都伸手可及”译为“在伸手可及的墙壁上”
5，“词海语林偶得的一鳞半爪“即”可供学习参考的只言片语“译为some linguistic gems，也可以译为some useful words and expressions
我很想念那间小书房。有几次偕孩子们路过其地，孩子们如今都到了中年，每次我总要指点方位，告诉他们，那几乎不复可辨的三层楼上，过去是我们一家住过的地方。昨日偶经该处，发现旧屋原址上屹立着耸天高楼，旧居了无痕迹。我在夜色中频频回首仰望，怅然重温我的那个书房旧梦。
How I cherish the memory of the small study! Whenever I passed by the former residence with my children, who have now reached middle age, I never failed to show them the location of our old home and tell them that the third floor of the building which had changed beyond recognition had once been our home. Yesterday, when passing by the same place, I found that the old building was nowhere to be found and that a high-rise had been erected on its site. In the deepening dusk, I repeatedly turned round to look up at the towering structure and wistfully relived the old days I had spent in the small study.
要点：
1，否定词+fail to do意为“必然会…”,如I never failed to call my parents every week.
我每个星期都给我父母打电话。
2，不复可辨= beyond recognition
3，“了无痕迹“即”无迹可寻“，译为was nowhere to be found
