翻译官都爱看的英语文章

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翻译官都爱看的英语文章

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翻译官都爱看的英语文章

　　Rehabilitating Iraq

　　As Iraqi armed forces and their Global Coalition allies continue to uproot ISIL from the territory it once occupied, the scope of the devastation in Iraq is becoming more clear. Since 2014, over 3.3 million people have been displaced throughout Iraq, while some 10 million are in dire need of lifesaving humanitarian assistance.

　　In late July, the United States, Canada, the Netherlands, Germany and Japan co-hosted a Pledging Conference in Support of Iraq that raised over 2 billion dollars in new funds. The money will be used for humanitarian aid, and to stabilize the liberated territories and make them habitable again. Some of the pledged money will be used to clear land mines and unexploded ordnance to help achieve this goal.

　　Going back to at least the Iran-Iraq conflict that began in 1980, successive warring parties have laid down mines and contaminated the country with unexploded bombs and other live war materiel.

　　“Communities across Iraq face danger from an estimated 10 to 15 million landmines and pieces of unexploded ordnance,” writes in a recent blog post Major General Michael Rothstein, who serves as Deputy Assistant Secretary of State for Plans, Programs, and Operations in the Bureau of Political-Military Affairs.“On top of these existing hazards, Iraqis now have to contend with the threat of improvised explosive devices created by ISIL.”

　　Since 2003, the United States has invested more than 300 million dollars toward the clearance and safe disposal of explosives and weapons in Iraq. In 2015 alone, the U.S. Conventional Weapons Destruction Program helped to clear more than 65 million square meters of land.

　　“The July 20 Pledging Conference raised more than 2 billion dollars to address the challenges faced by the Iraqi people and to ensure the lasting defeat of ISIL in Iraq,” said Deputy Assistant Secretary Rothstein. “The United States made a substantial pledge during the conference, and we look to other nations to join us in this effort. Together, we can work to ensure that all Iraqis can live free from the devastation caused by the explosive remnants of war.”

　　Luthier Turns Wood From Landmark N.Y.C. Buildings Into Guitars

　　NEW YORK— Rick Kelly started making wooden musical instruments when he was a teenager. But he didn't start turning timber use in old hotels, bars and churches into guitars until 10 years ago when film director Jim Jarmusch offered him wood from his loft ceiling.

　　"He happened to be a customer in the shop,” Kelly said. “I got to know him a little bit. He offered me the wood, so I said, 'Sure.' So he sent the guys, the workers, over with a truckload of it, and started doing it that way. That was the first load I got, out of Jim's loft."

　　A lot of that wood is more than 100 years old. It's the 19th-century white pine timber from upstate New York that formed New York City's homes and buildings.

　　“It's sort of this alchemy that happens" with the wood, "especially in the roof area, where it gets over 100 degrees [Fahrenheit] ... during the day and cool at night,” Kelly said. “It goes through this change that sort of makes the wood really resonant, because the resin in the wood crystallizes, opens up the pores for vibration.”

　　Church beams

　　Kelly shops for wood all over the city. He found some of his latest guitar-quality wood in a trash receptacle — planks and beams from a Serbian Orthodox church that burned down earlier this year.

　　In his store, he keeps careful track of his collection, noting on each piece of wood the building that it was once part of.

　　Often, his clients request a certain type of wood, Bob Dylan, for example, wanted his guitar made out of wood from Chumley’s, a historic New York bar that is currently undergoing extensive renovation.

　　Whether famous musicians or average players, Kelly’s clients are willing to pay over $2,000 for a guitar, because they appreciate the authenticity of the instruments.

　　“What these timbers have seen — they were here when George Washington was walking around these trees,” he said. “And what those trees saw, what they saw becoming a fancy hotel in the 1800s or a flophouse during the Depression, and then a condo in the recent years. ... They have gone through a lot of changes, all the buildings have, and what this wood sees is pretty amazing, I am sure."

　　That image resonates with his customers, one of whom said, "When I saw Rick talk about [his work] so passionately, [that] took it even to another level."

　　Rick Kelly’s guitars are more than one-of-a-kind, beautifully carved instruments. They offer his clients something priceless: a piece of New York City's history.

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