How Dolly Parton led me to an epiphany | Jad Abumrad

Translator: Yolanda Raintina Reviewer: Nathaniel Luis Reyhan Soesilo

I want to tell you about my search for purpose as a journalist

Saya ingin menceritakan tentang pencarian makna sebagai jurnalis,

and how Dolly Parton helped me figure it out.

dan bagaimana Dolly Parton membantu saya menemukannya.

Jadi, saya telah bercerita audio selama 20 tahun,

So I've been telling audio stories for about 20 years,

first on the radio and then in podcasts.

pertama di radio, kemudian di podcast.

When I started the radio show "Radiolab" in 2002,

Ketika saya memulai acara "Radiolab" pada 2002,

here was the quintessential story move we would do.

inilah kegiatan klasik yang selalu kami lakukan.

We'd bring on somebody --

Kami mengundang seseorang -

(Suara) Steven Strogatz: Ini tontonan yang paling menghipnotis

(Audio) Steven Strogatz: It's one of the most hypnotic

and spellbinding spectacles in nature,

dan memukau di alam

because, you have to keep in mind, it is absolutely silent.

karena, Anda harus ingat, ini benar-benar hening.

Jad Abumrad: Like this guy, mathematician, Steve Strogatz,

Jad Abumrad: Seperti orang ini, ahli matematika, Steve Strogatz,

and he would paint a picture.

dan dia akan melukis.

SS: Picture it. There's a riverbank in Thailand,

SS: Bayangkan. Ada tepi sungai di Thailand

in the remote part of the jungle,

di bagian hutan terpencil,

you're in a canoe, slipping down the river.

Anda berada di kano, menyusuri sungai.

There's no sound of anything,

Tidak ada suara apa pun,

maybe the occasional, you know, exotic jungle bird or something.

mungkin suara burung hutan eksotis yang muncul sesekali.

JA: So you're in this imaginary canoe with Steve,

JA: Jadi Anda berada di kano khayalan bersama Steve,

and in the air all around you are millions of fireflies.

dan di sekitar Anda ada jutaan kunang-kunang.

And what you see is sort of a randomized starry-night effect.

Penglihatan Anda tampak seperti efek malam berbintang.

Because all the fireflies are blinking at different rates.

Karena semua kunang-kunangnya berkedip dengan kecepatan berbeda.

Which is what you would expect.

Itulah yang Anda harapkan.

But according to Steve, in this one place,

Tetapi menurut Steve, di satu tempat ini,

for reasons no scientist can fully explain --

karena alasan yang tak bisa dijelaskan satu pun ilmuwan --

SS: Whoop.

SS: Whoop.

Whoop.

Whoop.

Whoop.

Whoop.

With thousands of lights on and then off, all in sync.

Dengan ribuan lampu sinkron yang menyala dan kemudian mati.

(Music and electric sounds)

(Suara dan musik elektrik)

JA: Now it's around this time

JA: Di saat inilah

that I would generally bring in the beautiful music, as I just did,

saya akan membawakan musik yang indah, seperti barusan,

dan Anda akan merasakan perasaan hangat itu.

and you'd start to get that warm feeling.

Perasaan, yang kita ketahui dari sains,

A feeling, that we know from science,

kind of localizes in your head and chest

terdapat di kepala dan dada Anda

and spreads through your body.

dan menyebar ke seluruh tubuh.

It's that feeling of wonder.

Perasaan kagum.

From 2002 to 2010, I did hundreds of these stories.

Dari 2002 hingga 2010, saya membuat ratusan cerita ini.

Sciency, neurosciency, very heady, brainy stories

Kisah yang berbau sains, ilmu saraf, memabukkan, dan cerdas

that would always resolve into that feeling of wonder.

yang pasti berujung pada rasa takjub.

And I began to see that as my job,

Saya mulai melihat itu sebagai tugas,

to lead people to moments of wonder.

untuk menuntun orang ke momen rasa takjub.

What that sounded like was:

Itu terdengar seperti:

(Various voices) "Huh!" "Wow!" "Wow!"

(Bermacam suara) "Huh!" "Wow!" "Wow!"

"That's amazing."

"Itu luar biasa."

"Whoa!" "Wow!"

"Whoa!" "Wow!"

JA: But I began to get kind of tired of these stories.

JA: Tetapi, saya mulai bosan dengan cerita-cerita ini.

I mean, partially, it was the repetition.

Sebagian alasannya karena itu diulang-ulang.

I remember there was a day I was sitting at the computer,

Suatu hari saya duduk di depan komputer,

membuat suara neuron.

making the sound of a neuron.

(Crackling sound)

(Suara retakan)

You know, take some white noise, chop it up, very easy sound to make.

Menggunakan derau putih yang dipotong, sangat mudah dibuat.

Saya sempat berpikir, "Saya telah membuat suara ini 25 kali."

I remember thinking, "I have made this sound 25 times."

But it was more than that --

Tapi, bukan hanya itu --

alur dari cerita-ceritanya cukup familier.

there was a familiar path to these stories.

You walk the path of truth, which is made of science,

Anda berjalan di jalan kebenaran yang terbuat dari sains

and you get to wonder.

dan bertanya-tanya.

Now, I love science, don't get me wrong.

Saya suka sains, jangan salah paham.

My parents emigrated from a war-torn country,

Orang tua saya beremigrasi dari negara yang dilanda perang ke Amerika.

came to America,

and science for them was, like, more their identity than anything else,

Bagi mereka, sains lebih mewakili identitas mereka daripada lainnya,

and I inherited that from them.

dan saya mewarisinya dari mereka.

But there was something about that simple movement

Tetapi, pergerakan yang sederhana dari sains menjadi kekaguman

from science to wonder

mulai terasa salah bagi saya.

that just started to feel wrong to me.

Like, is that the only path a story can take?

Apakah itu satu-satunya alur cerita yang mungkin?

Around 2012,

Sekitar tahun 2012,

I ran into a bunch of different stories that made me think, "No."

terdapat banyak cerita berbeda yang membuat saya berpikir, "Tidak."

One story in particular,

Khususnya satu cerita,

where we interviewed a guy who described chemical weapons

saat kami mewawancarai pria yang menggambarkan senjata kimia

being used against him and his fellow villagers

yang digunakan untuk melawan dia dan penduduk desanya

in the mountains of Laos.

di pegunungan Laos.

Western scientists went there,

Ilmuwan barat pergi ke sana,

measured for chemical weapons, didn't find any.

mengukur jejak senjata kimia, dan tak menemukannya.

We interviewed the man about this,

Kami mewawancarai pria itu lagi,

he said the scientists were wrong.

dia mengatakan para ilmuwan salah.

We said, "But they tested."

Kami balas, "Tapi mereka mengujinya."

He said, "I don't care, I know what happened to me."

Dia berkata, "Aku tak peduli, aku tahu kejadiannya."

And we went back and forth and back and forth,

Kami berkomunikasi terus-menerus

and make a long story short,

dan secara singkat,

the interview ended in tears.

dia meneteskan air mata di akhir wawancara.

I felt ...

Saya merasa...

I felt horrible.

Saya merasa tidak enak.

Like, hammering at a scientific truth, when someone has suffered.

Memaksakan kebenaran ilmiah ketika seseorang telah menderita.

That wasn't going to heal anything.

Itu tidak akan memperbaiki apa pun.

And maybe I was relying too much on science to find the truth.

Mungkin saya terlalu mengandalkan sains untuk menemukan kebenaran.

And it really did feel, at that moment,

Sungguh terasa, pada saat itu,

that there were a lot of truths in the room,

ada banyak kebenaran di ruang itu, dan kami hanya melihat satu.

and we were only looking at one of them.

Saya berpikir, "Aku harus bisa lebih baik lagi dalam hal ini."

So I thought, "I've got to get better at this."

And so for the next eight years,

Selama delapan tahun berikutnya,

I committed myself to doing stories where you heard truths collide.

saya berkomitmen untuk membuat cerita yang mengadu kebenaran.

We did stories about the politics of consent,

Kami membuat cerita politik persetujuan,

where you heard the perspective of survivors and perpetrators

di mana perspektif berbeda dari para penyintas dan pelaku diadu.

whose narratives clashed.

We did stories about race,

Kami menceritakan ras,

how black men are systematically eliminated from juries,

bagaimana pria kulit hitam secara sistematis disingkirkan juri,

and yet, the rules that try and prevent that from happening

tapi aturan yang mencoba mencegah itu

hanya memperburuk keadaan.

only make things worse.

Cerita tentang melawan terorisme, tahanan Guantanamo,

Stories about counter terrorism, Guantanamo detainees,

cerita yang semuanya dipersengketakan,

stories where everything is disputed,

all you can do is struggle to try and make sense.

yang bisa dilakukan hanya berjuang memahaminya.

And this struggle kind of became the point.

Dan perjuangannya agak menjadi intinya.

I began to think, "Maybe that's my job."

Saya mulai berpikir, "Mungkin itu pekerjaan saya."

To lead people to moments of struggle.

Untuk menuntun orang agar berjuang.

Here's what that sounded like:

Ini terdengar seperti:

(Various voices) "But I see -- I, like --"

(Suara) "Saya mengerti - saya, seperti -"

"Uh, I --" (Sighs)

"Uh, saya-"(Menghela napas)

"Well, so, like, huh --"

"Nah, jadi, seperti, ya -"

"That, I mean, I --"

"Itu, maksud saya, saya -"

"You know -- golly -- I --" (Sighs)

(Menghela napas) "Kamu tahu - astaga - saya -"

JA: And that sigh right there,

JA: Dan suara keluhan di sana,

I wanted to hear that sound in every single story,

saya ingin mendengar suara itu di setiap cerita

because that sound is kind of our current moment, right?

karena suara itu adalah momen kita saat ini, 'kan?

We live in a world where truth is no longer just a set of facts

Kita hidup di dunia di mana kebenaran bukan lagi sekadar kumpulan fakta

to be captured.

yang harus ditangkap.

It's become a process.

Ini telah menjadi proses.

It's gone from being a noun to being a verb.

Ini berubah dari kata benda menjadi kata kerja.

But how do you end that story?

Tapi, bagaimana Anda mengakhiri cerita itu?

Like, what literally kept happening is we'd be, you know, telling a story,

Yang terus terjadi adalah kita bercerita,

cruising along, two viewpoints in conflict,

beriringan, dua pandangan yang bertentangan,

you get to the end and it's just like --

Anda sampai di akhir dan seperti -

No, let me see.

Tidak, coba saya lihat.

What do I say at the end?

Apa yang saya katakan tadi?

Oh, my God.

Ya Tuhan.

What do you -- how do you end that story?

Bagaimana Anda mengakhiri cerita itu?

You can't just happily-ever-after it,

Ini tak bisa diakhiri dengan bahagia

because that doesn't feel real.

karena itu tak terasa nyata.

At the same time,

Namun,

jika Anda menggantung orang di akhir yang seperti itu,

if you just leave people in that stuck place,

like, "Why did I just listen to that?"

seperti, "Mengapa aku mendengarkannya?"

Like, it felt like there had to be another move there.

Sepertinya, harus ada pergerakan lain.

Had to be a way beyond the struggle.

Harus jauh melampaui perjuangan.

And this is what brings me to Dolly.

Dan inilah yang membawa saya ke Dolly.

Or Saint Dolly, as we like to call her in the South.

Atau Saint Dolly, begitu panggilannya di Selatan.

I want to tell you about one little glimmer of an epiphany that I had,

Saya ingin memberi tahu tentang pencerahan yang saya alami

doing a nine-part series called "Dolly Parton's America" last year.

saat membuat sembilan episode "Dolly Parton's America" tahun lalu.

It was a bit of a departure for me,

Itu sedikit menyimpang,

but I just had this intuition that Dolly could help me

tetapi intuisi saya merasa bahwa Dolly dapat membantu saya

figure out this ending problem.

memecahkan masalah ini.

And here was the basic intuition:

Inilah intuisinya:

You go to a Dolly concert,

Anda ke konser Dolly,

you see men in trucker hats standing next to men in drag,

Anda melihat pria bertopi di samping pria pelakon,

Democrats standing next to Republicans,

Demokrat di samping Republikan,

para wanita merangkul,

women holding hands,

every different kind of person smashed together.

setiap orang saling bersamaan.

Semua orang yang harusnya saling membenci

All of these people that we are told should hate each other

hadir sambil bernyanyi bersama.

are there singing together.

She somehow carved out this unique space in America,

Entah bagaimana, dia menciptakan ruang unik di Amerika,

and I wanted to know, how did she do that?

dan saya ingin tahu, bagaimana dia melakukannya?

So I interviewed Dolly 12 times, two separate continents.

Jadi, saya mewawancarai Dolly 12 kali di dua benua berbeda.

She started every interview this way:

Dia memulai wawancara dengan cara ini:

(Audio) Dolly Parton: Ask me whatever you ask me,

(Suara) Dolly Parton: Tanyakan apa pun pada saya,

and I'm going to tell you what I want you to hear.

dan saya beri tahu apa yang ingin Anda dengar.

(Laughter)

(Tawa)

JA: She is undeniably a force of nature.

JA: Dia memiliki karakter yang kuat.

But the problem that I ran into

Tetapi, masalah yang saya hadapi

is that I had chosen a conceit for this series

adalah saya telah memilih sesuatu yang tidak cocok untuk seri ini

that my soul had trouble with.

hingga jiwa saya tidak tenang.

Dolly sings a lot about the South.

Dolly banyak menyanyi tentang Selatan.

If you go through her discography,

Jika memperhatikan musiknya,

you will hear song after song about Tennessee.

Anda akan mendengar lagu-lagu tentang Tennessee.

(Music) DP: (Singing, various songs) Tennessee, Tennessee...

(Musik) DP: (Bernyanyi, berbagai lagu) Tennessee,Tennessee...

Tennessee homesick ...

Tennessee, homesick... Tennessee...

I've got those Tennessee homesick blues runnin' through my head.

I've got those Tennessee homesick blues runnin' through my head.

Tennessee.

Tennessee.

JA: "Tennessee Mountain Home," "Tennessee Mountain Memories."

JA: "Tennessee Mountain Home," "Tennessee Mountain Memories."

Now I grew up in Tennessee,

Saya dibesarkan di Tennessee,

and I felt no nostalgia for that place.

dan saya tidak mengenang tempat itu.

I was the scrawny Arab kid

Saya seorang anak Arab yang kurus

who came from the place that invented suicide bombing.

yang berasal dari tempat ditemukannya bom bunuh diri.

I spent a lot of time in my room.

Saya menghabiskan banyak waktu di kamar.

When I left Nashville,

Ketika meninggalkan Nashville,

I left.

saya pergi.

I remember being at Dollywood,

Saya ingat saat di Dollywood,

standing in front of a replica, replica of her Tennessee Mountain Home.

berdiri di depan replika Tennessee Mountain Home.

People all around me were crying.

Orang di sekitar saya menangis.

This is a set.

Ini sebuah replika.

Why are you crying?

Kenapa kamu menangis?

I couldn't understand why they were so emotional,

Saya bingung mengapa mereka sangat emosional,

especially given my relationship to the South.

terutama mengingat hubungan saya dengan Selatan.

And I started to honestly have panic attacks about this.

Saya mulai benar-benar panik tentang ini.

"Am I not the right person for this project?"

"Apa saya orang yang tepat untuk proyek ini?"

But then ...

Tapi kemudian...

twist of fate.

takdir berputar.

We meet this guy, Bryan Seaver,

Kami bertemu pria ini, Bryan Seaver,

Dolly's nephew and bodyguard.

keponakan dan pengawal Dolly.

And on a whim, he drives producer Shima Oliaee and I

Dia mengantar produser Shima Oliaee dan saya

out of Dollywood,

keluar dari Dollywood,

round the back side of the mountains,

mengitari sisi belakang pegunungan,

up the mountains 20 minutes,

mendaki pegunungan 20 menit,

down a narrow dirt road,

menyusuri jalan yang sempit,

through giant wooden gates that look right out of "Game of Thrones,"

melewati gerbang kayu raksasa yang tampaknya dari "Game of Thrones,"

and into the actual Tennessee Mountain Home.

dan ke Tennessee Mountain Home yang sebenarnya.

But the real place.

Tempat sebenarnya.

Valhalla.

Surga.

The real Tennessee Mountain Home.

Tennessee Mountain Home yang asli.

And I'm going to score this part with Wagner,

Saya akan menilai bagian ini bersama Wagner

because you've got to understand,

karena Anda harus mengerti,

dalam tradisi Tennessee,

in Tennessee lore,

this is like hallowed ground, the Tennessee Mountain Home.

ini seperti tanah suci, Tennessee Mountain Home.

So I remember standing there, on the grass,

Saya ingat berdiri di sana, di atas rumput,

next to the Pigeon River,

di samping Sungai Pigeon,

butterflies doing loopty loops in the air,

kupu-kupu berputar-putar di udara,

and I had my own moment of wonder.

dan saya mengalami momen ketakjuban.

Dolly's Tennessee Mountain Home

Tennessee Mountain Home milik Dolly

looks exactly like my dad's home in the mountains of Lebanon.

terlihat persis seperti rumah ayah saya di pegunungan Lebanon.

Her house looks just like the place that he left.

Rumahnya terlihat seperti tempat kepergian ayah saya.

And that simple bit of layering led me to have a conversation with him

Momen sederhana itu membuat saya mengobrol tentang

that I'd never had before,

sesuatu yang tak pernah saya alami,

about the pain he felt leaving his home.

tentang beratnya meninggalkan rumah.

And how he hears that in Dolly's music.

Dan dia mendengarnya dalam musik Dolly.

Then I had a conversation with Dolly where she described her songs

Kemudian saya mengobrol dengan Dolly saat dia menggambarkan lagunya

as migration music.

sebagai musik migrasi.

Even that classic song,

Bahkan lagu klasik itu,

"Tennessee Mountain Home," if you listen to it --

"Tennessee Mountain Home," jika Anda mendengarkannya-

(Dolly Parton "Tennessee Mountain Home")

("Tennessee Mountain Home" Dolly Paton)

"Sittin' on the front porch on a summer afternoon

♫ Sittin' on the front porch on a summer afternoon ♫

In a straight-backed chair on two legs,

♫ in a straight-backed chair on two legs, ♫

leaned against the wall."

♫ leaned against the wall. ♫

It's about trying to capture a moment that you know is already gone.

Ini tentang berusaha menangkap momen yang sudah hilang.

But if you can paint it, vividly,

Namun, kalau bisa dilukis dengan gamblang,

maybe you can freeze it in place, almost like in resin,

mungkin ini bisa dibekukan di tempat, seperti getah,

trapped between past and present.

terjebak di antara masa lalu dan masa kini.

That is the immigrant experience.

Itu adalah pengalaman imigran.

And that simple thought led me to a million conversations.

Pikiran sederhana itu membawa saya ke sejuta percakapan.

I started talking to musicologists about country music as a whole.

Saya berdiskusi dengan ahli musik tentang genre musik country.

This genre that I've always felt so

Genre yang selalu saya rasa

having nothing to do with where I came from

tidak ada hubungannya dengan asal saya

is actually made up of instruments and musical styles

sebenarnya terdiri dari instrumen dan gaya musik

that came directly from the Middle East.

yang datang langsung dari Timur Tengah.

In fact, there were trade routes that ran from what is now Lebanon

Nyatanya, ada rute perdagangan dari Lebanon

right up into the mountains of East Tennessee.

sampai ke pegunungan Tennessee Timur.

I can honestly say, standing there, looking at her home,

Sejujurnya saya dapat mengatakan, berdiri di sana, melihat rumahnya,

was the first time I felt like I'm a Tennessean.

adalah pertama kalinya saya merasa seperti orang Tennessee.

That is honestly true.

Itu benar adanya.

And this wasn't a one-time thing,

Ini tidak terjadi satu kali,

I mean, over and over again,

maksud saya, berulang kali,

she would force me beyond the simple categories

dia akan memaksa saya untuk melampaui kategori sederhana

I had constructed for the world.

yang saya bangun untuk dunia.

I remember talking with her about her seven-year partnership

Saya berbicara dengannya tentang hubungan tujuh tahunnya

with Porter Wagoner.

bersama Porter Wagoner.

1967, she joins his band, he is the biggest thing in country music,

Pada 1967, dia bergabung dengan bandnya, Porter sosok besar dalam musik country,

she is a backup singer, a nobody.

Dolly adalah penyanyi cadangan, bukan siapa-siapa.

Within a short time, she gets huge,

Dalam waktu singkat, dia menjadi terkenal,

he gets jealous,

Porter cemburu,

he then sues her for three million dollars

dan kemudian menuntut tiga juta dolar

when she tries to leave.

ketika Dolly mencoba pergi.

Now it would be really easy to see Porter Wagoner

Terlihat sangat mudah untuk melihat Porter Wagoner

as, like, a type: classic, patriarchal jackass,

sebagai sebuah tipe: klasik, patriarki berengsek,

trying to hold her back.

mencoba menyeret Dolly.

But any time I would suggest that to her,

Kapan pun saya menyarankan itu padanya,

like, come on.

ayolah.

(Audio) This is a guy, I mean, you see it in the videos too,

(Suara) Ini adalah seorang pria yang Anda lihat di video,

he's got his arm around you.

dia merangkul Anda.

There's a power thing happening, for sure.

Pasti ada kekuatan yang muncul.

DP: Well, it's more complicated than that.

DP: Ya, lebih rumit dari itu.

I mean, just think about it.

Maksudku, pikirkan saja.

He had had this show for years,

Pertunjukkannya sudah lama,

he didn't need me to have his hit show.

dia tak membutuhkan saya dalam pertunjukannya.

He wasn't expecting me to be all that I was, either.

Dia juga tidak mengharapkan saya menjadi saya yang dulu.

I was a serious entertainer, he didn't know that.

Saya seorang penghibur yang serius, dia tidak tahu itu.

He didn't know how many dreams I had.

Dia tidak tahu berapa banyak mimpi yang saya miliki.

JA: In effect, she kept telling me,

JA: Dia terus mengatakan pada saya,

"Don't bring your stupid way of seeing the world into my story,

"Jangan gunakan cara bodohmu untuk melihat dunia pada ceritaku

because that's not what it was.

karena bukan itu yang terjadi.

Yeah, there was power, but that's not all there was.

Ya, memang ada kekuatan, tapi tidak hanya itu.

You can't summarize this."

Anda tidak bisa meringkas ini."

Alright, just to zoom out.

Baiklah, gambaran besarnya.

What do I make of this?

Apa pesannya?

Well, I think there's something in here that's a clue, a way forward.

Saya pikir ada petunjuk untuk melangkah ke depan.

As journalists, we love difference.

Sebagai jurnalis, kami suka perbedaan.

We love to fetishize difference.

Kami sangat suka perbedaan.

But increasingly, in this confusing world,

Namun di dunia yang membingungkan ini,

we need to be the bridge between those differences.

kita perlu menjadi jembatan di antara perbedaan itu.

But how do you do that?

Bagaimana Anda melakukannya?

I think for me, now, the answer is simple.

Saat ini, saya pikir jawabannya sederhana.

You interrogate those differences,

Anda menyelidiki perbedaan-perbedaan itu,

you hold them for as long as you can,

menahannya selama mungkin,

sampai, seperti di atas gunung itu,

until, like up on that mountain,

something happens,

sesuatu mengungkapkan dirinya sendiri.

something reveals itself.

Story cannot end in difference.

Cerita tak bisa berakhir dengan perbedaan.

It's got to end in revelation.

Harus diakhiri dengan pesan.

And coming back from that trip on the mountain,

Saat kembali dari perjalanan gunung itu,

a friend of mine gave me a book that gave this whole idea a name.

teman saya memberi sebuah buku yang menamakan semua ide ini.

In psychotherapy, there's this idea called the third,

Dalam psikoterapi, ada ide yang disebut "yang ketiga,"

which essentially goes like this.

pada dasarnya seperti ini.

Typically, we think of ourselves as these autonomous units.

Biasanya, kita menganggap diri kita sebagai unit otonom.

I do something to you, you do something to me.

Saya melakukan sesuatu pada Anda dan sebaliknya.

But according to this theory, when two people come together

Tetapi, menurut teori ini, ketika dua orang berkumpul

and really commit to seeing each other,

dan berkomitmen untuk bertemu satu sama lain,

in that mutual act of recognition,

di tengah upaya saling mengakui,

they actually make something new.

mereka sebenarnya membuat sesuatu yang baru.

A new entity that is their relationship.

Entitas baru, yaitu hubungan mereka.

You can think of Dolly's concerts as sort of a cultural third space.

Anda dapat menganggap konser Dolly sebagai semacam ruang ketiga budaya.

The way she sees all the different parts of her audience,

Cara dia melihat semua bagian dari penontonnya,

the way they see her,

cara mereka melihatnya,

creates the spiritual architecture of that space.

menciptakan arsitektur spiritual dari ruangan itu.

And I think now that is my calling.

Saya pikir itulah panggilan saya.

That as a journalist,

Sebagai jurnalis,

as a storyteller,

sebagai pendongeng,

as just an American,

sebagai orang Amerika

living in a country struggling to hold,

yang berjuang untuk bertahan di suatu negara,

that every story I tell has got to find the third.

bahwa setiap cerita saya harus menemukan "yang ketiga."

That place where the things we hold as different

Tempat di mana hal-hal yang kita anggap sebagai perbedaan

resolve themselves into something new.

selesai dengan sendirinya menjadi sesuatu yang baru.

Thank you.

Terima kasih.