If a customer had a high blood pressure, the barber would intervene.

VOA: special.2010.10.27

In Kasbeam, a very old barber gave me a very mediocre haircut.

在加斯比姆，一个很老的理发师给我剪了个很难看的发型。

耶鲁公开课 - 1945年后的美国小说课程节选

Consider getting your hair cut at the barber.

想象一下在理发店剪头发。

耶鲁公开课 - 死亡课程节选

It was produced by Lawan Davis. Our studio engineer was Bill Barber.

VOA: special.2009.01.25

So, the barber is speaking about his son in such a way that he seems alive, but, in fact, he's dead. So here is one dead child playing baseball, or the memory of him playing baseball is alive with his father.

这个老理发师在用一种谈论,活人的口吻谈论他的儿子，但实际上他已经死了，那么，这里是一个打篮球的孩子的死，也许对他父亲而言，关于他打篮球的记忆将长存。

耶鲁公开课 - 1945年后的美国小说课程节选

Lawan Davis produced it. Our studio engineer was Bill Barber.

VOA: special.2009.04.12

So, let's begin with another of those scenes on 213 that Nabokov points out to us, the Kasbeam barber. Why did it take him a month to come up with the Kasbeam barber? What's going on in this tiny snippet that's so important? So here it is.

那么，我们从213页纳博科夫向我们指出的另一个,场景开始：理发师加斯比姆，为什么他花了一个月的时间,来创造理发师加斯比姆的形象呢？这个小片段里,发生了什么重要的事情呢？我们来看这里：

耶鲁公开课 - 1945年后的美国小说课程节选

His father was a barber who cut men's hair.

VOA: special.2009.10.25

You're not going to have a writer spending a month on the representation of a barber from Kasbeam.

这个作者才不会花一个月的时间,在如何表现一个从Kasbeam来的理发师上下功夫。

耶鲁公开课 - 1945年后的美国小说课程节选