Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929684
Vincent M. Colapietro
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Intellectual Civility and Engaged Pluralism<span>Remembering the Singular Accomplishments of Richard Jacob Bernstein (1932–2022)</span> <!-- /html_title --></li> <li> Vincent M. Colapietro (bio) </li> </ul> <p>Richard J. Bernstein lived a long, full, salutary life. He enjoyed a distinguished academic career as a beloved teacher, prolific author, adept administrator, gracious colleague, and tireless interlocutor. The knit of his pensive brow when listening deeply to whomever he was engaged in conversation was nearly as memorable as the spontaneity of his contextually calibrated smile, on occasion subtly wry, not infrequently unabashedly broad. The deep resonance of his remarkable voice was no less memorable. He delighted in nature and children seemingly as much as the rough-and-tumble of intense philosophical exchanges and the exacting work of a responsible interpreter of the most challenging texts (no one could make an author such as Benedict Spinoza, Immanuel Kant, or G. W. F. Hegel, or Charles S. Peirce not only become accessible but also come alive as well as Richard). He knew just the right children's books to read to the children of students who happened to be accompanying their mother or father when visiting his summer home in Jay, New York, as he did what texts to put into the hands of his students who were struggling to find their way philosophically or professionally.</p> <p>In his John Dewey Lecture, "The Romance of Philosophy" (2007), Bernstein made effective use of A. N. Whitehead's essays on education, stressing that the initial phase of any intellectual engagement when properly approached is the stage of romance. "Without romance," Bernstein, following Whitehead, insists, "precision becomes pedantry, and generalization impossible," or, at least, fecund generalizations possessing experiential salience become impossible. The ideals of rigor, precision, clarity, and subtlety cannot be gainsaid but divorced from the <em>romance</em> of philosophy, the affectively charged engagement with intellectual questions in their deepest human import, degenerate into purely technical skills all too often exercised <strong>[End Page 161]</strong> for the sake of professional vanity. Rooted in the romance of philosophy, however, these ideals constitute nothing less than a code of honor in and through which fidelity to one's love is effectively expressed. Technique apart from vision is empty <em>and</em> blind, vision apart from technique almost always an all too facile and flaccid affair.</p> <p>Like his close friend Richard Rorty, Bernstein was at once a philosopher's philosopher and an author who won a readership across disciplines and fields outside of academic philosophy. If his more controversial friend garnered more attention, it was in large part because Richard was far less of a provocateur. While Rorty had the uncanny kn
以下是内容的简要摘录，以代替摘要： 理查德-伯恩斯坦（1932-2022 年）的卓越成就 文森特-科拉皮埃特罗（Vincent M. Colapietro）（简历） 理查德-伯恩斯坦（Richard J. Bernstein）的一生漫长、充实、有益。作为一名受人爱戴的教师、多产的作家、干练的管理者、亲切的同事和孜孜不倦的对话者，他的学术生涯十分辉煌。无论与谁交谈，当他深沉地倾听时，他紧蹙的眉头都会让人难以忘怀，就像他随和的微笑一样令人难忘，有时是微妙的狡黠，有时是毫不掩饰的宽广。他嗓音低沉嘹亮，同样令人难忘。他喜欢大自然和孩子们，似乎也喜欢激烈的哲学思想交流和负责任地诠释最具挑战性文本的严谨工作（没有人能像理查德那样，不仅让本尼迪克特-斯宾诺莎、伊曼纽尔-康德、G-W-F-黑格尔或查尔斯-S-皮尔斯这样的作家变得平易近人，而且生动活泼）。他知道在纽约杰伊的避暑山庄时，应该给陪同母亲或父亲来访的学生的孩子们读什么样的儿童读物，他也知道应该给那些在哲学或专业上苦苦寻找方向的学生们读什么样的书。伯恩斯坦在他的约翰-杜威讲座 "哲学的浪漫"（2007 年）中，有效地利用了怀特海（A. N. Whitehead）的教育随笔，强调任何知识接触的初始阶段，如果方法得当，都是浪漫的阶段。"伯恩斯坦遵循怀特海的观点，坚持认为 "没有浪漫，精确就会变得迂腐，概括就不可能"，或者说，至少拥有经验突出性的丰富概括就不可能。严谨、精确、清晰和微妙的理想固然不可否认，但脱离了哲学的浪漫情怀，脱离了对人类最深层意义上的思想问题的情感投入，这些理想就会退化为纯粹的技术技巧，而这些技巧往往是为了职业上的虚荣心而行使的[第161页完]。然而，植根于哲学的浪漫主义，这些理想构成了一种荣誉准则，并通过这种准则有效地表达了对爱情的忠诚。没有远见的技术是空洞和盲目的，没有技术的远见几乎总是过于肤浅和软弱无力。伯恩斯坦和他的好友理查德-罗蒂一样，既是哲学家中的哲学家，又是一位在学术哲学以外的学科和领域赢得读者的作家。如果说他这位更具争议性的朋友赢得了更多的关注，那在很大程度上是因为理查德不那么喜欢挑衅。罗蒂是一位技艺精湛的论战家，他能够改变话题，往往是通过让话题围绕着他（具体来说，围绕着他的一个或另一个更极端的主张--例如，真理只是我们的对话者允许我们摆脱的东西）来进行，而理查德则阐述了一个不那么具有挑衅性、更有资格的实用主义反基础主义版本。正如他在《超越客观主义与相对主义》（1983 年）一书中所言，在放弃任何合理的希望以确保 "一种非历史的永久矩阵或分类计划作为知识的基础 "时，我们并不一定放弃任何区分有证据基础和无证据基础的主张（更简单地说，区分有正当理由和无正当理由、真实或虚假的陈述）的可能性。也就是说，对客观主义和基础主义的拒绝并不意味着对相对主义和主观主义的承诺。正如伯恩斯坦最重要的著作之一的书名所暗示的那样，有必要超越客观主义和相对主义。从根本上说，伯恩斯坦与罗蒂的不同之处在于，理查德并没有判断维特根斯坦的 "语言游戏 "概念能够做到--而且做得更好--古典实用主义者（皮尔斯、詹姆斯、杜威和米德）设计的经验概念所要做到的一切。在《语言学转向之后的经验》（2010 年）一书的结尾，理查德相当尖锐地坚持认为，"有时在语言与经验之间得出的二分法，正是从实用主义的角度应该受到挑战的那种二分法"。言下之意，理查德指责罗蒂背叛了后者如此高调地与之结盟的传统。"理查德断言："在'语言学转向'之后工作的哲学家们，仍然可以从皮尔士、詹姆斯、杜威那里学到很多关于经验和语言的东西......"。
{"title":"Intellectual Civility and Engaged Pluralism: Remembering the Singular Accomplishments of Richard Jacob Bernstein (1932–2022)","authors":"Vincent M. Colapietro","doi":"10.1353/abr.2024.a929684","DOIUrl":"https://doi.org/10.1353/abr.2024.a929684","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Intellectual Civility and Engaged Pluralism<span>Remembering the Singular Accomplishments of Richard Jacob Bernstein (1932–2022)</span> <!-- /html_title --></li> <li> Vincent M. Colapietro (bio) </li> </ul> <p>Richard J. Bernstein lived a long, full, salutary life. He enjoyed a distinguished academic career as a beloved teacher, prolific author, adept administrator, gracious colleague, and tireless interlocutor. The knit of his pensive brow when listening deeply to whomever he was engaged in conversation was nearly as memorable as the spontaneity of his contextually calibrated smile, on occasion subtly wry, not infrequently unabashedly broad. The deep resonance of his remarkable voice was no less memorable. He delighted in nature and children seemingly as much as the rough-and-tumble of intense philosophical exchanges and the exacting work of a responsible interpreter of the most challenging texts (no one could make an author such as Benedict Spinoza, Immanuel Kant, or G. W. F. Hegel, or Charles S. Peirce not only become accessible but also come alive as well as Richard). He knew just the right children's books to read to the children of students who happened to be accompanying their mother or father when visiting his summer home in Jay, New York, as he did what texts to put into the hands of his students who were struggling to find their way philosophically or professionally.</p> <p>In his John Dewey Lecture, \"The Romance of Philosophy\" (2007), Bernstein made effective use of A. N. Whitehead's essays on education, stressing that the initial phase of any intellectual engagement when properly approached is the stage of romance. \"Without romance,\" Bernstein, following Whitehead, insists, \"precision becomes pedantry, and generalization impossible,\" or, at least, fecund generalizations possessing experiential salience become impossible. The ideals of rigor, precision, clarity, and subtlety cannot be gainsaid but divorced from the <em>romance</em> of philosophy, the affectively charged engagement with intellectual questions in their deepest human import, degenerate into purely technical skills all too often exercised <strong>[End Page 161]</strong> for the sake of professional vanity. Rooted in the romance of philosophy, however, these ideals constitute nothing less than a code of honor in and through which fidelity to one's love is effectively expressed. Technique apart from vision is empty <em>and</em> blind, vision apart from technique almost always an all too facile and flaccid affair.</p> <p>Like his close friend Richard Rorty, Bernstein was at once a philosopher's philosopher and an author who won a readership across disciplines and fields outside of academic philosophy. If his more controversial friend garnered more attention, it was in large part because Richard was far less of a provocateur. While Rorty had the uncanny kn","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"14 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141516010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929662
Elżbieta Drążkiewicz
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Contemporary Conspiracy Culture: Truth and Knowledge in an Era of Epistemic Instability</em> by Jaron Harambam <!-- /html_title --></li> <li> Elżbieta Drążkiewicz (bio) </li> </ul> <em><small>contemporary conspiracy culture: truth and knowledge in an era of epistemic instability</small></em><br/> Jaron Harambam<br/> Routledge<br/> https://www.routledge.com/Contemporary-Conspiracy-Culture-Truth-and-Knowledge-in-an-Era-of-Epistemic/Harambam/p/book/9781032172668<br/> 256 pages; Print, $43.99 <p>In July 2021, President Joe Biden stated that by hindering immunization campaigns individuals and social media spreading disinformation were "killing people." To address these and other similar concerns about the ways in which conspiracy theories have been weaponized not only in the United States but also in other parts of the Western world, a strong body of literature has been published in the last few years.</p> <p>Much of this scholarship follows in the footsteps of Theodor W. Adorno and Karl Popper, who studied the topic because they were concerned that conspiracy theories were dangerous for democracy and for the peaceful coexistence of societies. An even more important scholar in the American context is Richard Hofstadter, who coined the term "paranoid style" as a pejorative designation to reflect his positionality on the issue. As a result of those influences, as well as a current concern for the future of liberal democracy, much of the literature on conspiracy theory was and still is dominated by a pathologizing approach.</p> <p>But there are authors who dare to take a different angle. Among them is Jaron Harambam, whose <em>Contemporary Conspiracy Culture: Truth and Knowledge in an Era of Epistemic Instability</em> is not prompted by the need for moral judgment but rather by anthropological curiosity, a need to understand the world of Dutch conspiracists. As Harambam emphasizes, his goal was not to condemn or discard people who engage with conspiracy theories but rather to learn what such alternative forms of knowledge mean for the people who endorse them.</p> <p>Like many scholars, Harambam started his research by exploring popular websites and social media channels. Yet unlike others, he did not just harvest <strong>[End Page 45]</strong> the digital space; he also immersed himself in the Dutch conspiratorial milieu. To better understand the world of people who engage in conspiracy theories concerning finance, media corporatism, science, government, and the supernatural sphere, he attended their events, met them at their homes, read the books they read, watched movies they recommended, and conducted in-depth interviews. This methodology not only allowed him to approach people propagating conspiracist views with compassion but also gave him the opportunity to learn about the social, political, and cu
{"title":"Contemporary Conspiracy Culture: Truth and Knowledge in an Era of Epistemic Instability by Jaron Harambam (review)","authors":"Elżbieta Drążkiewicz","doi":"10.1353/abr.2024.a929662","DOIUrl":"https://doi.org/10.1353/abr.2024.a929662","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Contemporary Conspiracy Culture: Truth and Knowledge in an Era of Epistemic Instability</em> by Jaron Harambam <!-- /html_title --></li> <li> Elżbieta Drążkiewicz (bio) </li> </ul> <em><small>contemporary conspiracy culture: truth and knowledge in an era of epistemic instability</small></em><br/> Jaron Harambam<br/> Routledge<br/> https://www.routledge.com/Contemporary-Conspiracy-Culture-Truth-and-Knowledge-in-an-Era-of-Epistemic/Harambam/p/book/9781032172668<br/> 256 pages; Print, $43.99 <p>In July 2021, President Joe Biden stated that by hindering immunization campaigns individuals and social media spreading disinformation were \"killing people.\" To address these and other similar concerns about the ways in which conspiracy theories have been weaponized not only in the United States but also in other parts of the Western world, a strong body of literature has been published in the last few years.</p> <p>Much of this scholarship follows in the footsteps of Theodor W. Adorno and Karl Popper, who studied the topic because they were concerned that conspiracy theories were dangerous for democracy and for the peaceful coexistence of societies. An even more important scholar in the American context is Richard Hofstadter, who coined the term \"paranoid style\" as a pejorative designation to reflect his positionality on the issue. As a result of those influences, as well as a current concern for the future of liberal democracy, much of the literature on conspiracy theory was and still is dominated by a pathologizing approach.</p> <p>But there are authors who dare to take a different angle. Among them is Jaron Harambam, whose <em>Contemporary Conspiracy Culture: Truth and Knowledge in an Era of Epistemic Instability</em> is not prompted by the need for moral judgment but rather by anthropological curiosity, a need to understand the world of Dutch conspiracists. As Harambam emphasizes, his goal was not to condemn or discard people who engage with conspiracy theories but rather to learn what such alternative forms of knowledge mean for the people who endorse them.</p> <p>Like many scholars, Harambam started his research by exploring popular websites and social media channels. Yet unlike others, he did not just harvest <strong>[End Page 45]</strong> the digital space; he also immersed himself in the Dutch conspiratorial milieu. To better understand the world of people who engage in conspiracy theories concerning finance, media corporatism, science, government, and the supernatural sphere, he attended their events, met them at their homes, read the books they read, watched movies they recommended, and conducted in-depth interviews. This methodology not only allowed him to approach people propagating conspiracist views with compassion but also gave him the opportunity to learn about the social, political, and cu","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"29 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141516011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929676
Renee H. Shea
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Zeina Azzam's "Hedge against Hardship"<span>A Conversation with the Poet Laureate of Alexandria, Virginia</span> <!-- /html_title --></li> <li> Renee H. Shea </li> </ul> <p>The poet laureate of Alexandria, Virginia (2022–25), Zeina Azzam is a writer, editor, and community activist. She is the author of the poetry collections <em>Some Things Never Leave You</em> (2023) and <em>Bayna Bayna, In-Between</em> (2021). Currently, she is one of the Virginia-based poets contributing to an anthology for the conservation project Writing the Land (writingtheland.org).</p> <p>Azzam's parents were Palestinian refugees were forced to flee to Syria in 1948 to escape the Arab-Israeli War. The family moved to Beirut when Azzam was a baby, then immigrated to the US in 1966 when she was ten. Staying at first with her grandparents in a small farming town in Iowa, she spent her teenage years in Delmar, a suburb outside Albany, New York. She received a BA in psychology from Vassar College, an MA in sociology from George Mason University, and an MA in Arabic language and literature from Georgetown University. She has served as executive director of The Jerusalem Fund and its educational program, the Palestine Center, and director of Educational Outreach at the Center for Contemporary Arab Studies at Georgetown University in Washington, DC.</p> <p><em>This interview was conducted via Zoom and email during September 2023</em>.</p> <small>renee shea:</small> <p>As the poet laureate—Alexandria's first Arab American laureate—what do you see as your opportunities and responsibilities?</p> <small>zeina azzam:</small> <p>I'm so honored to be in this position. The responsibilities are to bring poetry to the community by getting people to read, write, and appreciate it. Right now, I'm doing just that with a grant from the Alexandria Office of the Arts to hold a haiku contest. Three external judges picked the twelve winners, and their poems were put on placards placed around the city. As someone just walks down the street and sees a poem, it may become part of their life. <strong>[End Page 115]</strong></p> <p>I do two poetry workshops a year and write a special poem for the annual Alexandria birthday party held by the [Potomac] river. I've written poems for the city's jazz festival, and I am often called to judge poetry contests in the schools and jail. There are also historic commemorations. Alexandria has a difficult history, including two documented lynchings, and last year I was asked to write a poem for each one.</p> <small>rs:</small> <p>Alexandria has made a bold commitment to memorializing these lynchings, including providing soil for the Equal Justice Initiative; you wrote the poem "The Earth Speaks: Honoring the Lives of Joseph McCoy and Benjamin Thomas." Have you felt in an uncomfortable position in the community doing that work?</p> <small>za:</sm
{"title":"Zeina Azzam's \"Hedge against Hardship\": A Conversation with the Poet Laureate of Alexandria, Virginia","authors":"Renee H. Shea","doi":"10.1353/abr.2024.a929676","DOIUrl":"https://doi.org/10.1353/abr.2024.a929676","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Zeina Azzam's \"Hedge against Hardship\"<span>A Conversation with the Poet Laureate of Alexandria, Virginia</span> <!-- /html_title --></li> <li> Renee H. Shea </li> </ul> <p>The poet laureate of Alexandria, Virginia (2022–25), Zeina Azzam is a writer, editor, and community activist. She is the author of the poetry collections <em>Some Things Never Leave You</em> (2023) and <em>Bayna Bayna, In-Between</em> (2021). Currently, she is one of the Virginia-based poets contributing to an anthology for the conservation project Writing the Land (writingtheland.org).</p> <p>Azzam's parents were Palestinian refugees were forced to flee to Syria in 1948 to escape the Arab-Israeli War. The family moved to Beirut when Azzam was a baby, then immigrated to the US in 1966 when she was ten. Staying at first with her grandparents in a small farming town in Iowa, she spent her teenage years in Delmar, a suburb outside Albany, New York. She received a BA in psychology from Vassar College, an MA in sociology from George Mason University, and an MA in Arabic language and literature from Georgetown University. She has served as executive director of The Jerusalem Fund and its educational program, the Palestine Center, and director of Educational Outreach at the Center for Contemporary Arab Studies at Georgetown University in Washington, DC.</p> <p><em>This interview was conducted via Zoom and email during September 2023</em>.</p> <small>renee shea:</small> <p>As the poet laureate—Alexandria's first Arab American laureate—what do you see as your opportunities and responsibilities?</p> <small>zeina azzam:</small> <p>I'm so honored to be in this position. The responsibilities are to bring poetry to the community by getting people to read, write, and appreciate it. Right now, I'm doing just that with a grant from the Alexandria Office of the Arts to hold a haiku contest. Three external judges picked the twelve winners, and their poems were put on placards placed around the city. As someone just walks down the street and sees a poem, it may become part of their life. <strong>[End Page 115]</strong></p> <p>I do two poetry workshops a year and write a special poem for the annual Alexandria birthday party held by the [Potomac] river. I've written poems for the city's jazz festival, and I am often called to judge poetry contests in the schools and jail. There are also historic commemorations. Alexandria has a difficult history, including two documented lynchings, and last year I was asked to write a poem for each one.</p> <small>rs:</small> <p>Alexandria has made a bold commitment to memorializing these lynchings, including providing soil for the Equal Justice Initiative; you wrote the poem \"The Earth Speaks: Honoring the Lives of Joseph McCoy and Benjamin Thomas.\" Have you felt in an uncomfortable position in the community doing that work?</p> <small>za:</sm","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"20 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141516022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929666
Leonard Schwartz
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Forgotten Night</em> by Rebecca Goodman, and: <em>Lilith Walks</em> by Susan M. Schultz <!-- /html_title --></li> <li> Leonard Schwartz (bio) </li> </ul> <em><small>forgotten night</small></em><br/> Rebecca Goodman<br/> Spuyten Duyvil<br/> https://www.spuytenduyvil.net/forgotten-night.html<br/> 300 pages; Print, $20.00 <em><small>lilith walks</small></em><br/> Susan M. Schultz<br/> BlazeVOX<br/> https://wp.blazevox.org/product/lilith-walks-by-susan-m-schultz/<br/> 108 pages; Print, $22.00 <p><strong>[End Page 66]</strong></p> <p>Writing is both will and receptivity, design and chance, an assertion of the self and submission to a greater rhythm of language and of being. Rebecca Goodman's novel <em>Forgotten Night</em> emphasizes receptivity, even malleability, and an openness to these larger rhythms, even as its narrator, Jewish and self-estranged, seeks out precise answers to a personal question. The book follows her peregrinations through Alsatian French villages in search of hints about her grandfather's experiences there as a soldier during World War I, as well as in thrall to her Jewish ancestry amid antisemites of various epochs, from the Middle Ages to the Holocaust. Unlike Patrick Modiano in <em>Dora Bruder</em>, in which the first-person narrator meticulously tracks each bit of information he can find about Dora, a Jewish runaway teenager from the late 1930s, documenting the bureaucratic and epistemological moats that block his way sixty years after the fact, Goodman's narrator is absorbed into the psychogeography of each location. There is water, there is light, there are restaurants, there is wine, there is the chance of knowledge through osmosis. There is also the possibility of a total collapse of identity. It is as if history were experienced through the veil of dream, a dream that sometimes washes over and engulfs within itself the ostensibly waking narrator and reader.</p> <p>Goodman's writing is both broken and supersaturated:</p> <blockquote> <p>When I stepped back from the door, I looked up. Words rained all around me. At first a soft drizzle—conjunctions, words that seemed to connect but not describe. And, but, so—and I thought about those words that tried to connect. My childhood. My lined notebook. My awkward print. And then, softly, the words penetrating my clothes, my body. Adverbs, adjectives. Raining down on my skin, beneath my skin. Flowing through me. Disguising me. Revealing me. Forming the notion of who I was and who I could be. When <strong>[End Page 67]</strong> I looked around, I was ensconced in language—a language I could not understand—but feel. Words breaking apart mid-air. Fractured into letters, consonants, vowels. … Broken into images, sounds, birdcalls, wind. The water well. The stream. The walls surrounding the village. The silence around me. The landscape
以下是内容的简要摘录，以代替摘要：评论者： 丽贝卡-古德曼的《被遗忘的夜晚》，以及Lilith Walks by Susan M. Schultz Leonard Schwartz (bio) Forgotten Night Rebecca Goodman Spuyten Duyvil https://www.spuytenduyvil.net/forgotten-night.html 300页；印刷版，20.00美元 lilith walks Susan M. Schultz BlazeVOX https://wp.blazevox.org/product/lilith-walks-by-susan-m-schultz/ 108页；印刷版，22.00美元 [End Page 66] 写作既是意志，也是接受；既是设计，也是偶然；既是对自我的宣示，也是对语言和存在的更大节奏的服从。丽贝卡-古德曼（Rebecca Goodman）的小说《被遗忘的夜晚》（Forgotten Night）强调了接受性，甚至是可塑性，以及对这些更大韵律的开放性，即使小说的叙述者是一个犹太人，也是一个自我封闭的人，她在寻找一个个人问题的确切答案。该书讲述了她在阿尔萨斯的法国村庄中寻找祖父在第一次世界大战期间当兵经历的蛛丝马迹，以及在从中世纪到大屠杀等不同时代的反犹主义者中对自己犹太血统的追寻。帕特里克-莫迪亚诺（Patrick Modiano）在《朵拉-布鲁德》（Dora Bruder）一书中以第一人称叙述了他所能找到的关于上世纪 30 年代末离家出走的犹太少女朵拉的每一点信息，记录了六十年后阻碍他前进的官僚主义和认识论护城河，而古德曼则不同，他的叙述者融入了每个地点的心理地理学。那里有水，有光，有餐厅，有美酒，有通过渗透获得知识的机会。此外，还有身份彻底崩溃的可能性。历史仿佛是透过梦的面纱来体验的，而梦有时会冲刷并吞噬表面上清醒的叙述者和读者。古德曼的文字既破碎又饱和： 当我从门前退后时，我抬起头。我的周围下起了文字雨。起初是绵绵细雨--连接词，似乎可以连接却无法描述的词语。还有，但是，所以--我想到了那些试图连接起来的词语。我的童年。我的衬线笔记本我笨拙的印刷体。然后，这些词轻柔地穿透我的衣服，我的身体。副词、形容词雨点般落在我的皮肤上，我的皮肤下。流过我的身体伪装我揭示我形成了我是谁，我能成为谁的概念。当 [第 67 页完] 我环顾四周，我被语言所包围--一种我无法理解却能感受到的语言。文字在半空中四分五裂。碎成字母、辅音、元音。......碎成图像、声音、鸟叫、风声。水井溪流村庄的围墙我周围的寂静我身体的风景我的历史庭院的风景陌生，却又近在咫尺。落在我身上的每一个字都带着一种我几乎可以触及的亲近感--一种背叛了我的难以逾越的距离。两者之间的距离。 在整个《被遗忘的夜晚》中，古德曼奇妙地运用了句子片段，如这段话。句子片段允许参差不齐的特殊性和始终如一的破碎性共存，通过这种方式，事物在瞬间出现，主观性被淹没。片段在音乐上也起到了咒语的作用，使人精神恍惚，因为文本通过反复出现的图像向前推进（让人想到杜拉斯的《广岛之恋》剧本）。故事通过男性的暗示向前推进，尽管有时也通过其他女性角色。当叙述者带着祖父的一战日记在街上游荡，寻找她母亲保存的剪报中提到的布里萨克夫人时，她遇到了一对面带微笑的男艺术家（书中每一部分都有一位），还有其他一些女性，尽管叙述者言辞寥寥，但她们都在推动她继续寻找。叙述者意识到自己的衰老和缺乏吸引力：这是一个别人希望帮助或引诱的女性形象，而她却设法抵制，但也只是勉强抵制。写作是对更大节奏的开放。同样，意识也是非自我同一性的。叙述者反复强调她是一个...
{"title":"Forgotten Night by Rebecca Goodman, and: Lilith Walks by Susan M. Schultz (review)","authors":"Leonard Schwartz","doi":"10.1353/abr.2024.a929666","DOIUrl":"https://doi.org/10.1353/abr.2024.a929666","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Forgotten Night</em> by Rebecca Goodman, and: <em>Lilith Walks</em> by Susan M. Schultz <!-- /html_title --></li> <li> Leonard Schwartz (bio) </li> </ul> <em><small>forgotten night</small></em><br/> Rebecca Goodman<br/> Spuyten Duyvil<br/> https://www.spuytenduyvil.net/forgotten-night.html<br/> 300 pages; Print, $20.00 <em><small>lilith walks</small></em><br/> Susan M. Schultz<br/> BlazeVOX<br/> https://wp.blazevox.org/product/lilith-walks-by-susan-m-schultz/<br/> 108 pages; Print, $22.00 <p><strong>[End Page 66]</strong></p> <p>Writing is both will and receptivity, design and chance, an assertion of the self and submission to a greater rhythm of language and of being. Rebecca Goodman's novel <em>Forgotten Night</em> emphasizes receptivity, even malleability, and an openness to these larger rhythms, even as its narrator, Jewish and self-estranged, seeks out precise answers to a personal question. The book follows her peregrinations through Alsatian French villages in search of hints about her grandfather's experiences there as a soldier during World War I, as well as in thrall to her Jewish ancestry amid antisemites of various epochs, from the Middle Ages to the Holocaust. Unlike Patrick Modiano in <em>Dora Bruder</em>, in which the first-person narrator meticulously tracks each bit of information he can find about Dora, a Jewish runaway teenager from the late 1930s, documenting the bureaucratic and epistemological moats that block his way sixty years after the fact, Goodman's narrator is absorbed into the psychogeography of each location. There is water, there is light, there are restaurants, there is wine, there is the chance of knowledge through osmosis. There is also the possibility of a total collapse of identity. It is as if history were experienced through the veil of dream, a dream that sometimes washes over and engulfs within itself the ostensibly waking narrator and reader.</p> <p>Goodman's writing is both broken and supersaturated:</p> <blockquote> <p>When I stepped back from the door, I looked up. Words rained all around me. At first a soft drizzle—conjunctions, words that seemed to connect but not describe. And, but, so—and I thought about those words that tried to connect. My childhood. My lined notebook. My awkward print. And then, softly, the words penetrating my clothes, my body. Adverbs, adjectives. Raining down on my skin, beneath my skin. Flowing through me. Disguising me. Revealing me. Forming the notion of who I was and who I could be. When <strong>[End Page 67]</strong> I looked around, I was ensconced in language—a language I could not understand—but feel. Words breaking apart mid-air. Fractured into letters, consonants, vowels. … Broken into images, sounds, birdcalls, wind. The water well. The stream. The walls surrounding the village. The silence around me. The landscape","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"29 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141516014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929665
Ken Hada
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Prize for the Fire: A Novel</em> by Rilla Askew <!-- /html_title --></li> <li> Ken Hada (bio) </li> </ul> <em><small>prize for the fire: a novel</small></em><br/> Rilla Askew<br/> University of Oklahoma Press<br/> https://www.oupress.com/9780806190723/prize-for-the-fire/<br/> 384 pages; cloth, $26.95 <p><em>Prize for the Fire</em> is set during the reign of King Henry VIII. The climactic scene of the novel, the burning of condemned reformist heretic Anne Askew, occurs in 1546, one year before Henry's death. In this historical fiction, Rilla Askew faces the artistic challenge of avoiding exposition when authentically embodying multiple historical personalities and information, while also bringing her imaginative characters and scenes realistically into that history. The complexity of the history surrounding Henry's reign could easily provide readers with an indecipherable maze were it rendered by a less skilled author. Moreover, the distance between contemporary readers and the mid-sixteenth century also presents a serious challenge. So, considerable research and great care had to be exercised by the novelist to have the book make sense, let alone make it appealing. Among multiple relevant sources, the author consulted <em>The Examinations of Anne Askew</em>, a collection that contains a firsthand written record of the experiences of the protagonist.</p> <p>The novel follows two overlapping strains that eventually conspire to bring Anne to her public execution. The first concerns historical context, with its whims and reversals of King Henry and a host of figures contributing to and/or affected by his actions. Within this strain, Anne winds up in London in 1544 and for a time serves Queen Katheryn Parr. Anne is discovered to be a skillful translator of Latin and is admired for her ability to argue scripture. These attributes place her in good company with the queen, who has been appointed regent while Henry is away at war in France. Although the royal <strong>[End Page 63]</strong> court is not free from suspicion and self-seeking politicians who oppose reformist theology, Anne finds her purpose in the service of Katheryn, a reformist sympathizer. She helps the queen and her ladies translate texts from Thomas à Kempis and Erasmus, and in secret they illegally read, interpret, and translate the Coverdale translation of the Bible.</p> <p>This experience with Katheryn, along with her regular fellowship with other Protestant believers in secret meetings, in conjunction with Anne's prior insistence on publicly reading the Bible, builds the case against her in public examinations before Bishops Wriothesley and Gardiner. Refusing to recant or to identify fellow reformists, she is racked, then burned at the stake.</p> <p>Convinced that she should not be "unevenly yoked" with an unbeliever, Anne seeks annu
以下是内容的简要摘录，以代替摘要：评论者： 火之奖：Rilla Askew 所著小说 Ken Hada (bio) Prize for the Fire: A novel Rilla Askew 俄克拉荷马大学出版社 https://www.oupress.com/9780806190723/prize-for-the-fire/ 384 页；布面，26.95 美元 Prize for the Fire 背景设定在亨利八世统治时期。小说的高潮场景--被判刑的改革派异端Anne Askew被烧死--发生在1546年，也就是亨利去世的前一年。在这部历史小说中，瑞拉-阿斯克面临着艺术上的挑战，既要真实地体现多重历史人物和信息，又要将她想象中的人物和场景真实地带入这段历史，避免喧宾夺主。亨利统治时期的历史错综复杂，如果由一个技巧欠佳的作者来渲染，很容易给读者带来难以辨认的迷宫。此外，当代读者与 16 世纪中期之间的距离也是一个严峻的挑战。因此，小说家必须进行大量的研究和精心的创作，才能使这本书有意义，更不用说使它具有吸引力了。在多种相关资料中，作者参考了《安妮-阿斯克的考试》，这是一本包含主人公经历的第一手书面记录的文集。小说讲述了两条相互重叠的线索，最终合谋将安妮公开处死。第一条线索涉及历史背景，包括亨利国王的异想天开和颠倒黑白，以及一系列促成和/或受其影响的人物。在此背景下，安妮于 1544 年来到伦敦，并一度为凯瑟琳-帕尔王后服务。安妮被发现是一名熟练的拉丁语翻译，她论证经文的能力令人钦佩。她的这些特质让她与亨利在法国打仗期间被任命为摄政王的王后很合得来。尽管王室 [第 63 页完] 宫廷中不乏反对改革派神学的猜疑和自求多福的政客，但安妮在同情改革派的凯瑟琳的服务中找到了自己的目标。她帮助王后和她的夫人们翻译托马斯-阿-肯皮斯和伊拉斯谟的文章，她们还秘密地非法阅读、解释和翻译了科弗代尔翻译的《圣经》。与凯瑟琳的这段经历，加上她经常在秘密会议上与其他新教信徒的交流，再加上安妮之前坚持公开阅读《圣经》，为她在主教弗里欧西斯利（Wriothesley）和加德纳（Gardiner）面前的公开考试提供了不利的证据。她拒绝悔改，也拒绝指认其他改革派成员，结果被折磨致死，然后被烧死在火刑柱上。安妮深信自己不应该与一个不信教的人 "不平等地负起枷锁"，于是她要求废除婚姻。她的丈夫是教皇派教徒，最终导致安妮被公开谴责为异教徒。他对妻子不服从他、不履行 "妻子的义务 "感到沮丧，经常向他的牧师和安妮的哥哥弗朗西斯抱怨。安妮生活中的所有男人，无论是友好的还是敌对的，都担心她公开蔑视有关女性阅读《圣经》的法律。他们试图用各种动机和策略来约束她，但安妮越来越确信自己的立场是正确的。在凯瑟琳的宫廷任职后，安妮意识到她必须谨慎行事；然而，她决心永远不放弃她对圣经的改革派观点。在改革派的秘密会议上，在男女混杂的场合，安妮作为主要的经文阐释者越来越受到尊重。她赢得了 "美丽的福音书作者 "的称号。小说的第二部分强调了安妮的家庭故事，尽管它与第一部分相互交织。历史上的安妮确实寻求过婚姻无效，她被指控遗弃了自己的孩子。另一个连接公共和家庭故事的历史点是，安妮是一段不想要的婚姻中的替代妻子。她心爱的姐姐玛蒂（也是一名秘密的圣经阅读者）在与托马斯-凯姆（Thomas Kyme）包办婚姻之前就去世了。安妮的父亲强迫 15 岁的安妮顶替玛蒂的位置。为了在暴力婚姻中生存下来，安妮忍受着残酷的生活。在这里，作者运用丰富的想象力，描写了安妮遭受挫折和丈夫暴力攻击的几个场景。虽然她的兄弟和堂兄在经济上帮助了她...
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Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929668
Edward M. Bury
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Water Memory: A Novel</em> by Tom Strelich <!-- /html_title --></li> <li> Edward M. Bury (bio) </li> </ul> <em><small>water memory: a novel</small></em><br/> Tom Strelich<br/> Owl Canyon Press<br/> https://www.owlcanyonpress.com/product-page/water-memory-paperback<br/> 167 pages; Print, $15.00 <p>Fiction structured around a society grappling with some kind of dystopian challenge—a climate catastrophe, an economic meltdown, the breakdown of democracy, a renegade virus, propaganda overload, individual freedom quashed or curtailed—generally contains chilling scenes, strikingly nefarious characters, and plot development based on day-to-day survival and shrouded in impending doom and calamity. Writers concoct these bizarre tales with the intention of forecasting what awaits mankind should society continue with war, oppression, widespread disruption to the environment, and other large-scale affronts to the common good and a normal way of life.</p> <p>The world described in <em>Water Memory</em> touches upon some of the maladies noted above, yet without the devastating fallout or breakdown of society. The dystopian condition presented can be characterized as one where the landscape of the United States (and apparently the rest of the world) is thrown off course—somewhat slightly but definitively—following a global seismic shift that reverses the earth's magnetic poles, causing everyone to grapple with memory loss of some sort. Remarkably, despite this cataclysmic event, life as we know it generally continues: businesses and farms operate somewhat as normal, local and national governments function, retail commerce continues, a lesbian couple strengthens their bond, and an empowered, larger-than-life evangelical preacher maintains a commanding presence over his flock on a sprawling campus in central California.</p> <p>Furthermore, given the memory upheaval taking place, progress from a technological perspective abounds and becomes a part of everyday life. Artificial intelligence is incorporated to perform basic chores needed to maintain a well-groomed lawn and even fertilize and cultivate large vegetable fields, while those planning to engage legal counsel "could buy a LawyerBot app to <strong>[End Page 75]</strong> automatically analyze case law, conjure damages, counter sue, and appeal ad infinitum." And, the characters introduced within this seemingly strange new world are mostly presented as everyday men and women and have nothing in common with the ghouls, zombies, and decidedly frightening creatures that populate and drive the action in most well-known post-apocalyptic tales.</p> <p>Author Tom Strelich sets his story during some year in the early twenty-first century, as there are passing references to Walmart, Trader Joe's, TikTok, and even Donald Trump and Jeff Bezos; yet the novel presents a some
以下是内容的简要摘录，以代替摘要：评论者： 水的记忆：Tom Strelich 所著小说 Edward M. Bury (bio) Water Memory: A novel Tom Strelich Owl Canyon Press https://www.owlcanyonpress.com/product-page/water-memory-paperback 167 pages; Print, $15.00 围绕一个正在努力应对某种乌托邦挑战的社会展开的小说--气候灾难、经济崩溃、民主崩溃、叛变病毒、宣传过度、个人自由被剥夺或限制--一般都包含令人不寒而栗的场景、令人震惊的邪恶人物，以及基于日常生存和笼罩在即将到来的厄运和灾难中的情节发展。作家们编造这些离奇的故事，意在预测如果社会继续战争、压迫、大范围破坏环境以及其他大规模亵渎共同利益和正常生活方式的行为，等待人类的将是什么。水的记忆》中描述的世界触及了上述一些弊病，但并没有造成毁灭性的后果或社会崩溃。水之记忆》所呈现的乌托邦状态可以说是这样的：在一次全球地震中，地球磁极发生了逆转，导致每个人都患上了某种失忆症，美国（显然也包括世界其他地方）的地貌也随之发生了某种轻微但明确的偏离。值得注意的是，尽管发生了这一灾难性事件，但我们所熟知的生活大体上仍在继续：企业和农场照常营业，地方和国家政府正常运转，零售商业继续进行，一对女同性恋情侣加强了他们的联系，在加利福尼亚州中部一个广阔的校园里，一位被赋予权力、比生命还重要的福音派传教士对他的教众保持着一种命令式的威严。此外，鉴于记忆中发生的动荡，科技进步层出不穷，并成为日常生活的一部分。人工智能被用来完成一些基本的家务劳动，如修剪整齐的草坪，甚至给大片菜地施肥和耕种，而那些打算聘请法律顾问的人 "可以购买一个 LawyerBot 应用程序，自动分析判例法、计算损害赔偿、反诉和上诉，无穷无尽"。而且，在这个看似陌生的新世界中出现的人物大多是普通人，与大多数著名的末世故事中出现的食尸鬼、僵尸和令人恐惧的生物毫无共同之处。作者汤姆-斯特里奇（Tom Strelich）将故事背景设定在 21 世纪初的某一年，书中顺带提到了沃尔玛、乔氏超市、TikTok，甚至唐纳德-特朗普（Donald Trump）和杰夫-贝索斯（Jeff Bezos）；然而，小说对这个有人居住的地下世界背后的历史却呈现出一种模糊的洞察力，这个世界以某种方式存在，甚至繁荣昌盛，但却无法获得食物和水源等基本要素，也无法与生活在陆地上的人类、四脚动物和有翼动物进行任何互动。在这个 "软性反乌托邦 "社会中，有这样一群人，他们在真实的贝克斯菲尔德镇附近建造了一座功能齐全的地下城市，名为 "芥末种子"，从而使自己脱离了这个世界。这个故事书中的小镇建于 20 世纪 50 年代，实际上是一个平行世界，有天空和月亮，还有保龄球馆和市政广场，是在地震和随后的洪水之后建立起来的；正是这两种自然现象在《水之记忆》的早期再次发生，才迫使地下求生的镇民们浮出水面，回到地面上生活。圣经》中有一个著名的寓言故事，把芥菜种子长成一棵大树等同于神的国度从小到大的诞生和发展。从现实的农业角度来看，芥菜的某些品种被认为是入侵性植物，在加利福尼亚的部分地区已被积极根除，因此可以确定，《水的记忆》中虚构的村庄隐喻了在看似难以克服的障碍下仍取得胜利并茁壮成长。在地下聚居地的居民浮出地面后，读者了解到一个巨大的十字架曾是芥子园的标志，芥子园建在以前的宠物墓地上。带领 "芥末种子 "出逃的是《水的记忆》中性格复杂的主人公赫特尔-达格特，他是地球上唯一的...
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Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929667
Jane Rosenberg LaForge
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward</em> by Jeffrey DeShell <!-- /html_title --></li> <li> Jane Rosenberg LaForge (bio) </li> </ul> <em><small>porgy & bess by miles davis by george gershwin by dubose heyward</small></em><br/> Jeffrey DeShell<br/> Spuyten Duyvil<br/> https://www.spuytenduyvil.net/porgy---bess.html<br/> 154 pages; Print, $18.00 <p>Deeply embedded in the American consciousness are at least two stories that allegedly capture the essence of Black life in the twentieth, and now the twenty-first, century. One is not set down in letters, or even sung, like the other; but it is one that has played out with alarming frequency on the impromptu theaters of America's streets, parks, and college campuses. It has no single name, although locations, such as Ferguson, Missouri; and the names of the protagonists, such as George Floyd and Sandra Bland, come to stand for these situations. The other is <em>Porgy & Bess</em>, the George and Ira Gershwin opera of Black poverty, violence, drug use, and murder. Revolutionary in its time—1935—for its all-Black, classically trained cast, <em>Porgy & Bess</em> has been revived and revised at least as many times as white police officers have killed unarmed Black people. The roles in <em>Porgy & Bess</em> may be recast, its sets redesigned, and its direction and choreography revamped, just as the circumstances of a police killing may differ as scenarios are reshuffled. But the outcome in both instances is always, always the same. <strong>[End Page 71]</strong></p> <p>In <em>Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward</em>, a Black graduate student is killed by a white campus cop after a confrontation in the hall of a college dorm. The facts are never in doubt. But the struggle over the narrative—who's responsible, who's been victimized or warrants vilification, and what kind of punishment should punctuate the production—is at the heart of the conflict. Francesca Fruscella, the fictional Denver detective whom Jeffrey DeShell has called upon to solve mysteries in two previous novels, is brought onto the University of Colorado campus, in Boulder, as an independent investigator. "You need to watch your language," she is told by a supervisor when she complains about the assignment. But the language she uses, to say nothing of the metaphors she will retreat into, or the "virulent corporate weasel speak" and other tongues she will encounter, are the real culprits, in a crime that is committed not during but after the murder.</p> <p>DeShell has rendered his detective's odyssey without punctuation, which serves to make readers complicit with the reductive, racist cover-up that seemingly objective language will eventually provide. By withholding commas, quotations, semicolons, hyphens, and period
以下是内容的简要摘录，以代替摘要：评论者 Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward by Jeffrey DeShell Jane Rosenberg LaForge (bio) porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward Jeffrey DeShell Spuyten Duyvil https://www.spuytenduyvil.net/porgy---bess.html 154 页；印刷版，18.00 美元 在美国人的意识中，至少有两个故事深藏不露，据称它们捕捉到了 20 世纪，现在是 21 世纪黑人生活的精髓。其中一个没有像另一个那样以文字记载下来，甚至没有被传唱；但它却以惊人的频率在美国的街道、公园和大学校园的即兴舞台上上演。它没有一个单一的名字，尽管密苏里州弗格森等地点以及乔治-弗洛伊德和桑德拉-布兰德等主人公的名字代表了这些情况。另一部是乔治-格什温和艾拉-格什温的歌剧《波吉与贝丝》（Porgy & Bess），讲述了黑人的贫穷、暴力、吸毒和谋杀。波吉与贝丝》在 1935 年的时代具有革命性意义，因为它的演员全部是受过古典音乐训练的黑人，它被重新演绎和修改的次数至少与白人警察杀害手无寸铁的黑人的次数一样多。Porgy & Bess》中的角色可能会被重新塑造，布景可能会被重新设计，导演和编舞可能会被重新修改，就像警察杀人事件的情节可能会随着场景的重新调整而有所不同一样。但这两种情况下的结果永远都是一样的。[在迈尔斯-戴维斯（Miles Davis）的《波吉与贝丝》（Porgy & Bess）、乔治-格什温（George Gershwin）的《波吉与贝丝》（Porgy & Bess）、杜博斯-海沃德（Dubose Heyward）的《波吉与贝丝》（Porgy & Bess）中，一名黑人研究生在大学宿舍的大厅里与一名白人校警发生冲突后被杀。事实毋庸置疑。但在叙事上的争论--谁该负责，谁是受害者或值得诋毁，以及该用什么样的惩罚来点缀这部作品--才是冲突的核心所在。弗朗西斯卡-弗拉斯塞拉（Francesca Fruscella）是虚构的丹佛侦探，杰弗里-德谢尔（Jeffrey DeShell）曾在前两部小说中请她破解谜团，如今她作为独立调查员被请进了位于博尔德的科罗拉多大学校园。"当她抱怨这项任务时，一位主管告诉她："你需要注意你的言辞。但是，她所使用的语言，更不用说她会退避三舍的隐喻，或者她会遇到的 "恶毒的公司黄鼠狼言论 "和其他语言，才是真正的罪魁祸首，而这起犯罪不是发生在谋杀期间，而是发生在谋杀之后。德谢尔在描写他的侦探奥德赛时，没有使用标点符号，这使得读者成为看似客观的语言最终会提供的还原性种族主义掩饰的同谋。通过省略逗号、引号、分号、连字符和句号，德谢尔请读者将想法和行为归因于某些演员和对手。他还为读者提供了一个机会，让他们亲眼目睹故事梗概的构建过程，这既可以伸张正义，也可以扩大两面性。请看地方检察官在描述他对扣动扳机的警官提出指控的决策过程时所透露的信息： 他说，我会仔细考虑所有可能的叙述，但他说，我所说的可能的叙述是指由事实形成的叙述，而由事实形成的叙述是指局限于现实的叙述，我不会接受他所说的扭曲或无视公认的现实和真相的叙述，他说，我的任何怀疑都是针对你的。我非常怀疑你的能力 这个词用得不对 我完全相信你有能力 但也许是你的气质或思想倾向 我甚至非常怀疑你的认识论是否允许你提供一个可能的叙述 一个足够基于现实的叙述[第 72 页完] 地方检察官在这段摘录中表白了什么--他的结论是基于 "局限于或局限于现实 "的叙述，还是基于他 "不会接受 "的东西--这取决于读者在哪里停顿，在哪里放置句号。这与侦探小说一样具有启发性...
{"title":"Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward by Jeffrey DeShell (review)","authors":"Jane Rosenberg LaForge","doi":"10.1353/abr.2024.a929667","DOIUrl":"https://doi.org/10.1353/abr.2024.a929667","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward</em> by Jeffrey DeShell <!-- /html_title --></li> <li> Jane Rosenberg LaForge (bio) </li> </ul> <em><small>porgy & bess by miles davis by george gershwin by dubose heyward</small></em><br/> Jeffrey DeShell<br/> Spuyten Duyvil<br/> https://www.spuytenduyvil.net/porgy---bess.html<br/> 154 pages; Print, $18.00 <p>Deeply embedded in the American consciousness are at least two stories that allegedly capture the essence of Black life in the twentieth, and now the twenty-first, century. One is not set down in letters, or even sung, like the other; but it is one that has played out with alarming frequency on the impromptu theaters of America's streets, parks, and college campuses. It has no single name, although locations, such as Ferguson, Missouri; and the names of the protagonists, such as George Floyd and Sandra Bland, come to stand for these situations. The other is <em>Porgy & Bess</em>, the George and Ira Gershwin opera of Black poverty, violence, drug use, and murder. Revolutionary in its time—1935—for its all-Black, classically trained cast, <em>Porgy & Bess</em> has been revived and revised at least as many times as white police officers have killed unarmed Black people. The roles in <em>Porgy & Bess</em> may be recast, its sets redesigned, and its direction and choreography revamped, just as the circumstances of a police killing may differ as scenarios are reshuffled. But the outcome in both instances is always, always the same. <strong>[End Page 71]</strong></p> <p>In <em>Porgy & Bess by Miles Davis by George Gershwin by Dubose Heyward</em>, a Black graduate student is killed by a white campus cop after a confrontation in the hall of a college dorm. The facts are never in doubt. But the struggle over the narrative—who's responsible, who's been victimized or warrants vilification, and what kind of punishment should punctuate the production—is at the heart of the conflict. Francesca Fruscella, the fictional Denver detective whom Jeffrey DeShell has called upon to solve mysteries in two previous novels, is brought onto the University of Colorado campus, in Boulder, as an independent investigator. \"You need to watch your language,\" she is told by a supervisor when she complains about the assignment. But the language she uses, to say nothing of the metaphors she will retreat into, or the \"virulent corporate weasel speak\" and other tongues she will encounter, are the real culprits, in a crime that is committed not during but after the murder.</p> <p>DeShell has rendered his detective's odyssey without punctuation, which serves to make readers complicit with the reductive, racist cover-up that seemingly objective language will eventually provide. By withholding commas, quotations, semicolons, hyphens, and period","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"22 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141530882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929671
Michael Joyce
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Nomenclature: New and Collected Poems</em> by Dionne Brand <!-- /html_title --></li> <li> Michael Joyce (bio) </li> </ul> <em><small>nomenclature: new and collected poems</small></em><br/> Dionne Brand<br/> Introduction by Christina Sharpe<br/> Duke University Press<br/> https://www.dukeupress.edu/nomenclature<br/> 672 pages; Print, $29.95 <p>Reading Dionne Brand is like waking from a dream of a long conversation to find that the conversation—or is it the dream?—continues in waking life and cannot be shaken off. Brand has received every major award for Canadian literature, and this new collection has already been dubbed "a monumental publication from one of this country's most important poets" by the <em>Toronto Star</em>. She is one of a small, albeit global, benighted cohort of what might be called "most celebrated, least known" writers, especially revered by other writers, about whom most American readers remain oblivious or uninformed until a Nobel Prize, a MacArthur Fellowship, or like announcement flashes across a screen. Her thirty-five books and films present a poet, novelist, essayist, poetics innovator, cultural critic, activist, polemicist, and seer of astonishing range and enduring import. Hers is a transcendent, fervent presence and woven witness, a radical independence and fiery resistance.</p> <p>Approaching such a monumental collection as a new reader, one might happily start with Christina Sharpe's brilliant introductory essay, a model for what ought to replace outworn canonical declinations, offering close readings that are acts of contextualization and provocation, protective of an evolving—alive—poetic consciousness. Another choice, taken here, is reserving Sharpe's essay as a corrective and conspiratorial accompaniment to a kind of hybrid, even quirky, bracketed reading of Brand's published work starting at the end with the insistent sequence of lyric/narrative poems, <em>Ossuaries</em> (2010), and then circling back to the earliest book collected here (she declining <strong>[End Page 92]</strong> to collect an earlier as juvenilia), <em>Primitive Offensive</em> (1982), putting off the seven intervening books and newest work for a time.</p> <p>In their differently voiced, thirty-year-apart braidings, both <em>Ossuaries</em> and <em>Primitive Offensive</em> are characterized by what the Nobel award for Alice Munro, the first and thus far only Canadian woman to be awarded it, described as the "uncompromising way" Munro "demonstrates that love rarely saves us or leads to reliable happiness, and that few things can be as devastating to us as our own dreams." Like fellow Trinbagonian V. S. Naipaul, Brand, to quote the Nobel citation for Naipaul, unites "perceptive narrative and incorruptible scrutiny … that compel us to see the presence of suppressed histories."</p> <p><em>Primiti
以下是内容的简要摘录，以代替摘要：审查人： 命名法：迈克尔-乔伊斯（Michael Joyce）（简历） 《命名法：迪昂-布兰德新诗和诗集》（Nomenclature: New and Collected Poems by Dionne Brand） 克里斯蒂娜-夏普（Christina Sharpe）导言 杜克大学出版社 https://www.dukeupress.edu/nomenclature，672 页；印刷版，29.95 美元。阅读迪昂-布兰德的作品，就像从一场漫长对话的梦中醒来，发现这场对话--或者说是这场梦--在梦醒时分仍在继续，挥之不去。布兰德获得过加拿大文学界的所有重要奖项，这部新诗集被《多伦多星报》誉为 "加拿大最重要诗人之一的不朽之作"。她是少数几个（尽管是全球性的）被称为 "最著名、最不为人所知 "的作家之一，尤其是受到其他作家的推崇，但大多数美国读者对她仍然视而不见或一无所知，直到诺贝尔奖、麦克阿瑟奖或类似的公告在屏幕上闪过。她的 35 部著作和电影展现了一位诗人、小说家、散文家、诗学创新者、文化评论家、活动家、论战家和先知的惊人才华和持久影响力。她是一个超凡脱俗、狂热的存在和交织的见证者，一个激进的独立者和火热的抵抗者。作为一名新读者，在阅读这样一部不朽的作品集时，可以从克里斯蒂娜-夏普（Christina Sharpe）的精彩导读文章开始，这篇文章是取代过时的经典颓废之作的典范，它提供的细读是一种语境化和挑衅行为，是对不断发展的诗歌意识的保护。这里的另一种选择是，保留夏普的文章，作为对布兰德已出版作品的一种混合的、甚至是古怪的、括号式阅读的纠正和阴谋的补充，从坚持不懈的抒情/叙事诗序列《Ossuaries》（2010 年）开始，然后绕回到这里收录的最早的作品（她拒绝 [尾页 92]将更早的作品作为青少年作品收录）《Primitive Offensive》（1982 年），暂时搁置中间的七本书和最新的作品。在这两部作品中，艾丽斯-门罗是第一位也是迄今为止唯一一位获得诺贝尔文学奖的加拿大女性，诺贝尔文学奖授予了她 "毫不妥协的方式"，门罗 "证明了爱情很少能拯救我们或带来可靠的幸福，很少有东西能像我们自己的梦想一样对我们造成毁灭性的打击"。引用诺贝尔奖授予奈保尔的颁奖词，布兰德与同为特立尼达和多巴哥人的 V. S. 奈保尔一样，将 "敏锐的叙述和廉洁的审视......迫使我们看到被压抑的历史的存在 "结合在一起。原始进攻》在方法和主题上预示了《奥苏拉》，在观察者和主人公--逃亡中的女性和寻找某种东西--或者说，在《原始进攻》中，任何东西--的声音之间交替出现。它的说话者指出 "有一种东西/我想成为它/它有一种终结"，（亲口）声称 "我不害怕/我已经死了"。同样，在《骨灰盒》从 "这个大世界，我们的骨灰盒 "传来的消息中，流亡者 "像集束炸弹一样/孵化着整个生命的等待，整个恒星区//星云的发现，以及怜悯"，其中有一段焦虑的插曲，叙述了激进分子雅斯敏和同伴抢劫阿尔巴尼银行的事件，对于布兰德这样才华横溢的小说家来说，读起来有丹麦黑色侦探小说的悬念，这并不奇怪。与他们一样，雅斯敏也面临着 "活着，做人，其单调/让她无论如何都感到不安/，不透明的无知/意识到，在其原始的核心，什么都没有 "的荒凉景象。虽然《Ossuaries》中更为成熟的诗句具有丰富的赋格，但《Primitive Offensive》似乎预示了这一点，它将诗句塑造成铜锤敲击的钟声般的悲歌，其哀伤的铿锵声标志着夏普所说的 "一首绵长、荒凉和汹涌的诗，在这首诗中，一位年轻的诗人观察了黑人在美洲、欧洲和街头受到的待遇"。类似的音律学徒制为《冬日书信集》和《为克劳迪娅辩护致埃内斯托-卡德纳尔的书信集》（1983 年）注入了活力，证明它们无愧于对卡德纳尔的感激之情。前者是由 35 首俳句组成的书信体系列，以陀思妥耶夫斯基式的经济手法唤起了多伦多冬天的沉闷绝望，并以一位年轻艺术家的 Frauenroman 为背景，夏普恰如其分地指出，这位艺术家 "广泛地栖息于政治之中"。在这里，"雪花飘落，像强奸犯一样残忍"，"寒冷就是寒冷/寒冷就是寒冷......
{"title":"Nomenclature: New and Collected Poems by Dionne Brand (review)","authors":"Michael Joyce","doi":"10.1353/abr.2024.a929671","DOIUrl":"https://doi.org/10.1353/abr.2024.a929671","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Nomenclature: New and Collected Poems</em> by Dionne Brand <!-- /html_title --></li> <li> Michael Joyce (bio) </li> </ul> <em><small>nomenclature: new and collected poems</small></em><br/> Dionne Brand<br/> Introduction by Christina Sharpe<br/> Duke University Press<br/> https://www.dukeupress.edu/nomenclature<br/> 672 pages; Print, $29.95 <p>Reading Dionne Brand is like waking from a dream of a long conversation to find that the conversation—or is it the dream?—continues in waking life and cannot be shaken off. Brand has received every major award for Canadian literature, and this new collection has already been dubbed \"a monumental publication from one of this country's most important poets\" by the <em>Toronto Star</em>. She is one of a small, albeit global, benighted cohort of what might be called \"most celebrated, least known\" writers, especially revered by other writers, about whom most American readers remain oblivious or uninformed until a Nobel Prize, a MacArthur Fellowship, or like announcement flashes across a screen. Her thirty-five books and films present a poet, novelist, essayist, poetics innovator, cultural critic, activist, polemicist, and seer of astonishing range and enduring import. Hers is a transcendent, fervent presence and woven witness, a radical independence and fiery resistance.</p> <p>Approaching such a monumental collection as a new reader, one might happily start with Christina Sharpe's brilliant introductory essay, a model for what ought to replace outworn canonical declinations, offering close readings that are acts of contextualization and provocation, protective of an evolving—alive—poetic consciousness. Another choice, taken here, is reserving Sharpe's essay as a corrective and conspiratorial accompaniment to a kind of hybrid, even quirky, bracketed reading of Brand's published work starting at the end with the insistent sequence of lyric/narrative poems, <em>Ossuaries</em> (2010), and then circling back to the earliest book collected here (she declining <strong>[End Page 92]</strong> to collect an earlier as juvenilia), <em>Primitive Offensive</em> (1982), putting off the seven intervening books and newest work for a time.</p> <p>In their differently voiced, thirty-year-apart braidings, both <em>Ossuaries</em> and <em>Primitive Offensive</em> are characterized by what the Nobel award for Alice Munro, the first and thus far only Canadian woman to be awarded it, described as the \"uncompromising way\" Munro \"demonstrates that love rarely saves us or leads to reliable happiness, and that few things can be as devastating to us as our own dreams.\" Like fellow Trinbagonian V. S. Naipaul, Brand, to quote the Nobel citation for Naipaul, unites \"perceptive narrative and incorruptible scrutiny … that compel us to see the presence of suppressed histories.\"</p> <p><em>Primiti","PeriodicalId":41337,"journal":{"name":"AMERICAN BOOK REVIEW","volume":"108 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141530883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929669
Robert T. Tally Jr.
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> The Nomad <em>in Situ</em>, or, the Man of the Crowd in the Time of COVID <!-- /html_title --></li> <li> Robert T. Tally Jr. (bio) </li> </ul> <p>The emergence of the global pandemic and ongoing COVID-19 crisis has fostered a profound and personal awareness of space and place, such that one's apprehension of one's place in space is perhaps all the more <em>real</em> than it may have seemed a year or two earlier. That is, everyday life under the effects of COVID-19 has become marked with a sense of place, as thousands or millions of individual subjects found themselves facing stay-at-home orders, lockdowns, quarantines, curfews, closures, travel restrictions, and the now ubiquitous concept of social distancing, a phrase that quite literally draws our attention to one's "place" relative to that of others, right down to maintaining a space of six feet between ourselves and our fellow humans. What Heidegger called "the They" seems all the more ominous in this respect, and the <em>Angst</em> he identified with the <em>Unheimlich</em> or "uncanny" and with "not being at home" ("<em>nichts-zu-Hause-sein</em>") takes on new resonances as well, when people are being anxiously reminded to stay at home, a rather uncanny state to be in, or else being warned to keep our distance when in the public spaces of the <em>agora</em>. Our most homely settings are all the more <em>unheimlich</em> today, and the familiar space of one's apartment or house seems now truly uncanny for so many people.</p> <p>In my <em>Topophrenia: Place, Narrative, and the Spatial Imagination</em> and elsewhere, I have suggested that the experience of being lost is probably the condition under which we are most viscerally aware of space and place. The <em>Angst</em>-ridden disorientation, fear, and dread that comes with not knowing where we are and how to get to where we want to be: this makes us all too conscious of our <em>place</em>, or perhaps our <em>displacement</em>, in space. But for many living in the COVID era the experience of spatial limitation, of being forced to stay in one's place or to restrict one's movements to a specified number or type of relatively familiar, <em>known</em> places, carries with it a powerful sense <strong>[End Page 79]</strong> of our spatiality and our situatedness in space, with similar levels of anxiety. The places where we find ourselves located are not at all unfamiliar, especially when we are literally staying "at home," but the <em>situation</em> is changed. Home is no longer quite so homely, and this is a profoundly "unsettling" experience.</p> <p>Here I should add, parenthetically but significantly, due recognition of all those people for whom working from home is and was not an option. I am hopeful, though not very confident, that one result of the pervasive COVID-19 crisis and its aftermath will be for more and more peopl
以下是内容的简要摘录，以代替摘要： The Nomad in Situ, or, the Man of the Crowd in the Time of COVID Robert T. Tally Jr. (bio) 全球大流行病的出现和正在进行的 COVID-19 危机促进了人们对空间和地点的深刻和个人意识，因此，人们对自己在空间中的位置的理解可能比一两年前看起来更加真实。也就是说，在 COVID-19 的影响下，人们的日常生活变得充满了空间感，因为数以千计或数以百万计的受试者发现自己面临着呆在家中的命令、封锁、隔离、宵禁、关闭、旅行限制，以及现在无处不在的社会距离概念。在这方面，海德格尔所谓的 "他们 "显得更加不祥，当人们被焦虑地提醒待在家里（这是一种相当不可思议的状态），或者被警告在agora的公共空间里要保持距离时，他与 "Unheimlich "或 "不可思议 "以及 "不在家"（"nichts-zu-Hause-sein"）相联系的 "愤怒 "也产生了新的共鸣。如今，我们最温馨的环境也变得更加不和谐了，对许多人来说，自己熟悉的公寓或住宅空间似乎真的很不可思议。在我的 "精神分裂症"（Topophrenia）一书中：地点、叙事和空间想象》一书中以及其他地方，我曾提出，迷失的经历可能是我们对空间和地点最直观的认识。不知道自己身在何处，也不知道如何到达自己想去的地方，这种令人焦虑的迷失、恐惧和害怕让我们意识到自己在空间中的位置，或许是我们的流离失所。但是，对于许多生活在 COVID 时代的人来说，空间受限的经历，即被迫留在自己的地方或将自己的行动限制在特定数量或类型的相对熟悉、已知的地方的经历，伴随着我们对空间性和我们在空间中的位置的强烈感觉 [结束语 第 79 页]，以及类似程度的焦虑。我们发现自己所处的地方一点也不陌生，尤其是当我们真的呆在 "家里 "的时候，但情况已经发生了变化。家 "不再那么温馨，这是一种令人深感 "不安 "的体验。在这里，我应该补充一句，虽然是题外话，但也是重要的一点，那就是对所有那些现在和过去都无法选择在家工作的人给予应有的肯定。我希望，COVID-19 肆虐及其后果的一个结果是，越来越多的人认识到那些从事被称为 "基本 "工作的人的极端重要性，我希望这种认识能够转化为对那些在这些危险环境中工作的人更多的薪酬和福利，即使在大流行病被宣布结束之后。医护人员、医生、护士和医院工作人员理所当然地得到了美国媒体的公开认可，但我也特别想到了杂货店店员、便利店员工、加油站服务员、邮递员、送货员以及更多类似的人。我还想说的是，作为 "在家工作 "模式的一个反面，有数百万人非自愿地呆在家里，他们被解雇、下岗、被裁员，等等。而且，无论后可持续发展世界是什么样子，其中许多工作都很有可能不会再回来。这些人也是当今时代的游牧民族。不流动性滋生了自己的恶魔，广义上的 "定居 "感是不祥的。然而，正如吉尔-德勒兹（Gilles Deleuze）所肯定的，"游牧者并不一定是移动的人：有些航行是在原地进行的"。在埃德加-爱伦-坡（Edgar Allan Poe）著名的流浪故事《人群中的人》（The Man of the Crowd）中，我们也发现了这样一种游牧实践，它与我们更为熟悉的流动性有关。
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Pub Date : 2024-06-12DOI: 10.1353/abr.2024.a929672
Hilary Sideris
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Marvel (the Word)</em> by Ellen Lytle, and: <em>Day True</em> by Roberta Gould <!-- /html_title --></li> <li> Hilary Sideris (bio) </li> </ul> <em><small>marvel (the word)</small></em><br/> Ellen Lytle<br/> Nirala<br/> https://www.spdbooks.org/Products/9788195191567/marvel-the-word.aspx<br/> 112 pages; Print, $29.95 <em><small>day true</small></em><br/> Roberta Gould<br/> Independently published<br/> 96 pages <p>The past interacts a great deal with the present in Ellen Lytle's poetry collection <em>marvel (the word)</em>. A New York City poet now living in the Hudson Valley, Lytle writes in fractured lines that eschew transitions. In lowercase and often in the present tense, she narrates quotidian activities such as cleaning and making a salad. These activities might also include a visit to the cardiologist, <strong>[End Page 97]</strong> where she observes her heart on a screen. Even as her mitral valve leaks "octopus bluish ink, backwards into her chamber," Lytle considers "mayonnaise or // hummus / chop or cut onion, celery / or spinach," paying attention to serious medical issues and dinner alike. Her flat affect provides a counterpoint to the tragedies that unfold—Trump's election, the death of a dear dog—and allows her to sidestep sentimentality and record the lived moment.</p> <p>Lytle's matter-of-factness permeates such poems as "hurry them all to sea," which begins "usually after he muff dives my crotch / i laugh at everything," and "everyone needs something new in september," in which the poet packs up clothes, which is "almost like packing away people," and turns on a lamp, "guessing her return / will already be dark." Noticing a ripening squash on the kitchen shelf, she reflects that she "could have loved him / could have roasted that squash for him." Regret, that most useless of human emotions, crosses her mind, but not for long.</p> <p>Sometimes Lytle opens the door to the past, and even invites it in. Struck by the cleanliness of her new apartment in the poem "death may be a visiting dove outside our window," she mourns goode, her deceased Welsh Corgi, remembering his "first relaxed sleep soiling" and his subsequent messes, "his few spots scrubbed up / as if they never were, all his toys, except punchy / donated." His memory lives on without his stroller, blanket, and "plump bed," despite his owner's attempt to render him "erased from the life scape" because, as Lytle acknowledges, "November's in charge."</p> <p>The past also haunts the poem "caught between trees in a marsden hartley painting," which begins with delight in the moment when "celery stalks fit perfectly / into the cold water pitcher, sitting / joyously on the fridge shelf" and then recalls "stumbling with goode / through thickets of trees / as if caught inside a painting where it's impossible to foil cold," before del
以下是内容的简要摘录，以代替摘要：评论者： 埃伦-莱特尔的《奇迹（词）》，以及：Day True by Roberta Gould Hilary Sideris (bio) marvel (the word) Ellen Lytle Nirala https://www.spdbooks.org/Products/9788195191567/marvel-the-word.aspx 112页；印刷版，29.95美元 day true Roberta Gould 独立出版 96页 在 Ellen Lytle 的诗集 marvel (the word) 中，过去与现在有很大的互动。作为一位现居哈德逊河谷的纽约诗人，莱特尔的作品行文断断续续，避免了过渡。她用小写字母和经常使用的现在时态，叙述了诸如打扫卫生和制作沙拉等日常活动。这些活动可能还包括去看心脏病医生， [End Page 97]在那里她通过屏幕观察自己的心脏。即使她的二尖瓣瓣膜漏出 "章鱼蓝墨水，倒流进她的心腔"，莱特仍在考虑 "蛋黄酱或//鹰嘴豆泥/切碎或切开洋葱、芹菜/或菠菜"，既关注严重的医疗问题，也关注晚餐。她平淡的情感与悲剧的发生--特朗普当选、亲爱的小狗去世--形成了鲜明对比，使她能够避开感伤，记录生活的瞬间。莱特尔的实事求是渗透在《赶紧把他们都送出海》等诗中，这首诗的开头是 "通常在他闷闷不乐地潜入我的胯下之后/我对一切都一笑了之"，而《九月，每个人都需要新的东西》中，诗人收拾衣服，"就像收拾人一样"，然后打开一盏灯，"猜想她回来的时候/天已经黑了"。注意到厨房架子上成熟的南瓜，她反思自己 "本可以爱他/本可以为他烤南瓜"。遗憾，人类最无用的情感，在她脑海中闪过，但不会太久。有时，莱特打开通往过去的大门，甚至邀请它进来。在 "死亡可能是窗外来访的鸽子 "这首诗中，她被新公寓的整洁所震撼，她悼念她已故的威尔士柯基犬 "Goode"，回忆起它 "第一次放松地睡觉时弄脏的地方 "以及后来的脏乱，"它身上的几处污渍被擦洗得干干净净/就像它们从来没有出现过一样，它的所有玩具，除了'冲冲'/都被捐了出去"。尽管他的主人试图将他 "从生活场景中抹去"，但他的记忆在没有婴儿车、毯子和 "丰满的床 "的情况下依然存在，因为正如莱特尔所承认的，"十一月说了算"。"夹在马斯登-哈特利画作的树丛中 "这首诗的开头是对 "芹菜茎完美地/放入冰箱架上/欢快地摆放着的冷水壶中 "这一时刻的喜悦，然后回忆起 "带着美好/跌跌撞撞地/穿过树丛/仿佛夹在一幅无法衬托寒冷的画作中"，最后通过一张她母亲在1954年戴着太阳帽的照片深入到遥远的过去： 天空像腐烂的屋顶一样落下，我还记得有一年圣诞节，为了让她开心，有人送了一束芍药花，粉红色的花朵闪闪发光，像气球一样大，[第98页完]真正的花是从花店买来的，包装得很贵，我在泥土里玩耍，尽管我能看到和闻到的只有......我们一定很富有。 诗人的母亲收到了一束 "包装得很贵 "的芍药花，"真正的花是从花店买来的"，有人试图以此 "让她开心"。"花朵的鲜艳和芬芳让泥土中的孩子不知所措。莱特尔并没有深入探讨母亲的悲伤，尽管这对诗歌很重要，而是描绘了孩子在牡丹到来的那一刻的体验，硕大、艳丽、气球般的牡丹，让她的世界看起来和感觉都很丰富。罗伯塔-古尔德（Roberta Gould）是另一位来自纽约哈德逊河谷的诗人，她在新诗集《真实的一天》（Day True）中直接描写了悲伤和失落。与莱特尔一样，古尔德写的诗读起来就像日记条目，是快速流逝的一天中的必要记录，如《比我更快》： 一只蚂蚁拖着比自己大百倍的捻子碎片穿过堤坝，比我迎风骑车还快 虽然古尔德经常写自然世界，但她也善于捕捉纽约市精确、独特的瞬间，例如在地铁上翻阅一本废弃的文学杂志，或在公交车站偶遇一位老朋友......
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