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One More Loca: On Pedro Lemebel 多一个本地人：关于佩德罗-莱梅贝尔

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934401

Lily Meyer

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> One More Loca:On Pedro Lemebel </li> <li> Lily Meyer (bio) </li> </ul> A Last Supper of Queer Apostles: Selected Essays by Pedro Lemebel, translated by Gwendolyn Harper ( Penguin Classics 2024) In 1994, the queer Chilean writer and performance artist Pedro Lemebel visited New York—"all-expenses-paid," he notes in his sharp-tongued travelogue "New York Chronicles (Stonewall Inn)"—to commemorate the twenty-fifth anniversary of the Stonewall riots. He didn't enjoy the trip. In Chile, Lemebel was nothing if not visible; he was, indeed, committed to visibility, in more ways than one. In his poem "Manifesto (I Speak from My Difference)," which he first read, in heels, in front of a crowd gathered to protest the brutal right-wing regime that ruled Chile from 1973 to 1990, he announces, "I am not a faggot masking as a poet / I need no mask / Here is my face." But in gay Greenwich Village, surrounded by "two tons of muscles and bodybuilders in minishorts," Lemebel felt unseen and unwelcomed, despite having dragged his "third-world malnourished loca body all the way here." [End Page 493] (We're going to come back to that loca.) All the macho, military-styled men on Christopher Street reminded him of the "fascist brutality" he'd endured for so long. Maybe, he thought as he walked through the Village, the gay history he'd traveled up the spine of the Americas to celebrate wasn't truly meant to include him; "maybe," he wrote, "gay is white." "New York Chronicles (Stonewall Inn)" appears in A Last Supper of Queer Apostles, a Greatest Hits-type collection of Lemebel's crónicas arranged and translated by Gwendolyn Harper. In Spanish-language writing, the crónica—a lightly journalistic form of short nonfiction that lends itself well to play and hybridity—is common; in English, we have neither crónicas nor a name for them, which impoverishes our literature. We could call them essays, and sometimes do, but in essays, writers often wander and ponder. A crónica is more like a snatch and grab. It's a form beautifully suited to Lemebel, who spent the Pinochet dictatorship staging three-minute "flash actions" in protest and whose writing leaps from slang to poetry, filth to beauty so quickly it collapses any distinction between them. A couple of notes on slang and language here. Chilean Spanish is ferociously slangy, and Lemebel's writing is very Chilean. It's also very queer. His gay language has nothing to do with that of Christopher Street; his world, in the 1980s, was not one of clones but of travestis and locas, terms Harper preserves in Spanish. Travesti, a collapsed version of transvéstita, refers broadly to a trans female identity not associated with medical transition; loca is roughly the same, though you could also read

以下是内容的简要摘录，以代替摘要： One More Loca:On Pedro Lemebel Lily Meyer (bio) A Last Supper of Queer Apostles：1994 年，智利同性恋作家兼行为艺术家佩德罗-莱梅贝尔访问纽约--"全额付费"，他在尖刻的游记《纽约编年史（石墙客栈）》中写道--以纪念石墙暴动 25 周年。他并不喜欢这次旅行。在智利，莱梅贝尔如果不引人注目，那就什么也不是；事实上，他致力于引人注目，而且不止在一个方面。在他的诗作《宣言（我从我的与众不同说起）》中，他第一次读到这首诗是在高跟鞋里，在一群抗议从1973年到1990年统治智利的残暴右翼政权的人群面前，他宣布："我不是一个伪装成诗人的基佬/我不需要面具/这就是我的脸"。但在同性恋的格林威治村，在 "两吨重的肌肉和穿着迷你短裤的健美运动员 "的包围下，莱梅贝尔觉得自己不被看见，也不受欢迎，尽管他拖着 "第三世界营养不良的当地人的身体一路来到这里"。[克里斯托弗大街上那些大男子主义、军人打扮的男人让他想起了自己长期忍受的 "法西斯暴行"。也许，他在走过石墙村时想，他走遍美洲脊梁所要纪念的同性恋历史并不是真正要把他包括在内；"也许，"他写道，"同性恋就是白人"。"纽约编年史（石墙旅馆）》收录在《同性恋使徒的最后晚餐》（A Last Supper of Queer Apostles）一书中，这是一本由格温多林-哈珀（Gwendolyn Harper）编译的莱梅贝尔作品集。在西班牙语写作中，crónica--一种轻新闻形式的非虚构短篇小说很常见，它很适合游戏和混合；而在英语中，我们既没有crónicas，也没有它们的名称，这使我们的文学变得贫乏。我们可以称其为散文，有时也会这样做，但在散文中，作家们常常徘徊和思索。crónica 更像是一种抢夺。这种形式非常适合莱梅贝尔，在皮诺切特独裁统治期间，他曾以三分钟的 "快闪行动 "表示抗议，他的作品从俚语到诗歌，从肮脏到美丽，跳跃得如此之快，以至于它们之间的任何区别都不复存在。这里有几处关于俚语和语言的说明。智利的西班牙语非常俚俗，莱梅贝尔的写作也非常智利化。同时也非常同性恋。他的同性恋语言与克里斯托弗街的同性恋语言毫无关系；在二十世纪八十年代，他的世界不是克隆人的世界，而是特拉维斯蒂（Travestis）和洛卡斯（Locas）的世界，哈珀在西班牙语中保留了这两个词。Travesti "是 "transvéstita "的缩写，泛指与医学转变无关的变性女性身份；"loca "大致相同，不过根据语境，也可以理解为 "野丫头 "或 "疯婆子"。哈珀在导言中指出，"travesti "身份与 "全球北方的性别和性特征 "无关，而 "全球北方的性别和性特征 "在[莱梅贝尔]看来是一种殖民强加。他将美国白人同性恋文化与他的 "Amaricón "同性恋身份进行了对比，后者与穷人、土著人和女性密不可分。(Maricón的意思是基佬；我不喜欢承认任何词都无法翻译，但Amaricón这个词可以）。对于《同性恋使徒的最后晚餐》的读者--当然也包括译者--来说，一个重要的讽刺是，莱梅贝尔认为英语在全球的主导地位也是一种强加。"我永远不会用英语写作，"他在哈珀选择作为本书开篇的那篇文章中发誓，"运气好的话，我会说，回家吧"。当然，他想对涌入智利的美国同性恋游客说 "回家"。他担心他们的存在和影响意味着当地人会消亡。这种恐惧不仅是文化上的，也是字面上的。除了皮诺切特，艾滋病也影响了莱梅贝尔的工作和生活。虽然他在 2015 年死于喉癌，但他所关心和书写的许多当地人都死于艾滋病；他的一些作品最有感染力，也是他最花哨的作品......

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引用次数: 0

Contributors 贡献者

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934392

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Contributors </li> </ul> Hannah Bonner's criticism has appeared in Cleveland Review of Books, Literary Hub, the Los Angeles Review of Books, and elsewhere. Her first collection of poetry, Another Woman, is forthcoming in 2024. She lives in Iowa. Chase Culler is a writing teacher and bookseller in Boston. He's held fellowship positions with his two writing mentors Allan Gurganus and Clyde Edgerton. His work appears in Joyland. Born in rural Tennessee in 1939, William Gay began writing at age fifteen and wrote his first novel at age twenty-five, but didn't begin publishing until well into his fifties. He worked as a TV salesman, in local factories, did construction, hung sheetrock, and painted houses to support himself. His works include The Long Home, Provinces of Night, Fugitives of the Heart, Stoneburner, The Lost Country, and four collections of short stories. His work has twice been adapted for the screen. He died in 2012. Urvi Kumbhat is a writer from Calcutta. She is currently a PhD student in English at Princeton University. Her work has appeared or is forthcoming in Kenyon Review, AGNI, Gulf Coast, Protean Mag, and elsewhere. Jami Nakamura Lin is the author of the illustrated speculative memoir The Night Parade (Mariner Books/HarperCollins), a Vulture/New York Magazine Top Ten Memoir of 2023. Her work has appeared in the New York Times, Passages North, and many other publications. Eduardo Martínez-Leyva was born in El Paso, Texas, to Mexican immigrants. His work has appeared in Poetry, the Boston Review, the Adroit Journal, Best New Poets, and elsewhere. His debut poetry collection, Cowboy Park, won the 2024 Felix Pollak Prize in Poetry and is forthcoming from the University of Wisconsin Press. Caitlin McCormick is a writer who lives in New York by way of Arizona. Her work has been supported by the Kenyon Review, the University of Iowa, Fractured Lit Magazine, and the Axinn Foundation. Her writing has appeared in the New York Times and Joyland. Lily Meyer is a translator, critic, and the author of the novel Short War. A contributing writer at the Atlantic, her translations include Claudia Ulloa Donoso's story collections Little Bird and Ice for Martians. Her novel The End of Romance is forthcoming from Viking. Matthew Nienow is the author of House of Water and If Nothing, both from Alice James Books. His work has appeared in Gulf Coast, Missouri Review, New England R

以下是内容的简要摘录，以代替摘要：撰稿人 Hannah Bonner 的评论文章曾发表在《克利夫兰书评》、《文学枢纽》、《洛杉矶书评》等刊物上。她的第一本诗集《另一个女人》即将于 2024 年出版。她现居爱荷华州。切斯-库勒是波士顿的一名写作教师和书商。他曾在自己的两位写作导师艾伦-古尔加努斯（Allan Gurganus）和克莱德-埃杰顿（Clyde Edgerton）处担任研究员。他的作品发表在《欢乐地》上。威廉-盖伊 1939 年出生于田纳西州农村，15 岁开始写作，25 岁写出第一部小说，但直到 50 多岁才开始发表作品。他当过电视推销员，在当地工厂打过工，做过建筑工，挂过石膏板，粉刷过房子，以此维持生计。他的作品包括《漫长的家》、《夜之省》、《心灵的逃亡者》、《石火》、《失落的国度》以及四本短篇小说集。他的作品曾两次被改编成电影。他于 2012 年去世。Urvi Kumbhat 是一位来自加尔各答的作家。她目前是普林斯顿大学英语专业的博士生。她的作品已发表或即将发表在《凯尼恩评论》、《AGNI》、《海湾海岸》、《Protean Mag》等刊物上。Jami Nakamura Lin 是插图推理回忆录《夜间游行》（Mariner Books/ HarperCollins）的作者，该书被 Vulture/New York Magazine 评为 2023 年十佳回忆录。她的作品曾刊登在《纽约时报》、《Passages North》和许多其他出版物上。爱德华多-马丁内斯-莱瓦出生于得克萨斯州埃尔帕索，父亲是墨西哥移民。他的作品散见于《诗刊》、《波士顿评论》、《Adroit Journal》、《最佳新诗人》等刊物。他的首部诗集《牛仔公园》获得了 2024 年费利克斯-波拉克诗歌奖，即将由威斯康星大学出版社出版。凯特琳-麦考密克（Caitlin McCormick）是一位作家，现居纽约，途经亚利桑那州。她的作品曾得到《凯尼恩评论》、爱荷华大学、《碎裂的文学》杂志和阿克辛基金会的支持。她的作品曾刊登在《纽约时报》和《欢乐地》上。莉莉-迈耶是一位翻译家、评论家，也是小说《短战》的作者。作为《大西洋月刊》的特约撰稿人，她翻译的作品包括克劳迪娅-乌洛亚-多诺索的故事集《小鸟》和《火星人的冰块》。她的小说《浪漫的终结》即将由维京出版社出版。Matthew Nienow 著有《House of Water》和《If Nothing》，均由 Alice James Books 出版。他的作品曾发表在《海湾海岸》、《密苏里评论》、《新英格兰评论》、《犁铧》和《诗歌》上。他与妻子和两个儿子居住在华盛顿州汤森港，并在那里担任心理健康顾问。玛丽-乔-萨尔特（Mary Jo Salter）著有九部诗集，最近的作品有《变焦房间》（Zoom Rooms）（2022 年）和《勘测员》（The Surveyors）（2017 年）。贾斯敏-桑德尔森（Jasmin Sandelson）著有《我的女孩们》（My Girls：贫困街区友谊的力量》（加州大学出版社，2023 年）。她的作品曾发表或即将发表于《Rumpus》、《Georgia Review》、《Longreads》等刊物。她住在布鲁克林。约翰-耶利米-沙利文（John Jeremiah Sullivan）是一位作家，现居北卡罗来纳州威尔明顿。他的作品《天堂首相》（The Prime Minister of Paradise）即将由兰登书屋出版，该书讲述了一位十八世纪乌托邦哲学家的故事，他曾生活在现今田纳西州的切罗基土著居民中间。布兰登-泰勒（Brandon Taylor）著有两部长篇小说《迟到的美国人》（The Late Americans）和《现实生活》（Real Life），以及短篇小说集《肮脏的动物》（Filthy Animals）。除了调酒，惠特尼-魏斯还采摘过烟草，为巴黎的一家歌舞剧院负责音响设备，在朋克乐队中演奏班卓琴，采摘过葡萄，在世界各地担任过 DJ，还穿着浣熊服卖过椅子。在南方长大，在布宜诺斯艾利斯长大，十年前移居欧洲。她目前正在创作一部关于意大利糕点、与事实不符的同性恋和移民的小说。版权所有 © 2024 南方大学 ...

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引用次数: 0

The Last Best Ghost Boy 最后最好的鬼男孩

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934397

Jami Nakamura Lin

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> The Last Best Ghost Boy </li> <li> Jami Nakamura Lin (bio) </li> </ul> <h2>1</h2> We had the bad luck to come of age at the beginning of the end. Our senior year coincided with the season of tempests and pestilence. And although some of our surviving peers later made their livelihoods writing glib op-eds with names like "The Year that Fuck Around Turned into Find Out," all we were concerned with that year was the ghost boys. In late autumn, our girls' school held a special assembly to discuss the third girl in our class to get pregnant. She'd been among us, and then she was gone: whisked out of our school, out of her home, as if she—like the other two—had never existed. It just kills me to look at you girls, with your hearts full of love, our headmaster said, dabbing at his forehead with a paper towel. He was a timid man, with milky white hair and milky white skin, and his hands always trembled when he stood before our pews. [End Page 406] And then to have to look at those boys, the Thomases and Zacchaeuses of the world, with their hearts full of—of— He stopped, as if his innocent mouth were unable to even form the word. In any case, he said, I've taken a special step. I've ordered one hundred ghost boys to be delivered to our school. The boat from the other side will arrive tomorrow. We gaped. Not only because our school had, under the auspices of the church, always taken a hard line against any sort of spectral communion but also because no one had ever heard of such a quantity before. The swankiest Halloween parties usually only wanted two or three ghosts for atmosphere. Even the best downtown haunted hotels only shelled out for a half-dozen or so. Yes, the headmaster said, pleased at our reaction. The company had to go through quite a lot of effort for us, gathering boys from all over the plane. But, he said, his eyes roaming the pews, we thought the expense worth it. To protect you girls. The ghost boys, he explained, would provide companionship for us. They would be our friends, our study-mates. Perhaps they would—though the company could not guarantee this—develop a stronger connection. These ghost boys were perfect gentlemen. They were not like the hoodlums from the boys' school, with whom we could no longer share lunch or dances or after-school activities. We would not end up like those first three girls. Something the administration was offering to us on a silver platter—it had to be a trick. And yet even tricks glint in the sun. A trick flame can, in a pinch, warm you at night. We peppered the headmaster. Could the ghost boys stay in our homes, or was that a sin? Could they stay in our beds, or was that a sin? Could we sit next to them, side by side, with a pillow in between? Withou

以下是内容的简要摘录，以代替摘要：最后的极品鬼男孩》 Jami Nakamura Lin（简历） 1 我们运气不好，在末日开始的时候成年。我们的高三恰逢暴风雨和瘟疫的季节。尽管我们中有些幸存的同龄人后来靠写诸如 "乱搞变成发现的那一年 "之类的花言巧语的专栏文章谋生，但那一年我们关心的只是那些幽灵男孩。深秋时节，我们的女校举行了一次特别集会，讨论班上第三个怀孕的女生。她一直在我们中间，然后她走了：被带离了我们的学校，带离了她的家，就好像她和另外两个女孩一样，从未存在过。校长用纸巾擦了擦额头说，看着你们这些满怀爱意的女孩，我真是心如刀绞。他是一个胆小的人，有着乳白色的头发和乳白色的皮肤，当他站在我们的座位前时，他的手总是在颤抖。[他停住了，好像他那张天真无邪的嘴连这个词都说不出来。无论如何，他说，我已经采取了一个特别的步骤。我已经下令将一百名鬼童送到我们学校。那边的船明天就到。我们目瞪口呆。这不仅是因为我们学校在教会的支持下，一直对任何形式的幽灵圣餐采取强硬立场，还因为从来没有人听说过这样的数量。最豪华的万圣节派对通常只需要两三个鬼来营造气氛。即使是市中心最好的闹鬼酒店，也只需要半打左右的鬼魂。是的，校长说，他对我们的反应很满意。为了我们，公司费了不少心思，从飞机上召集了很多男孩。但是，他说，他的目光在座位上巡视着，我们认为这些花费是值得的。为了保护你们这些女孩。他解释说，这些幽灵男孩会陪伴我们。他们会成为我们的朋友，我们的学习伙伴。也许他们会--虽然公司不能保证--建立更紧密的联系。这些幽灵男孩是完美的绅士。他们不像男校的流氓，我们不能再和他们共进午餐、共舞或参加课余活动。我们的下场也不会像前三个女生一样。管理部门用银盘给我们提供的东西--一定是个诡计。然而，即使是诡计也会在阳光下熠熠生辉。在紧要关头，诡计的火焰可以在夜晚温暖你。我们向校长发问。幽灵男孩能住在我们家里吗，这是不是罪过？他们能住在我们的床上吗，还是有罪？我们能并排坐在他们旁边吗？中间放个枕头？没有枕头呢？[第 407 页末] 校长一边用满是汗水的手按着卡其裤，一边磕磕绊绊地回答问题。他似乎在压抑着心中的一种感觉。我们将了解到，他的计划遭到了董事会的反对。校长说，三个女孩就是一场危机。他说，现在已经快到末世了，大家只要看看新闻或看看窗外就知道了。不同的时代有不同的规则。最后，他不得不对他们喊出奥古斯丁的话：如果上帝不是如此全能和善良，甚至能从邪恶中带来美好，那么他绝不会允许他的作品中出现任何邪恶的东西！那天晚上，校长又通读了一遍《启示录》。他想象着 "四骑士 "从大街上走来，经过火车站和荞麦面店。至少，他的学校已经准备就绪：他的女孩们像雪一样纯洁洁白。那天晚上，在自己家里，我们无法入睡，想象着那些幽灵男孩。我们还没问校长真正的问题他们会爱上...

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引用次数: 0

Submersions 淹没

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-08-09 DOI: 10.1353/sew.2024.a934398

Jasmin Sandelson

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Submersions </li> <li> Jasmin Sandelson (bio) </li> </ul> A massage therapist I see a few times a year settles me face down, tucks a towel into my underwear. With firm hands, she thumbs my neck, shoulders, hips. "Usually," she says, "your shoulders are tight. But today, your hips. Why?" My shoulders get tight because childhood gymnastics left my spine flexible but weak, over time causing crystals of lactic acid to calcify around my scapulae. They also get tight because I hike them, unthinkingly, bracing against nothing. "My hips?" I say, my face squished by the cradle. "I don't know." But I do know. I recall lying beneath N, my thighs wide open around her body. With excruciating exactitude, the massage therapist elbows my glutes. When I grimace, she chuckles. Then she bends so close I feel her lips by my ears. "Good girl," she whispers. [End Page 428] <h2>_______</h2> Later, I tell N about the massage. We're in bed, heads sharing a pillow the yellow of dandelions. "Wow," N laughs. "That masseuse is a bit of a domme, huh? You know, since I started doing kink, I see power everywhere. Little moments of body language or eye contact." "It's like Foucault's idea, the microphysics of power," I say. She props herself on her elbow, kisses me. "I like that," she says. "Tell me more." "Just that power isn't like, top-down—rulers and subjects. It's diffuse, it's in relationships." <h2>_______</h2> "Been dating?" a friend asks me at brunch. "I've been seeing someone," I smile. "A poet. But she's only here on sabbatical." "Show me," my friend says, and I flash a photo from the dating app where we met. "A hot butch in a button-down," they say, grinning. "Does she just top the fuck out of you?" I laugh. She does, but we, too, have microphysics. N, who is ten years older than me, has a house and a tenure-track job. N wears the strap and wields the crop. But she's shorter than me and softer-spoken and also has smaller hands—although her hands, as I told her one morning, our fingers twined, are just the right size. I stared into her eyes as I said so, and the insinuation—all knuckled bliss—or the memory, made her look away, and my power to do that, to fluster her, too, is part of what lets me yield. [End Page 429] <h2>_______</h2> On the subway, I reread texts from N. I do this to distract myself as I pass through the tunnel, the long stretch between Brooklyn and Manhattan, which I fear so intensely that increasingly, I avoid the 4 train, though it is the line nearest my apartment. I avoid the 4 because its underwater crossing lasts three minutes and forty-five seconds—to the A's two minutes and the F's ninety seconds—and also because it was an over

以下是内容的简要摘录，以代替摘要：潜入 Jasmin Sandelson（简历）我每年都会去见几次的按摩师，她让我脸朝下，把毛巾塞进我的内衣里。她用一双有力的手，轻抚我的脖子、肩膀和臀部。"通常，"她说，"你的肩膀很紧。但今天，你的臀部很紧。为什么？"我的肩膀紧绷是因为童年的体操使我的脊柱灵活但脆弱，久而久之导致乳酸结晶在肩胛骨周围钙化。肩膀发紧还因为我不假思索地驼背，什么也不撑。"我的臀部？我说，我的脸被摇篮压扁了。"我不知道"但我知道我记得自己躺在 N 的身下，大腿张开，紧紧抱住她的身体。按摩师准确无误地用手肘击打我的臀部。当我龇牙咧嘴时，她笑了。然后她弯下腰，我感觉到她的嘴唇就在我耳边。"好姑娘，"她低声说道。[End Page 428] _______ 后来，我把按摩的事告诉了 N。我们躺在床上，头枕在蒲公英黄色的枕头上。"哇，"N 笑道。"那个按摩师有点霸道，是吧？你知道吗，自从我开始玩变态后，我发现力量无处不在。小小的肢体语言或眼神交流"这就像福柯的观点，权力的微物理学，"我说。她用手肘撑起身体，吻了我一下。"我喜欢这样"，她说"告诉我更多。""权力不是自上而下的统治者和臣民。它是分散的，它存在于人际关系中。"_______ "在约会吗？"一个朋友在早午餐时问我。"我一直在和一个人约会，"我笑着说。"一个诗人。但她只是来休假的。""给我看看，"我的朋友说，然后我亮出了我们在交友软件上认识的照片。"一个穿纽扣衬衫的辣妹，"他们笑着说。"她就这么把你顶出去了？"我笑了。是的，但我们也有微物理学。比我大十岁的 N 有房子和一份终身教职。N 戴着皮带，挥舞着农作物。但她比我矮，说话温柔，手也比我小--虽然有一天早上我告诉她，我们十指相扣，她的手大小刚好合适。我这么说的时候盯着她的眼睛，这种暗示--所有手指关节的幸福--或者说这种记忆，让她把目光移开，而我的这种能力，也是让我屈服的原因之一。[在地铁上，我重读 N 的文字。我这样做是为了在穿过隧道时分散注意力，隧道是布鲁克林和曼哈顿之间很长的一段路，我非常害怕它，以至于我越来越多地避开 4 号线列车，尽管它是离我公寓最近的一条线路。我之所以避开 4 号线，是因为它的水下穿越时间长达三分四十五秒，而 A 号线为两分钟，F 号线为九十秒，还因为两年前的一个早晨，一辆拥挤不堪的 4 号线列车在东河水下猛地停下，让我被困在水下四十分钟，没有任何更新或指示，令人毛骨悚然。我被挤在一节车厢的乘客中，我确信自己死定了，确信水会冲破隧道，以至于多年后的今天，我在两区之间乘车时，都会不由自主地重温那段恐怖经历，脑海中浮现出我臃肿、晃动的尸体。_______ N 是我唯一能想到的，也是我唯一想讨论的。但并不总是有话可说。我二十多岁时的一个夏天，我和一个曾经很要好的朋友住在一起--在那个夏天，我勤勤恳恳地安排了和一个又一个男人的约会，同时还穿着飘逸的粉色太阳裙，用胶带把乳房固定得很挺--他问起了我的约会生活。在我和她的下一次约会后的第二天早上，他给我发了短信，问我约会是否顺利。我没有回复。我的回答以及 "好 "这个字眼，无法捕捉到在我到达她的工作室分租房几分钟后，她是如何把手伸进我的身体，让我在她的吩咐下紧紧环绕着她，让我高潮的；无法捕捉到我们是如何走在一起，在......下面紧紧贴在一起的。

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引用次数: 0

Domme Song 7 多姆姆之歌 7

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926967

Michael Robbins

In lieu of an abstract, here is a brief excerpt of the content:

Domme Song 7
Michael Robbins (bio)

It rained the whole time but you zip-tied meto a chair, so it all worked out. Green world,peculiar tabernacle. Blake had a fear of wheels.Please beat the big dumb feelings out of me.There are the bugs you’re supposed to kill andthe bugs that eat the bad bugs so you spare them.Which kind I am is TBD. I went out to smokeand it smelled like Kansas and I becamea ’72 Ford Granada blowing down backroads,a blue boat tethered to the white sky. Iwas a plastic movie, a bad kid fist-pumpinghis way across a high-school field. God,I used to be a whole animal at home in space.Now I need to pass by. I said I need a new door.I am not wrong. I’m not even weird.I’m not something you’ve never seen before.Please beat all these bugs out of my skin.I am setting something free. Look, there it goes. [End Page 319]

Michael Robbins

Michael Robbins is the author of Walkman, Alien vs. Predator, and other books.

作为摘要，以下是内容的简要摘录： Domme Song 7 迈克尔-罗宾斯（简历）一直在下雨，但你用拉链把我绑在椅子上，所以一切都解决了。绿色的世界，奇特的帐篷。布莱克害怕轮子，请把我的大傻瓜感情打掉。有一种虫子你应该杀死，还有一种虫子会吃掉坏虫子，这样你就可以放过它们，我是哪一种是待定的。我出去抽烟，闻到了堪萨斯州的味道，我变成了一辆 72 年的福特格拉纳达，在小路上行驶，一艘蓝色的小船拴在白色的天空上。我就像一部塑料电影，一个坏孩子挥舞着拳头穿过高中操场。天啊，我曾经是一只在太空中自得其乐的动物。我说我需要一扇新门。请把这些虫子从我的皮肤上赶走，我在释放一些东西。看，就这样[迈克尔-罗宾斯迈克尔-罗宾斯著有《随身听》、《异形大战捕食者》等书。版权所有 © 2024 年南方大学 ...

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引用次数: 0

Still Life With Sky, Coffee, Tulips, Anna Karenina, and God 有天空、咖啡、郁金香、安娜-卡列尼娜和上帝的静物画

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926962

Shannon Pratson

In lieu of an abstract, here is a brief excerpt of the content:

Still Life With Sky, Coffee, Tulips, Anna Karenina, and God
Shannon Pratson (bio)

Grocery store tulips. Empty coffee cupin the sink. Morning sky smearedpink, like the insideof a salmon.

I have been lonely in so many citiesand now I am lonely in absenceof the city, the crowd at the Metthat made me small and wholeas a seed.

How do other people pray?

I pray the way I read Russian novels,get as far as the first chapter.

I go: Ahem! and then Please, God—and that’s about it.

I hope that hopeis enough. [End Page 278]

I think a lot of peoplehave wasted a lot of timetrying to please God,that this is because peoplegot a lot of things wrongaround the third century—

for starters, that Mary Magdalenewas a prostitute or that it evenmattered.

I would rather spend my time learningto make pasta with my hands, growing squashout of the ground, finishingAnna Karenina, than guesswhat God wants.At a bright diner, I drag blueberry pancakethrough maple syrup and tell a friendI would like to be rich and for the rest of the dayI want to take a shower, wash my wordsoff my skin, watch their ink run,commas catchin the drain.

I do not need to know what pleases Godto know that wealth and its ruthless pursuitdoes not please God.

Just as I know I buy tulips from the grocery storeto stay the feeling of homesicknesseven if I do not knowwhat home looks like. [End Page 279]

Shannon Pratson

Shannon Pratson is a writer and artist. She holds an MFA from Virginia Tech and lives in London.

以下是内容的简要摘录，以代替摘要：有天空、咖啡、郁金香、安娜-卡列尼娜和上帝的静物香农-普拉森（简历杂货店的郁金香。水槽里的空咖啡杯。早晨的天空被染成粉红色，就像三文鱼的内脏。我在许多城市里都很孤独，而现在我在没有城市的地方也很孤独，大都会的人群让我变得渺小而完整，就像一粒种子。其他人是如何祈祷的？我用读俄罗斯小说的方式祈祷，读到第一章。我开始然后 "上帝，求求你"，仅此而已。我希望希望就够了。[我认为很多人为了取悦上帝浪费了很多时间，这是因为人们在三世纪时弄错了很多事情--比如，抹大拉的马利亚是个妓女，或者它甚至碎裂了。在明亮的餐厅里，我用蓝莓煎饼蘸着枫糖浆，告诉朋友我想变得富有，然后在接下来的日子里，我想洗个澡，把我的文字从皮肤上洗掉，看着它们墨迹流淌，逗号在下水道里打转。我不需要知道上帝喜悦的是什么，也知道财富及其无情的追求并不能取悦上帝。就像我知道我从杂货店买郁金香是为了保持思乡之情，即使我不知道家是什么样子。[香农-普拉森香农-普拉森是一位作家和艺术家。她拥有弗吉尼亚理工大学艺术硕士学位，现居伦敦。版权所有 © 2024 南方大学 ...

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引用次数: 0

Girabella 吉拉贝拉

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926963

Maeve Barry

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Girabella </li> <li> Maeve Barry (bio) </li> </ul> When my school friends play, they pretend to be mothers. I pretend to be God. Or I put a blanket over my head and imagine I birthed His son. I carry plastic babies by their arms like they’re skinned kittens. I never once think about parenting. I think about angels rejoicing. My image emblazoned on hundreds of thousands of gold pendants. Dangled on little girls’ necks, thickly fingered on hairy men’s rosaries. The girls at school do not understand this. I don’t know if Girabella does. She hasn’t really said. She lets me act like God when we play; she has no ideas or opinions about my stories. She just sits there until I say what comes next. I love Girabella because she lets me do what I want with her hair and her face. She wasn’t at all angry when I took my scissors to her hair. My mother was angry about the gold clumps that I sheared, which haven’t grown back. Girabella understands that the choppy haircut was not a result of my lacking ability but my strong sense of what is in fashion. [End Page 280] She just lies there on her side with her new hair on the couch, like the lady in the picture of a painting that hangs above our piano. A harem painting, my dad told me, of a dead-eyed lady. Pale, also on her side, on a red and orange velvety sofa. That’s not what the painting’s about, my mother said, and she is the one who chose and then hung it. She said she and my father like the picture of the painting for different reasons. Really they just say the same reason differently. Girabella is a perfect friend because we are the same height. We don’t waste time standing back-to-back and debating half inches. But she is lighter, so I can lift her. People watch from the sand while I swing Girabella’s legs through the brown water. They watch and they think I am generous. Such a good friend, who is willing to forgo attention. All I want is attention. Why can’t you try acting like Girabella, my mother said one night at dinner. Girabella was quietly sitting at the table. Blankly staring and not eating until she was reminded. I’d been pretty loud—loud like the whole rest of the harem painting, apart from the dead-looking lady—singing a song I’d tried to teach Girabella. She couldn’t master the harmonies, so I sang all the parts, sliding my voice up and down through vocal registers and ending up very loud. I cried when neither my parents nor Girabella clapped at the end. I cried and then, like we always do this summer, me and my mom fought about American Girl dolls. I want one so badly. How can I learn to be God if I don’t hold any sway over the girls of His chosen country? My mother says they are too expensive and that I should learn to be grateful. Some parents of the kids in my class wanted to arm

以下是内容的简要摘录，以代替摘要：吉拉贝拉-梅芙-巴里（简历）当我的同学朋友们玩耍时，他们假装是母亲。我假装是上帝。或者，我把毯子盖在头上，想象自己生了上帝的儿子。我把塑料婴儿抱在怀里，就像他们是剥了皮的小猫。我从未想过养育孩子。我想的是天使的欢欣。我的形象被印在成千上万的金吊坠上。挂在小女孩的脖子上，戴在多毛男人的念珠上。学校里的女孩们不懂这些我不知道吉拉贝拉是否明白她没说过我们玩的时候，她让我扮演上帝；她对我的故事没有任何想法或意见。她只是坐在那里，直到我说出下一个故事。我喜欢吉拉贝拉，因为她让我随意摆弄她的头发和脸。当我拿剪刀剪她的头发时，她一点也不生气。我妈妈生气的是我剪掉的金色发块，这些发块还没有长回来。吉拉贝拉明白，我剪得乱糟糟的头发并不是因为我能力不够，而是因为我对时尚的敏锐触觉。[第 280 页末】她就这样侧躺在沙发上，梳着新发型，就像我们家钢琴上方挂着的一幅画中的女人一样。我爸爸告诉我，那是一幅后宫画，画的是一个死气沉沉的女人。面色苍白，也是侧躺在红橙色天鹅绒沙发上。我妈妈说，这幅画不是画这个的，是她选的，然后挂起来的。她说她和我父亲喜欢这幅画的原因不同。其实，他们只是把同样的原因说成了不同的原因。吉拉贝拉是个完美的朋友，因为我们身高一样。我们不会浪费时间背靠背站着争论半英寸。但是她比较轻，所以我可以把她举起来。当我在棕色的海水中摆动吉拉贝拉的双腿时，人们会在沙滩上观看。他们看着我，觉得我很慷慨。这样的好朋友，愿意放弃关注。我想要的只是关注你为什么不能学学吉拉贝拉呢？一天晚上吃晚饭的时候，我妈妈说。吉拉贝拉安静地坐在餐桌旁。呆呆地望着，直到有人提醒她才吃东西。我一直很大声--就像后宫画中的其他人一样大声--除了那位面如死灰的女士，我还唱了一首歌，我试着教吉拉贝拉。她无法掌握和声，所以我唱了所有的部分，我的声音在各个声区上下滑动，最后变得非常响亮。唱到最后，父母和吉拉贝拉都没有鼓掌，我哭了。我哭了，然后，就像这个夏天我们经常做的那样，我和妈妈为美国女孩娃娃吵了起来。我太想要一个了。如果我对上帝选中的国家的女孩没有任何影响力，我怎么能学会做上帝呢？我妈妈说它们太贵了，我应该学会感恩。我班上有些孩子的家长想武装学校保安。学校拒绝了，于是家长们发起了 GoFundMe。他们从网上赚到了所有的钱，还赚了一些。在没有成人监护的情况下，我是不能上网的。我告诉我最蠢的保姆，我需要上网做学校的一个项目，[第 281 页完] 她相信了，这太疯狂了，因为我才上一年级。我告诉她我需要为动物建立一个 GoFundMe。她甚至都没问我是什么动物。我本打算说是小熊。我让她注册了一个账户，然后说我不能在她看的时候写。我建立这个页面是为了筹钱买克尔斯滕--瑞典娃娃，她长得最像我，是个基督徒。我翻看了自己的作品。我似乎拥有特权，却缺乏动力。我补充说，我是一个孤儿，还患有儿童癌症。作为惩罚，我唯一的朋友...

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引用次数: 0

On Get Back 关于 Get Back

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926965

Lorrie Moore

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> On Get Back </li> <li> Lorrie Moore (bio) </li> </ul> The Beatles: Get Back directed by Peter Jackson (2021) The Lyrics: 1956 to the Present by Paul McCartney, edited by Paul Muldoon (2021) (consulted: Lennon Remembers by Jann S. Wenner; All We Are Saying by David Sheff; Love And Let Die by John Higgs; George Harrison: The Reluctant Beatle by Philip Norman; George Harrison: Living in the Material World directed by Martin Scorsese) Early Beatles songs, when one gives thought to them, are often rockabilly numbers: “Love Me Do” (their first hit) or “I Saw Her Standing There.” While often considered baby boomers, John Lennon and Paul McCartney were of course born earlier than that (part of the mysteriously named “Silent Generation”) and came of age in the 1950s. Their influences were Chuck Berry, Carl Perkins, Little Richard, Jerry Lee Lewis. (According to Jann Wenner, Lennon sometimes claimed that no [End Page 295] song by anyone ever surpassed “Whole Lotta Shakin’ Goin’ On.”) This inspiration is seen repeatedly in the long, amusing breaks John and Paul take in Peter Jackson’s extraordinary 2021 documentary, The Beatles: Get Back, as Lennon and McCartney appear to seek refuge from composing their own material on a brutal deadline (in the winter of 1969 they had less than four weeks to finish a dozen songs for a TV special) and instead begin to horse around, launching merrily into “Blue Suede Shoes,” “Roll Over, Beethoven,” or even “The Harry Lime Theme” from The Third Man. Yet two of the Beatles’ most haunting ballads (a year before the composition of “Yesterday”) were released together early in 1964: “And I Love Her” and “If I Fell.” The former is widely attributed to McCartney (Lennon referred to it as McCartney’s first “Yesterday”) and the latter belongs to Lennon who sings the main melody. (On YouTube one can find a group of mourners at Central Park’s Strawberry Fields all singing “If I Fell” in grieving chorus around Lennon’s memorial.) Listening to the two ballads, one might be forgiven for assuming that they both had the same singularly brilliant composer. Which, in a way, they did. Credited as Lennon-McCartney compositions, as most of the Beatles’ songs were, the sound was indisputably theirs. Both pieces have beautiful switches into open minor chords and a subtle cha-cha meter underneath. They were released on a single forty-five but neither was really a B side, though the B side was dealt to Lennon, the Beatles’ usual practice; McCartney typically had the A side. (George Harrison had the A side once, with “Something,” on a double A release with Lennon-McCartney’s “Come Together,” the latter eventually the target of a lawsuit from Chuck Berry. “Everybody was nicking fr

以下是内容的简要摘录，以代替摘要： On Get Back Lorrie Moore (bio) The Beatles：The Lyrics：保罗-麦卡特尼（Paul McCartney）著，保罗-马尔敦（Paul Muldoon）编辑（2021 年）（参考：Lennon Remembers》，Jann S. Wenner 著；《All We Are Saying》，David Sheff 著；《Love And Let Die》，John Higgs 著；《George Harrison：The Reluctant Beatle by Philip Norman；George Harrison：早期甲壳虫乐队的歌曲，如果仔细琢磨，往往都是些摇滚歌曲："Love Me Do》（他们的第一首主打歌）或《I Saw Her Standing There》。虽然约翰-列侬和保罗-麦卡特尼通常被认为是婴儿潮一代，但他们当然比婴儿潮一代出生得更早（属于神秘的 "沉默的一代"），在 20 世纪 50 年代就已经成年。他们受到查克-贝里（Chuck Berry）、卡尔-帕金斯（Carl Perkins）、小理查德（Little Richard）和杰里-李-刘易斯（Jerry Lee Lewis）的影响。(根据詹恩-温纳（Jann Wenner）的说法，列侬有时声称没有人的 [End Page 295] 歌曲能超越《Whole Lotta Shakin' Goin' On》）。在彼得-杰克逊（Peter Jackson）于 2021 年拍摄的非凡纪录片《甲壳虫乐队》（The Beatles）中，约翰和保罗在长时间、有趣的休息中反复出现这种灵感：列侬和麦卡特尼在残酷的最后期限内（1969 年冬天，他们只有不到四周的时间完成电视特辑的十几首歌曲），似乎在为自己的音乐创作寻求庇护，转而开始骑马，欢快地演奏《蓝色麂皮鞋》、《翻滚吧，贝多芬》，甚至是《第三个人》中的《哈利-莱姆主题曲》。然而，披头士最动人的两首民谣（比《昨天》的创作早一年）是在 1964 年初一起发行的："And I Love Her》和《If I Fell》。前者被广泛认为是麦卡特尼的作品（列侬称其为麦卡特尼的第一首 "昨天"），而后者则是列侬的作品，由他演唱主旋律。(在 YouTube 上，人们可以看到在中央公园的草莓园，一群哀悼者围着列侬的纪念碑悲痛地合唱《如果我坠落》）。聆听这两首民谣，人们可能会认为它们是由同一位才华横溢的作曲家创作的。从某种程度上说，的确如此。就像披头士乐队的大多数歌曲一样，这两首民谣也被认为是列侬-麦卡特尼的作品，但它们的音色毫无疑问是他们自己的。这两首曲子都有优美的开小调和弦转换和微妙的恰恰音阶。这两首歌都以单曲 45 发行，但都不是真正意义上的 B 面，尽管 B 面被分给了列侬，这是披头士的惯例；麦卡特尼通常拥有 A 面（乔治-哈里森拥有 A 面）。(乔治-哈里森（George Harrison）曾与列侬-麦卡特尼（Lennon-McCartney）的 "Come Together "一起发行过一张双 A 唱片，其中的 "Something "是 A 面，后者最终成为查克-贝瑞（Chuck Berry）的诉讼目标。"麦卡特尼在最近出版的《歌词》（The Lyrics）中对保罗-马尔敦（Paul Muldoon）说："每个人都在剽窃别人的歌词。[然而，麦卡特尼和列侬在后来的岁月里，却为 1964 年谁为《我爱她》和《如果我坠落》做出了什么贡献而争论不休--桥段（中间八段）似乎是争论的焦点。"列侬在他们分手后说："我们都在对方的馅饼里插了手指。麦卡特尼后来承认，"And I Love Her "开头那动人心弦的四个音符--哈里森当场创作的弗拉明戈小调--是哈里森的功劳，但他当时根本没有得到任何归功。尽管约翰和保罗的合作十分紧密，但这源于他们早年的亲密关系，因为他们都是失去母亲的创作型青少年--列侬和麦卡特尼是被 "伤害 "才开始创作歌曲的吗？穆尔顿在《歌词》一书中这样认为，他们的组合注定要破裂。(林戈（Ringo）和乔治（George）是最早离开乐队的人，后来又回来了：林戈收到了乔治送的一屋子鲜花，乔治则回到了悔恨的保罗和约翰身边）。关于披头士解散困难重重、经济风险巨大的传言很早就开始了。在甲壳虫乐队的歌迷中，人们对列侬和麦卡特尼表面上的疏远有很多讨论（小野洋子有时受到指责，有时则归咎于马哈希）。甚至一度出现了 "保罗已死 "的阴谋论。是...

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引用次数: 0

This Sort of Thing: On Heather Lewis's Notice 这种事：关于希瑟-刘易斯的通知

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926966

Hannah Bonner

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> This Sort of Thing:On Heather Lewis’s Notice </li> <li> Hannah Bonner (bio) </li> </ul> For a couple of months in my early thirties, I engaged in an online flirtation with a married couple on the kink app Feeld. They were white, indeterminately wealthy, and looked like a Tommy Hilfiger inlay. In the beginning, I communicated solely with the Wife. She was peppy, energetic, and effusive in her interactions. Our texts were the best part of the entire episode. We flirted openly and enthusiastically. She was forward, pointed, athleisure-wear svelte. Initially, she handled the logistics of our hypothetical ménage à trois. She and her Husband had a private plane and could fly to dine with me anywhere; she was allergic to latex condoms and therefore I’d need to test and submit my paperwork for STDs; she was shaved: perhaps I could be too. The Husband was different. He told me about the acts in which the Wife and I would engage, the positions he’d put us in. He sent black-and-white pictures of the Wife: openmouthed, on her knees; her legs spread, post-fuck. The pictures were always porny with a twinge of pain. I was simultaneously turned on by his directives [End Page 310] while also chary. I felt something twisting in me like a corkscrew. The taste of it was tannic. I never met the Husband or the Wife in person. I have courted risk many times over, but in more immediate, tangible ways. When the texts pivoted from dialogue to demands, that’s when I extricated myself, cool as vapor. And, like everything in my life I have walked out on, I walked out without fully knowing why: why I never asked after the Wife, who sparked my engagement in the first place, why I chose to follow the Husband’s instructions for as long as I did. His particular style of sexuality was specific and humorless. There was no promise of pleasure or play for me. Pleasure and malice are bedfellows in Heather Lewis’s third posthumously published novel Notice (2004). In it, protagonist Nina also ensnares herself with a married couple, though to much more devastating ends. The sadistic Husband and his wife, Ingrid, use teenage Nina to play the part of their deceased sixteen-year-old daughter: sleeping in her bed, wearing her clothes, enduring the Husband’s sexual predilections without scruples. When Nina finally leaves, the Husband locks her up in a psychiatric facility. Stuck in solitary confinement, Nina develops another maternalistic, albeit sexual, relationship with Beth, a counselor in the facility, whose affections roil a “baying thing” within the deepest recesses of Nina’s soul. Though it may seem as though Nina is through the worst of it, the Husband hasn’t finished with her, and his anger’s denouement is so cruel that Lewis’s words practically curdle on

以下是内容的简要摘录，以代替摘要：这种事：关于希瑟-刘易斯的通知》汉娜-邦纳（简历）在我三十出头的时候，有几个月我在网上与一对已婚夫妇调情，他们使用的是情趣应用 Feeld。他们是白人，不确定是否富有，看起来像汤米-希尔费格（Tommy Hilfiger）的镶嵌画。一开始，我只和妻子交流。她很活泼，精力充沛，在互动中热情洋溢。我们的短信是整个过程中最精彩的部分。我们公开而热烈地调情。她很前卫、尖锐，穿着运动休闲装，身材苗条。一开始，她负责我们假设的三人行的后勤工作。她和她的丈夫有一架私人飞机，可以飞到任何地方与我共进晚餐；她对乳胶安全套过敏，因此我需要做性病检测并提交相关文件；她刮了胡子：也许我也可以刮胡子。丈夫则不同。他告诉我我和妻子要做的事，他让我们做的姿势。他给我寄来妻子的黑白照片：张大嘴巴，跪在地上；张开双腿，做完爱。照片总是很色情，带着一丝痛苦。我同时被他的指令弄得兴奋不已 [第 310 页完]，但又心存戒备。我感到有什么东西在我体内像开瓶器一样扭曲。它的味道是单宁的。我从未见过丈夫或妻子本人。我曾多次冒险求爱，但都是以更直接、更具体的方式。当文字从对话转为要求时，我就像蒸发了一样冷静下来。就像我生命中放弃的所有东西一样，我离开的时候并不完全知道为什么：为什么我从来没有追问最初引发我参与的妻子，为什么我选择听从丈夫的指示那么久。他特殊的性爱方式既具体又毫无幽默感。他不承诺给我快乐或游戏。在希瑟-刘易斯（Heather Lewis）死后出版的第三部小说《通知》（Notice，2004 年）中，快乐和恶意成为了同床异梦。在这部小说中，主人公妮娜也与一对已婚夫妇纠缠在一起，不过结局却更具毁灭性。虐待狂丈夫和妻子英格丽德利用少女妮娜扮演他们已故的 16 岁女儿：睡她的床，穿她的衣服，毫无顾忌地忍受丈夫的性偏好。当妮娜最终离开时，丈夫把她关进了精神病院。在被单独监禁的日子里，妮娜与精神病院的心理咨询师贝丝建立了另一种母性关系，尽管是性关系。尽管妮娜似乎已经度过了最艰难的时期，但 "丈夫 "对她的伤害还没有结束，他的愤怒的结局是如此残酷，刘易斯的文字几乎凝固在纸上。部分是同性恋爱情故事，部分是郊区恐怖故事，《通知》是一本早在内容警告、#MeToo、或身份作为商品而非政治或个人立场之前就写好的书。在这本书中，你找不到 "女权主义 "或 "权力 "这样的字眼，而这些词在当今女作家的书籍营销中都很时髦。事实上，在刘易斯短暂的一生中，她的作品并不畅销，也没有受到好评。正如《纽约时报》[第 311 页末]的一位评论家在评价她的处女作《房屋规则》时所写的那样，主人公 "是如此坚定地一片空白，以至于她似乎没什么可写的，更没什么可关心的"。因此，通过复活《通知》重新发行，Semiotext(e) 重新构建了读者历来理解刘易斯及其作品的叙事框架。我们不再认为刘易斯的情节和散文 "令人讨厌"，仅仅因为它们不好玩（或不好读）。相反，"同性恋创伤 "这个小众的亚类型作品，以及刘易斯不留情面的个人散文，都值得被封为经典。最早告诉我希瑟-刘易斯的是我在爱荷华大学艺术硕士研修班的导师梅丽莎-费伯斯（Melissa Febos）。每隔几周，梅丽莎就会带着她的最新研究成果来上课，她对刘易斯的风格和声音非常着迷，就像我过去（现在）对她的风格和声音一样。当我...

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引用次数: 0

The Profoundest Interruption: In Defense of Distraction 最深刻的打断为分心辩护

4区文学 0 LITERARY REVIEWS

SEWANEE REVIEW

Pub Date : 2024-05-06 DOI: 10.1353/sew.2024.a926969

Caitlin Horrocks

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> The Profoundest Interruption:In Defense of Distraction </li> <li> Caitlin Horrocks (bio) </li> </ul> <blockquote> Evil is whatever distracts. –Franz Kafka </blockquote> I’ve had this quote on my phone’s camera roll since September 2021, when I saw it written on a sandwich board sign outside a skate shop in my neighborhood. Kafka’s declaration stopped me in my tracks: Evil? Really? Maybe? I hope not. I took a photo so I could keep thinking about it. Then I mostly tried not to think about it. I had, at the time, highly distracting one-year-old twins, plus a nearly-as-distracting five-year-old, plus the various distractions of constant daycare-borne illnesses and work and life and the friends my husband and I almost never saw and missed, and the writing projects we had no time for, and missed. Still, I did not think of those things as evil. Trying to focus on something despite the pings of notifications or the mental buzzing of our own worries, through the physical demands of needy children or of our own bodies, seems to me a [End Page 344] near-universal experience in our current age. But the relationship of distraction to creativity or contemplation is usually viewed as a straightforward obstacle or personal weakness to be overcome. The “proper” response to distraction is resistance. To meet it willingly, with abandon, is the capitulation of a lazy mind. Distraction can be destructive, keeping us splashing always in the shallows. But rather than Kafka, the quote I want to believe comes from a poem entitled “On Buzz Aldrin’s Birthday” by Marianne Chan: <blockquote> But the mindhas its sundry destinationswhere it lands to findsources of water. </blockquote> My mind has its sundry destinations, frankly, whether I want it to or not, and I would like to believe that there is water there, rather than barren doomscroll desert. When I could finally bring myself to think again about that quote on the sign, what I wanted was a loophole, some version of #notalldistractions. I found what I needed in Attention and Distraction in Modern German Literature, Thought, and Culture by Carolin Duttlinger, which discusses the lesser-known Kafka work of non-fiction, “Measures for Preventing Accidents from Wood-Planing Machines,” written for his day job at the Workers’ Accident Insurance Institute in 1910. In it, Kafka warns that industrial planing machines are so poorly designed, and the work conditions so inherently dangerous, that no level of vigilant attention can keep the worker completely safe, or even in possession of all his fingers. In general, Kafka’s insurance work treated moments of distraction, even those with physically disastrous consequ

以下是内容的简要摘录，以代替摘要：最深刻的打断：为分心辩护》（The Profoundest Interruption:In Defense of Distraction）凯特琳-霍罗克斯（Caitlin Horrocks）（简历）邪恶就是让人分心的东西。弗朗茨-卡夫卡（Franz Kafka）从 2021 年 9 月起，我的手机相机胶卷里就有这句话，当时我看到它写在我家附近一家滑板店外的三明治板招牌上。卡夫卡的宣言让我停下了脚步：邪恶？真的吗？也许吧？但愿不是。我拍了一张照片，以便继续思考这个问题。然后，我尽量不去想它。当时，我有一对让人非常分心的一岁大的双胞胎，还有一个几乎同样让人分心的五岁大的孩子，再加上托儿所里不断发生的疾病、工作、生活、我和丈夫几乎从未见过和错过的朋友，以及我们没有时间进行和错过的写作项目等各种分心的事情。尽管如此，我并不认为这些事情是邪恶的。我认为，在我们这个时代，努力专注于某件事情，尽管有通知的 "乒乒乓乓 "声或我们自己的烦恼在头脑中嗡嗡作响，尽管有需要帮助的孩子或我们自己的身体有生理需求，这似乎是[第 344 页完]一种近乎普遍的经历。但是，分心与创造力或沉思的关系通常被视为需要克服的直接障碍或个人弱点。对分心的 "正确 "反应是抵制。心甘情愿、不遗余力地迎接它，是懒惰心灵的屈服。分心可能具有破坏性，让我们总是在浅滩上溅起水花。但我想相信的不是卡夫卡的名言，而是玛丽安-陈的一首题为《在巴兹-奥尔德林的生日》的诗：但心灵有其不同的目的地，在那里它可以找到水源。坦率地说，无论我是否愿意，我的思想都有它的各种目的地，我愿意相信那里有水，而不是荒芜的末日沙漠。当我终于可以让自己再次思考标牌上的那句话时，我想要的是一个漏洞，一些#notalldistractions的版本。我在卡洛琳-杜特林格（Carolin Duttlinger）所著的《现代德国文学、思想和文化中的注意力与分心》一书中找到了我需要的东西，该书讨论了卡夫卡鲜为人知的非虚构作品《防止刨木机事故的措施》，这是他 1910 年为工人事故保险协会的日常工作而写的。卡夫卡在书中警告说，工业刨木机的设计非常糟糕，工作条件本身也非常危险，任何程度的警惕都无法保证工人的完全安全，甚至无法保证工人的所有手指都不受伤害。总的来说，卡夫卡的保险作品将分心的时刻，甚至是那些会造成身体灾难性后果的时刻，视为不可避免的。正如杜特林格所说，"这是一个统计常数，而不是个人责任问题"。[End Page 345] 卡夫卡的小说以及他的日记和书信也与分心作斗争，但斗争的方式是矛盾的，不那么宽容。在短篇小说《猎人格雷库斯》中，山羊的一时分神导致猎人摔死。在他的日常生活中，卡夫卡有一个著名的感受，那就是被普通的家庭嘈杂声所包围。他在给一位表面上是他追求对象的女孩的信中写道，他理想的生活方式是 "住在一个上了锁的宽敞地窖的最里面的房间里，带着我的写作工具和一盏灯。食物会有人送来，而且总是放在离我房间很远的地方，就在地窖最外面的门外........ .我将如何写作？我会从多深的地方把它拽上来！不费吹灰之力！因为全神贯注是不费吹灰之力的"。在我看来，"把它拽上来 "和 "不费吹灰之力 "这两个词的搭配很引人注目，但卡夫卡知道他想描述什么：这种完美的创作状态曾成就了他在 1912 年一个晚上写成的短篇小说《审判》。他的余生都在试图重新达到这种 "全神贯注 "的状态。但他也承认，这种状态不会持久；在他晚年的一篇小说《洞穴》中，动物主人公最终被追逐一个完全安静的地下堡垒逼疯了。我们至少偶尔会希望有人为我们的食物......

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