Since the 1980s, Caryl Phillips has developed a reputation as a “cosmopolitan traveller,” “knowing, sophisticated, independent,” as James Procter puts it (185). By the same token, Phillips has, as John McLeod emphasizes, tended to write “at a remove” from the “preoccupations” of his fellow secondgeneration Black British writers, more concerned with imagining the migrant experience of his parents’ generation than with his own “primary theatre of experience” (“Between” 12). Starting with 2005’s short autobiographical fiction “Growing Pains” and culminating in his 2015 novel The Lost Child, however, Phillips has been making a long u-turn, finding his attention drawn back to and sustained by the lonely Leeds and Yorkshire of his childhood and youth. As “Growing Pains” begins to show, the legacies of this past are palpable and haunting, revealing the sense that, as McLeod aptly puts it in his reading of this short piece, “Phillips’s writing remains grounded in those painful experiences of growing up in Britain in the 1960s and 70s,” even as it sees in literature “a space where such pain can be challenged, controlled, and potentially transformed” (10). The son of parents who emigrated from St. Kitts to the UK when he was an infant in 1958, Phillips recalls the spatial marking of class divisions in what he remembers as a “strange school,” where he was “the only black boy”: because his parents owned their own home, he had been told to play on the middle-class side of the “white line” that bisected the playground, but when the primary teacher reads Little Black Sambo to the class he is overcome by a sudden visceral wish to be on “other side of the line with the scruffy estate children” (“Growing Pains” n.p.). With a focus on the eerie northern geographies of The Lost Child and with critical attention to Phillips’s treatment of affect as a material and spatial force that ongoingly shapes classed, racialized, and gendered lives, this essay asks: what happens when Phillips “goes home,” in an extended work of imagination, to the North?

中文翻译：

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“回家”：凯丽·菲利普斯（Caryl Phillips）的《失落的孩子》，作为女权主义者的殖民地时期的“约克郡黑色”

自1980年代以来，正如詹姆斯·普罗克特（James Procter）所言，凯莉·菲利普斯（Caryl Phillips）享誉“大都会旅行者”，“知道，成熟，独立”（185）。同样地，正如约翰·麦克劳德（John McLeod）所强调的那样，菲利普斯倾向于从第二代黑人英国作家的“关注”中“写出来”，而不是与自己的父母相比，更关心想象父母的这一代的移民经历。 “主要体验剧院”（“之间” 12）。菲利普斯（Phillips）从2005年的简短自传小说《成长的痛苦》开始，直到他2015年的小说《失落的孩子》达到顶峰，但他一直在漫长的掉头，发现他的注意力被孤独的利兹和约克郡童年和青年。随着“成长的痛苦”开始显现，过去的遗产可触及而困扰，揭示了一种感觉，正如麦克劳德（McLeod）在阅读短篇小说时恰当地指出的那样，“菲利普斯的著作仍然立足于1960年代和70年代在英国成长的痛苦经历，”正如在文学中所看到的那样。疼痛可以被挑战，控制和潜在转化”（10）。菲利普斯（Phillips）的儿子是父母，在1958年从圣基茨（St. Kitts）移居英国时，他回忆起班级的空间标记，他记得这是一所“奇怪的学校”，在那里他是“唯一的黑人男孩”：因为他的父母拥有自己的房屋，所以他被告知要在将操场一分为二的“白线”中产阶级一侧玩耍，但是当小学老师在课堂上朗诵《小黑三宝》时，他突然被内心的渴望克服了，“与“脚的房地产儿童站在另一侧”（“成长的痛苦” np）。本文着眼于北部地区怪异的《失落的孩子》，并特别关注菲利普斯将情感视为物质和空间力量，这种力量不断塑造着阶级化，种族化和性别化的生活，这篇文章问：当菲利普斯“回家时，会发生什么？在扩展的想象力中，向北方？