deployed throughout her career. Her working method—using an exceptionally fluid capacity for association to gather a broad range of works, events, and people together and then effectively standing back to see what happens—remains fairly constant across that span, as do her concerns, which orbit around three poles: avant-garde verbal and visual work, American history and letters, especially those centered in New England, and family and personal history. She often laces two or more of these within and around each other in a single essay—Walt Whitman and her late husband David von Schlegell’s experiences in World War Two emerge within an essay predominantly focused on Chris Marker and documentary film (“Sorting Facts”), and Jonathan Edwards, Nietzsche, Heraclitus, Ovid, and Poussin all make appearances in an essay whose principal theme is another husband’s death, that of Peter Hare in 2008 (“The Disappearance Approach”). In short, what changes dramatically across the forty years chronicled here is style, which is so profoundly worked that it becomes an issue of form. Another way to phrase this is to say that, by 2015, she has so radically reworked the stylistic possibilities of written English that it constitutes formal invention. The collection “begins” with the perceptive and crisply logical argument that rules the 1974 essay “The End of Art,” which is presented in clear sentences with normative syntax and a particularly vivid vocabulary, and ends forty years later with a syntax that is still accessible, but much more variable, much more slippery, and, above all, has much more momentum. “That silent chorus prescient deep inside us so we remember the night-hymn is there in that parallel perspective both shield and cry. ‘How easily the blown banners change to wings . . .’ Rome—an essence incarnate in its name” (13). So much is swept up into the energy of a passage such as this; the elided commas and colliding clauses grab quotations and whip them along in a constantly building vertigo that nonetheless remains solidly grounded. What this collection reveals is the remarkable flowering of a mind determined to “vocalize wilderness” (55) and, in turn, a wilderness of the mind, which once accepted as such, is much more evocative and stimulating than the domesticated mind encased in normative syntax and syllogistic logic. The pleasure of the surface of her texts, with their flowing ease and charged phrasing, is nicely juxtaposed to her unprecedented ways of viewing some of our national literature’s most signal writers. This collection confirms that she should be classed among them.

中文翻译：

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有目的的实用主义：彼得·黑尔（Peter Hare）的作品选

部署在她的整个职业生涯中。她的工作方法——使用异常流畅的联想能力将广泛的作品、事件和人物聚集在一起，然后有效地站在后面看看会发生什么——在整个跨度中保持相当稳定，她的关注点围绕三个极点：前卫的口头和视觉作品，美国历史和文学，特别是那些以新英格兰为中心的，以及家庭和个人历史。她经常在一篇文章中将其中的两个或多个相互交织在一起——沃尔特·惠特曼和她已故的丈夫大卫·冯·施莱格尔在第二次世界大战中的经历出现在一篇主要关注克里斯马克和纪录片的文章中（“整理事实”） , 乔纳森·爱德华兹、尼采、赫拉克利特、奥维德、普桑和普桑都出现在一篇以另一位丈夫的死为主题的文章中，即 2008 年彼得·黑尔的死（“失踪的方法”）。简而言之，这里记录的四十年间发生的巨大变化是风格，它的作用是如此深刻，以至于它变成了形式问题。另一种表述方式是，到 2015 年，她彻底改变了书面英语的文体可能性，以至于它构成了正式的发明。该系列“开始”了 1974 年文章“艺术的终结”的洞察力和清晰的逻辑论点，该文章以清晰的句子呈现，具有规范的句法和特别生动的词汇，并在 40 年后结束，句法仍然是可访问，但更易变，更滑，最重要的是，具有更大的动力。“那无声的合唱团在我们内心深处有先见之明，所以我们记得夜间赞美诗在那个平行的视角中既是盾牌又是哭泣。'吹起的横幅多么容易变成翅膀。. .' 罗马——以它的名字化身的本质”（13）。如此多的能量被卷入了这样一段话的能量中；省略的逗号和冲突的从句抓住引语，并在不断构建的眩晕中鞭打它们，但仍然牢牢扎根。这个系列揭示的是决心“发声荒野”的心灵的非凡开花（55），反过来，心灵的荒野，一旦被接受，比被规范化的驯化心灵更令人回味和刺激。句法和三段论逻辑。她的文字表面的乐趣，以及流畅的轻松和充满活力的措辞，与她以前所未有的方式看待我们民族文学中最具标志性的作家的方式相得益彰。这个集合证实了她应该被归类在其中。