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Black Anaesthetics: TheNew Yorkerand Andrea Lee’sRussian Journal
American Literary History ( IF 0.6 ) Pub Date : 2019-01-01 , DOI: 10.1093/alh/ajy050
Shaundra Myers

When the New Yorker hired Andrea Lee in 1979 as only its third black regular staff writer, she had to further integrate both the magazine’s legendary roster of writers and its signature column, “The Talk of the Town.” Her first, unsigned New Yorker piece, “The Blues Abroad” (1979), later published as part of her travel narrative Russian Journal (1981), reflects the challenges she faced in assuming the column’s persona and its first-person plural report. Collective and anonymous, that pronoun was also implicitly white and male, although other women had previously inhabited it: the spirits of Van Bibber III, the fictional man about town who signed the earliest “Talk” columns in 1925, and Eustace Tilley, the monocled dandy peering from the “Talk” header, still characterized the perspective half a century on. In “The Blues Abroad,” Lee offered a glimpse of B. B. King performing live in Leningrad. Her account of the dynamics between the jovial blues guitarist and the reserved Russians gazing in silence at the musician rehearses the familiar narrative of US-Soviet tensions associated with the divided Cold War world. King’s efforts to move the crowd—he “played an irresistible riff, stopped, and leaned toward the audience with his hand cupped to his ear”—at first suggest to the Russians “a lack of culture and an almost frightening disorder,” but by the end of the concert they are “answering [his] playful coaxing on the guitar” with claps, hoots, and “tumultuous applause” (23, 24). One of the few Americans at the US-sponsored concert, Lee met King at intermission. “He rose when we came into

中文翻译:

黑人麻醉学:纽约客和安德里亚·李的俄罗斯杂志

当《纽约客》于 1979 年聘请 Andrea Lee 作为其第三位黑人正式撰稿人时,她不得不进一步整合该杂志的传奇作家名单及其签名专栏“The Talk of the Town”。她的第一篇未署名的纽约客作品“国外的蓝调”(1979 年),后来作为她的旅行叙事俄罗斯杂志(1981 年)的一部分出版,反映了她在假设该专栏的角色及其第一人称复数报告时所面临的挑战。集体和匿名,这个代词也隐含着白人和男性,尽管其他女性以前居住过:范比伯三世的精神,他在 1925 年签署了最早的“谈话”专栏的城镇虚构人物,以及单片眼镜的尤斯塔斯蒂利花花公子从“谈话”标题凝视,半个世纪以来仍然是这个视角的特征。在“国外的蓝调,” Lee 瞥见了 BB King 在列宁格勒的现场表演。她对欢快的布鲁斯吉他手和沉默地凝视这位音乐家的保守俄罗斯人之间的动态关系的描述重新演绎了与分裂的冷战世界相关的美苏紧张局势的熟悉叙述。金试图打动人群——他“演奏了一段不可抗拒的即兴演奏,停下来,把手放在耳边靠向观众”——起初向俄罗斯人暗示“缺乏文化和几乎令人恐惧的混乱”,但通过音乐会结束时,他们用拍手、叫声和“热烈的掌声”“回应[他]弹奏吉他的俏皮哄哄”(23, 24)。作为参加美国赞助音乐会的少数美国人之一,李在中场休息时遇到了金。“当我们进入时他站了起来 她对欢快的布鲁斯吉他手和沉默地凝视这位音乐家的保守俄罗斯人之间的动态关系的描述重新演绎了与分裂的冷战世界相关的美苏紧张局势的熟悉叙述。金努力打动人群——他“演奏了一段不可抗拒的即兴演奏,停下来,把手放在耳边靠向观众”——起初向俄罗斯人暗示“缺乏文化和几乎令人恐惧的混乱”,但通过音乐会结束时,他们用拍手、叫声和“热烈的掌声”“回应 [他] 弹奏吉他的俏皮哄哄”(23, 24)。作为参加美国赞助音乐会的少数美国人之一,李在中场休息时遇到了金。“当我们进入时他站了起来 她对欢快的布鲁斯吉他手和沉默地凝视这位音乐家的保守俄罗斯人之间的动态关系的描述重新演绎了与分裂的冷战世界相关的美苏紧张局势的熟悉叙述。金努力打动人群——他“演奏了一段不可抗拒的即兴演奏,停下来,把手放在耳边靠向观众”——起初向俄罗斯人暗示“缺乏文化和几乎令人恐惧的混乱”,但通过音乐会结束时,他们用拍手、叫声和“热烈的掌声”“回应[他]弹奏吉他的俏皮哄哄”(23, 24)。作为参加美国赞助音乐会的少数美国人之一,李在中场休息时遇到了金。“当我们进入时他站了起来 并用手托着耳朵向观众倾身”——起初向俄罗斯人暗示“缺乏文化和几乎令人恐惧的混乱”,但到音乐会结束时,他们“回答[他的]顽皮哄骗吉他”伴随着掌声、叫声和“热烈的掌声” (23, 24)。作为参加美国赞助音乐会的少数美国人之一,李在中场休息时遇到了金。“当我们进入时他站了起来 并用手托着耳朵向观众倾身”——起初向俄罗斯人暗示“缺乏文化和几乎令人恐惧的混乱”,但到音乐会结束时,他们“回答[他的]顽皮哄骗吉他”伴随着掌声、叫声和“热烈的掌声” (23, 24)。作为参加美国赞助音乐会的少数美国人之一,李在中场休息时遇到了金。“当我们进入时他站了起来
更新日期:2019-01-01
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