书籍介绍
这不是一本让你读起来舒服的书，甚至不是本好读的书。它把'种族主义'从宏大的历史叙事里抽离，塞进日常生活的细碎缝隙：开车到家后迟迟不愿下车的那十分钟、网球场上被白人生硬标记的黑人身体、被明码标价出售的'黑人式愤怒'。作者用第二人称'你'强行把读者拉进那个不断被'点名'、被'指向'的处境，让歧视不再是新闻里的极端事件，而成为呼吸间累积的生理重压。它适合愿意被这种拧结感逼问的读者——如果你期待清晰论证或愤怒宣泄，可能会失望；但如果你曾体会过'道理都懂，身体却记得'的那种无力，它会精准地戳中你。
作者简介
Claudia Rankine is an American poet and playwright born in 1963 and raised in Kingston, Jamaica and New York City.
Rankine is the author of five collections of poetry, including "Citizen: An American Lyric" and "Don’t Let Me Be Lonely"; two plays including "The White Card," which premiered in February 2018 (ArtsEmerson and American Repertory Theater) and will be published with Graywolf Press in 2019, and "Provenance of Beauty: A South Bronx Travelogue"; as well as numerous video collaborations. She is also the editor of several anthologies including "The Racial Imaginary: Writers on Race in the Life of the Mind." In 2016, she cofounded The Racial Imaginary Institute. Among her numerous awards and honors, Rankine is the recipient of the Bobbitt National Prize for Poetry and the Poets & Writers’ Jackson Poetry Prize as well as fellowships from the Guggenheim Foundation, the Lannan Foundation, the MacArthur Foundation, United States Artists and the National Endowment of the Arts. She is a chancellor of the Academy of American Poets and teaches at Yale University as the Frederick Iseman Professor of Poetry. She lives in New Haven, Connecticut.
(source: Arizona State University)
AI导读
核心看点
- 本书以第二人称‘你’为叙事视角，直击当代美国社会中无处不在的种族微攻击。作者通过记录超市、课堂、网络等日常场景中的歧视瞬间，揭示这些看似轻微的冒犯如何累积成巨大的心理压迫，深刻探讨种族身份与公民权之间的断裂关系。
- 书中深入剖析了塞雷娜·威廉姆斯、齐达内等公众人物遭遇的种族争议，批判白人主流社会‘let it go’的道德虚伪。作者指出，要求受害者‘放下’感受，实质上是剥夺了黑人表达痛苦的权利，这种语言暴力比肢体冲突更具隐蔽性和伤害性。
- 作为一部融合诗歌、散文、图像与学术评论的实验性文本，本书打破了传统文体界限。它不提供简单的解决方案，而是通过碎片化的叙述和强烈的视觉冲击，迫使读者直面种族主义的结构性暴力，体验被凝视、被定义、被剥夺话语权的窒息感。
读者共识
- 读者普遍认为本书具有极强的情感冲击力和政治批判性，能让人深刻意识到日常生活中的种族歧视无处不在。许多读者表示，阅读过程令人不适但必要，它成功地将抽象的种族主义概念转化为具体的、可感知的痛苦体验，引发强烈共鸣。
- 部分读者对本书的实验性文体表示困惑，认为其碎片化结构难以进入，甚至有人批评其内容重复或过于愤怒。但也有大量读者赞赏这种形式创新，认为它准确模拟了种族创伤的混乱与不可言说，是当代文学中极具勇气的杰作。
- 读者共识认为，本书虽不提供行动指南，但具有极高的思想价值。它迫使白人读者反思自身的特权与盲点，同时为黑人读者提供了表达痛苦的合法空间。尽管存在争议，但其对微攻击的揭露和对公民身份虚伪性的批判，被视为当代种族讨论的重要文献。
精彩摘录
- "As usual you drive straight through the moment with the expected backing off of what was previously said. It is not only that confrontation is headache-producing; it is also that you have a destination that doesn't include acting like this moment isn't inhabitable, hasn't happened before, and the be"
- "When you arrive in your driveway and turn off the car, you remain behind the wheel another ten minutes. You fear the night is being locked in and coded on a cellular level and want time to function as a power wash. Sitting there staring at the closed garage door you are reminded that a friend once t"
- "In one of his many videos, he addresses how to become a successful black artist, wryly suggesting black people's anger is marketable. He advises black artists to cultivate "an angry nigger exterior" by watching, among other things, the Rodney King video while working. Youngman's suggestions are mean"
- "On the bridge between this sellable anger and "the artist" resides, at times, an actual anger. Youngman in his video doesn't address this type of anger: the anger built up through experience and the quotidian struggles against dehumanization every brown or black person lives simply because of skin c"
- "What does a victorious or defeated black woman's body in a historically white space look like? Serena and her big sister Venus Williams brought to mind Zora Neale Hurston's "I feel most colored when I am thrown against a sharp white background.""
- "For years you attribute to Serena Williams a kind of resilience appropriate only for those who exist in celluloid. Neither her father nor her mother nor her sister nor Jehovah her God nor NIKE camp could shield her ultimately from people who felt her black body didn't belong on their court, in their"
- "And though you felt outrage for Serena after that 2004 US Open, as the years go by, she seems to put Alves, and a lengthening list of other curious calls and oversights, against both her and her sister, behind her as they happen. Yes, and the body has memory. The physical carriage hauls more than it"
- "Perhaps the committee's decision is only about context, though context is not meaning. It is a public event being watched in homes across the world. In any case, it is difficult not to think that if Serena lost context by abandoning all rules of civility, it could be because her body, trapped in a r"
用户评论
是我承认的一种诗歌。
inventing “I” inside a temporality where the subject doesn’t belong
体育竞技与种族歧视。
老师上课讨论其中的一篇In Memory of Mark Duggan，为数不多的推荐之一。确实很有深度。
What makes language hurtful? Language navigates this.
读完了第一遍，一脸懵地看了同学们长篇大论的discussion post，认命的开始读第二遍。unpopular opinion, but I think这本书如果想得到更好的受众，真的不应该以诗歌的方式呈现，可能更直接了当的语言更真诚，也更能起到社会影响力的作用。但与此同时，记得George Orwell说过把political&artistic purpose混合在一起就一定会是failure，但如果不将political purpose融进书里，书又变的lifeless。just the way it is.
mfa文体
通篇是自慰和乱嚎。大一刚来美国的我作为中国人被教授逼着写一篇关于这本用生活里的日常种族歧视来骑脸读者的所谓散文/诗的final paper的经历，依照作者的标准应该可以放进去算一个章节了。这种作品放在美国的众多拳击类愤怒嘶吼型种族文学恐怕也算不上上乘，我把大学几年的经历凑一起也能写出这样一本骑脸的书，在美国，这样的经历太平常了，不同的是作为所谓亚洲人，写这样的书是不会有人看的，内心可以滴血，但还是要喜怒不形于色。
心态已经从“无法进入好烦”变成“反正也无法进入那就随便看看”。
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