Citizen

Claudia Rankine

出版时间

2014-10-07

ISBN

9781555976903

评分

★★★★★
书籍介绍

A provocative meditation on race, Claudia Rankine’s long-awaited follow up to her groundbreaking book Don’t Let Me Be Lonely: An American Lyric

Claudia Rankine’s bold new book recounts mounting racial aggressions in ongoing encounters in twenty-first-century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV—everywhere, all the time. The accumulative stresses come to bear on a person’s ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named “post-race” society.

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 ...

(展开全部)

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。
适合谁读
  • 适合对美国种族政治、批判性种族理论及黑人文学感兴趣的读者。本书是理解当代美国社会种族矛盾、微攻击(Microaggression)概念及其社会影响的必读之作,有助于读者深入理解系统性歧视的运作机制。
  • 适合对实验性文学、跨媒介写作及先锋诗歌感兴趣的读者。作者Claudia Rankine以独特的混合文体挑战传统阅读习惯,适合希望探索文学形式如何服务于政治表达、体验非传统叙事结构的文学爱好者。
  • 适合关注性别、种族交叉性议题的社会学者及人文研究者。书中对黑人女性身体在公共空间中的处境、语言暴力与身体记忆的分析,为研究身份政治、创伤叙事及社会正义提供了极具价值的文本案例。
读前提醒
  • 本书采用第二人称‘你’进行叙述,旨在让读者代入被歧视者的视角。阅读时请保持开放心态,不要试图寻找逻辑严密的论证或解决方案,而是去感受文字背后的情绪流动和压迫感,体验作者所描述的‘被冒犯’的生理与心理反应。
  • 书中包含大量图像、诗歌片段及学术引用,结构松散且非线性。建议不要按传统小说方式快速阅读,而应慢读、反复咀嚼每一段文字,注意作者如何通过文体转换来模拟种族创伤的碎片化特征,理解其形式与内容的统一性。
  • 若对书中涉及的美国特定文化背景(如体育争议、法律案件)不熟悉,建议结合背景资料阅读。但请注意,作者的目的并非提供客观事实陈述,而是揭示这些事件背后的种族偏见逻辑,重点在于理解歧视话语如何塑造社会现实。
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。

本导读基于书籍简介、目录、原文摘录、短评和书评生成,不等同于全文精读。

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"
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)
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”。
收藏