Truro Center for the Arts at Castle Hill in Truro, Massachusetts will host an exhibition of Mitchell Johnson’s work September 4-15, 2024. The exhibit-Where the Colors Are (Selected Paintings 1989-2024)-is Johnson’s fourth show at Castle Hill. 马萨诸塞州特鲁罗的特鲁罗艺术中心将在 2024 年 9 月 4 日至 15 日举办米切尔·约翰逊作品展览。此次展览《色彩之地（1989-2024 年精选画作）》是约翰逊在城堡山的第四次展出。
A museum retrospective of Johnson’s work is also currently on view at Musee Villa les Camélias in Cap d’Ail, France through September 29, 2024. 约翰逊的作品回顾展目前也在法国卡普达伊的卡梅利亚别墅博物馆展出，展期至 2024 年 9 月 29 日。
Johnson’s paintings are in the permanent collections of more than 30 museums. 约翰逊的画作被 30 多家博物馆永久收藏。
Request a digital catalog of available work by email: mitchell.catalog@gmail.com. 可通过电子邮件请求数字作品目录：mitchell.catalog@gmail.com。
Follow on instagram: @mitchell_johnson_artist. Learn more: www.mitchelljohnson.com. 关注 Instagram：@mitchell_johnson_artist。了解更多：www.mitchelljohnson.com。
SEPTEMBER 9, 2024 2024 年 9 月 9 日
4 GOINGS ON 4 事件动态
9 THE TALK OF THE TOWN 9 城市话题
Tyler Foggatt on the politics of cool; Tyler Foggatt 谈“酷”的政治；
Francis Ford Coppola, hotelier; a mag for mercenaries; 弗朗西斯·福特·科波拉，旅馆老板；为雇佣兵杂志；
Hollywood meets the Vineyard; COVID déjà vu. 好莱坞遇见葡萄园；新冠疫情似曾相识。
PERSONAL HISTORY 个人历史
David Sedaris 14 The Hem of His Garment 大卫·塞达里斯 14 他的衣摆
Meeting the Pope, and his tailor. 会见教皇和他的裁缝。
LETTER FROM AUSTRIA 来自奥地利的信
Joshua Yaffa 18 Spreading the Wealth 约书亚·亚法 18 财富的传播
An beiress’s experiment in redistribution. 一位女继承人的再分配实验。
SHOUTS & MURMURS 喊叫与低语
Emily Zauzmer 25 Every Obituary’s First Paragraph 艾米丽·扎乌兹默 25 每篇讣告的第一段
PROFILES 人物简介
Molly Fischer 26 Be Her Guest 莫莉·费舍尔 26 做她的客人
Ina Garten’s age of abundance. 伊娜·加藤的丰盛时代。
BRAVE NEW WORLD DEPT. 勇敢新世界部
Dhruv Khullar 36 Drug of Choice Dhruv Khullar 36 选择的药物
How A.I. learned to make medicine. 人工智能如何学会制造药物。
FICTION 小说
Sigrid Nunez 44 “Greensleeves” Sigrid Nunez 44 “绿袖子”
THE CRITICS 评论家们
POP MUSIC 流行音乐
Amanda Petrusich 50 MJ Lenderman’s raw indie rock. 阿曼达·佩特鲁西奇 50 MJ Lenderman 的原始独立摇滚。
BOOKS 书籍
Idrees Kabloon 54 “On the Edge,” by Nate Silver. 伊德里斯·卡布隆 54 内特·西尔弗的《边缘》。
Judith Thurman 58 Simone Weil’s family correspondence. 朱迪思·瑟曼 58 西蒙娜·韦伊的家族通信。
61 Briefly Noted 61 简要笔记
Maggie Doherty 63"The Letters of Seamus Heaney." 玛吉·多赫蒂 63《希尼书信集》
ON TELEVISION 电视节目
Vinson Cunningham 68 The rise of algorithmic comedians. 文森·坎宁安 68 算法喜剧演员的崛起
POEMS 诗歌
Robert Hass 30 “A Sunset” 罗伯特·哈斯 30 《日落》
Didi Jackson 40"The Dahlias" 迪迪·杰克逊 40“达利亚花”
COVER 封面
R. Kikuo Johnson “A Mother’s Work” R. 菊尾·约翰逊 “母亲的工作”
CONTRIBUTORS 贡献者
Molly Fischer (“Be Her Guest,” p. 26) has been a staff writer since 2022. Previously, she was a features writer at Neru York and an editor at The Cut. 莫莉·费舍尔（“做她的客人”，第 26 页）自 2022 年以来一直是工作人员。此前，她曾是纽约 Neru 的特写作家和 The Cut 的编辑。
David Sedaris (“The Hem of His Garment,” pp. 14) has contributed to The Nerw Yorker since 1995. His most recent essay collection is “Happy-Go-Lucky.” 大卫·塞达里斯（“他衣服的下摆”， pp . 14）自 1995 年以来一直为《纽约客》投稿。他最近的散文集是《随遇而安》。
Sigrid Nunez (Fiction, p. 44) received a National Book Award for her novel “The Friend.” Her latest, “The Vulnerables,” came out last year. 西格丽德·努涅斯（小说，第 44 页）因其小说《朋友》获得了国家图书奖。她的最新作品《脆弱者》于去年出版。
R. Kikuo Johnson (Cover) is an artist and the author of, most recently, "No One Else."In 2023, he became the first graphic novelist to receive a Whiting Award. R. 菊尾·约翰逊（封面）是一位艺术家，最近的作品是《无人》。2023 年，他成为首位获得怀廷奖的图像小说家。
Robert Hass (Poem, p. 30) has published several books of poems, including “Summer Snow.” 罗伯特·哈斯（诗歌，第 30 页）出版了多本诗集，包括《夏雪》。
Idrees Kahloon (Books, p. 54), the Washington bureau chief for The Economist, has been contributing to the magazine since 2020. 伊德里斯·卡隆（书评，第 54 页）是《经济学人》华盛顿分社社长，自 2020 年以来一直为该杂志撰稿。
Dhruv Khullar (“Drug of Choice,” p.36p .36 ), a contributing writer, is a physician and an assistant professor at Weill Cornell Medical College. Dhruv Khullar（“首选药物”， p.36p .36 ），是一名撰稿人，同时也是威尔康奈尔医学院的医生和助理教授。
Joshua Yaffa (“Spreading the Wealth,” p.18)p .18) is a contributing writer and the author of “Between Two Fires: Truth, Ambition, and Compromise in Putin’s Russia.” Joshua Yaffa（“财富的传播”， p.18)p .18) ）是一名撰稿人，也是《两火之间：普京俄罗斯的真相、野心与妥协》一书的作者。
Emily Zauzmer (Shouts E Murmurs, p. 25), who works at “Jimmy Kimmel Live!,” began contributing to the magazine earlier this year. Emily Zauzmer（“喊声与低语”，第 25 页），在“吉米·基梅尔直播秀”工作，今年早些时候开始为本杂志撰稿。
Tyler Foggatt (Comment, p. 9) is a senior editor and a host of the magazine’s Political Scene podcast. Tyler Foggatt（评论，第 9 页）是高级编辑，也是本杂志“政治现场”播客的主持人。
Judith Thurman (Books, p. 58) began writing for The New Yorker in 1987 and became a staff writer in 2000. Her latest book is “A Left-Handed Woman.” 朱迪思·瑟曼（书籍，第 58 页）自 1987 年开始为《纽约客》撰稿，2000 年成为正式撰稿人。她的最新著作是《一个左撇子女人》。
Didi Jackson (Poem, p. 40) is the author of the poetry collections “My Infinity” and “Moon Jar.” She teaches at Vanderbilt University. 迪迪·杰克逊（诗歌，第 40 页）是诗集《我的无限》和《月罐》的作者。她在范德堡大学任教。
N THE DARK 黑暗中
SEASON 3 第三季
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THIS WEEK IN THE NEW YORKER APP 本周纽约客应用内容
Ted Chiang on A.I. art, Katy Waldman on Gen Z literature, Julian Lucas on Danzy Senna, Jessica Winter on the end of deadlines, and more. and humor, plus this week’s magazine and all issues back to 2008. Ted Chiang 论人工智能艺术，Katy Waldman 论 Z 世代文学，Julian Lucas 论 Danzy Senna，Jessica Winter 论截止日期的终结，以及更多内容和幽默，本周杂志及自 2008 年以来的所有期刊。
THE MAIL 来信栏
CARING FOR CATS 关爱猫咪
Still reeling from the recent loss of two beloved cats, I wondered ifI had the stomach to read Sloane Crosley’s piece about the death of her own cat (“The Tail End,” August 12th).To my relief, I was buoyed by her words, which radiated a love instantly recognizable to other ailurophiles. Both of my twenty-year-old companions left swiftly, with help from magnificent vets, while I rocked them in my arms and felt the sickening lurch of our power imbalance. Since then, I have gained some comfort from the knowledge that, from the moment they entered my home, my cats knew adoration, care, and delicious snacks. In their last hours, they had no notion of regret, for the past or for a stolen future. We just curled up, like normal, until the purring stopped. Would that we were all afforded an end with such grace. Condolences to Crosley, and thank you for expressing so well the nuanced grief that accompanies the loss of an animal. Anna Caswell 仍在为最近失去两只心爱的猫咪而感到震惊，我怀疑自己是否有勇气阅读斯隆·克罗斯利关于她自己猫咪去世的文章（“尾声”，8 月 12 日）。令我欣慰的是，她的话语充满了爱意，令其他爱猫人士立刻感同身受。我的两只二十岁的伴侣在伟大的兽医帮助下迅速离去，我抱着它们，感受到我们之间权力不平衡的令人作呕的冲击。从那时起，我从这样一个事实中获得了一些安慰：从它们进入我家那一刻起，我的猫咪们就知道被宠爱、被照顾，还有美味的零食。在它们最后的时光里，它们对过去或被偷走的未来毫无遗憾。我们只是像平常一样依偎在一起，直到呼噜声停止。愿我们所有人都能以如此优雅的方式结束生命。向克罗斯利致以慰问，并感谢她如此准确地表达了伴随失去宠物而来的复杂悲痛。安娜·卡斯韦尔
Austin, Texas 德克萨斯州，奥斯汀
NOTHING BUT THE TRUTH 只有真相
I was surprised to see, in Clare Malone’s Profile of Robert F. Kennedy, Jr., that the magazine published without challenge a quotation from a former managing editor of Rolling Stone which stated that Kennedy’s writing was full of factual errors “because he’s not a journalist. He’s a lawyer. He’s more about making arguments than about trying to communicate the truth” " “The Inheritor,” August 12th). Contrary to popular opinion, lawyers have a professional obligation not to lie or to misrepresent. That Kennedy wrote, and that Rolling Stone published, an article “riddled with errors,” which “falsely reported” and “misrepresented” a number of facts and which “required a number of major corrections,” cannot and should not be attributed to his status as a lawyer. 我很惊讶地看到，在 Clare Malone 对罗伯特·F·肯尼迪 Jr.的专题报道中，杂志毫无质疑地引用了《滚石》前执行编辑的一段话，称肯尼迪的写作充满事实错误，“因为他不是记者。他是律师。他更注重辩论而不是试图传达真相”“《继承者》，8 月 12 日”。与普遍看法相反，律师有职业义务不撒谎或歪曲事实。肯尼迪所写，以及《滚石》所刊登的文章“充满错误”，“错误报道”和“歪曲”了许多事实，并且“需要多次重大更正”，不能也不应归咎于他作为律师的身份。
Margaret Raymond 玛格丽特·雷蒙德
Warren P. Knowles Chair and 沃伦·P·诺尔斯讲席教授
Professor of Law 法学教授
University of Wisconsin Law School Madison, Wis. 威斯康星大学法学院 麦迪逊，威斯康星州
WRITING ABOUT INFIDELITY 关于不忠的写作
As the journalist who runs chumplady.com, the infidelity-support blog that Parul Sehgal derides in her review of Sarah Manguso’s book “Liars,” I was surprised to find myself characterized in The New Yorker as some sort of snarky Svengali who warped Manguso’s views on infidelity (Books, August 12th). I can tell you with authority that scores of women will see themselves in the toxically lopsided marriage described in Manguso’s novel and will applaud her truthtelling. But I was even more surprised that Sehgal would attack an author’s former online support group. Does she always probe the acknowledgments to make sense of her authors? I don’t fault Sehgal for being tone-deaf about the pain of betrayal-I would never wish that kind of understanding on her. But I do fault her apparent lack of empathy and curiosity. 作为运营 chumplady.com 这个不忠支持博客的记者，帕鲁尔·塞格尔在她对莎拉·曼古索《骗子》一书的评论中嘲讽该博客，我很惊讶自己会被《纽约客》描绘成某种刻薄的斯文加利，扭曲了曼古索对不忠的看法（书评，8 月 12 日）。我可以权威地告诉你，许多女性会在曼古索小说中描述的有毒且不平等的婚姻中看到自己，并会赞赏她的真诚揭露。但我更惊讶的是，塞格尔竟然攻击一位作者曾经的在线支持团体。她总是通过查阅致谢部分来理解她的作者吗？我不责怪塞格尔对背叛之痛的感知迟钝——我绝不会希望她有那种理解。但我确实责怪她明显缺乏同理心和好奇心。
Tracy Schorn 特雷西·斯科恩
Waterford, Va. 弗吉尼亚州沃特福德
ART IN PRINT 印刷艺术
It’s interesting that the print version of Jackson Arn’s thoughtful description of the Surrealists should unintentionally present a Surrealist touch (“The Art World,” August 12th). The much discussed self-portrait by Leonora Carrington is so severely cropped that it no longer includes a section of the painting which Arn focusses on. Unfamiliar with the work, I looked in vain for the details described. I cleaned my glasses. Luckily, I decided to Google the painting. Imagine my surprise. In full, Carrington’s work is much richer. And Arn’s point was finally revealed. Bob Alley 有趣的是，杰克逊·阿恩对超现实主义者的深刻描述的印刷版竟无意中呈现了一种超现实主义的风格（“艺术世界”，8 月 12 日）。莱奥诺拉·卡灵顿备受讨论的自画像被严重裁剪，以至于不再包含阿恩关注的画作部分。由于不熟悉这幅作品，我徒劳地寻找描述中的细节。我擦了擦眼镜。幸运的是，我决定在谷歌上搜索这幅画。想象我的惊讶。完整的卡灵顿作品更加丰富。阿恩的观点最终得以显现。鲍勃·阿利
Barrington, R.I. 罗德岛州巴灵顿
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GOINGS ON 动态新闻
SEPTEMBER 4 - IO, 2 O 24 2024 年 9 月 4 日
What we’re watching, listening to, and doing this week. 本周我们在观看、聆听和参与的内容。
The king of R. & B. is a loaded, often disputed title, but if there is one artist who sits upon the sweaty horndog throne, it’s Usher. In the early two-thousands, the singer and dancer rose from boy wonder to diamond sensation across a trio of albums-“My Way” (1997), “8701” (2001), and “Confessions” (2004)—that both defined and refined his persona of a pleading playboy. In the two decades that followed, Usher built a reputation as a showman, making gyration and circus-like spectacle integral to his act, eventually putting those chops on full display during Las Vegas residencies fit for “Magic Mike” and, this year, at the Super Bowl. Usher brings that same energy to three shows at Barclays Center (Sept. 6-7 and Sept. 10), on his “Past Present Future” tour, which seems to revel in his decades of work honing his steaming act for the stage.-Sheldon Pearce R&B 之王是一个备受争议且含金量十足的称号，但如果有一位艺术家真正坐稳了这把汗流浃背的“色狼”宝座，那就是亚瑟小子。在二十一世纪初，这位歌手兼舞者从神童成长为钻石销量巨星，凭借三张专辑——《My Way》（1997 年）、《8701》（2001 年）和《Confessions》（2004 年）——既定义又完善了他那乞求式花花公子的形象。在接下来的二十年里，亚瑟小子建立了作为表演者的声誉，将扭动和马戏般的视觉奇观融入他的演出，最终在拉斯维加斯的驻场秀中将这些技巧发挥到极致，堪比《魔力麦克》，今年更是在超级碗上大放异彩。亚瑟小子将在巴克莱中心（9 月 6-7 日和 9 月 10 日）的三场演出中带来同样的能量，作为他“过去、现在与未来”巡演的一部分，似乎在享受他数十年来为舞台打磨出的火热表演。——谢尔顿·皮尔斯
ABOUT TOWN 城市动态
off off broadway | Diana Ly’s “Sex and the Abbey,” directed by Emily Lyon, is a medieval miniature: four canonesses sing hymns, structuring their day with prayer, as projections of illustrated manuscripts suffuse them in red or azurite blue. We’re in Gandersheim Abbey, where Hrotsvit (Jen Anaya), the (real) tenth-century authoress and playwright, rehearses her fretful young charges for a command performance. You can’t swing a censer these days without hitting a romantic take on ecclesiastical seclusion; fans of such Off Broadway jewels as “Usus” and “Mary Gets Hers” will recognize Ly’s collision of the cloister and a comic, modern vernacular. It’s mostly persuasive here, as a plea for refuge-after the peace of the show’s 离离舞台剧 | Diana Ly 的《性与修道院》，由 Emily Lyon 导演，是一部中世纪微型剧：四位修女唱着圣歌，用祈祷来安排她们的一天，投影的插图手稿将她们笼罩在红色或天青蓝中。我们身处甘德斯海姆修道院，十世纪真实的女作家兼剧作家 Hrotsvit（Jen Anaya 饰）正在为她那些焦虑的年轻学生排练一场特别演出。如今你几乎无法避免遇到对教会隐居生活的浪漫解读；喜欢《Usus》和《Mary Gets Hers》等离离舞台剧珍品的观众会认出 Ly 将修道院生活与喜剧、现代口语碰撞的手法。在这里，这种表达大多令人信服，作为对避难所的呼吁——在演出六十五分钟的平静之后，外面的世界显得过于粗糙，不适合我们的成长。
sixty-five minutes, the world outside feels too rough for our flourishing.-Helen Shaw (The Brick; through Sept. 7.) ——Helen Shaw（The Brick；演出至 9 月 7 日）
indie rock | Doug Martsch has never quite cut the figure of an indie-rock icon. With a mountaineer’s beard and fatherly tufts of hair, the Built to Spill front man wouldn’t look amiss at a chess tournament. Martsch doesn’t have the steez of a Julian Casablancas or even a Stephen Malkmus, but his growling guitar work and his formidable sneer-he sounds a bit like Oasis’s Liam Gallagher, but American-are unquestionably rock and roll. Built to Spill is taking its sophomore album on tour for the record’s thirtieth birthday: “There’s Nothing Wrong with Love” is a wild 独立摇滚 | Doug Martsch 从未真正成为独立摇滚偶像的典范。带着登山者般的胡须和慈父般的鬓角，这位 Built to Spill 的主唱在国际象棋比赛中也不会显得格格不入。Martsch 没有 Julian Casablancas 或甚至 Stephen Malkmus 那样的风采，但他那咆哮的吉他演奏和强烈的冷笑——听起来有点像 Oasis 的 Liam Gallagher，但更具美国风格——无疑是摇滚乐。Built to Spill 正在为这张二专的三十周年纪念巡演：“There’s Nothing Wrong with Love” 是一张狂野的专辑。
bildungsroman that sees Martsch stargazing, beefing with his stepfather, and reminiscing about his Idaho salad days. The songs are youthfully intense, but the lyricism is always tempered and thoughtful, never overwrought.-Leo Lasdun (Webster Hall; Sept. 7-8.) 这是一部成长小说，讲述了 Martsch 仰望星空、与继父争执以及回忆他在爱达荷的青春岁月。歌曲充满青春的激情，但歌词始终温和而深思熟虑，绝不矫揉造作。——Leo Lasdun（韦伯斯特大厅；9 月 7-8 日）
movies | The emotionally shattering documentary “Daughters,” directed by Natalie Rae and Angela Patton, is about many things, including the limiting effects of poverty and our country’s troubling history of race and incarceration. But the frame is a program called Date with Dad, which Patton founded and has run for sixteen years. Through it, a number of young girls are brought to prisons where their fathers are serving time. Dressed in their finest-the fathers are loaned suits-the small families are given the gift of time: to spend it talking, dancing, in physical touch. (Increasingly, prisons are putting an end to in-person visits.) In the end, the political and emotional density of this supreme work of empathy shows us the deep damage our penal system inflicts on innocence-and the effects of interrupted intimacy.-Hilton Als (Netflix.) 电影 | 由 Natalie Rae 和 Angela Patton 执导的情感震撼纪录片《女儿们》讲述了许多内容，包括贫困的限制性影响以及我们国家令人不安的种族和监禁历史。但影片的核心是一项名为“与爸爸约会”的项目，该项目由 Patton 创立并运营了十六年。通过这个项目，许多小女孩被带到她们父亲服刑的监狱。女孩们穿上最好的衣服——父亲们会借到西装——这些小家庭获得了时间的礼物：用来交谈、跳舞、身体接触。（监狱越来越多地停止了面对面探视。）最终，这部充满政治和情感深度的同理心杰作向我们展示了刑罚系统对纯真的深刻伤害——以及亲密关系中断的影响。——Hilton Als（Netflix）
classical | Caroline Shaw’s “Partita for 8 Voices” can sound like a convocation of spirits in any venue, but a catacomb may just be the perfect spot. The piece’s eerie sentence fragments, winding melodies, and ethereal harmonies create the sense that ghosts have popped in from across the veil to converse together (and pick up a Pulitzer along the way). For an early kickoff to spooky season, the Fourth Wall Ensemble performs the work at the historic Green-Wood Cemetery. The program also includes pieces by Monteverdi and Byrd, along with improvised medieval chanting. One starry guest: the spirit of Leonard Bernstein is expected to tune in from his plot.-Jane Bua (Sept. 5-7.) 古典 | Caroline Shaw 的《Partita for 8 Voices》在任何场地都能听起来像是一场灵魂的集会，但地下墓穴或许是最完美的地点。这首作品中诡异的句子片段、蜿蜒的旋律和空灵的和声营造出一种幽灵从彼岸穿越而来交谈的感觉（并顺便赢得了普利策奖）。作为万圣节季节的早期开场，Fourth Wall Ensemble 将在历史悠久的 Green-Wood Cemetery 演奏这部作品。节目还包括 Monteverdi 和 Byrd 的作品，以及即兴的中世纪圣歌。一位星光熠熠的嘉宾：Leonard Bernstein 的灵魂预计将从他的墓地调音。——Jane Bua（9 月 5-7 日）
DANCE | Sharon Eyal-as a star dancer, and later the house choreographer, of the Batsheva Dance Company-exemplified the hyper-pliant, expressively awkward side of Batsheva’s guru, Ohad Naharin. Teaming up with Gai Behar, a producer of raves, Eyal created an aesthetic that crossed Naharin’s Gaga technique with rave culture: packs of androgynous dancers mincing on tiptoe and bending their bodies ad nauseam. The North American première of her “R.O.S.E.” takes place in the vastness of the Park Avenue Armory, where audience members join performers on the dance floor, as the d.j. Ben UFO spins. If you’ve ever wanted to know what it feels like to party with aliens, this might be your big chance.-Brian Seibert (Sept. 5-12.) 舞蹈 | Sharon Eyal 作为 Batsheva 舞蹈团的明星舞者，后来成为驻团编舞，体现了 Batsheva 大师 Ohad Naharin 那种极度柔韧、富有表现力却略显笨拙的风格。她与狂欢派对制作人 Gai Behar 合作，创造了一种将 Naharin 的 Gaga 技巧与狂欢文化相结合的美学：一群中性舞者踮着脚尖，反复弯曲身体，动作令人目眩。她的作品《R.O.S.E.》在宽敞的 Park Avenue Armory 北美首演，观众可以与表演者一同在舞池中跳舞，DJ Ben UFO 现场打碟。如果你曾想知道与外星人一起狂欢是什么感觉，这可能是你的绝佳机会。——Brian Seibert（9 月 5 日至 12 日）
MOVIES | For the extraordinary 2019 performance piece “My First Film,” the filmmaker Zia Anger told the story of her unreleased first feature, by way of live commentary and real-time manipulations of her footage. Now Anger doubles down on her metafictional inspirations with an equally remarkable movie, also called “My First Film,” which tells the same story-and also the story of the performance piece-by way of a collagelike narrative that daringly blends documentary and fiction. Anger dramatizes the unreleased film’s stressful on-location shoot with actors playing versions of her cast and crew, of herself, and of her friends and family. She also appears, and reflects unsparingly on her missteps during the original shoot and on the real-life experiences that she struggled to capture there; the result is an instant classic of artistic process.-Richard Brody (MUBI; starting Sept. 6.) 电影 | 在非凡的 2019 年表演作品《我的第一部电影》中，电影制作人齐娅·安格通过现场解说和实时操控她的素材，讲述了她未上映的第一部长片的故事。现在，安格加倍发挥她的元叙事灵感，带来同样出色的电影，也叫《我的第一部电影》，讲述同一个故事——以及表演作品的故事——通过大胆融合纪录片与虚构的拼贴式叙事。安格将未上映电影紧张的外景拍摄戏剧化，演员扮演她的剧组成员、她自己以及她的朋友和家人的不同版本。她本人也出现，并毫不留情地反思原始拍摄中的失误以及她努力捕捉的现实经历；结果是一部艺术创作过程的即时经典。——理查德·布罗迪（MUBI；9 月 6 日上映）
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Le Veau d'Or 小牛餐厅129 E. 60th St. 东 60 街 129 号
Le Veau d’Or, which first opened in 1937, is the city’s oldest surviving French restaurant. Once a white-hot ticket, over the decades it became a fusty throwback; five years ago, the chef-restaurateurs Lee Hanson and Riad Nasr, the duo behind Frenchette and Le Rock, bought the restaurant from the Tréboux family, its longtime owners, and closed it to renovate. It finally reopened last month, and, despite having been facelifted and spit-shined, it remains anachronistic, backward-looking, obsessed with its own history.It’s one of the coolest restaurants I’ve been to in ages. Le Veau d’Or，始建于 1937 年，是这座城市现存最古老的法国餐厅。曾经炙手可热，几十年来却变成了一个陈旧的怀旧之地；五年前，Frenchette 和 Le Rock 背后的厨师兼餐厅老板 Lee Hanson 和 Riad Nasr 从长期拥有者 Tréboux 家族手中买下了这家餐厅，并关闭进行翻修。它终于在上个月重新开业，尽管经过了整容和精心打理，但它依然显得过时、怀旧，沉迷于自己的历史。这是我很久以来去过的最酷的餐厅之一。
The present-day bill of fare, a prix fixe, is only lightly modernized: les escargots provencale (snails broiled under a blanket of garlic and tomato concasse), tête de veau ravigote (crispy cubes of veal headcheese), a delightfully wobbly oeuf en gelée (a whole boiled egg suspended in an amber aspic of consommé). The starters range from the straightforwardoysters with chipolata sausages; a chilled arrangement of ham, oeufs mayonnaise, and celery rémoulade-to the fussily extravagant, such as artichokes à la grecque, meticulously plated with a rainbow of vegetables. You can hardly go wrong, though it would be the height of tragedy to skip the frogs’legs persillade, a cancan line of amphibian gams in an audibly sizzling bath of butter and garlic. 现今的菜单，是一份固定价格的套餐，只做了轻微的现代化改良：普罗旺斯风味蜗牛（在大蒜和番茄碎酱的覆盖下烤制的蜗牛）、酸辣小牛头肉冻（酥脆的小牛头肉冻块）、令人愉悦的摇晃蛋冻（一整颗煮熟的鸡蛋悬浮在琥珀色的清汤冻中）。开胃菜从简单的生蚝配小香肠；冷盘包括火腿、蛋黄酱蛋和芹菜蛋黄酱沙拉——到讲究奢华的，如希腊风味洋蓟，精心摆盘配以五彩蔬菜。几乎不会出错，但如果错过了香蒜黄油煎青蛙腿，那将是极大的遗憾，那是一排在滋滋作响的黄油和大蒜浴中跳舞的两栖动物腿。
There are no add-ons at Le Veau d’Or, no sneaky little ways the restaurant tries to boost the price of your meal. There’s something perversely democratic about this, in a town full of restaurants smearing supplemental caviar on ice cream willy-nilly. On my first visit, I noticed myself trying to somehow game the menu. Why would a person begin with a petite omelette when she could have the much ritzier pâté en croûte, or pommes soufflés with crème fraiche and trout roe? The answer, I realized, within the oddly liberating confines of the fixedprice format, is simply because she wants to: pleasure is its own (not insignificant) form of value. Le Veau d’Or 没有任何附加收费，也没有餐厅偷偷提高你餐费的小把戏。在这个到处都有餐厅随意在冰淇淋上涂抹额外鱼子酱的城市里，这种做法有一种反常的民主意味。第一次来时，我发现自己试图以某种方式“玩弄”菜单。为什么一个人会选择从一份小煎蛋卷开始，而不是更豪华的酥皮肉冻或配有鲜奶油和鳟鱼籽的蓬松炸土豆呢？我意识到，在固定价格菜单那奇异而解放的框架内，答案很简单：因为她想这样做——快乐本身就是一种（不可小觑的）价值形式。
This feeling of having entered a perfectionist time machine carries through to entrées like magret de canard with cherries, or a swoony chicken en cocotte, which comes with buttered rice pilaf, a pairing so self-confidently out of style that it circles around to fresh and silly and brilliant, straight out of an Alice B. Toklas dinner party. Nearly every table seems to understand the necessity of ordering a dessert of île flottante (floating island), a laborious confection of ancient pedigree, and one of Le Veau d’Or’s longtime signatures. It’s a swirly whip of meringue drizzled with caramel and studded with slivered almonds, adrift on a puddle of sweet, smooth crème anglaise. It’s been around for ages, it’s few people’s idea of a good time, it was nearly forgotten-but, in the right hands, a stodgy classic becomes a giddy delight. (Prix fixe $125.) 这种仿佛进入完美主义时光机的感觉贯穿于主菜，如樱桃鸭胸肉，或令人陶醉的鸡肉炖锅，配有黄油米饭，这种搭配自信地过时，却又回归新鲜、俏皮和精彩，仿佛出自爱丽丝·B·托克拉斯的晚宴。几乎每张桌子都明白点一道“浮岛”（île flottante）甜点的必要性，这是一种费工夫的古老甜品，也是 Le Veau d’Or 长期以来的招牌之一。它是一团旋转的蛋白霜，淋上焦糖，点缀着杏仁片，漂浮在一滩甜美顺滑的英式奶油酱上。它存在已久，鲜少有人认为它是美好时光，几乎被遗忘——但在合适的手中，这种古板的经典变成了令人兴奋的享受。（套餐价 125 美元）
-Helen Rosner -海伦·罗斯纳
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PICK THREE 任选三样
The staff writer Lauren Collins on truth and deception 员工作家劳伦·柯林斯谈真相与欺骗
The show “Killer Lies: Chasing a True Crime Con Man” - based on an article I wrote in 2022, about the treacherous career of a self-proclaimed expert on serial killers-is now streaming, on Nat Geo TV and Hulu, and I’ve been thinking a lot about deception. Kiese Laymon’s memoir “Heavy” (2018), is, to my mind, the most incisive book ever written about lies, the “dishonesty, cowardice, and misplaced self-righteousness” that smother honesty in America, so that truth is the dare and not its opposite. 纪录片《杀手谎言：追踪一名真实犯罪骗子》——基于我在 2022 年写的一篇文章，讲述了一位自称连环杀手专家的人的险恶生涯——现已在国家地理频道和 Hulu 上线，我一直在思考欺骗。基斯·莱蒙的回忆录《沉重》（2018 年），在我看来，是关于谎言的最深刻著作，书中描述了“虚伪、懦弱和错误的自以为是”如何扼杀美国的诚实，使得真相成为一种挑战，而非其对立面。
Supposedly, the whistle blows and the secrecy stops-except that’s not the way things work in the modern surveillance state, as Kerry Howley demonstrates in the book “Bottoms Up and the Devil Laughs” (2023). Howley warns that “with endless information comes the ability to take information from its context, to tell stories perfectly matched to the intentions of the teller, freed from the complex texture of reality,” illuminating the government’s ability to pick the most distorting cherries from the bottomless fruit bowl of personal data which is being harvested from each one of us at every moment. 据说，吹哨人吹响哨子，秘密就会停止——但现代监控国家的运作并非如此，正如凯瑞·豪利在《杯底朝天，魔鬼大笑》（2023 年）一书中所展示的那样。豪利警告说，“随着信息的无尽涌现，人们能够将信息从其语境中抽离，讲述完全符合讲述者意图的故事，而不受现实复杂纹理的束缚”，揭示了政府从我们每个人身上不断收集的海量个人数据中，挑选出最具扭曲性的“樱桃”，从而操控信息的能力。
The French director Jacques Audiard’s demented new film, “Emilia Pérez” (out Nov. 1 in the U.S.), deserves credit for creating a genre-the queer narco musical-but the movie is, more traditionally, about a person tired of living a lie. A Mexican cartel boss undergoes gender-confirmation surgery and emerges as a philanthropistempath named Emilia Pérez. Her embrace of her true self is a risk. So is Audiard’s choice to tell the story-in song, no less, in a country not his own-of a trans woman tracing the disappeared. 法国导演雅克·奥迪亚的新片《埃米利亚·佩雷斯》（11 月 1 日美国上映）值得称赞，因为它创造了一个新类型——酷儿毒枭音乐剧——但这部电影更传统地讲述了一个厌倦了虚假生活的人的故事。一位墨西哥贩毒集团头目接受了性别确认手术，变成了一位名叫埃米利亚·佩雷斯的慈善家和同理心者。她拥抱真实自我是一个冒险。奥迪亚选择用歌曲讲述这个故事——更何况是在一个非本国的国家——讲述一位跨性别女性追寻失踪者的故事，这也是一种冒险。
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ON STAGE SEP 23-OCT 19 舞台演出 9 月 23 日-10 月 19 日
Tony Award-winning composer Jeanine Tesori makes her Met debut with a powerful new opera about a female fighter pilot turned Reaper drone operator balancing the pressures of combat, romance, and motherhood. Yannick Nézet-Séguin conducts Tony-winner Michael Mayer’s high-tech production, starring mezzo-soprano Emily D’Angelo in the tour-de-force leading role. 托尼奖获奖作曲家珍妮娜·特索里携一部关于女战斗机飞行员转为死神无人机操作员，平衡战斗、爱情与母亲身份压力的强力新歌剧首次亮相大都会歌剧院。雅尼克·内泽-塞冈指挥托尼奖得主迈克尔·迈耶的高科技制作，女中音艾米莉·丹杰洛主演这一震撼人心的主角。
The Met ropolitan Opera 大都会歌剧院
Peter Gelb 彼得·盖尔布
MARIA MANETTI SHREM GENERAL MANAGER
Yannick Nézet-Séguin 雅尼克·内泽-塞冈
JEANETTE LERMAN-NEUBAUER MUSIC DIRECTOR 珍妮特·勒尔曼-诺伊鲍尔 音乐总监
THE 2^(-3)2{ }^{-3} NEW YORKER FESTIAL THE 2^(-3)2{ }^{-3} 纽约客节
Mark your calendar. 记下日期。
The full 2024 lineup will be announced on Wednesday, September 4th, at 10 A.M. E.T. 2024 年完整阵容将于 9 月 4 日星期三东部时间上午 10 点公布。
Subscribers enjoy 20% off tickets to individual events using the exclusive discount code TNYSUBS24 at checkout. To purchase tickets and learn more, visit newyorker.com/festival 订阅者使用专属折扣码 TNYSUBS24 购买单场活动门票可享受 8 折优惠。欲购票及了解更多信息，请访问 newyorker.com/festival。
Scan to purchase tickets. 扫描购买门票。
THE TALK OF THE TOWN 城市话题
COMMENT THE POP-CULTURE VOTE 评论流行文化投票
Republicans and Democrats have long fought over the Black vote, the evangelical vote, and the middle-class vote. But recently they’ve been warring over the Swiftie vote. A few weeks ago, on Truth Social, Donald Trump shared a series of images: a crowd of young women wearing “Swifties for Trump” T-shirts, and Taylor Swift dressed up as Uncle Sam, with the slogan “Taylor Wants You to Vote for Donald Trump.” These pictures were generated by A.I., but Trump captioned the post as if they were an official endorsement: “I accept!” Then, last week, more than thirty-four thousand people joined a “Swifties for Kamala” organizing call. Senator Ed Markey said that his favorite Swift song is “Snow on the Beach,” because it emphasizes the threat of climate change. (In fact, the lyrics describe such snow as “fuckin’ beautiful.”) 共和党人和民主党人长期以来一直争夺黑人选民、福音派选民和中产阶级选民。但最近，他们开始争夺“Swiftie”粉丝的选票。几周前，唐纳德·特朗普在 Truth Social 上分享了一系列图片：一群穿着“Swifties 支持特朗普”T 恤的年轻女性，以及泰勒·斯威夫特装扮成山姆大叔，标语是“泰勒希望你投票给唐纳德·特朗普”。这些图片是由人工智能生成的，但特朗普在帖子中将其描述为官方背书：“我接受！”然后，上周，有超过三万四千人参加了“Swifties 支持卡马拉”的组织电话会议。参议员埃德·马基说，他最喜欢的 Swift 歌曲是《Snow on the Beach》，因为它强调了气候变化的威胁。（事实上，歌词中描述的雪是“他妈的美丽”。）
Swift has not endorsed either Trump or Kamala Harris, but the question of whether she will has become a subplot in an election seemingly so tight that something as small as the right endorse-ment-or the wrong meme-threatens to shift the balance. Speculation only intensified after the Democratic National Convention, which featured stars such as Oprah Winfrey and Lil Jon. It was rumored that Beyoncé would appear as a surprise guest; online betting odds shot up after the White House political director tweeted a bee emoji. Ultimately, she showed up only over the loudspeak-ers-Harris’s campaign anthem is the 斯威夫特尚未公开支持特朗普或卡马拉·哈里斯，但她是否会支持的问题已成为这场看似异常激烈的选举中的一个副线，哪怕是一个小小的支持或错误的网络迷因都可能改变局势。民主党全国代表大会之后，关于她支持的猜测更加激烈，大会邀请了奥普拉·温弗瑞和利尔·琼等明星。据传碧昂丝将作为惊喜嘉宾出现；白宫政治主任发了一条蜜蜂表情后，网络博彩赔率飙升。最终，她只是在扬声器上出现——哈里斯竞选的主题曲是
Beyoncé song “Freedom.” Some viewers felt misled: had the rumors been stoked to increase ratings? Still, their believability was itself a kind of endorsement. 碧昂丝的歌曲《自由》。一些观众感到被误导：这些传言是否是为了提高收视率而炒作？不过，这些传言本身的可信度也算是一种支持。
Celebrities can generate enthusiasm for a candidate, but, generally speaking, it’s hard to quantify their effect on the final vote. The exception is Oprah. In the lead-up to the 2008 Democratic primaries, she endorsed Barack Obama. It was the first time she endorsed a candidate; she was a registered Independent, and had always maintained a nonpartisan air. Later, economists at Northwestern and at the University of Maryland estimated that she was responsible for more than a million of Obama’s votes. After Obama won the nomination, Beyoncé, too, came out in support of him, as did LeBron James, who had stayed quiet about politics up until that point. (As Michael Jordan once said, “Repub- 名人可以为候选人带来热情，但一般来说，很难量化他们对最终投票的影响。例外的是奥普拉。在 2008 年民主党初选前夕，她支持了巴拉克·奥巴马。这是她第一次支持候选人；她是注册的独立人士，一直保持非党派的态度。后来，西北大学和马里兰大学的经济学家估计，她为奥巴马赢得了超过一百万票。在奥巴马赢得提名后，碧昂丝也公开支持他，勒布朗·詹姆斯也加入了支持行列，此前他一直对政治保持沉默。（正如迈克尔·乔丹曾说：“共和党人也买运动鞋。”）
licans buy sneakers, too.”) John McCain, the Republican candidate, ran a commercial that showed thousands of people cheering Obama’s name, intercut with pictures of Paris Hilton and Britney Spears. "He’s the biggest celebrity in the world,"a voice-over said. “But is he ready to lead?” Apparently, it was an attack ad. 共和党候选人约翰·麦凯恩拍摄了一则广告，展示了成千上万的人欢呼奥巴马的名字，穿插着巴黎·希尔顿和布兰妮·斯皮尔斯的照片。“他是世界上最大的名人，”画外音说道。“但他准备好领导了吗？”显然，这是一则攻击广告。
Many of Obama’s celebrity backers endorsed Hillary Clinton in 2016, but election analysts later argued that this may have been counterproductive, contributing to a sense that the candidate was élitist. Donald Trump, a celebrity himself, seemed to be running a kind of anti-celebrity campaign, goading celebrities into speaking out against him. (After he declared that the supermodel Heidi Klum was “no longer a ten,” she shared her thoughts on the election: “May the best woman win.”) The Rolling Stones told Trump not to play their songs at his rallies. But, during the balloon drop at the R.N.C., he played “You Can’t Always Get What You Want,” turning what would normally be a unifying moment into a troll. 奥巴马的许多名人支持者在 2016 年支持了希拉里·克林顿，但选举分析人士后来认为这可能适得其反，助长了候选人精英主义的印象。唐纳德·特朗普本人也是名人，似乎在进行一种反名人竞选，激怒名人们公开反对他。（在他宣称超级名模海蒂·克鲁姆“不再是十分”后，她分享了自己对选举的看法：“愿最优秀的女性获胜。”）滚石乐队告诉特朗普不要在他的集会上播放他们的歌曲。但在共和党全国代表大会的气球落下时，他播放了《You Can’t Always Get What You Want》，将本应是团结的时刻变成了嘲讽。
Swift did not endorse anyone in 2016, and later told Vogue that Trump “was weaponizing the idea of the celebrity endorsement.” As a result, she said, “I just knew I wasn’t going to help.” Ironically, Swift may have been in a better position to help Clinton than Beyoncé or Oprah or James, all of whom endorsed her. While the others had come to be seen as cultural avatars for the Democrats, Swift’s political views were largely unknown; some speculated that she was a Republican. Alyssa Cass, the chief strategist for Blueprint, a Democratic public-opinion 斯威夫特在 2016 年没有支持任何人，后来告诉《Vogue》说特朗普“在利用名人代言的概念作为武器。”因此，她说，“我知道我不会帮忙。”具有讽刺意味的是，斯威夫特可能比碧昂丝、奥普拉或詹姆斯更有能力帮助希拉里，尽管他们都支持了她。虽然其他人被视为民主党的文化代表，但斯威夫特的政治观点大多不为人知；有人猜测她是共和党人。民主党民意调查公司 Blueprint 的首席策略师艾莉莎·卡斯表示，特别是在年轻的未决定选民中，“感觉非政治化的人更像是一个值得信赖的权威。”
research firm, said that, particularly in the case of younger undecided voters, “someone who feels apolitical feels like a more trusted authority.” 研究公司表示，特别是在年轻的未决定选民中，“感觉非政治化的人更像是一个值得信赖的权威。”
Now that apolitical celebrities are a rarity, it’s possible that celebrity endorsements are losing their potency as they lose their power to surprise. Swift endorsed Biden and Harris in 2020, and later accused Trump of"stoking the fires of white supremacy." Harris should already have clinched the Swiftie vote. What Swift has to offer, at this point, is an aura of cool. This, Cass said, is the real function of celebrity endorsements: “It’s like a coolness permission structure.” 现在非政治化的名人已成稀有，名人代言可能正在失去其效力，因为它们失去了令人惊讶的力量。斯威夫特在 2020 年支持了拜登和哈里斯，后来指责特朗普“煽动白人至上主义的火焰。”哈里斯应该已经赢得了斯威夫特粉丝的支持。斯威夫特此刻所能提供的是一种酷感。卡斯说，这才是名人代言的真正功能：“这就像是一种酷感许可结构。”
Coolness has long been relevant to Presidential elections. Ronald Reagan, a former actor, easily bested Jimmy Carter, who couldn’t even go fishing without being attacked by a swamp rabbit. Was it the Willie Horton ad that sealed George H. W. Bush’s victory over Michael Dukakis, in 1988, or was it that ridiculous photo of Dukakis in a tank? 酷一直与总统选举息息相关。前演员罗纳德·里根轻松击败了吉米·卡特，后者甚至连去钓鱼都被沼泽兔攻击。是 1988 年威利·霍顿广告让乔治·H·W·布什战胜迈克尔·杜卡基斯，还是那张杜卡基斯坐坦克的荒谬照片起了决定作用？
Bill Clinton played the sax. Obama was good at basketball. Trump’s 2016 victory might have been largely a rebuttal of a Salon article from that year: “It’s hip to be square: Hillary Clinton isn’t cooland she shouldn’t have to be.” 比尔·克林顿会吹萨克斯。奥巴马篮球打得不错。特朗普 2016 年的胜利很大程度上可能是对当年 Salon 文章的反驳：“做个呆板的人也很酷：希拉里·克林顿不酷，也不必酷。”
If coolness is the goal, then the most effective celebrity endorsements are arguably the ones that speak to a candidate’s vibes. When Johnny Rotten, of the Sex Pistols, was photographed wearing a MAGA T-shirt, the message-which may have resonated more than any policy proposal—was that supporting Trump was punk. The most important celebrity endorsement that Harris has received was not a real endorsement at all: it was the pop star Charli XCX tweeting, apparently on a whim, that “kamala IS brat.” 如果酷是目标，那么最有效的名人代言无疑是那些能传达候选人气质的。当性手枪乐队的约翰尼·罗顿被拍到穿着 MAGA T 恤时，这个信息——可能比任何政策提案更有共鸣——就是支持特朗普就是朋克。哈里斯收到的最重要的名人代言其实根本不是真正的代言：流行歌手 Charli XCX 似乎一时兴起发推文说“kamala IS brat”。
Trump has been struggling to make MAGA punk again. He has tried cultivating relationships with streamers and comedians such as Adin Ross and Theo Von, and with rappers who, like him, face criminal charges. He regained some cul- 特朗普一直在努力让 MAGA 再次变得朋克化。他尝试与主播和喜剧演员如 Adin Ross 和 Theo Von 建立关系，也与像他一样面临刑事指控的说唱歌手交往。他在七月重新获得了一些文化资本，当时一名未遂刺客在一次集会上向他开枪，他挥拳高呼“战斗！”
tural capital in July, when a would-be assassin shot him at a rally, and he pumped his fist and shouted “Fight!” At the R.N.C., two days later, it was rumored that 50 Cent was going to perform his track “Many Men (Wish Death).” The actual surprise guest was Kid Rock, singing “American Bad Ass.” (Later, Trump assured the crowd of Kid Rock’s clout: “I didn’t even know how big he was. … Thirty-five, forty thousand people he gets, every time he goes out.”) 两天后的共和党全国代表大会上，有传言称 50 Cent 将表演他的歌曲《Many Men (Wish Death)》。真正的惊喜嘉宾是 Kid Rock，演唱了《American Bad Ass》。（后来，特朗普向人群保证 Kid Rock 的影响力：“我甚至不知道他有多大影响力……每次他出场都有三万五到四万人。”）
It’s doubtful that Kid Rock has much power to sway. This past spring, Cass’s firm conducted a poll, asking young voters which celebrities were most likely to influence their vote. Swift and Beyoncé were relatively high on the list, though they were beat out by stars such as Kevin Hart and Timothée Chalamet. The celebrity with the most influence? Zendaya, at twenty-four per cent. She has not yet endorsed a candidate-but she’s known to be a big Beyoncé fan. Kid Rock 是否有很大影响力值得怀疑。今年春天，Cass 的公司进行了一项民调，询问年轻选民哪些名人最有可能影响他们的投票。Swift 和 Beyoncé在名单上相对靠前，但被 Kevin Hart 和 Timothée Chalamet 等明星超越。影响力最大的是 Zendaya，占 24%。她尚未公开支持任何候选人——但她被认为是 Beyoncé的超级粉丝。
—Tyler Foggatt
GEORGIA POSTCARD MR. F’S HOTEL 乔治亚明信片 F 先生的酒店
In June of 2022, Luvia Martinez-Luna received a phone call from Francis Ford Coppola. For years,Martinez-Luna had helped manage two of the director’s Family Coppola Hideaways hotels, in Belize, where she grew up. Mr. F., as Martinez-Luna calls Coppola, owned five hotels in total, and was looking into buying a sixth, south of Atlanta. He wanted her to run it. Two weeks later, Martinez-Luna pulled up to an old Days Inn, between a cold-storage facility and a McDonald’s, in Peachtree City. Coppola met her there. “It didn’t look like our other properties,” Martinez-Luna recalled. “But Mr. F. had a vision.” 2022 年 6 月，卢维亚·马丁内斯-卢纳接到了弗朗西斯·福特·科波拉的电话。多年来，马丁内斯-卢纳一直协助管理导演的两个“科波拉家族隐居地”酒店，位于她成长的伯利兹。马丁内斯-卢纳称科波拉为 F 先生，他总共拥有五家酒店，并计划在亚特兰大南部购买第六家。他希望她来管理这家酒店。两周后，马丁内斯-卢纳来到皮奇特里市一家老旧的戴斯旅馆，旅馆位于一个冷藏设施和麦当劳之间。科波拉在那里与她会面。“它看起来不像我们的其他物业，”马丁内斯-卢纳回忆道，“但 F 先生有他的愿景。”
A few weeks before the première of Coppola’s latest film, “Megalopolis,” a guest and a companion visited the property, which opened in July as the AllMovie Hotel. The footprint of the Days Inn remained, but the exterior now had Coppolanian flare: succulent-filled flowerpots imported from Italy, golden col- 在科波拉最新电影《大都会》首映前几周，一位客人和他的同伴参观了这家于七月开业的 AllMovie 酒店。戴斯旅馆的建筑轮廓依旧，但外观已带有科波拉风格：从意大利进口的多肉植物花盆，金色的装饰——
umns. Foam-core statues of the characters played by Jon Voight and Dustin Hoffman in “Megalopolis” were perched by the parking lot-a storm had recently detached Hoffman’s hand. A golden eagle with a twenty-foot wingspan guarded a pool. The guests wiped their feet on an “Apocalypse Now” rug, which led into a spacious entry room. There were two “Godfather”-themed pinball machines against a wall, a mural from “The Godfather, Part II” above a plush couch, a communal dining table, and an eight-thousand-dollar Nuova Simonelli espresso machine anchoring a breakfast nook. “Mr. F. loves his espresso,” Martinez-Luna said, after checking in the guests. The hotel also has working film equipment. Martinez-Luna led the guests to a vaulted-ceilinged suite featuring a projector screen and photos of Old Hollywood stars. It occupied roughly two Days Inn rooms’worth of space, not counting new his-and-hers bathrooms. 泡沫芯塑像是由乔恩·沃伊特和达斯汀·霍夫曼在《大都会》中扮演的角色，摆放在停车场旁——一场风暴最近吹掉了霍夫曼的手。一只翼展二十英尺的金雕守护着一个游泳池。客人们在一块“现代启示录”地毯上擦脚，地毯通向一个宽敞的入口大厅。墙边有两台“教父”主题的弹球机，豪华沙发上方是一幅《教父 2》的壁画，还有一张公共餐桌，以及一台价值八千美元的 Nuova Simonelli 意式浓缩咖啡机，成为早餐区的中心。“F 先生喜欢他的浓缩咖啡，”马丁内斯-卢纳在为客人办理入住时说道。酒店还配备了可用的电影设备。马丁内斯-卢纳带领客人来到一个拱形天花板的套房，里面有投影幕和老好莱坞明星的照片。这个套房大约相当于两个戴斯旅馆房间的面积，不包括新的男女分开的浴室。
The guests were hungry, so MartinezLuna suggested a strip mall a few miles away, which Mr. F. liked to visit via Peachtree City’s golf-cart paths. “Mr. F. loves riding around and waving to the locals,” Martinez-Luna said. 客人们感到饥饿，于是马丁内斯-卢纳建议去几英里外的一个购物中心，F 先生喜欢通过桃树城的高尔夫球车道前往那里。“F 先生喜欢骑车四处游荡，向当地人挥手致意，”马丁内斯-卢纳说道。
It happened to be the forty-fifth anniversary of the “Apocalypse Now” open- 恰逢《现代启示录》上映四十五周年纪念日。
ing. The guests blasted the film’s harrowing soundtrack as they golf-carted through woodsy neighborhoods where deer grazed in the fading light. They arrived at a pizza place. Their waiter couldn’t recall meeting Mr. F., but said that he’d once served a gin-and-tonic to Danny DeVito. “Classy guy,” he said. 客人们在高尔夫球车穿过林间社区时，播放着电影那令人心碎的配乐，那里有鹿在暮光中悠闲地吃草。他们来到一家披萨店。服务员不记得见过 F 先生，但说他曾经给丹尼·德维托端过一杯杜松子酒和汤力水。“很有品味的人，”他说。
The next morning, after espresso, the guests met Akshay Bhatia and Jordan Holifield, a pair of Georgia Film Academy grads in their twenties, in the lobby, for a 第二天早晨，喝完浓缩咖啡后，客人在大堂见到了 Akshay Bhatia 和 Jordan Holifield，两位二十多岁的乔治亚电影学院毕业生，
Francis Ford Coppola 弗朗西斯·福特·科波拉
tour. Both work on the hotel’s film-operations team; Bhatia had previously worked as one of Coppola’s assistants. Each wore black. “Francis comes from the lineage of film as a dream factory,” Bhatia began. “You’ll notice little things that are very unique.” He pointed to an antique Moviola editing machine in a corner: “Francis had it painted hot-rod red.” He went on, “The taste of this place is his taste. The chairs in the garden. The potted plants. The movie-ticket doormats.” 参观。两人都在酒店的电影运营团队工作；巴蒂亚之前曾是科波拉的助理之一。两人都穿着黑色。“弗朗西斯来自电影作为梦想工厂的传承，”巴蒂亚开始说道。“你会注意到一些非常独特的小细节。”他指向角落里的一台古董 Moviola 剪辑机：“弗朗西斯把它漆成了热杆红色。”他继续说，“这个地方的品味就是他的品味。花园里的椅子。盆栽植物。电影票门垫。”
“The pinball machines,” Holifield added. “Francis loves pinball.” “弹球机，”霍利菲尔德补充道。“弗朗西斯喜欢弹球。”
On to the guest rooms, inside of which Coppola and his crew had finished shooting and editing “Megalopolis,” before the hotel opened. (Moviemaking guests can rent the technical facilities, too.) Room 104: two fancy speakers, a close-throw projector, and a couch. "We did a lot of visual effects in here,"Bhatia said. “We also watched the Super Bowl.” Room 106: bunk beds. “Jordan and I crashed here a few times.” Room 107: junior suite. “We did some time-lapse photography in there,” he said, pointing. “Before it became a closet.” 进入客房，科波拉和他的团队在酒店开业前完成了《大都会》的拍摄和剪辑。（电影制作的客人也可以租用技术设施。）104 号房：两个高级音箱，一个近距离投影仪和一张沙发。“我们在这里做了很多视觉特效，”巴蒂亚说。“我们还一起看了超级碗。”106 号房：双层床。“乔丹和我曾在这里住过几次。”107 号房：小套房。“我们在那里做了一些延时摄影，”他说着指了指。“后来那里变成了一个衣橱。”
Where had the Days Inn furniture gone? “Parking-lot sale,” Holifield said. “People loved the framed pictures of docks. The ones we didn’t sell, we converted to sound panels. They’re the perfect size.” Days Inn 的家具去哪了？“停车场大甩卖，”霍利菲尔德说。“人们很喜欢那些码头的装框照片。没卖出去的，我们改造成了吸音板。尺寸正合适。”
Outdoors again, Bhatia pointed to a poolside grill. “One time, Francis made Martin Scorsese’s mother’s lemon chicken,” he said. 又到户外，巴蒂亚指着泳池边的烧烤架。“有一次，弗朗西斯做了马丁·斯科塞斯母亲的柠檬鸡，”他说。
“He also does a zucchini soup,” Holifield said. “It’s actually fricking amazing.” “他还做西葫芦汤，”霍利菲尔德说。“真的非常棒。”
“I spent a lot of time buying him zucchinis,” Bhatia added. “我花了很多时间给他买西葫芦，”巴蒂亚补充道。
Past the giant golden eagle (“You’ll see it in ‘Megalopolis’”), a tiny gym, and a kids’ playroom with a repurposed Days Inn entertainment center, they arrived at Mr. F.'s personal suite (about five hundred dollars a night). There were Coppola family photos; books by Wharton, Bellow, Rumi; a small table for meetings and rewrites; an espresso bar; and another projector screen. “Every single night, for two years, hed watch ‘Megalopolis’ here,” Bhatia said. “Youd get notes from him at two in the morning.” Bhatia recalled a memorable moment with Spike Lee in this room. "Francis said, ‘Spike, ask Akshay anything.’ So Spike asked me this very elaborate question about ‘On the Waterfront’ that I completely whiffed. 经过巨大的金色鹰雕像（“你会在《大都会》里看到它”）、一个小型健身房和一个用改造的戴斯旅馆娱乐中心布置的儿童游戏室，他们来到了 F 先生的私人套房（大约每晚五百美元）。里面有科波拉家族的照片；沃顿、贝洛、鲁米的书籍；一个用于会议和修改的小桌子；一个浓缩咖啡吧；还有另一个投影幕。“整整两年，每晚他都会在这里看《大都会》，”巴蒂亚说。“你会在凌晨两点收到他的笔记。”巴蒂亚回忆起在这个房间与斯派克·李的难忘时刻。“弗朗西斯说，‘斯派克，问阿克谢任何问题。’于是斯派克问了我一个关于《码头风云》的非常复杂的问题，我完全答错了。”
But I got the second question right." 但我答对了第二个问题。
Finally, the group came to Room 202: a mini theatre with a ticket window salvaged from the Days Inn registration area. “We do movie club here,” Bhatia said. “I actually introduced Francis to ‘Ali: Fear Eats the Soul’here. New German Cinema. But I think we’ll just show Francis’s films to guests.” 最后，团队来到了 202 号房：一个带有从戴斯旅馆登记处回收的售票窗口的小型影院。“我们在这里举办电影俱乐部，”巴蒂亚说。“我实际上是在这里向弗朗西斯介绍了《阿里：恐惧吞噬灵魂》——新德国电影。但我想我们还是只给客人放弗朗西斯的电影。”
-Charles Bethea —查尔斯·贝西亚
THE WAYWARD PRESS FLASH POINTS 叛逆媒体的热点事件
In the early nineteen-eighties, Susan Katz Keating was living in California, working as a freelance journalist with a side gig waiting tables. On a newsstand, she came across Soldier of Fortune, a monthly magazine infamous for its gonzo war reporting and its gun-for-hire classified ads. “I wanted to write about mercenaries,” she recalled recently. So she placed an advertisement in the publication. “You paid by the word, and I was quite young and didn’t have any money. The ad said,'Are you a mercenary? Contact SS. Katz.'And then I gave my home address.” 在八十年代初，苏珊·卡茨·基廷住在加利福尼亚，做自由记者，同时兼职当服务员。她在一个报刊亭看到《雇佣兵之兵》，这是一份以狂野战争报道和枪手分类广告闻名的月刊。“我想写关于雇佣兵的故事，”她最近回忆道。于是她在该刊登了一则广告。“按字数付费，我当时很年轻，没什么钱。广告写着，‘你是雇佣兵吗？联系 SS ·卡茨。’然后我留下了我的家庭地址。”
Keating was flooded with letters. A handful of seemingly professional warrior types arrived at her door unannounced. “I also got some government agents showing up, because they thought that I was trying to raise a mercenary army,” Keating said. 基廷收到了大量来信。一些看起来像专业战士的人不请自来到她家门口。“还有一些政府特工出现，因为他们认为我在试图组建一支雇佣兵军队，”基廷说。
In 1986, Keating began contributing to Soldier of Fortune, the rare woman to do so.Two years ago, she achieved a longtime dream by purchasing the magazine from its founder, the retired lieutenant colonel Robert K. Brown, for an undisclosed sum. She now operates as its publisher and editor-in-chief. 1986 年，基廷开始为《雇佣兵之兵》投稿，是为数不多的女性之一。两年前，她实现了长期梦想，以未公开的金额从创始人、退休中校罗伯特·K·布朗手中购买了该杂志。她现在担任出版人兼总编辑。
Earlier this summer, Keating, who lives in Tampa, was sitting with a coffee at a hotel restaurant in downtown Brooklyn, dressed in a casual black-skirt-andvest combo. She was there to meet with a friend and adviser to discuss the likelihood of political violence during the Presidential election. 今年夏初，居住在坦帕的基廷正坐在布鲁克林市中心一家酒店餐厅里喝咖啡，穿着一套休闲的黑色裙子和背心组合。她在那里与一位朋友兼顾问会面，讨论总统选举期间政治暴力的可能性。
While she waited, Keating explained that her fascination with mercenaries began as a child. She grew up in California but moved with her mother to Ireland in the seventies, after Keating’s dad died in what was ruled a suicide. (She still has her doubts-she said she learned that his fatal wounds came from two different guns. " “We got there right when Bloody Sunday happened,” Keating said. “So I 在等待时，基廷解释说她对雇佣兵的兴趣始于童年。她在加利福尼亚长大，但在七十年代随母亲搬到了爱尔兰，那时基廷的父亲去世，官方判定为自杀。（她仍有疑虑——她说她了解到父亲的致命伤来自两把不同的枪。“我们到达时正好赶上血腥星期天，”基廷说。“所以我
“They say God doesn’t give you more than you can handle, which is why we only have three ferrets.” “他们说上帝不会给你超过你能承受的，这就是为什么我们只有三只雪貂。”
was exposed to a whole lot of real violence with political intent.” On a family trip, a teen-age Keating befriended Sir Eric de Burgh, an elderly British Army officer (and the grandfather of the singer Chris de Burgh). He had served in the Boer War and told her tales of soldiers for hire. “That sparked my interest,” she said. 接触到了大量带有政治意图的真实暴力。”在一次家庭旅行中，青少年的基廷结识了埃里克·德·伯格爵士，一位年迈的英国陆军军官（也是歌手克里斯·德·伯格的祖父）。他曾参加布尔战争，给她讲述了雇佣兵的故事。“那激发了我的兴趣，”她说。
Keating is in the process of revitalizing Soldier of Fortune, which experienced a significant circulation decline after the end of the Cold War and shifted to a fully online platform in 2016. (In the late eighties, the magazine was sued several times by families of people targeted or killed by hit men recruited through its pages. The gun-for-hire ads were discontinued in 1986.) The readership today is about ninety per cent male. “I love the bro culture,” Keating said. She added that the audience leans right of center. She described her own politics as "anti-communist,"but stressed that she tries to remain as neutral as possible in her journalism. 基廷正在重振《Soldier of Fortune》杂志，该杂志在冷战结束后发行量大幅下降，并于 2016 年转为完全在线平台。（在八十年代末，该杂志曾多次被通过其刊登的广告招募的杀手所针对或杀害者的家属起诉。枪手广告于 1986 年停止刊登。）目前读者约九成为男性。“我喜欢兄弟文化，”基廷说。她补充说，受众偏向中右翼。她形容自己的政治立场为“反共”，但强调她在新闻报道中尽量保持中立。
Keating writes about a third of the magazine’s articles herself. The rest are written by freelancers. “I had one in Africa, and he just disappeared,” she said. “It turns out he was bitten by a black mamba, and he got really sick.” Her splashiest article followed up on reports that a packet of cocaine was found in the White House in July, 2023. She wrote that it was brought by “someone within the Biden-family orbit.” (She didn’t disclose who it was, but she said it was not, as conservatives had speculated, the President’s son Hunter.) Her account wasn’t picked up by most major news outlets, and the White House hasn’t commented, though Keating said that “an intermediary” had communicated the Administration’s reaction. “They’re pissed,” she said. Keating 自己写了杂志大约三分之一的文章。其余的由自由撰稿人撰写。“我有一个人在非洲，他就消失了，”她说。“结果他被一条黑曼巴蛇咬了，病得很重。”她最引人注目的文章是跟进 2023 年 7 月在白宫发现一包可卡因的报道。她写道，这包可卡因是由“拜登家族圈子内的某人”带来的。（她没有透露具体是谁，但她说这不是保守派猜测的总统儿子亨特。）她的报道没有被大多数主流新闻媒体采纳，白宫也没有发表评论，尽管 Keating 说“有一个中间人”传达了政府的反应。“他们很生气，”她说。
After a while, her friend, Chad Longell, arrived. He had a modest beard and wore a black baseball hat. Longell, an amiable thirty-seven-year-old Army veteran and a former national director of military and veteran engagement for the Republican National Committee, described himself as an “intel guy” for a number of government agencies he wasn’t at liberty to name. His advisory role with Soldier of Fortune is an informal one. “We talk strategy on different things,” he explained. 过了一会儿，她的朋友查德·朗格尔来了。他留着一撮不显眼的胡须，戴着一顶黑色棒球帽。朗格尔是一位和蔼可亲的三十七岁陆军退伍军人，曾任共和党全国委员会军事和退伍军人事务全国主任，他自称是多个政府机构的“情报人员”，但不便透露具体机构。他在《雇佣兵》杂志的顾问角色是非正式的。“我们会讨论各种策略，”他解释道。
He and Keating dived into a discussion of the election. “I hope I’m wrong, but I’m expecting unrest,” Keating said. 他和基廷深入讨论了选举。“我希望我错了，但我预期会有动乱，”基廷说。
“It’s just a question of who,” Longell agreed. Neither thought that there would be another event on the scale of January 6th, which they both deemed to have been blown out of proportion anyway. “A lot of people call it an insurrection,” Keating said. “But it wasn’t.” “It was stupid people,” Longell added. “My broth-er”-a uniformed Secret Service offi-cer-“was one of the ones who responded to get Pence out of the Capitol. I think that building is a sacred, sacred place. To see it trashed like that? Good thing I wasn’t down there. I would have been a lot more aggressive.” “这只是个‘谁’的问题，”朗格尔同意道。他们都不认为会有另一场像 1 月 6 日那样规模的事件，毕竟他们都认为那次事件被夸大了。“很多人称那是叛乱，”基廷说。“但事实并非如此。”“那只是愚蠢的人，”朗格尔补充道。“我兄弟”——一名穿制服的特勤局官员——“就是响应行动，护送彭斯离开国会大厦的人之一。我认为那座建筑是神圣的，神圣的地方。看到它被那样破坏？幸好我当时不在那里，否则我会更激烈地应对。”
Not long after their meeting, Donald Trump was wounded on the ear in an assassination attempt. Keating provided an update on her violence forecast: she had become surprisingly sanguine. 不久在他们会面后，唐纳德·特朗普在一次暗杀未遂中耳部受伤。基廷提供了她对暴力预测的最新情况：她变得出奇地乐观。
“There have not been any follow-on attacks or counterattacks, which I think would have happened by now if this had been an Archduke Ferdinand moment,” she said. “I see the hit on Trump as another iteration of the school-shooter, mall-shooter phenomenon, and not as a political flash point. We are not headed for a civil war.” She added, “Of course, I could be wrong.” “到目前为止，没有发生任何后续攻击或反击，我认为如果这是一个斐迪南大公时刻，这些事情早就发生了，”她说。“我把对特朗普的袭击看作是校园枪手、商场枪手现象的另一种表现，而不是政治爆发点。我们不会走向内战。”她补充道，“当然，我也可能错了。”
-Mark Yarm -马克·雅姆
FIRST-TIMER DEPT. 新手部门
MAKING THE DOUGHNUTS 制作甜甜圈
Ass the remnants of Hurricane Debby passed over Martha’s Vineyard on a recent weekend, the Hollywood producer Will Packer, whose credits include “Girls Trip,” “Stomp the Yard,” and the 2022 Academy Awards ceremony (when Will Smith slapped Chris Rock), stood on the front porch of the Harbor View Hotel, where he was staying, and watched the rain. He was planning to visit Inkwell Beach, historically frequented by Black bathers, and to see some friends. But he wasn’t optimistic about the weather. “It’s rough out there,” he said. 当飓风黛比的残余于最近一个周末经过玛莎葡萄园时，好莱坞制片人威尔·帕克（他的作品包括《女孩之旅》、《踩踏街区》和 2022 年奥斯卡颁奖典礼（威尔·史密斯掌掴克里斯·洛克））站在他所住的海港景观酒店的前廊上，看着雨。他原计划去历史上黑人浴客常去的墨水海滩，拜访一些朋友。但他对天气并不乐观。“外面情况很糟糕，”他说。
Not too far away, a muscly man was working out in the rain. Packer, who’d adopted the Vineyard aesthetic-cap, polo, and chinos, all in soft, greenish hues-said that he’d been training for 不远处，一名肌肉男正在雨中锻炼。帕克穿着葡萄园风格的帽子、马球衫和卡其裤，都是柔和的绿色调，他说自己一直在训练。
Will Packer 威尔·帕克
a marathon himself, even while on vacation. “I tell you, that was me,” he said, comparing himself to the jock. “I was sweating all up and down these streets.” He left his running shoes at home, though, so he had to pick up a pair of Hokas from a local shop. 他自己也是个马拉松爱好者，即使在度假时也是如此。“我告诉你，那就是我，”他说，拿自己和那个运动员作比较。“我在这些街道上满头大汗。”不过他把跑鞋落在家里了，所以不得不在当地商店买了一双 Hoka 跑鞋。
Packer’s trip had been memorable so far. “Michelle O.,” as he called the former First Lady, had “swung by” a book panel he attended a couple of days earlier. He’d also spent time with the actor Sanaa Lathan and the former U.S. Attorney General Eric Holder. “Because it’s my first time at the Vineyard, I overbooked everything,” Packer said. “Because, you know, there’s so many invites. ‘Oh, come to this, come to that.’ Yeah, sure!” The past few days had included brunches, parties, film events, and R. and R. “Now that I’m here, I get the appeal,” he said. “I love the fact that the Vineyard is so brown right now. There’s so many of us.” 帕克的这次旅行到目前为止令人难忘。“米歇尔·O。”，他这样称呼前第一夫人，几天前曾“顺道”参加了他出席的一个图书讨论会。他还与演员萨娜·拉森和前美国司法部长埃里克·霍尔德共度时光。“因为这是我第一次来葡萄园，我把所有事情都安排得太满了，”帕克说。“因为，你知道，邀请太多了。‘哦，来这个，来那个。’是的，当然！”过去几天包括早午餐、派对、电影活动和休息放松。“现在我来了，我明白了这里的魅力，”他说。“我喜欢葡萄园现在这么干燥的感觉。我们这里的人真多。”
Packer continued, “This year, I’m doing a lot of things that I’ve never done before.” Recently, he has been celebrating turning fifty with a newfound “Why not?” approach. He recounted his growing list of firsts, ticking them off on his fingers: “I came to Martha’s Vineyard, I came to the Olympics, I’m running my first marathon, I bought into the Atlanta Falcons.” How does one decide to purchase part of an N.F.L. team? “Well, first of all, you don’t just decide,” he said. “You have to be invited.” 帕克继续说道：“今年，我做了很多以前从未做过的事情。”最近，他以一种新发现的“为什么不呢？”的态度庆祝自己五十岁的生日。他回忆起自己不断增长的第一次经历，一一用手指计数：“我去了马萨诸塞州的玛莎葡萄园，我去了奥运会，我跑了我的第一个马拉松，我买入了亚特兰大猎鹰队。”那么，如何决定购买一支 NFL 球队的一部分呢？“嗯，首先，你不是随便决定的，”他说，“你必须被邀请。”
Another first-producing a limited 另一个首次产生有限的...
series, “Fight Night: The Million Dollar Heist,” for Peacock. The show dramatizes the lead-up to a little-known historical event: a robbery in Atlanta in 1970 after a Muhammad Ali fight. Packer was premièring the show’s first episode at the Martha’s Vineyard African American Film Festival later that day. “It’s a project that was in the works for a very long time,” he said. “And the thing that people don’t understand about our industry is that, man, these things take so long to get going. ‘Ride Along’-ten years in the making. ‘Straight Outta Compton’-ten years. Ten-plus years! Nobody cares if it comes out and it’s good. If the doughnut tastes good, you don’t care how it was made.” 系列剧《Fight Night: The Million Dollar Heist》，在 Peacock 播出。该节目戏剧化地呈现了一个鲜为人知的历史事件：1970 年亚特兰大在一场穆罕默德·阿里拳赛后的抢劫案。帕克当天晚些时候将在马萨诸塞州马撒葡萄园非裔美国人电影节首映该剧的第一集。“这是一个筹备了很长时间的项目，”他说。“人们不了解我们这个行业的一点是，这些事情启动起来真的很慢。《Ride Along》花了十年时间制作。《Straight Outta Compton》也是十年。十多年！没人关心它出来后好不好。如果甜甜圈味道好，你不会在意它是怎么做的。”
Packer originally conceived of the “Fight Night” doughnut as a movie. “I went through the process, set it up as a feature film, had a script written, everything,” he said. “Did all the things. It just was not meant to be. And it sat for a while.” He sighed. He turned the story into a podcast for iHeartRadio. Afterward, he sent it to Kevin Hart, a frequent collaborator. “A very good friend of mine,” Packer said. “But I also say that he is the spawn of Satan. An evil man.” Hart appears prominently in an upcoming motivational book written by Packer. “A story I tell in the book is about how Kevin almost single-handedly ruined the biggest movie of both of our careers at the time”-“Ride Along”-with a scheduling conflict, he said, laughing. He asked Hart to listen to just twenty minutes of the podcast, but Hart devoured the whole thing. The actor stars as the protagonist of the series, a hustler named Chicken Man. The cast also includes Taraji P. Henson, Samuel L. Jackson, Don Cheadle, and Chloe Bailey. Packer 最初设想“Fight Night”甜甜圈是部电影。“我经历了整个过程，把它设定为一部故事片，写了剧本，所有的事情都做了，”他说。“做了所有的准备。只是注定没能成行。它就这样搁置了一段时间。”他叹了口气。他把这个故事改编成了 iHeartRadio 的播客。之后，他把它发给了 Kevin Hart，一位经常合作的朋友。“他是我非常好的朋友，”Packer 说。“但我也说他是撒旦的化身。一个邪恶的人。”Hart 在 Packer 即将出版的一本励志书中有重要出场。“我在书中讲的一个故事是关于 Kevin 几乎凭一己之力毁了我们当时两人职业生涯中最大的一部电影——《Ride Along》——因为时间安排冲突，”他说着笑了。他让 Hart 只听播客的二十分钟，但 Hart 却一口气听完了全部。该剧集的主演是一个名叫 Chicken Man 的骗子。演员阵容还包括 Taraji P. Henson、Samuel L. Jackson、Don Cheadle 和 Chloe Bailey。
Packer sat back in a wicker chair, cradling a cup of tea. The rain was easing, and he figured he still had enough time to hit the beach. He had a marathon of work planned for afterward: a speech at the Martha’s Vineyard Black Book Festival, some press interviews for “Fight Night,” a talk following the première, with Henson, Bailey, and Cheadle, and then an after-party. “My track coach in high school used to tell me, 'Packer!”" He clapped. “‘Don’t focus on that finish line. You focus on that finish line, you’re not going to make it.’” 帕克靠在一把柳条椅上，怀里捧着一杯茶。雨渐渐停了，他觉得自己还有足够的时间去海滩。他计划之后有一场马拉松式的工作：在马萨诸塞州黑书节上发表演讲，为《搏击之夜》做一些媒体采访，首映式后与亨森、贝利和奇德尔进行一次谈话，然后参加一个庆功派对。“我高中时的田径教练常对我说，‘帕克！’”他拍了拍手。“‘别专注于终点线。如果你专注于终点线，你是到不了的。’”
-André Wheeler -安德烈·惠勒
c.TOM
PERSONAL HISTORY 个人历史
THE HEM OF HIS GARMENT 他衣服的下摆
An audience with the Pope. 与教皇的会面。
BY DAVID SEDARIS 大卫·塞达里斯 著
If you were to say to me, “You can be in a room with either Chris Rock or the Pope,”'d say, “Chris Rock, please.” Nothing against the Pope, but he’s never made me laugh. Neither has he come up with a viable solution to America’s gun problem the way Chris Rock has, saying that the firearms themselves can be unregulated but that every bullet should cost five thousand dollars. 如果你对我说，“你可以和克里斯·洛克或教皇同处一室，”我会说，“请选克里斯·洛克。”这并不是针对教皇，但他从未让我笑过。他也没有像克里斯·洛克那样，提出一个可行的解决美国枪支问题的方案，克里斯·洛克说枪支本身可以不受管制，但每发子弹应该要价五千美元。
“O.K.,” you’d continue. “Julia LouisDreyfus or the Pope?” “好吧，”你会继续说。“茱莉亚·路易斯-德雷福斯还是教皇？”
“Oh, no question,” I’d tell you. “The cursing on ‘Veep’ amounted to poetry, so Julia Louis-Dreyfus.” “哦，毫无疑问，”我会告诉你。“《副总统》里的咒骂简直就是诗歌，所以选茱莉亚·路易斯-德雷福斯。”
“Stephen Merchant or-” “斯蒂芬·默钱特还是——”
“Stephen Merchant.” “斯蒂芬·默钱特。”
The same goes for Stephen Colbert, Mike Birbiglia, Tig Notaro, Conan 同样适用于斯蒂芬·科尔伯特、迈克·比尔比利亚、蒂格·诺塔罗、柯南
O’Brien, Whoopi Goldberg, Jimmy Fallon, Ramy Youssef, and Jim Gaf-figan-most of whom I know or have met at one time or another. 奥布莱恩、胡维·戈德堡、吉米·法伦、拉米·优素福和吉姆·加菲根——我大多数人都认识或曾在某个时候见过。
The crazy thing is that I didn’t have to choose between any of the above and the Pope. For reasons I will never quite understand, I got to be in a room with all of them-plus a hundred or so others who had also been summoned, without much advance notice, to the Vatican on a late-spring morning in June, when Rome was hot but not so hot that all you could talk about was how hot it was. 奇怪的是，我不必在上述任何人和教皇之间做选择。出于我永远无法完全理解的原因，我得以与他们所有人——以及大约一百名其他也被召集的人——在一个六月晚春的早晨聚集在梵蒂冈，罗马那时很热，但还不到只能谈论天气有多热的程度。
Like everyone I spoke to the night before our papal audience, when, minus Jimmy Fallon, the American contingent gathered for dinner, I’d initially 就像我前一晚与所有参加教皇会见的人交谈时一样，除了吉米·法伦，美国代表团聚集共进晚餐，我最初...
thought that my invitation-which was sent by e-mail-was spam. “Right,” I said to the screen of my laptop. “Nice try, Russia.” I didn’t click on the attachment until Stephen Colbert assured me that it was legitimate, and that the Pope really did want to meet with comics and humorists from around the world in three days’ time, and at six-forty-five in the morning. The invitation made it sound like there’d be a dialogue, as if the Pope had questions or needed to ask us a favor, something along the lines of “Do you think you could maybe give the pedophilia stuff a rest?” 我以为我的邀请函——通过电子邮件发送的——是垃圾邮件。“对了，”我对着笔记本电脑屏幕说。“好一招，俄罗斯。”直到斯蒂芬·科尔伯特向我保证这是真实的，并且教皇真的想在三天后的早上六点四十五分与来自世界各地的喜剧演员和幽默作家见面时，我才点击了附件。邀请函听起来像是会有一次对话，好像教皇有问题要问，或者需要我们帮个忙，类似于“你们能不能别再提那些恋童癖的事了？”
Everyone’s got a Catholic-clergy joke up their sleeve, perhaps one they heard at a party. Mine is: A cop stops a car two priests are riding in. “I’m looking for a couple of child molesters,” he tells them. 每个人都有一个关于天主教神职人员的笑话，或许是他们在聚会上听到的。我的笑话是：一名警察拦下一辆载着两位神父的车。“我在找几个儿童性侵犯者，”他告诉他们。
The priests look at each other. “We’ll do it!” they say. 神父们互相看了看。“我们来演吧！”他们说。
Substitute rabbis or Baptist ministers for priests, and you’ll get nothing. I mean, the Catholic Church earned those laughs, and every time its senior clerics look away, or quietly send an offending clergyman to the back bench, it’s making this scandal larger than its ministry, at least to an outsider such as myself. 如果把神父换成代理拉比或浸礼会牧师，你就听不到笑声了。我的意思是，天主教会活该被嘲笑，每当高级神职人员视而不见，或者悄悄把有问题的神职人员调到后排时，它实际上是在让这个丑闻比它的事工更大，至少对我这样的外人来说是这样。
“Can you help me turn this around?” I imagined the Pope asking. “How can we get back to the sex-starved-nun jokes we all so enjoyed in the past?” “你能帮我扭转局面吗？”我想象教皇在问。“我们怎么才能回到过去那些我们都很喜欢的关于性饥渴修女的笑话呢？”
This is a man who had just been caught using an Italian word that translated to “faggotry” for the second time in three weeks. After our visit, which was covered by seemingly every news organization on Earth, the gaffe would be brought up again and again, especially in comment sections, by people convinced that, had they been invited to the Vatican, they’d have stayed home in protest, or perhaps would have attended and then caused a scene, most likely one involving paint. 这是一个刚刚第二次在三周内被抓到使用一个意大利词汇，这个词翻译成“娘娘腔”的人。在我们的访问之后，这次访问几乎被地球上所有新闻机构报道，这个失言事件会被一遍又一遍地提起，尤其是在评论区，那些坚信如果他们被邀请到梵蒂冈，他们会选择抗议而呆在家里，或者可能会参加然后制造一场闹剧的人们，最有可能的闹剧是涉及涂料的。
It didn’t bother me, though. When I heard that the Pope had said "faggotry,"I laughed, in large part because it’s a funny word. Then, too, it’s not something you’d call a person-it’s not like “Shut up, fag.” Rather, it connotes behavior: “Take your faggotry outside, please.” 不过这并没有困扰我。当我听说教皇说了“娘娘腔”这个词时，我笑了，很大程度上是因为这是个有趣的词。再者，这也不是你会用来称呼某个人的词——不像“闭嘴，娘们儿”。相反，它指的是行为：“请把你的娘娘腔行为带到外面去。”
Pope Francis can’t preside over same- 教皇弗朗西斯不能主持同性恋——
sex marriages, but he created a firestorm within his Church by blessing gay people about to be married. “If they accept the Lord and have good will, who am I to judge them?” he asked, in 2013. 性婚姻，但他在教会内部引发了轩然大波，因为他为即将结婚的同性恋者祝福。“如果他们接受主并怀有善意，我凭什么去评判他们？”他在 2013 年这样问道。
Then, yes, he said “faggotry,” but he apologized for it. Both times. I don’t think that he’s a homophobe so much as an eighty-seven-year-old. (“I said what again? Really?”) 是的，他说过“同性恋者”这个词，但他为此道歉了。两次都道歉了。我觉得他不是恐同症患者，更像是一个八十七岁的老人。（“我又说了什么？真的？”）
My feeling is that if you want a church that is a hundred per cent gayfriendly, go join one-there are plenty to be had-or start your own. “Yes, but I want Our Lady of Sorrows to celebrate Pride Month,” I can hear someone whining. 我的感觉是，如果你想要一个百分之百对同性恋友好的教会，那就去加入一个——有很多这样的教会——或者自己创办一个。“是的，但我想让我们的悲伤圣母教堂庆祝骄傲月，”我能听到有人在抱怨。
It’s like going to Burger King and demanding a Big Mac. If you want a Big Mac, go across the street to McDonald’s. Jesus. 这就像去汉堡王却要求吃巨无霸。如果你想吃巨无霸，就去麦当劳对面。天哪。
Also, I wasn’t bothered by the Pope’s use of “faggotry” because I’m not queer; I’m gay. The difference is that queer people are offended by just about everything. Gay people just wonder what they’ll wear to the Vatican at the crack of dawn, and what the proper etiquette is. 另外，我并不介意教皇使用“faggotry”这个词，因为我不是酷儿；我是同性恋。区别在于，酷儿几乎对所有事情都感到被冒犯。而同性恋者只是想知道凌晨去梵蒂冈该穿什么，以及正确的礼仪是什么。
“If he holds out his hand, you can opt to kiss his ring!” my friend Leslie, who was brought up Catholic, wrote when I told her I was going. “如果他伸出手，你可以选择亲他的戒指！”我告诉我的朋友莱斯利我会去时，她写道，她是在天主教家庭长大的。
I was raised in the Greek Orthodox Church. There, we kissed the priest’s hand when receiving Communion, though twice I moved up a few inches and kissed his watch instead, just to see how he’d react. 我是在希腊东正教教会长大的。在那里，领圣餐时我们会亲牧师的手，虽然有两次我稍微往上移动了几英寸，亲了他的手表，只是想看看他的反应。
“Actually, no,” another friend wrote. “This Pope bates having his ring kissed, so if he holds out his hand, just shake it.” “其实，不是的，”另一位朋友写道。“这位教皇讨厌别人亲他的戒指，所以如果他伸出手，直接握手就好。”
I was in Sussex when my invitation arrived. It was eight-thirty in the morning, and by lunchtime I had my plane ticket and had booked a hotel within walking distance of the Vatican, which, like the city-states of San Marino and Monaco, is its own separate country, and could thus be added to a list I have on my computer titled “Countries I Have Been To.” The Vatican would be my sixtieth. 我在萨塞克斯时收到了邀请函。那是早上八点半，到午饭时间我已经买好了机票，并预订了一家步行可达梵蒂冈的酒店。梵蒂冈像圣马力诺和摩纳哥这些城邦一样，是一个独立的国家，因此可以被加入我电脑上名为“我去过的国家”的列表中。梵蒂冈将是我的第六十个国家。
There’s another list on my computer titled “Stars I Have Seen.” People don’t count if they are onstage in a concert or a play. They have to be at large, or at an occasion we were both invited to. According to an online article my travel 我电脑上还有另一个列表，名为“我见过的明星”。如果他们是在音乐会或戏剧的舞台上出现，是不算数的。他们必须是在公共场合，或者是在我们都被邀请参加的场合。根据我的旅行代理发来的一篇网络文章，
agent sent, one that referred to my fellow Vatican invitees as “yucksters,” I’d soon be adding two American comedians, a British one, and an actress, also American, to my list. 文章称我的梵蒂冈同行被称为“恶心家伙”，我很快就会把两位美国喜剧演员、一位英国喜剧演员和一位同样是美国的女演员加入我的名单。
“Plus the Pope,” Hugh reminded me when I told him that I was definitely going. 休告诉我：“还有教皇”，当我告诉他我肯定会去的时候。
“Oh, right,” I said, the way I might have had he said, “Plus Sully Sullenberger.” I guess I’d been limiting my list to entertainers and people who aren’t in show business but dazzle nevertheless, like Ann Richards, the late governor of Texas. If I don’t see the Pope as dazzling, I suppose it’s because I’m not religious in any way. On my deathbed, I’ll likely cover my bases and beg for forgiveness, but not until I’m coughing up blood, or see Hugh reaching for the plug of my respirator. “哦，对，”我说，就像我可能会说的那样，他说，“还有萨利·沙利文伯格。”我想我一直把我的名单限制在娱乐圈的人和那些虽然不在演艺圈但依然令人惊叹的人，比如已故的德克萨斯州州长安·理查兹。如果我不觉得教皇令人惊叹，可能是因为我一点也不信宗教。在临终时，我很可能会做足准备，乞求宽恕，但那不会发生在我咳血之前，或者看到休伸手去拔我的呼吸机插头之前。
Does that make me an agnostic or a flat-out atheist? I do believe there was someone named Jesus who was a revolutionary, but I don’t think he was God’s son, or that he was resurrected. It was a shame that I was invited to the Vatican, actually-like sending me to the U.S. Open when I’ve never watched a football game in my life. I thought of the millions of people in the world who’d give anything to meet the Pope and realized that I knew only two of them: my friend Ewan’s cleaning lady and Stephen Colbert, who’s so Catholic he taught Sunday school. 这让我算是不可知论者还是彻头彻尾的无神论者？我确实相信有一个叫耶稣的人是个革命者，但我不认为他是上帝的儿子，也不认为他复活了。实际上，我被邀请去梵蒂冈真是遗憾——就像让我去美国网球公开赛，而我一辈子从没看过一场足球比赛。我想到世界上有数百万人愿意付出一切去见教皇，却意识到我只认识其中两个：我朋友尤恩的清洁工和斯蒂芬·科尔伯特，他是如此虔诚的天主教徒，以至于教过主日学。
The dress code on the invitation was daytime formal, which I was told amounted to shined shoes and a suit. The only one I had at my fingertips was bought nine years earlier, when I was invited to Buckingham Palace. The late Queen hosted tea parties every summer for do-gooders of one stripe or another, and I was included on account of all the rubbish I’d collected by the sides of British roads. She and I didn’t meet, but I saw her-she was standing within hearing range, close enough for me to comprehend how truly tiny she was. Her feet were the size of hot-dog buns. We’d been told to leave our phones and cameras at home, but everyone around me had snuck one in, and they were all going bananas. 邀请函上的着装要求是日间正式，据说就是擦亮的鞋子和一套西装。我手头唯一有的西装是九年前买的，那时我受邀去白金汉宫。已故女王每年夏天都会为某种善行者举办茶会，而我因为在英国公路边收集的各种垃圾被邀请参加。她和我没有见面，但我看到了她——她站在听得见的范围内，近得让我能感受到她到底有多小。她的脚大小像热狗面包。我们被告知要把手机和相机留在家里，但我周围的每个人都偷偷带了一个，他们都兴奋得不行。
Me, I’m just not a picture person. Am I glad other people have cameras? 我呢，我就是不喜欢拍照的人。我高兴别人有相机吗？
Sometimes. Like at the dinner Stephen Colbert arranged the night before our papal audience. I look at the photos of the assembled guests and wonder, What was I doing there? Why not Garrison Keillor, Tina Fey, or Donald Glover, to name just three of a thousand more qualified people? It was like a reproduction of “The Last Supper” with one of the disciples replaced by Snoopy. 有时候会高兴。比如在我们教皇会见前一晚，斯蒂芬·科尔伯特安排的晚宴上。我看着聚集的宾客照片，心想，我当时在干什么？为什么不是加里森·基勒、蒂娜·菲或者唐纳德·格洛弗，光这三个人就比我更有资格？那场景就像《最后的晚餐》的复制版，只不过其中一个门徒被史努比替代了。
“Does anyone have a favorite God joke?” Colbert asked as our final course was served. “It doesn’t have to be your own.” “有人有喜欢的上帝笑话吗？”科尔伯特在上最后一道菜时问道。“不一定非得是你自己的笑话。”
For most of the evening, I’d sat across from Whoopi Goldberg, who had no appetite and passed me all her plates after just a bite or two. That meant double servings of four separate pasta dishes, two steaks served on rafts of eggplant, four rich smothered dumplings, two tomato salads, and two cherry-and-goat-cheese pavlovas, plus all the food I snatched from the plate of Jim Gaffigan’s youngest son, who was seated to my right. Now my pants no longer fit, and my watchband was cutting off the circulation in my left hand. Even my throat was swollen. I cleared it before taking the floor. 整个晚上，我大部分时间都坐在伍皮·戈德堡对面，她没什么胃口，只吃了一两口就把她的盘子都递给了我。这意味着我吃了四份不同的意大利面、两份放在茄子上的牛排、四份浓郁的焖饺子、两份番茄沙拉和两份樱桃山羊奶酪帕芙洛娃，还有我从坐在我右边的吉姆·加菲根最小儿子的盘子里抢来的所有食物。现在我的裤子已经穿不下了，手表带勒得我左手血液循环都受阻了，连喉咙都肿了。我清了清嗓子，然后开始发言。
"So God tells Adam, ‘I’m going to make you a wife, a helpmate, the most beautiful woman who ever lived. She’ll be terrific in bed, enthusiastic, and uncomplaining. But it’ll cost you.’ “于是上帝对亚当说，‘我要给你造一个妻子，一个帮手，世上最美丽的女人。她在床上会很棒，热情而且不抱怨。但这会有代价。’”
"Adam asks, 'How much?’ “亚当问，‘代价是多少？’”
" ‘An eye, an elbow, a collarbone, and your left ball.’ "‘一只眼睛，一个肘部，一块锁骨，还有你的左睾丸。’"
“Adam thinks for a minute, then asks, ‘What can I get for a rib?’” 亚当想了一会儿，然后问，‘肋骨能换什么？’
The polite but underwhelming response I got from people who tell jokes for a living-who fill stadiums-should have taught me a lesson. Instead, I told another one. 那些靠讲笑话为生、能填满体育场的人给我的礼貌但平淡的反应本该教会我一课。可我却又讲了一个笑话。
"What’s the worst part of having sex with Jesus? "和耶稣发生性关系最糟糕的部分是什么？"
“He’s always wanting to come into your heart.” “他总是想进入你的心里。”
Thank God Colbert told a joke as well. It was, he warned us, decades old, and one of the first he ever wrote. But at least he wrote it. Mine were ones people had told me at book signings. I don’t belong here, I thought, embarrassed, for the umpteenth time that evening. 感谢上帝，科尔伯特也讲了个笑话。他警告我们说，这个笑话有几十年历史，是他写的第一个笑话之一。但至少是他写的。我的笑话都是别人在人们签书时告诉我的。我觉得我不属于这里，那天晚上我第无数次感到尴尬。
Usually, I comfort myself by remembering that everyone secretly feels 通常，我会通过记住每个人心里都秘密地感受到来安慰自己
“Unfortunately, you’re still out of the woods.” “不幸的是，你仍然没有脱离困境。”
out of place. Here, though, I’m pretty sure it was just me. That said, my fellow-guests were welcoming and, it goes without saying, terribly, terribly funny, just as they were at six-fortyfive the following morning, when we met at an entrance gate near the Pope’s living quarters and were led to a magnificently frescoed room in the Apostolic Palace. There, we joined the hundred other people whod been invited: more international writers and comics, most of them from Italy. I knew only one, a woman named Luciana Littizzetto, whom I’d met years earlier, in Turin. She was the only non-Vatican representative to address the crowd that morning. Her remarks lasted a minute or two and were in Italian, as were the Pope’s. 感觉格格不入。不过，在这里，我很确定只是我自己这样。话虽如此，我的同伴们非常热情，且不用说，他们非常非常有趣，就像第二天早上六点四十五分我们在教皇的居所附近的一个入口门口集合时一样。我们被带到宗座宫一间装饰华丽的壁画房间。那里，我们加入了另外一百名受邀者：更多的国际作家和喜剧演员，他们大多数来自意大利。我只认识一个人，一个名叫卢西亚娜·利蒂泽托的女人，我多年前在都灵见过她。她是那天早上唯一一位向人群发表讲话的非梵蒂冈代表。她的发言持续了一两分钟，用意大利语，就像教皇的讲话一样。
The assembled group stood and applauded as he entered the room and took his thronelike seat before us. It 当他进入房间并坐到我们面前那个王座般的座位上时，聚集的人群站起来鼓掌。它...
speaks to the man’s humility that he allows every rank-and-file clergy member to outdress him. The cardinals were resplendent in their black cassocks, which had bright-scarlet buttons and a matching sash called a fascia. Better still were the Papal Gentlemen, who wore morning coats and white bow ties coupled with elaborate bibs, often with medals hanging off them. The Swiss Guard looked like Renaissanceera toy soldiers in their multicolored striped outfits, standing just so with feathers in their helmets, their halberds held before them. Even the friars in their dung-colored robes and sandals were more strikingly dressed than the Pope, who looked a bit mother-of-thebride in a white cassock with a shawltype thing over his shoulders. He wore a skullcap and, around his neck, a cross on which you could have crucified the late Queen of England. 这体现了这位男士的谦逊，他允许每一位普通神职人员的穿着都比他更讲究。红衣主教们身穿黑色长袍，配有鲜红色的纽扣和一条称为 fascia 的同色腰带，显得光彩夺目。更出彩的是教皇侍从，他们穿着晨礼服和白色蝴蝶领结，搭配精致的围裙，常常挂着勋章。瑞士卫兵穿着多彩条纹的文艺复兴时期玩具士兵服装，头戴羽毛头盔，手持戟，站姿端正。即使是穿着土黄色长袍和凉鞋的修士们，穿着也比教皇更引人注目，而教皇则穿着白色长袍，肩上披着类似披肩的东西，看起来有点像新娘的母亲。他戴着小圆帽，脖子上挂着一枚可以钉死已故英国女王的十字架。
The Pope read a prepared statement of which we were each given a copy. It amounted to: laughter makes the world go round. His voice was soft and passionless. At one point, he got a reaction by sticking a thumb above his ear and wagging his fingers, but, as one member of the American delegation said afterward, “we really just laughed out of politeness.” 教皇宣读了一份事先准备好的声明，我们每人都拿到了一份。内容大意是：笑声让世界运转。他的声音柔和而无激情。有一刻，他把大拇指放在耳朵上方，摇动手指，引起了反应，但正如美国代表团的一位成员事后所说，“我们其实只是出于礼貌而笑。”
The part that moved me took place after his address, when, row by row, we were led up the aisle and personally greeted. The Pope remained seated and shook each of our hands. Some people brought him gifts; others leaned in to tell him something. I think I said, “Thanks for having me.” Standing before him, I felt the same pity I’d felt for the Queen and would feel for anyone who has to meet people for a living. Nothing stirred inside me the way that it did in 2015, when, rounding a corner at the White House, where I’d been invited to talk with some speechwriters, I happened upon President Obama. For a moment, standing there with my mouth hanging open, I feared that I might spontaneously combustwith respect, with pride and awe. The encounter with the Pope, though, was like meeting the Dalai Lama: not an inconvenience by any stretch, not uninteresting, just “Oh, hi.” 让我感动的部分发生在他的演讲之后，当时我们一排排地被引导着走过过道，逐一与他握手问候。教皇一直坐着，握着我们每个人的手。有些人带了礼物给他；其他人则凑近他耳边说些什么。我想我说了句：“谢谢您接待我。”站在他面前，我感受到的怜悯与我对女王的感受一样，也会对任何必须靠见人谋生的人产生同样的感受。没有什么能像 2015 年那样激起我内心的波澜，那时我在白宫转角处，受邀与一些演讲稿撰写者交谈，偶遇了奥巴马总统。那一刻，我张着嘴站在那里，害怕自己会因敬意、自豪和敬畏而自燃。然而，与教皇的相遇更像是见到了达赖喇嘛：绝不是一种麻烦，也不无聊，只是“哦，你好”。
Many people, after the handshake, walked a few steps, pulled out their phones, and then took a selfie with the Pope in the background. It was so tacky. I said to the Italian seated to my right, “You’d think he was Santa!” 许多人握手后走了几步，掏出手机，然后拍了张以教皇为背景的自拍照。那真是太俗气了。我对坐在我右边的意大利人说：“你会以为他是圣诞老人呢！”
Ass at any good fashion show, the majority of our time was spent waiting, but the clothes we saw made it all worthwhile. The difference, I thought, was that these outfits weren’t for sale. Then my friend Austin wrote from the States and told me that while in Rome I had to go to Gammarelli, a bespoke tailoring business, founded in 1798, that’s been dressing the Pope and his associates for generations. It wasn’t too far from my hotel, so late in the afternoon I went with Julia LouisDreyfus, who wore great clothes and was seemingly up for anything. I’d worried on the walk over that Gammarelli wouldn’t sell to laymen. “I’m going to tell them that my brother is a priest,” 在任何一场好的时装秀上，我们大部分时间都在等待，但我们看到的服装让这一切都值得。我想，区别在于这些服装不是出售的。然后我的朋友奥斯汀从美国写信告诉我，在罗马我一定要去 Gammarelli，这是一家定制裁缝店，成立于 1798 年，几代以来一直为教皇及其随从量身定制服装。它离我的酒店不远，所以下午晚些时候我和朱莉娅·路易斯-德雷福斯一起去了，她穿着很棒的衣服，看起来对任何事情都很感兴趣。我在走过去的路上担心 Gammarelli 不会卖给外行人。“我要告诉他们我哥哥是个神父，”
I said to her, “that he’s my same size, and I thought this might make for a good Christmas present.” 我对她说，“他和我一样的尺码，我觉得这可能是个不错的圣诞礼物。”
I figured they must hear that a lot, though, so when the time came I told the salesman, who was young and slender and spoke very good English, that I collect religious garments from around the world. 不过我想他们一定经常听到这种说法，所以到了时候我告诉那个年轻瘦削、英语很好的售货员，我收藏来自世界各地的宗教服饰。
“He’s actually a noted historian,” Julia said. “他其实是一位著名的历史学家，”朱莉娅说。
I looked at her, like, Fuck. If I wanted to be put on the spot like this, I’d have come with my sister Amy. 我看着她，心想，妈的。如果我想被这样当场难住，我早该和我妹妹艾米一起来了。
“I also study history,” the young man said. “What is your area of concentration?” “我也学历史，”那个年轻人说。“你专攻哪个领域？”
I panicked. “Sometimes I write for magazines,” I told him. 我慌了。“有时候我给杂志写稿，”我告诉他。
What I wanted was a black cassock. That’s the ankle-length robe Catholic priests wear. I wanted one because they’re slimming, they’re classic, and they’re beautifully made, at least at Gammarelli. 我想要一件黑色的神父长袍。那是天主教神父穿的及踝长袍。我想要一件，因为它们显瘦、经典，而且做工精美，至少在甘马雷利那里是这样。
“We start by choosing the wool,” the young man said, handing me a book of fabric samples. “Then we select the buttons and take your measurements.” “我们先从选择羊毛开始，”年轻人说着，递给我一本面料样本册。“然后我们选择纽扣，量你的尺寸。”
A Gammarelli cassock generally takes months to make and involves several fittings. The price, which is steep, reflects the high quality of work that goes into it. That said, it’s not as involved as a bespoke suit-there are no pants to worry about, no zippers in this case-but it is intricately pleated and lined. I was still willing to go ahead with it and was being measured when the young man left the dressing room and returned with a cassock that was already finished but had never been collected. Perhaps the priest who ordered it had died, or had been sent to prison. Whatever the case, it fit me very well except for the length, which could easily be adjusted. 一件 Gammarelli 教士服通常需要几个月时间制作，并且需要多次试穿。价格虽然昂贵，但反映了其高质量的工艺。话虽如此，它并不像定制西装那样复杂——没有裤子需要担心，这里也没有拉链——但它有复杂的褶皱和内衬。我仍然愿意继续制作，当我正在量身时，年轻人离开试衣间，拿来了一件已经完成但从未被取走的教士服。也许是订购的神父去世了，或者被送进了监狱。不管怎样，除了长度需要调整外，它非常合身。
Next came the Roman collar. The outfit’s fine without it, I thought, until I added it and realized, Whoa, you really need the collar. Then came the fascia, and I got two-the classic black one and a scarlet model that a cardinal would wear. 接下来是罗马领。我原以为没有它这套衣服也不错，直到我戴上它，才意识到，哇，真的需要这个领子。然后是腰带，我拿了两个——经典的黑色款和枢机主教会穿的猩红色款。
“Is it against the law to dress like a priest?” I whispered to Julia as I did up the last of the thirty-three buttons, “穿成神父的样子合法吗？”我一边扣上三十三颗纽扣中的最后一颗，一边悄声对朱莉娅说。
each of which symbolizes a year of Jesus’ life and leaves you wishing he’d been crucified at twelve, especially if, like me, you’re developing arthritis in your fingers. 每一个都象征着耶稣生命中的一年，让你忍不住希望他十二岁时就被钉在十字架上，尤其是如果你像我一样，手指开始患上关节炎的话。
I loved the idea of wearing my cassock on the street. Then I imagined myself walking along and being approached by a person in distress or, worse yet, by another priest asking me if I’d heard the news about Father O’Shea or Archbishop DiMaggio. “A cardiac arrest, not two minutes into the Eucharist!” What does one say in that situation? 我喜欢穿着我的法衣在街上走的想法。然后我想象自己走着走着，有一个遇到困难的人走过来，或者更糟的是，另一个神父问我是否听说了关于奥谢神父或迪马吉奥大主教的消息。“心脏骤停，就在圣餐开始不到两分钟！”在那种情况下，人该说什么呢？
“Oh, sorry, I honestly just liked the robe. It takes ten pounds off!” “哦，抱歉，我其实只是喜欢这件长袍。它能让我看起来瘦十磅！”
The next day at the airport, awaiting my flight back to London, I saw a priest wearing the very outfit I had beside me in my suitcase. He was heavyset and bearded, his black hair gathered in a short ponytail. What’s it like to know that you can never marry or even date someone?, I wondered. More than that, what’s it like to have faith? To look at a solid argument against your God and say with absolute conviction, “I think I prefer it my way, thank you.” 第二天在机场，等待飞回伦敦的航班时，我看到一位神父穿着我行李箱里那套衣服。他身材魁梧，留着胡子，黑发扎成一个短马尾。我想，知道自己永远不能结婚甚至不能约会某人是什么感觉？更重要的是，有信仰是什么感觉？面对一个对你的上帝提出的有力反驳时，仍然坚定地说：“谢谢，我还是更喜欢我的方式。”
My Greek grandmother was like that-kept a crucifix the size of a hand mirror in her bedroom and kissed it until her lips wore the plating off Jesus’ stomach. Cried when she saw Billy Graham on TV, even though she didn’t understand what he was saying. “Jesus blessie,” she’d whisper, crossing herself whenever we passed a church, any church. Tie two sticks together and her eyes would water. My father had maybe a third of her faith, and his children, for whatever reason, none. 我的希腊祖母就是那样——在她的卧室里放着一个手镜大小的十字架，亲吻它直到嘴唇把耶稣肚子上的镀层都磨掉了。看到比利·格雷厄姆在电视上时会哭，尽管她听不懂他说什么。“耶稣保佑，”每当我们经过教堂，任何教堂时，她都会低声祈祷，自己划十字。两根棍子绑在一起她的眼睛就会湿润。我的父亲大概只有她信仰的三分之一，而他的孩子们，不知为何，一点信仰都没有。
I wanted to tell the priest at the airport that I had just met his boss, the Pope, that I’d shaken his hand and been given a rosary in a leather pouch. Without seeming creepy, I then wanted to ask what he was wearing beneath his cas-sock-underwear and a T-shirt? Cutoff shorts? Dress slacks? Jeans? Is it every man for himself, or are there rules? 我想告诉机场的神父，我刚刚见过他的老板——教皇，我握过他的手，还收到一个装在皮革袋里的念珠。然后我想不显得怪异地问他穿的是什么——袜子下面是内裤和 T 恤吗？短裤？正装裤？牛仔裤？是各人自扫门前雪，还是有规矩？
I hated to think I was missing something. 我讨厌觉得自己错过了什么。
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LETTER FROM AUSTRIA 来自奥地利的信
spreading THE WEALTH 传播财富
Why a young heiress asked fifty strangers to redistribute her fortune. 为什么一位年轻的女继承人请五十个陌生人重新分配她的财富。
BY JOSHUA YAFFA 约书亚·亚法 著
In January, Erna was having a coffee in her living room in Vienna when she opened a letter from something called the Guter Rat für Rückverteilung, or the Good Council for Redistribution. “Guten Tag Ernestine!” the letter began. “How wealth is distributed across the country shapes how we live together and influences how well a democratic society functions.” 一月，埃尔娜正在维也纳的客厅喝咖啡时，打开了一封来自名为“财富再分配良好理事会”（Guter Rat für Rückverteilung）的信。“你好，欧内斯廷娜！”信的开头写道。“财富在全国的分配方式塑造了我们的共处方式，并影响着民主社会的运作效果。”
The Good Council, the text went on, would comprise fifty Austrians selected by lottery-Erna was among ten thousand who made the first cut-and meet for six weekends to come up with proposals for how to address inequality in Austria, where the richest one per cent controls half of the country’s wealth. 信中继续写道，这个良好理事会将由五十名奥地利人组成，他们通过抽签选出——埃尔娜是首轮一万名候选人中的一员——并将在接下来的六个周末聚会，提出解决奥地利不平等问题的建议，在那里，最富有的 1%掌控着全国一半的财富。
Additionally, the council would have twenty-five million euros to distribute as it saw fit, money provided by Marlene Engelhorn, who was described in the letter only as the council’s “Auftraggeberin,” or principal client. The letter emphasized that the council would make decisions “freely and without influence.” Those selected as members would also receive twelve hundred euros per weekend as compensation for their time and labor. 此外，委员会将拥有两千五百万欧元可自由分配，这笔资金由马琳·恩格尔霍恩提供，信中仅将她描述为委员会的“Auftraggeberin”，即主要委托人。信中强调，委员会将“自由且不受影响地”做出决定。被选为成员的人每个周末还将获得一千二百欧元的报酬，以补偿他们的时间和劳动。
Erna, who is eighty and long retired from her job as a waitress in a corporate cafeteria, ripped up the letter and threw it in the trash. She lives on a state pension of four hundred and fifty euros a month. What do I know about distrib- 埃尔娜已经八十岁，早已从企业食堂的服务员工作中退休，她撕毁了那封信并扔进了垃圾桶。她靠每月四百五十欧元的国家养老金生活。我对分配——
“I’m not a ‘good’ rich person,” Marlene Engelhorn says. “I’m just a rich person.” “我不是一个‘好’富人，”马琳·恩格尔霍恩说。“我只是一个富人。”
uting millions? she thought. The next morning, however, she came across a newspaper article on the Good Council. Engelhorn, an activist and an heir to a pharmaceutical fortune, had announced its creation at a press conference in Vi enna. She told journalists, “If politicians don’t do their job and redistribute, then I have to redistribute my wealth myself.” 分配数百万欧元？她想。第二天早上，她偶然看到一篇关于“好委员会”的报纸文章。恩格尔霍恩是一位活动家，也是制药财富的继承人，她在维也纳的新闻发布会上宣布了该委员会的成立。她告诉记者：“如果政治家们不履行职责进行再分配，那么我就必须自己来再分配我的财富。”
Erna recalled the handful of euros she often gave a homeless man she passed in town, and the neighbor she’d accompanied to a shelter for victims of domestic abuse. She fished the scraps of paper from the trash, ironed them flat, and dialled the number included in the letter. Two days later, she received a call from a Good Council representative who asked her a series of questions about her income and education. By the end of the month, she had been selected as one of the council’s fifty members. 埃尔娜回想起她经常给镇上一个无家可归的人几欧元，以及她曾陪同邻居去一个家庭暴力受害者收容所的情景。她从垃圾桶里捡出那些纸片，把它们熨平，然后拨打了信中附带的电话号码。两天后，她接到了一个“好议会”代表的电话，对方问了她一系列关于收入和教育的问题。月底时，她被选为议会的五十名成员之一。
The council was convening in Salzburg, near the German border, and not far from where Erna’s daughter lives. “Mom, no, it’s a scam,” her daughter said. Nonetheless, in March, her daughter met Erna at Salzburg’s train station and drove her to the hotel where the council was scheduled to hold its first meeting. She wanted to know what her mother had got herself into. In the lobby, her daughter saw Engelhorn, whom she recognized from television."Mom,"she said,“This is legit.” 议会在萨尔茨堡召开，靠近德国边境，也离埃尔娜女儿居住的地方不远。“妈妈，不，这是一场骗局，”她女儿说。尽管如此，三月份，她女儿在萨尔茨堡火车站接了埃尔娜，开车送她到议会计划举行首次会议的酒店。她想知道母亲到底卷入了什么。在大堂里，她女儿看到了恩格尔霍恩，她从电视上认出了他。“妈妈，”她说，“这是真的。”
Salzburg, a handsome storybook city at the foot of the Alps, is best known as the birthplace of Mozart. The Good Council’s hotel was on the outskirts of town. The first afternoon of the proceedings, I took a seat near the back of a bright, wood-panelled conference room and watched as Erna and the other council members-who referred to one another using only given names-introduced themselves. The group included college students, schoolteachers, accountants, immigrants, and retirees-a “miniAustria,” as the statistical firm that compiled the final list of participants called it. The mood was eager and friendly, more summer camp than corporate retreat. 萨尔茨堡，这座位于阿尔卑斯山脚下的美丽童话般的城市，以莫扎特的出生地而闻名。善意委员会的酒店位于城郊。会议的第一个下午，我在一个明亮的木质镶板会议室后排找了个座位，观看埃尔娜和其他委员会成员——他们只用名字互相称呼——做自我介绍。这个小组包括大学生、教师、会计师、移民和退休人员——正如统计公司为最终参与者名单所称，这是一个“小奥地利”。气氛热切而友好，更像是夏令营而非企业静修。
The concept of a citizen council-a democratic forum with roots in ancient Greece-is straightforward: a selected group of people come together to discuss a matter of public policy, with the goal of making proposals or clarifying public attitudes. Hélène Landemore, a profes- 公民委员会的概念——一个源自古希腊的民主论坛——很简单：一群被选中的人聚集在一起讨论公共政策问题，目的是提出建议或澄清公众态度。海伦·兰德莫尔，一位教授——
sor at Yale and the author of “Open Democracy,” which argues for a more inclusive system of participatory governance, told me,“Parliaments are now largely defined by partisanship and the logic of power. You’re there to win, not to learn or change your mind.” The members of a citizen council, on the other hand, come without partisan allegiances and are typically more familiar with the realities of daily life. “It’s a very small subset of the population that enters traditional politics, and, once they do, they tend to stay there too long,” Landemore said. “They don’t know the price of a pain au chocolat or a metro ticket. They’re disconnected.” 耶鲁大学的教授、《开放民主》一书的作者告诉我，“议会现在主要由党派立场和权力逻辑定义。你在那里是为了赢，而不是为了学习或改变想法。”而公民委员会的成员则没有党派忠诚，通常更熟悉日常生活的现实。“进入传统政治的人口只是一个非常小的子集，而且一旦进入，他们往往停留得太久，”兰德莫尔说。“他们不知道巧克力羊角面包或地铁票的价格。他们与现实脱节。”
In recent years, citizen councils in Ireland, France, and Austria have considered such issues as abortion, end-of-life care, and climate change. For the most part, the conclusions of these efforts have been nonbinding. The Austrian Citizens’ Climate Assembly, for instance, which convened in 2022 as a result of a nationwide referendum, produced a hundredpage report with dozens of recommendations, including the introduction of tariffs on greenhouse-gas-intensive food imports and mandatory charges for returning online orders. But no government agency was required to pursue them. The Good Council was different: Engelhorn’s millions were held in a trust and would be distributed in strict accordance with the council members’ instructions. 近年来，爱尔兰、法国和奥地利的公民议会讨论了堕胎、临终关怀和气候变化等问题。在大多数情况下，这些努力的结论并不具备约束力。例如，奥地利公民气候大会于 2022 年因全国公投而召开，产生了一份百页报告，提出了数十项建议，包括对高温室气体排放的食品进口征收关税以及对退回的网购商品收取强制性费用。但没有任何政府机构被要求执行这些建议。好议会则不同：Engelhorn 的数百万资金被托管，并将严格按照议会成员的指示分配。
At a little after 2 P.m., Engelhorn walked into the room, wearing a navy vest, a white collarless shirt, and round metal glasses. She is thirty-two, with a voluminous wave of short brown hair. Her left arm is covered in a sleeve of tattoos. “Redistribution means recognizing that wealth comes from society and should return to society,” she told the council members. She spoke of wealth as power - a power she didn’t earn and doesn’t want. “I’m not a ministry to whom you make a recommendation that immediately disappears into a drawer somewhere,” she said. “You can really achieve something. My part is giving you access to my assets.” 在下午两点刚过，恩格尔霍恩走进房间，穿着一件海军蓝背心、一件白色无领衬衫，戴着圆形金属眼镜。她三十二岁，短棕发蓬松有波浪。她的左臂上覆盖着一整袖的纹身。“再分配意味着承认财富来自社会，应该回馈社会，”她对委员会成员说。她谈到了财富即权力——一种她没有赚取且不想要的权力。“我不是一个你们提出建议后就会立刻被搁置抽屉里的部门，”她说。“你们真的可以有所作为。我的部分是让你们能够使用我的资产。”
She stepped forward and began speaking in sign language. Hildegund, a member of the council who is deaf and had been following Engelhorn’s speech through an interpreter, started to sign back. Later, I spoke with Hildegund, a retired seamstress in her seventies, who used to work in an Adidas factory. “Peo- 她上前开始用手语讲话。希尔德贡德，一位聋哑的委员会成员，一直通过翻译跟随恩格尔霍恩的演讲，开始用手语回应。后来，我与希尔德贡德交谈，她是一位七十多岁的退休缝纫工，曾在阿迪达斯工厂工作。
ple don’t pay attention to deaf people, let alone speak sign language-and definitely not the rich and powerful,” she said. “I was impressed-emotional, even.” “人们根本不关注聋人，更别说使用手语交流——尤其是富有和有权势的人，”她说。“我很感动，甚至有些激动。”
Engelhorn invited questions from the council members. Someone asked whether the twenty-five million was the entirety of her fortune-though a sizable sum, it’s not all that much for many of the world’s ultra-wealthy. Engelhorn laughed and made a chef’s-kiss motion. Another three million was being spent on the council itself, she said, which together made up more than ninety per cent of her wealth. “I’ll keep a small amount for living costs and the transition into working for a living,” she added. Next someone asked, How do you know sign language? Engelhorn recalled that, when she was twenty years old, she was riding the subway and saw some people communicating in sign language. “In that moment, I decided this is important,” she said. “I want to learn it.” Engelhorn 邀请理事会成员提问。有人问这两千五百万是否是她全部的财富——虽然数额可观，但对于世界上许多超级富豪来说并不算多。Engelhorn 笑了笑，做了一个厨师之吻的手势。她说，还有三百万花在理事会本身，这两部分加起来占她财富的九成以上。“我会留一小部分用于生活开销和过渡到工作生活，”她补充道。接着有人问：“你怎么会手语？”Engelhorn 回忆说，二十岁时，她在地铁上看到有人用手语交流。“那一刻，我决定这很重要，”她说，“我想学它。”
Then Engelhorn prepared to catch a train home to Vienna. She would have no more involvement in the council. “I’m a rich person,” she told me. "I have an effect on people. What I say can influence their ideas, but I want to limit that influence as much as possible."The only rules she stipulated were that the money could not go to for-profit entities, political parties, or groups whose activities are “unconstitutional, hostile, or inhumane.” The small group of experts and facilitators who helped organize the council had added another rule: no private recipients. Engelhorn initially objected. She didn’t want to take away the members’ right to give the money, or a portion of it, to themselves. “I wanted to be able to prove that they wouldn’t pocket it,” she said. But ultimately she accepted the team’s decision. “Democracy is never perfect,” she told me. “It will always be messy.” 然后恩格尔霍恩准备赶火车回维也纳。她将不再参与理事会。“我是个有钱人，”她告诉我。“我对人们有影响力。我说的话可以影响他们的想法，但我想尽可能限制这种影响。”她唯一规定的规则是，资金不能流向营利性实体、政党或其活动“违宪、敌对或不人道”的团体。帮助组织理事会的一小群专家和协调员又增加了一条规则：不允许私人接受者。恩格尔霍恩最初反对。她不想剥夺成员将钱或部分钱给自己权利。“我想证明他们不会私吞，”她说。但最终她接受了团队的决定。“民主永远不完美，”她告诉我。“它总是混乱的。”
The story of Engelhorn’s wealth begins in 1865, in southwest Germany, where her great-great-great-grandfather, Friedrich Engelhorn, was one of the founders of a chemical company named Badische Anilin- & Sodafabrik, or B.A.S.F.In 1883 , he sold his shares and invested the money in a pharmaceutical company now known as Boehringer Mannheim. A decade later, his son, Friedrich, Jr., became its sole owner. During the Second World War, Boehringer Mannheim moved its research facilities 恩格尔霍恩财富的故事始于 1865 年，在德国西南部，她的高祖父弗里德里希·恩格尔霍恩是一个名为巴登苯胺与苏打厂（Badische Anilin- & Sodafabrik，简称 B.A.S.F.）的化工公司的创始人之一。1883 年，他出售了自己的股份，并将资金投资于一家现称为勃林格·曼海姆的制药公司。十年后，他的儿子弗里德里希·恩格尔霍恩二世成为该公司的唯一所有者。二战期间，勃林格·曼海姆将其研究设施迁往巴伐利亚乡村，以躲避盟军轰炸，
to the Bavarian countryside, to escape Allied bombing, but little else is known of its activities under the Third Reich. “I don’t know all the details, but there was collaboration, no doubt,” Engelhorn said. B.A.S.F. has a far less ambiguous wartime record: it was part of a conglomerate that produced Zyklon B, the lethal chemical used by the Nazis to kill Jews and other victims in the gas chambers. 但关于其在第三帝国时期的活动知之甚少。“我不知道所有细节，但毫无疑问存在合作，”恩格尔霍恩说。B.A.S.F.的战时记录则明确得多：它是一个生产氰化氢（Zyklon B）的财团的一部分，这种致命化学品被纳粹用来在毒气室杀害犹太人和其他受害者。
After the war, Curt Engelhorn, Marlene’s great-uncle, took over the company, which was then a medium-sized family business, and turned it into a global empire. Along the way, he availed himself of several tax-avoidance tricks, moving to a private island in Bermuda and creating a shell company there for his and his family’s shares. (A German magazine described the Engelhorns as “mortal enemies among themselves, united only when it came to saving taxes.”) In 1997, Curt sold Boehringer Mannheim for eleven billion dollars to Roche, a Swiss holding company, in what was then the largest corporate acquisition in European history. Since the shares were technically held in Bermuda, the profits flowed to Curt and the other Engelhorns entirely tax-free. (Curt boasted of successfully avoiding the “tax trap,” but German authorities later investigated him and his two daughters for evading more than four hundred million euros in taxes; the daughters settled and agreed to pay back a hundred and forty-five million.) Marlene’s grandmother Gertraud, or Traudl, as she was known, who was then living on the shores of Lake Geneva, became a billionaire. 战后，马琳的叔祖父柯特·恩格尔霍恩接管了当时还是一家中型家族企业的公司，并将其发展成了一个全球帝国。在此过程中，他利用了多种避税手段，搬到了百慕大的一个私人岛屿，并在那里为自己和家族的股份设立了一个空壳公司。（一家德国杂志形容恩格尔霍恩家族成员“彼此如死敌，只有在节税时才团结一致。”）1997 年，柯特以 110 亿美元将博林格曼海姆出售给瑞士控股公司罗氏，这在当时是欧洲历史上最大的一笔企业收购。由于股份技术上持有于百慕大，利润完全免税流入柯特和其他恩格尔霍恩家族成员手中。（柯特曾自夸成功避开了“税收陷阱”，但德国当局后来调查他和他的两个女儿逃税超过四亿欧元；女儿们和解并同意偿还一亿四千五百万欧元。）当时居住在日内瓦湖畔的马琳祖母格特劳德，或称特劳德尔，成为了亿万富翁。
Marlene grew up in a villa outside of Vienna and attended the Lycée Français de Vienne. “Our mansion was surrounded by other mansions,” she told me. “I thought that’s what a house is, that’s how people live.” Still, she learned not to share too widely at school what gifts she received for her birthday or Christmas, or where the family had vacationed during summer break. (When an interviewer at Der Spiegel recently asked Engelhorn if she grew up with “limousines, chauffeurs, and servants,” she replied, “The joke is that it’s irrelevant. My unpleasant answer is that it’s none of your business.”) As she got older, she became careful about inviting friends over to her family’s home. “When you grow up wealthy, it’s not that one day you realize how much money 马琳娜在维也纳郊外的一座别墅中长大，并就读于维也纳法国中学。“我们的豪宅被其他豪宅包围着，”她告诉我。“我以为那就是房子，那就是人们的生活方式。”不过，她学会了在学校不要过多地分享自己生日或圣诞节收到的礼物，或者家人在暑假期间去哪里度假。（当《明镜》杂志的一位采访者最近问恩格尔霍恩她是否是在“豪华轿车、司机和仆人”的环境中长大时，她回答说：“笑话是这无关紧要。我的不愉快回答是，这不关你的事。”）随着年龄的增长，她变得小心，不轻易邀请朋友到家里来。“当你在富裕家庭长大时，并不是某一天你突然意识到你有多少钱
you have,” she told me. “But, rather, that there is such a thing as people who don’t.” ，”她告诉我。“而是意识到有些人是没有钱的。”
She enrolled at the University of Vienna, where she studied German language and literature, and expanded her circle of friends, meeting people on every point of the class spectrum. Conversations about rent (“I had never thought about what you can afford with a certain amount of money,” Engelhorn said) and the time a friend needed help with a legal problem (“Why don’t you ask the family lawyer?” she replied) awakened her further to her own privilege. She began reading philosophy, political theory, and economics. When I asked for a list of influences, she sent me more than forty works, ranging from Albert Camus and Susan Sontag to more contemporary books on inequality, including “Limitarianism: The Case Against Extreme Wealth,” by the Belgian-Dutch philosopher and economist Ingrid Robeyns, and “Having and Being Had,” a meditation on accumulation and consumption in a capitalist society, by the American author Eula Biss. “It became clear to me that being wealthy in an unequal world means you’re doing so at the cost of other people’s lives,” Engelhorn said. 她在维也纳大学注册，学习德国语言文学，扩大了朋友圈，结识了各个阶层的同学。关于房租的对话（“我从未想过用一定的钱能负担什么，”恩格霍恩说）以及朋友需要法律帮助时的对话（“你为什么不问家族律师？”她回答）让她更加意识到自己的特权。她开始阅读哲学、政治理论和经济学。当我索要影响她的书单时，她发给我四十多部作品，从阿尔贝·加缪和苏珊·桑塔格，到关于不平等的当代书籍，包括比利时-荷兰哲学家兼经济学家英格丽德·罗贝恩斯的《限度主义：反对极端财富的论证》和美国作家尤拉·比斯的《拥有与被拥有》，这是一部关于资本主义社会中积累与消费的沉思。“我逐渐明白，在一个不平等的世界里富有意味着你是在以别人的生命为代价，”恩格霍恩说。
In 2019, when she was twenty-seven, she received an e-mail from her family’s financial adviser: she had been named a primary beneficiary in her grandmother’s will, which meant that, when Traudl died, Engelhorn would inherit tens of millions of euros.“For a long while,I had convinced myself that it wasn’t really my money but my family’s,” she told me. “I couldn’t touch it. I didn’t decide what to do with it-that was their problem.” But, from the moment she got the e-mail, “I understood, O.K., this is becoming my problem.” 2019 年，当她二十七岁时，收到了家族理财顾问的一封电子邮件：她被指定为祖母遗嘱中的主要受益人，这意味着当特劳德尔去世时，恩格尔霍恩将继承数千万欧元。“很长一段时间里，我一直说服自己那不是真正属于我的钱，而是属于我的家族的，”她告诉我。“我不能动用它。我不决定如何处理——那是他们的问题。”但从收到那封邮件的那一刻起，“我明白了，好吧，这成了我的问题。”
Engelhorn shared her unease about the inheritance with a cousin, who put her in touch with Romy Krämer, the managing director of the Guerrilla Foundation, based in Berlin, which distributes funds to nonprofits and grassroots organizations through a participatory model. Representatives from communities that receive grants in turn makes decisions about which other causes to support. Engelhorn became an intern, sifting through the e-mail in-box and taking notes at team 恩格尔霍恩将她对遗产的忧虑告诉了一位表亲，表亲将她介绍给了位于柏林的游击队基金会执行董事罗米·克雷默，该基金会通过参与式模式向非营利组织和基层组织分配资金。获得资助的社区代表反过来决定支持哪些其他事业。恩格尔霍恩成为了一名实习生，负责筛选电子邮件收件箱并在团队会议上做笔记。
meetings. “It was deliberate,” Krämer told me.“We thought it would be educational and fun, a great way to flip the power dynamic, to have a wealthy person doing tasks that were sometimes, well, shitty.” Engelhorn was up for it. “She dispelled all the notions of rich people as lazy or flaky,” Krämer said. “She was organized, on top of things, very much willing and eager to be put to work.” 会议。“这是故意的，”克雷默告诉我。“我们认为这既有教育意义又有趣，是一种很好的方式来颠倒权力动态，让一个富人去做有时，嗯，挺糟糕的任务。”恩格尔霍恩很乐意参与。“她打破了所有关于富人懒惰或不靠谱的刻板印象，”克雷默说。“她很有条理，掌控全局，非常愿意并渴望被派去工作。”
The Guerrilla Foundation’s approach appealed to Engelhorn more than traditional philanthropy, which, in her view, seemed only to reinforce power imbalances. The wealthy pick their pet causes without democratic input or oversight. What’s more, they park their assets in foundations, where the money grows tax-free, with only the capital gains parcelled out as grants or donations. The core wealth remains intact, often in perpetuity. "So you take part in the exploitation of people and the planet and then use the profits to sprinkle a little money over the fire you created,"Engelhorn said. “Shouldn’t the goal be to not be so rich anymore?” 游击基金会的方法比传统慈善更吸引恩格尔霍恩，在她看来，传统慈善似乎只会加剧权力不平等。富人挑选他们喜欢的事业，没有民主的参与或监督。更重要的是，他们将资产存放在基金会中，资金免税增长，只有资本利得以赠款或捐赠的形式分配出去。核心财富保持不变，往往是永久性的。“所以你参与了对人和地球的剥削，然后用利润往你制造的火上撒点钱，”恩格尔霍恩说。“目标难道不应该是不再那么富有吗？”
Compared with much of the world, Austria is in the seemingly paradoxical situation of having relatively low income inequality and high wealth inequality. One reason for this is the country’s extensive social-welfare system. “If you need medical treatment, you get it,” Gabriel Felbermayr, the director of the Austrian Institute of Economic Research, told me. “When you retire, you have a guaranteed income, and a rather high one, at that.” The level of public support, combined with high taxes on incomeas much as fifty-five per cent for those earning more than a million euros a year-means that not many Austrians get rich off of money that they make themselves.“The incentive to build wealth is reduced,” Felbermayr said. 与世界上大多数国家相比，奥地利处于一种看似矛盾的状况，即收入不平等相对较低，而财富不平等却很高。造成这种情况的一个原因是该国广泛的社会福利体系。“如果你需要医疗治疗，你就能得到，”奥地利经济研究所所长加布里埃尔·费尔伯迈尔告诉我。“当你退休时，你有一份有保障的收入，而且相当高。”公共支持的水平，加上对收入的高税率——对于年收入超过一百万欧元的人，税率高达 55%——意味着并不多的奥地利人能靠自己赚的钱变得富有。“积累财富的动力被削弱了，”费尔伯迈尔说。
Instead, wealth in Austria is often an intergenerational matter, as the great fortunes of the nineteenth and twentieth centuries are at once preserved and divided among the members of an everexpanding family tree. Austria was one of the few countries in Europe that didn’t seize or otherwise dismantle aristocratic holdings after the fall of the monarchy. 相反，奥地利的财富往往是代际传承的问题，十九世纪和二十世纪的巨额财富既被保存下来，又在不断扩大的家族成员之间分割。奥地利是欧洲少数几个在君主制崩溃后没有没收或拆解贵族财产的国家之一。
In 1919, when the last Habsburg king was dethroned, noble families were allowed to retain their wealth so long as they recognized the authority of the new Austrian Republic. The Esterházy estate, the holdings of a once prominent family in the aristocracy, for example, is today the country’s largest private landowner, with more than a billion euros’ worth of forests, farmland, lakes, and vineyards. 1919 年，当最后一位哈布斯堡国王被废黜时，贵族家庭被允许保留他们的财富，只要他们承认新奥地利共和国的权威。例如，埃斯特哈齐庄园，这个曾经显赫一时的贵族家族的产业，如今是该国最大的私人土地所有者，拥有价值超过十亿欧元的森林、农田、湖泊和葡萄园。
Austria has had no inheritance tax since 2008, the result of a dispute among members of a wealthy family which worked its way up to the country’s constitutional court. Under the previous tax rules, assets such as cash and company shares were taxed at market rates when passing between generations, but realestate holdings were taxed according to government land valuations. Family members who received cash, rather than property, found that unfair. The court agreed and did away with inheritance tax entirely. Austrian politicians were aware that the ruling would make the country an attractive destination for Europe’s rich, especially those in neighboring Germany. Alfred Gusenbauer, then the Austrian Chancellor, told German journalists “to publicize this as widely as possible!” 自 2008 年以来，奥地利没有遗产税，这是一起富裕家族成员之间的争议最终诉诸国家宪法法院的结果。根据之前的税收规则，现金和公司股份等资产在代际转移时按市场价格征税，但房地产则根据政府的土地估价征税。收到现金而非财产的家庭成员认为这不公平。法院同意了这一点，完全废除了遗产税。奥地利政治家们意识到这一裁决将使该国成为欧洲富人的理想目的地，尤其是邻国德国的富人。时任奥地利总理阿尔弗雷德·古森鲍尔告诉德国记者“尽可能广泛地宣传这一点！”
In 2021, Engelhorn and a dozen other heirs and young entrepreneurs in Germany and Austria founded Taxmenow, which advocates for wealth and inheritance taxes. The German press had taken to calling demands for such reforms “eine Neiddebatte,” or “an envy debate.” "We heard time and again from activists who have been working on inequality for years that they are simply not listened to,"Stefanie Bremer, a scion of a wealthy German family, said. “But they told us, If those of you with privilege were to make the same points, people would pay attention in a different way.” 2021 年，Engelhorn 和德国及奥地利的十几位继承人及年轻企业家共同创立了 Taxmenow，该组织倡导财富税和遗产税。德国媒体开始将对这类改革的诉求称为“eine Neiddebatte”，即“嫉妒辩论”。“我们一次又一次地听到那些多年来一直致力于不平等问题的活动家说，他们根本没有被倾听，”来自一个富裕德国家族的继承人 Stefanie Bremer 说。“但他们告诉我们，如果你们这些有特权的人提出同样的观点，人们会以不同的方式关注。”
Engelhorn is far more public than many Taxmenow members, most of whom prefer to keep their faces and family names out of the press. “Stefanie Bremer,” for example, is an alias; she is a shareholder in a family business whose governance rules restrict public-advocacy work. “In my case, it’s the only compromise available,” she told me. Other Taxmenow members declined to speak with me on the record. “It’s not like the U.S. here,” Yannick Haan, a Taxmenow member who wrote a book, “Disinherit Us Already!,” said. “It’s very much a quiet, pri- Engelhorn 比许多 Taxmenow 成员更公开，大多数成员更愿意将自己的面孔和家族名字隐藏在媒体之外。例如，“Stefanie Bremer”是一个化名；她是一个家族企业的股东，而该企业的治理规则限制公开倡导工作。“对我来说，这是唯一可行的妥协，”她告诉我。其他 Taxmenow 成员拒绝在公开场合与我交谈。“这里不像美国，”Taxmenow 成员、著有《Disinherit Us Already!》一书的 Yannick Haan 说。“这里更多的是一种安静、私密、保密、不拍照的文化。”
vate, secretive, no-pictures kind of culture.” 私密、秘密、不拍照的那种文化。
In 2022, at the age of ninety-five, Traudl died in Switzerland. “I knew I couldn’t hide anymore,” Engelhorn told me. “If I don’t act, then everything I’ve said that I believe in won’t be worth much of anything.” She had followed the councils in Ireland and Austria-the climate assembly had concluded a few months earlier-and had read Landemore’s book on participatory democracy. “I wanted to get as close as possible to being taxed,” Engelhorn said. She also wanted to stir things up, to get people talking: “I wanted a public discourse.” 2022 年，95 岁的特劳德尔在瑞士去世。“我知道我不能再隐藏了，”恩格尔霍恩告诉我。“如果我不行动，那么我所说的、我所信仰的一切将毫无价值。”她关注了爱尔兰和奥地利的议会——气候大会几个月前刚刚结束——并阅读了兰德莫尔关于参与式民主的书。“我想尽可能接近被征税的状态，”恩格尔霍恩说。她也想搅动局面，让人们开始讨论：“我想要一个公共话语。”
Last fall, she hired Alexandra Wang, a fund-raiser at a progressive think tank in Vienna to which Engelhorn was a major donor, as the director and first employee of what would become the Good Council. A small team came together in secret, with the hope of avoiding an influx of requests for money before the effort took shape. (That happened anyway; after a story spread in Brazil claiming that Engelhorn was giving away her fortune, she was inundated with appeals in Portuguese.) Engelhorn was more interested in process than outcome. The Good Council was meant to be a living experiment, one that others could learn from, just as she had drawn on the precedent of citizen assemblies in Europe. None of this made her noble or virtuous, she insisted. “I’m not a ‘good’ rich person,” she told me. “I’m just a rich person.” 去年秋天，她聘请了 Alexandra Wang，一位在维也纳一家进步智库担任筹款人的人员，该智库 Engelhorn 是其主要捐助者，担任即将成为 Good Council 的机构的主任和首位员工。一个小团队秘密组建，目的是希望在项目成形之前避免大量的资金请求。（但这还是发生了；在巴西有报道称 Engelhorn 正在赠送她的财富后，她收到了大量葡萄牙语的请求。）Engelhorn 对过程比结果更感兴趣。Good Council 旨在成为一个活生生的实验，供他人学习，正如她借鉴了欧洲公民大会的先例。她坚称，这并不使她高尚或有德行。“我不是一个‘好’的富人，”她告诉我。“我只是一个富人。”
Att the council’s opening session, Karin Heitzmann, a professor from the Vienna University of Economics and Business, led an exercise to illustrate the distribution of wealth in Austria. Heitzmann asked half the group to move to the back of the room, where each of them was given a tiny scrap of toilet paper, representing the wealth held by fifty per cent of the Austrian population. Another group, almost as large-the middle classwas handed a slightly larger scrap. Five people in the room, as the upper class, were each handed a single square of toilet paper, the equivalent of a million euros. Erna was the only person left. She was brought to the center of the room and handed a dozen sheets of toilet papershe was Austria’s one per cent. “I guess I’m the millionaire here,” she said, laughing. 在理事会开幕会议上，维也纳经济与商业大学的教授卡琳·海茨曼主持了一项练习，以说明奥地利财富的分配情况。海茨曼让一半的人群移到房间后方，每人发了一小片卫生纸，代表奥地利 50%人口所拥有的财富。另一组几乎同样大——中产阶级——被分发了稍大一些的纸片。房间里有五个人，作为上层阶级，每人被分发了一整张卫生纸，相当于一百万欧元。埃尔娜是唯一剩下的人。她被带到房间中央，拿到了十二张卫生纸——她是奥地利的 1%。她笑着说：“我想我是这里的百万富翁了。”
Afterward, I asked Erna what it felt like to be the richest person in the room. 事后，我问埃尔娜成为房间里最富有的人是什么感觉。
“A little overwhelming,” she told me. One quickly gets used to wealth, however, even when it’s measured in toilet paper. Later that evening, after dinner, Erna called out, with a wide smile, “The rich lady is going to bed!” “有点难以承受，”她告诉我。然而，人们很快就会习惯财富，即使它是用卫生纸来衡量的。那天晚上晚饭后，埃尔娜笑容满面地喊道：“富婆要上床睡觉了！”
In any citizen council, the moderators guide discussions and help keep the proceedings on schedule. “They try and be neutral and non-manipulative, but of course they wield huge power,” Landemore, the author of “Open Democracy,” said. “An emphasis on getting things done, producing proposals, leading to a concrete outcome-it can all mean that, in the moment, you take away the possibility for improvisation or dissent.” 在任何公民议会中，主持人引导讨论并帮助保持会议进程的进度。“他们尽力保持中立和不操控，但当然他们掌握着巨大的权力，”《开放民主》一书的作者兰德莫尔说。“强调完成任务、提出建议、达成具体结果——这一切都可能意味着，在当下，你剥夺了即兴发挥或异议的可能性。”
In Salzburg, a hand-drawn road map for achieving the final redistribution of the twenty-five million euros was projected onto a screen at the front of the room. Hanna Posch, the Good Council’s head moderator, who previously worked with the climate assembly in Vienna, told me that a legible process was necessary given the range of experience that the participants brought to the council. “The group is so diverse,” she said. The youngest member was sixteen, the oldest eighty-five. Toward the back of the room, a row of translators sat in glass booths, as if at the U.N., and relayed the 在萨尔茨堡，一张手绘的路线图被投影到房间前方的屏幕上，用于实现 2500 万欧元最终再分配的目标。好议会的首席主持人汉娜·波施曾在维也纳气候大会工作，她告诉我，鉴于参与者带来的经验范围，清晰的流程是必要的。“这个小组非常多样化，”她说。最年轻的成员十六岁，最年长的八十五岁。房间后方，一排翻译员坐在玻璃隔间里，仿佛置身联合国，传译着会议内容。
proceedings for participants who spoke Croatian, Dari, and Turkish. “Our job is to make sure that no one gets left behind,” Posch said. “For that, you need some rules-a structure-which gives a feeling of safety to the participants.” 为讲克罗地亚语、达里语和土耳其语的参与者提供会议记录。“我们的工作是确保没有人被落下，”波施说。“为此，你需要一些规则——一种结构——给参与者一种安全感。”
Engelhorn had told me that she was prepared for all manner of outcomes, but the presentations from experts had left a clear impression: wealth is distributed across society unfairly, and policies of redistribution are required to fix this injustice. Julia Friedrichs, a journalist for the German newspaper Die Zeit, asked the moderators why the proceedings didn’t reflect more ideological diversity. “That would not have been in the spirit of Marlene,” a moderator replied. Wang, the council’s director, gave me a slightly different answer: “If you look for experts who specialize in inequality, you’ll often end up with those who are more progressive.” 恩格尔霍恩告诉我，她已经为各种结果做好了准备，但专家们的陈述留下了一个明确的印象：财富在社会中分配不公，需要通过再分配政策来纠正这种不公。德国报纸《时代报》的记者朱莉娅·弗里德里希斯问主持人，为什么会议记录中没有反映更多的意识形态多样性。“那不符合玛琳的精神，”一位主持人回答。理事会主任王给了我一个稍微不同的答案：“如果你寻找专门研究不平等的专家，你往往会找到那些更进步的人。”
As a result, the council did not hear from experts who might have argued that a wealth tax can come with burdensome administrative costs-Who will regularly update a register of yacht owners or reassess the contents of a vault filled with Dutch Old Masters?-and runs the risk of persuading the wealthy to take their assets elsewhere, leaving governments with less 因此，委员会没有听取那些可能会争辩说财富税会带来繁重管理成本的专家的意见——谁会定期更新游艇所有者登记册，或重新评估装满荷兰老大师画作的保险库内容？——而且这种税收有说服富人将资产转移到别处的风险，导致政府收入减少。
tax revenue than before. When Norway increased its wealth tax to slightly more than one per cent in 2022, for example, dozens of ultra-wealthy Norwegians fled the country, depriving the state budget of the equivalent of some fifty billion dollars. 税收比以前更少。例如，当挪威在 2022 年将财富税提高到略高于 1%时，数十名超级富豪逃离了该国，使国家预算损失了约五百亿美元的等值资金。
Among the council members, opinions varied on the question of inequality. “I feel like the idea here is that making money is bad, that rich people are the bad guys,” Florian, who grew up in Salzburg and now studies engineering at a university in Vienna, said. “I don’t look at someone who has more than me and think to take it away from him.” 在委员会成员中，对于不平等问题的看法各不相同。“我觉得这里的想法是赚钱是不好的，富人是坏人，”弗洛里安说，他在萨尔茨堡长大，现在维也纳的一所大学学习工程学。“我不会看着比我有钱的人就想着从他那里拿走钱。”
Franz, who used to run a dairy farm in Upper Austria and now works as a repairman in a retirement home, said that Perg, the city where he lives, has plenty of jobs and a low cost of living. “My friends have cars, go to the cinema, take holidays,” he said. He recently discussed the idea of inheritance taxes with his eighteen-yearold daughter, who took over the family farm last year. Franz thought it would have been fair if she had paid, say, a ten-per-cent estate tax on the land transfer. But, he went on, “she tells me I don’t understand the real cost of running a farm.” 弗朗茨，曾在上奥地利经营一家奶牛场，现在在一家养老院做修理工，他说他居住的城市佩尔格有很多工作机会，生活成本也很低。“我的朋友们都有车，去看电影，度假，”他说。他最近和他十八岁的女儿讨论过遗产税的问题，她去年接管了家族农场。弗朗茨认为，如果她在土地转让时支付比如说百分之十的遗产税，那是公平的。但他接着说，“她告诉我，我不了解经营农场的真正成本。”
Anna-Lena, who teaches biology and geography at a school in Volders, a village in the foothills of the Alps, said that she was lucky-she lives with her boyfriend in an apartment that he owns. But she remembered what it was like to be out with friends and wonder if she could afford a second drink. “It often felt like you were surviving, rather than enjoying, life,” she said. 安娜-莱娜在福尔德斯的一所学校教生物和地理，福尔德斯是阿尔卑斯山脚下的一个村庄，她说她很幸运——她和男朋友住在他拥有的一套公寓里。但她记得和朋友们外出时，常常会想自己是否能负担得起第二杯饮料。“那种感觉常常像是在勉强维持生活，而不是享受生活，”她说。
Sara, who immigrated to Austria from Tanzania a decade ago, has four chil-dren-she brought the youngest, Malik, who was four months old, to Salzburgand works as a cashier at a supermarket in Vienna; in February, she launched a side business selling hair oil. "If you really need something in life,"she said,“you find out the price, and figure out how to get it.” But the council had also revealed the full extent of wealth disparity in her adopted country. “I had no idea that so few people in Austria had so much,” she told me. “And I didn’t know there are rich people like Marlene.” 萨拉十年前从坦桑尼亚移民到奥地利，有四个孩子——她带着最小的孩子马利克，那个时候只有四个月大，来到萨尔茨堡，并在维也纳的一家超市做收银员；今年二月，她开创了一个副业，销售护发油。“如果你真的需要生活中的某样东西，”她说，“你会先了解价格，然后想办法去获得它。”但市议会也揭示了她所移居国家财富差距的全貌。“我完全没想到奥地利有这么少的人拥有这么多财富，”她告诉我。“我也不知道有像马琳那样的富人。”
During the council’s third session, in mid-April, the members were split up into six groups: education, housing, environment, health, rights, and economic policy. Each group would be 在市议会的第三次会议中，四月中旬，成员们被分成六个小组：教育、住房、环境、健康、权利和经济政策。每个小组将会...
allocated a maximum of four million euros to fund projects and organizations, using a democratic mechanism known as consensus decision-making: a thumbs-up expressed support for a proposal; one raised hand meant that a participant had a slight objection; two hands up was a sign of serious opposition, in which case the group tried to address the concerns. Consensus didn’t require unanimous approval, only that no one strongly disagreed. 分配了最多四百万欧元用于资助项目和组织，采用一种称为共识决策的民主机制：竖起大拇指表示支持提案；举一只手表示参与者有轻微异议；举两只手则表示严重反对，在这种情况下，团队会尝试解决这些问题。共识不要求全体一致通过，只要没有人强烈反对即可。
I paid a visit to the education group, where members were talking through the implications of overcrowded classrooms. “I don’t see myself in a kindergarten in ten years,” Selin, a teacher in Vienna, said. “You can’t engage in real education when you have one teacher for twenty-five children.” Someone suggested that higher salaries might attract more people to the profession. Benedict, in his mid-twenties, who works in quality control at an industrial manufacturer in Pottendorf, noted that the state already directs billions of euros to the education sector each year. “The money here is just a drop in the bucket,” he said. 我拜访了教育小组，成员们正在讨论教室过度拥挤的影响。“我十年后不会在幼儿园工作，”维也纳的一位教师塞林说。“当一个老师要照顾二十五个孩子时，无法进行真正的教育。”有人建议提高薪资可能会吸引更多人从事这个职业。二十多岁的本尼迪克特在波滕多夫一家工业制造商从事质量控制工作，他指出国家每年已经向教育部门投入数十亿欧元。“这里的钱只是杯水车薪，”他说。
Many of the ideas under discussion were based on the lived experiences of the council members. Selin favored Kids-inMotion, an intiative that leads schoolchildren in physical exercises to build fitness and motor skills. Erna, in the housing group, wanted to give money to Frauenhäuser, a network of shelters for women and children fleeing domestic violence. Hildegund, the deaf council member, who 讨论中的许多想法都基于理事会成员的亲身经历。塞林支持“Kids-inMotion”计划，这是一项带领学童进行体育锻炼以增强体能和运动技能的倡议。埃尔娜在住房小组中，想要资助“Frauenhäuser”，这是一个为逃离家庭暴力的妇女和儿童提供庇护的网络。聋人理事会成员希尔德贡德，
joined the health group, proposed directing money toward training more signlanguage interpreters, and building more accommodations for children with physical disabilities in schools. “We’re here to help the weakest,” she said. 加入了健康小组，提议将资金用于培训更多手语翻译员，并在学校为身体残疾儿童建设更多适应设施。“我们在这里是为了帮助最弱势的人，”她说。
At the start of the council, I was expecting to witness weeks of passionate debate, with members fighting over the fate of millions of euros like loose poker chips. But there were few unmoderated moments in which the unexpected could 在理事会开始时，我原以为会看到数周激烈的辩论，成员们像打散的扑克筹码一样争夺数百万欧元的命运。但实际上，很少有无人主持的时刻，意外的情况能够发生。
emerge. At one point, several people in the housing group discussed the prospect of a Guter Rat Haus, a building boughtor perhaps even built from scratchwith the council’s money which would live on after the twenty-five million had been distributed. "We could realize all our ideas right there,"Wilfried, a retired corporate manager for a shoe company, said. “Study cafés for teen-agers, a safe space for women, a meeting point for the elderly.” Franz thought one Guter Rat Haus could inspire others. “Imagine, there could be a whole network of them,” he said. The experts standing by subtly talked the group out of it: the startup costs would be too high, and there were already plenty of organizations pursuing such work. Later, when council members raised the idea of funding an accountability body to study the results of the council-"A long-term thing,"Wilfried said-one of the moderators replied, “But this is not part of your assignment.” 出现过。在某个时刻，住房小组的几个人讨论了建立一个 Guter Rat Haus 的前景，这是一栋用议会资金购买的建筑——或者甚至是从零开始建造的——在两千五百万分配完毕后仍将存在。“我们可以在那里实现我们所有的想法，”Wilfried 说，他是一家鞋业公司的退休企业经理。“为青少年设立学习咖啡馆，为女性提供安全空间，为老年人提供聚会点。”Franz 认为一个 Guter Rat Haus 可以激励其他类似项目。“想象一下，可能会有一整张这样的网络，”他说。旁边的专家们巧妙地劝说小组放弃了这个想法：启动成本太高，而且已经有很多组织在从事类似工作。后来，当议会成员提出资助一个问责机构以研究议会成果的想法时——“一个长期的事情，”Wilfried 说——一位主持人回答：“但这不属于你们的任务范围。”
In the end, the only real conflict arose in the education group, where a debate erupted among the eleven members over whether to send funds to Wikipedia. The idea came from a Vienna resident in his mid-thirties, who, out of a fastidious concern for privacy, asked that I call him Peter. He saw Wikipedia as addressing many of the council’s core values: democracy, accessibility, transparency. The idea was immediately opposed by Kyrillos, a high-school student and the council’s youngest member. “We have a lot of other, more important issues to address here,” he said. Anyway, he went on, his teachers wouldn’t allow him to use Wikipedia as a source in his papers-why give it money? 最终，唯一真正的冲突出现在教育组，十一名成员之间爆发了一场关于是否向维基百科提供资金的辩论。这个想法来自一位三十多岁的维也纳居民，他出于对隐私的严格关注，要求我称呼他为彼得。他认为维基百科体现了委员会的许多核心价值观：民主、可及性、透明度。这个想法立即遭到了委员会最年轻成员、一名高中生基里洛斯的反对。“我们这里还有许多更重要的问题需要解决，”他说。无论如何，他继续说，他的老师不允许他在论文中使用维基百科作为资料来源——为什么还要给它钱？
Factions emerged. Some saw Wikipedia, a nonprofit based in the U.S., as an inefficient use of the council’s resources. Others viewed the effort to nix it as a violation of the council’s ground rules. The voting process became messy and convoluted. Things got tense. Kyrillos put up two hands. Peter was upset that the veto of one person could kill an idea just like that-could he put up two hands for every project and bring the work of the group to a standstill? 阵营开始形成。一些人认为维基百科作为一个总部设在美国的非营利组织，是对委员会资源的低效利用。另一些人则认为试图否决它违反了委员会的基本规则。投票过程变得混乱复杂，气氛紧张。基里洛斯举起了两只手。彼得对此感到不满，因为一个人的否决权就能轻易扼杀一个想法——难道他可以对每个项目都举两只手，让小组的工作陷入停滞吗？
Dorothee Vogt, an outside expert who was observing the session, recommended that the group take a break. “People were tired,” she told me later. 多萝西·沃格特，一位在场观察会议的外部专家，建议小组休息一下。“大家都很累，”她后来告诉我。
To Vogt, whose experience is in participatory philanthropy, the process in 对于沃格特来说，她的经验在于参与式慈善，这一过程
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Simple. Affordable. Reliable. 简单。实惠。可靠。
Salzburg seemed rushed. “The questions put to the Guter Rat are vast, almost unimaginably huge,” she told me. “Its members are asked to draw up a solution to the problem of high wealth concentration while also distributing twentyfive million euros for, as they were told at the outset, nearly anything at alland for that they have six weekends.” Still, Vogt didn’t want her critiques to overshadow what she viewed as an inspiring prototype for civic engagement. “You want to give people space but also get to a result,” she said. “It’s not easy.” 萨尔茨堡显得匆忙。“向 Guter Rat 提出的问题非常多，几乎难以想象地庞大，”她告诉我。“成员们被要求制定解决高财富集中问题的方案，同时分配两千五百万欧元，用于他们一开始被告知的几乎任何事情——而且他们只有六个周末的时间。”尽管如此，沃格特并不希望她的批评掩盖她所认为的公民参与的鼓舞人心的原型。“你想给人们空间，但也要达成结果，”她说。“这并不容易。”
The Wikipedia debate was ultimately settled with a compromise. The members of the education group agreed to give the organization fifty thousand euros, a small portion of their total. No one seemed entirely satisfied. Kyrillos said that he only agreed because Peter “got so deeply absorbed by this.” Peter, for his part,looked unhappy. “I feel like shit,” he said. 维基百科的争论最终以妥协告终。教育小组的成员同意给该组织五万欧元，这只是他们总额中的一小部分。没有人显得完全满意。基里洛斯说他之所以同意，是因为彼得“深深地被这件事吸引住了”。彼得则显得不高兴。“我感觉糟透了，”他说。
The group moved on to its other projects, which were far less contentious, includingTeach for Austria, a program that recruits university graduates to work in disadvantaged schools, and the Integrationshaus, a center in Vienna with language courses, tutoring, and counselling for young migrants and refugees. The housing group, meanwhile, had settled on a dozen organizations working on homelessness, rental protections, and providing shelter for those in crisis, including the Frauenhäuser. Anna-Lena, the biology teacher, was in the environment group.“We made good choices,” she said. Among other projects, they funded Arche Noah, a foundation devoted to crop diversity, and Klimadashboard, which tracks emissions and calculates various scenarios for reducing them. 小组继续推进其他项目，这些项目争议较少，包括“为奥地利而教”，这是一个招募大学毕业生到弱势学校工作的项目，以及位于维也纳的 Integrationshaus 中心，提供语言课程、辅导和针对年轻移民及难民的咨询服务。与此同时，住房小组已经确定了十几个致力于无家可归者、租赁保护和为危机中的人们提供庇护的组织，包括妇女庇护所。生物老师安娜-莱娜在环境小组。“我们做出了不错的选择，”她说。除其他项目外，他们资助了 Arche Noah，一个致力于作物多样性的基金会，以及 Klimadashboard，一个追踪排放并计算各种减排方案的平台。
The members of the economic-policy group spent much of their time drafting “Botschaften,” a kind of statement of basic principles for addressing inequality. They debated, for example, whether a primary family residence should be carved out of a proposed inheritance tax. They also considered a wealth tax of as high as ten per cent. Initially, Sara seemed uncomfortable with the idea. 经济政策小组的成员们花了大量时间起草“Botschaften”，这是一种关于解决不平等问题的基本原则声明。他们讨论了例如是否应将主要家庭住宅从拟议的遗产税中剔除。他们还考虑了高达百分之十的财富税。起初，萨拉对这个想法似乎感到不舒服。
“Do you feel bad for the rich?” another member of the group asked. “你会为富人感到难过吗？”小组的另一位成员问道。
“I fight for what I want in life,” Sara said. “How do you think the rich get up there? They must have done something.” “我为自己想要的生活而奋斗，”萨拉说。“你觉得富人是怎么爬上去的？他们肯定做了些什么。”
In the end, the group decided to leave 最终，小组决定保留原状。
exact numbers out of their proposal for taxes on wealth and inheritance. "We don’t want to sound like we’re attacking anyone, including the rich,"Florian said. He suggested another swap: instead of calling for a “more fair” distribution of wealth, he proposed advocating for one that was “less extreme.” Martin, an accountant in his thirties, asked if they wanted to address the matter of capitalgains taxes or “scratch it.” The rest of the group, eager to finish, answered unanimously: “Scratch it!” 他们提出的财富和遗产税的具体数字。“我们不想听起来像是在攻击任何人，包括富人，”弗洛里安说。他建议另一个替代方案：不是呼吁“更公平”的财富分配，而是主张“不过于极端”的分配。三十多岁的会计师马丁问他们是否想讨论资本利得税的问题，还是“放弃”。其他人急于结束，异口同声地回答：“放弃！”
Afew days before the council wrapped up, I travelled to Vienna, where I joined Engelhorn for a walk around the Augarten, a stately park with tree-lined promenades. Engelhorn didn’t know much about what had been happening in Salzburg. “I want to avoid founder’s syndrome,” she said-that is, when an organization’s creator stifles the creativity of the rank and file. At one point, she said that she would have been perfectly happy if the deliberations had become so wrapped up in matters of democratic process that the council never managed to distribute any money at all. When I told her that the council seemed designed to prevent such a non-result result, she sounded deflated. “If I wanted to redistribute twenty-five million perfectly, like a re-granter”-a type of philanthropy in which one large grant is used to finance lots of smaller ones-"I would have just chosen a re-granter,"she said.“But I didn’t. I wanted discussion.” 在理事会结束前几天，我前往维也纳，与 Engelhorn 一起在 Augarten 散步，这是一座林荫大道环绕的庄严公园。Engelhorn 对萨尔茨堡发生的事情了解不多。“我想避免创始人综合症，”她说——即组织创始人扼杀基层创造力的情况。她曾说过，如果讨论陷入民主程序的细节，以至于理事会根本没能分配任何资金，她也会感到完全满意。当我告诉她理事会似乎就是为了防止这种无结果的情况而设计时，她显得有些沮丧。“如果我想完美地重新分配两千五百万，就像一个再资助者一样”——一种用一笔大额资助来资助许多小额资助的慈善方式——“我本可以直接选择做一个再资助者，”她说，“但我没有。我想要讨论。”
The next morning, in Salzburg, the groups assembled in the conference room to learn how the council had, in sum, distributed Engelhorn’s inheritance. The largest amount, more than €1.6€ 1.6 million, went to the Nature Conservation Union, which buys untouched land in order to preserve it. More than two hundred thousand euros went to the children’s programs of the Salzburg Philharmonic. Tens of thousands more were directed to efforts such as a counselling center for L.G.B.T.Q. youth, a children’s soccer league, a newspaper distributed by the homeless in Vienna, and a coalition of civic-minded scientists which tries to inject scientific findings into the mainstream discourse. Over all, nearly eighty organizations received a slice of Engelhorn’s inheritance. Florian, the engineering student, said that it felt like a list of 第二天早晨，在萨尔茨堡，各团体聚集在会议室，了解委员会如何总体分配了恩格尔霍恩的遗产。最大的一笔，超过 €1.6€ 1.6 百万，给了自然保护联盟，该联盟购买未受破坏的土地以加以保护。超过二十万欧元捐给了萨尔茨堡爱乐乐团的儿童项目。还有数万欧元被用于诸如 L.G.B.T.Q.青年的咨询中心、儿童足球联赛、维也纳无家可归者发行的报纸，以及一个试图将科学发现注入主流话语的公民科学家联盟等项目。总的来说，近八十个组织分享了恩格尔霍恩的遗产。工程学学生弗洛里安说，这感觉像是一份名单，列出了
“social projects” more than something addressing the fundamental issue of inequality.“It’s not bad,” he told me. “Maybe just a missed opportunity.” “社会项目”多于解决根本不平等问题的东西。“这并不坏，”他告诉我。“也许只是一个错失的机会。”
More than three and a half million euros remained undistributed. That amount, the moderators explained, would be divvied up among pairs of participants, each of which would get seventythree green stickers worth two thousand euros each. The funded projects would be displayed on stands in the conference room, and council members could walk around fixing their stickers to initiatives they wanted to receive additional money. After dinner, I took a seat at the side of the hall and watched what felt like a rare moment of unscripted drama: a room of ordinary people, sheets of stickers in hand, parcelling out euros as they liked-redistribution in action, I thought. 超过三百五十万欧元未被分配。主持人解释说，这笔金额将分配给成对的参与者，每对将获得七十三个绿色贴纸，每个贴纸价值两千欧元。资助的项目将展示在会议室的展台上，理事会成员可以走动，将他们的贴纸贴在他们希望获得额外资金的项目上。晚餐后，我坐在大厅一侧，观看了一场感觉罕见的即兴戏剧：一群普通人手持贴纸，自由分配欧元——我想，这就是再分配的实际行动。
The next day, the Guter Rat members met for a party. The ballroom was decorated with white tablecloths and glittery streamers. There was cake and sparkling wine. A stack of toilet-paper rolls, marked " €1.000.000€ 1.000 .000 " in thick black marker, was arranged on a buffet table like a weddingreception centerpiece. Wang, the council’s head, took the microphone. “Democracy begins here,” she said. Engelhorn had joined the celebration via video call, her face projected at enormous scale onto a screen. Wang turned to her.“Thank you for choosing a completely different path,” she said. Some cheered; others rubbed wet eyes. Engelhorn seemed on the verge of crying herself. “I am so proud of you, and have the deepest respect for your work,” she said. 第二天，Guter Rat 成员们聚会。舞厅装饰着白色桌布和闪亮的彩带。有蛋糕和起泡酒。一堆用粗黑色记号笔标记为“ €1.000.000€ 1.000 .000 ”的卫生纸卷被摆放在自助餐桌上，像婚礼接待的中心装饰。委员会负责人王拿起麦克风。“民主从这里开始，”她说。Engelhorn 通过视频通话加入了庆祝活动，她的脸被巨大地投影在屏幕上。王转向她。“感谢你选择了一条完全不同的道路，”她说。有些人欢呼；有些人揉着湿润的眼睛。Engelhorn 似乎快要哭了。“我为你感到骄傲，并对你的工作怀有最深的敬意，”她说。
In Vienna, Engelhorn had told me that, by the end of the year, she could find herself needing to earn money for the first time. “I don’t want a job that I only have because I’m riding on my privilege,” she told me. “But, at the same time, I want a job that takes advantage of my privileges.” The Engelhorn family, of course, remains phenomenally wealthy-there will be other relatives who die, including Marlene’s parents, all with their own inheritances to pass along. She hopes that, by then, there will be other solutions in place, like proper wealth and inheritance taxes, or a spirit of redistribution so embedded within her own family that there won’t be much left to inherit. Barring that, she said, “I guess I’ll have to do it all over again.” * 在维也纳，恩格尔霍恩曾告诉我，到年底，她可能会第一次需要赚钱。“我不想要一份仅仅因为我享有特权而得到的工作，”她告诉我。“但同时，我也想要一份能利用我的特权的工作。”恩格尔霍恩家族当然依然极其富有——还会有其他亲戚去世，包括玛琳的父母，他们都有各自的遗产要传承。她希望到那时，会有其他解决方案，比如合理的财富和遗产税，或者一种在她家族内部根深蒂固的再分配精神，以至于不会剩下太多遗产可继承。除非如此，她说，“我想我得重新来过一次。” *
SHOUTS & MURMURS 喊声与低语
EVERY OBITUARY'S FIRST PARAGRAPH 每篇讣告的第一段
BY EMILY ZAUZMER 艾米丽·扎乌兹默 著
Alfred T. Alfred, whose invention of the plastic fastener that affixes tags to clothing upended the tag industry and made him one of America’s youngest multimillionaires-until he lost his plastic-fastener fortune in a 1993 game of badminton, as depicted in the Lifetime original movie "Bad Minton"died on Saturday. He was eighty-one. 阿尔弗雷德·T·阿尔弗雷德，他发明的塑料扣件用于将标签固定在服装上，颠覆了标签行业，使他成为美国最年轻的千万富翁之一——直到他在 1993 年一场羽毛球比赛中输掉了他的塑料扣件财富，正如 Lifetime 原创电影《Bad Minton》中所描绘的那样——于周六去世，享年八十一岁。
Jacques P. Jacques, a marine biologist who set out to photograph every sea urchin in the Aegean Sea-an effort that took seventeen years and culminated in the 1978 coffee-table book “Take Me to Urch,” which our reviewer called “disturbingly erotic”-died on Thursday. He was ninety-two. 雅克·P·雅克，一位海洋生物学家，致力于拍摄爱琴海的每一种海胆——这一努力历时十七年，并 culminated 于 1978 年出版的咖啡桌书《带我去海胆》，我们的评论员称其为“令人不安的情色”——于周四去世，享年九十二岁。
Doris E. Doris, an entrepreneurial drum majorette who shot to fame for her distinctive baton work in the 1968 Macy’s Thanksgiving Day Pa-rade-but whose subsequent attempt to launch the Ross Dress for Less Arbor Day Parade met an ignominious end when a Snoopy balloon collided with a stoplight, cementing Macy’s monopoly on department-store holiday pag-eantry-died on Wednesday. She was seventy-nine. 多丽丝·E·多丽丝，一位创业鼓队指挥，以其在 1968 年梅西感恩节大游行中独特的指挥棒表演一举成名——但她随后试图发起罗斯折扣店植树节游行时遭遇了耻辱的结局，当时一只史努比气球与红绿灯相撞，巩固了梅西在百货公司节日盛会中的垄断地位——于周三去世，享年七十九岁。
Melvin F. Melvin, a soft-spoken product designer whose impact on the American household spanned tissues, towels, and paper cups-but whose most lasting contribution was his no- 梅尔文·F·梅尔文，一位温和的产品设计师，他对美国家庭的影响涵盖了纸巾、毛巾和纸杯——但他最持久的贡献是他的无-
toriously ineffective “Do Not Insert Swab Into Ear Canal” warning on Q-tips packaging-died on Friday. He was ninety-eight. 以“切勿将棉签插入耳道”的无效警告而闻名的 Q-tips 包装上的警告于周五去世，享年九十八岁。
Clara V. Clara, the widow of plasticfastener magnate Alfred T. Alfred, whose triumphant resurrection of her late husband’s plastic-fastener empire made her the toast of Seattle society-but who never shook allegations that she had rigged his fateful badminton game to enrich her lover (a theory popularized in the film “Bad Minton”)—died on Wednesday. She was eighty-nine. 克拉拉·V·克拉拉，塑料紧固件大亨阿尔弗雷德·T·阿尔弗雷德的遗孀，她成功复兴了已故丈夫的塑料紧固件帝国，成为西雅图社交界的焦点——但她从未摆脱被指控操纵丈夫那场决定命运的羽毛球比赛以使她的情人获利的传言（这一理论在电影《羽毛球阴谋》中被广泛传播）——于周三去世，享年八十九岁。
Stanley P. Stanley, the Olympic bronze medallist who abandoned a burgeoning speed-skating career to pursue his pop-music ambitions-but whose only song to reach the Billboard Hot 100, “No More Mr. Ice Guy,” focussed on the very sport from which he had sought to distance himselfdied on Tuesday. He was ninety-one. 斯坦利·P·斯坦利，这位奥运铜牌得主放弃了蓬勃发展的速滑生涯，追求他的流行音乐梦想——但他唯一一首进入《公告牌》百强榜的歌曲《不再是冰人先生》却聚焦于他试图远离的那项运动——于周二去世，享年九十一岁。
Phyllis C. Phyllis, whose discovery, in 2007, of a mysterious message in a bottle at the Santa Monica Pier set off a brief nationwide effort to decode the missive-until an M.I.T. chemistry professor concluded that it was a waterlogged Pizza Hut menu-died on Monday. She was seventy-eight. 菲利斯·C·菲利斯，2007 年在圣塔莫尼卡码头发现一瓶中神秘信息，引发了全国范围内短暂的解码热潮，直到麻省理工学院一位化学教授断定那只是一张浸水的必胜客菜单——于周一去世，享年七十八岁。
Edna A. Edna, the enigmatic oil heiress whose expressive butter sculptures reënergized the medium and tantalized the Indianapolis art scene in the eighties-but whose signature work, “Dairy Todd Lincoln,” melted while on view at London’s Tate Gallery, inspiring a wave of regulations on space heaters in museums-died on Sunday. She was eighty-six. 埃德娜·A·埃德娜，这位神秘的石油继承人，她富有表现力的黄油雕塑重新激发了这一媒介的活力，并在八十年代激起了印第安纳波利斯艺术界的热情——但她的代表作《乳制品托德·林肯》在伦敦泰特美术馆展出时融化了，促使博物馆对空间加热器出台了一系列规定——于周日去世，享年八十六岁。
Rutherford M. Rutherford, the Washington health-insurance executive who won plastic-fastener tycoon Alfred T. Alfred’s riches in a high-stakes game of badminton-but who lost in esteem what he had gained in wealth when he played himself (opposite Susan Lucci, as Clara V. Clara) in “Bad Minton,” a role for which he received the Razzie Award for Worst Actor and a lifetime ban from the Seattle Badminton Club-died on Wednesday.He was ninety-four. 拉瑟福德·M·拉瑟福德，这位华盛顿健康保险高管，在一场高风险的羽毛球比赛中赢得了塑料扣件大亨阿尔弗雷德·T·阿尔弗雷德的财富——但当他在《坏羽毛球》中饰演自己（与苏珊·卢奇饰演的克拉拉·V·克拉拉对戏）时，他失去了声望，获得了“最差演员金酸莓奖”和西雅图羽毛球俱乐部的终身禁赛令——于周三去世，享年九十四岁。
PROFILES 人物简介
BE HER GUEST 做她的客人
The plush ambience of Ina Garten's good fortune. 伊娜·加藤好运的奢华氛围。
BY MOLLY FISCHER 作者：MOLLY FISCHER
0nn a June evening that was pleasantly warm in East Hampton and too hot almost everywhere else, Ina Garten and her husband, Jeffrey, picked me up for dinner in a Mini Cooper convertible. It was one of many on the roads of Long Island’s East End. (“There was a Mini showroom in Southampton,” Garten, who has lived in East Hampton since 1985, later told me. “If it was a nice day, you went over and bought one.”) Garten’s is cream-colored, which suits her role as America’s reigning queen of tastefully deployed butterfat. For almost twenty years, Garten ran a food store in the Hamptons called the Barefoot Contessa, which catered to vacationing New York and Hollywood élites; then, starting in 1999, she published a series of best-selling cookbooks and starred in a show on the Food Network which turned her into the beloved national figure she has comfortably remained. From the beginning, her style was indulgent and inviting rather than polished and showy. “She’s the aunt that everybody wishes they had,” Kerry Diamond, the founder of the food magazine Cherry Bombe, told me. “She’s funny. She’s rich. She’ll let you eat the chocolate cake your mother said you couldn’t have.” 一个六月的晚上，东汉普顿的天气宜人温暖，而几乎其他地方都热得难受，Ina Garten 和她的丈夫 Jeffrey 开着一辆 Mini Cooper 敞篷车来接我去吃晚饭。这是长岛东端道路上众多 Mini 之一。（“南安普敦有一家 Mini 展厅，”自 1985 年以来一直住在东汉普顿的 Garten 后来告诉我，“如果天气好，你就会过去买一辆。”）Garten 的车是奶油色的，这很符合她作为美国品味高雅黄油脂肪女王的形象。近二十年来，Garten 在汉普顿经营一家名为 Barefoot Contessa 的食品店，主要服务于度假的纽约和好莱坞精英；然后，从 1999 年开始，她出版了一系列畅销食谱，并在 Food Network 主持了一档节目，使她成为了备受喜爱的全国性人物，并一直保持着这种地位。从一开始，她的风格就是奢华而亲切，而非精致炫耀。“她是每个人都希望拥有的那个阿姨，”食品杂志 Cherry Bombe 的创始人 Kerry Diamond 告诉我，“她幽默风趣，富有，她会让你吃你妈妈说不可以吃的巧克力蛋糕。”
I had come to East Hampton to spend a few days with Garten in her domain, in anticipation of “Be Ready When the Luck Happens,” a memoir she co-wrote with Deborah Davis, which Crown will publish in October. “We are VERY casual so don’t pack any evening gowns!” Garten had advised in an e-mail. “xxxx Ina.” She offered to lend me the Mini during my stay, and, when I declined, to pick me up from the Jitney, which is what a bus is called in the Hamptons. 我来到东汉普顿，准备在加滕的领地里与她共度几天，期待着她与黛博拉·戴维斯合著的回忆录《当好运来临时做好准备》，皇冠出版社将于十月出版。加滕在一封电子邮件中建议道：“我们非常随意，所以不要带晚礼服！”“xxxx 伊娜。”她提出在我逗留期间借给我迷你车，当我拒绝时，她又提出从吉特尼接我，吉特尼是汉普顿地区对公交车的称呼。
Her current TV show, “Be My Guest,” which premièred on the Food Network in 2022, makes literal her place as Everyone’s Favorite Hostess: she invites such well-known personalities as Jennifer Garner, Danny Meyer, and Stanley Tucci- 她目前的电视节目《做我的嘉宾》于 2022 年在美食频道首播，字面上体现了她作为“人人喜爱的女主人”的地位：她邀请了詹妮弗·加纳、丹尼·迈耶和斯坦利·图齐等知名人士。
many of whom are or have become friends-to her home to cook, drink, eat, and be interviewed. (David Remnick, the editor of this magazine, once joined her to make chicken cutlets.) At the beginning of each episode, we see her celebrity guest in their car, heading to East Hampton, often expressing giddy enthusiasm at the prospect of a day with Garten. These visitors, needless to say, do not take the bus. Still, Garten was determined to host me as thoroughly as she could, and had arranged for a montage of entertainments during my stay: dinners out, dinner in, a charity tour of her garden. “As Alfred Hitchcock said, movies are like life with the boring parts cut out,” she told me, explaining her approach to my visit. In person, her voice is throatier than it sounds on TV-the ideal register for a dinner party. 许多人成为了她的朋友，来到她家做饭、喝酒、吃饭并接受采访。（本杂志的编辑大卫·雷姆尼克曾与她一起做过鸡排。）每集开始时，我们都会看到她的名人嘉宾坐在车里，前往东汉普顿，常常对与加滕共度一天充满兴奋之情。毋庸置疑，这些访客不会坐公交车。尽管如此，加滕决心尽可能周到地招待我，并安排了我逗留期间的一系列娱乐活动：外出晚餐、家中晚餐、她花园的慈善参观。“正如阿尔弗雷德·希区柯克所说，电影就像生活，只是剪掉了无聊的部分，”她告诉我，解释她对我访问的态度。本人声音比电视上听起来更沙哑——这正是晚宴派对的理想音调。
On that first night, Garten was behind the wheel and Jeffrey was tucked, gamely if a bit creakily, in the back seat. The two have been married for more than fifty years. She calls him Babe; he calls her Ine.He is short, but she is shorter. The early evening was bright as we drove east on Route 27 toward Mostrador, a restaurant at a beach hotel in Montauk where diners can sit on chairs in the sand. Garten, who is recognized everywhere she goes in the Hamptons, wore a straw hat that she kept pulled low. Jeffrey wore a Barefoot Contessa baseball cap. 那个第一个晚上，Garten 坐在方向盘后面，Jeffrey 坐在后座，虽然有些僵硬，但仍然勇敢地挤在那里。他们已经结婚超过五十年。她叫他 Babe；他叫她 Ine。他个子矮，但她更矮。傍晚时分阳光明媚，我们沿着 27 号公路向东开往 Mostrador，那是一家位于 Montauk 海滩酒店的餐厅，食客们可以坐在沙滩上的椅子上。Garten 在汉普顿斯无论走到哪里都被认出，她戴着一顶草帽，帽檐压得很低。Jeffrey 戴着一顶 Barefoot Contessa 的棒球帽。
We had spent the morning in the “barn” on Garten’s property, where she tests recipes and films her TV shows in a vast, open kitchen that is essentially two kitchens side by side-two refrigerators, two stand mixers, two rangeswith a continent-size island beneath a vaulted ceiling. This arrangement allows Garten and one of her assistants, Mica Bahn or Rose Brown, to cook simultaneously without getting in each other’s way. That morning, Garten had been trying to decide which of two old cake recipes to spruce up with a new topping 我们早上待在 Garten 的“谷仓”里，她的地产上有这样一个地方，她在那里测试食谱并拍摄电视节目，这是一间宽敞开放的厨房，实际上是两个并排的厨房——两个冰箱、两个立式搅拌机、两个炉灶——中间有一个大陆大小的岛台，屋顶是拱形的。这种布局让 Garten 和她的助理之一，Mica Bahn 或 Rose Brown，可以同时做饭而不会互相干扰。那天早上，Garten 正在决定用哪两个旧蛋糕食谱中的一个，加上新的浇头进行改良。
and include in her next cookbook. While Bahn prepared a ricotta breakfast cake, Garten delivered a brief discourse on why over-mixing flour makes batter tough. (“Have I told you this?” Garten asked Bahn. “I don’t think you have,” Bahn replied politely.) Now, on the way to Montauk, Garten reported without particular disappointment that the cakes had been underwhelming-perhaps she’d try chocolate instead. She went to reach for her phone in the back seat to show me a photo, but Jeffrey suggested that this could wait until she was no longer driving. 并将其收录在她的下一本食谱中。当 Bahn 准备一款意大利乳清干酪早餐蛋糕时，Garten 简短地讲解了为什么过度搅拌面粉会使面糊变硬。（“我跟你说过这个吗？”Garten 问 Bahn。“我觉得你没说过，”Bahn 礼貌地回答。）现在，在前往蒙托克的路上，Garten 毫无特别失望地报告说蛋糕表现平平——也许她会改做巧克力口味。她想在后座拿起手机给我看一张照片，但 Jeffrey 建议等她不再开车时再看。
The two of them had been to Mostrador the previous summer and liked it, and they had recently gone back to confirm that it was still good. The idea of proposing dinner at a place she’s been “meaning to try” appalls Garten. It’s the dining-out analogue to one of her rules of hosting: don’t serve anything that you haven’t made before. When Garten entertains, she cooks almost exclusively from her own recipes, which she has tested thoroughly. Her culinary style has been guided by the principle that people tend to want to eat things they know, but better-lavishly executed comfort food. “I love to take a familiar flavor and then push it over the top!” she wrote in her first cookbook, alongside a recipe for bread pudding prepared with croissants instead of “boring white bread.” People also want effortlessness, or, at least, the appearance of effortlessness; Garten believes that nothing ruins a party like palpable stress on the part of the person throwing it. She feels for both guests and hosts. “I think she’s very empathetic,” Jeffrey told me. “But lots of people are empathetic. She uses that empathy in a practical way.” 他们两人去年夏天去过 Mostrador，觉得不错，最近又回去确认那里依然很好。提出去她“一直想尝试”的地方吃晚饭的想法让 Garten 感到震惊。这相当于她做东时的一条规则：不要提供自己没做过的菜。Garten 招待客人时，几乎只用自己经过充分测试的食谱烹饪。她的烹饪风格遵循一个原则：人们往往想吃熟悉但更好的食物——奢华精致的安慰食物。“我喜欢拿熟悉的味道，然后把它推向极致！”她在第一本食谱中写道，旁边附有用羊角面包代替“无聊白面包”制作的面包布丁食谱。人们还想要轻松感，或者至少看起来轻松；Garten 认为，没有什么比举办者明显的压力更能毁掉派对了。她对客人和主人都很有同情心。“我觉得她非常有同理心，”Jeffrey 告诉我，“但很多人都有同理心。她把这种同理心用在了实用的方面。”
Driving toward the beach, Garten described the plans for her appearances on the “Today” show during NBC’s Olympics coverage—she would be showing viewers her favorite food destinations in 驶向海滩的路上，Garten 描述了她在 NBC 奥运会报道期间在“今日秀”上的出场计划——她将向观众展示她最喜欢的美食目的地
Garten bas been guided by the principle that people want to eat things they know, but better-lavishly executed comfort food. Garten 一直遵循的原则是人们想吃他们熟悉的东西，但要更好——奢华地呈现舒适食品。
Paris, where she and Jeffrey have had an apartment since 2000. “Today,” on which she first appeared in 1999, is one of Garten’s constants, like her uniform of button-down shirts (denim in summer, corduroy in winter, usually from Talbots) and her bob (first given to her, in the seventies, by a stylist at the Watergate Hotel named Sylvan Melloul, who later cut Hillary Clinton’s hair as First Lady). Once Garten finds something she likes, she sticks with it. 巴黎，她和 Jeffrey 自 2000 年起就在那儿有一套公寓。“今日秀”，她首次亮相于 1999 年，是 Garten 的常态之一，就像她的制服——纽扣衬衫（夏天穿牛仔布，冬天穿灯芯绒，通常来自 Talbots）和她的波波头（七十年代由 Watergate 酒店的一位名叫 Sylvan Melloul 的造型师首次为她剪发，后来这位造型师还为第一夫人希拉里·克林顿剪过头发）。一旦 Garten 喜欢上某样东西，她就会坚持使用。
Garten parked, and we walked toward the restaurant, expecting to see the dinner rush, but the chairs on the sand were empty. Mostrador was closed. She proceeded to problem-solve. “We can have fun in a closet,” Garten said. “It doesn’t matter.” (“Fun” is a watchword with Garten. “If it’s not fun, it’s not done,” she told me.) As it happened, she and Bahn had been discussing Fini, a pizzeria in Amagansett, just that morning. “Their white pizza’s just stunning,” Garten had said. We got back in the Mini and set out for Fini. 加滕停车后，我们朝餐厅走去，原以为会看到晚餐高峰，但沙滩上的椅子都是空的。Mostrador 关门了。她开始想办法解决问题。“我们可以在一个衣橱里玩得开心，”加滕说，“没关系。”（“玩得开心”是加滕的口头禅。“如果不开心，那就不做，”她告诉我。）碰巧的是，她和班恩那天早上刚讨论过 Amagansett 的一家披萨店 Fini。“他们的白披萨简直惊艳，”加滕说。我们回到迷你车，出发去 Fini。
At the pizzeria, we ordered slices and plastic cups of rosé. I insisted, as a journalist, on paying for my part of the meal, to Garten’s chagrin. Jeffrey, an expert in emerging market economies who now teaches as a dean emeritus at Yale, assured me that he knew how these things went-back when he was in the Clinton Administration (as Under-Secretary of Commerce for International Trade), the rules were “really strict.” Once, a C.E.O. offered him a flight home to East Hampton on a private jet; Jeffrey accepted it, but felt honor-bound to write him a check for the price of a first-class ticket. 在披萨店，我们点了披萨片和塑料杯装的玫瑰红酒。作为记者，我坚持支付我那部分的餐费，这让加滕感到不快。杰弗里是一位新兴市场经济专家，现在是耶鲁大学的名誉院长，他向我保证他知道这些事情的运作方式——当年他在克林顿政府任职时（国际贸易商务部副部长），规定非常严格。曾有一次，一位首席执行官邀请他乘坐私人飞机回东汉普顿；杰弗里接受了邀请，但觉得有义务给他开一张相当于头等舱机票价格的支票。
In some fields, the line between business and pleasure is supposed to be obvious. The soft power of the hostess can make it more fuzzy. Abundance-forget the calories, forget the dishes, forget the cost-is Garten’s métier, and expense reports are no fun. “It just feels so ungracious!” she said, as she watched me pick up the check. 在某些领域，商业与娱乐之间的界限本应是显而易见的。女主人的软实力却能让这界限变得模糊。丰盛——忘掉卡路里，忘掉菜肴，忘掉费用——是加藤的专长，而报销单则一点也不有趣。“这感觉真是太不礼貌了！”她一边看着我付账一边说。
Deborah Davis, the co-author of"Be Ready When the Luck Happens," met Garten after sending a fan letter praising her coconut cupcakes and requesting a blurb for a book she’d written about Truman Capote’s Black-andWhite Ball. Their writing process for the memoir involved recording long in- 黛博拉·戴维斯是《当好运来临时做好准备》一书的合著者，她在给加藤写了一封赞扬她椰子杯子蛋糕的粉丝信后与她相识，并请求她为自己写的一本关于杜鲁门·卡波特黑白舞会的书写推荐语。他们的回忆录写作过程涉及了多年的长时间采访录音。
terviews over several years. “I gave her all the bricks, and she built the house,” Garten said. “我给了她所有的砖块，她建起了房子，”加藤说。
The title reflects the evolution of Garten’s understanding of her own success. She long believed herself lucky; lately, she says, she has begun to recognize the roles that talent and hard work played. Still, it is striking, reading the book, just how much luck does happen. Sellers of houses lower prices at just the right moment; Jeffrey gets offered a loan from his bosses at Lehman Brothers when Garten’s scrambling to cover payroll. Rain threatens an outdoor wedding she’s catering, but, at the last minute, she finds a tent.“Whew!” she writes, and “Phew!” and “PHEW!” (Garten requested that copy editors preserve the book’s colloquial flavor, and they mostly obliged. “If there were three exclamation marks, they pared it down to one,” she said.) 标题反映了加滕对自己成功理解的演变。她曾长期认为自己是幸运的；最近，她说，她开始认识到天赋和努力工作所起的作用。不过，读这本书时，运气确实发生了多少，令人印象深刻。卖房的人在恰当的时刻降价；当加滕忙着支付工资时，杰弗里得到了雷曼兄弟老板提供的贷款。她承办的户外婚礼面临雨水威胁，但在最后一刻，她找到了一个帐篷。“呼！”她写道，“呼！”和“呼！”（加滕要求文案编辑保留书中的口语风格，他们大多照做了。“如果有三个感叹号，他们会删减为一个，”她说。）
Garten’s home in East Hampton is a near-exact replica of a house that she and Jeffrey previously owned down the street. When they decided that they needed more space, they bought an empty lot nearby and re-created it, adding an office for him. (“I could walk through the rooms blindfolded and know where everything was,” she writes.) Then, in 2006, Garten persuaded a neighbor to sell her an adjoining empty field, which is now the site of the barn, a quasi-public workplace on the grounds of her private life. The view from the barn kitchen is of her house, and the view from her desk in the house is of the barn. 加藤在东汉普顿的家几乎是她和杰弗里之前在街上拥有的一栋房子的精确复制品。当他们决定需要更多空间时，他们买下了附近的一块空地并重新建造了它，为他增加了一个办公室。（“我可以蒙着眼睛走过房间，知道每样东西在哪里，”她写道。）然后，在 2006 年，加藤说服邻居卖给她一块相邻的空地，现在那里建有谷仓，这是她私人生活场所上的一个半公共工作空间。谷仓厨房的视野是她的房子，而她在房子里办公桌的视野是谷仓。
It is a life she has constructed to her exact specifications, and it represents an 这是她按照自己的精确规格建造的生活，代表了一种
emphatic response to an upbringing in which she felt that few of her wishes or tastes were satisfied. “I think I was starving my whole childhood,” Garten told me. We were sitting in the barn’s library, where the tops of the bookshelves are lined with white cake stands; she had her back to the floor-to-ceiling windows and her feet up on a large ottoman. This 对她童年时期感到很少有愿望或品味被满足的强烈回应。“我觉得我整个童年都在挨饿，”加藤告诉我。我们坐在谷仓的图书馆里，书架顶端摆满了白色蛋糕盘；她背对着落地窗，双脚搭在一个大脚凳上。这一幕
was one of our first conversations, and she had brought it swiftly to the subject of her early life, which she has tended to avoid in the past. Davis hadn’t been sure whether Garten would be comfortable discussing her childhood publicly, but, in time, she said, “the door opened.” 这是我们最初的几次对话之一，她很快就谈到了她早年的生活，而她过去一直避免谈论这些。戴维斯不确定加藤是否愿意公开讨论她的童年，但随着时间的推移，她说，“门打开了。”
The future Barefoot Contessa was born in Brooklyn in 1948, the younger child of parents from immigrant Russian Jewish families who had met as counsellors at a summer camp. (She has an older brother named Ken.) Garten’s father, Charles Rosenberg, was a surgeon. Her mother, Florence, was trained as a dietitian, and her attitude toward food shadowed Garten’s childhood. Florence was “obsessed with what she ate,” Garten recalled. “It was all about nutrition rather than pleasure. My mother didn’t understand pleasure.” Florence did not, as a rule, serve carbohydrates or dessert, and, after Charles had a heart attack in his forties, cholesterol was forbidden, including cream for coffee. “Skim milk,” Garten told me.“You might as well pour water in your coffee.” 未来的赤足女主人 1948 年出生于布鲁克林，是来自俄罗斯犹太移民家庭的父母的幼子（她有一个叫肯的哥哥）。加藤的父亲查尔斯·罗森伯格是一名外科医生。她的母亲弗洛伦斯受过营养师培训，她对食物的态度影响了加藤的童年。加藤回忆说，弗洛伦斯“对她吃的东西痴迷”，“一切都是关于营养而非享受。我的母亲不懂得享受。”弗洛伦斯通常不提供碳水化合物或甜点，在查尔斯四十多岁时心脏病发作后，胆固醇被禁止，包括咖啡里的奶油。“脱脂牛奶，”加藤告诉我，“你倒进咖啡里不如倒水。”
The family moved to Connecticut when Garten was five, and, though their life appeared to be a model of mid-century suburban prosperity, Garten experienced it differently. “I remember being terrified of my father,” she said. Florence maintained a rigid sense of order to avoid what Garten, in the memoir, calls her father’s “temper tantrums”-when he’d scream and hit his children. “He would just have a rage, where he would drag me around the house by my hair,” she said. “He never sexually abused me, but he had this love-hate relationship with me. I think he loved me, but he wanted me to be who he wanted me to be, without any consciousness of who I am.” At home, Garten holed up in her room, but at school she was vivacious and popular. As a teen-ager, she resolved never to date any boy who raised his voice to her. 家人在加藤五岁时搬到了康涅狄格州，尽管他们的生活看起来是中世纪郊区繁荣的典范，但加藤的感受却不同。“我记得我很害怕我的父亲，”她说。弗洛伦斯保持着严格的秩序感，以避免加藤在回忆录中称之为父亲的“发脾气”——当时他会尖叫并打孩子。“他会大发脾气，把我头发拽着拖来拖去，”她说。“他从未性虐待我，但他对我有一种爱恨交织的关系。我想他爱我，但他希望我成为他想要的样子，完全不顾我的真实自我。”在家里，加藤躲在自己的房间里，但在学校她活泼开朗，深受欢迎。作为一个青少年，她决定永远不和任何对她大声喊叫的男孩约会。
Davis’s original draft of Garten’s memoir began with her childhood, but Garten said that this was wrong: her life began with Jeffrey. They met in 1964, when he spotted her through a library window at Dartmouth, where he was a freshman and she was visiting Ken, a sophomore. She was sixteen, wearing blue Pappagallo flats bought with her own money and a blue ribbon in her hair. “I could tell by looking at her that she 戴维斯最初为加滕回忆录所写的草稿从她的童年开始，但加滕说这是错误的：她的人生始于杰弗里。他们于 1964 年相识，当时他在达特茅斯学院读大一，通过图书馆的窗户看到了她，而她正在拜访肯，肯是大二学生。她十六岁，穿着用自己钱买的蓝色帕帕加洛平底鞋，头上系着蓝色丝带。“我一看她就知道她非常聪明，”杰弗里告诉我。“她当时正和两个人说话，我能看到她脸上的表情，尽管她在笑，但神情非常警觉。”
was really smart,” Jeffrey told me. "She was talking to two people, and I could see the expression on her face, which was so incredibly alert, even as she was laughing."Their relationship developed in letters and on weekend trips; they married when Garten was twenty and a junior at Syracuse University. In the course of the decade that followed, Garten transferred to North Carolina State University and worked a series of short-term jobs; Jeffrey proceeded to the military, to graduate school in international studies, and then to the State Department, where he worked for Henry Kissinger. 他们的关系通过书信和周末旅行逐渐发展；加滕二十岁时与杰弗里结婚，那时她是雪城大学的大三学生。在接下来的十年里，加滕转学到北卡罗来纳州立大学，做了一系列短期工作；杰弗里则进入军队，随后攻读国际研究研究生课程，之后进入国务院，在那里为亨利·基辛格工作。
Garten’s fans know Jeffrey as an uxorious husband who delights in roasted chicken and literally everything else his wife prepares. Their romance has become part of Garten’s persona. But, of course, no actual relationship is so easy: the book’s account of a brief separation in the late seventies might surprise some readers. Garten explained to me that their early dynamic - with Jeffrey as the designated adult - made sense at first, but over time their roles began to chafe, especially amid the broader reconsideration of marriage taking place in the nine-teen-seventies. (“It started to piss me off that I was the only one who made dinner,” Garten said.) Their reconciliation involved recognizing that they’d both be happier with more independence. In the mid-eighties, just as Garten opened her store in East Hampton and moved there full time, Jeffrey spent two years in Tokyo, overseeing Lehman Brothers’ investment banking in Asia, followed by a year in Hong Kong. By the nineties, “navigating unusual situations was 'normal” for them, she writes. In an episode of " 30 Rock," Liz Lemon heralds Garten as “that woman on the Food Network whose husband only comes home on the weekends and she spends the rest of the time eating and drinking with her gay friends.” But it is also true that the marriage Garten credits with saving her from a chilly, remote upbringing has been remote in a different sense. 加藤的粉丝们知道杰弗里是一个溺爱妻子的丈夫，他喜欢烤鸡和妻子做的几乎所有东西。他们的浪漫故事已经成为加藤个人形象的一部分。但当然，没有哪段真实的关系是如此简单：书中关于七十年代末短暂分离的描述可能会让一些读者感到惊讶。加藤向我解释说，他们早期的相处模式——由杰弗里担当“成年人”角色——起初很合理，但随着时间推移，这种角色开始让人感到不适，尤其是在七十年代对婚姻进行更广泛反思的背景下。（“我开始生气，因为只有我一个人做晚饭，”加藤说。）他们的和解过程包括认识到双方如果拥有更多独立性会更幸福。八十年代中期，正值加藤在东汉普顿开设商店并全职搬去那里时，杰弗里在东京工作了两年，负责雷曼兄弟在亚洲的投资银行业务，随后又在香港待了一年。到了九十年代，“应对不寻常的情况对他们来说已成常态，”她写道。 在《30 Rock》的一集中，Liz Lemon 称赞 Garten 是“那个食品网络上的女人，她的丈夫只在周末回家，剩下的时间她都和她的同性恋朋友们一起吃喝。”但同样真实的是，Garten 认为拯救她脱离寒冷偏远童年的婚姻，在另一种意义上也是遥远的。
She and Jeffrey did not quite make an explicit choice against parenthood; it was more that parenthood always seemed out of the question to her. “I remember thinking very clearly, I don’t know why people have children. I just thought, Why would you re-create that?” Garten said. “I would be terrified.” In the early 她和 Jeffrey 并没有明确选择不做父母；更多的是父母身份对她来说似乎一直是个不可能的选项。“我记得很清楚地想过，我不知道人们为什么要生孩子。我只是觉得，为什么你要重蹈覆辙？”Garten 说，“我会感到害怕。”在早期
“I don’t have blisters where these straps are yet!” “这些带子还没让我起水泡呢！”
years, Jeffrey would periodically ask whether they should talk about having kids, and she’d demur. “And then, at some point, we just didn’t talk about it anymore,” she said. 年间，Jeffrey 会时不时地问他们是否应该谈谈要孩子的事，而她总是回避。“然后，在某个时候，我们就不再谈论这件事了，”她说。
Jeffrey told me that it took him years to realize how troubled Garten’s relationship with Charles had been. "After we got married, I noticed great similarities between her and her father,"Jeffrey told me. Like Charles, who wore cashmere sports coats and had his office professionally decorated, Garten cared about style and was gregarious. And, also like him, she had an eye for real estate. 杰弗里告诉我，他花了多年时间才意识到加滕与查尔斯的关系有多么复杂。“我们结婚后，我注意到她和她父亲之间有很多相似之处，”杰弗里告诉我。就像查尔斯一样，他穿着羊绒运动外套，办公室布置得很专业，加滕也很注重风格且性格外向。而且，和他一样，她对房地产也很有眼光。
Throughout Garten’s childhood, Charles invested in property in Stamford, Connecticut, including an apartment complex that he rented out. He also bought a glassy modernist house built from blueprints by the firm Skidmore, Owings & Merrill, where Gordon Bunshaft was a star architect. (Garten told me that, years later, she got to visit Bunshaft’s own East Hampton residence, which had been purchased, in 1995, by Martha Stewart: “She said, 'It’‘s the only house ever designed by Gordon Bunshaft,’ and I said, ‘This is so bizarre, because I know the only other house. …’”) 在加滕的童年时期，查尔斯在康涅狄格州斯坦福投资了房地产，包括一处他出租的公寓楼。他还买了一座由斯基德莫尔、欧文斯与梅里尔事务所设计的现代主义玻璃房子，该事务所的明星建筑师是戈登·邦肖特。（加滕告诉我，多年后她曾参观过邦肖特位于东汉普顿的私人住宅，该住宅于 1995 年被玛莎·斯图尔特购买：“她说，‘这是戈登·邦肖特设计的唯一一座房子，’我说，‘这太奇怪了，因为我知道唯一的另一座房子……’”）
She and Jeffrey now own the apartment in Paris, an apartment on the Upper East Side, and, in East Hampton, their home, two commercial buildings, and a threebedroom house where her assistant Bahn pays a nominal rent. “I saw part of my job as investing Jeffrey’s money in real estate,” Garten said. 她和杰弗里现在拥有巴黎的一套公寓、上东区的一套公寓，以及在东汉普顿的家，两栋商业楼和一栋三居室的房子，她的助理班以象征性的租金居住在那里。“我把我的部分工作看作是投资杰弗里的房地产，”加滕说。
The property next door to Bahn’s recently came up for sale, and Garten bought that, too, because she didn’t want construction noise bothering Bahn. “I just want my guys to be happy,” Garten, who joked that her young employees are “substitute children,” told me.“And then send them out into the world to do what they want to do for themselves.” She paused briefly.“Sending them out in the world is hard.” 班隔壁的房产最近挂牌出售，加滕也买下了它，因为她不想让施工噪音打扰班。“我只想让我的人开心，”加滕开玩笑说她的年轻员工是“替代的孩子”，“然后送他们走向世界，去做他们想为自己做的事。”她短暂地停顿了一下，“送他们走向世界是很难的。”
In Nancy Meyers’s 2003 movie, “Something’s Gotta Give,” Diane Keaton plays Erica Barry, a divorced fiftysomething playwright who possesses charm, beachfront East End real estate, and a great many turtlenecks. To convey her heroine’s sophisticated gestalt, Meyers sends her to the Barefoot Contessa.There, between piles of produce and an overflowing bakery case, Erica orders charcuterie 在南希·迈耶斯 2003 年的电影《真爱至上》中，黛安·基顿饰演埃丽卡·巴里，一位离婚的五十多岁剧作家，拥有魅力、海滨东区的房地产和许多高领毛衣。为了传达她女主角的复杂整体形象，迈耶斯让她去“赤脚女主人”餐厅。在那里，在堆满农产品和溢出的面包柜台之间，埃丽卡点了肉类拼盘。
Abstract 摘要
The sky tonight on the top of the ridge Was bruise-colored, a yellow-brown That is one definition of the word “sordid,” Which, I think, used to describe That color, carries neither a moral Nor an aesthetic judgment. The sky At dusk was sordid and then brightened And softened to a glowing peach Of brief but astonishing beauty, If you happened to be paying attention. I could take a hard right here To the angry adolescent boy in Texas Who shot and killed nineteen children With a high-powered weapon my culture Put into his hands. How to enter The hive of that mind and undo what The imagination had done there? He wore a flak jacket, bought two rifles At a local store, one of which fires forty rounds A minute. He had it specifically in mind To kill children of that age, the lithe- Bodied young in their end-of-term clothing. The connective tissue in this veering Is the idea that it is the experience of beauty, Not rules, not fear of consequences Or reverence for authority, that informs Our moral sense. This may be where John Ashbery would introduce a non sequitur, 今晚山脊顶上的天空 是淤青色，黄褐色 这就是“肮脏”一词的一个定义， 我想，这个词过去用来形容 那种颜色，既不带有道德判断 也不带有审美判断。黄昏时的天空 是肮脏的，随后变得明亮 并柔和成一种发光的桃色 短暂却惊人的美丽， 如果你恰好在留心观察的话。 我可以在这里急转弯，谈谈 德克萨斯那个愤怒的少年 他用一把高威力武器 杀害了十九个孩子 这武器是我的文化交到他手中的。 如何进入 那个蜂巢般的思维，解开 想象力在那里所做的一切？ 他穿着防弹衣，在当地商店买了两支步枪 其中一支每分钟能发射四十发子弹。 他特别想着 要杀死那个年龄段的孩子，那些身材轻盈 穿着学期末服装的年轻人。 这段转折的连接线 是这样一个想法：是美的体验， 而非规则，非对后果的恐惧 或对权威的敬畏，塑造了 我们的道德感。也许这正是约翰·阿什贝里会引入一个不合逻辑的转折的地方，
A SUNSET 一场日落
Not from aversion to responsibility 不是出于对责任的厌恶
But from a sense he no doubt had 而是出于他无疑拥有的一种感觉
That there was a kind of self-importance 那里有一种自以为是的感觉
In the introduction of morality to poetry 在道德引入诗歌的过程中
And that one might, therefore, be better off 因此，一个人可能会更好
Practicing one’s art in more or less 在或多或少的情况下练习自己的艺术
The spirit of the poor juggler in the story 故事中那个贫穷杂耍艺人的精神
Of Christmas who, having no gift to bring 圣诞节的他，没有礼物可带来
To the infant god, crept into the church 来到教堂，悄悄走近婴儿神像
In the night and faced the crèche and juggled. 在夜里面对马槽，开始杂耍。
Play, beauty, the impulse to reproduce it, 玩耍，美，重现它的冲动，
The impulse to evoke and bring to rage And then to stillness the violence 唤起并激怒的冲动，然后使暴力归于平静
In our natures. One does not, The argument is, watch “Lear” and then Go out and kill someone. The next veering, Undertaken without cynicism but 在我们的本性中。有人说，看完《李尔王》后不会去杀人。下一次转向，虽非愤世嫉俗而是
In a spirit of frankness (leaving aside 以坦率的精神（暂且不谈）
Plato’s originary arguments), would be 柏拉图的原始论证），将会是
To introduce the collection of records 介绍这批记录
They found in Adolf Hitler’s bunker. 他们在阿道夫·希特勒的地堡中发现了。
There were more than a hundred 有超过一百个
Of them: Wagner, of course, the operas 其中：瓦格纳，当然，还有歌剧
Especially, but also Mussorgsky, Rachmaninoff. He must have turned, 尤其是，还有穆索尔斯基，拉赫玛尼诺夫。他一定转向了，
To rest his mind, from reports on the success 为了让他的心灵休息，远离关于成功的报道
Of Zyklon B to the concertos of Rachmaninoff. 从齐克隆 B 的报道到拉赫玛尼诺夫的协奏曲。
in French. “Impressive,” her daughter’s much older boyfriend (Jack Nicholson) says, between slurps of an ice-cream cone. 用法语说。“令人印象深刻，”她女儿年长许多的男朋友（杰克·尼科尔森）一边舔着冰淇淋甜筒一边说。
Meyers and Garten met several years after the film came out, when the director spotted Garten having lunch at ABC Cocina, in Manhattan. Meyers recalls having “blabbed nervously,” but she and Garten soon struck up a rapport. Meyers would text her about recipes. They share an aesthetic kinship, and offer their audiences a similar fantasy of Boomer affluence-a world of spacious interiors furnished in unassuming good taste, with high-thread-count sheets and fully stocked refrigerators. So aligned are their styles that, when Garten visited the director’s house, Meyers told me, she complimented the kitchen-counter barstools. “Ina,” Meyers remembers telling her, " II copied yours." 迈耶斯和加滕是在电影上映几年后认识的，当时导演在曼哈顿的 ABC Cocina 看到加滕在吃午饭。迈耶斯回忆说她“紧张地喋喋不休”，但她和加滕很快建立了融洽的关系。迈耶斯会给她发短信谈论食谱。他们分享一种审美上的亲近感，并为观众提供了类似的婴儿潮一代富裕幻想——一个宽敞的室内空间，布置得低调而有品味，配有高支数的床单和备货充足的冰箱。他们的风格如此一致，以至于当加滕访问导演的家时，迈耶斯告诉我，她称赞了厨房吧台的凳子。“伊娜，”迈耶斯记得她对她说，“ II 抄袭了你的。”
Garten’s version of that Boomer fantasy is anchored in the Hamptonswhich she herself helped fix in the popular imagination. It was a different place 加滕版本的婴儿潮一代幻想扎根于汉普顿——她本人也帮助将其固定在大众想象中。那是一个不同的地方。
when Garten first arrived, in the late seventies. For one thing, “no one called it ‘the Hamptons,’” the real-estate broker Frank Newbold, a friend of Garten’s and, for a time, her business partner on a line of baking mixes, told me. “It was like calling San Francisco 'Frisco.'It marked you as an outsider.” Newbold got into real estate in East Hampton in 1980. Wall Street was churning out corporate raiders and bond traders, and the secondhome market was taking off. 当加滕在七十年代末首次到达时。首先，“没人叫那里‘汉普顿’，”房地产经纪人弗兰克·纽博尔德告诉我，他是加滕的朋友，并且曾一度是她烘焙混合产品线的商业伙伴。“那就像叫旧金山‘弗里斯科’一样，会让你显得是个外来者。”纽博尔德于 1980 年进入东汉普顿房地产市场。华尔街当时涌现出企业掠夺者和债券交易员，第二居所市场开始起飞。
The potted history of the Barefoot Contessa usually begins in 1978 , with Garten seeing a Times classified ad for a “catering, gourmet foods & cheese shoppe” for sale in Westhampton Beach. The town was empty when she and Jeffrey drove up from their home in D.C., and so was the small store, save for a teen-age girl baking chocolate-chip cookies. “The scent triggered a rush of good feelings, like endorphins on steroids,” Garten recalls in the memoir. She made a lowball offer, which, to her sur- 《赤脚厨娘》的简短历史通常始于 1978 年，那时加滕看到《纽约时报》分类广告上有一家“餐饮、精品食品和奶酪店”在西汉普顿海滩出售。她和杰弗里从华盛顿特区的家开车过去时，那个小镇空无一人，小店里也空荡荡的，只有一个十几岁的女孩在烤巧克力曲奇。“那香味激发了一阵美好感觉，就像肾上腺素飙升一样，”加滕在回忆录中回忆道。她出价很低，令她惊讶的是，竟然被接受了，于是开始重新安排她的生活。
prise, was accepted, and set about rearranging her life. 惊喜地被接受了，她开始重新安排自己的生活。
Garten was thirty years old, and she’d only worked in jobs she didn’t particularly care about, most recently at the Office of Management and Budget. She’d developed an interest in cooking after a camping trip she and Jeffrey had taken in Europe, where she marvelled at the goods for sale in French markets, from seasonal produce to jarred pot-au-feu. When they got back, she began cooking her way through Julia Child. She remembers going to a dinner party on Park Avenue where guests talked about Lutèce and Craig Claiborne; meanwhile, at the dinner parties she threw in D.C., people talked only about work. “To me, it felt very narrow,” she said. 加藤三十岁了，她只做过一些自己并不特别感兴趣的工作，最近的一份是在管理和预算办公室。她对烹饪产生兴趣是在她和杰弗里一起去欧洲露营旅行之后，那时她惊叹于法国市场上出售的商品，从应季农产品到罐装的炖牛肉。当他们回来后，她开始按照朱莉娅·柴尔德的食谱做饭。她记得曾去过帕克大道上的一个晚宴，客人们谈论着卢泰斯餐厅和克雷格·克莱伯恩；而她在华盛顿特区举办的晚宴上，人们只谈论工作。“对我来说，那感觉非常狭隘，”她说。
Garten soon found that running a store was something like throwing a daily party. Her first guests were, in effect, her young employees, a crowd of local high schoolers, college students, and kids whose parents had summer houses nearby. 加藤很快发现，经营一家商店有点像每天举办一场派对。她的第一批客人实际上是她年轻的员工，一群当地的高中生、大学生和那些父母在附近有度假屋的孩子们。
Monet might be the counter-argument. 莫奈可能是反驳的例子。
I’ve read that, in his distress at hearing 我读过，在他听到消息时的痛苦中
Descriptions of the violence of the earlier war, The mud and excrement and rotting bodies And barbed wire, poison gas, the rows On rows of young men hurled by their officers At one another’s cannons and machine guns, He rose one morning, walked down to his studio By the pond at Giverny, and began To paint the water lilies and kept painting them As long as his hand could hold a brush. 对早期战争暴力的描述，泥泞、粪便和腐烂的尸体，还有铁丝网、毒气，一排排年轻人被他们的军官推向彼此的炮火和机枪。他有一天早晨起床，走到吉维尼池塘边的工作室，开始画睡莲，并一直画着，直到手再也拿不住画笔。
It’s late. I need to return to the subject Of that boy’s mind and the art we practice. And the sunset-peach to dull gold which faded To what felt, for just a second, for less Than a second, a blessed and arriving silence, And then a pale green at the skyline, And then dark. And it was Monday night. 已经很晚了。我需要回到那个男孩的心灵和我们所实践的艺术主题。夕阳的桃色渐渐变成暗金色，褪去成一种感觉，就在一瞬间，甚至不到一秒钟，一种被祝福的到来的寂静，然后天际线出现淡绿色，接着变暗。那是星期一的晚上。
Plato’s idea, I think, was that beauty Was an ordering of elements the world offered And that the harmonies in that order Taught the soul the good. A later culture Would say that boy was taken by a demon And study ways to exorcise it. The devil Had a name: it was the love of evil. And us? Is there a practice of the arts 我认为柏拉图的观点是，美是一种世界所提供元素的秩序，而这种秩序中的和谐教导灵魂向善。后来的文化会说那个男孩被恶魔附身，并研究驱魔的方法。那个恶魔有个名字：它是对邪恶的爱。我们呢？艺术的实践是否存在
That would install, inform, would 那将会建立、启发、塑造
Deeply root a culture that would form 深深扎根于一种将会形成的文化
A mind or heart in which those young bodies On the classroom floor had become Unimaginable, from a love of the good As ordinary as the children’s tennis shoes? Probably not. Do we need to be able To touch that mind? At that age? It could have come from being laughed at. Once. Or perhaps there was a sexual thrill In putting on the costume, carrying The rifle, saying I Am Doom as he strode Across the parking lot. Is there a way To undo the stew of computer games And horror films and superhero fantasies That gave a language to the moral injury He wanted to inflict? Or the culture Of resentment and fear that put the weapon In his hands? Those people run governments. Here’s another hard right turn. Think Of how Walt Whitman loved this country, Loved the President who died. Imagined Himself as a hand brushing a fly from the brow Of a sleeping child. In the dark 那些年轻的身体躺在教室地板上的心灵或思想，已经变得难以想象，源自对美好的爱，就像孩子们的网球鞋一样普通？可能不是。我们需要能够触及那个心灵吗？在那个年龄？这可能源于曾经被嘲笑过一次。或者，也许穿上制服、拿着步枪、走过停车场时说“我是末日”的时候，有一种性刺激。有没有办法解开电脑游戏、恐怖电影和超级英雄幻想的混合物，这些给了他想要施加的道德伤害一种语言？或者是那种把武器交到他手中的怨恨和恐惧的文化？那些人掌控着政府。这里又是一个急转弯。想想沃尔特·惠特曼是如何热爱这个国家，热爱那位去世的总统。想象自己是一只手，轻轻拂去睡着的孩子额头上的一只苍蝇。在黑暗中
I thought of a radiant ordinariness 我想到了那种光辉的平凡
That burned, that burned and burned. 那燃烧着，燃烧着，永不停息。
Robert Hass 罗伯特·哈斯
She organized themed costume blowouts (“M*A"s"H”; “Barefoot Olympics”) and accompanied her staff on after-hours skinny-dipping expeditions.“We thought we were rock stars working there,” Hunt MacWilliams, who was sixteen at the time, told me.“My brother was painting houses, and he was, like, ‘I want to go work for Ina.’” The role Garten played was about more than high jinksMacWilliams came out to her before coming out to his family. “She brought me under her wing,” he said. 她组织了主题服装派对（“M*A"S"H”；“赤脚奥运会”），并陪同她的员工进行下班后的裸泳探险。“我们当时觉得自己像摇滚明星一样在那里工作，”当时十六岁的亨特·麦克威廉姆斯告诉我。“我哥哥在刷房子，他说，‘我想去为伊娜工作。’”加滕扮演的角色不仅仅是恶作剧。麦克威廉姆斯在向家人出柜之前先向她出柜。“她把我带入她的保护之下，”他说。
Customers were Garten’s guests, too, but they were also the subjects of ongoing research. What inspired them to spend? Sarah Esterling, who was fifteen when she began working for Garten, remembers her boss teaching her the power of abundance: “If you put out ten lemons, you’ll sell two,” Garten told her. "If you put out eighty lemons, you’ll sell sixty-two."The trick was to both inspire and satisfy customers’ cravings. After three years, Garten moved the Barefoot 顾客也是加滕的客人，但他们同时也是持续研究的对象。是什么激励他们消费？萨拉·埃斯特林十五岁开始为加滕工作，她记得老板教她丰盛的力量：“如果你摆出十个柠檬，你会卖出两个，”加滕告诉她。“如果你摆出八十个柠檬，你会卖出六十二个。”诀窍是既激发又满足顾客的渴望。三年后，加滕将赤脚店搬迁了。
Contessa into a space ten times larger across the street. The new location had white wainscoting and screen doors, like a summer house. Big sacks of coffee beans propped up baskets of fruit; these looked nice, but they weren’t really the point. Coconut cupcakes were the point-along with barbecued ribs, baguettes, and bagels with lox and cream cheese. “If it’s calories you’re after,” 1981 writeup in the Southampton Press began, “this is the place.” Contessa 搬到了街对面一个大了十倍的空间。新地点有白色的护墙板和纱门，就像一座夏日小屋。大袋的咖啡豆支撑着装满水果的篮子；这些看起来不错，但它们并不是重点。椰子杯子蛋糕才是重点——还有烤排骨、法棍和涂有熏鲑鱼和奶油奶酪的百吉饼。“如果你追求的是热量，”1981 年《南安普敦新闻》的报道开头写道，“这里就是地方。”
Garten sometimes talks about her early retail inexperience in terms of brownies. “I had made brownies for six friends, but I’d never baked a hundred brownies,” she writes in the memoir. The Barefoot Contessa’s brownies cost two dollars and twenty-five cents-three times what a brownie might have cost elsewhere-but they sold out every time. Esterling remembers a Fourth of July weekend when she had trouble closing the store’s safe because it was so full of money. On Monday, she and Garten 加藤有时会用布朗尼来谈论她早期的零售经验不足。“我曾为六个朋友做过布朗尼，但我从未烤过一百个布朗尼，”她在回忆录中写道。赤脚伯爵夫人的布朗尼售价为两美元二十五美分——是其他地方布朗尼价格的三倍——但每次都卖光了。埃斯特林记得一个七月四日的周末，她因为店里的保险箱里装满了钱而难以关闭。周一，她和加藤
went to the bank and dumped shopping bags of bills onto the counting table. “And Ina looks at it, looks at me,” Esterling recalled. “And she picks up bundles of cash with both hands, throws it up in the air, and goes, 'Wheeeee?” 一起去了银行，把装满钞票的购物袋倒在点钞台上。“伊娜看着这些，看着我，”埃斯特林回忆道。“她双手抓起一捆捆现金，抛向空中，然后喊道，‘哇——’”
Garten had decided to expand at the right moment. The late seventies and eighties saw a boom in specialty-food stores: the postwar allure of European culinary culture and, later, women’s growing presence in the workforce had created the conditions for a customer who cared about eating well but didn’t have much time to spend in the kitchen. These stores sold prepared dishes that shoppers could pass off as their own, plus such rarefied delights as sun-dried tomatoes and raspberry vinegar. The Silver Palate, a hole-in-the-wall shop on the Upper West Side founded by Julee Rosso and Sheila Lukins, became a generational icon with the publication, in 1982, of “The Silver Palate Cookbook.” Dean & DeLuca, which opened downtown in 1977, was an anchor of 加滕决定在恰当的时机扩张。七十年代末和八十年代见证了特色食品店的繁荣：战后欧洲烹饪文化的魅力，以及后来女性在职场中日益增多，创造了一个关心饮食但没有太多时间在厨房花费的顾客群体。这些商店出售准备好的菜肴，顾客可以将其当作自己的作品，同时还有诸如风干番茄和覆盆子醋等稀有美味。位于上西区的一个不起眼的小店“银色调味盘”，由朱莉·罗索和希拉·卢金斯创立，随着 1982 年《银色调味盘食谱》的出版，成为了一代人的象征。1977 年开业的迪恩与德卢卡则成为了
SoHo’s gentrification. It also had an outpost in East Hampton, and, in 1984, Garten got a call from its landlord. Dean & DeLuca was giving up its lease-would the Barefoot Contessa want to move in? 苏荷区绅士化的支柱。它在东汉普顿也有一个分店，1984 年，加滕接到了房东的电话。迪恩与德卢卡决定放弃租约——“赤脚女主人”是否愿意搬进去？
Westhampton (which, as its name suggests, lies on the west side of the East End) was casual, hard-partying, and a largely summertime scene. About an hour closer to the tip of Long Island, East Hampton, the location of the potential new space, was a long-standing blue-blooded summer colony, with the population to support a year-round business. Garten decided to head east, a choice that would prove as consequential as responding to that 1978 ad . Westhampton（顾名思义，位于东区的西侧）氛围随意，派对频繁，主要是夏季的场景。再往长岛尖端方向约一小时，东汉普顿是潜在新店址，那里是一个历史悠久的蓝血贵族夏季殖民地，人口足以支持全年营业。加藤决定向东前进，这一选择证明与回应 1978 年那则广告一样具有重大意义。
Early on, Garten had considered renaming her store: Barefoot Contessa had been the previous owner’s childhood nickname, and Garten had never seen the 1954 Ava Gardner movie it evoked. In the end, Garten decided that the name suited her style perfectly. “The Barefoot Contessa,” she often says, is about being 早期，加藤曾考虑过给她的店铺改名：Barefoot Contessa 是前任店主的童年昵称，而加藤从未看过 1954 年艾娃·加德纳主演的同名电影。最终，加藤决定这个名字非常符合她的风格。“The Barefoot Contessa，”她常说，是关于
“elegant and earthy”-like Gardner’s character, a Spanish dancer turned Hollywood actress. But the movie is also about becoming famous, and, with her 1985 move to East Hampton, that is what Garten proceeded to do. “优雅而质朴”——就像加德纳饰演的角色，一位西班牙舞者转变为好莱坞女演员。但这部电影也讲述了成名的故事，而加藤在 1985 年搬到东汉普顿后，正是开始了她的成名之路。
The eighties had brought residents with star power to East Hampton. “All of a sudden, it wasn’t nameless Vanderbilts and Whitneys and whatever,” Newbold told me. “These were interesting people that got covered in the media… and Ina-her timing was just perfect.” Steven Spielberg, one of East Hampton’s recent arrivals, became a Barefoot Contessa regular, along with Kelly Klein, Lauren Bacall, Lee Radziwill, and Ron Perelman. (“I’m drawn in as much by its personality as I am by what they have to offer,” Spielberg would later write, in a blurb for Garten’s first cookbook.) On New Year’s Eve, which became one of Garten’s biggest days of the year, employees dressed in bow ties and bowler hats to look like Fosse dancers and poured champagne for celebrity clientele. 八十年代为东汉普顿带来了拥有明星光环的居民。“突然之间，不再是无名的范德比尔特家族和惠特尼家族什么的，”纽博尔德告诉我。“这些都是媒体报道的有趣人物……而伊娜的时机恰到好处。”史蒂文·斯皮尔伯格，作为东汉普顿的近期新居民，成为了《Barefoot Contessa》的常客，和凯利·克莱因、劳伦·巴考尔、李·拉齐威尔以及罗恩·佩雷尔曼一起。（斯皮尔伯格后来在为加藤的第一本烹饪书写的推荐语中写道：“我被它的个性和他们所提供的东西同样吸引。”）在新年前夜，这一天成为加藤一年中最重要的日子之一，员工们戴着领结和圆顶礼帽，打扮成福斯舞者的样子，为名人客户倒香槟。
I asked Garten to take me to 46 Newtown Lane, the building on East Hampton’s main commercial strip which was once home to the Barefoot Contessa. In 1996, Garten, ready to move on, decided to sell the store to two employees, Parker Hodges and Amy Forst. Garten told me that she hadn’t been back inside for more than twenty years, which surprised me, especially because she and Jeffrey have owned the building since 1987. (“Walking into a tenant’s space just felt odd,” she explained. “It felt like I was snooping.”) At the time of the sale, she said, she had warned Hodges and Forst that she’d eventually need to raise the rent to meet the market. But in 2003, when their lease was up, the Barefoot Contessa shut down. These are the realities of retail, Garten told me: “If you don’t own the building, you have no guarantee you can stay there.” In the end, she says she gave them twice what they’d paid for the store to buy back its name. (Hodges and Forst did not respond to requests for comment.) The space now houses a Rag & Bone. 我让加藤带我去 46 Newtown Lane，那是东汉普顿主要商业街上的一栋建筑，曾经是 Barefoot Contessa 的所在地。1996 年，加藤准备另谋发展，决定将店铺卖给两名员工，帕克·霍奇斯和艾米·福斯特。加藤告诉我，她已经有二十多年没进过那栋建筑，这让我很惊讶，尤其是因为她和杰弗里自 1987 年以来一直拥有这栋建筑。（“走进租户的空间感觉很奇怪，”她解释道，“感觉像是在窥探。”）她说，在出售时，她曾警告霍奇斯和福斯特，最终她需要提高租金以符合市场价格。但到了 2003 年，当他们的租约到期时，Barefoot Contessa 关闭了。加藤告诉我，这就是零售业的现实：“如果你不拥有建筑物，就无法保证你能留在那里。”最终，她说她以两倍于他们购买店铺的价格买回了店名。（霍奇斯和福斯特未回应置评请求。）现在这里是一家 Rag & Bone 店铺。
When we arrived, I turned to examine a street sign on the corner. “Don’t even look,” Garten said, with theatrical horror. “It’s so embarrassing!” Beneath a sign labelled “Barns Lane” was a second placard, which read "Ina Garten Way."This was the handiwork of Drew 当我们到达时，我转身去查看街角的一个路标。“别看了，”加藤带着戏剧性的惊恐说，“太尴尬了！”在一个标有“Barns Lane”的路牌下方，有一个第二个牌匾，上面写着“Ina Garten Way”。这是德鲁的杰作
Barrymore, who got the street renamed as a stunt when Garten appeared on a 2022 episode of her talk show. 巴里摩尔，她在 2022 年加藤出现在她的脱口秀节目的一集中，恶作剧般地将这条街道改名了。
Inside the store, Garten considered a straw bag, and pointed out the former kitchen, which had become dressing rooms.I asked her how it felt to be back. “It feels much smaller,” she said. 在店内，加藤考虑了一只草编包，并指出以前的厨房已经变成了试衣间。我问她回来的感觉如何。“感觉小了很多，”她说。
From the world of nineteen-nineties home entertaining, Martha Stewart and Ina Garten emerged-like Betty and Veronica or Jackie and Marilyn-as a pair of contrasting archetypes. “People would ask me, Are you an Ina or are you a Martha?” Alison Roman, the best-selling millennial cookbook author, told me. Martha was the regal blond domestic virtuoso. (Later, she became the businesswoman who would be brought low by overweening ambition and, more recently, the eighty-one-year-old who made the cover of a Sports Illustrated swimsuit issue.) Ina, on the other hand, was the approachable brunette, the cozy sensualist, the relatable second-act success story-she was the celebrity chef fans imagined greeting them with a hug and an open bottle of wine. But, without Stewart, Garten might never have become a household name. 在九十年代家庭娱乐的世界里，玛莎·斯图尔特和伊娜·加藤如同贝蒂与维罗妮卡，或杰基与玛丽莲一样，成为一对鲜明对比的典型人物。“人们会问我，你是伊娜派还是玛莎派？”畅销千禧一代食谱作者艾莉森·罗曼告诉我。玛莎是那位高贵的金发家务能手。（后来，她成为了因野心过盛而跌落谷底的商界女性，最近又成为了登上《体育画报》泳装特刊封面的八十一岁老人。）而伊娜则是那位平易近人的棕发女性，温馨感性的代表，令人感同身受的二次成功故事——她是粉丝们想象中会拥抱他们并递上一瓶开了的葡萄酒的名厨。但如果没有斯图尔特，加藤可能永远不会成为家喻户晓的名字。
In 1990, Stewart bought a house south of Montauk Highway on East Hampton’s storied Lily Pond Lane. (“South of the highway” is often used as shorthand for property close to the beach; Garten’s East Hampton home is just slightly north of it.) Later that year, Stewart published the first issue of Martha Stewart Living, which included a writeup on the notable local business owner Ina Garten. 1990 年，斯图尔特在东汉普顿著名的莉莉池塘巷蒙托克公路以南买了一栋房子。（“公路以南”常被用作靠近海滩房产的简称；加滕的东汉普顿住宅就在公路稍北一点。）同年晚些时候，斯图尔特出版了第一期《玛莎·斯图尔特生活》，其中包括对当地著名商人伊娜·加滕的介绍。
Chip Gibson, then the head of Crown Publishing, remembers a weekend drive in the nineties during which Stewart was “overcome” by the need to stop at the Barefoot Contessa. “We were in a gigantic black Suburban,” he told me. “And suddenly she veered almost crashingly to the curb and said, T’ve got to get lemon squares.’” Personally and professionally, Garten became a part of the Martha Stewart universe. Garten told me about a New Year’s Eve when Stewart invited her and Jeffrey over for dinner and, beckoning Garten into the kitchen, proceeded to snip the loops of a whisk with a wire cutter, prop a broom handle over two chairs, and, using the snipped whisk, drizzle caramelized sugar over the broom 当时是皇冠出版社负责人奇普·吉布森回忆起九十年代的一个周末驾车时光，斯图尔特“突然”需要在赤脚女主人店停下。“我们开着一辆巨大的黑色 Suburban，”他告诉我，“突然她几乎撞上路边猛打方向盘，说，‘我得买柠檬方块。’”无论是个人还是职业上，加滕都成为了玛莎·斯图尔特世界的一部分。加滕告诉我一个新年前夜，斯图尔特邀请她和杰弗里共进晚餐，并招呼加滕进厨房，接着用钢丝钳剪断打蛋器的环，撑起两把椅子上的扫帚柄，用剪断的打蛋器在扫帚上淋上焦糖糖浆。
in fine golden strands. “She had made spun sugar!” Garten said. “She’s stunning.”("Stunning,"like “fabulous,” is one of Garten’s favorite adjectives, but it can suggest a double edge. She writes in her memoir: “No one needs to know how to make spun sugar.”) 在细细的金色丝线中。“她做出了拉丝糖！”加藤说。“她真是惊艳。”（“惊艳”，就像“极好”，是加藤最喜欢的形容词之一，但它也可能有双重含义。她在回忆录中写道：“没人需要知道如何制作拉丝糖。”）
Gibson remembered the lemon squares when, in 1997, an editor brought him Garten’s proposal for “The Barefoot Contessa Cookbook.” Her association with Stewart was promising, as was the title. “Who doesn’t want to see themselves as a barefoot contessa, particularly in affluent suburbs?” Gibson said. 吉布森记得柠檬方块，当时是 1997 年，一位编辑带来了加藤的提案——《赤脚女伯爵食谱》。她与斯图尔特的合作前景看好，书名也很吸引人。“谁不想把自己看作赤脚女伯爵，尤其是在富裕的郊区？”吉布森说。
Crown acquired the book on the condition that Garten spend eighty-five thousand dollars on five thousand copies (half of the initial print run) for her store. She also decided to hire her own publicist, food stylist, and photographer, at a cost of some two hundred thousand dollars. “Let’s invest in it as though we were starting a business,” she remembers telling Jeffrey-and, thanks to his time as an investment banker, they could. “I mean, the store made some money,” she said. “But certainly nobody was getting rich running a food store.” 皇冠出版社以加藤必须花八万五千美元购买五千本书（初版印刷量的一半）用于她的店铺为条件收购了这本书。她还决定雇佣自己的公关、食品造型师和摄影师，花费约二十万美元。“让我们像创业一样投资，”她记得自己对杰弗里说——多亏了他曾是投资银行家的经历，他们做到了。“我的意思是，店铺确实赚了一些钱，”她说。“但肯定没有人靠经营食品店发财。”
With her cookbook, Garten hoped to translate the experience of shopping at her longtime store to the page. The recipes would be for customer favorites, and the design would convey the same sense of beachside bounty, with lots of sun-soaked photographs of farm-stand tomatoes and artfully mussed cake. Garten had a keen sense of her book as merchandise, and the first layout she saw dismayed her. “I wanted it to be a story about me, about the store, and the prepared foods,” she said. “Literally, and I’m not exaggerating, the first forty pages didn’t have a picture of me, the store, or the prepared foods.” When she went to Gibson with her concerns, he told the editor to get out of her way. 通过她的烹饪书，Garten 希望将她长期经营的商店购物体验转化到书页上。食谱将是顾客的最爱，设计则传达出同样的海滨丰盛感，配有大量阳光充足的农贸市场番茄和艺术感十足的蛋糕照片。Garten 对她的书作为商品有敏锐的感觉，而她看到的第一个版面让她感到失望。“我想让它成为关于我、关于商店和预制食品的故事，”她说。“字面上讲，我不是夸张，前四十页里没有我的照片，没有商店的照片，也没有预制食品的照片。”当她向 Gibson 表达她的担忧时，他告诉编辑让开她的路。
Her bet paid off.“The Barefoot Contessa Cookbook,” published in 1999, sold so quickly that Crown had to reclaim Garten’s copies to meet demand. (It will be reissued in a twenty-fifth-anniversary edition this fall.) Concise and lushly illustrated, it marked an industry shift away from text-heavy, encyclopedic volumes, and became a best-seller. She and Jeffrey threw a book party in the garden of their East Hampton house, where media personalities drank rosé alongside 她的赌注得到了回报。《赤足女主人烹饪书》于 1999 年出版，销售迅速，以至于 Crown 必须收回 Garten 的副本以满足需求。（今年秋天将重新发行二十五周年纪念版。）这本书简洁且图文并茂，标志着行业从文字繁复、百科全书式的巨著转变，成为畅销书。她和 Jeffrey 在他们东汉普顿家的花园里举办了一场书籍派对，媒体名人在那里一边喝着玫瑰红酒。
the town’s business owners. “Walter Isaacson was hanging out, talking to Mr. Iacono,” Garten recalled, referring to a local chicken farmer. These were people who knew one another from across shop counters, and she had now switched sides. 镇上的商人们。“沃尔特·艾萨克森正在闲聊，和伊阿科诺先生谈话，”加滕回忆道，指的是一位当地的养鸡农。这些人彼此熟识，经常在店铺柜台前打交道，而她现在已经换了阵营。
In 2000, Stewart’s production company created a show starring Garten for the Food Network, with the working title “Someone’s in the Kitchen with Ina.” “Now you say ‘Martha Stewart,’ but then it was 'Martha,”'Garten said. “I remember telling my mother about it, and she said, ‘Why does she want you?’” (“She has a broad appeal,” Stewart told me. “I did like the coconut cupcakes,” she added, though she said she has never cooked one of Garten’s recipes.) During the live-totape shooting, Garten found herself overwhelmed by the TV crew taking over her house, and worried that she was expected to fit Stewart’s mold. One day, Garten took a messy bite of a tea sandwich on camera and-still chewingexclaimed over its tastiness. The director, she remembers, called cut and told her not to talk with her mouth full. To Garten, the whole experience was proof that TV wasn’t for her. In the end, the Food Network decided that the show didn’t work and shelved it, and Garten swore off television. 2000 年，Stewart 的制作公司为 Food Network 制作了一档以 Garten 为主角的节目，工作标题为“Someone’s in the Kitchen with Ina”。“现在你会说‘Martha Stewart’，但那时只是‘Martha’，”Garten 说。“我记得告诉我母亲这件事时，她说，‘她为什么要你？’”（Stewart 告诉我：“她有广泛的吸引力。”她补充说她喜欢椰子杯子蛋糕，尽管她说自己从未做过 Garten 的食谱。）在现场录制过程中，Garten 发现自己被电视摄制组占据了家里，感到不堪重负，并担心自己必须符合 Stewart 的模式。一天，Garten 在镜头前咬了一口凌乱的茶三明治，边嚼边称赞其美味。她记得导演喊停并告诉她不要嘴里含着东西说话。对 Garten 来说，这整个经历证明电视不适合她。最终，Food Network 认为该节目不合适并搁置了它，Garten 发誓不再涉足电视。
When Garten published her second cookbook-“Barefoot Contessa Par-ties!”-in 2001, her parents hosted a celebration at their Connecticut country club. They’d doubted her career path at first, but now they wanted to show her off. “My father and I were sitting in a corner. He said, ‘I don’t know what I was thinking,’” Garten told me, tearing up. “I realized he was torturing himself-he tortured us, but he was torturing himself that he’d done it.” (He died in 2004; Garten’s mother died in 2006.) 当加藤在 2001 年出版她的第二本烹饪书《赤脚女主人派对！》时，她的父母在康涅狄格州的乡村俱乐部举办了庆祝活动。他们起初对她的职业道路持怀疑态度，但现在他们想要炫耀她。“我和父亲坐在角落里。他说，‘我不知道我当时在想什么，’”加藤告诉我，眼眶湿润。“我意识到他在折磨自己——他折磨了我们，但他也在折磨自己，因为他做了那样的事。”（他于 2004 年去世；加藤的母亲于 2006 年去世。）
Garten went on to publish twelve more successful cookbooks, all with Crown’s Clarkson Potter imprint. (She originally sold her memoir to Celadon, but, early this year, she decided to take the project to her team at Crown.) David Drake, the president of Crown since 2021, told me that he couldn’t think of another American cookbook author with a similar track record. The books’ contents, too, have charted 加藤随后又出版了十二本成功的烹饪书，全部由皇冠出版社的克拉克森·波特品牌发行。（她最初将回忆录卖给了 Celadon，但今年早些时候，她决定将该项目交给皇冠团队。）皇冠出版社自 2021 年以来的总裁大卫·德雷克告诉我，他想不到有其他美国烹饪书作者有类似的成绩。这些书的内容也一直在变化。
a steady course: endless elaborations on ease, plenty, nostalgia, and butter. Pam Krauss has edited all of Garten’s cookbooks since the third. “Over the years I’ve had a lot of other cookbook authors come up to me, and they’re, like, ‘I don’t get it,’” Krauss told me, of Garten’s enduring success. “I think it’s the fact that her recipes always work. That may sound incredibly simplistic, or like the lowest bar on the planet when it comes to a cookbook. But I have never had anyone come up to me and say, 'I made one of Ina’s recipes and it didn’t come out.'It just hasn’t happened.” 稳定的路线：无尽的阐述关于轻松、充裕、怀旧和黄油。Pam Krauss 从第三本开始编辑 Garten 的所有食谱。“多年来，许多其他食谱作者都会来找我，他们会说，‘我不明白，’”Krauss 在谈到 Garten 持久的成功时告诉我。“我认为这是因为她的食谱总是有效。这听起来可能非常简单，或者说在食谱界是最低的标准。但从来没有人来找我说，‘我做了 Ina 的一个食谱，结果没成功。’这根本没发生过。”
Garten tests her recipes rigorously, and she also likes to collaborate with people she trusts. For almost twenty years, Sarah Leah Chase, the onetime proprietor of a pre-pared-food shop called Que Sera Sarah, on Nantucket, and a co-author of “The Silver Palate Good Times Cookbook,” has helped with Garten’s recipe development. As a fellow-veteran of vacationtown takeout, Chase shares Garten’s sense of what people in beach houses want to eat. They met when Garten came into her shop in the eighties, and reconnected around the time Garten signed a multibook, multimillion-dollar deal that her agent described at the time as the biggest ever for a cookbook author. “She pays me well,” Chase said. 加藤严格测试她的食谱，她也喜欢与她信任的人合作。近二十年来，萨拉·莉亚·蔡斯曾是南塔克特一家名为“Que Sera Sarah”的预制食品店的店主，也是《银色调味好时光食谱》的合著者，她一直协助加藤开发食谱。作为度假小镇外卖的老兵，蔡斯与加藤有着相似的对海滨别墅居民饮食需求的理解。她们在八十年代加藤第一次走进她的店时相识，后来在加藤签订一份多本书、多百万美元的合同时重新联系起来，当时她的经纪人称这是有史以来最大的烹饪书作者合同。蔡斯说：“她付我报酬很高。”
The cooking show “Barefoot Contessa” premièred on the Food Network in 2002, and, like “Sex and the City,” it is a small-screen ode to turn-of-the-twenty-first-century female hedonism which opens with snazzy piano music. Episodes depict Garten at home in East Hampton, where, with chatty good humor, she prepares to host brunches and card nights and dinners on the patio. 烹饪节目《赤脚女主人》于 2002 年在美食频道首播，就像《欲望都市》一样，它是对二十一世纪初女性享乐主义的小屏幕颂歌，开场伴随着时髦的钢琴音乐。剧集描绘了加藤在东汉普顿的家中，她以健谈且幽默的风格准备举办早午餐、纸牌之夜和露台晚宴。
TV made Garten an instantly recognizable pop-culture figure, fodder for memes, drag impersonations, and costumes. (Many people rely on “How to Cook Everything,” but, come Halloween, they don’t dress up as Mark Bittman.) Once again, she had good timing. The Food Network, which had once targeted a niche audience, was beginning to pursue a larger viewership, and Eileen Opatut, an executive brought on to assist in the endeavor, had witnessed 电视让加滕成为了一个立刻被认出的流行文化人物，成为表情包、变装模仿和服装的素材。（很多人依赖《如何做所有菜》，但到了万圣节，他们不会打扮成马克·比特曼。）她再次展现了良好的时机感。美食频道曾经瞄准的是一个小众观众群，但开始追求更大的观众群，执行官艾琳·奥帕图特被引入协助这一努力，她目睹了
“Don’t make the same mistakes I did, son. Make the exact opposite ones. Then push your child to do the same, and so it shall go, back and forth like some great, cosmic, overcorrecting yo-yo.” “儿子，不要犯我犯过的同样错误。要犯完全相反的错误。然后推动你的孩子也这样做，如此往复，就像某个伟大的宇宙过度修正的悠悠球一样。”
Garten’s unhappy first foray into TV. Opatut introduced Garten to Pacific Television, the production company behind Nigella Lawson’s show “Nigella Bites,” which promised a small crew and a less stressful shooting process. They seemed to understand Garten’s appeal and drew out story lines from her lifefor example, Jeffrey’s weekly return from New Haven, where he was then the dean of the Yale School of Management-to create a sense of bustling, albeit very gentle, activity. The title of the first season’s finale is “Soup Lunch.” 加滕在电视上的不愉快初次尝试。奥帕图特将加滕介绍给太平洋电视台，这家制作公司制作了尼格拉·劳森的节目《尼格拉小咬》，承诺有一个小型摄制组和较少压力的拍摄过程。他们似乎理解加滕的吸引力，并从她的生活中挖掘故事线——例如，杰弗里的每周从纽黑文回归，当时他是耶鲁管理学院的院长——以营造一种繁忙但非常温和的活动感。第一季大结局的标题是《汤午餐》。
“We wanted it to feel like, as a viewer, you literally had a place at the counter,” Olivia Grove, Garten’s longtime producer, told me. “We’d call it 'best-friend TV.” A repertoire of catchphrases soon emerged. “How easy is that?” Garten asked viewers. “Store-bought is fine,” she assured them. She counselled the use of “good” ingredients. In one early episode, she explains how to make a perfect cup of coffee:“It starts with, really, one thing: good coffee. If you buy inexpensive, bitter coffee beans, you’re going to end up with bitter coffee-bello!” From a woman whose budget for good coffee seemed unlimited, this could have been alienat- “我们希望观众感觉就像真的坐在吧台旁一样，”加滕的长期制片人奥利维亚·格罗夫告诉我。“我们称之为‘最好的朋友电视’。”很快，一系列口头禅出现了。“这有多简单？”加滕问观众。“买现成的也没问题，”她向他们保证。她建议使用“好的”食材。在一集早期节目中，她解释了如何冲泡一杯完美的咖啡：“这其实只取决于一件事：好咖啡。如果你买了便宜又苦涩的咖啡豆，最终泡出来的咖啡也会苦涩——bello！”对于一个咖啡预算似乎无限的女人来说，这本可能让人感到疏离，
ing, but, somehow, it wasn’t. Garten’s great gift may be an ability to make audiences feel welcomed into the plush ambience of her good fortune. 但不知怎的，并没有。加滕的最大天赋或许就是能让观众感受到被欢迎，仿佛置身于她那富裕而舒适的氛围中。
“I don’t really understand the show,” Garten said. She has tried to quit on several occasions, but each time Grove and Rachel Purnell, Pacific’s executive producer, have talked her out of it. “It’s really hard for me, just to continually come up with something other than 'Jeffrey’s going to love this!”" Garten told me. “It’s, like, ‘Oh, my God, if I say that one more time I’m going to kill myself.’” Yet the monotony that can make the show stultifying to its star is soothing to its viewers. Opatut thinks that “Barefoot Contessa” originally spoke to a post-9/11 desire for comfort and domesticity, and over the years Garten’s kitchen became a refuge from wider cultural vicissitudes.“In a bad economy, it’s more important to make yourself feel good,” she told the Washington Post in the fall of 2008. Purnell said that people will often tell her that they turn to Garten’s show in times of crisis. One afternoon during my visit, Garten was scheduled to lead a group of women on a tour of her garden-the woman whod purchased the excursion at a char- “我真的不太理解这个节目，”加藤说。她曾多次试图退出，但每次格罗夫和太平洋电视台的执行制片人瑞秋·珀内尔都会劝她不要放弃。“对我来说，持续想出除了‘杰弗里会喜欢这个！’之外的内容真的很难，”加藤告诉我。“就像，‘天哪，如果我再说一次这句话，我真想自杀。’”然而，这种单调虽然让节目对主演来说乏味，却让观众感到安慰。奥帕图特认为，《赤脚厨娘》最初回应了 9·11 事件后人们对安慰和家庭生活的渴望，多年来，加藤的厨房成为了抵御更广泛文化变迁的避风港。“在经济不景气时，让自己感觉好一点更为重要，”她在 2008 年秋天告诉《华盛顿邮报》。珀内尔说，人们常告诉她，在危机时刻会转向加藤的节目。一次下午访问中，加藤计划带领一群女性参观她的花园——购买这次游览的是一位在慈善拍卖会上买下此行的女士，她想把这作为母亲癌症治疗后的礼物。
ity auction had wanted it as a present for her mother after her cancer treatment. 慈善拍卖会上买下此行的女士想把它作为母亲癌症治疗后的礼物。
Garten had just begun telling me a long story about a spur-of-the-moment trip to Paris when Brown, her assistant, interrupted us with news that the tour group had arrived at her gate. Garten was determined to finish the anecdote. “’'ll talk fast,” she told Brown. “Walk slow.” 加滕刚开始给我讲一个关于临时决定去巴黎的长故事时，她的助理布朗打断了我们，告诉我们旅游团已经到了她的登机口。加滕决心要讲完这个轶事。“我会讲得快点，”她对布朗说。“走得慢点。”
She and Jeffrey had been on vacation in London when he was called to Paris for a meeting. Garten occupied herself with a shopping spree on Avenue Montaigne, purchasing a cashmere scarf, earrings, a suède purse, and opera-length suède gloves, while Jeffrey spoke to the arms dealer Adnan Khashoggi about whether Lehman Brothers would restructure his debt. Jeffrey was against it. “He said to the guys at Lehman Brothers, ‘Just think about what this is going to look like on the front page of the New York Times’-which is the test I always use,” Garten said. Her acute consciousness of public perception amounts to a guiding principle. 她和杰弗里正在伦敦度假时，他被召去巴黎开会。加滕则在蒙田大道疯狂购物，买了一条羊绒围巾、耳环、一只绒面皮手袋和一双歌剧长度的绒面皮手套，而杰弗里则与军火商阿德南·哈绍吉讨论雷曼兄弟是否会重组他的债务。杰弗里反对。“他说，‘想想这会在《纽约时报》头版上是什么样子’——这是我一直用的测试标准，”加滕说。她对公众认知的敏锐意识成为了她的指导原则。
In Garten’s telling, she and Martha Stewart lost touch after Stewart began spending more time at a new property in Bedford, New York. Stewart recalled a sharper break, after her conviction related to an insider-trading scandal. "When I was sent off to Alderson Prison, she stopped talking to me,"Stewart told me. “I found that extremely distressing and extremely unfriendly.”(Garten firmly denies this.) Shortly after I got off the phone with Stewart, I received a call from Susan Magrino, her longtime publicist and friend. Magrino wanted to clarify that Stewart was “not bitter at all and there’s no feud.” 根据加藤的说法，她和玛莎·斯图尔特在斯图尔特开始更多时间待在纽约贝德福德的新房产后失去了联系。斯图尔特回忆起一次更为严重的断裂，那是在她因内幕交易丑闻被定罪之后。“当我被送往奥尔德森监狱时，她停止和我说话，”斯图尔特告诉我。“我觉得那非常令人痛心，也非常不友好。”（加藤坚决否认这一点。）我刚和斯图尔特通完电话，便接到了她的长期公关和朋友苏珊·马格里诺的电话。马格里诺想澄清斯图尔特“根本不苦涩，也没有任何纷争。”
The barn library has a number of framed keepsakes on display, including a photograph of Jeffrey as a child, a photograph of Jeffrey as an adult, two photographs of Garten with Michelle Obama, and Garten’s Proust Questionnaire, from the October, 2016, issue of Vanity Fair: 谷仓图书馆展示了许多装裱的纪念品，包括一张杰弗里小时候的照片、一张杰弗里成年后的照片、两张加藤与米歇尔·奥巴马的合影，以及加藤在 2016 年 10 月《名利场》杂志上的普鲁斯特问卷：
What is your current state of mind? It simply doesn’t get any better than this! … 你目前的心境如何？简直不能更好了！……
Where would you like to live? Right here in East Hampton. 你想住在哪里？就在东汉普顿这里。
What is your favorite occupation? Mine. 你最喜欢的职业是什么？是我的。
Garten’s career enticingly suggests that the exact right amount of money 加藤的职业生涯诱人地表明，恰到好处的金钱
and fame can, in fact, make you happy. “We live in this era of 'How much more can I do? How much more famous can I be? How much more money can I make?” Diamond, the Cherry Bombe editor, said. “She seems very satisfied with what she has.” 和名声实际上可以让你快乐。“我们生活在这样一个时代：‘我还能做多少？我能变得多有名？我能赚多少钱？’”Cherry Bombe 的编辑戴蒙说。“她似乎对自己拥有的感到非常满意。”
Garten feels no need to say yes to things that don’t suit her. When the beauty brand Glossier, for example, proposed naming a fig lip balm in her honor, she took a meeting but decided against it: she didn’t think her audience would believe that she used the product. She also avoids public activities that might be construed as political. As a model, she points to her warm and respectful relationship with her former longtime assistant Barbara Libath. “The way we operated is the way I think the world should operate,” Garten told me. “We had very different views on religion and politics, and we never discussed them.” 加藤觉得没有必要对不适合她的事情说“是”。例如，当美妆品牌 Glossier 提议以她的名字命名一款无花果润唇膏时，她参加了会议但最终拒绝了：她认为她的观众不会相信她使用过该产品。她也避免参与可能被解读为政治性的公开活动。作为一名模特，她指出自己与前长期助理芭芭拉·利巴斯之间温暖且相互尊重的关系。“我们的相处方式就是我认为世界应该运作的方式，”加藤告诉我。“我们在宗教和政治上有非常不同的观点，但从未讨论过这些话题。”
The fashion designer Daniel Roseberry, another fan turned friend, compared Garten to Dolly Parton in her ability to transcend cultural divides. Now the creative director of Maison Schiaparelli, Roseberry discovered the Barefoot Contessa in fashion school, when a classmate informed him that Garten was a gay icon; later, he introduced her work to his Christian family in Texas. “She’s someone that we can all agree on,” he said. 时装设计师丹尼尔·罗斯伯里，另一位从粉丝变成朋友的人，将加滕比作多莉·帕顿，称她有能力超越文化鸿沟。现任 Maison Schiaparelli 创意总监的罗斯伯里在时装学校时发现了 Barefoot Contessa，当时一位同学告诉他加滕是同性恋偶像；后来，他向德克萨斯州的基督教家庭介绍了她的作品。“她是我们都能达成共识的人，”他说。
Garten’s commitment to smoothing over social friction has held firm even in the face of prejudice. Early on, she told me, she was asked to cater a party at a Hamptons golf club that excluded Jews: “I just said to them, ‘I’m really sorry, but I can’t cater a party for a club that wouldn’t have me as a member.’ And the woman was perfectly lovely. She said, ‘I totally understand,’ and that was that.” After Garten filmed an episode of "Barefoot"with Michelle Obama, in 2016, that attracted racist vitriol on Facebook, she decided that even seemingly anodyne political engagement wasn’t worth the trouble. “I don’t think I would change people’s minds,” she said. Taylor Swift, with whom Garten has enjoyed a public mutual fandom, was studiously apolitical for a long time, and Garten took the singer’s decision to speak out against the hard-right politician Marsha Blackburn’s (ultimately successful) 2018 Senate campaign in Tennessee as evidence in favor of her 加藤致力于缓解社会摩擦，即使面对偏见也始终坚定。她早些时候告诉我，她曾被邀请为一个排斥犹太人的汉普顿高尔夫俱乐部举办的派对提供餐饮服务：“我只是对他们说，‘我真的很抱歉，但我不能为一个不接纳我作为会员的俱乐部提供餐饮。’那位女士非常友好，她说，‘我完全理解，’事情就这样结束了。”2016 年，加藤与米歇尔·奥巴马一起拍摄了《赤脚医生》的一集，该集在 Facebook 上引发了种族主义的恶意攻击，她决定即使是看似无害的政治参与也不值得冒这个险。“我认为我不会改变人们的想法，”她说。加藤与泰勒·斯威夫特之间有着公开的相互粉丝关系，斯威夫特长期保持刻意的非政治立场，而加藤将这位歌手在 2018 年公开反对极右翼政治家玛莎·布莱克本（最终成功当选）田纳西州参议员竞选的决定视为对自己方法的支持。
own approach. “I admire that she got involved,” Garten told me, but noted that Blackburn “did get elected anyway.” “我钦佩她的参与，”加藤告诉我，但她也指出布莱克本“无论如何还是当选了。”
During my visit, Garten’s morning agenda included invitations to answer and Instagram stats to discuss. She’d recently posted a photograph, for Father’s Day, of herself on her father’s arm at her wedding, with a caption about their “complicated” relationship. “We got a great response for the picture,” Garten said, referring to the comments. "Didn’t change the numbers at all. Why, do you think?"Bahn wasn’t sure. Garten laughed at her own preoccupation with her follower count. "If it goes down for an hour, I’m, like, ‘What happened?’ " she said. “I’m like a teen-ager!” 在我访问期间，Garten 的早晨日程包括接受邀请回答问题和讨论 Instagram 数据。她最近发布了一张照片，是父亲节时她在婚礼上挽着父亲的手臂，配文提到了他们“复杂”的关系。“这张照片得到了很好的反响，”Garten 说，指的是评论。“但粉丝数一点也没变。你觉得为什么？”Bahn 不确定。Garten 对自己对粉丝数的关注笑了笑。“如果粉丝数一小时内下降，我就会想，‘发生了什么？’”她说，“我简直像个青少年！”
Justin Timberlake had been arrested that week in Sag Harbor on a charge of driving under the influence, and, during a morning meeting, Garten pulled up a TikTok sent by a friend. It cut from news coverage of Timberlake’s claim to have had “one Martini” to a viral video that Garten had posted in April, 2020, in which she mixes herself a Cosmopolitan the size of a birdbath. “I can’t believe they put together the Cosmo with poor Justin Timberlake,” she said. “I feel so badly for him!” 那周 Justin Timberlake 因酒后驾车在萨格港被捕，在一次早晨会议上，Garten 调出了朋友发来的一个 TikTok 视频。视频从新闻报道 Timberlake 声称只喝了“一杯马提尼”切换到 Garten 在 2020 年 4 月发布的一个病毒视频，视频中她调制了一杯像鸟浴盆那么大的 Cosmopolitan。“我真不敢相信他们把这杯 Cosmo 和可怜的 Justin Timberlake 放在一起，”她说，“我真为他感到难过！”
That night, she and Jeffrey had invited the filmmakers Rob Marshall and John DeLuca over for dinner. The couples had become friends some years back, after being introduced by their mutual florist; Garten and Jeffrey were fans of Marshall and DeLuca’s work. (“You were obsessed with ‘Chicago,’” Garten had 那天晚上，她和杰弗里邀请了电影制作人罗布·马歇尔和约翰·德卢卡来家里吃晚饭。这几对夫妇是在几年前通过他们共同的花店老板介绍认识的；加滕和杰弗里都是马歇尔和德卢卡作品的粉丝。（“你当时迷上了《芝加哥》，”加滕对杰弗里说）
said to Jeffrey over pizza at Fini."Loved ‘Chicago,’"he’d replied.) Marshall is the source of her memoir’s title-it was paraphrased from advice Liza Minnelli gave him when he was a twenty-three-yearold Broadway dance captain. 在 Fini 吃披萨时。“我喜欢《芝加哥》，”他回答道。）马歇尔是她回忆录标题的来源——这个标题是他二十三岁时担任百老汇舞蹈队长时，丽莎·明尼 elli 给他的建议的意译。
Marshall and DeLuca appeared on the first season of “Be My Guest.” “They’re partners in life-and in work,” Garten explains, in her voice-over. They 马歇尔和德卢卡出现在“做我的客人”第一季中。“他们是生活和工作中的伴侣，”加滕在画外音中解释道。他们...
join her for dinner and watermelon Cosmopolitans. “Any day with Ina’s a great day,” Marshall and DeLuca observe, on the drive to her house. “Fun to be had,” she says, awaiting her guests. “So much fun,” she says, taking a sip of her cocktail once they arrive. They toast in front of a large desert landscape by the painter April Gornik, inspired by the opening scene of “The English Patient.” “How fun is this?” Garten says, and escorts her guests to a table to chat. She discusses their career bullet points, then leads them back to the kitchen, where the bright spines of Barefoot Contessa cookbooks are recognizable in the background. "One of the great days,"Marshall and DeLuca agree, driving home. “What a worldclass fun day,” Garten says, in her closing reflection. 和她一起吃晚饭，喝西瓜味的 Cosmopolitans。“和 Ina 在一起的每一天都是美好的一天，”Marshall 和 DeLuca 在开车去她家的路上说。“一定会很有趣，”她说，等待着客人们的到来。“非常有趣，”他们一到，她喝了一口鸡尾酒说。他们在画家 April Gornik 创作的大型沙漠景观前举杯致意，这幅画灵感来自《英国病人》的开场场景。“这有多有趣？”Garten 说，并引导客人们到一张桌子旁聊天。她谈论他们的职业亮点，然后带他们回到厨房，背景中可以看到 Barefoot Contessa 烹饪书籍鲜艳的书脊。“这是美好的一天之一，”Marshall 和 DeLuca 开车回家时一致认为。“真是世界级的有趣一天，”Garten 在结束时感慨道。
It was eerie to watch the episode, as I did later, after attending roughly the same party. Our Cosmopolitans were classic rather than watermelon; Marshall and DeLuca arrived in a Mini convertible rather than in a Porsche. And, of course, we had to watch the Justin Timberlake TikTok-Marshall and DeLuca had encouraged Garten to post the Cosmo video in the first place. But in both the filmed and the live versions I heard the story of how they came to make “Chicago” (pitching Harvey Weinstein in a meeting about “Rent”), and about the time Renée Zellweger had their house in the Hamptons decorated for Christmas as a surprise. Between the Miramax talk, the Cosmos, and the general sense of Justin Timberlake as a sympathetic figure, it felt a bit like we’d slipped through time to the early twothousands, the moment when Garten first ascended to celebrity. Spending time in her orbit can be not unpleasantly like entering a period piece. 观看这一集时感觉很诡异，我后来在参加了大致相同的派对后观看了这集。我们的 Cosmopolitans 是经典款，而不是西瓜味；Marshall 和 DeLuca 开的是 Mini 敞篷车，而不是保时捷。当然，我们还得看 Justin Timberlake 的 TikTok——Marshall 和 DeLuca 最初就是鼓励 Garten 发布 Cosmo 视频的。但无论是录制版还是直播版，我都听到了他们如何制作《芝加哥》的故事（在一次关于《Rent》的会议上向 Harvey Weinstein 推销），还有 Renée Zellweger 曾为他们在汉普顿的房子布置圣诞装饰作为惊喜的那段时间。谈论 Miramax、Cosmos，以及 Justin Timberlake 作为一个令人同情的人物的整体感觉，让人仿佛穿越回了二十一世纪初，那是 Garten 首次成为名人的时刻。待在她的圈子里，有时不失为进入一部时代剧的感觉。
But the pleasures on offer existed in the present. The coral peonies that Garten had placed in a vase on the small, round dinner table were among the last of the season; since she had bought them that afternoon, they’d opened to expose a sunset burst of pollen. The filet of beef was so tender it barely required teeth. As we ate, night fell, and, in a window above Jeffrey’s head, the moon was ringed in mist. “Look at that moon, holy shit,” Garten said. “I organized this for you.” By now she had relaxed into the evening, and she was speaking almost to herself. 但眼前的乐趣存在于当下。加滕放在小圆餐桌上的珊瑚牡丹是这个季节的最后几朵；自从她那天下午买回来后，它们已经绽放，露出一片夕阳般的花粉。牛排嫩得几乎不需要用牙齿咀嚼。我们吃饭时，夜幕降临，在杰弗里的头顶窗户外，月亮被薄雾环绕。“看看那个月亮，真他妈的美，”加滕说。“这是我为你安排的。”此时她已经放松下来，几乎是在自言自语。
DRUG OF CHOICE 首选药物
A.I. is transforming the way medicines are made. 人工智能正在改变药物的制造方式。
BY DHRUV KHULLAR 由德鲁夫·库拉尔撰写
When I first became a doctor, I cared for an older man whom I’ll call Ted. He was so sick with pneumonia that he was struggling to breathe. His primary-care physician had prescribed one antibiotic after another, but his symptoms had only worsened; by the time I saw him in the hospital, he had a high fever and was coughing up blood. His lungs seemed to be infected with methicillinresistant Staphylococcus aureus (MRSA), a bacterium so hardy that few drugs can kill it. I placed an oxygen tube in his nostrils, and one of my colleagues inserted an I.V. into his arm. We decided to give him vancomycin, a last line of defense against otherwise untreatable infections. 当我刚成为医生时，我照顾过一位我称之为泰德的老人。他患肺炎非常严重，呼吸困难。他的主治医生开了一种又一种抗生素，但症状只变得更糟；当我在医院见到他时，他发高烧，还咳出血来。他的肺部似乎感染了耐甲氧西林金黄色葡萄球菌（MRSA），这是一种极其顽固的细菌，几乎没有药物能杀死它。我给他鼻子里插了氧气管，我的一位同事给他手臂插了静脉输液针。我们决定给他用万古霉素，这是一种对其他无法治疗的感染的最后防线药物。
Ted recovered with astonishing speed. When I stopped by the next morning, he smiled and removed the oxygen tube, letting it dangle near his neck like a pendant. Then he pointed to the I.V. pole near his bed, where a clear liquid was dripping from a bag and into his veins. 泰德恢复得非常快。第二天早上我去看他时，他微笑着摘下了氧气管，让它像挂坠一样悬挂在脖子旁边。然后他指了指床边的输液架，上面有一袋透明液体正滴入他的静脉。
“Where did that stuff come from?” Ted asked. “那东西是从哪里来的？”泰德问。
"The pharmacy,"I said. “药房，”我说。
“No, I mean, where did it come from?” “不，我是说，它是从哪里来的？”
At the time, I could barely pronounce the names of medications, let alone hold forth on their provenance. "I’ll have to get back to you,"I told Ted. He was discharged before I could. But, in the years that followed, I often thought about his question. Every day, I administer medicines whose origins are a mystery to me. I occasionally meet a patient for whom I have no effective treatment to offer, and Ted’s inquiry starts to seem existential. Where do drugs come from, and how can we get more of them? 当时，我几乎连药物的名字都说不清，更别说谈论它们的来源了。“我得回头再告诉你，”我对特德说。他出院时我还没来得及回答。但在随后的几年里，我经常想起他的问题。每天，我都给病人用那些我不了解来源的药物。我偶尔会遇到没有有效治疗方案的病人，特德的问题开始显得存在主义。药物从哪里来？我们如何能获得更多药物？
On a wet morning in May, I walked to the stately gates of the Rockefeller University, on the Upper East Side, and met Sean Brady, a bearded and bespectacled chemical biologist who discovers medicines for a living. Wearing jeans, 在五月一个湿润的早晨，我走到上东区洛克菲勒大学那庄严的大门，见到了肖恩·布雷迪，一位留着胡须、戴着眼镜的化学生物学家，他的工作是发现药物。穿着牛仔裤，
a button-down shirt, and chunky sneakers, Brady looked like a nerdy hiker. He had promised to take me prospecting for antibiotics. “Ready?” he asked, his glasses spattered with rain. 一件扣领衬衫和厚底运动鞋，布雷迪看起来像个书呆子徒步旅行者。他答应带我去寻找抗生素。“准备好了吗？”他问，眼镜上溅着雨点。
Brady oversees a program called Drugs from Dirt, which sifts through soil samples from around the world in search of antibiotics. On our way into his lab, we passed a bench piled with bags of dirt-one from the Chihuahuan Desert, another from the Sonoran Desert. “My parents sent me those during the pandemic,” Brady told me. He has been given soil from Saudi Arabia and the Serengeti; his collaborators have gathered samples in Mexican sinkholes and Australian grasslands. Inside the lab, we found shovels and black buckets amid flasks and mass-spectrometry machines. I took off my blazer and picked up a bucket, and Brady grabbed a shovel. We set off into the drizzle. 布雷迪负责一个名为“Drugs from Dirt”的项目，该项目筛选来自世界各地的土壤样本以寻找抗生素。我们进入他的实验室时，经过一张堆满土袋的工作台——一个来自奇瓦瓦沙漠，另一个来自索诺兰沙漠。“我父母在疫情期间寄给我的，”布雷迪告诉我。他还收到了来自沙特阿拉伯和塞伦盖蒂的土壤；他的合作者们则在墨西哥的天坑和澳大利亚的草原采集样本。实验室内，铲子和黑色桶散落在烧瓶和质谱仪之间。我脱下西装外套，拿起一个桶，布雷迪则抓起一把铲子。我们冒着细雨出发了。
Many of the world’s leading drugs originated in the natural world. Ancient Egyptians soothed their wounds with aloe-vera gel; morphine and codeine came from the opium poppy; Ozempic was inspired by a peptide in lizard venom. Dirt is one of the richest sources of medicine, because its microbes have been waging a war with one another for millions of years. Vancomycin-essentially a biochemical weapon that one bacterium uses to kill others-was discovered in soil samples from India and Indonesia in 1953. Around the same time, researchers reported that a bacterium in “heavily manured” New Jersey soil produced streptomycin, an antibiotic that became the first effective treatment for tuberculosis. (The bacterium is now New Jersey’s official state microbe.) 世界上许多领先的药物都起源于自然界。古埃及人用芦荟胶来舒缓伤口；吗啡和可待因来自罂粟花；奥泽匹克的灵感来源于蜥蜴毒液中的一种肽。土壤是最丰富的药物来源之一，因为其微生物已经相互竞争了数百万年。万古霉素——本质上是一种细菌用来杀死其他细菌的生化武器——于 1953 年在印度和印度尼西亚的土壤样本中被发现。大约在同一时期，研究人员报告说，新泽西“重度施肥”的土壤中有一种细菌产生了链霉素，这是一种成为治疗结核病的首个有效抗生素。（该细菌现在是新泽西州的官方州微生物。）
Different microbes thrive at different latitudes, and Brady once dreamed of collecting dirt from Alaska to Argentina. Lately, however, he has been content to stay on campus. “There’s an endless number of local bacterial 不同的微生物在不同纬度繁衍生息，布雷迪曾梦想从阿拉斯加到阿根廷采集土壤。然而，最近他满足于留在校园内。“有无数我们尚未研究的本地细菌
products we haven’t studied yet,” he told me. “There’s plenty of good stuff right beneath our feet.” He stomped the ground playfully. 产品，”他告诉我。“就在我们脚下就有很多好东西。”他说着，顽皮地踩了踩地面。
We walked down a cobblestone path until we came to an open lawn. Pigeons congregated near a fountain; a duck waddled by. Brady cleared some leaves and plunged his shovel into the earth. After dropping a few scoops into the bucket, he handed me the shovel. “Your turn,” he said. 我们沿着鹅卵石小路走，直到来到一片开阔的草坪。鸽子聚集在喷泉附近；一只鸭子摇摇摆摆地走过。布雷迪清理了一些树叶，把铲子插进土里。舀了几铲土放进桶里后，他把铲子递给我。“轮到你了，”他说。
I looked around, wondering, absurdly, where I might hide if I were the next cure for cancer. When the bucket was half full, I wiped some raindrops from my face. “That should be more than enough,” Brady said. “One gram of soil has up to ten thousand different types of bacteria. You don’t need a lot. You just need to know what you’re looking for.” 我环顾四周，荒谬地想象，如果我是下一个癌症治疗方法，我会藏在哪里。桶装满一半时，我擦了擦脸上的雨滴。“这应该绰绰有余了，”布雷迪说。“一克土壤中有多达一万种不同类型的细菌。你不需要很多，只需要知道你在找什么。”
Back in the lab, I scooped some soil into a tube and added a detergent that destroys bacteria’s cell walls and membranes, causing their DNA to spill out. Then Jan Burian, a researcher in Brady’s lab, showed me how to load the DNA onto a glass plate, which slid into a sequencer like a credit card into a payment terminal. “If we were sitting here ten or fifteen years ago, sequencing all this DNA might take weeks,” Burian told me. "Now it pretty much happens in real time."He pulled up the machine’s output on a computer: an endless string of "G"s, "T"s, "C"s, and "A"s. 回到实验室，我舀了一些土壤放进试管，加入了一种能破坏细菌细胞壁和膜的洗涤剂，使它们的 DNA 泄露出来。然后布雷迪实验室的研究员简·布里安教我如何将 DNA 加载到一块玻璃板上，这块玻璃板像信用卡插入支付终端一样滑入测序仪。“如果是十年前或十五年前，我们坐在这里，测序这些 DNA 可能需要几周时间，”布里安告诉我。“现在几乎是实时完成的。”他在电脑上调出机器的输出：一串无尽的“G”、“T”、“C”和“A”。
Bacteria produce numerous molecules that could become medicines, but most of them aren’t easily identified or synthesized with the technology that exists today. A small percentage of them, however, can be constructed by following instructions in the bacteria’s DNA. Burian helped me search the sequence for genes that looked familiar enough to be understandable but unfamiliar enough to produce novel compounds. We settled on a string of DNA that 细菌产生许多可能成为药物的分子，但大多数分子由于现有技术的限制，难以被识别或合成。然而，其中一小部分可以通过细菌 DNA 中的指令来构建。Burian 帮助我搜索序列中那些看起来既足够熟悉以便理解，又足够陌生以产生新型化合物的基因。我们最终确定了一段 DNA 序列，该序列
“Nobody will speak to us in French, only high-pitched whistles and clicks-is it that obvious we’re tourists?” “没有人用法语和我们说话，只有尖锐的口哨声和咔嗒声——难道我们游客的身份这么明显吗？”
coded for seven linked amino acids, the same number found in vancomycin. Then Burian introduced me to Robert Boer, a synthetic chemist who would help me conjure our drug candidate. 编码了七个相连的氨基酸，这与万古霉素中的数量相同。然后，Burian 介绍我认识了合成化学家 Robert Boer，他将帮助我合成我们的药物候选分子。
What came next was intricately choreographed. You can’t just throw amino acids into a soup and hope that they bubble into a medicine, Boer said. Building them into a potential drugin this case, a peptide-is like assembling IKEA furniture. There’s a specific sequence in which the parts need to be connected, with specific nuts and bolts. Before the amino acids could be fastened together, they had to be dissolved into a solution that would expose their chemical hardware. 接下来发生的事情经过精心编排。Boer 说，你不能只是把氨基酸扔进一锅汤里，希望它们能冒泡变成药物。将它们组装成潜在药物——在这种情况下，是一种肽——就像组装宜家家具一样。零件需要按照特定的顺序连接，使用特定的螺母和螺栓。在氨基酸被固定在一起之前，它们必须先溶解在一种溶液中，以暴露它们的化学结构。
We mixed one amino-acid solution, which contained tyrosine, with another, which contained serine. After waiting half an hour for the first linkage to form, we repeated the process one amino acid at a time, until all seven were connected in the correct order. Finally, the liquid was evaporated until just a few milligrams of snowy-white powder remained. I dubbed our drug candidate “NY1,” for The New Yorker, and helped Boer pipette it onto a well plate. It would now spend a night with MRSA. I imagined the start of a microscopic cage match between our molecule and the bacteria. 我们将一种含有酪氨酸的氨基酸溶液与另一种含有丝氨酸的溶液混合。等待半小时让第一个连接形成后，我们一次加入一个氨基酸，重复这个过程，直到七个氨基酸按正确顺序连接完成。最后，液体被蒸发，直到只剩下几毫克雪白的粉末。我将我们的药物候选命名为“NY1”，代表《纽约客》，并帮 Boer 用移液器将其滴到孔板上。它现在将与耐甲氧西林金黄色葡萄球菌（MRSA）共度一夜。我想象着我们的分子与细菌之间开始了一场微观的笼中对决。
When I returned the next day, the liquid in the plate was thick and cloudy. NY1 had been powerless against MRSA-the plate looked so grimy that I wondered if I’d accidentally created a bacterial superfood. Brady gave me a pep talk. “If you found one on your first try, we’d probably hire you,” he joked.“You’d be our lucky charm. And, when it comes to finding a drug, a little luck never hurts.” His team, he said, sometimes tests more than a hundred molecules per month. A tiny fraction might show antibiotic activity, and a tiny fraction of those perform well enough-and are nontoxic enoughto advance to animal testing and clinical trials. The reasons that one molecule succeeds while another fails are hard to predict. Near my failed drug candidate was another contender, which had come from a neighboring patch of dirt; its well was as clear as water. Whatever was in there, it had killed MRSAand we had no idea how. 当我第二天回来时，盘子里的液体变得浓稠且浑浊。NY1 对抗耐甲氧西林金黄色葡萄球菌（MRSA）毫无作用——盘子看起来非常脏，我怀疑自己是否意外地培养出了细菌超级食物。布雷迪给了我一番鼓励。“如果你第一次尝试就找到了，我们可能会雇你，”他开玩笑说。“你会成为我们的幸运符。而且，说到找药物，运气总是有帮助的。”他说，他的团队有时每月会测试超过一百种分子。极少数可能显示出抗生素活性，而这些中又只有极少数表现良好且无毒，足以进入动物测试和临床试验。为什么一个分子成功而另一个失败，很难预测。在我失败的药物候选物旁边，有另一个竞争者，来自邻近的一块土壤；它的孔清澈如水。无论里面是什么，它杀死了 MRSA，而我们完全不知道原因。
Tori Kinamon was a freshman gymnast at Brown University when her leg started to ache. The team’s athletic trainers suspected a muscle strain, but the pain sharpened even after ice and a massage. A few days later, Kinamon awoke feverish and sweating; her leg 托里·基纳蒙是布朗大学的大一体操运动员，当时她的腿开始疼痛。队里的运动训练师怀疑是肌肉拉伤，但即使经过冰敷和按摩，疼痛仍然加剧。几天后，基纳蒙发烧出汗醒来；她的腿部...
was swelling and felt like it was on fire. Finally, an MRI revealed an abscess along a muscle. She was started on antibiotics and rushed to the operating room, where surgeons scraped out pus and necrotic tissue-the consequence of a raging MRSA infection. The surgeons operated eight times in two weeks, filleting open the back of her leg with a two-foot incision from her glute to her calf. “I was so happy the days I would have to go under for surgery, because that meant that I didn’t have to deal with what was going on around me,” she told me. The surgeons narrowly managed to save her leg, but the infection did not clear for weeks. Vancomycin harmed her kidneys, so she had to be switched to daptomycin, another antibiotic that comes from a bacterium in soil. “I am a direct beneficiary of the fact that we had an extra antibiotic in the stockpile when vancomycin was too toxic for my body to handle,” Kinamon, who is now a surgery resident in Texas, said. “Some patients are left without options.” 肿胀并感觉像着火一样。最终，核磁共振显示肌肉旁有一个脓肿。她开始使用抗生素治疗，并被紧急送往手术室，外科医生刮除了脓液和坏死组织——这是严重 MRSA 感染的后果。外科医生在两周内进行了八次手术，用一条从臀部到小腿长达两英尺的切口剖开她的腿后部。“我很高兴那些需要接受手术的日子，因为那意味着我不用面对周围发生的事情，”她告诉我。外科医生勉强保住了她的腿，但感染数周未能清除。万古霉素损害了她的肾脏，所以她不得不改用达托霉素，这是一种来自土壤细菌的抗生素。“当万古霉素对我的身体太毒时，我们库存中还有另一种抗生素，我是直接受益者，”现为德州外科住院医师的 Kinamon 说。“有些患者没有选择余地。”
The number of chemicals that theoretically could prove useful as drugs has been estimated at ten to the sixtieth power-a quantity greater than the number of atoms in the solar system. Some of these potential medicines can be found in nature. Others have already been discovered but we haven’t yet found their uses. Still others have never been imagined. In “The Drug Hunters: The Improbable Quest to Discover New Medicines,” Donald R. Kirsch and Ogi Ogas compare the pursuit of novel medicines to the search for meaning in “The Library of Babel,” a short story by Jorge Luis Borges in which the author envisions the universe as an infinite library. Each book contains random letters and punctuation marks, so most of the texts are nonsensical. But, because the library is unfathomably large, it also contains every conceivable story. “Every possible drug is contained somewhere in the vast theoretical library of chemical compounds,” Kirsch and Ogas write. Drug discovery is an effort to catalogue some small part of it. 理论上可能有用作药物的化学物质数量估计为十的六十次方——这个数量超过了太阳系中的原子数。其中一些潜在药物可以在自然界中找到。另一些已经被发现，但我们尚未找到它们的用途。还有一些从未被想象过。在《药物猎人：发现新药的不可思议的探索》中，Donald R. Kirsch 和 Ogi Ogas 将寻找新药的过程比作 Jorge Luis Borges 的短篇小说《巴别图书馆》中对意义的追寻，作者将宇宙设想为一个无限的图书馆。每本书都包含随机的字母和标点符号，因此大多数文本是无意义的。但由于图书馆极其庞大，它也包含了所有可能的故事。“每一种可能的药物都包含在庞大的理论化合物图书馆中的某个地方，”Kirsch 和 Ogas 写道。药物发现就是试图对其中的一小部分进行分类。
In the mid-two-thousands, Stuart Schreiber, a chemist at the Broad Institute of M.I.T. and Harvard, set out to assemble an expansive library of chemicals that might have medical ap- 在二十一世纪初二十年代中期，麻省理工学院和哈佛大学布罗德研究所的化学家斯图尔特·施赖伯开始组建一个可能具有医疗应用的庞大化学品库。
plications. Schreiber was frustrated that drug discovery was so tedious and unsystematic; his colleagues could study only the chemicals that they could make from scratch or buy from a commercial vender. He started by stocking up on simple chemicals from pharmaceutical companies and research organiza-tions-“cheap stuff based on twentiethcentury chemistry,” he told me. Next, he collected a large number of “natural products,” like the ones microbes make in dirt, that had a higher likelihood of proving useful as a drug. “Any chemist could take one look at the structures and tell you which molecule belonged to which group,” he saidsynthetic or natural. “It was like telling a cat from a dog.” Then Schreiber gathered a group of chemists and had them invent molecules with the features of natural products-a process that they dubbed “diversity-oriented synthesis.” Some compounds dissolved in water; others clumped. Some reacted promiscuously with one another; others kept to themselves. “The new synthetic molecules were much more sophisticated,” Schreiber told me. “They were structurally quite similar to what’s found in nature.” 应用。施赖伯对药物发现过程的繁琐和无系统感到沮丧；他的同事们只能研究那些他们能够从头合成或从商业供应商处购买的化学品。他开始从制药公司和研究机构囤积简单的化学品——“基于二十世纪化学的廉价东西，”他告诉我。接着，他收集了大量“天然产物”，比如微生物在土壤中产生的那些，这些产物更有可能被证明对药物有用。“任何化学家只要看一眼这些结构，就能告诉你哪个分子属于哪个类别，”他说——合成的还是天然的。“这就像区分猫和狗一样简单。”然后施赖伯召集了一群化学家，让他们发明具有天然产物特征的分子——他们称之为“多样性导向合成”的过程。有些化合物能溶于水；有些则会聚集。有些相互反应频繁；有些则保持独立。“这些新的合成分子要复杂得多，”施赖伯告诉我。“它们的结构与自然界中发现的非常相似。”
In the end, the chemists concocted a hundred thousand new molecules. The library, which is housed at the Center for the Development of Therapeutics (CDoT), grew to encompass nearly a million chemicals, including existing medications, drug candidates, and strange compounds with no known use. Many research labs and universities have compiled similar libraries. Since the late twentieth century, labs have increasingly used robots and automation to comb through the libraries, reasoning that, as scientists screened more chemicals for medical applications, the number of newly found drugs would inevitably increase. But this technique, which is known as high-throughput screening, has turned out to be less revolutionary than many once hoped. If a chemical library isn’t large and diverse enough, or if the selection process is largely random, the method tends to have low hit rates and produce many false positives. So far, no useful antibiotics have been found this way; in many screens, only about one per cent of molecules show activity against a bacte- 最终，化学家们合成了一十万个新分子。这个图书馆设在治疗学发展中心（CDoT），其藏品已扩展到近一百万种化学物质，包括现有药物、药物候选物以及一些用途不明的奇异化合物。许多研究实验室和大学也建立了类似的图书馆。自二十世纪末以来，实验室越来越多地使用机器人和自动化技术来筛选这些图书馆，认为随着科学家筛选更多用于医疗的化学物质，新发现的药物数量必然会增加。但这种被称为高通量筛选的技术，结果并不像许多人曾经希望的那样具有革命性。如果化学图书馆不够大且多样化，或者选择过程主要是随机的，这种方法往往命中率低且产生许多假阳性。到目前为止，还没有通过这种方式发现有用的抗生素；在许多筛选中，只有大约百分之一的分子对细菌表现出活性。
rium. Many are similar to existing antibiotics or toxic to humans. 许多分子与现有抗生素相似或对人体有毒。
In 2012, a group of drug researchers warned that the number of new drugs approved in the U.S., per dollar invested in drug discovery, was falling by half every nine years, an eightyfold reduction in efficiency since 1950. They called their observation Eroom’s Law-an inversion of Moore’s Law, which says that the number of transistors per computer chip doubles every two years or so, driving down the cost of computers. Many drug developers, the researchers wrote, had fallen victim to “basic researchbrute force bias.” They were powering through as many molecules as possible, more or less at random, on the off chance that something might work. The universe of potential drugs desperately needed a filing system. 2012 年，一群药物研究人员警告说，美国新药获批数量与药物发现投资金额的比率每九年减少一半，自 1950 年以来效率下降了八十倍。他们将这一观察称为 Eroom 定律——这是摩尔定律的反转，摩尔定律指出每两年左右计算机芯片上的晶体管数量翻一番，从而降低了计算机的成本。研究人员写道，许多药物开发者陷入了“基础研究蛮力偏见”的陷阱。他们几乎随机地尽可能多地筛选分子，抱着侥幸某些可能有效的想法。潜在药物的领域迫切需要一个归档系统。
In 2017, Jon Stokes, a Canadian postdoc in microbiology, joined the lab of James J. Collins, an M.I.T. professor of biological engineering. Stokes, who has long hair and glasses, giving him the look of a scientific David Foster Wallace, decorated his office with a poster of a skull and crossbones.“I think of myself as a professional poison discoverer,” he told me.“I want to kill things that kill patients.” (He added wryly, “I don’t support piracy.”) Stokes soon ordered two sets of chemicals from a commercial vender for twenty-five thousand dollars, with the aim of scouring them for antibiotic potential. One contained eight hundred natural products; 2017 年，加拿大微生物学博士后 Jon Stokes 加入了麻省理工学院生物工程教授 James J. Collins 的实验室。Stokes 留着长发，戴着眼镜，看起来像科学界的 David Foster Wallace，他的办公室里挂着一张骷髅和交叉骨的海报。“我认为自己是一个专业的毒物发现者，”他告诉我。“我想杀死那些杀害病人的东西。”（他风趣地补充道，“我不支持海盗行为。”）Stokes 很快从一家商业供应商那里订购了两套价值两万五千美元的化学品，目的是筛选它们的抗生素潜力。其中一套包含八百种天然产物；
the other was made up of around seventeen hundred drugs that the F.D.A. had already approved but that might have additional uses. They arrived in a Styrofoam box the size of a microwave, packed in dry ice. Stokes was preparing to screen each compound manu-ally-pitting them against microbes on glass plates, much as I had done-when he sat in on a meeting about biological applications of artificial intelligence. "I 另一套由大约一千七百种已经获得 FDA 批准但可能有额外用途的药物组成。它们装在一个微波炉大小的泡沫塑料盒中，内装干冰。Stokes 正准备手动筛选每种化合物——将它们与玻璃板上的微生物对抗，就像我曾经做过的那样——这时他参加了一场关于人工智能生物应用的会议。“我完全不知道发生了什么，”Stokes 回忆道。“我不是人工智能方面的人。”
had no idea what was going on,"Stokes recalled. “I wasn’t an A.I. guy.” “我完全不知道发生了什么，”Stokes 回忆道。“我不是人工智能方面的人。”
Afterward, Collins asked Stokes if he’d try a new and provocative approach: working with computer scientists to see if A.I. could help sort his compounds. “Let’s just see what happens,” Collins said. Stokes agreed, warily. “I thought, This is going to be a complete shit show,” he told me. “For about six months, it was pretty much me trying to teach them what a gene was and them trying to teach me what a neural network was.” Neural networks, which are computer systems modelled on the brain, usually require vast amounts of information to learn; the most famous example, ChatGPT, digested the entire Internet and still struggles with basic arithmetic. But the team planned to train its model on the relatively small data set that Stokes had amassed: twenty-five hundred molecules. “We had very low expectations of this working,” he said. “Why invest a bunch of energy?” 随后，柯林斯问斯托克斯是否愿意尝试一种新的、具有挑衅性的方式：与计算机科学家合作，看看人工智能是否能帮助分类他的化合物。“我们就看看会发生什么，”柯林斯说。斯托克斯谨慎地同意了。“我当时想，这肯定会是一场彻底的混乱，”他告诉我。“大约有六个月时间，基本上是我试图教他们什么是基因，而他们试图教我什么是神经网络。”神经网络是以大脑为模型的计算机系统，通常需要大量信息来学习；最著名的例子 ChatGPT，吞噬了整个互联网，仍然在基本算术上挣扎。但团队计划用斯托克斯积累的相对较小的数据集来训练模型：两千五百个分子。“我们对这能成功的期望非常低，”他说。“为什么要投入大量精力？”
Over a couple of days, Stokes put each of the molecules into plates with EE. coli and recorded whether they killed the bacteria. In a world without A.I., he would have subjected the winnersa hundred and twenty chemicals, or about five per cent-to more tests, hoping that one might become a drug. But, in this case, he had more ambitious goals. He and his colleagues fed the results into a neural network, along with each molecule’s chemical structure. Then they asked their drug-finding model to search through a bigger data set for more hits. 在几天内，Stokes 将每种分子放入含有 EE . coli 的培养皿中，并记录它们是否杀死了细菌。在没有人工智能的世界里，他会对获胜者进行一百二十种化学品的更多测试，约占五个百分点，希望其中一种能成为药物。但在这种情况下，他有更雄心勃勃的目标。他和同事将结果连同每个分子的化学结构一起输入神经网络。然后，他们让他们的药物发现模型在更大的数据集中搜索更多的命中。
CDoT includes a collection called the Drug Repurposing Hub, which contains six thousand compounds that are either in clinical trials or already approved by the F.D.A. It’s not uncommon for a molecule that’s effective at treating one condition to prove useful for another; aspirin was developed as a painkiller but also prevents heart attacks, and Viagra was originally intended to treat high blood pressure. Stokes and Collins instructed their model to rank each molecule by its likelihood of inhibiting EE. coli, based on what it had learned from the compounds in Stokes’s Styrofoam box. Then they conducted real-world tests on the top ninety-nine. More than fifty per cent stopped the bacteria from growinga nearly unprecedented hit rate. One CDoT 包含一个名为药物再利用中心的集合，其中包含六千种化合物，这些化合物要么正在临床试验中，要么已获得美国食品药品监督管理局（F.D.A.）的批准。一种分子在治疗一种疾病时有效，后来被证明对另一种疾病也有用，这种情况并不罕见；阿司匹林最初是作为止痛药开发的，但也能预防心脏病发作，而伟哥最初是用于治疗高血压。Stokes 和 Collins 指示他们的模型根据 Stokes 的泡沫箱中化合物所学，按抑制 EE 大肠杆菌的可能性对每种分子进行排名。然后他们对排名前九十九的分子进行了实际测试。超过百分之五十的分子阻止了细菌的生长，几乎达到了前所未有的命中率。一个
of the molecules, which was originally investigated as a diabetes medication, also seemed to differ in structure from any antibiotic on the market. Stokes tested it on other microbes, and it eradicated several of the most pathogenic bacteria on Earth, including a strain of a bacterium called Acinetobacter baumannii which is resistant to all existing antibiotics. 分子，最初被研究作为糖尿病药物，其结构似乎也与市场上任何抗生素不同。Stokes 在其他微生物上测试了它，结果它消灭了地球上几种最具致病性的细菌，包括一种名为鲍曼不动杆菌（Acinetobacter baumannii）的菌株，该菌株对所有现有抗生素均具有抗药性。
Artificial intelligence had discovered a novel antibiotic that was promising enough to advance into preclinical trials. Stokes and Collins had invented a new way to catalogue the Broad Institute’s million-molecule library-a kind of deep-learning Dewey decimal system. One scientist called their breakthrough “a paradigm shift in antibiotic discovery and indeed in drug discovery more generally.” A few days later, Stokes was trying to come up with a name for his compound. He asked his office mate, Felix Wong, if he’d heard of HAL, the powerful A.I. in “2001: A Space Odyssey.” 人工智能发现了一种新型抗生素，前景足够乐观，可以进入临床前试验。斯托克斯和柯林斯发明了一种新的方法来编目布罗德研究所的百万分子库——一种类似深度学习的杜威十进制分类法。一位科学家称他们的突破是“抗生素发现乃至更广泛药物发现领域的范式转变。”几天后，斯托克斯试图为他的化合物起个名字。他问他的办公室同事费利克斯·王，是否听说过《2001 太空漫游》中强大的人工智能 HAL。
“Yeah,” Wong said. “Why?” “听说过，”王说。“怎么了？”
“Hal-icin,” Stokes said. “We’ll call it Halicin.” “Hal-icin，”斯托克斯说。“我们就叫它 Halicin。”
James Collins works in a book-filled office that overlooks the M.I.T. campus. He has the lean build of a runner-in college, he ran close to a four-minute mile-and his sharp nose, blue eyes, and salt-and-pepper hair make him look like Clint Eastwood in the eighties. When he was young, one of his grandfathers had a series of strokes, and the other lost his vision owing to glaucoma. Collins was troubled that science could launch men into space yet had so little to offer either grandfather. He decided to study biomedical engineering at Oxford, as a Rhodes Scholar, and went on to conduct foundational research into genes that make bacteria drug-resistant. 詹姆斯·柯林斯在一间充满书籍的办公室工作，办公室俯瞰着麻省理工学院校园。他有着大学时跑步运动员的瘦削身材，曾跑出接近四分钟一英里的成绩——他那尖锐的鼻子、蓝色的眼睛和花白的头发让他看起来像八十年代的克林特·伊斯特伍德。年轻时，他的一个祖父曾多次中风，另一个祖父因青光眼失明。柯林斯为科学能够将人类送上太空，却几乎无能为力帮助他的两位祖父而感到困扰。他决定作为罗德学者在牛津大学学习生物医学工程，随后开展了关于使细菌产生耐药性的基因的基础研究。
Collins developed an interest in A.I. around 2018 , when he attended a launch event for an M.I.T. initiative called the Quest for Intelligence. The speakers included Eric Schmidt, a founder of Google, and David Siegel, the billionaire co-chairman of the quant hedge fund Two Sigma, but Collins was most taken by Regina Barzilay, a computer scientist who had once built algorithms to decode lost languages. After a breast- 柯林斯在 2018 年左右对人工智能产生了兴趣，当时他参加了麻省理工学院一个名为“智能探索”的启动活动。演讲者包括谷歌创始人埃里克·施密特和量化对冲基金 Two Sigma 的亿万富翁联席主席大卫·西格尔，但柯林斯最被计算机科学家雷吉娜·巴尔齐莱吸引，她曾构建算法来解码失落的语言。在一次乳腺...
THE DAHLIAS 大丽花
By now the fields are overgrown, most ironweed and parsnip have turned black, even the closed cabinet doors of milkweed pods have burst open, spilling their shucked silk into the day. I wear a coat and remember August, those nights filled with moths that like fireworks put on a show at our window, circled the lights like monks in meditation. At every new cycle, I miss the one now gone. I am never happy and have no excuse not to love the dying season, the growing season, the season of sleep. That is to say, to love it while it is happening. But what of the fall dahlias that like bodiced planets float above their roots and leaves? Surely they contain all the colors of our universe. They must love the cooler days, the beginning of a time for rest, less forced display. Take it easy I will say. But the wind has something else in mind. They might perform a roundelay or the danse macabre. In time we all will be bones, our eyeholes hallowed and our skeletons clattering like chimes. 到现在，田野已经杂草丛生，大部分铁草和欧防风都已变黑，连乳草荚的封闭柜门也裂开，洒落出剥开的丝绸在白昼中飘扬。我穿着外套，回忆起八月，那些喜欢烟花的飞蛾在我们窗前上演一场表演，像冥想中的僧侣一样围绕着灯光盘旋。每一个新的周期，我都会怀念那个已经逝去的时光。我从未感到快乐，也没有理由不去爱这垂死的季节、生长的季节、沉睡的季节。也就是说，要在它发生的时候去爱它。但那些像有束腰的行星漂浮在根和叶子上的秋季大丽花呢？它们肯定包含了我们宇宙的所有颜色。它们一定喜欢凉爽的日子，喜欢休息的开始，喜欢少些强迫的展示。我要说，放轻松点吧。但风另有打算。它们可能会表演一场轮舞或死亡之舞。终有一日，我们都会变成骨头，眼窝空洞，骨骼叮当作响如风铃。
—Didi Jackson —迪迪·杰克逊
cancer diagnosis, Barzilay had started training algorithms to inspect mammograms. At the event, she showed the audience a world map covered with red marks, which represented cancer deaths. “With all of our strengths in machine learning, we really have a chance to wipe the red from this map,” she said. As Barzilay returned to her seat, Collins asked her if she’d also like to wipe the world of bacterial infections. A few months later, they created the Jameel Clinic for Machine Learning in Health. 癌症诊断时，Barzilay 已开始训练算法来检查乳房 X 光片。在活动中，她向观众展示了一张覆盖着红色标记的世界地图，这些红色标记代表癌症死亡。“凭借我们在机器学习方面的所有优势，我们真的有机会将这张地图上的红色抹去，”她说。当 Barzilay 回到座位时，Collins 问她是否也想消除世界上的细菌感染。几个月后，他们创建了 Jameel 健康机器学习诊所。
Collins ushered me inside his office on an idyllic spring day. “Think of all the existential threats that humankind faces,” he instructed, before I had even sat down. "Climate change, nuclear war, asteroids-you name it. Antibiotic resistance is the one we can solve most cheaply."The World Health Organization has warned that we are on the brink of a “post-antibiotic era,” in which drugs that humans have long depended on become less and less effective. Antibiotic- Collins 在一个田园诗般的春日将我带进他的办公室。“想想人类面临的所有生存威胁，”他在我还没坐下时就说。“气候变化、核战争、小行星——你说得出名字的都有。抗生素耐药性是我们能以最廉价方式解决的问题。”世界卫生组织警告说，我们正处于“后抗生素时代”的边缘，在这个时代，人类长期依赖的药物变得越来越无效。抗生素-
resistant infections already contribute to 1.5 million deaths annually, and by the middle of the century they could kill ten million people a year. 耐药感染每年已导致 150 万人死亡，到本世纪中叶，这一数字可能达到每年一千万人。
“How cheaply?” I asked. “多廉价？”我问。
“For twenty billion dollars, you could have it solved,” Collins told me. “For twenty billion, you get ten or fifteen new antibiotics. That would get you a lot of the way there.” (This year, the U.S. will spend more than that on the Space Force.) “科林斯告诉我，‘花二百亿美元，你就能解决这个问题。花二百亿，你能得到十到十五种新抗生素。这将大大推进解决方案。’（今年，美国在太空军上的花费将超过这个数额。）”
Antibiotics face a kind of Sisyphean challenge: the more they’re used, the more bacteria become resistant to them, and so the more new drugs we need to develop. Over time, bacteria have found ways to stop drugs from entering their cells, or to pump them out if they do; some have evolved to produce enzymes that disable drugs. Yet pharmaceutical companies rarely invest in new antibiotics, in part because these drugs often make little money. (Most antibiotics are taken for only a week or two at a time.) 抗生素面临一种类似西西弗斯的挑战：使用越多，细菌对其的抗药性越强，因此我们需要开发更多新药。随着时间推移，细菌找到了阻止药物进入细胞的方法，或者即使药物进入也能将其泵出；有些细菌甚至进化出能使药物失效的酶。然而，制药公司很少投资于新抗生素，部分原因是这些药物通常利润不高。（大多数抗生素只需服用一两周。）
Between 1962 and 2000, no new major classes of antibiotics came to market. In 2002, scientists isolated a strain of MRSA that had become resistant to vancomycin, the drug of choice for MRSA infections, by modifying part of its cell wall so that the drug could no longer latch on. VRSA, as the strain is known, has been spreading ever since. "With A.I., we’re getting that much more efficient at finding molecules-and in some cases creating them,"Collins said. “The cost of the search is going down. Now we really don’t have an excuse.” 1962 年至 2000 年间，没有新的主要抗生素类别问世。2002 年，科学家分离出一种通过修改其细胞壁部分结构使药物无法附着，从而对万古霉素——治疗 MRSA 感染的首选药物——产生抗药性的 MRSA 菌株。该菌株被称为 VRSA，自那时起一直在传播。Collins 说：“借助人工智能，我们在寻找分子——有时甚至是创造分子方面变得更加高效。搜索成本正在下降。现在我们真的没有借口了。”
Building an arsenal of new medicines is something like building a championship baseball team. Just as the Yankees scout for young players and try them out in the minor leagues, drug developers hire scientists to find promising candidates and push them through clinical trials toward F.D.A. approval. Only ten per cent of prospects ever play in a major-league game; only ten per cent of potential drugs survive clinical trials. For a long time, predicting the success of a ballplayer was largely a matter of intuition and guesswork. Brien Taylor, an élite high-school pitcher and the first over-all draft pick in 1991, injured his shoulder in a bar fight and never reached the M.L.B.; Mike Piazza, the sixth-to-last draft pick out of almost fourteen hundred players in 1988, shot through the minor leagues and became the 1993 National League Rookie of the Year. But, over time, baseball has become a data-driven game in which professional analysts study obscure metrics to estimate a player’s potential. Collins is betting that the same will be true of drug discovery. 建立一支新药军火库有点像组建一支冠军棒球队。正如洋基队会侦察年轻球员并在小联盟中试用他们一样，药物开发者雇佣科学家寻找有前景的候选药物，并推动它们通过临床试验以获得 FDA 批准。只有百分之十的候选球员最终能参加大联盟比赛；只有百分之十的潜在药物能通过临床试验。长期以来，预测球员的成功主要依赖直觉和猜测。布赖恩·泰勒，1991 年首轮总选秀的精英高中投手，在一次酒吧斗殴中伤了肩膀，未能进入 MLB；迈克·皮亚扎，1988 年近 1400 名选手中倒数第六的选秀，迅速通过小联盟，成为 1993 年国家联盟最佳新秀。但随着时间推移，棒球已成为一项数据驱动的运动，职业分析师研究晦涩的指标来评估球员潜力。柯林斯赌定药物发现也将如此。
By 2021, Collins had secured funding to expand his lab’s A.I. research, and Wong, the postdoc who shared an office with Stokes, was wondering whether an A.I. model could assemble an entire roster of drugs. Wong, who has piercing eyes and a mop of tousled hair, wanted to find a family of antibiotics that use the same biological weaponry to kill bacteria. But to do that he would need to solve the black-box problem that often hinders A.I. research.“A very obvious elephant in the room was that nobody knew what the hell was going on in these models,” he told me. Stokes had found Halicin without really knowing what made the molecule antibacte- 到 2021 年，柯林斯已经获得资金扩展他实验室的人工智能研究，而与斯托克斯共用办公室的博士后黄正在思考是否可以用人工智能模型组装出一整套药物名单。黄有一双锐利的眼睛和一头凌乱的头发，他想找到一类使用相同生物武器杀死细菌的抗生素家族。但为此，他需要解决常常阻碍人工智能研究的黑箱问题。“一个非常明显的问题是，没有人知道这些模型到底在做什么，”他告诉我。斯托克斯在发现哈利辛时，并不真正知道是什么使得这种分子具有抗菌作用——
rial; to find a family of antibiotics, Wong would need to figure out which parts of molecules-which atoms, in which configurations-were most lethal. 抗菌的；为了找到一类抗生素，黄需要弄清楚分子的哪些部分——哪些原子、以何种构型——是最具杀菌力的。
A majority of the antibiotics that we use today can be grouped into just a handful of classes. Scientists can “decorate,” or modify, drugs within a class to change their effect, like video gamers customizing their characters to gain an edge. The penicillin family contains ampicillin, which is usually injected, and amoxicillin, which is often administered as a pill. The only difference between them is that amoxicillin is decorated with an extra hydroxyl group. Both drugs, however, are powerless against MRSA. “MRSA is literally the poster child of resistance,” Wong told me. “I knew that’s where I wanted to start.” 我们今天使用的大多数抗生素可以归为少数几类。科学家们可以“装饰”或修改同一类药物，以改变其效果，就像视频游戏玩家定制角色以获得优势一样。青霉素家族包括通常注射的氨苄青霉素和常作为药丸服用的阿莫西林。它们之间唯一的区别是阿莫西林多了一个羟基。然而，这两种药物对耐甲氧西林金黄色葡萄球菌（MRSA）都无效。“MRSA 简直是抗药性的典型代表，”Wong 告诉我。“我知道我想从这里开始。”
Just as image-recognition software needs labelled images of cats and dogs to tell them apart, Wong needed data to train his A.I. to recognize anti-MRSA molecules. He and a graduate student, Erica Zheng, curated a group of thirtynine thousand compounds: existing antibiotics, other drugs, random molecules, and natural products. In the course of a few weeks, with the help of a robot, they pitted each one against MRSA, in a more expansive version of what Stokes had done a few years earlier. Wong then instructed his model to evaluate the nearly one million molecules housed at CDoT and millions more from a commercial library. This produced a list of several thousand promising molecules. Wong visually inspected their structures for similar-ities-carbon rings, nitrogen groups, chlorine atoms-like an astronomer comparing constellations. When he developed an algorithm to do the same, it was able to identify what looked like a new drug class. He and his colleagues tested some of the compounds in the lab, then submitted the results to a prestigious journal. 正如图像识别软件需要标注了猫和狗的图像来区分它们一样，Wong 需要数据来训练他的人工智能识别抗 MRSA 分子。他和一名研究生 Erica Zheng 整理了三万九千种化合物：现有的抗生素、其他药物、随机分子和天然产物。在几周的时间里，在机器人帮助下，他们将每种化合物与 MRSA 对抗，这是一种比几年前 Stokes 所做的更广泛的实验。随后，Wong 指示他的模型评估 CDoT 中近一百万种分子以及商业库中的数百万种分子。这产生了几千种有前景的分子名单。Wong 通过观察它们的结构寻找相似之处——碳环、氮基团、氯原子——就像天文学家比较星座一样。当他开发出一个算法来做同样的事情时，它能够识别出看似一种新药物类别的分子。他和同事们在实验室测试了一些化合物，然后将结果提交给了一本权威期刊。
The reviewers were not impressed. Wong’s drug class would probably kill MRSA, the reviewers said, but it might kill patients, too. (Bleach will kill bacteria, but that doesn’t mean you should inject it into your body.) Scientists look for drugs that are at least ten times as likely to harm bacteria as to harm human cells; some of Wong’s molecules 审稿人并不感冒。审稿人说，黄的药物类别可能会杀死耐甲氧西林金黄色葡萄球菌（MRSA），但也可能杀死人。（漂白剂能杀死细菌，但这并不意味着你应该把它注射进体内。）科学家寻找的是对细菌的伤害至少比对人体细胞的伤害高十倍的药物；黄的一些分子
had a ratio of four to one. “That’s a very dangerous compound,” he admitted. Some of his molecules also appeared to overlap with existing antibiotics. “It’s not much of an innovation if you discover what’s already been discovered,” he said. And just because a structure is shared across molecules, the reviewers went on, doesn’t mean that the structure is responsible for their activity. Almost all cars have radios, but it’s the engine that makes cars move. 的比例是四比一。“那是一个非常危险的化合物，”他承认。他的一些分子似乎还与现有的抗生素有重叠。“如果你发现的东西已经被发现了，那就不算什么创新，”他说。审稿人继续说，仅仅因为分子之间共享某种结构，并不意味着该结构是它们活性的原因。几乎所有汽车都有收音机，但让汽车行驶的是发动机。
Wong went back to training neural networks on his original thirty-nine thousand compounds. To teach his models about toxicity, he tested each molecule on human liver, lung, and muscle cells; he also applied a “novelty filter” to remove chemicals that were similar to known drugs. This time, his search of the chemical libraries yielded about two hundred candidates. Now he just needed to find their engines. 黄回到训练神经网络，使用他最初的三万九千种化合物。为了让他的模型了解毒性，他在人体肝脏、肺和肌肉细胞上测试了每种分子；他还应用了“新颖性过滤器”来去除与已知药物相似的化学物质。这一次，他在化学库中的搜索得到了大约两百个候选分子。现在他只需要找到它们的引擎。
When computer scientists want to simplify an extremely complicated system, they often try an algorithm called a Monte Carlo tree search. The method was created by Stanisław Ulam, a Manhattan Project physicist who took up solitaire while recovering from brain surgery. Ulam realized that it’s nearly impossible to calculate one’s chances of winning solitaire, because there are too many possible moves. But he reasoned that he could estimate his odds by randomly sampling a subset of moves and then studying the outcomes of those. (Google used a Monte Carlo algorithm to design AlphaGo, an A.I. model that plays the board game Go. It beat Lee Sedol, a leading Go player, in 2016.) 当计算机科学家想简化一个极其复杂的系统时，他们常常尝试一种叫做蒙特卡洛树搜索的算法。该方法由斯坦尼斯瓦夫·乌拉姆创造，他是曼哈顿计划的物理学家，在脑部手术恢复期间开始玩纸牌接龙。乌拉姆意识到计算赢得纸牌接龙的概率几乎是不可能的，因为可能的走法太多了。但他推断可以通过随机抽样一部分走法，然后研究这些走法的结果来估计胜率。（谷歌使用蒙特卡洛算法设计了 AlphaGo，一种下围棋的人工智能模型。它在 2016 年击败了顶尖围棋选手李世石。）
Wong thought that a similar algorithm could identify the antibacterial components of his molecules, by randomly pruning atoms and bonds and predicting how that changed the molecules’ impact. This method would attempt to pry open the black box of the drug-discovery model. Wong’s first four tries crashed his computer. “Oh, shit,” he remembers thinking. “I’m going to need a lot more compute.” He dramatically upgraded his cloud storage and ran the program again. Then he spent a week playing tennis and waiting for the results. 王认为类似的算法可以通过随机修剪原子和键，并预测这种变化如何影响分子，从而识别出他分子中的抗菌成分。这种方法试图撬开药物发现模型的黑箱。王的前四次尝试使他的电脑崩溃了。“哦，糟了，”他记得自己当时想。“我需要更多的计算资源。”他大幅升级了云存储，然后再次运行程序。接着他花了一周时间打网球，等待结果。
The model ultimately rated five chemical structures as especially promising. One of them, dubbed G2, was 该模型最终评估了五种化学结构为特别有前景。其中一种被称为 G2，
found in multiple molecules that could kill MRSA in a petri dish. These molecules seemed to fight the bacteria in a new way, by disrupting the pH around the bacterial membrane; even after thirty days of continuous exposure, the bacteria didn’t develop meaningful resistance. When mice with MRSA in their blood were treated with the molecules, their infections essentially vanished. If the G2 family of chemicals succeeds in clinical trials and reaches the market, it could be the first new class of anti-MRSA drugs in nearly a quarter century. 在多种能够在培养皿中杀死耐甲氧西林金黄色葡萄球菌（MRSA）的分子中被发现。这些分子似乎通过扰乱细菌膜周围的 pH 值，以一种新的方式对抗细菌；即使连续暴露三十天，细菌也没有产生显著的抗药性。当带有血液中 MRSA 感染的小鼠接受这些分子治疗时，感染基本消失。如果 G2 系列化学物质在临床试验中成功并推向市场，它可能成为近四分之一世纪以来首个新型抗 MRSA 药物类别。
The Broad Institute’s chemical library, CDoT, occupies a cavernous room in a futuristic-looking building in Cambridge, Massachusetts, near the intersection of Main Street and Galileo Galilei Way. When I stepped inside, I felt like I was boarding a spacecraft. Computer monitors flashed. Robot arms pivoted and swung in a coördinated dance. The whole place seemed to vibrate with a mechanical thrum, punctuated by clicks and beeps. 布罗德研究所的化学库 CDoT 位于马萨诸塞州剑桥市一栋未来感十足的建筑内的一个宽敞房间里，靠近主街和伽利略·伽利莱路的交叉口。当我走进去时，感觉像是在登上一艘宇宙飞船。电脑显示器闪烁着，机械臂协调地旋转和摆动。整个地方似乎充满了机械的嗡嗡声，间或伴随着咔嗒声和哔哔声。
Anita Vrcic, a lab manager with blue eyes and short blond hair, led me to a meticulously organized freezer the size of a semi truck. “If we didn’t have this freezer, finding a molecule would be like playing Battleship,” Vrcic told me. “You would say, ‘A4,’‘B6,’ or whatever. You could do it with a couple thousand compounds, but then it becomes insane.” The substances inside are stored at negative twenty degrees Celsiusso cold that, if you tossed a bucket of boiling water inside, it would freeze before hitting the floor.I peered through a window and could see dense stacks of gray trays, which were packed with vials of chemicals. There were nearly a million compounds in all. 实验室经理安妮塔·弗尔西奇有着蓝色的眼睛和短短的金发，她带我走向一个大小相当于半挂卡车的精心整理的冰箱。“如果没有这个冰箱，找到一个分子就像玩战舰游戏，”弗尔西奇告诉我。“你会说‘A4’、‘B6’之类的。用几千种化合物还行，但数量一多就会变得疯狂。”里面的物质被储存在零下二十摄氏度的环境中，冷得如果你往里扔一桶开水，水会在落地前就结冰。我透过窗户看到密密麻麻堆满灰色托盘，托盘里装满了化学试剂瓶。总共有近一百万种化合物。
Inside the freezer, a shiny metal robot, which looked a bit like the rolling ladders that librarians use to reach high shelves, zipped away from me, then back again. It had two little arms; one reached up while the other grabbed a tray below. Suddenly, what looked like a drive-through window on the side of the freezer, lit up by a blue light, opened and offered up a tray of vials. 冰箱里，一个闪亮的金属机器人，看起来有点像图书管理员用来够高架子的滚动梯子，在我面前快速移动，然后又返回。它有两只小臂膀；一只伸向上方，另一只抓住下面的托盘。突然，冰箱侧面看起来像是一个得来速窗口，被蓝色灯光照亮，打开并递出一盘小瓶托盘。
Each tray is transported from the freezer to a platform at the far end of the room, where two cranelike arms- 每个托盘从冰箱被运送到房间远端的平台，那里有两只像起重机一样的机械臂——
slightly longer and significantly brawnier than my own-handle the compounds. Jaime Cheah, a cell biologist in a crisp lab coat, stood in front of a computer monitor, looking like a conductor in front of a robot orchestra. One of the arms, equipped with forceps, grasped a tray of defrosted vials in the way that a crab would latch onto a mussel with its pincers. The contents were transferred to a well plate, which looked like a tiny, transparent muffin tin. Another machine generated ultrasonic sound waves to push 2.5 -nanolitre droplets into a separate plate for biological testing. 略长且明显比我自己的臂膀更强壮——处理这些化合物。细胞生物学家 Jaime Cheah 穿着干净的实验室外套，站在电脑显示器前，看起来像指挥机器人乐团的指挥家。其中一只配备镊子的机械臂抓住一盘解冻的小瓶，就像螃蟹用钳子夹住贻贝一样。内容物被转移到一个看起来像微型透明松饼盘的孔板中。另一台机器产生超声波，将 2.5 纳升的液滴推入另一个用于生物测试的孔板。
Now that the plates were full of potential drugs, the robot passed them to a green-tinted room, where each chemical would be examined for toxicity to human cells. (Tinted windows help protect sensitive reagents from light.) A large robotic arm helped to mix a slurry of human cells into each little well, along with a chemical that determined whether the cells died. I watched, mesmerized. Suddenly, an arm swung toward me, and I flinched. “Don’t worry,” Cheah said, with a smile. “They won’t hurt you.” 现在，培养皿里装满了潜在的药物，机器人将它们传送到一个带绿色滤光的房间，在那里每种化学物质都会被检测对人体细胞的毒性。（有色玻璃窗有助于保护敏感试剂免受光照。）一只大型机械臂帮助将一团人体细胞浆液混入每个小孔中，同时加入一种化学物质以判断细胞是否死亡。我看得入迷。突然，一只机械臂朝我挥来，我不由得一惊。“别担心，”Cheah 微笑着说，“它们不会伤害你。”
I was astounded by the speed and scale of research in the chemical library. I also sensed its limits. A truly comprehensive library of potential drugs would require labs like this on every floor of every building in the worldand then some. A repository of that size would be unfathomable and practically unsearchable. But A.I. assistance 我对化学库研究的速度和规模感到震惊，同时也意识到了它的局限性。一个真正全面的潜在药物库需要在世界上每栋建筑的每层楼都设有这样的实验室，甚至更多。如此庞大的资料库将难以想象且几乎无法检索。但人工智能的辅助...
may be able to weed out the least interesting chemicals, helping to steer scientists toward the most promising parts of the collection. “Now you don’t have to physically screen everything to find out what you’re looking for,” David McKinney, a medicinal chemist at the Broad Institute, told me. “It’s getting much easier to get to the right room, even the right shelf.” 可能能够筛选出最不有趣的化学物质，帮助科学家们朝着收藏中最有前景的部分前进。“现在你不必亲自筛查所有东西来找到你想要的，”Broad 研究所的药物化学家 David McKinney 告诉我。“找到正确的房间，甚至正确的货架，变得容易多了。”
In the years to come, A.I. may not just scour the shelves of chemical libraries but also stock them. Stokes, who is now an assistant professor at McMaster University, in Ontario, who specializes in A.I. drug discovery, has started to train a model that dreams up never-before-seen compounds. Existing models have a bad habit of hallucinating chemical structures that are bizarre or unworkable, much as ChatGPT hallucinates facts. “These models are really good at drawing beautiful molecules on paper,” Stokes said. “Then you show them to a chemist and they say, ‘Yeah, I can’t make that.’” To overcome this problem, Stokes constrained his model, which he calls SyntheMol, to thirteen straightforward chemical reactions and a hundred and thirty thousand familiar building blocks-enough to generate thirty billion theoretical molecules, instead of ten to the sixtieth power. SyntheMol ultimately conjured several thousand molecular structures with high antibacterial potential. Stokes’s colleagues synthesized fifty-eight that seemed especially novel and unlikely to be toxic. 在未来几年，人工智能不仅可能在化学库的货架上搜寻，还可能负责补充库存。现任安大略省麦克马斯特大学助理教授、专注于人工智能药物发现的斯托克斯，已经开始训练一个能够构思前所未见化合物的模型。现有模型常常会“幻觉”出奇怪或不可行的化学结构，就像 ChatGPT 会“幻觉”事实一样。“这些模型在纸上绘制漂亮分子结构方面非常擅长，”斯托克斯说，“然后你拿给化学家看，他们会说，‘是的，我做不出来那个。’”为了解决这个问题，斯托克斯将他称为 SyntheMol 的模型限制在十三种简单的化学反应和十三万个熟悉的构建模块——足以生成三百亿个理论分子，而不是 10 的 60 次方。最终，SyntheMol 构思出了数千种具有高抗菌潜力的分子结构。斯托克斯的同事们合成了其中五十八种，认为它们特别新颖且不太可能有毒。
When Stokes received vials of the new chemicals, he realized that he was about to test compounds that had never been studied before, and that might not exist anywhere in nature. (“We always assume that every A.I.-generated molecule that we synthesize and bring into the lab is dangerous,” he told me. “We treat them carefully and with a lot of technical precision.”) Six of them proved strikingly lethal against MRSA and other resistant bacteria. “Well, shit,” he thought. “It worked.” These molecules had not been discovered so much as imagined into existence. 当斯托克斯收到新化学品的小瓶时，他意识到自己即将测试的是从未被研究过的化合物，可能在自然界中根本不存在。“我们总是假设每一个我们合成并带入实验室的人工智能生成分子都是危险的，”他告诉我。“我们小心谨慎地对待它们，采用高度的技术精度。”其中六种对耐甲氧西林金黄色葡萄球菌（MRSA）和其他耐药细菌表现出惊人的致命效果。“好吧，见鬼，”他想。“成功了。”这些分子不是被发现的，而是被想象出来的。
There is a great distance between showing that a molecule can clear microbes from a little glass plate and proving that it can safely cure an infection in the body. “Techies often get overexcited about what it means when A.I. can identify a molecule,” Peter Lee, the head of Microsoft Research and a co-author of a book about A.I. in medicine, told me. Is the molecule potent, or do you need impractically high doses to see an effect? Is it selective, or does it attach to off-target cells and inflict collateral damage? Is it stable, or does 从证明一种分子能清除小玻璃板上的微生物，到证明它能安全地治愈体内感染，这之间有很大的距离。“技术人员常常对人工智能能够识别分子这一点过于兴奋，”微软研究院负责人、一本关于医学中人工智能的书的合著者彼得·李告诉我。这个分子是否有效，还是需要不切实际的高剂量才能看到效果？它是否具有选择性，还是会附着到非目标细胞并造成附带损害？它是否稳定，还是会...
it degrade in the body? Is it soluble, or will it clump up in your bloodstream? Sometimes medicinal chemists can tinker with a molecule to improve its performance. Often they cannot. “The techies are just waking up to the sheer magnificent complexity of human biology,” Lee said. 它在体内会降解吗？它是可溶的吗，还是会在你的血液中结块？有时药物化学家可以调整分子以改善其性能，但很多时候他们做不到。“技术人员才刚刚开始意识到人体生物学的极其复杂和宏伟，”李说。
Lee is impressed by how much A.I. has improved drug-screening efforts, and he’s convinced that it will accelerate the scouting phase of drug discovery. Last year, scientists at Carnegie Mellon asked a large language model called Coscientist to make some compounds. It was able to search the Internet for chemical reactions, select experimental protocols, read the instruction manuals of laboratory robots, and program them to mix the right chemicals in the right order-a version of what I’d done in Sean Brady’s lab, but led by what one observer called “a non-organic intelligent system.” 李对人工智能在药物筛选工作中的进步印象深刻，他坚信这将加速药物发现的侦查阶段。去年，卡内基梅隆的科学家们让一个名为 Coscientist 的大型语言模型制造了一些化合物。它能够在互联网上搜索化学反应，选择实验方案，阅读实验室机器人使用说明书，并编程让机器人按正确顺序混合正确的化学品——这是一种类似我在肖恩·布雷迪实验室所做工作的版本，但由一位观察者称之为“非有机智能系统”领导。
One day, scientists might develop accurate A.I. models of the human body, enabling a prospective drug to be tested on a model long before it’s given to people. For the foreseeable future, however, prospects will need to keep playing minor-league games; there is no A.I. replacement for expensive and painstaking clinical trials, in which many medicines fail. Recently, a research team studied the fate of several dozen molecules that were discovered by A.I. between 2015 and 2023. The molecules performed unusually well in Phase I trials, when a drug is tested for safety in a small number of healthy people, but in Phase II trials, which measure the effectiveness of the drug, they failed at roughly the same rate as other candidates. "You always have to cross your fingers the first time you put a drug in people,"Derek Lowe, a pharmaceutical researcher and a blogger for Science, told me. “All kinds of crazy shit can happen.” 有一天，科学家们可能会开发出准确的人体人工智能模型，使得潜在药物能够在投入人体试验之前，先在模型上进行测试。然而，在可预见的未来，潜在药物仍需在次级联赛中“比赛”；没有人工智能能够替代昂贵且细致的临床试验，而许多药物在这些试验中失败。最近，一个研究团队研究了 2015 年至 2023 年间由人工智能发现的数十种分子的命运。这些分子在第一阶段试验中表现异常出色，第一阶段试验是指在少量健康人群中测试药物安全性，但在第二阶段试验中，即评估药物有效性的阶段，它们的失败率与其他候选药物大致相同。制药研究员兼 Science 博客作者 Derek Lowe 告诉我：“第一次将药物用于人体时，你总得祈祷好运，可能会发生各种疯狂的事情。”
Lowe said that A.I. “could prove transformational” for drug researchers. “I’d also bet that we’re going to have some whopping failures,” he added.“We can’t just turn it loose on any problem in medicine.” A.I. has been startlingly effective in areas where lots of high-quality data are available; AlphaFold, an A.I. system developed by Google DeepMind, learned to predict the structures of proteins from an enormous catalogue 洛威表示，人工智能“可能对药物研究人员产生变革性影响”。“我也敢打赌，我们将会遇到一些巨大的失败，”他补充道。“我们不能把它随便用在医学的任何问题上。”人工智能在拥有大量高质量数据的领域表现得非常惊人；AlphaFold 是谷歌 DeepMind 开发的一个人工智能系统，它通过一个庞大的蛋白质结构目录学会了预测蛋白质的结构。
“Is my client guilty? Yes! Of being an amazing son, brother, and uncle. Of being the most consistent pitcher on his company’s softball team. Of fraud, probably. But also of having a smile so big it makes your worries melt away.” “我的客户有罪吗？有！有罪于成为一个了不起的儿子、兄弟和叔叔。有罪于成为他公司垒球队中最稳定的投手。可能有罪于欺诈。但也有罪于拥有一个如此灿烂的笑容，让你的烦恼都消散。”
called the Protein Data Bank, which took fifty years to assemble. In other areas, no such database exists-and biotech companies are still making aggressive A.I.investments. “People are throwing a ton of money at A.I.,” Lowe said. “There are waves of FOMO coursing through the industry.” 这个被称为蛋白质数据银行的数据库花了五十年时间才组建完成。在其他领域，没有这样的数据库存在——而生物技术公司仍在积极投资人工智能。“人们正在向人工智能投入大量资金，”洛威说。“整个行业中充斥着害怕错过（FOMO）的浪潮。”
Before I left Collins’s lab at M.I.T., Andreas Luttens, a Belgian Swedish computational biologist who was wearing Converse sneakers and round glasses, beckoned me to his computer. Luttens told me that the lab has focussed more on the effect of a molecule than on the question of how it brings about that effect. He was trying the opposite tack: locating a precise target and then discovering, or designing, a molecule to interfere with it. His aim is currently fixed on beta-lactamase, an enzyme produced by some bacteria which effectively chops up and disables penicillin-a classic example of drug resistance. If A.I. helps scientists attack a target like this, drugs that have lost their potency against bacteria could be resurrected. 在我离开麻省理工学院柯林斯实验室之前，穿着匡威运动鞋、戴着圆形眼镜的比利时瑞典计算生物学家安德烈亚斯·卢滕斯招呼我到他的电脑前。卢滕斯告诉我，实验室更多关注的是一种分子的效应，而不是它如何产生这种效应的问题。他尝试采取相反的策略：定位一个精确的靶点，然后发现或设计一种分子来干扰它。他目前的目标是β-内酰胺酶，这是一种由某些细菌产生的酶，能够有效地切断并使青霉素失效——这是药物抗性的经典例子。如果人工智能能帮助科学家攻击这样的靶点，那些对细菌失去效力的药物可能会被重新激活。
On a screen, Luttens pulled up an image of a tangle of purple ribbons, which reminded me of an explosion of confetti streamers. They represented beta-lactamase. “Here’s the binding site,” Luttens said, pointing to an area in the center where a weapon could 在屏幕上，卢滕斯调出了一张紫色丝带纠缠的图像，让我想起了爆炸的彩带。他们代表β-内酰胺酶。“这里是结合位点，”卢滕斯说，指向中心的一个区域，那里可以放置武器。
strike. He clicked his mouse, and a small green rod, with a few angular branches and a hexagon at one end, appeared inside it. “That’s one of the candidate molecules,” he explained. “By occupying the binding site, it basically shuts down the ability to degrade specific antibiotics.” Luttens had surveyed eighteen million molecules to find the thousand that would best fit in the binding site. He would use these real molecules to train generative A.I. models, which could imagine new and better molecules to target beta-lactamase. 罢工。他点击了鼠标，一个带有几个角状分支和一端带有六边形的小绿色棒状物出现在其中。“那是候选分子之一，”他解释道。“通过占据结合位点，它基本上关闭了降解特定抗生素的能力。”卢滕斯调查了 1800 万个分子，找出了 1000 个最适合结合位点的分子。他将使用这些真实分子来训练生成式人工智能模型，这些模型可以想象出新的、更好的分子来针对β-内酰胺酶。
Luttens clicked again, and the angular green structure changed into a straighter one with two hexagonal rings-another candidate. Then came a boxy configuration with a few spikes. He kept clicking, as though he were swiping through Tinder for a match. 鲁滕斯又点击了一下，那个有棱角的绿色结构变成了一个更直的结构，带有两个六边形环——又一个候选者。接着出现了一个带有几个尖刺的方盒形构型。他不停地点击，就像在用 Tinder 刷匹配一样。
“A thousand is still too many to make and test,” he said. “I’m aiming for fifty or a hundred.” “一千个还是太多，无法制造和测试，”他说。“我的目标是五十个或一百个。”
“So now you use an algorithm to short-list the best of the best?” I asked. “那么现在你用算法来筛选最优秀的候选者？”我问。
“Actually, from here we use human intuition,” Luttens said. “I’m looking for the most promising fit, based on what I’ve seen and what I know.” I watched him inspect molecules in a kind of trance. Then he turned to me. “There’s still a role for us humans,” he said, smiling. “For now, anyway.” * “实际上，从这里开始我们用人类的直觉，”鲁滕斯说。“我在寻找最有前途的匹配，基于我所见和所知。”我看着他像着了魔似的检查分子。然后他转向我。“人类仍然有作用，”他笑着说。“至少现在是这样。”*
G R E E N S L E E V E S 绿袖子
Sigrid Nunez 西格丽德·努涅斯
“What I want to know,” the woman said to the therapist, “is why the voices always say mean, terrible things. Why don’t they ever say things like ‘You’re a good person. You’re a great, smart, wonderful guy, your life matters, and you deserve to be happy’? I mean, instead of saying, ‘You’re no good, your life is worthless, everyone hates you, you should hurt yourself, you deserve to be hurt, you deserve to die.’ “我想知道，”那个女人对治疗师说，“为什么那些声音总是说刻薄、可怕的话。为什么它们从不说‘你是个好人。你是个伟大、聪明、了不起的人，你的生命很重要，你值得幸福’这样的话？我的意思是，它们总是说‘你一无是处，你的生命毫无价值，所有人都讨厌你，你应该伤害自己，你应当受到伤害，你应当死去’。”
“Even worse,” the woman went on, “why do the voices always say things like ‘Go shove some innocent stranger in front of an oncoming train’? Instead of, like, 'How about helping that little old lady with her bags?”” “更糟的是，”那个女人继续说，“为什么那些声音总是说‘去把无辜的陌生人推到迎面而来的火车前’这样的话？而不是说，‘要不帮帮那个拎着包的小老太太？’”
He wanted to laugh, but the woman was being earnest. She was young-early thirties, he guessed-with an unremarkable face except for her eyes, so dark you could barely distinguish iris from pupil. She stared at him from under thick bangs, the only part of her black hair that had been streaked blond. Kiss Me Deadly red lipstick, and a long-sleeved forestgreen dress of some suède-like fabric that looked vintage. His gaze kept being drawn to her gleaming manicure, each copper-colored nail like a Japanese beetle. 他想笑，但那个女人很认真。她年轻——大约三十出头，他猜的——脸庞平凡，除了她的眼睛，黑得几乎无法分辨虹膜和瞳孔。她从浓密的刘海下盯着他看，那是她黑发中唯一被染成金色的部分。涂着致命之吻般的红色口红，穿着一件长袖的森林绿色麂皮质感连衣裙，看起来很复古。他的目光不断被她闪亮的美甲吸引，每个铜色的指甲像一只日本甲虫。
He could have told her that what she was saying wasn’t true. The voices didn’t always bully or suggest evil acts. Sometimes their words were impersonal, and might even be kind. Sometimes they didn’t speak at all but only breathed heavily-which could, he supposed, be as sinister as threats or curses. Some hummed, or chanted, or sang. “I hear lullabies,” one patient had told him. 他本可以告诉她，她说的并不是真的。那些声音并不总是欺凌或暗示邪恶行为。有时它们的话语是客观的，甚至可能是善意的。有时它们根本不说话，只是沉重地呼吸——他想，这可能和威胁或诅咒一样阴险。有些声音会哼唱、吟诵或歌唱。“我听到摇篮曲，”一位病人曾告诉他。
If he’d wanted to get into a conversation with Lady Greensleeves, he might have said all this. He might have added the obvious: non-negative voices were not necessarily a positive thing. The problem with the lullabies was that they drove a woman of fifty to rock back and forth and suck her thumb. And, of course, there was a certain kind of person, one of the worst kinds of person, who seemed to live with a voice continually telling them how great they were, and who felt victimized because their perfection was not universally acknowledged. 如果他想和格林斯利夫人聊聊，他可能会说这些话。他可能还会补充显而易见的事实：非负面的声音不一定是积极的。摇篮曲的问题在于，它们让一个五十岁的女人来回摇晃，吮吸着拇指。当然，还有一种人，是最糟糕的那种人之一，他们似乎总是听到一个声音不断告诉他们自己有多棒，却因为自己的完美没有被普遍认可而感到受害。
He’s bored, the woman thought. He isn’t listening. He’s just being polite. No, he wasn’t even bothering to pretend. Not polite! 女人想，他感到无聊。他没有在听。他只是在礼貌应付。不，他甚至连假装都懒得假装。不是礼貌！
In fact, he was interested in one aspect of what she said: the way she imagined that it was all arranged. Somebody had arranged for the voices to be hateful, when they could just as easily have been loving. Her frustration with the way things are. Interesting, but hardly new. It was something he dealt with every day. He made a living off it. God could have created whatever kind of world He wished to create-so why had He chosen this fucked-up one? 事实上，他对她说的一个方面感兴趣：她想象这一切都是被安排好的。有人安排了那些声音变得充满仇恨，而它们本可以同样充满爱意。她对现状的沮丧。有趣，但并不新鲜。这是他每天都要面对的事情。他靠这个谋生。上帝本可以创造任何他想创造的世界——那么他为什么选择了这个糟糕透顶的世界？
If the therapist had wanted to get into a conversation with the woman, and if he hadn’t been afraid of sounding pretentious, or as if he were mansplaining, he might have brought up the Gnostic belief that the Supreme Being had not made this world and did not rule it; the one responsible was another, lesser spirit, not a benevolent or all-knowing one. She probably would not have heard of Gnosticism, though. This was not patriarchal condescension (raised by his mother, who had been eulogized as one of the finest historians of her generation, and whose own mother had been renowned for her work in biochemistry, he would not have made that mistake) but a nod to her youth. His sister, who taught English to undergrads, had told him about how a discussion of the idiom “to wash one’s hands of something” had revealed that her students had no idea who Pontius Pilate was. 如果那位治疗师想和那位女士展开对话，并且如果他不害怕听起来自命不凡，或者像是在“男性解释”，他可能会提到诺斯替主义的信仰，即至高存在并没有创造这个世界，也不统治它；真正负责的是另一个较低级的灵体，而非一个仁慈或全知的存在。不过她大概没听说过诺斯替主义。这并不是父权制的居高临下（他母亲曾被誉为她那一代最杰出的历史学家之一，而他的外祖母因在生物化学领域的成就而闻名，他不会犯那种错误），而是对她年轻的一个体谅。他的妹妹教本科生英语，曾告诉他，讨论习语“to wash one’s hands of something”（洗手不干）时，学生们竟然不知道本丢·彼拉多是谁。
The woman was sitting too close to him. He was reminded of the old joke, from his residency days: “Will you kiss me, Doctor?” “Kiss you! I shouldn’t even be on this couch with you!” 那位女士坐得离他太近了。他想起了住院医师时期的一个老笑话：“你会吻我吗，医生？”“吻你！我甚至不该和你坐在这张沙发上！”
People curious about illness, seeking advice about symptoms, maybe rolling up a sleeve to expose a mole-what doctor didn’t get some of that outside the office? Like the surgeon he knew who’d once been asked by a woman at a party if he’d slip into a bathroom with her and check out a breast lump. Many of the questions put to him began with "Is it normal/abnormal . . ."Is it normal for a person to want to stay single forever? Abnormal for someone to love their partner and yet be turned off by them in bed? 对疾病感到好奇、寻求症状建议、也许卷起袖子露出痣——哪个医生没在办公室外遇到过这样的情况？就像他认识的一位外科医生，曾被一位女士在派对上问是否愿意跟她一起去洗手间检查乳房肿块。许多向他提问的问题都是以“这是正常还是异常……”开头的。“一个人想永远单身是正常的吗？爱着伴侣却在床上被对方反感是异常的吗？”
But he didn’t have to get into a conversation with Greensleeves. He didn’t have to say what he knew about psychosis and auditory hallucinations. He didn’t have to stay on the couch where she was 但他不必和格林斯利夫斯展开对话。他不必说出自己对精神病和听觉幻觉的了解。他也不必留在她所在的沙发上
sitting too close to him. He could excuse himself and- 坐得离他太近。他可以找借口离开——
“Is it my imagination, or are there more crazy people out there these days, especially in the subway?” “是我想多了，还是现在地铁里疯子更多了？”
A man was passing behind them, in the narrow space between the couch and a wall of books. He was carrying an empty wineglass, which he’d been on his way to refill when he overheard the woman. Earlier, this man and his wife and the therapist had all arrived at the party at the same moment and had been introduced to one another by the host when she greeted them. Maybe because he didn’t expect to see any of these people again, the therapist had immediately forgotten the names of everyone he’d met that evening. Really, he didn’t know what he was doing there. Though he and the host had been neighbors for decades, with apartments at opposite ends of the same floor, they hardly knew each other. She lived alone, an elderly widow, a minor socialite who entertained often but had never before invited him to one of her soirées. Tonight’s occasion was the publication of a book by a journalist she knew (as did he, though only by name). She was dressed theatrically in a flowing black-and-orange wrap and the black snood turban she preferred to a wig. (The hair lost during her treatment for cancer some years ago had grown back only in sparse wisps.) 一个男人正从他们身后经过，走在沙发和书墙之间的狭窄空间里。他手里拿着一个空的酒杯，正准备去重新倒酒时，无意中听到了那位女士的谈话。早些时候，这个男人、他的妻子和那位治疗师几乎同时到达了派对，并在主人迎接他们时相互介绍。也许是因为他没指望再见到这些人，治疗师立刻就忘记了当晚遇到的所有人的名字。实际上，他根本不知道自己为什么会出现在这里。尽管他和主人是邻居，几十年来住在同一层楼的两端公寓，但他们几乎不认识对方。她独自生活，是一位年长的寡妇，一个小有名气的社交名媛，经常举办聚会，但以前从未邀请过他参加她的晚会。今晚的场合是她认识的一位记者（他也认识，虽然只是名字）出版新书。她穿着戏剧性的黑橙色飘逸披肩，戴着她偏爱的黑色头巾式发带，而不是假发。（几年前因癌症治疗而脱落的头发只长出了稀疏的几缕。）
The therapist had a feeling he knew why he’d been invited, which had happened at the last minute. The day before, he and the host had run into each other by the elevator. In the bit of small talk they’d shared going down-about what, he couldn’t remember-he’d noted something in her attitude toward him, something subdued, searching. An air of sympathy, it seemed. He thought at first it was for the loss of his mother, but that had happened half a year ago, and how, in any case, would this woman have known about that? Then, as they were about to go their separate ways, she said, “You know, if you’re free tomorrow night, I’m having a little party.” 治疗师感觉他知道自己为什么会被邀请，这事发生得很突然。前一天，他和主人在电梯旁偶遇。在他们一起下楼时的那点寒暄中——关于什么，他已经记不清了——他注意到她对他的态度中有些东西，某种压抑、探寻的感觉。似乎带着一丝同情的气息。他起初以为是因为他母亲去世的事，但那已经是半年前的事了，而且无论如何，这个女人怎么会知道呢？然后，当他们即将分开时，她说：“你知道吗，如果你明天晚上有空，我要办个小聚会。”
Nothing about his wife. 没有提到他的妻子。
He guessed that it had been the building gossip, the landlord’s mother, who watched the world from her groundfloor window or an armchair in the lobby: she must have passed on to the widow in 14-F14-\mathrm{F} that the wife in 14-A-14-\mathrm{A}- the tall one with the nice clothes and 他猜想这一定是楼里的八卦——房东的母亲，她总是从一楼的窗户或大厅的扶手椅上观察着外面的世界：她一定把消息传给了 14-F14-\mathrm{F} 的寡妇，说 14-A-14-\mathrm{A}- 那个高个子、穿着漂亮衣服、鼻子高高翘起的妻子已经搬走了。
her nose in the air-had moved out. 她鼻子高高翘起——已经搬走了。
Taken by surprise, he hadn’t known how to decline. An act of neighborly kindness, after all, of sympathy. But immediately he regretted it. He’d never been one for parties, especially not when they were full of strangers. He’d promised himself that he would not stay long; it was enough just to put in an appearance. These were not people he needed to get to know. And he, too, was moving out of the building soon, though he hadn’t mentioned this to the host. 他被突如其来的情况弄得措手不及，不知道该如何拒绝。毕竟，这是一种邻里间的善意，一种同情的表现。但他立刻后悔了。他从来不喜欢参加派对，尤其是当那里满是陌生人的时候。他曾答应自己不会待太久；露个面就够了。这些人他不需要认识。而且他也很快就要搬出这栋楼，尽管他没有告诉主人。
She sailed about the living room like a giant monarch butterfly, briefly landing on this or that knot of guests. From time to time, she exchanged a look with the young woman sitting beside the therapist on the couch. Once the host’s personal assistant, the young woman had then attended film school and was now working on her first docufiction. The two women were close-May-December besties, they called themselves. They had the kind of bond that enabled them to communicate telepathically. 她像一只巨大的君主蝶一样在客厅里飞舞，时不时地停留在这群客人或那群客人身上。她不时与坐在沙发上治疗师旁边的年轻女子交换眼神。那位年轻女子曾是主人的私人助理，后来上了电影学院，现在正在制作她的第一部纪录虚构片。两人关系亲密，自称是“春秋好友”。她们之间有那种能够心灵感应般交流的默契。
Very attractive, yes, but too old for you. 很有吸引力，是的，但对你来说太老了。
It’s not like that. We’re not flirting. We’re just talking. 不是那样的。我们没有调情。我们只是聊天。
Well, maybe you should change the subject. He doesn’t look like he’s having a very good time. 好吧，也许你应该换个话题。他看起来并不太开心。
He’s not really listening. His head is off somerwhere in the clouds. 他根本没在听。他的脑袋飘到云端去了。
And those are probably dark clouds. As I told you, his wife just walked out on him. But he’s not your responsibility. If he’s being a bore, why don’t you get up and mingle? 那些大概是乌云。正如我告诉你的，他的妻子刚刚离开了他。但他不是你的责任。如果他很无聊，为什么你不起来去社交一下呢？
I will soon. You look great, by the way. 我很快就会的。顺便说一句，你看起来很棒。
Thanks, my dear. So do you. Love the nail color! 谢谢，亲爱的。你也是。喜欢你的指甲颜色！
“You’re not supposed to say ‘crazy’ anymore,” a woman sitting in an armchair on the other side of the coffee table admonished. She was holding a canvas tote bag out of which peeked the pert snout of a miniature Yorkie. Every few minutes, the dog had a fit of shuddering, as if some ghastly thought had occurred to it. “你不应该再说‘疯了’了，”坐在咖啡桌另一边扶手椅上的一位女士责备道。她手里拿着一个帆布手提袋，袋子里露出一只迷你约克夏犬那挺翘的鼻子。每隔几分钟，狗都会颤抖一下，好像突然想到了什么可怕的事情。
“Why’s that?” the man behind the couch asked. “为什么？”沙发后面的男人问。
“Because it’s offensive. It’s what they call ableist.” At this, everyone listening did something with their eyes-rolled them or scrunched them or looked down at the floor. “You’re supposed to say ‘mentally ill.’” “因为那很冒犯人。这被称为歧视残障人士。”听着这话，所有人都做了些反应——有人翻了翻白眼，有人皱了皱眉，有人低头看地板。“你应该说‘精神病患者’。”
“But what if you mean to be offensive?” the man said. “As in ‘What are you, fucking crazy?’” “但是如果你的本意是冒犯呢？”那人说。“比如说‘你他妈的疯了吗？’”
Ignoring this, the woman went on, “It’s not just in the subways. I don’t know about you, but I find that people are behaving like they’re mentally ill everywhere I go. I was in the supermarket the other day, and a security guard pointed out that I’d dropped a glove. I picked it up and thanked him, and, what do you know, he lit into me! ‘I don’t need your thanks, lady,’ he said. ‘I am doing my job. I see everything. That is my job. I don’t do it for your thanks.’ I was stunned. I would have been afraid if we’d been alone-he was that hostile. And all because I said ‘Thank you’!” 忽略了这一点，那个女人继续说：“这不仅仅是在地铁里。我不知道你怎么样，但我发现无论我去哪里，人们的行为都像是精神病患者。前几天我在超市里，一个保安指出我掉了一只手套。我捡起来感谢他，结果你猜怎么着，他冲我发火了！‘我不需要你的感谢，女士，’他说。‘我是在履行我的职责。我什么都看得见。这是我的工作。我不是为了你的感谢才做的。’我当时震惊了。如果我们单独在一起，我会害怕——他那态度太敌对了。全因为我说了‘谢谢’！”
“I had something like that happen to me, too,” another woman said. “An Uber driver yelled at me because I said, ‘It’s right there,’ as we were driving up to the restaurant. He said, 'I know where it is! I have the G.P.S.! I don’t need you to tell me!'I never got out of a car so fast.” “我也遇到过类似的事，”另一个女人说。“一个优步司机因为我说‘就在那儿’而对我大喊大叫，当时我们正开车去餐厅。他说，‘我知道在哪儿！我有 GPS！我不需要你告诉我！’我从来没这么快下过车。”
A convergence of people at the center of the room now hemmed the therapist in, making it awkward for him to try to escape. There was a copy of the journalist’s new book on the coffee table. The journalist himself was standing nearby, talking with a woman who bore a strong resemblance to the therapist’s wife. Same chin-length brown hair, similar elfin profile, and what looked like an identical navy-blue tailored suit. 房间中央聚集的人群现在将治疗师围住，使他试图逃脱变得尴尬。咖啡桌上放着那位记者的新书。记者本人站在附近，正与一位与治疗师妻子极为相似的女子交谈。相同的齐下巴棕色头发，类似的精灵般的轮廓，还有看起来一模一样的海军蓝定制西装。
This was just an observation, not cause for pain. He did not miss his wife. He did not want her back. Although 这只是一个观察，并非痛苦的原因。他并不想念他的妻子。他不想要她回来。虽然
they had never been enemies, they had not been friends for a long time. Their love story had followed a familiar trajectory: hot, warm, cool, cold. By the end, they had often felt invisible to each other. Yet they might have gone on like that for years, as spouses do, had she not, in the course of her travels as an art curator, met someone else. Once she’d moved into her artist lover’s loft, the 他们从未成为敌人，但很长一段时间也不是朋友。他们的爱情故事遵循了一个熟悉的轨迹：热烈、温暖、冷却、冰冷。到最后，他们常常觉得彼此对方是透明的。然而，他们本可能像夫妻那样这样继续多年，若不是她在作为艺术策展人的旅行中遇到了别人。一旦她搬进了她艺术家情人的阁楼，
therapist was eager to downsize. He was about to close on a place that was both smaller and less elegant than where he lived now but also conveniently situated in the building where he had his office. 治疗师急于缩小居住空间。他正准备成交一处既比他现在住的地方小又不那么优雅，但也方便地位于他办公室所在大楼的房子。
He picked up the book and started flipping through it. He already knew what it was about. The author was part of that league of current pundits who were trying to master the trick of candidly laying out the existential perils facing humanity without totally devastating the reader. The book was “a brilliant balance of fear and hope,” according to the publisher. And its subject matter was increasingly relevant to psychotherapy. The last conference the therapist had attended was on the effects of climate anxiety on mental health. For years now, he’d been seeing patients with symptoms of pre-traumatic stress disorder, emotional problems associated with un-certainty-if not outright dread-about the future. And recently this had also hit close to home. 他拿起那本书，开始翻阅。他已经知道内容大致是什么。作者属于那类当今评论家，他们试图掌握一种技巧，坦率地陈述人类面临的生存危机，同时又不至于让读者完全崩溃。出版社称这本书是“一种恐惧与希望的精彩平衡”。其主题与心理治疗日益相关。治疗师参加的最后一次会议是关于气候焦虑对心理健康的影响。多年来，他一直在接诊患有创伤前应激障碍症状的病人，这些情绪问题与对未来的不确定感——甚至是彻底的恐惧——有关。最近，这种情况也开始触及他的生活。
If his head was lost in dark clouds, it was not because of his wife but because of his daughter. Their only child, a girl with an ebullient, affectionate personality whose behavior had never given her parents a day’s grief, she had been the marriage’s perpetual blessing. Astonished that their flawed selves could have got this one thing so right, they attributed it to her own essential goodness. Because she had grown to be both self-accepting and self-reliant, genuinely contented with life, they hadn’t been dismayed that, unlike the two of them, she had not been an outstanding student, or that, once out of school, she had shown no compelling desire to pursue any particular career. But, though she lacked ambition and focus, she was an avid reader, she was intellectually curious, and she seemed incapable of laziness or boredom. She was also undeniably happier than most of her striving, perfectionist peers, and she did not envy them. She did not appear to envy anyone. She was good at making and keeping friends. She was diligent at the various part-time jobs she took on to patch together a living. Neither of them minded when she couldn’t make the rent and was forced to move back home for a time. Husband and wife always got along better when their daughter was around. They gave 如果他的头脑陷入了阴霾，那不是因为他的妻子，而是因为他的女儿。他们唯一的孩子，是一个性格开朗、充满爱心的女孩，她的行为从未让父母一天感到烦恼，她一直是这段婚姻的永久福气。惊讶于他们这两个有缺陷的人竟然能把这件事做对，他们将其归因于她本质上的善良。因为她成长为既自我接纳又自立自强，真正满足于生活，他们并不为她不像他们俩那样是个出色的学生感到沮丧，也不为她一旦离开学校后没有表现出追求某个特定职业的强烈愿望而感到失望。但尽管她缺乏野心和专注，她是个狂热的读者，具有求知欲，似乎不知懒惰或无聊为何物。她也无疑比大多数努力奋斗、追求完美的同龄人更快乐，她不嫉妒他们。她似乎不嫉妒任何人。她擅长结交和维持朋友关系。她勤奋于各种兼职工作，以拼凑生活。 当她无法支付房租，被迫暂时搬回家时，他们都不介意。夫妻俩在女儿在场时总是相处得更好。他们给予
thanks when they compared themselves with other parents, many of whom struggled in their relationships with their children or had even become alienated from them. And so much for the old canard about how children of shrinks grow up to be emotional wrecks. 感谢，因为他们将自己与其他父母相比，许多父母在与子女的关系中挣扎，甚至已经与子女疏远。至于那些关于心理医生的孩子长大后会成为情感废墟的老生常谈，也就不值一提了。
It was at a friend’s wedding that their daughter met the man with whom she herself hoped to one day be joined in marriage, and to have at least one child. Motherhood was something she had always wanted and assumed would be part-surely the most wonderful partof her life. She and her boyfriend moved in together a few weeks before the emergence of covid. Months of lockdown deepened their attachment, but now the therapist’s daughter had begun questioning the morality of bringing children into such a broken world. What mother today could be assured that her child would have a good life? Its birth would occur in the midst of numerous ongoing global crises, and the therapist’s daughter was haunted by her vision of the damage that a child might have to endure after she was gone. 在朋友的婚礼上，他们的女儿遇到了那个她自己希望有一天能与之结婚并至少拥有一个孩子的男人。母亲身份一直是她渴望的，也是她理所当然认为会成为她生活中最美好部分的事情。她和男友在新冠疫情爆发前几周开始同居。几个月的封锁加深了他们的感情，但现在这位治疗师的女儿开始质疑在这样一个破碎的世界里生育孩子的道德性。今天有哪个母亲能确信她的孩子会有一个美好的人生？孩子的出生将发生在众多持续的全球危机之中，而这位治疗师的女儿被她对孩子可能在她离开后所要承受的伤害的想象所困扰。
Her boyfriend respected her feelings, though he did not share her pessimism. He reminded her that some of the smartest, best-informed people-scientists and environmental and political activists among them-had not forgone having kids. There were steps that could be taken to prevent the worst effects of climate change, to save democracy, to force the arc of the moral universe toward justice. 她的男友尊重她的感受，尽管他并不认同她的悲观。他提醒她，一些最聪明、最有见识的人——包括科学家以及环境和政治活动家——并没有放弃生育孩子。可以采取措施来防止气候变化的最严重影响，拯救民主，推动道德宇宙的轨迹走向正义。
But the only way for any of that to happen, and for disaster to be averted, she said, was for people around the world to come together, to work together. And what did she see? Everywhere, escalating division and strife and a hardening of the belief that the way forward lay not in communal problem-solving but in selfishness, demagoguery, and violence. Enraged mobs of people who hated one another so much that they would sooner die than work together. 但她说，任何这些事情发生并避免灾难的唯一途径，是全世界的人们团结起来，共同努力。她看到了什么？到处都是日益加剧的分裂和冲突，以及一种越来越坚定的信念，认为前进的道路不在于共同解决问题，而在于自私、煽动和暴力。愤怒的暴徒们彼此憎恨，恨到宁愿死也不愿合作。
If she came to regret not having a child, she could live with that. What she never wanted to face was regret for having had one. 如果她后来后悔没有孩子，她可以接受。但她永远不想面对的是为有了孩子而感到后悔。
Her father had been very careful not to say anything that might influence her decision-as he was very careful not to influence the decisions of several of his patients who were wrestling with the same 她的父亲非常小心，不说任何可能影响她决定的话——正如他对那些正在挣扎做出同样决定的病人们也非常小心，不去影响他们的决定一样。
“It’s annoying how you always wait until the last minute to do everything.” “你总是等到最后一刻才做所有事情，真让人烦。”
issue. Her mother, on the other hand, was having none of it. She accused her daughter of being “defeatist.” She did not want to be cheated of grandchildren. “I’ll never forgive you,” she said, unforgivably. 问题。另一方面，她的母亲一点也不接受。她指责女儿“失败主义”。她不想被剥夺孙辈。“我永远不会原谅你，”她说，令人无法原谅。
The therapist did not see the situation as hopeless. First of all, his daughter could change her mind again (there was still some time for that), and, if she did not, perhaps she’d consider adoption. What concerned him more was the dramatic alteration in her temperament. She who had never before suffered from depression now went spiralling into the abyss. Dutifully, she carried on, uncomplaining, but in a wan, robotic version of herself, indifferent to pleasure, looking forward to nothing. She dismissed the idea of going into therapy or taking any type of medication. “'lll be all right,” she kept saying. But a year passed, and she was the same. 治疗师并不认为情况无望。首先，他的女儿可能会再次改变主意（还有时间），如果她不改变，也许会考虑收养。他更担心的是她性情的剧烈变化。她以前从未患过抑郁症，现在却陷入了深渊。她尽职尽责地继续生活，默默无闻，但变成了一个苍白、机械化的自己，对快乐漠不关心，对未来毫无期待。她拒绝接受治疗或服用任何药物。“我会没事的，”她不断说。但一年过去了，她依然如故。
When the therapist learned that she had given a cousin some of her clothes, including a brown leather jacket that he knew she loved, he was alarmed. Giving away possessions was something people contemplating suicide were known to do. 当治疗师得知她把一些衣服送给了一个表亲，其中包括一件他知道她很喜欢的棕色皮夹克时，他感到震惊。送出财物是那些有自杀倾向的人常做的事。
His daughter laughed in exasperation. “For God’s sake, Daddy. You’ve 他的女儿恼怒地笑了笑。“看在上帝的份上，爸爸。你……”
never heard of decluttering? I was just tired of those old things.” 从没听说过断舍离？我只是厌倦了那些旧东西。
Then, suddenly, she decided to take a trip. She wanted to go somewhere beautiful. And she wanted to go alone. She and her boyfriend needed some time apart. That the relationship had been undergoing strain was hardly surprising. Though her boyfriend insisted that he wished to spend his life with her, with or without children, she was torn and could not help feeling guilty. 然后，突然间，她决定去旅行。她想去一个美丽的地方。她想一个人去。她和男朋友需要一些分开的时间。两人的关系一直紧张，这并不令人惊讶。虽然男朋友坚持说无论有没有孩子，他都希望和她共度一生，但她内心矛盾，忍不住感到内疚。
Again, the therapist saw this as a warning sign. People who took their lives often went away from home to do so. Hotel suicides were not uncommon. And again his daughter scoffed. “Seriously? You really think I’d go halfway around the world, and put you through all the trouble of shipping my corpse?” 治疗师再次将此视为警告信号。那些选择结束自己生命的人，往往会离家出走。酒店自杀并不罕见。女儿又一次嗤之以鼻。“说真的？你真以为我会跑到半个地球之外，让你费心把我的尸体运回来？”
It was one of those moments which sometimes happen at a gathering: in the midst of a lively conversation comes a lull, when for no apparent reason everyone falls silent. 这是聚会中偶尔会发生的时刻：在热烈的谈话中突然出现一阵沉默，大家无缘无故地都安静下来。
The woman who’d been talking with the journalist spoke first.“Someone once told me that in Turkey, I believe it was, 那位一直在和记者交谈的女士首先开口说道：“有人曾告诉我，在土耳其，我记得是这样，
when a room goes quiet all at once, people say, 'Somewhere a girl child is born.'Meaning, when a son is born it’s an occasion for cheers and celebration, but when it’s a daughter no one knows what to say. Thus the awkward silence.” 当一个房间突然安静下来时，人们会说，‘某处有一个女孩出生了。’意思是，当儿子出生时，人们会欢呼庆祝，但当女儿出生时，没人知道该说什么。因此出现了尴尬的沉默。”
Everyone groaned, the Yorkie shuddered, and in a loud, displeased-sounding voice the young woman on the couch said, “My family is Turkish, and I’ve never heard that.” 大家都发出了呻吟声，约克犬颤抖了一下，沙发上的年轻女子用一种不悦的声音说：“我家是土耳其人，我从没听过这种说法。”
Just then the therapist’s phone, which was resting on the coffee table, pinged. He glanced at the message: “I’m still depressed, but now I’m depressed with a view.” 就在这时，治疗师放在咖啡桌上的手机响了。他看了一眼信息：“我仍然感到沮丧，但现在我是在带着风景的沮丧中。”
A laugh escaped him, and, feeling the need to explain, he said simply, “My girl child.” 他笑了出来，觉得有必要解释一下，他简单地说：“我的女儿。”
Everyone else laughed then, too, and the host raised her glass in the air. 其他人也都笑了，主持人举起了她的酒杯。
“To daughters!” she said. “敬女儿们！”她说。
“To daughters!” “敬女儿们！”
Was he surprised that she followed him? Probably not. For the hour or so more that he’d stayed at the party, she had either sat beside or shadowed him, and when, at last, he found a suit- 他对她跟着他感到惊讶吗？大概没有。在他在派对上多待的那一个小时左右，她要么坐在他旁边，要么跟着他走，当他终于找到合适的时机离开时，
able moment to leave, there she was, apparently ready to leave, too. Instead of stopping at the elevator and pressing the button, she kept right on walking with him to his door. 她就在那儿，显然也准备离开。她没有在电梯口停下按按钮，而是一直跟着他走到他的门口。
He thought better of offering her any alcohol, even though that meant that he couldn’t have any, either. They’d both had enough. He made them each a cup of ginger tea instead, which they drank sitting in his kitchen. 他觉得不该给她提供酒，尽管这意味着他自己也不能喝酒。他们俩都喝得够多了。他给他们各自泡了一杯姜茶，他们坐在他的厨房里喝着。
She had a brother who’d heard voices for years, she said, and for years he’d hidden it, even from her, his big sister, with whom he had always been close. Until recently, he’d been in law school, where, according to the voices-which had gone from speaking only occasionally to almost never shutting up, from speaking softly to shouting-he was being programmed to fight in an imminent battle for planetary control. His professors were all in on it, a Latin-speaking cabal with secret but decidedly malign intent. To escape them, he had quit school and holed up at his parents’, where, despite its being the house he’d grown up in, he now felt like too much of a stranger to stay. He’d settled into a tree trunk in the 她说她有一个哥哥，多年来一直听到声音，他多年来一直隐瞒这件事，甚至对她这个一直亲近的大姐姐也没有说。直到最近，他还在法学院，据那些声音说——这些声音从偶尔说话变成几乎不停地说话，从轻声细语变成大声喊叫——他正在被编程去参加一场即将到来的星球控制之战。他的教授们全都参与其中，是一个讲拉丁语的秘密集团，意图明显恶劣。为了逃避他们，他辍学并躲在父母家，尽管那是他长大的房子，但他现在觉得自己太陌生，无法留下。他安顿在一棵树干里，
town park, though he didn’t entirely trust the pigeons there: some might be carrying the enemy’s messages. 城镇公园里，尽管他并不完全信任那里的鸽子：有些鸽子可能携带着敌人的信息。
After a fistfight with another vagrant, he’d sought shelter in a private garden, where he frightened the owners by refusing to leave. An empty soda can he’d been holding had flown through the air, and, though it missed its mark, he was arrested for trespassing and attempted assault. He had landed not in jail but in a hospital, where he was diagnosed with schizophrenia. 在与另一名流浪汉发生拳击争斗后，他寻求在一个私人花园避难，因拒绝离开吓到了主人。他手中拿着的一个空汽水罐飞了出去，虽然没有击中目标，但他因擅自闯入和企图攻击被逮捕。他没有进监狱，而是被送进了医院，诊断为精神分裂症。
“I’ve been trying to learn as much as I can,” she said. “Everyone says it’s incurable, but to me that feels like giving up. It’s like the doctors have just written him off. Pump him full of drugs, and they’re done. They definitely calmed him down, but they haven’t brought him back to anything like his true self.” “我一直在努力学习尽可能多的知识，”她说。“每个人都说这是无法治愈的，但对我来说，那感觉像是在放弃。就好像医生们已经放弃了他。给他注射一堆药物，然后就完事了。他们确实让他平静下来，但并没有让他恢复到真正的自己。”
And what if the diagnosis was wrong? According to her research, misdiagnoses of mental illness happened all the time. She’d also learned that other diseasesof the body, not of the mind-could trigger psychosis. 如果诊断是错误的呢？根据她的研究，精神疾病的误诊经常发生。她还了解到，其他身体疾病，而非精神疾病，也可能引发精神病。
This was the subject of the film she had started working on, a docufiction about her brother and his illness. More docu than fiction, she said. An investigation. 这是她开始制作的电影的主题，一部关于她哥哥和他疾病的纪录虚构片。她说这部片子更多是纪录片而非虚构片。一场调查。
“He could have something metabolic,” she said. “It could be a reaction to some kind of toxin he was exposed to.” Or what if he was afflicted by some mental illness other than schizophrenia, one that was curable, or at least less severe? “他可能有某种代谢问题，”她说。“这可能是他接触到某种毒素的反应。”或者，如果他患的是除精神分裂症之外的其他精神疾病，一种可治愈的，或者至少症状较轻的疾病呢？
He couldn’t tell her what she wanted to hear. He could only follow the rule for discussing catastrophic diagnoses with loved ones: Be honest, but not brutally so. Do not encourage false hope. 他无法告诉她她想听的话。他只能遵循与亲人讨论灾难性诊断时的规则：诚实，但不要过于残酷。不要鼓励虚假的希望。
“Anything can happen,” she said staunchly. “Like those people trapped for years in a coma who suddenly one day wake up.” “任何事情都有可能发生，”她坚定地说。“就像那些被困多年昏迷的人，某天突然醒来。”
There was an intensity, almost a radiance, about her that the therapist had not observed earlier, and which he took as a sign of love. Her fierce love for her poor brother, against whose demons she was girded to fight. 她身上有一种强烈的、几乎是光芒四射的气质，这是治疗师之前未曾察觉的，他将其视为爱的象征。她对那个可怜的哥哥怀有炽烈的爱，她准备好与他的恶魔抗争。
He hadn’t eaten at the party, and when his stomach growled, immediately, as if in response, hers growled back. For the first time, he saw her smile, a generous smile that showed her fine teeth and beautified her face. 他在聚会上没吃东西，当他的肚子咕咕叫时，仿佛回应般，她的肚子也跟着叫了起来。那是他第一次看到她微笑，一个慷慨的笑容，露出整齐的牙齿，使她的脸庞更加美丽。
In the fridge was some leftover chicken 冰箱里有一些剩下的鸡肉
and broccoli he’d ordered from a Chinese restaurant the previous night, which he now heated in the microwave. Small though the portions were, she did not finish hers. 和他前一晚从一家中餐馆点的西兰花，他现在用微波炉加热了。虽然分量很小，她还是没吃完她的那份。
He had admired her eyes before, but not until now her long eyelashes, which his heart kept catching on. 他以前欣赏过她的眼睛，但直到现在才注意到她那长长的睫毛，他的心总是被它们牵动。
He could not offer an opinion about a patient he’d never seen, he explained, and he apologized for not being able to be of more help. But not only was he not an expert in the treatment of schizophrenia; he wasn’t taking on any new patients. (This was true, though he didn’t add that he’d been thinking of retiring from practice altogether and limiting himself to teaching.) 他解释说，他无法对一个从未见过的病人发表意见，并为不能提供更多帮助而道歉。但他不仅不是治疗精神分裂症的专家；他也不接收新病人。（这是真的，尽管他没有说出他一直在考虑完全退休，只做教学工作。）
He had assumed that she lived somewhere in town, but in fact her home was in another state; she had taken a train to come to the party. Were it not so late, she would have stayed over in 14-F14-\mathrm{F}, as she had often done before. But she thought that her friend had probably gone to bed by now. 他原以为她住在镇上的某个地方，但实际上她的家在另一个州；她是坐火车来参加聚会的。如果不是太晚了，她本来会像以前常做的那样留宿在 14-F14-\mathrm{F} 。但她认为她的朋友现在可能已经上床睡觉了。
There were two spare bedrooms in the therapist’s apartment. She chose his daughter’s. 治疗师的公寓里有两个空闲的卧室。她选择了他的女儿的房间。
After they’d said good night, he lay awake in bed, waiting for her to come to him. 他们道了晚安后，他躺在床上醒着，等待她来找他。
He watched her tiny figure far below, getting into the taxi the doorman had hailed for her. It had rained in the night, and now a weak light cast a pearlescent sheen over all, softening the city’s sharp edges. A world deceptively at peace. 他看着她那小小的身影远远地在下面，坐上了门卫为她叫来的出租车。夜里下过雨，现在微弱的光线在一切上投下了珍珠般的光泽，柔化了城市的锐利边缘。一个看似平静的世界。
He wandered through the apartment with his coffee mug. To think that in another month he’d be gone, never again to see these rooms that once brimmed with family life. The happy first years with his wife and a baby girl whose birth could not have been celebrated more. Yet it had come to this: his wife estranged, his precious only child in anguish. 他拿着咖啡杯在公寓里漫步。想想再过一个月他就要离开，再也见不到这些曾经充满家庭生活气息的房间。与妻子和刚出生的女婴度过的幸福最初几年，那孩子的诞生怎能不被庆祝。然而事情发展到了这一步：妻子疏远了他，他心爱的独生女痛苦不堪。
In his daughter’s room, the bed was still made, but there was an indentation in the duvet, where he pictured his lover sitting, head in hands, debating. 在女儿的房间里，床依然整理得整整齐齐，但被子上有一个凹陷，他想象着情人在那里坐着，双手抱头，陷入沉思。
Down the hall, his neighbor had woken up early, too, as was her habit. The night before, after she’d closed the door on the last guest, she had sat down in the living room and started to cry. It was what she always did after a party. 走廊尽头，他的邻居也像往常一样早早醒来。前一晚，在她关上最后一位客人的门后，她坐在客厅里开始哭泣。这是她每次聚会后都会做的事。
Whether she judged the party to have been a success or a failure, it always ended in tears. She had a good cry, and then she had a cigarette-one of the three a day that she permitted herself-and when she had finished smoking she took a pill and went to bed. The next day, as always the morning after a party, she woke up feeling blue, a mood that could be expected to persist till nightfall. 无论她认为聚会是成功还是失败，最终总是以泪水告终。她痛痛快快地哭一场，然后抽一支烟——她每天允许自己抽的三支烟之一——抽完烟后服下一颗药，便上床睡觉。第二天，像往常一样，聚会后的早晨，她醒来时心情低落，这种情绪预计会持续到夜晚。
Her P.P.D., she called it. Post-party depression. 她称之为 P.P.D.，派对后抑郁症。
Whenever she had trouble getting out of bed, she remembered what an analyst from many years ago had told her: Put your feet on the floor. 每当她难以起床时，她就会想起多年前一位分析师告诉她的话：把脚放到地板上。
Her feet were still dangling when the phone rang: her young friend, calling from the train. 她的脚还在悬空时，电话响了：是她年轻的朋友，从火车上打来的。
They chatted about the party (definitely a success, this one) before turning to what had happened later, in 14-A14-\mathrm{A}, upon which she became aware of a disagreeable sensation, like a bout of reflux. 他们聊了聊派对（这次绝对是成功的），然后转到后来发生的事情，在 14-A14-\mathrm{A} ，她感到一阵不舒服，像是胃酸倒流。
“So you really think he can help?” “所以你真的认为他能帮忙吗？”
“I don’t know how much he can do, but it would be great to have someone with his expertise as an ally. He could be so useful-not just for my brother but for the film. Maybe I could even get him to do an onscreen interview.” “我不知道他能做多少，但有他这样有专业知识的人作为盟友会很棒。他可能非常有用——不仅仅是对我哥哥，对这部电影也是。也许我甚至能让他做一个屏幕上的采访。”
“Speaking of the film, be sure to let me know if you need more money.” (She had already agreed to finance the whole project.) “说到电影，如果你需要更多资金，一定要告诉我。”（她已经同意资助整个项目。）
“I will, thanks.” “我会的，谢谢。”
“You want to see him again, but does he want to see you?” “你想再见他，但他想见你吗？”
A spurt of completely inappropriate jealousy was what it was. And apparently not to be tamped down. 这完全是不合时宜的嫉妒情绪。显然无法被压制。
“He didn’t say anything about a next time. To be honest, he seemed hesitant. Which is understandable, I guess, given that he and his wife just separated. But I do think he likes me. Not to be graphic, but he was super passionate. And he obviously wanted to please me.” “他没说过下次。说实话，他看起来有些犹豫。我想这可以理解，毕竟他和妻子刚刚分开。但我确实觉得他喜欢我。说得直白点，他非常热情。而且显然他想取悦我。”
An image of the two of them, unnerving in its obscene splendor, flickered on the bedroom wall. 两人的影像在卧室墙上闪现，令人不安，充满了猥亵的华丽。
“So, what are you going to do? Ask him on a date?” 那么，你打算怎么办？约他出去吗？
“I’d rather not be the one to get in touch first. I mean, I’ve already come on pretty strong. I don’t want him to think I’m desperate, you know, or looking to catch a rich husband, or whatever.” 我宁愿不是第一个主动联系的人。我的意思是，我已经表现得很主动了。我不想让他觉得我很绝望，或者是在找个有钱的老公，什么的。
"Ah, yes. That hasn’t changed, has it? "啊，是的。这一点没变，不是吗？"
The woman always has to play it cool." 女人总得保持冷静。
“I don’t suppose you’re thinking of throwing another party anytime soon?” “我猜你不会很快再举办派对吧？”
“No. But what I could do is invite you both to dinner.” “不会。但我可以邀请你们俩来吃晚饭。”
This was what made them besties. 这就是他们成为最好的朋友的原因。
He decided to walk the two miles to his office that day. He needed the exercise, and he was a firm believer in the usefulness of walking for reflection, for generating good ideas or clearing the head of bad ones. He’d still get there in time to call his daughter before he had to see his first patient. He’d made her promise that they’d text or talk every day while she was abroad. 那天他决定步行两英里去办公室。他需要锻炼，而且他坚信步行有助于反思、产生好点子或清除脑中的坏念头。他仍然能及时到达，给女儿打电话，然后去见他的第一个病人。他让女儿答应，无论她在国外，都要每天发短信或通话。
It was not an idea but a tune that came to him as he walked: an old English folk song that, in college, he’d learned to play on the guitar. 这不是一个想法，而是一段旋律，在他散步时浮现：一首古老的英格兰民谣，他在大学时学会用吉他弹奏。
When he got to his office, he turned on his computer and typed “Greensleeves” in the Google search bar. He’d always thought of it as a romantic song, a poignant expression of yearning lovehow had it ever become a popular carol about the birth of Christ? 当他到达办公室时，他打开电脑，在谷歌搜索栏输入了“Greensleeves”。他一直认为这是一首浪漫的歌曲，是对渴望爱情的深情表达——它怎么会变成一首关于基督诞生的流行颂歌呢？
Now he learned that it was only a legend that it had been written by Henry VIII for Anne Boleyn, during the time he was courting her. In fact, the true composer remained unknown. 现在他了解到，亨利八世为安妮·博林写这首歌的说法只是传说，实际上真正的作曲者仍然未知。
There were numerous versions online. Guitar, piano, flute, lute, violin, sax, orchestra, rock band, a cappella. Even a solo whistler. 网上有许多版本。吉他、钢琴、长笛、鲁特琴、小提琴、萨克斯、管弦乐队、摇滚乐队、无伴奏合唱，甚至还有独奏口哨。
James Taylor. James Galway. The King’s Singers. Olivia Newton-John. Lynyrd Skynyrd. Vaughan Williams.John Coltrane. Everybody loved that song. 詹姆斯·泰勒。詹姆斯·高尔韦。国王歌手合唱团。奥利维亚·牛顿-约翰。林纳德·斯金纳德。沃恩·威廉姆斯。约翰·科尔特兰。每个人都喜欢那首歌。
He chose a recording by Marianne Faithfull that had been made in 1964. 他选择了一段由玛丽安·费斯福尔在 1964 年录制的录音。
At one point in the four centuries of her existence, Lady Greensleeves was thought to have been a prostitute, or at least a woman of loose morals. A reference to the color green was said to have been code for sex when the song was written. A green gown, for example, was suggestive of hanky-panky in the grass. 在她存在的四个世纪中，有一段时间人们认为绿袖夫人是妓女，或者至少是一个品行不端的女人。据说当这首歌创作时，绿色是性行为的暗号。例如，绿色的长袍暗示在草地上的调情。
Quite a stretch, if you asked him. 如果你问他，这完全是牵强附会。
It was named by many the world’s most beautiful love song. 它被许多人称为世界上最美丽的情歌。
He played it again. 他又弹了一遍。
And again. 又一次。
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THE CRITICS 评论家
POP MUSIC 流行音乐
WILD THING 野性之物
MJ Lenderman resists the smoothing, neutering effects of technology. MJ Lenderman 抵制技术带来的平滑和去势效果。
BY AMANDA PETRUSICH 作者：阿曼达·佩特鲁西奇
On a steamy afternoon in the middle of June, I met the twenty-five-year-old singer and guitarist MJ Lenderman for beers at Old Town Bar, a dim and unfussy Manhattan tavern that’s been in more or less continuous operation since 1892. Though Old Town is revered for its turn-of-thecentury atmosphere-the fifty-foot mahogany bar, the rickety dumbwaiter ferrying hot frankfurters from kitchen to dining room, the majestic bank of porcelain urinals that Pete Wells, a longtime restaurant critic for the Times, once described as "so grand they turn the act of urinating into something sacramental"it has largely escaped the type of broad canonization that attracts throngs of tourists. Instead, it remains the sort of joint where a person can stagger in, swig a whiskey, grouse to the barkeep, and reëmerge onto the street thirty minutes later, dizzy but cleansed. (The bar’s most public-facing moment was in 1992, when the rap trio House of Pain filmed the video for its single “Jump Around” in the dining room-the d.j. scratched from the men’s toilet.) Lenderman and I grabbed a high-backed wooden booth. 在六月中旬一个闷热的下午，我在老城酒吧与二十五岁的歌手兼吉他手 MJ Lenderman 见面喝啤酒。老城酒吧是一家昏暗且朴实的曼哈顿酒馆，自 1892 年以来几乎一直在营业。尽管老城因其世纪之交的氛围而备受推崇——五十英尺长的红木吧台，摇摇欲坠的传菜电梯将热腾腾的法兰克福香肠从厨房送到餐厅，彼得·韦尔斯（《纽约时报》资深餐饮评论家）曾形容其宏伟的瓷制小便池“如此壮观，以至于小便的行为变成了一种神圣的仪式”——但它基本上避免了那种吸引大量游客的广泛认可。相反，它仍然是那种人们可以踉跄着走进来，豪饮一杯威士忌，向酒保抱怨，然后三十分钟后头晕目眩但心灵净化地重新走上街头的地方。（酒吧最公开的时刻是在 1992 年，当时说唱三人组 House of Pain 在餐厅拍摄了单曲《Jump Around》的音乐视频——DJ 就在男厕所里刮碟。）我和 Lenderman 坐进了一个高背木质包厢。
This month, Lenderman will release “Manning Fireworks,” his fifth album in five years. He is often described-accurately-as the next great hope for indie rock, or however one might now refer to scrappy, dissonant, guitar-based music that’s unconcerned, both sonically and spiritually, with whatever is steering the Zeitgeist. “Manning Fireworks” could have been released in 1975, or 1994, or 2003, but that is not to say it’s deliberately nostalgic; Lenderman is simply making the kind of warm and astrin- 本月，伦德曼将发行他的第五张专辑《曼宁烟花》，这是他五年来的第五张专辑。他常被准确地描述为独立摇滚的下一个伟大希望，或者无论现在如何称呼那种不拘一格、刺耳、以吉他为主的音乐，这种音乐在声音和精神上都不关心引领时代精神的东西。《曼宁烟花》本可以在 1975 年、1994 年或 2003 年发行，但这并不意味着它是刻意怀旧；伦德曼只是制作那种自 1968 年尼尔·杨发行同名首张专辑以来，感觉脱离时间束缚的温暖而坚定的摇滚乐。
gent rock and roll that has felt untethered from time since 1968, when Neil Young released his self-titled début. 坚定的摇滚乐，自 1968 年尼尔·杨发行他的同名首张专辑以来，这种音乐就感觉脱离了时间的束缚。
In conversation, Lenderman is lowkey, affable, and bright. He’s tall and lanky, with a halo of messy brown hair, and often dresses in a T-shirt and jeans. We ordered a round and began discussing the unsung art of assembling a tour rider, the list of faintly desperate culinary requests submitted to a venue in advance of a show. "There’s gonna be a hummus plate on there-that’ll happen,"Lenderman said, laughing. “I don’t think you even have to ask for that. We usually get a box of leafy greens-I’ll do fistfuls. We had this idea recently that we were gonna start asking for a rotisserie chicken.” An inspired choice, I offered-high-protein, cheap, easy to cram into a mini-fridge. He shook his head. A mistake. “Apparently, they shop for the rider the night before, so we’re looking at day-old.” 在交谈中，Lenderman 低调、和蔼且聪明。他个子高瘦，蓬乱的棕色头发像光环一样环绕着头顶，通常穿着 T 恤和牛仔裤。我们点了一轮饮料，开始讨论组装巡演需求单这门被忽视的艺术——这是一份在演出前提交给场地的略显迫切的餐饮请求清单。“上面肯定会有鹰嘴豆泥拼盘——那是一定的，”Lenderman 笑着说。“我觉得你甚至不必特别要求。我们通常会得到一盒绿叶蔬菜——我会抓一把一把地吃。我们最近有个想法，打算开始要求一只烤鸡。”我赞同地说，这是个灵感之选——高蛋白、便宜、容易塞进迷你冰箱。他摇了摇头，说那是个错误。“显然，他们是在前一晚采购需求单上的东西，所以我们拿到的都是隔夜的。”
Lenderman was born in Asheville, North Carolina, an arty and historic town in the Blue Ridge Mountains, and he’s lived there for most of his life. (“Manning Fireworks” was recorded in Asheville, at Drop of Sun Studios.) He started learning the guitar when he was about seven or eight, but music has always been omnipresent in his life: his father played the guitar, his mother the clarinet, and his three sisters sang. Lenderman’s paternal great-grandfather was the jazz musician and bandleader Charlie Ventura, whom DownBeat magazine declared the best tenor saxophonist of 1945. “He played with Gene Krupa, Buddy Rich. He was decently famous in the bebop world,” Lenderman said. In 1949, Ventura briefly hired a young Charlie Parker to play alto 伦德曼出生于北卡罗来纳州阿什维尔，这是一座位于蓝岭山脉的艺术气息浓厚且历史悠久的小镇，他大部分时间都生活在那里。（《Manning Fireworks》是在阿什维尔的 Drop of Sun Studios 录制的。）他大约七八岁时开始学吉他，但音乐在他的生活中一直无处不在：他的父亲弹吉他，母亲吹单簧管，三个姐妹唱歌。伦德曼的曾祖父是爵士音乐家兼乐队指挥 Charlie Ventura，DownBeat 杂志称他为 1945 年最佳次中音萨克斯手。“他曾与 Gene Krupa、Buddy Rich 合作。他在比波普界相当有名，”伦德曼说。1949 年，Ventura 短暂聘请了年轻的 Charlie Parker 演奏中音萨克斯。
sax in his band. A concert listing in this magazine attempted to capture the fury of their sound, at the jazz club Royal Roost: “Here you’ll find lovers of bebop trembling like aspen leaves as they listen to Billy Eckstine and the bands of Charlie Ventura and Charlie Parker, who perform in a milieu that suggests the sprint hour at the six-day bike races.” Lenderman isn’t much of a bebop guy (“I don’t really listen to it-I haven’t tried,” he said), and his guitar playing suggests more of a long, downhill coast, no hands. But there’s a through line of wildness in both discographies. I told Lenderman that I responded in an instinctive way to the laxness of his work, so anomalous in an era in which technology makes it easy to defang, neuter, smooth. “I definitely think about that,” Lenderman said. “A lot of the stuff that has really resonated with me throughout my life is that way. I’ve just always liked that sound. It feels real to me.” 他乐队里的萨克斯手。这本杂志上的一则音乐会列表试图捕捉他们声音的狂怒，在爵士俱乐部 Royal Roost：“在这里，你会发现比波普的爱好者们像白杨叶一样颤抖，他们聆听 Billy Eckstine 以及 Charlie Ventura 和 Charlie Parker 的乐队，这些乐队在一种氛围中演出，仿佛六日自行车赛的冲刺时刻。”Lenderman 并不是很喜欢比波普（“我其实不怎么听——我没试过，”他说），他的吉他演奏更像是一段长长的下坡滑行，双手离开琴弦。但两者的唱片目录中都有一条狂野的主线。我告诉 Lenderman，我本能地对他作品中的松散感产生了反应，这在一个技术让去锋、去势、平滑变得容易的时代显得格外异常。“我确实考虑过这个，”Lenderman 说，“我一生中真正引起共鸣的很多东西都是这样的。我一直喜欢那种声音。它对我来说感觉很真实。”
Lenderman self-released his first album, in 2019, when he was twenty years old and scooping ice cream at a shop in Asheville. “I quit, expecting to probably have to figure something else out, but then I just kept touring, and for the most part I haven’t had to work since,” he said. In 2022, Lenderman released the rowdy and sardonic album “Boat Songs.” On “You Have Bought Yourself a Boat,” he skewers upward mobility, briefly affecting a kind of seething Gen X disdain: Lenderman 在 2019 年自助发行了他的第一张专辑，那时他二十岁，正在阿什维尔的一家冰淇淋店打工。“我辞职了，预计可能得另想出路，但后来我一直在巡演，大部分时间都不用工作，”他说。2022 年，Lenderman 发行了狂野讽刺的专辑《Boat Songs》。在《You Have Bought Yourself a Boat》一曲中，他讽刺了向上流动，短暂地表现出一种愤怒的 X 世代轻蔑：
sings about Michael Jordan’s performance with the Chicago Bulls in Game Five of the 1997 N.B.A. Finals, during which Jordan was reportedly suffering from food poisoning brought on by a gnarly late-night pizza. ("This was a heroic effort, one to add to the collection of efforts that make up his legend,"Phil Jackson, the Bulls’ coach, later said of the incident.) Through the years, rumors have circulated regarding Jordan’s behavior the night before the game: Was he, in fact, partying at Robert Redford’s chalet in the mountains of Utah? Had he flown on a private jet to Las Vegas to gamble? Over squealing guitar, Lenderman offers his take (“Remember that I am no detective,” he said at the time): 唱的是迈克尔·乔丹在 1997 年 NBA 总决赛第五场对阵芝加哥公牛队时的表现，据说乔丹当时正遭受由一块难吃的深夜披萨引起的食物中毒。（“这是一次英雄般的努力，值得加入构成他传奇的努力合集，”公牛队教练菲尔·杰克逊后来这样评价这件事。）多年来，关于乔丹比赛前一晚的行为流传着各种谣言：他是否真的在犹他州山区的罗伯特·雷德福的山间小屋里狂欢？他是否乘坐私人飞机飞往拉斯维加斯赌博？在尖锐的吉他声中，Lenderman 给出了他的看法（“记住，我可不是侦探，”他当时说）：
He looked so sick 他看起来很虚弱
It was all over the news 新闻上全是这个消息
But it wasn’t the pizza 但不是披萨
And it wasn’t the flu 也不是流感
Yeah, I love drinking, too. 是的，我也喜欢喝酒。
“Boat Songs” brought Lenderman renown, landing on best-of-the-year lists at Pitchfork and Rolling Stone. In 2023, Lenderman signed to ANTI- Records and put out a live album, “And the Wind (Live and Loose!),” culled from two club shows he’d played that “Boat Songs” 使 Lenderman 获得了声誉，登上了 Pitchfork 和 Rolling Stone 的年度最佳榜单。2023 年，Lenderman 签约 ANTI- Records，并发行了一张现场专辑《And the Wind (Live and Loose!)》，收录了他在两个俱乐部演出中的现场录音。
“I say it’s not sushi grade and I say we should eat our sandwiches.” “我说这不是寿司级别的，我说我们应该吃我们的三明治。”
summer. Live albums are not as common as they once were (about fifty were released in 2023, compared with something like a hundred and forty-five in 1989), and they’re even more unusual to see from younger, non-legacy artists. Yet it felt right to capture the squall.“When ‘Boat Songs’ was made, I was, like, ‘I’m really buttoned up here!’” he said. Spontaneity - a lighthearted kind of reck-lessness-feels crucial to Lenderman’s vision. I asked him if it is possible to write that looseness into his work, or if it simply has to emerge in the performance. “Every time I sit down to write, it’s like starting from scratch again,” he said. "I have journals full of all sorts of disconnected stuff. I’ll fall out of phase with it sometimes, but I try to write every day. The hardest part is revisiting it and having to interact with my own bullshit."He paused. “Sometimes I surprise myself.” 夏天。现场专辑不像以前那样常见（2023 年大约发行了五十张，而 1989 年大约有一百四十五张），而且年轻的非传统艺人发行现场专辑更是罕见。然而，捕捉这场风暴感觉很合适。“当《Boat Songs》制作时，我当时想，‘我真的很严谨！’”他说。自发性——一种轻松的鲁莽感——对 Lenderman 的创作愿景至关重要。我问他是否有可能将这种松散感写进作品，还是只能在表演中自然流露。“每次我坐下来写作，就像重新开始一样，”他说。“我有满是各种断断续续内容的日记。有时我会与它们脱节，但我尽量每天写作。最难的是重新审视它们，并不得不面对自己的胡言乱语。”他停顿了一下。“有时我会让自己感到惊讶。”
Many of the songs on “Manning Fireworks” feature a narrator in the throes of a dire existential or emotional crisis-a series of rock bottoms. I wondered if Lenderman was especially drawn to the rhetorical potential (or at least the grim humor) of moments in 《Manning Fireworks》中的许多歌曲描绘了叙述者处于严重的存在或情感危机中——一系列的谷底。我想知道 Lenderman 是否特别被这些时刻的修辞潜力（或至少是阴郁的幽默感）所吸引。
which it appears as though things simply cannot get worse. When the stakes are that low, everything is possible. (“Freedom’s just another word for nothing left to lose,” as Janis Joplin famously sang.) Lenderman’s antiheroes are bored, dissatisfied, self-aware, and down bad. “I think it’s funny when people are put in a real situation, exposing them to who they really are,” he said. “A lot of the books I like to read-Harry Crews, Larry Brown-deal with the same stuff.” On the song “Joker Lips,” over guitar and mellotron, he sings, 看起来事情似乎无法变得更糟。当赌注如此之低时，一切皆有可能。（正如贾尼斯·乔普林著名地唱的那样，“自由不过是没有什么可失去的另一种说法。”）伦德曼的反英雄们感到无聊、不满、自知之明且处于困境中。“我觉得当人们被置于真实的情境中，暴露出他们真正的自我时，这很有趣，”他说。“我喜欢读的很多书——哈里·克鲁斯、拉里·布朗——都处理同样的主题。”在歌曲《Joker Lips》中，伴随着吉他和梅洛特隆，他唱道，
Please don’t ask how I’m doing Draining cum from hotel showers Hoping for the hours To pass a little faster. 请别问我过得怎么样 从酒店淋浴中排出精液 希望时间 能快点过去。
Lenderman’s wry lyrics and arch delivery recall both the Kentucky musician Will Oldham and the poet and songwriter David Berman, two titans of nineties indie rock-each signed to the label Drag City-who perfected a deadpan tenderness. “Will Oldham’s music blew open some doors for me. Certain things he’d sing shocked me,” Lenderman said. “I was, like, ‘You can do that? It doesn’t have to be so serious?’ Those two, in particular, really opened me up to how important words can be in songs.” Lenderman 的讽刺歌词和夸张的演绎让人联想到肯塔基音乐人 Will Oldham 和诗人兼词曲作者 David Berman，这两位九十年代独立摇滚的巨擘——都签约于 Drag City 厂牌——他们将冷峻的温柔演绎得淋漓尽致。Lenderman 说：“Will Oldham 的音乐为我打开了一些门。他唱的一些东西让我震惊。”“我当时想，‘你可以那样做？不一定非得那么严肃吗？’特别是他们两位，真的让我明白了歌词在歌曲中的重要性。”
In Lenderman’s lyrics, humor and pathos are inextricably linked: “We sat under a half-mast McDonald’s flag,” he recalls on “You Don’t Know the Shape I’m In,” a breakup song that’s equal parts devastating and droll. The line always kills me. Lenderman is hyperaware of the ways in which the modern American landscape can feel absurd, especially to a person whose heart is open. Still, the album is not without moments of earnestness and sorrow, and several songs on “Manning Fireworks” suggest the excruciating dissolution of a relationship. On “Bark at the Moon,” a ten-minute, droning lament that closes the album, Lenderman’s nasal, crackling voice sounds especially yearning: “SOS/I took off on a bender/You took off on a jet.” He lets out an “Awooo!” that suggests Warren Zevon’s “Werewolves of London,” a canny reference in a song that already shares a title with an Ozzy Osbourne track about werewolves. (“That was a little joke,” Lenderman said.) 在 Lenderman 的歌词中，幽默与悲情密不可分：“我们坐在半旗飘扬的麦当劳旗帜下，”他在《You Don’t Know the Shape I’m In》这首既令人心碎又带有诙谐色彩的分手歌中回忆道。这句歌词总是让我感动。Lenderman 非常清楚现代美国景观在某种程度上会显得荒诞，尤其是对一个心灵开放的人来说。尽管如此，这张专辑并非没有真挚与悲伤的时刻，《Manning Fireworks》中的几首歌暗示了一段关系的痛苦瓦解。在《Bark at the Moon》这首十分钟的单调哀歌中，作为专辑的收尾，Lenderman 那带鼻音、沙哑的声音显得格外渴望：“SOS/我开始了狂欢/你乘坐喷气机离开。”他发出一声“呜呜！”让人联想到 Warren Zevon 的《Werewolves of London》，这是一个巧妙的暗示，因为这首歌的标题与 Ozzy Osbourne 关于狼人主题的同名曲目相同。（“那是个小玩笑，”Lenderman 说。）
Recently, Lenderman and his then girlfriend, the musician Karly Hartzman, moved together to Greensboro, a couple of hours northeast of Asheville. "I guess I should mention me and Karly broke up,"Lenderman said. “We moved to Greensboro together, still, after that happened. We already had the plan,” he said, shrugging. “I’m gonna move out pretty soon, but I’ll probably stay close to that area, maybe more toward Durham.” Lenderman and Hartzman are both members of Wednesday, a burly and vulnerable ensemble that Pitchfork once called "one of the best indie-rock bands around."The group’s most recent album, “Rat Saw God,” is both feral and perceptive. Hartzman’s lyrics remind me of the Mississippi novelist Barry Hannah’s writing; Hartzman’s, too, is granular and true, awake to the goriness of life in a small Southern town. (Musically,Wednesday falls somewhere between the country rumbling of the Drive-By Truckers and the melodic squeal of early Dinosaur Jr.) Hartzman started the group, but Lenderman has been a member since 2019. The breakup was amicable, as far as these things go. “I’m still in the band,” Lenderman said. When I asked if working together had been a sizable stress on their relationship, he thought about it for a moment. “We experienced a lot of stuff together that nobody else can understand. My bandmates have partners at home, and that causes its own tensions.” 最近，Lenderman 和当时的女友、音乐人 Karly Hartzman 一起搬到了格林斯伯勒，那里距离阿什维尔东北方向几个小时车程。“我想我应该提一下，我和 Karly 分手了，”Lenderman 说。“我们还是一起搬到了格林斯伯勒，尽管那之后发生了分手。我们已经有了计划，”他说着耸了耸肩。“我很快就会搬出去，但我可能会留在那个地区附近，可能更靠近达勒姆。”Lenderman 和 Hartzman 都是 Wednesday 乐队的成员，这是一支强悍而脆弱的乐团，Pitchfork 曾称其为“最棒的独立摇滚乐队之一”。乐队最近的专辑《Rat Saw God》既狂野又敏锐。Hartzman 的歌词让我想起密西西比小说家 Barry Hannah 的写作；Hartzman 的作品同样细腻真实，觉察到南方小镇生活的血腥与残酷。（在音乐上，Wednesday 介于 Drive-By Truckers 的乡村轰鸣和早期 Dinosaur Jr.的旋律尖叫之间。）Hartzman 创立了乐队，但 Lenderman 自 2019 年起就是成员。分手是友好的，就这类事情而言。“我仍然在乐队里，”Lenderman 说。 当我问他一起工作是否给他们的关系带来了很大的压力时，他思考了片刻。“我们一起经历了很多别人无法理解的事情。我的乐队成员们在家里都有伴侣，这也会带来自己的紧张关系。”
Earlier this year, Lenderman was featured prominently on Waxahatchee’s “Right Back to It,” a song about feeling skittish and flickery in a relationship but trying to hold steady. It’s a gorgeous, complicated tune-my favorite of 2024 so far. When listening to Lenderman and Katie Crutchfield, the musician behind Waxahatchee, harmonize on the chorus (“I let my mind run wild/I don’t know why I do it”), I often feel as if my feet have briefly lifted off the ground. Though Lenderman never belts, his voice can carry a surprising amount of feeling. On “Wristwatch,” one of the best songs from “Manning Fireworks,” he imbues clever lyrics with real, modern heartache: 今年早些时候，Lenderman 在 Waxahatchee 的《Right Back to It》中有突出表现，这是一首关于在关系中感到紧张和不安但努力保持稳定的歌曲。这是一首华丽而复杂的曲子——到目前为止是我 2024 年最喜欢的。当听到 Lenderman 和 Waxahatchee 背后的音乐人 Katie Crutchfield 在副歌部分和声唱出（“我让我的思绪狂奔/我不知道为什么会这样”），我常常感觉脚似乎短暂地离开了地面。虽然 Lenderman 从不高声唱歌，但他的声音能传达出令人惊讶的情感。在《Manning Fireworks》中最好的歌曲之一《Wristwatch》里，他用聪明的歌词注入了真实、现代的心痛：
And a wristwatch that’s a pocketknife and a megaphone 一块既是怀表又是折刀和扩音器的手表
And a wristwatch that tells me I’m on my own. 一块告诉我我孤身一人的手表。
He spent a lot of time getting the vocals right. “That was one of the benefits of doing it over a bunch of short sessions, over the span of a year. I could listen to mixes and be intentional about that kind of thing. Enunciation, tonal stuff, singing through my head instead of somewhere else. A few songs are more acoustic-based, and those were done pretty live,” he said. “You Don’t Know the Shape I’m In’ was guitar, vocals, drums, and upright bass, all in the room together. I’d never gotten to do vocals as part of the live recording before.” 他花了很多时间来调整人声。“这也是在一年时间里分多次短时间录制的好处之一。我可以听混音，有意识地处理这些细节。发音、音调方面的东西，唱歌时是在脑海里而不是别处。有几首歌更偏向原声，那些基本上是现场录制的，”他说。“《You Don’t Know the Shape I’m In》是吉他、人声、鼓和立式贝斯一起在同一个房间录的。我以前从没在现场录音时做过人声。”
I asked Lenderman if he ever found all the attention of the last couple of years-the sudden but fervent acclaim for both “Boat Songs” and “Rat Saw God”-paralyzing. “Yeah, for sure,” he said. “But I think I’ve grown a lot.” He recently abandoned all social media. “Now I don’t see what people say about my music. Part of it was that if someone says something bad that obviously doesn’t feel great. But if someone says something good about me then it’s, like, ‘O.K., well, they’re dumb,’” he said. “That’s not a great way to be thinking about it.” He occasionally still lurks on X, but Instagram was easy to quit. “I would waste six hours a day watching Reels. No joke. I was hate-watching stuff, so my algorithm was so twisted,” he said, laughing. “Bad music, bad everything. I was in a lot of group chats with friends who were sending pretty cursed job-site footage. Disgusting stuff.” He added, “Most people that I need to talk to have my number.” 我问 Lenderman，过去几年里突然间对《Boat Songs》和《Rat Saw God》这两张专辑的热烈关注是否让他感到麻痹。“是的，肯定的，”他说，“但我觉得我成长了很多。”他最近完全放弃了所有社交媒体。“现在我不看别人对我的音乐说什么了。部分原因是如果有人说了什么负面的，显然感觉不好。但如果有人说了好话，我就会想，‘好吧，他们是傻的，’”他说，“这不是一个很好的心态。”他偶尔还会在 X 上潜水，但 Instagram 很容易戒掉。“我每天会浪费六个小时看 Reels，真的不是开玩笑。我是在‘恨看’那些内容，所以我的算法变得非常扭曲，”他笑着说，“糟糕的音乐，糟糕的一切。我参加了很多朋友的群聊，他们会发一些非常诅咒的工地视频。恶心的东西。”他补充道，“我需要联系的大多数人都有我的号码。”
As we closed out our tab, I asked Lenderman what he wanted from the future. “That’s a good question,” he said. “I don’t really know. I’m not interested in growing so much. I want to be financially stable as a musician but also have a second to chill and collect my thoughts.” He considered it a little more. “I guess I want to keep getting better.” The idea reminded me of a line from “She’s Leaving You,” in which Lenderman, his voice burlier than usual, sings of moving forward. It’s one of the new album’s most memorable refrains: “It falls apart/We all got work to do.” * 当我们结账时，我问伦德曼他对未来有什么期望。“这是个好问题，”他说。“我真的不知道。我不太想成长那么多。我想作为一名音乐人经济上稳定，但也想有时间放松，整理思绪。”他又思考了一会儿。“我想我想继续变得更好。”这个想法让我想起了《她离开你》中的一句歌词，伦德曼用比平时更粗犷的声音唱着前进。这是新专辑中最令人难忘的副歌之一：“一切都在崩溃/我们都有工作要做。”
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BOOKS 书籍
LUCK OF THE DRAW 运气成分
Nate Silver argues that poker can help us game our uncertain world. 内特·西尔弗认为扑克可以帮助我们应对不确定的世界。
BY IDREES KAHLOON 作者：伊德里斯·卡隆
Keeping a poker face had never struck me as much of a feat-until I had to keep one. My pulse quickened, my cheeks felt flushed, and my eyes were desperate to dart and size up the pot. What had been a mediocre hand was transformed, after the flop came down, into something spectacular: every card from seven to jack-a straight. All that remained was to play it cool and build up my cash prize. The bets started small, and then grew. The next two cards looked innocuous enough. My beautiful straight was intact, and the pot had expanded rather nicely. 保持扑克脸从来没让我觉得是一件难事——直到我必须保持一张扑克脸。我的脉搏加快，脸颊感到发热，眼睛急切地四处扫视，想要评估赌注。原本平庸的一手牌，在翻牌后变得精彩绝伦：从七到杰克的顺子。剩下的就是保持冷静，慢慢积累我的奖金。赌注开始时很小，随后逐渐增大。接下来的两张牌看起来无害。我的漂亮顺子依然完好无损，奖池也相当可观。
Truthfully, I’ve never been much of a gambling man. My previous experience was limited to a few college poker nights 说实话，我从来不是个喜欢赌博的人。我之前的经验仅限于几次大学扑克之夜
during which my friends would hastily explain the difference between a straight and a full house and then rake in my charitable contributions to their respective beer funds. You could safely call me risk-averse. In fact, the only really reckless financial bet I can recall making was deciding to become a professional journalist. 在那期间，我的朋友们会匆忙向我解释顺子和葫芦的区别，然后把我慷慨解囊的钱收进他们各自的啤酒基金。你可以放心地说我很厌恶风险。事实上，我唯一记得的真正鲁莽的财务赌注，就是决定成为一名职业记者。
Nate Silver, America’s most famous elections prognosticator, got me to cut loose. His new book, “On the Edge: The Art of Risking Everything” (Penguin), uses poker as a model for responding to uncertainty. Having drawn the lot of reviewing it, I realized that I couldn’t do it justice without learning more about poker-specifically Texas hold 'em. "On 美国最著名的选举预测专家内特·西尔弗让我放开手脚。他的新书《On the Edge: The Art of Risking Everything》（企鹅出版社）以扑克为模型来应对不确定性。由于被抽中审阅这本书，我意识到如果不更多地了解扑克——特别是德州扑克——我无法公正地评价它。“On
Poker requires assessing risk with imperfect data-a true buman undertaking. 扑克需要在不完美的数据下评估风险——这是真正的人类行为。
the Edge," like his previous book, “The Signal and the Noise,” is a hefty set of meditations on probabilistic thinking, only this time the author is taking in broader horizons. Silver left FiveThirtyEight, the statistics-based news site that he founded and sold to Disney, but is still in the business of predicting election results. Yet his first love is poker-he once played it professionally-and “On the Edge” sees him return to that passion. 《On the Edge》像他之前的著作《信号与噪声》一样，是一部关于概率思维的深刻冥想集，只不过这次作者的视野更为广阔。西尔弗离开了他创办并卖给迪士尼的基于统计的新闻网站 FiveThirtyEight，但仍然从事选举结果预测的工作。然而，他的第一爱好是扑克——他曾经是职业扑克玩家——《On the Edge》让他重拾这份热情。
“I still feel more at home in a casino than at a political convention,” Silver writes in the new book, a treatise that extends the lessons of poker and modern gambling to arenas like artificial intelligence and ethics. He has spent time interviewing such notables as William MacAskill, the philosopher-evangelist of effective altruism; Sam BankmanFried, the now disgraced cryptocurrency billionaire; and Sam Altman, the C.E.O. of OpenAI. The people changing the world are doing it by thinking like poker players, Silver contends. If we want to keep up, we’ll have to learn the mindset of the successful gambler. “我仍然觉得在赌场比在政治大会上更像回家，”Silver 在新书中写道，这本论述将扑克和现代赌博的经验扩展到人工智能和伦理等领域。他曾采访过一些知名人物，如有效利他主义的哲学传教士 William MacAskill；现已声名狼藉的加密货币亿万富翁 Sam Bankman-Fried；以及 OpenAI 的首席执行官 Sam Altman。Silver 认为，改变世界的人正是通过像扑克玩家一样思考来实现的。如果我们想跟上步伐，就必须学习成功赌徒的思维方式。
My chronic risk aversion aside, I figured I had the right foundations to do so. Chess had always been my game of choice; I squandered many afternoons of my adolescence playing, move by move, through Alexander Alekhine’s best games and “Dvoretsky’s Endgame Manual.” My college years contained less chess, but lots of problem sets in math, economics, and statistics-many of them involving probability theory. I graduated knowing my martingales from my Markov chains. Among my first assignments as a journalist was to build forecast models for British and French elections. If I applied myself to poker, I thought, I’d probably be decent: I could multiply fractions fast enough in my head to calculate the probability of, say, drawing a flush on the river. (I was also picking up the lingo.) 撇开我长期的风险厌恶不谈，我觉得自己有足够的基础去做这件事。国际象棋一直是我最喜欢的游戏；我在青少年时期浪费了许多下午，逐步研究亚历山大·阿列欣的最佳棋局和《德沃雷茨基残局手册》。大学期间下棋少了，但做了很多数学、经济学和统计学的习题——其中许多涉及概率论。我毕业时能区分马尔廷格尔和马尔可夫链。作为记者的最初任务之一是为英国和法国的选举建立预测模型。我想，如果我专注于扑克，可能会表现不错：我能在脑中快速计算分数，比如算出在河牌阶段抓到同花的概率。（我也在学习扑克术语。）
After giving myself a crash course, I decided that I was ready for some real action. I set up a family game, recruiting my wife and my teen-age brother. That may have been my first mistake. Somehow, I’d forgotten that my wife had once been a foreign-exchange trader, and I later learned that my brother, fresh from a summer camp for academically talented students (a.k.a. nerd camp), had spent the season card-sharking his camp mates. I’d also forgotten to get poker chips; we 在给自己进行了一次速成课程后，我决定准备好迎接真正的挑战。我组织了一场家庭游戏，招募了我的妻子和十几岁的弟弟。那可能是我的第一个错误。不知怎的，我忘了我妻子曾是一名外汇交易员，后来我得知我的弟弟刚刚参加了一个为学术优秀学生举办的夏令营（也就是“书呆子营”），整个夏天都在用牌技欺骗营友。我还忘了准备扑克筹码；我们
played with pie weights for puny stakes. Things started badly. Baby brother, barely old enough to hold a driver’s license, bluffed me out of a decent hand, and then he smugly called my audacious revenge bluff. (Brat summer, indeed.) Finally, my straight arrived, a chance at redemption. In a spousal showdown, I confidently displayed my hand-only to find that my wife had a straight of her own, and that hers ranked higher. My once proud pile of pie weights was reduced to a pittance. 用馅饼配重物当作微不足道的赌注开始游戏。事情一开始就很糟糕。刚够年龄拿驾照的弟弟用虚张声势骗走了我一手好牌，然后他得意地跟注了我大胆的反击诈唬。（真是个讨厌的夏天。）最后，我拿到了顺子，迎来了翻盘的机会。在一场夫妻对决中，我自信地亮出手牌，却发现妻子也有顺子，而且她的顺子更大。我那曾经自豪的馅饼筹码堆被削减得所剩无几。
Probability and gambling have always been intimately intertwined. The mathematics of probability can be traced to a well-known stumper about how best to divide a pot, which a seventeenthcentury gambling enthusiast posed to two leading mathematical luminaries of the time, Blaise Pascal and Pierre de Fermat. Their inquiry would spawn the powerful idea of “expected value”-the average outcome of an uncertain event, calculated by multiplying the outcome in every possible state of the world by the chance of it happening. How powerful? The once alien notion that humans could be precise about uncertainty gave rise to the discipline of statistics. A model in which people were treated as rational actors trying to maximize the expected value of their utility became the cornerstone of modern economics. And systems based on feeding statistical prediction models with gargantuan helpings of data and computing power have already started to roil this century. 概率与赌博一直密切相关。概率数学可以追溯到一个著名的难题，即如何最好地分割赌注，这个问题是十七世纪一位赌博爱好者向当时两位顶尖数学家布莱兹·帕斯卡和皮埃尔·德·费马提出的。他们的探讨催生了“期望值”这一强大概念——即不确定事件的平均结果，通过将每种可能状态下的结果乘以其发生的概率来计算。这个概念有多强大？曾经陌生的观念——人类可以精确地对待不确定性——催生了统计学这一学科。将人视为理性行为者、试图最大化其效用期望值的模型，成为现代经济学的基石。基于用大量数据和计算能力喂养统计预测模型的系统，已经开始在本世纪引发变革。
Silver’s book falls into a long tradition of using games to model real-world decisions. John von Neumann, whom some consider the greatest genius of the twentieth century, was working at the Manhattan Project when he published, together with his frequent collaborator Oskar Morgenstern, a book titled “Theory of Games and Economic Behavior” (1944). The work, which included a detailed chapter on “Poker and Bluffing,” essentially gave birth to game theory, a field that, neatly enough, would provide the basis for contemporary doctrines of nuclear deterrence. Decades before artificial neural networks could generate personalized poems and wacky images, computer scientists were using them to build backgammon programs. 西尔弗的书属于利用游戏来模拟现实世界决策的悠久传统。约翰·冯·诺依曼，被一些人认为是二十世纪最伟大的天才，当时正在曼哈顿计划工作，他与其常合作伙伴奥斯卡·摩根斯特恩共同出版了一本名为《博弈论与经济行为》（1944 年）的书。这部作品包含了关于“扑克与虚张声势”的详细章节，实质上奠定了博弈论的基础，而博弈论恰好成为当代核威慑学说的基础。早在人工神经网络能够生成个性化诗歌和奇异图像之前，计算机科学家们就已经在用它们来构建西洋双陆棋程序。
What Silver offers is a tour of what he calls “The River”-the community 西尔弗所提供的是他所称的“河流”——这个社区的导览。
of people (often based in Silicon Valley, on Wall Street, and in Las Vegas) who think about the world in terms of expected value and comfortably use words like “Bayesian prior”-and its face-off with “The Village,” basically the political and media establishments. The River’s name is an homage to the river card, the fifth and final card revealed in a game of Texas hold 'em. Where the Village gets its name is left unexplained, though it’s presumably meant to convey a sense of conformity. The dichotomy is not a particularly illuminating one, but this detracts little from the stimulation of each individual subject. Silver’s meandering itinerary through the River and all its oxbows makes for an enjoyable ride. 一群人（通常位于硅谷、华尔街和拉斯维加斯）以期望值的角度思考世界，并自如地使用“贝叶斯先验”等词汇——与“村庄”对立，后者基本上代表政治和媒体机构。The River 的名字致敬于德州扑克中揭示的第五张也是最后一张公共牌——河牌。村庄的名字来源未作解释，但大概是为了传达一种从众感。这种二分法并不特别有启发性，但这并不妨碍每个主题本身的刺激性。Silver 在 The River 及其所有曲流中的漫游路线使整个过程颇为愉快。
He begins with the world of gambling, where being “degen,” or degenerate, is something of a badge of honor. My homemade humbling helped me grasp the grand scale of Silver’s own poker achievements. At one point, he was in the top three hundred of the Global Poker Index rankings; he has also won eight hundred and fifty-six thousand dollars in high-profile tournaments (and presumably further significant sums in private games). It’s understandable that he sees poker as a model for the game of life. Poker calls for properly calibrating risk in the face of very imperfect information-and recalibrating it as you gain more information about your companions. In that respect, it is a decidedly human undertaking. 他从赌博世界开始讲起，在那里，“degen”或堕落者是一种荣誉徽章。我的自制谦逊帮助我理解了 Silver 在扑克方面的巨大成就。在某个时候，他曾位列全球扑克指数排名前三百名；他还在高知名度的比赛中赢得了八十五万六千美元（据推测，在私人游戏中还赢得了更多可观的金额）。他将扑克视为人生游戏的模型，这是可以理解的。扑克要求在信息极不完善的情况下正确校准风险——并随着对同伴了解的增加不断重新校准风险。在这方面，这无疑是一项极具人性化的活动。
Even so, the computer-having already established its dominance in other classic games (chess, Go, StarCraft II)— has come to surpass the best human players in poker. Just as chess grand masters rehearse their opening lines with superstrong programs, the best poker players, Silver reports, now spend hundreds of hours honing their skills with computerbased “solvers.” Unlike chess-in which the solution is deterministic and there’s always a best move-the solution to poker is stochastic and requires you to play identical hands differently, because once you’re predictable you’re beatable. 尽管如此，计算机——已经在其他经典游戏（国际象棋、围棋、星际争霸 II）中确立了其主导地位——已经超越了最优秀的人类扑克玩家。正如国际象棋大师们用超级强大的程序反复练习开局一样，Silver 报道，最优秀的扑克玩家现在花费数百小时用基于计算机的“解算器”来磨练技能。与国际象棋不同——国际象棋的解是确定性的，总有一个最佳走法——扑克的解是随机的，需要你以不同方式打出相同的牌局，因为一旦你变得可预测，你就会被击败。
In recent years, the game has been swept up by what’s known as the “gametheory optimal,” or G.T.O., approach. It has been accepted that the best way to play-to maximize expected value-is to randomize between calling, folding, and raising according to a computercalculated list of probabilities, which se- 近年来，这个游戏被所谓的“博弈论最优”（game-theory optimal，简称 G.T.O.）方法席卷。人们已经接受，最好的玩法——最大化期望值——是根据计算机计算出的概率列表，在跟注、弃牌和加注之间随机选择，
rious players memorize. As for randomizing? “The player wasn’t just staring out into space-she was probably looking at the tournament clock,” Silver writes about one G.T.O. adept. “She could randomize by taking an aggressive action if the last digit was an odd number or a passive action if it was even.” 严肃的玩家会记住这些概率。至于随机化？Silver 写到一位 G.T.O.高手时说：“这位玩家并不是在发呆——她很可能在看比赛计时器。她可以通过如果最后一位数字是奇数就采取激进行动，若是偶数则采取被动行动来实现随机化。”
When you read about the lengths to which poker sharks, shrewd sports bettors, and savvy slot-machine players (they do exist) must go in order to scrape together a narrow edge-to get “positive expected value,” or “+EV,” against the house or their fellow-gamblers-you realize what a slog big-time gambling actually is. Even if you’re exceptionally talented, you will find it hard to make serious money, and you may have to spend seventy or eighty hours a week to achieve it. There are reasons that the house always wins: identifying a real edge is hard to do, that edge tends to be thin (as in less than one per cent thin), and the house is constantly trying to shove you off the precipice. Casinos will politely but firmly ask you to leave if they notice you counting cards. The major sports-betting sites will sharply curtail your wagering privileges once they figure out that you are playing to win. Big edges are fleeting, and usually exist only for gigantic events like the Super Bowl, or Presidential elections, in which the sheer volume of dumb money resists correction by the sharks. 当你读到扑克高手、精明的体育博彩者和精明的老虎机玩家（他们确实存在）必须付出多大努力才能勉强获得微弱优势——获得“正期望值”或“+EV”，对抗赌场或其他赌徒时——你会意识到大规模赌博实际上是多么艰难。即使你非常有天赋，也会发现很难赚到大钱，而且你可能需要每周花七八十个小时才能实现。赌场总是赢的原因有很多：识别真正的优势很难，那种优势往往很微薄（不到百分之一），而且赌场不断试图把你推下悬崖。如果赌场发现你在数牌，会礼貌但坚决地要求你离开。主要的体育博彩网站一旦发现你是为了赢而下注，就会大幅限制你的投注权限。大的优势是短暂的，通常只存在于超级碗或总统选举这样的大型事件中，在这些事件中，大量的愚蠢资金抵抗着高手们的纠正。
So Silver is justifiably proud that, in 2016, his statistical model gave Donald Trump a twenty-nine-per-cent chance of winning, when the betting markets put his odds at seventeen per cent. His results made it rational to bet on a Trump victory: assuming that Silver’s model was accurate, the expected value of the bet was high. Because the markets were giving odds of roughly five to one, if you risked a hundred dollars betting that Trump would win, and he did, you’d earn five hundred dollars of profit. The value of a twenty-nine-per-cent chance of getting five hundred dollars outweighed the seventy-one-per-cent chance of losing a hundred. The expected value of your bet was a seventy-four-dollar gain on what you’d wagered. How often would you find such a sizable edge? By Silver’s calculations, even an outstanding poker player, one in the top two hundred in the tournament play, has even odds of 因此，Silver 理所当然地感到自豪，因为在 2016 年，他的统计模型给了唐纳德·特朗普 29%的胜算，而博彩市场给出的赔率是 17%。他的结果使得押注特朗普获胜成为理性的选择：假设 Silver 的模型是准确的，这个赌注的期望值很高。因为市场给出的赔率大约是五比一，如果你赌一百美元特朗普会赢，而他真的赢了，你将获得五百美元的利润。29%获得五百美元的机会的价值超过了 71%输掉一百美元的风险。你的赌注的期望值是你所下注金额的 74 美元收益。你多久能找到如此大的优势？根据 Silver 的计算，即使是顶尖的扑克玩家，在锦标赛中排名前 200 的人，也有一半的机会
finishing in the red in any given year. 在任何一年中出现亏损。
As an experiment for the book, Silver, a basketball fanatic who developed his highly regarded statistical model for player performance, took up betting on N.B.A. games. Despite being limited by many major sports books, he managed to place $1.8\$ 1.8 million in bets a year. His profit: $5,242\$ 5,242, a return of about one-third of a percentage point. That wasn’t for lack of trying. "Sports betting took more mental bandwidth than I expected, even when I wasn’t on the clock,"Silver writes. “Checking betting lines was often the first thing I did when I woke up and the last thing I did before going to bed.” 作为这本书的一个实验，Silver，一位篮球狂热爱好者，开发了备受推崇的球员表现统计模型，并开始投注 NBA 比赛。尽管受到许多大型体育博彩公司的限制，他还是设法每年下注 $1.8\$ 1.8 百万。他的利润是 $5,242\$ 5,242 ，回报率约为千分之三分之一。这并非因为他不努力。“体育博彩占用了比我预期更多的精神带宽，即使我不在工作时间，”Silver 写道。“查看投注赔率常常是我醒来后做的第一件事，也是睡觉前做的最后一件事。”
The effort to improve one’s rationality as a gambler easily approaches the irrational. Even my own study of poker became moderately obsessive. I watched hours of poker-strategy videos and long montages of televised poker tournaments with commentary; I went through the lecture notes of a class taught at M.I.T. called Poker Theory and Analytics. Learning about pot odds-it turns out that you can confidently meet an opponent’s call with positive expected value (that is, money-making on average) if your chance of winning is greater than the share of the pot you’d be contributing-made me understand where I’d erred. The concept of"fold equity" could help me decide how big my bluff ought to be. The concept of “blockers,” or cards one possesses that limit the winning combinations available to one’s opponent, further refined the rudimentary calculations I had been trying to make. I spent a few hours playing against a G.T.O. poker program and analyzing my play with a solver. All this because of losing forty ceramic balls and some of my dignity. 作为赌徒努力提升理性很容易变得不理性。就连我自己对扑克的研究也变得有些痴迷。我观看了数小时的扑克策略视频和带有解说的电视扑克锦标赛长片段；我还研读了麻省理工学院开设的一门名为“扑克理论与分析”的课程讲义。了解了底池赔率——事实证明，如果你获胜的概率大于你需要投入的底池份额，你就可以自信地跟注对手，从而获得正期望值（也就是说，平均能赚钱）——这让我明白了自己之前的错误。“弃牌权益”这一概念可以帮助我决定诈唬的大小。“阻断牌”这一概念，即你拥有的限制对手获胜组合的牌，进一步完善了我之前试图做出的粗略计算。我花了几个小时与一个 G.T.O.扑克程序对战，并用解算器分析我的打法。所有这些，都是因为输掉了四十个陶瓷球和一些尊严。
Silver acknowledges the paradox here. Although poker is an arena that prizes decision-making, most pros would, he writes, be better served financially doing something else for a living. Clearly, its rewards aren’t fully reflected in the +EV models. The dopamine rush that follows a successful bet will trump the slow-burning satisfaction of contributing to your Roth I.R.A. The first time Silver played a poker game with two-hundred-dollar stakes, he recalls,“I literally felt like I was on the sort of narcotics that I used to do a lot of in my twenties.” Our understanding of the mathematics of gambling has never been greater, but no one captured Silver 承认这里的矛盾。虽然扑克是一个重视决策的竞技场，但他写道，大多数职业玩家如果从事其他工作，经济上会更有保障。显然，其回报并未完全反映在 +EV 模型中。成功下注后产生的多巴胺激增，会胜过为你的罗斯个人退休账户（Roth I.R.A.）积累财富的那种缓慢满足感。Silver 回忆说，他第一次玩两百美元赌注的扑克游戏时，“我简直感觉自己像是在服用二十多岁时常用的那种麻醉品。”我们对赌博数学的理解从未如此深刻，但没有人能捕捉到…
the psychology of gambling quite like the great Russian writers of the nineteenth century. Alexander Pushkin’s short story “The Queen of Spades” tells of a Russian officer who is obsessed with gambling but able to contain himself until he hears about an unbeatable card trick. He scares an old woman to death in order to learn it, but she has the last laugh: the officer ends his career in an asylum. Fyodor Dostoyevsky was himself a roulette addict. (“I pawned both my ring and my winter coat and I lost everything,” he wrote in a letter to his wife, begging her for fifty francs to settle his hotel bill.) His novella “The Gambler,” one of the finest studies of the compulsion to gamble, was written in less than thirty days to pay off his own debts. He had wagered a prominent publisher to whom he owed money that he would complete a novel and an edition of writings by a specific date, or else he would surrender the rights to all his works-past and future. He finished the manuscript with only hours to spare. 没有哪位十九世纪的伟大俄罗斯作家能像他们那样深入剖析赌博的心理。亚历山大·普希金的短篇小说《黑桃皇后》讲述了一位痴迷赌博的俄罗斯军官，他能够自制，直到听说了一种无敌的纸牌技巧。他吓死了一位老妇人以学会这招，但老妇人最终笑到了最后：这位军官的职业生涯以精神病院告终。陀思妥耶夫斯基本人就是个轮盘赌成瘾者。（“我典当了我的戒指和冬衣，输光了一切，”他在给妻子的信中写道，恳求她给他五十法郎来结清旅馆账单。）他的中篇小说《赌徒》是对赌博强迫症最精彩的研究之一，写作时间不到三十天，目的是偿还自己的债务。他曾与一位他欠钱的著名出版商打赌，承诺在特定日期前完成一部小说和一部作品集，否则将交出所有作品的版权——无论是过去的还是未来的。他在截止时间前仅剩数小时完成了手稿。
What about the games of chance that Silicon Valley venture capitalists play when they stake millions of dollars on tech startups that have a roughly one-in-ten chance of making it? Success comes when the returns on a breakthrough firm more than make up for their losses elsewhere, so venture capitalists have to be thoughtful about their bet sizes. Being good at this game is different from being good at founding a company, Silver argues. He sees it as the difference between the fox, who, proverbially, knows many 硅谷风险投资家在押注那些大约只有十分之一成功概率的科技初创公司时，玩的是怎样的机会游戏？成功来自于突破性公司的回报能够弥补他们在其他地方的损失，因此风险投资家必须对他们的赌注大小进行深思熟虑。Silver 认为，擅长这场游戏与擅长创办公司是不同的。他将其视为狐狸和刺猬的区别，俗话说狐狸知道很多事情，
things, and the hedgehog, who knows one big thing. The venture capitalist is a fox: risk-tolerant, probabilistic, adaptable, and comfortable with complexity. The founder in whom the V.C. invests is a hedgehog: risk-ignorant, stubborn, drawn to order. V.C.s, spreading their bets, will acquaint themselves with multiple markets and try to adjust their exposure on the basis of the latest infor- 而刺猬只知道一件大事。风险投资家是狐狸：风险容忍、概率思维、适应性强且能应对复杂性。风险投资家投资的创始人是刺猬：忽视风险、固执、追求秩序。风险投资家通过分散赌注，会熟悉多个市场，并尝试根据最新信息调整他们的风险敞口。
mation. Founders, committed to their company, will persevere through setbacks and fight for their singular vision. The genius of Silicon Valley, Silver maintains, is in creating a symbiotic relationship between the two: the founders get to take their shots, and the venture capitalists get their positive expected value in returns. 创始人致力于他们的公司，会坚持克服挫折，为他们独特的愿景而奋斗。Silver 认为，硅谷的天才之处在于创造了两者之间的共生关系：创始人可以抓住机会，而风险投资家则获得他们期望的正回报。
In Silver’s account, large language models like OpenAI’s ChatGPT or Anthropic’s Claude are like poker players, too. The job of a large language model is to maximize the chance that the next word it outputs makes sense given its previous output and the user’s query. (For the latest version of ChatGPT, this has involved training on a vast Internet corpus and fine-tuning a trillion or so parameters.) The linguist Noam Chomsky described these models as “a kind of super-autocomplete,” and, though he meant it dismissively, it’s a fair description of the mechanics. Superautocomplete can do more than just solve high-school homework problems. It has already revolutionized computer programming, in which co-piloting with A.I. is now routine, and you can imagine lots of white-collar tasks getting more efficient with its use-up to the point where they are automated away. 在 Silver 的描述中，大型语言模型如 OpenAI 的 ChatGPT 或 Anthropic 的 Claude 也像扑克玩家一样。大型语言模型的任务是最大化其输出的下一个词在前文和用户查询的基础上合理出现的概率。（对于最新版本的 ChatGPT，这涉及在庞大的互联网语料库上训练，并微调大约一万亿个参数。）语言学家诺姆·乔姆斯基将这些模型描述为“一种超级自动补全”，虽然他是带有贬义地说的，但这对其机制来说是一个公平的描述。超级自动补全不仅能解决高中作业问题。它已经彻底改变了计算机编程，人工智能辅助编程现在已成常态，你可以想象许多白领工作通过它变得更高效，直到最终被自动化取代。
Silver finds a cautionary tech-industry parable in Sam Bankman-Fried, who granted him several interviews after FTX, his cryptocurrency exchange, went bust but before he was sentenced to twenty-five years in prison. Although Silver thinks the stodgy Village types are too risk-averse, Bankman-Fried shows what happens when you’re a compulsive gambler without limits. He had “hacked the VC algorithm and catered to some of its worst biases,” Silver writes. Because Bankman-Fried looked the part, had the right pedigree, and had placed himself in the right networks, nobody cared to examine the financial details of FTX too closely. Silver’s take on his rise amounts to a mini-book within the book, and an enlightening one. Silver 在 Sam Bankman-Fried 身上找到了一个警示性的科技行业寓言。Bankman-Fried 在他的加密货币交易所 FTX 崩溃后、被判处二十五年监禁之前，接受了 Silver 的几次采访。虽然 Silver 认为那些古板的村庄类型过于风险厌恶，但 Bankman-Fried 展示了当你是一个没有限制的强迫性赌徒时会发生什么。他“破解了风险投资的算法，迎合了一些最糟糕的偏见，”Silver 写道。因为 Bankman-Fried 看起来符合形象，有合适的背景，并且置身于正确的网络中，没有人愿意仔细审查 FTX 的财务细节。Silver 对他崛起的看法构成了书中的一个迷你章节，且颇具启发性。
Still, Silver might have spent more time exploring domains where expected-value thinking may be even more consequential. One involves the government’s role in funding and fostering scientific innovation, which requires balancing the reality of repeated failure with the huge potential of success. It could do with a serious reboot. That probably means taking more chances rather than rewarding sci- 尽管如此，Silver 可能应该花更多时间探讨那些期望值思维可能更具影响力的领域。其中之一是政府在资助和促进科学创新中的角色，这需要在反复失败的现实与巨大成功潜力之间取得平衡。这方面可能需要一次彻底的重启。那很可能意味着要更多地冒险，而不是奖励科学-
entists for their ability to fill out labyrinthine grant applications and channelling money toward the gerontocrat who coasts on a discovery made decades ago while the next generation languishes unfunded. 科学家们以他们填写复杂的资助申请表的能力而闻名，并将资金引导给那些依靠几十年前的发现安逸度日的老人统治者，而下一代却因缺乏资金而陷入困境。
Another domain that Silver scants is Wall Street. Hedge funds are named for their ability to mitigate risk; quantitativetrading firms hired hundreds of math and physics Ph.D.s to craft ultrasophisticated probability models. The late Jim Simons, a mathematician who got his start breaking codes for the N.S.A., founded a “quant” hedge fund called Renaissance Technologies that was essentially a mon-ey-printing machine for decades - a forty-per-cent return per year on average. And what gambler alive could hold a candle to George Soros, who so heavily shorted the British pound, in 1992, that he “broke the Bank of England,” forcing a devaluation while he netted at least a billion pounds? Silver 忽视的另一个领域是华尔街。对冲基金以其降低风险的能力而命名；量化交易公司雇佣了数百名数学和物理博士，打造超复杂的概率模型。已故的吉姆·西蒙斯是一位数学家，曾为国家安全局破解密码，他创立了一个名为文艺复兴科技的“量化”对冲基金，几十年来基本上是一台印钞机——年均回报率达 40%。还有哪个赌徒能比得上乔治·索罗斯？1992 年，他大举做空英镑，“打垮了英格兰银行”，迫使英镑贬值，同时净赚至少十亿英镑？
If the concept of expected value can be applied to the task of earning billions, or of rivalling the cognitive function of a human being, can it also be fashioned into a system of ethics and social planning? Utilitarianism-which was formulated around two centuries ago, and holds that what is morally right can be determined by whatever maximizes the greatest good (or utility) -is a natural fit. It’s little surprise that many of the people Silver terms Riverians-Will MacAskill chief among them-embrace a kind of ultra-utilitarianism that seeks to apply rigorous cost-benefit analysis on the scale of all of human society, not just today but centuries into the future. These “longtermist” expectedvalue calculations can lead you to unexpected places: reducing the probability of human extinction, whether by nuclear war, unchecked climate change, or rogue A.I., becomes all-important. When you consider the sum total of possible human life in the future, this existential perilcutely called xx-risk, and sometimes pp (doom)—swamps the other, happier states of the world, implying that you should do everything you can to avoid it. Surveying the field, Silver finds that “the domain experts give a trimmed mean forecast of an 8.8 percent chance of p (doom) from AI-defined in this case as all but five thousand humans ceasing to exist by 2100 .” But this isn’t something he’s taking bets on. “I think AI x-risk is 如果期望值的概念可以应用于赚取数十亿美元的任务，或与人类认知功能竞争，那么它是否也可以被塑造成一种伦理和社会规划体系？功利主义——大约在两个世纪前被提出，认为道德上的正确可以通过最大化最大利益（或效用）来确定——是一个自然的契合点。毫不奇怪，许多 Silver 称之为 Riverians 的人——其中以 Will MacAskill 为首——拥抱一种极端功利主义，试图在整个人类社会的规模上应用严格的成本效益分析，不仅是今天，而是延续到未来几个世纪。这些“长期主义”的期望值计算可能会带你到意想不到的地方：减少人类灭绝的概率，无论是通过核战争、失控的气候变化，还是流氓人工智能，变得至关重要。当你考虑未来可能存在的人类生命总和时，这种被称为 xx 风险，有时称为 pp （末日）的存在性危险，淹没了其他更美好的世界状态，意味着你应该尽一切可能避免它。 调查该领域时，Silver 发现“领域专家给出的修正平均预测是，到 2100 年，AI 导致的 p（末日）概率为 8.8%，这里的 AI 定义为除五千人外所有人类停止存在。”但这并不是他愿意下注的事情。“我认为 AI 的存在风险是
“I can neither confirm nor deny what this next song is about.” “我既不能确认也不能否认下一首歌的内容。”
a question on which we ought to have a lot of epistemic humility. It’s not as simple as a poker hand.” 这是一个我们应该保持高度认知谦逊的问题。这并不像一手扑克牌那么简单。”
I have my doubts, too. It’s absurd to think that you can realistically model the sum total of human flourishing in all the possible states of the world a century hence. Our statistical tools can be powerful predictors when it comes to the here and now-the next best action to take in a poker match, the likeliest next word in a line of code, the next best trade to make, the likeliest location of the next amino acid in a protein sequence. But the magnitude of uncertainty when we’re projecting far into the past or far into the future is, well, incalculable. There is a reason that religion specializes in matters of cosmogony and eschatology. The Abrahamic faiths conceive of God as an omniscient creator and generally abjure gambling as a result; one of the first laws passed by the Puritans in the Massachusetts Bay Colony banned the possession of cards, dice, or gaming tables. Hinduism is more accommodating: the events of the Mahabharata are set off when the eldest Pandava brother loses his king- 我也有怀疑。认为你能现实地模拟一个世纪后世界所有可能状态下人类繁荣的总和，这简直荒谬。我们的统计工具在处理眼下的情况时可以是强大的预测器——比如扑克比赛中下一步最佳行动、代码行中最可能出现的下一个词、下一笔最佳交易、蛋白质序列中下一个氨基酸最可能的位置。但当我们远远投射到过去或未来时，不确定性的程度，嗯，是无法计算的。宗教专注于宇宙起源学和末世论是有原因的。亚伯拉罕诸教将上帝视为全知的创造者，因此通常禁止赌博；马萨诸塞湾殖民地的清教徒通过的第一批法律之一就禁止持有牌、骰子或赌具。印度教则更为宽容：《摩诃婆罗多》的事件起因于长兄潘达瓦在一场被操纵的赌博比赛中输掉了王位，最终引发了一场巨大的内战。事实上，印度宇宙论中的四个时代据说都是以掷骰子命名的。
dom to his cousin in a rigged gambling match, eventually triggering a colossal civil war. Each of the four ages in Hindu cosmology, in fact, is thought to be named for a throw of the dice. 王位输给了他的堂兄，这场被操纵的赌博比赛最终引发了一场巨大的内战。事实上，印度宇宙论中的四个时代据说都是以掷骰子命名的。
The metaphysical debates will rage on, but the immediate material benefits of the study of chance remain inarguable. After concluding my laptop-based training, I reconvened the family matchthis time with real chips. I called a bluff of my brother’s, having diagnosed him as playing too loosely, and confiscated his chips with some satisfaction. My wife and I found ourselves battling for a big pot yet again. My bets were just large enough to keep the action going; my chance of winning didn’t just feel vaguely right-it felt like positive expected value. It all came down to the river. Against her respectable two pairs, I had made both a flush and a straight. I took down the pot and took back my dignity. It was a fitting moment, I decided, to retire from my gambling career. For all that I’d learned about pot odds and fold equity, I recognized the wisdom in the old adage: quit while you’re ahead. * 形而上学的辩论将继续激烈进行，但对机会研究的直接物质利益却无可争辩。在完成了基于笔记本电脑的训练后，我重新召集了家庭扑克比赛，这次用的是真正的筹码。我识破了我兄弟的虚张声势，判断他玩得太松散，满意地没收了他的筹码。我和妻子再次为一个大底池展开激战。我的下注刚好足够让游戏继续；我获胜的机会不仅感觉模糊正确——而且感觉像是正的期望值。一切都归结到最后一张公共牌。面对她那两对的好牌，我同时做成了同花和顺子。我赢得了底池，也夺回了尊严。我决定，这是一个合适的时刻，退出我的赌博生涯。尽管我学到了关于底池赔率和弃牌权益的所有知识，我还是认同那句古老的格言：趁胜利时退出。*
BOOKS 书籍
DESPERATELY SEEKING 绝望寻觅
The supreme contradictions of Simone Weil. 西蒙娜·韦伊的至高矛盾
BY JUDITH THURMAN 朱迪思·瑟曼 著
The French philosopher Simone Weil was a soul at odds with herself and with a world of affliction. The causes she espoused as a social activist and the faith she professed as a mystic were urgent to her and, as she saw it, to humanity. Little of her work was published in her lifetime, but since her death, at thirty-four, in 1943, it has inspired an almost cultlike following among readers who share her hunger for grace, and for what she called “decreation”-deliverance from enthrallment to the self. 法国哲学家西蒙娜·韦伊是一个与自己和充满苦难的世界格格不入的灵魂。她作为社会活动家所支持的事业以及她作为神秘主义者所信奉的信仰对她来说都是紧迫的，正如她所认为的，对全人类也是如此。她生前很少有作品发表，但自从她于 1943 年三十四岁时去世以来，她的作品激发了一群几乎如同崇拜般的读者，他们与她一样渴望恩典，以及她所称的“消解”——从对自我的迷恋中解脱出来。
Eminent theologians have revered Weil (Paul Tillich,Thomas Merton, Pope Paul VI), and so have writers of the first rank, especially women (Hannah Arendt, 杰出的神学家们尊敬韦伊（保罗·蒂利希、托马斯·默顿、教皇保罗六世），一流的作家们也如此，尤其是女性（汉娜·阿伦特，
Ingeborg Bachmann, Anne Carson, Flannery O’Connor, Susan Sontag). Albert Camus hailed her as “the only great spirit of our time.” T. S. Eliot credited her with a “genius akin to that of the saints.” But Weil herself might have objected to these consecrations as a form of “idolatry,” which she defined as a misguided thirst for “absolute good.” Nothing is so absolute about her as the difficulty of parsing her contradictions. Her writing radiates a cosmic empathy that coexists, sometimes on the same page, with a strain of intolerance blind to life’s tragicomedy. She resists any system that enslaves the individual to a collective, but her own vision of an enlightened society-the 英格堡·巴赫曼、安妮·卡森、弗兰纳里·奥康纳、苏珊·桑塔格）。阿尔贝·加缪称她为“我们时代唯一伟大的精神。”T·S·艾略特称赞她拥有“类似圣徒的天才。”但韦伊本人可能会反对这些奉为神明的称号，认为这是一种“偶像崇拜”，她将其定义为对“绝对善”的错误渴望。她身上没有什么是绝对的，除了她矛盾难解的复杂性。她的写作散发出一种宇宙般的同情心，这种同情心有时甚至在同一页中与对生命悲喜剧视而不见的偏执共存。她反对任何将个人奴役于集体的体系，但她自己对开明社会的愿景——
subject of her most famous work, “The Need for Roots”-is an autocracy modelled on Plato’s Republic. Weil would gladly have died fighting the Nazis. Yet even as her Jewish family fled the Final Solution, she condemned Judaism with what her biographer Francine du Plessix Gray justly calls “hysterical repugnance.” 她最著名作品《对根的需求》的主题——是一个以柏拉图的《理想国》为模型的专制政体。韦伊甘愿为抵抗纳粹而死。尽管她的犹太家庭逃离了最终解决方案，她却以她的传记作者弗朗辛·杜·普莱西克斯·格雷公正地称之为“歇斯底里的厌恶”谴责了犹太教。
It’s a conundrum of Weil’s biography that most basic human needs were alien to her. She shrank from the touch of another body, and considered her own “disgusting.” She slept on the floor in an unheated room. For most of her life, she subsisted on a starvation diet-in solidarity, she said, with the world’s victims of war and famine. Extreme fasting has a long history among female saints, though it was chastened by the Church as a sin of pride. Weil’s biographers have debated whether to call her “anorexic”; the psychiatrist Robert Coles prefers to see her as a “famished seeker.” In seeking transcendence from her mortal hungers, her extremity exerts a magnetic force: it has the power both to captivate and to repel us. 韦尔传记中的一个难题是，她对大多数基本的人类需求感到陌生。她害怕他人的触碰，认为自己的身体“令人厌恶”。她睡在没有暖气的房间的地板上。她大半生靠饥饿饮食维持生存——她说这是为了与世界上战争和饥荒的受害者保持团结。极端禁食在女性圣人中有着悠久的历史，尽管教会将其视为骄傲的罪过而加以约束。韦尔的传记作者们一直在争论是否称她为“厌食症患者”；精神病学家罗伯特·科尔斯更愿意将她视为“饥饿的探索者”。在寻求超越凡人饥饿的过程中，她的极端行为产生了一种磁性力量：它既能吸引我们，也能使我们反感。
Weil formulated her extremity succinctly in “Gravity and Grace,” an anthology of numinous aphorisms that is widely considered her masterpiece: “Do not allow yourself to be imprisoned by any affection.” She insisted that her solitude was “ordained,” and that she had to be “a stranger and an exile in relation to every human circle.” But a friend who published “Gravity and Grace,” Gustave Thibon, suggested that she was fooling herself. She “was not detached from her detachment,” he said. 韦伯在《重力与恩典》一书中简洁地表达了她的极端观点，这本汇集了神秘格言的选集被广泛认为是她的杰作：“不要让自己被任何感情所囚禁。”她坚称自己的孤独是“注定的”，她必须“在每一个人类圈子中成为陌生人和流亡者。”但出版《重力与恩典》的朋友古斯塔夫·蒂邦认为她是在自欺欺人。他说，她“并没有从她的超然中超然出来。”
A new collection of family correspondence, “Simone Weil: A Life in Letters,” edited and annotated by Robert Chenavier and André A. Devaux, gives perspective to Thibon’s koan. Weil’s nicknames for her parents, Bernard and Selma, are Biri and Mime, and she signs one message “Your little girl who loves you with all her strength but pays no attention to spelling misstakes.” She mostly addresses her mother. Many of these missives are dashed-off notes from camp-a daughter assuaging a mother’s anxiety about her welfare, or scolding her for it, or asking for cigarettes and coffee filters, or reporting cheerfully on a tour of Italy (“Very beautiful,La Scala”), or threatening that she “won’t eat for two 一部新的家庭通信集《西蒙娜·韦尔：书信中的人生》，由罗伯特·谢纳维耶和安德烈·A·德沃注释编辑，为蒂邦的禅语提供了视角。韦尔给她的父母伯纳德和塞尔玛起的昵称是比里和咪咪，她在一封信中签名为“你们的小女孩，用尽全力爱你们，但不在意拼写错误。”她大多写信给母亲。这些信件中许多是匆匆写下的营地便条——一个女儿安抚母亲对她安危的焦虑，或责备她的焦虑，或请求香烟和咖啡滤纸，或愉快地报告意大利之行（“非常美丽，斯卡拉大剧院”），或威胁说她“不会吃两人份的饭”。
weeks” if Mime sends her a care package she hasn’t asked for. Yet they humanize Weil the icon by the very fact of their banality, and by their poignant testimony to her umbilical dependence as a child who never really left home. 如果 Mime 寄给她一份她没有要求的关怀包裹，她会觉得“好几周”。然而，正是这些平凡的细节使韦尔这位偶像显得更加有人情味，也通过它们对她作为一个从未真正离开家的孩子那种脐带依赖的深刻见证，令人感动。
Weil’s intellect navigated time and space with supreme self-sovereignty, but her body lacked a steering wheel. She had abnormally small and clumsy hands. She suffered from crippling migraines and severe myopia. She bumped into furniture as she crossed a room. She was devoid of common sense. Knowing how rash she was, and how unfit for the hardships that she would court-factory labor and frontline combat, risks that endangered the very people in whose name she took them-the Weils became helicopter parents, ever poised to swoop down and rescue her. 韦尔的智慧以至高无上的自我主权驾驭着时间和空间，但她的身体却没有方向盘。她的手异常小且笨拙。她饱受严重偏头痛和高度近视的折磨。她穿过房间时会撞到家具。她缺乏常识。知道自己多么冲动，以及多么不适合她所追求的艰难——工厂劳动和前线战斗，这些风险危及她所代表的人——韦尔一家成了直升机父母，随时准备俯冲下来救她。
Like many saints and revolutionaries, Weil was a child of privilege. She and her brother André, one of the twentieth century’s preëminent mathematicians, grew up in luxury. Bernard was a successful internist; Selma was an heiress. One is startled to learn from the letters that Simone enjoyed tennis and skiing. Despite her preference for hovels, she wasn’t a stranger to posh hotels. She loved the sea, so the family often summered at the beach. They were together in Portugal when she had her first mystical experience and in Nice when Hitler invaded Poland. 像许多圣人和革命者一样，韦伊出身于特权家庭。她和她的兄弟安德烈——二十世纪最杰出的数学家之一——在奢华中长大。伯纳德是一位成功的内科医生；塞尔玛是位继承人。从信件中得知西蒙娜喜欢网球和滑雪，这令人感到惊讶。尽管她偏爱简陋的住所，但她并不陌生于豪华酒店。她热爱大海，因此家人常常在海滩度夏。她们在葡萄牙时经历了她的第一次神秘体验，在尼斯时正值希特勒入侵波兰。
The plump, vivacious Madame Weil was the kind of formidable homemaker whom my own Jewish grandmother would have called “a real balabusta” (followed by the explanation that “you could eat off her floor”). Her germ phobia may have infected Simone with her lifelong revulsion at bodily contact. The breath of strangers was fraught with peril, so Selma’s children had to ride the bus on its open upper deck even in winter and to dodge kisses from anyone but close kin. Weil’s school friend and first biographer, Simone Pétrement, makes a point of praising Selma’s warmth and her tireless efforts to mother everyone in her orbit, with an “ability to organize . . . so overpowering that one was tempted to submit to her.” But perhaps her competence was so daunting that it discouraged Weil from cultivating any. In one of her letters, she asks Mime how to boil rice. 丰满而充满活力的韦尔夫人是那种令人生畏的家庭主妇，我自己的犹太祖母会称她为“真正的 balabusta”（并解释说“你甚至可以在她的地板上吃饭”）。她对细菌的恐惧可能让西蒙娜也终生厌恶身体接触。陌生人的呼吸充满危险，因此塞尔玛的孩子们即使在冬天也必须坐在公交车敞开的上层甲板上，并且要躲避除近亲以外的任何人的亲吻。韦尔的学校朋友兼第一任传记作者西蒙娜·佩特芒特特别赞扬塞尔玛的热情和她不知疲倦地照顾周围每个人的努力，拥有一种“组织能力……如此强大，让人忍不住服从她”。但也许她的能力太令人生畏，以至于阻止了韦尔培养任何能力。在她的一封信中，她问 Mime 如何煮米饭。
Simone had been such a sickly infant that she wasn’t expected to survive. As a toddler, she refused solid food. At five, she was a holy terror, "with an indescribable stubbornness neither her father nor I can make a dent in,"Selma told a friend. That year, perhaps not by coincidence, André, who was eight, discovered mathematics and disappeared into them. Simone worshipped him. He had taught her to read as a surprise for their father. They recited Racine together. Ancient Greek became their secret language. (They used it to argue about Nietzsche.) When they lost their tempers, as siblings do, they mauled each other silently in a bedroom, since raised voices upset their mother. 西蒙娜小时候身体非常虚弱，医生都不指望她能活下来。她还是个蹒跚学步的孩子时，拒绝吃固体食物。五岁时，她成了个小魔头，“有一种无法形容的固执，连她父亲和我都无法动摇，”塞尔玛告诉朋友。那年，也许并非巧合，八岁的安德烈发现了数学，并沉浸其中。西蒙娜崇拜他。他曾教她阅读，作为给他们父亲的惊喜。他们一起朗诵拉辛的作品。古希腊语成了他们的秘密语言。（他们用它来争论尼采。）当他们像兄妹一样发脾气时，会在卧室里默默地互相“攻击”，因为大声吵闹会让他们的母亲不安。
Selma had been forbidden to study medicine by an old-fashioned father, and she channelled her frustrated ambitions into educating her wunderkinds, hiring the best private tutors and enrolling her children in the top lycées. By twelve, André was working at a graduate level and reading Homer in the original. At fourteen, he passed his baccalaureate, then sailed through the gruelling entrance exam for France’s most prestigious university, the École Normale Supérieure. Simone was one of only two women in her class at the Normale, and finished first on the exam in general philosophy and logic, with another famous Sim-one-de Beauvoir, a similarly prodigious grind—right behind her. But André was a certified genius, and she never felt equal to him. At the onset of puberty, and of the migraines and depressions that subsequently plagued her, she “seriously thought of dying,” she wrote, because “the extraordinary gifts of my brother, who had a childhood and a youth comparable to Pascal’s, brought my own inferiority home to me.” 塞尔玛被一个守旧的父亲禁止学习医学，她将受挫的抱负转向教育她的神童，聘请最好的私人导师，并将孩子们送入顶尖的中学。到十二岁时，安德烈已经达到研究生水平，并能阅读荷马的原文。十四岁时，他通过了高中毕业会考，然后轻松通过了法国最负盛名的大学——高等师范学校的严格入学考试。西蒙是高师班上仅有的两名女性之一，在普通哲学和逻辑考试中名列第一，紧随其后的是另一位著名的西蒙·德·波伏娃，她同样是个勤奋的天才。但安德烈是公认的天才，她从未觉得自己能与他平起平坐。青春期开始时，以及随后困扰她的偏头痛和抑郁症，她写道，她“曾认真考虑过死亡”，因为“我兄弟那非凡的天赋，他的童年和青年时期可与帕斯卡尔相提并论，这让我深刻感受到自己的自卑。”
It wasn’t only her brother’s mind that Simone envied. She chafed at her assignment to the second sex, and wanted nothing to do with femininity. Selma was admirably sympathetic. “I do my best,” she told a friend, “to encourage in Simone not the simpering graces of a little girl, but the forthrightness of a boy even if it must seem rude.” Both parents referred to their younger child, at “his” request, as “our son number two,” and she used the masculine form of French participles in her student letters to them, which she signed “Simon.” 西蒙不仅羡慕她哥哥的头脑。她对被归为“第二性”感到不满，完全不想与女性气质扯上关系。塞尔玛非常同情她。“我尽力而为，”她告诉一位朋友，“鼓励西蒙不要表现出小女孩那种娇柔做作的优雅，而是像男孩那样直率，即使这看起来有些粗鲁。”父母双方都称他们的小儿子为“我们的二号儿子”，这是“他”自己的要求，她在写给他们的学生信中也使用法语分词的阳性形式，并署名为“西蒙”。
Beyond the sanctuary of home, how- 在家的庇护所之外，怎—
ever, Weil was perceived as a freak, especially by male contemporaries, who took her indifference to charming them as an affront to their masculinity. Her manners were brusque to the point of surliness, and her tactlessness was legendary. In an era when public crossdressing was illegal for women, she sometimes wore what looks like a mechanic’s jumpsuit, though her standard uniform was a grubby military-style greatcoat and a workman’s beret. The principal of the Normale called her the Red Virgin. Georges Bataille caricatured her in his novel “Le Bleu du Ciel”: “A girl of twenty-five, ugly and visibly dirty. … The short, brittle, uncombed hair under her hat gave her crow’s wings on either side of her face. She had the big nose of a skinny Jewess with sallow skin between the two wings and under her wirerimmed glasses.” Yet the poet Jean Tortel, who met Weil years later in Marseilles, would capture a charisma that Bataille had missed: 然而，韦伊被视为怪人，尤其是男性同时代人，他们将她对讨好他们的冷漠视为对他们男子气概的冒犯。她的举止粗鲁，几近乖戾，她的不得体行为更是闻名遐迩。在女性公开穿越性别服装违法的时代，她有时穿着看起来像机械工的连体工作服，尽管她的标准装束是一件肮脏的军式大衣和工人贝雷帽。诺曼校长称她为“红色处女”。乔治·巴塔耶在他的小说《Le Bleu du Ciel》中对她进行了讽刺描写：“一个二十五岁的女孩，丑陋且明显肮脏……帽子下那短而脆弱、未梳理的头发在她脸的两侧形成了乌鸦翅膀。她有着瘦削犹太女人的大鼻子，黄褐色的皮肤位于两翼之间，戴着细边眼镜。”然而，多年后在马赛遇见韦伊的诗人让·托尔特尔捕捉到了巴塔耶未曾发现的魅力：
A kind of bodyless bird . . . extremely ugly at first sight, thin, ravaged face under her large black beret, thick ragged hair, only heavy black shoes to be seen under her ankle-length cloak. . . . In her presence, all “lies” were out of question. . . . Her denuding, tearing and torn gaze . . . would grasp and render helpless the person she was looking at. 一种无形的鸟……乍一看极其丑陋，瘦削，饱经摧残的脸庞藏在她那顶大黑贝雷帽下，浓密凌乱的头发，只有她脚踝长披风下的厚重黑鞋可见……在她面前，所有的“谎言”都无从谈起……她那剥离、撕裂又破碎的目光……会抓住并使她所注视的人无助。
Weil came of age during the Depression, and her twenties were a decade of militant engagements-first as a Marxist, then as a radical trade unionist who taught Latin and French literature to workers, then as a pacifist so uncompromising that, until Hitler invaded France, she favored appeasing him. But she couldn’t resist the chance to fight Fascism with a gun, so she enlisted in the Spanish Civil War, whose atrocities on both sides so disillusioned her that she would call revolution, not religion, the “opium of the people.” (Her brief misadventure fighting Franco with the anarchist Durruti Column ended when she stumbled into a pot of cooking oil and suffered third-degree burns. Had her parents not been hovering nearby to evacuate her, she might have died of gangrene.) 韦伯尔在大萧条时期成年，她的二十岁是一个充满激进参与的十年——起初是马克思主义者，然后成为一名激进的工会主义者，教工人拉丁语和法语文学，接着成为一名坚定的和平主义者，直到希特勒入侵法国之前，她主张对希特勒采取绥靖政策。但她无法抗拒用枪支抗击法西斯的机会，于是她参加了西班牙内战，战争双方的暴行令她极度失望，以至于她称革命而非宗教为“人民的鸦片”。（她与无政府主义者杜鲁蒂纵队一起对抗佛朗哥的短暂冒险以她跌入一锅热油并遭受三度烧伤告终。若非她的父母在旁边守候并及时救援，她可能会因坏疽而死。）
But the defining chapter of Weil’s life on the barricades was her stint as a blue-collar worker. In 1934, she talked a sympathetic factory owner into hiring her incognito for his assembly line. It 但韦伊在街垒上的生活决定性篇章是她作为蓝领工人的经历。1934 年，她说服了一位同情她的工厂老板，让他秘密雇佣她到装配线上工作。
was the first of three jobs as a cog in the machine which left her “broken” mentally and physically. (In between them, Biri and Mime took her to recuperate at a Swiss sanitarium.) As a gratuitous ordeal, this episode has an aura of performance art, and Weil knew, of course, that she was only “a professor gone slumming.” But it was also a profound conversion experience. From then on, as Gray notes, there was a shift in her language. The Marxist catchword “oppression” was replaced by “affliction,” a word from the Book of Job. “Affliction is not a psychological state,” Weil wrote. “It is a pulverization of the soul.” It “compels us to recognize as real what we do not think possible.” 这是她作为机器齿轮的三份工作中的第一份，这些工作让她在精神和身体上都“崩溃”了。（在这期间，Biri 和 Mime 带她去瑞士的疗养院休养。）作为一种无偿的磨难，这段经历带有表演艺术的气息，韦伊当然知道，她不过是“一位教授去体验底层生活”。但这也是一次深刻的转变经历。从那时起，正如格雷所指出的，她的语言发生了变化。马克思主义的流行词“压迫”被《约伯记》中的“苦难”一词取代。韦伊写道：“苦难不是一种心理状态。它是灵魂的粉碎。”它“迫使我们承认那些我们认为不可能的现实。”
Weil’s latest biographer, Robert Zaretsky, reminds us that she, like Orwell, was the rare “voice on the left” to denounce Fascism and Communism “with the same vehemence.” One of the Weils’ Paris apartments was a duplex on the Left Bank whose upper floor Simone once loaned to Trotsky for a clandestine meet-ing-a pretext for confronting him with Soviet ruthlessness. In the next room, her mother listened with alarm to the shouting. Trotsky was berating Weil for her “reactionary” individualism. (His wife chuckled at the audacity of “this child” who was “holding her own” with the great man.) 韦伯最新的传记作者罗伯特·扎雷茨基提醒我们，她像奥威尔一样，是少有的“左翼声音”，以同样的激烈谴责法西斯主义和共产主义。韦伯夫妇在巴黎的一处公寓是左岸的一套复式楼，西蒙曾将上层借给托洛茨基，用作一次秘密会面——借此机会直面苏联的残酷。在隔壁房间，她的母亲惊恐地听着争吵声。托洛茨基斥责韦伯的“反动”个人主义。（他的妻子对“这个孩子”敢于“与伟人抗衡”的大胆举动暗自发笑。）
The ability to see what others couldn’t was a gift of Weil’s supreme intelligence, and also probably of what Elizabeth Hardwick calls her "spectacular and in many ways exemplary abnormality."Her piety was as idiosyncratic as her politics, and many creeds attracted her: Buddhism, Stoicism, Spinoza’s notion that God is nature. She was especially drawn to the Cathars, a medieval sect whose ascetic practices spoke to her own quest for disembodiment, as did their martyrdom. (They were annihilated in the fourteenth century.) 看到别人看不到的东西是韦伯卓越智慧的天赋，也可能是伊丽莎白·哈德威克所称的她“壮观且在许多方面堪称典范的异常性格”的体现。她的虔诚如同她的政治立场一样特立独行，许多信仰吸引着她：佛教、斯多葛学派、斯宾诺莎认为上帝即自然的观点。她尤其被卡塔尔派吸引，这个中世纪教派的禁欲主义实践与她自身追求脱离肉体的探索相呼应，他们的殉道精神亦然。（他们在十四世纪被消灭。）
Catholicism was ultimately the persuasion most congenial to Weil, but she never formally converted, in part because she believed, heretically, in free access to divine truth. Her excuse for refusing baptism was that she couldn’t join a church that used the promise of paradise "to blackmail and to damn anyone who rejects her infallibility."In fact, eternal life didn’t tempt her any more than earthly pleasures did. Her ultimate hunger was for “the void”-an inner vacuum of need, desire, and even thought 天主教最终是最适合韦伊的信仰，但她从未正式皈依，部分原因是她异端地相信自由获取神圣真理。她拒绝受洗的借口是她无法加入一个用天堂的承诺“来勒索和诅咒任何拒绝其无误性的教会”。事实上，永生对她的诱惑不比尘世的享乐更大。她最终的渴望是“虚无”——一种内心的空洞，缺乏需求、欲望，甚至思想。
which grace could fill if she waited for it with “extreme attention.” Attention, as she conceives it, isn’t the willed contraction of mental muscles needed to grapple with a problem but the state of being present with a mystery and resisting the urge to solve it. 如果她以“极度专注”等待，恩典就能填满这个空洞。她所理解的专注，并不是为了解决问题而刻意收缩心智肌肉，而是与一个奥秘同在，并抵制解决它的冲动的状态。
There was one mystery that Weil never thought worthy of attention: her callousness toward the Jewish people’s persecution. It is more incomprehensible considering her version of the Golden Rule: “The love of our neighbor . . . simply means being able to say to him, ‘What are you going through?’ It is a recognition that the sufferer exists . . . as a man exactly like us.” 有一个奥秘，韦伊从未认为值得关注：她对犹太人受迫害的冷漠。考虑到她对黄金法则的理解，这一点更难以理解：“爱邻如己……仅仅意味着能够对他说，‘你正在经历什么？’这是一种承认受苦者存在……作为一个和我们完全一样的人。”
Weil’s parents came from observant families on both sides. Bernard was an agnostic who apparently harbored some distaste for his Orthodox upbringing. (He told Gustave Thibon “vaguely antisemitic” jokes.) But his pious mother often came to visit. Selma, whose mother shared their home, had escaped from Russia as a toddler with her parents, fleeing the pogroms. Her father wrote poetry in Hebrew, though she herself, according to Simone’s niece, Sylvie, was “frightfully liberated.” The assimilated couple decided to spare their children any knowledge of their heritage until they were “mature” enough to process the bad news. 韦伯尔的父母双方都来自虔诚的家庭。伯纳德是一个不可知论者，显然对他的正统教养抱有某种反感。（他曾对古斯塔夫·蒂邦讲过“含糊的反犹太”笑话。）但他虔诚的母亲经常来访。塞尔玛的母亲与他们同住，她小时候随父母从俄罗斯逃离，躲避大屠杀。她的父亲用希伯来语写诗，尽管据西蒙娜的侄女西尔维说，她本人“极其解放”。这对同化的夫妇决定在孩子们“足够成熟”能够处理坏消息之前，不让他们知道自己的遗产。
If André had strong feelings about being Jewish, he never seems to have aired them, though he married a divorced Catholic and baptized his children at Simone’s urging. The new collection includes her letters to him on the subject, along with an oblique reference, from 1941, to their predicament as refugees: "One could define art’s object as leading the soul to feel at home in the place of its exile."The ambivalence of André and his parents was culturally unexceptional, but Simone’s abhorrence wasn’t. 如果安德烈对自己是犹太人有强烈的感情，他似乎从未表达过，尽管他娶了一位离婚的天主教徒，并在西蒙娜的催促下为孩子们施洗。新合集包括她写给他的关于这个话题的信件，以及 1941 年对他们作为难民处境的含蓄提及：“可以将艺术的对象定义为引导灵魂在流放之地感到宾至如归。”安德烈和他父母的矛盾情感在文化上并不罕见，但西蒙娜的厌恶却不同寻常。
A rabid hatred can be a fetish, and it is often a horror of contamination. ( Fe-\mathrm{Fe}- tishes, according to Freud, are associated with a child’s traumatic discovery of gender differences.) Weil shocked Thibon, he wrote, with an “anti-Semitism” he calls “violent. … She was fond of saying that Hitler hunted on the same ground as the Jews and only persecuted them to resuscitate under another name and to his own advantage their tribal god, terrestrial, cruel, 狂热的仇恨可以是一种恋物癖，通常是一种对污染的恐惧。（根据弗洛伊德，恋物癖与儿童对性别差异的创伤性发现有关。）韦伊震惊了蒂邦，他写道，她表现出一种他称之为“暴力的反犹主义”。……她常说希特勒和犹太人在同一片土地上狩猎，只是为了复活他们的部落神——一个世俗的、残酷的神——并为自己谋取利益，
and exclusive.” Judaism was “linked to a concept of race,” in her view, so it was not an “authentic” religion. Her biographer Thomas Nevin suggests that she saw being Jewish “as a condition or disease from which one might be relieved.” In policy notes that she drafted for the French government-in-exile, she defended legal discrimination against Jews, and her measures to insure their “disappearance” included an obligatory “Christian” education for their children. Only the “fanatical racists” would hold out, and they could be deprived of their nationality. 并且排他性强。”在她看来，犹太教“与种族概念相关联”，因此不是一种“真正的”宗教。她的传记作者托马斯·内文认为，她把犹太人视为“一种可以被治愈的状况或疾病”。在她为流亡法国政府起草的政策笔记中，她为对犹太人的法律歧视辩护，她确保他们“消失”的措施包括对其子女进行强制性的“基督教”教育。只有“狂热的种族主义者”会坚持抵抗，他们可以被剥夺国籍。
The Weils fled Paris in June, 1940, taking the last train heading south before the Germans closed in. After the partition of France into an occupied zone and a so-called free zone, governed from Vichy by Nazi collaborators, they spent the next two years in and around Marseille. Simone studied Sanskrit, did social outreach with Indo-Chinese factory workers barracked in a prison, and joined a Resistance network. Informants, however, had already infiltrated the group. (Biri and Mime waited for hours in a café opposite the gendarmerie while their daughter was interrogated.) When the police threatened to jail her “with the whores” if she didn’t talk, she welcomed the invitation. 魏尔一家于 1940 年 6 月逃离巴黎，乘坐最后一班开往南方的火车，赶在德国人逼近之前。在法国被划分为占领区和由纳粹合作者维希政府统治的所谓自由区后，他们在马赛及其周边地区度过了接下来的两年。西蒙学习梵语，参与对被关押在监狱中的印支工厂工人的社会援助，并加入了抵抗组织。然而，告密者已经渗透进了该组织。（比里和米姆在宪兵队对面的咖啡馆等了几个小时，而他们的女儿正在接受审讯。）当警察威胁说如果她不说话就把她“和妓女关在一起”时，她欣然接受了这个邀请。
Expecting and perhaps hoping to be imprisoned, Weil had packed a go bag of essential items. One of the most indispensable was a tattered copy of the Iliad. In December, 1940, her most famous essay, “The Iliad, or The Poem of Force,” appeared in the illustrious literary journal Cabiers du Sud. Its prose thrums with a lofty, tragic resonance that many of Homer’s translators have strived for. She reads the Iliad as the paradigm for all narratives of carnage since time immemorial, and she arrives at a startling insight that probably would have floored the Greeks-that the epic’s “true hero” is force itself. Humanity’s delusion—its Achilles’ heel, as Weil sees itis to believe that war results in victory for one side and defeat for the other. “Force,” she writes, "makes a thing of anyone who comes under its sway"both those who wield it and those who suffer it. “And as pitilessly as force crushes, so pitilessly it maddens whoever possesses, or believes he possesses it.” 期待着，也许希望被监禁，韦伊打包了一个装有必需品的应急包。其中最不可或缺的是一本破旧的《伊利亚特》。1940 年 12 月，她最著名的文章《伊利亚特，或力量之诗》发表在著名文学期刊《Cabiers du Sud》上。其散文充满了许多荷马译者所追求的崇高而悲壮的共鸣。她将《伊利亚特》视为自古以来所有屠杀叙事的范例，并得出了一个令人震惊的见解，这大概会让古希腊人震惊——史诗的“真正英雄”是力量本身。韦伊认为，人类的错觉——它的阿喀琉斯之踵——是相信战争会导致一方胜利，另一方失败。“力量，”她写道，“使任何处于其支配下的人都变成了物品”，无论是施加力量者还是承受力量者。“正如力量无情地压迫一样，它也无情地使拥有它或自认为拥有它的人疯狂。”
Fifteen months later, the Vichy po- 十五个月后，维希政权—
lice began coöperating with the Nazis in deporting French Jews, some seventy thousand of whom died in the camps. Weil couldn’t have been unaware of their affliction, and she must have known that Cabiers had risked reprisal for publishing one of them. Yet she denied being Jewish in a sardonic letter to the Vichy authorities after they rejected her application for a teaching job on the basis of newly enacted race laws. 虱子开始与纳粹合作，驱逐法国犹太人，其中约有七万人在集中营中丧生。韦伊不可能不知道他们的痛苦，她一定知道卡比耶因发表其中一篇文章而冒着报复的风险。然而，在维希当局以新颁布的种族法拒绝她的教学职位申请后，她在一封讽刺的信中否认自己是犹太人。
It may not have been by chance that Weil now felt “as close to Catholicism” as she could come. She began reciting the Lord’s Prayer daily. She also sought the community of fellow-believers. At a Dominican monastery, she met Father Joseph-Marie Perrin, a nearly blind priest who played a crucial role in her lifenot as the confessor he hoped to be but as a sounding board who made Weil “see intellectual honesty in a new light.” In an extraordinary letter that she called her “spiritual autobiography,” and in which hubris alternates with obedience to fate, Weil tells Perrin that she loves him as a “father and brother” (he was about her age) but that she doesn’t need his guidance because “God himself has taken it in hand.” 韦伊现在感到“尽可能接近天主教”可能并非偶然。她开始每天诵念主祷文。她还寻求信徒社区的陪伴。在一座多米尼加修道院，她遇到了约瑟夫-玛丽·佩兰神父，一位几乎失明的神父，他在她的生命中扮演了关键角色——不是作为她希望的忏悔神父，而是作为一个让韦伊“以新的视角看待知识诚实”的倾听者。在一封她称之为“精神自传”的非凡信件中，傲慢与顺从命运交替出现，韦伊告诉佩兰她爱他如“父亲和兄弟”（他与她年龄相仿），但她不需要他的指导，因为“上帝自己已经接手了”。
Before Perrin left Marseille on a mission to Africa, he made a last attempt to save Weil’s prestigious soul-by entrusting it to a better-read shepherd. She had asked him to find her a job as a “servant on a farm,” and he introduced her to Thibon, a Catholic writer and lay theologian. He and his wife had a farm in the Ardèche, a department north of Avignon with some of France’s most majestic scenery. They agreed to host her, although they were initially wary of this “left-wing Jewess” who was eager to shovel their manure but refused their guest room, insisting on sleeping in a hut. “We disagreed on practically everything,” Thibon said (he wrote speeches for Philippe Pétain, the Vichy chief of state), and she exhausted him by “arguing ad infinitum in an inexorably monotonous voice.” But as he came to know her “deep nature,” it revealed “a limpid mysticism” that he had encountered “in no other human being.” Before Weil left France, she entrusted her journals to him, from which he distilled the thirtynine short chapters of “Gravity and Grace.” Her meditations on the “meaning of the universe” restate life’s common 在佩兰离开马赛前往非洲执行任务之前，他最后一次尝试拯救韦尔那高贵的灵魂——将其托付给一位博学的牧羊人。她曾请求他帮她找一份“农场仆人”的工作，他便把她介绍给了蒂邦，一位天主教作家和平信徒神学家。他和妻子在阿尔代什拥有一座农场，阿尔代什是阿维尼翁以北的一个省，拥有法国最壮丽的风景。他们同意接待她，尽管起初对这位“左翼犹太女子”心存戒备，她热衷于铲他们的粪便，却拒绝了他们的客房，坚持睡在一间小屋里。“我们几乎在所有事情上都意见不合，”蒂邦说（他曾为维希政府国家元首菲利普·贝当撰写演讲稿），她用“无休止且单调乏味的声音”与他争论，使他感到筋疲力尽。但随着他逐渐了解她的“内心本质”，他发现了“清澈的神秘主义”，这是他“在其他任何人身上都未曾遇见过的”。在韦尔离开法国之前，她将日记托付给了他，他从中提炼出了《重力与恩典》的三十九个短章节。她对“宇宙意义”的沉思重新阐述了生活的普遍...
BRIEFLY NOTED 简要笔记
The Secret Life of the Universe, by Nathalie A. Cabrol (Scribner). This compact and often astonishing overview of the current state of astrobiology, by a director at the SETI Institute, explores the scientific advances of the past few decades, many of which have radically altered our understanding of the universe and, Cabrol argues, brought us close to finding extraterrestrial life. Space telescopes-most notably the Kepler, launched in 2009-have revealed a cosmos “populated by more planets than stars,” and infrared surveys of those planets’ atmospheres will yield vast amounts of data in the coming years. Cabrol, an assured and accessible guide, notes that interpreting that data poses a great challenge: because we still lack a consensus on the definition of life, we may not know it when we see it. 宇宙的秘密生活，作者 Nathalie A. Cabrol（Scribner）。这本由 SETI 研究所一位主管撰写的简明且常令人惊讶的天体生物学现状概述，探讨了过去几十年的科学进展，其中许多进展彻底改变了我们对宇宙的理解，Cabrol 认为，这些进展使我们接近发现地外生命。太空望远镜——尤其是 2009 年发射的开普勒望远镜——揭示了一个“行星数量多于恒星”的宇宙，未来几年对这些行星大气层的红外调查将产生大量数据。Cabrol 作为一位自信且易于理解的向导指出，解读这些数据是一大挑战：因为我们仍未就生命的定义达成共识，所以当我们看到生命时，可能并不知道那就是生命。
Playing with Reality, by Kelly Clancy (Riverhead). Games may be a diversion, but, as Clancy, a neuroscientist, writes, they also can provide useful models of the real world. In this comprehensive study, which fuses science, world history, and politics, she documents the role that games have played in medicine, economic thought, moral philosophy, A.I., and more. Although knowledge acquired from gaming has had worthwhile practical applications, from text translation to advances in cancer treatment, games don’t necessarily reflect reality, and players don’t always act rationally. In detailed chapters on topics like modern war-game simulations and the misapplication of game theory in justifying mass privatization, Clancy warns of the societal risks of allowing mathematical models to govern political decisions. 《与现实共舞》，作者凯利·克兰西（Riverhead 出版社）。游戏或许是一种消遣，但正如神经科学家克兰西所写，它们也能提供现实世界的有用模型。在这部融合了科学、世界历史和政治的综合研究中，她记录了游戏在医学、经济思想、道德哲学、人工智能等领域所扮演的角色。尽管从游戏中获得的知识在文本翻译到癌症治疗进展等方面有着宝贵的实际应用，但游戏不一定反映现实，玩家的行为也不总是理性的。在关于现代战争游戏模拟和博弈论在大规模私有化辩护中被误用等主题的详细章节中，克兰西警告说，让数学模型主导政治决策存在社会风险。
The Coin, by Yasmin Zaber (Catapult). In this début novel, a wealthy, fashionable Palestinian middle-school teacher living in Brooklyn wrestles with feelings of alienation. Seeing dirt everywhere, she begins to wash herself compulsively. Her lessons become strange and her relationships with her students blurry. After a dalliance with a man, she gets swept up in a scheme involving reselling luxury handbags. In a moment of winking symbolism, she comes to believe that a coin she swallowed as a child is living in her body, altering her personality. Somewhat surreal, and willing to risk a little provocation, Za her’s book plays with overlapping ideas of privilege, asking complex questions about what past suffering means in the face of a desire for today’s luxuries. 《硬币》，作者 Yasmin Zaber（Catapult 出版）。在这部处女作小说中，一位住在布鲁克林的富有且时尚的巴勒斯坦中学教师与疏离感作斗争。她到处看到污垢，开始强迫性地洗自己。她的课程变得奇怪，与学生的关系也变得模糊。在与一名男子短暂交往后，她卷入了一场转售奢侈手袋的阴谋。在一个带有暗示性的时刻，她开始相信自己小时候吞下的一枚硬币正生活在她体内，改变着她的个性。小说带有些许超现实色彩，且敢于冒险挑衅，Zaber 的作品探讨了特权的重叠概念，提出了关于过去的痛苦在面对当今奢侈欲望时意味着什么的复杂问题。
The Divorce, by Moa Herngren, translated from the Swedish by Alice Menzies (HarperVia). The collapse of a thirty-two-year marriage is depicted with an even hand in this book, which amounts to two parallel novels: one about a woman “feverish with confusion,” who feels that she was abandoned without warning, and another about a man who has been grappling with the end of his relationship for months. The two-sided account starts at the beginning of the end, when the husband hasn’t come home and isn’t answering his wife’s texts. As Herngren stitches together the couple’s perspectives, she writes with a sharp neutrality, never overplaying the book’s many tense moments of discovery or languishing in the wife’s despair. 《离婚》，作者莫娅·赫恩格伦，瑞典语原著，爱丽丝·门齐斯翻译（HarperVia 出版）。这本书以平衡的笔触描绘了一段长达三十二年的婚姻破裂，实际上是两部平行的小说：一部讲述一位“困惑而焦躁”的女性，她觉得自己被无预警地抛弃了；另一部讲述一位男性，他已经挣扎了数月，试图接受这段关系的终结。这个双面叙述从终结的开始讲起，当丈夫没有回家，也不回复妻子的短信。赫恩格伦将夫妻双方的视角缝合在一起，写作时保持敏锐的中立，从不夸大书中许多紧张的发现时刻，也不沉溺于妻子的绝望之中。
contradictions as sublime paradoxes. They have an alabaster beauty that the light shines through, and which won’t expire. 矛盾如同崇高的悖论。它们拥有一种光透过的雪白美丽，永不消逝。
Weil’s days with the Thibons were perhaps the happiest she ever knew. If she couldn’t accept the Eucharist, she experienced a beatitude in communion with la France profonde. She urged her parents to buy a farm in the Ardèche, where they could grow their own vegetables, her father could practice medicine, and she could teach. Bernard and Selma thought that a safer plan was to apply for American visas. On May 14, 1942, the family left Marseille for Casablanca, where they were interned for almost three weeks with other Jewish refugees before boarding a freighter for New York. Simone monopolized one of the camp’s few chairs, where she wrote about Pythagoras all day long. If she had to vacate this parking spot for any reason, her parents took turns holding it. 韦尔与蒂邦一家共度的日子或许是她一生中最幸福的时光。虽然她不能接受圣餐，但她在与法国深处的共融中体验到了一种福乐。她催促父母在阿尔代什买一座农场，那里他们可以种植自己的蔬菜，父亲可以行医，而她可以教书。伯纳德和塞尔玛认为更安全的计划是申请美国签证。1942 年 5 月 14 日，全家离开马赛前往卡萨布兰卡，在那里他们与其他犹太难民一起被拘留了近三周，随后登上一艘货船前往纽约。西蒙娜霸占了营地为数不多的椅子之一，整天写关于毕达哥拉斯的文章。如果她因任何原因必须腾出这个座位，父母便轮流为她守着。
Weil had agreed to emigrate only because her parents wouldn’t leave without her. After a few months in New York, she managed, through the intercession of a well-connected classmate from the Normale, to land a desk job at the London headquarters of de Gaulle’s govern-ment-in-exile. She was obsessed with playing a role in liberating France-specifically by carrying out an underground mission whose danger would “release” her from an “annihilating” despair. Recrossing the ocean was the first step in her audacious plan to see action, which had two components, both involving parachutes. One was to be dropped behind enemy lines to conduct sabotage. The other was to organize a company of volunteer nurses who would bring succor to the Maquis. They would all be unmarried women with some basic training in first aid but otherwise unqualified as medics. She envisaged them dressed in white as their chutes opened and they floated earthwardgrace surrendering to gravity-unarmed except for their courage. It is said that, when word of her “nurses plan” reached de Gaulle, he exclaimed, “She’s crazy.” 韦尔之所以同意移民，仅仅是因为她的父母不愿意没有她就离开。几个月后，在纽约，她通过一位在国立师范学院有关系的同学的斡旋，成功在戴高乐流亡政府的伦敦总部找到了一份文职工作。她痴迷于在解放法国的过程中扮演角色——具体来说，是执行一项地下任务，这项任务的危险性将“释放”她摆脱“毁灭性的”绝望。重新横渡大西洋是她大胆计划的第一步，这个计划包括两个部分，都涉及降落伞。一个是被空投到敌后进行破坏活动；另一个是组织一支志愿护士队伍，为抵抗组织（Maquis）提供援助。她设想这些护士都是未婚女性，具备基本的急救训练，但除此之外并无医疗资格。她想象她们在打开降落伞、优雅地顺着重力漂浮降落时，身穿白色制服，除了勇气外一无武装。据说，当她的“护士计划”传到戴高乐耳中时，他惊呼：“她疯了。”
Weil was so bitter at this rejection that she couldn’t get over it. As a consolation, she was given a small private office, and an assignment better suited to her talents than sabotage: reviewing and commenting on plans to reorganize France after the war. The sheer frenzy and vol- 韦伯尔对这次拒绝感到非常痛苦，久久无法释怀。作为安慰，她被分配了一个小型私人办公室，并承担了一项更适合她才能的任务，而非破坏工作：审查并评论战后法国重组的计划。佩特雷蒙惊叹于她几个月内写作的巨大量，“几乎令人难以置信。她一定是日夜不停地写作。”
ume of what she wrote in a few months, Pétrement marvels, “is almost beyond belief. She must have written day and night.” 她的批评汇聚成《扎根的需要》——韦伯尔为第四共和国制定的宪章。它不仅分析了自法国大革命以来的法国治理失误，还回顾了数千年的世界历史。它谴责唯物主义意识形态。在她看来，一个公正的社会不应基于公民的“权利”，而应基于他们彼此之间神圣的“义务”。她为晚期资本主义民主腐败状态提出的许多解决方案极具平等主义和人道主义色彩，她还预言了本世纪的种种恶行——偏见媒体的恶劣影响，助长群体思维和仇恨；为权力争斗的冷酷政党；流离失所的移民和劳工的痛苦；土著社区的文化灭绝。（“白人一直在摧毁各地的过去。”）
Her critiques coalesced into “The Need for Roots”-Weil’s constitution for a Fourth Republic. It analyzes misgovernment not only in France since the Revolution but through millennia of world history. It indicts materialist ideologies. A just society, in her view, should be based not on the “rights” of its citizens but on their sacred “obligations” to one another. Many of her fixes for the rotten state of late-capitalist democracy are radically egalitarian and humane, and she was prophetic about the evils of the present century-the malign influence of biased media that foster groupthink and hate; cynical parties scrabbling for power; the anguish of displaced migrants and laborers; the cultural genocide of Indigenous communities. (“White people have been destroying the past everywhere.”) 她的批评汇聚成《扎根的需要》——韦伯尔为第四共和国制定的宪章。它不仅分析了自法国大革命以来的法国治理失误，还回顾了数千年的世界历史。它谴责唯物主义意识形态。在她看来，一个公正的社会不应基于公民的“权利”，而应基于他们彼此之间神圣的“义务”。她为晚期资本主义民主腐败状态提出的许多解决方案极具平等主义和人道主义色彩，她还预言了本世纪的种种恶行——偏见媒体的恶劣影响，助长群体思维和仇恨；为权力争斗的冷酷政党；流离失所的移民和劳工的痛苦；土著社区的文化灭绝。（“白人一直在摧毁各地的过去。”）
Other aspects of “The Need for Roots” are singularly authoritarian. She imagines a utopian nanny state where civic virtue is inseparable from religious indoctrination. Hierarchs possessed of impartial wisdom (how they are chosen she doesn’t say) insure that justice is served and that “everyone morally accepts their place.” Punishment is an “honor” here. “Surgical methods” may be required to treat “social disease.” Freedom of expression is “unlimited” in principle, except for newspapers, magazines, radio, interest groups, and fiction or art that corrupts young people.“The need for truth is more sacred than any other,” so “jail or prison camp” wouldn’t be “too harsh” a sentence for failing to fact-check an article. 《扎根的需要》的其他方面则极具专制色彩。她设想了一个理想的保姆国家，在那里公民美德与宗教灌输密不可分。拥有公正智慧的等级统治者（她没有说明他们如何被选出）确保正义得以伸张，并且“每个人道德上接受自己的位置”。惩罚在这里是一种“荣誉”。“外科手术式的方法”可能是治疗“社会疾病”所必需的。言论自由原则上是“无限的”，但报纸、杂志、广播、利益团体以及腐蚀青少年的小说或艺术除外。“对真理的需求比任何其他需求都神圣”，因此“监狱或劳改营”对于未能核实文章事实的行为来说不会是“过于严厉”的惩罚。
The greatest moralists aren’t the didacts. They are writers like Euripides and Chekhov, who know that most of us can’t be saved from ourselves. Weil believed that God had sent his son for that purpose. At the same time, perhaps, her hunger for hardship was the search for an experience of shared reality from which she felt excluded. She wasn’t real to herself as a woman or a Jew. The body that she couldn’t love was a stranger to the appetites that doom utopias. Yet a wounded human heart beats fiercely in everything she writes, and its enigmas speak to us intimately, since no one’s contradictions can be reconciled. 最伟大的道德家并非说教者。他们是像欧里庇得斯和契诃夫这样的作家，他们知道我们大多数人无法自救。韦伊相信上帝派遣他的儿子就是为了这个目的。与此同时，也许她对苦难的渴望是对一种共享现实体验的追寻，而她觉得自己被排除在外。她作为一个女人或一个犹太人，对自己并不真实。她无法爱的身体对那些注定乌托邦失败的欲望来说是陌生的。然而，她所写的一切中都跳动着一颗受伤的人心，其谜团亲密地与我们对话，因为没有人的矛盾能够被调和。
In uprooting herself from France to save Biri and Mime, Weil had severed 为了拯救比里和米梅，韦伊从法国迁移，切断了自己与那里的一切联系。
a primal bond that defined her identity. By leaving them in New York, she had severed a primal bond that had kept her alive. On April 15, 1943, a friend found her barely conscious on the floor of her room in a boarding house and, despite her protestations, took her to a hospital, where doctors discovered that she had tuberculosis. The disease wasn’t far advanced, and there was no reason to believe that an active young woman couldn’t recover with sufficient bed rest and nutrition. But the patient refused to eat more than minute quantities of food-an egg yolk, a peach, a spoonful of soup-and in her final days, by which time she had been transferred to a sanitarium in Kent, she took nothing at all. On August 24th, she died in the extremis that had always been her soul’s discomfort zone. “Salvation,” she wrote, “is consenting to die.” The coroner ruled her death a suicide. 一种定义她身份的原始纽带。离开纽约时，她切断了维系她生命的原始纽带。1943 年 4 月 15 日，一位朋友在寄宿房的房间地板上发现她几乎昏迷，尽管她极力反对，朋友还是带她去了医院，医生发现她患有结核病。病情尚未严重，没有理由认为一个活跃的年轻女性不能通过充足的卧床休息和营养恢复健康。但患者拒绝进食超过极少量的食物——一个蛋黄、一只桃子、一勺汤——在她生命的最后几天，被转移到肯特的一家疗养院时，她完全不吃任何东西。8 月 24 日，她在一直是她灵魂不安之地的极限状态中去世。“救赎，”她写道，“就是同意去死。”验尸官裁定她的死因是自杀。
Life wasn’t precious to Weil; she was never precious to herself. Yet she knew that she was precious to her parents, and the white lies in her last letters to them, all of which have her boardinghouse return address, are what moves one most in the new collection. “I had a nice surprise here in terms of the food,” she writes from the hospital, where she is fighting with doctors who are trying to save her life by force-feeding her. “Roast pork with apple sauce . . . the pure flavor of an apple constitutes a contact with the beauty of the universe in the same way as does contemplation of a painting by Cézanne.” Three weeks later, in a letter from the Kent sanitarium (“I’m still living nice and quietly in my room, with my books scattered between it and my office”), she describes the London summer: “The hot days are back. … In the evenings, people dance in the open air in parks.” 生活对韦尔来说并不珍贵；她从未对自己珍贵过。然而，她知道自己对父母来说是珍贵的，她给父母写的最后几封信中的善意谎言，所有信件上都有她寄宿公寓的回邮地址，这些是新合集里最令人动容的部分。“我在这里对食物有了一个愉快的惊喜，”她在医院写道，她正在与试图通过强制喂食来挽救她生命的医生们斗争。“烤猪肉配苹果酱……苹果的纯正味道就像欣赏塞尚的画作一样，是与宇宙之美的接触。”三周后，在肯特疗养院的一封信中（“我仍然安静地住在我的房间里，书籍散落在房间和办公室之间”），她描述了伦敦的夏天：“炎热的日子又回来了……晚上，人们在公园的露天场地跳舞。”
Then she corrects a piece of “false information” that she had previously conveyed about an ersatz sweet called a “fruit fool”: “But these fools are not like the ones in Shakespeare. They’re lying by making people believe they’re fruit, while in Sh. the fools are the only characters who tell the truth.” In “this world,” she continues, that privilege is given only to the lowest and most afflicted-those without the “dignity of reason” in the eyes of people who call them mad. Didn’t her “Darling Mime” see the resemblance “between these fools and me”? 然后她纠正了之前传达的一条关于一种名为“水果傻瓜”的仿制甜点的“错误信息”：“但这些傻瓜可不像莎士比亚笔下的那些。他们通过让人们相信他们是水果来撒谎，而在莎士比亚中，傻瓜是唯一说真话的角色。”她继续说，在“这个世界”里，这种特权只赋予最低贱和最受折磨的人——那些在被称为疯子的人眼中没有“理性尊严”的人。她的“亲爱的哑剧演员”难道没看到“这些傻瓜和我之间的相似之处”吗？
BOOKS 书籍
DUTY DANCING 责任之舞
How Seamus Heaney wrote his way through a war. 西默斯·希尼如何在战争中写作。
BY MAGGIE DOHERTY 玛吉·多赫蒂 著
In his letters, Heaney weighed his competing obligations as a poet. 在他的信中，希尼权衡了作为诗人的多重责任。
When people asked the poet Seamus Heaney what it was like to be living in Belfast, Northern Ireland, at the start of the Troubles, he tended to downplay the violence:“Things aren’t too bad in our part of the town.” But things were, in fact, quite bad. A kind of martial law obtained. British soldiers, brought in to suppress a Catholic civil-rights movement, ran checkpoints, frisked young men, and stopped drivers for the smallest infractions. Aggressive slogans adorned buildings: “Keep Ulster Protestant,”“Keep Blacks and Fenians Out of Ulster.” Worst of all were the bombs, which exploded everywhere and seemingly at random: in department stores, in transit centers, in pubs, in banks. Some were planted by the Provisional Irish Republican 当人们问诗人希默斯·希尼在北爱尔兰贝尔法斯特“动乱”初期的生活是怎样时，他往往淡化暴力：“我们这部分城镇的情况还不算太糟。”但事实上情况相当糟糕。一种军事管制状态存在。英国士兵被派来镇压天主教民权运动，设立检查站，搜查年轻人，因最小的违规行为拦截司机。建筑物上贴满了咄咄逼人的标语：“保持阿尔斯特新教徒”，“阻止黑人和芬尼安人进入阿尔斯特”。最糟糕的是炸弹，几乎无处不在，且看似随机爆炸：百货商店、交通中心、酒吧、银行。一些炸弹由临时爱尔兰共和军安放，
Army, others by Protestant vigilantes. 另一些则由新教徒义务警卫队安放。
These developments alarmed Heaney the citizen-a lifelong Northerner, an Irish Catholic-and they challenged Heaney the poet. Should he, in his art, respond to the conflict-and, if so, how? To write his first two, well-received collections, he had started in what he called “the ground of memory and sensation,” often with scenes drawn from domestic life. Poems typically appeared to him spontaneously, like figures emerging from a mist. “It would wrench the rhythms of my writing procedures to start squaring up to contemporary events with more will than ways to deal with them,” he wrote in the Guardian in 1972, as the violence in the North was escalating. 这些事态发展令希尼这位公民感到震惊——他是一位终生的北爱尔兰人，爱尔兰天主教徒——也对诗人希尼提出了挑战。他是否应该在艺术中回应这场冲突——如果是，应该如何回应？为了写出他的前两部广受好评的诗集，他起初从他所谓的“记忆与感官的根基”出发，常常描绘家庭生活的场景。诗歌通常自发地出现在他脑海中，就像从迷雾中浮现的人影。“如果我用比应对方式更多的意志去正视当代事件，那将扭曲我写作节奏的程序，”他在 1972 年《卫报》写道，当时北爱尔兰的暴力正在升级。
But Heaney also recognized that to 但希尼也认识到，要成为他想成为的那种诗人——他称之为“公共诗人”，像罗伯特·洛威尔或 W·B·叶芝那样——他必须回应自己所处的环境。
be the kind of poet he wanted to bewhat he called a “public poet,” like Robert Lowell or W. B. Yeats-he would have to respond to the circumstances in which he found himself. The public poet concerned himself with the polis and its problems. He didn’t ignore incidents of violence and injustice but, rather, grappled with them, shaping reality into an image of a better world. "On the one hand, poetry is secret and natural, on the other hand it must make its way in a world that is public and brutal,"Heaney wrote in the Guardian. A good poet-a responsible poetwould hold both truths in mind. 成为公共诗人意味着关心城邦及其问题。他不忽视暴力和不公的事件，而是与之抗争，将现实塑造成一个更美好世界的形象。“一方面，诗歌是秘密和自然的，另一方面，它必须在一个公共且残酷的世界中找到出路，”希尼在《卫报》写道。一个好的诗人——一个负责任的诗人——会同时铭记这两种真理。
To speak to the private and the public, the beautiful and the brutal, became Heaney’s great project. Starting in earnest with “North,” his haunting and controversial collection from 1975, he charted a course between overt partisanship and irresponsible aestheticism. To Heaney, a good poem was “a site of energy and tension and possibility, a truth-telling arena but not a killing field.” The poet should be tolerant, disinterested, clear-eyed about long-standing animosities but not constrained by them. Allergic to propaganda, and loath to let anyone tell him what to write, he worked to carve out a space of creative free-dom-then used this freedom to meditate on what he owed to others. 与私人和公众、美丽与残酷对话，成为希尼的重要课题。始于 1975 年他那部令人难忘且颇具争议的诗集《北方》，他在明显的党派立场与不负责任的审美主义之间开辟了一条道路。对希尼来说，一首好诗是“充满能量、张力和可能性的场所，是一个讲真话的竞技场，但不是杀戮场。”诗人应当宽容、超然，对长期存在的敌意保持清醒，但不被其束缚。他对宣传深恶痛绝，也不愿让任何人告诉他该写什么，他努力开辟出一片创作自由的空间——然后利用这份自由沉思自己对他人的责任。
In ways large and small, Heaney aimed to do right by other people.“The Letters of Seamus Heaney” (Farrar, Straus & Giroux), an eight-hundredpage collection edited by the poet Christopher Reid, shows the man to be both responsive and responsible, generous with praise for his fellow-writers, grateful for feedback from trusted readers, and open to the dissenting opinions of his colleagues and countrymen, even as he maintains his own beliefs. (By request of the family, no letters to living immediate relatives are included; most of the correspondence concerns literary and professional matters.) Many a letter begins with an apology for its belatedness; many others detail the innumerable obligations- the classes taught, the lectures delivered, the reviews drafted, the prizes judged, and, too rarely, the poems composed-that made prior correspondence impossible. As early as 1985, Heaney felt like "a frazzled, frizzled item, a worn-out Triton, a punctured 希尼在大大小小的方面都力求对他人公正。《希尼书信集》（Farrar, Straus & Giroux 出版），由诗人 Christopher Reid 编辑的八百页合集，展现了这位诗人既敏感又负责任，慷慨地赞扬同行作家，感激可信读者的反馈，且对同事和同胞的不同意见持开放态度，同时坚持自己的信念。（应家属要求，不包含写给在世直系亲属的信件；大部分通信内容涉及文学和职业事务。）许多信件开头都为迟迟未回信道歉；还有许多信件详述了无数的义务——授课、演讲、撰写书评、评奖，以及极少数的诗歌创作——这些都使得之前的通信变得不可能。早在 1985 年，希尼就觉得自己像“一个疲惫不堪、焦躁不安的物件，一只破损的 Triton”。
Michelin man, a posthumous Paddy, a waft of aftermath."By the time he won the Nobel Prize in Literature, in 1995an event that he compared to "being caught in a mostly benign avalanche"he was overwhelmed. “I feel like Gulliver, pinned down by single liens of obligation,” he wrote in 2000. 米其林人，一个死后的帕迪，一阵余波的气息。“到他在 1995 年获得诺贝尔文学奖时——他将此事件比作‘被困在一场大多是良性的雪崩中’——他感到不堪重负。‘我感觉自己像格列佛，被单一的责任链条压住了，’他在 2000 年写道。
Heaney’s sense of duty was both a help and a hindrance to him: it propelled him to the center of Anglo-American literature, but it also placed certain limits on his writing. The conflict he felt for most of his life-between his duties as an artist and his commitments as a Northern Irish Catholic—plays out in some of his letters. " ‘Being responsible’ and what it means, what it demands, has indeed preoccupied memaybe too much," he wrote to the critic Adam Kirsch in 2006. But that conflict is most apparent, and most satisfyingly resolved, in his poems, which allow Heaney to entertain multiple points of view. At his best, he did what great artists do: he made the ambivalence he felt about his work the subject of the work itself. 希尼的责任感既是助力也是阻碍：它推动他进入英美文学的中心，但也对他的写作设定了某些限制。他一生大部分时间感受到的冲突——作为艺术家的职责与作为北爱尔兰天主教徒的承诺之间的矛盾——在他的一些信件中有所体现。“‘负责任’及其含义、要求，确实一直困扰着我——也许太过了，”他在 2006 年写信给评论家亚当·柯里施时说。但这种冲突在他的诗歌中最为明显，也最令人满意地得到了解决，诗歌让希尼能够兼容多种观点。在他最好的作品中，他做了伟大艺术家所做的事：他将自己对作品的矛盾感受变成了作品本身的主题。
Heaney liked to joke that he’d read about his own origins so often that he hardly believed they were true. But he had indeed been born just as the publishers said, on a farm in County Derry in 1939. His father was a taciturn cattle trader and, according to Heaney, “a creature of the archaic world.” His mother was both more modern and more mannered, with a sense of social justice and a compulsion to lay out china for Christmas dinner. Heaney lived with his parents, eight younger siblings, and a paternal aunt in a singlestory, thatched-roof structure that was set back about thirty yards from the main road. Life in the country was peaceful: Catholics and Protestants lived and worked side by side. The family did business with a travelling grocer, used a horse to seed their fields, and churned butter by hand. 希尼喜欢开玩笑说，他读到关于自己出身的描述太多次，以至于几乎不相信那是真的。但他确实如出版商所说，于 1939 年出生在德里郡的一个农场。他的父亲是个沉默寡言的牛贩子，据希尼说，“是一个古老世界的生物。”他的母亲则更现代、更有礼貌，具有社会正义感，并且有为圣诞晚餐摆放瓷器的习惯。希尼和父母、八个弟妹以及一位父系姑妈住在一栋单层茅草屋里，距离主路约三十码。乡村生活宁静：天主教徒和新教徒和睦共处、共同工作。家里与一位流动杂货商做生意，用马来播种田地，手工搅打黄油。
At twelve, Heaney was sent to board at St. Columb’s College, in Derry, a transition that he later described as a move from “the earth of farm labour 十二岁时，希尼被送到德里的圣哥伦布学院寄宿，他后来形容这是从“农场劳作的土地”转变的过程。
to the heaven of education.” There, he devoted himself to English literature. Gerard Manley Hopkins was a particular favorite; he thrilled to the sound of the nineteenth-century poet’s work, its sprung rhythms and highly alliterative lines. After graduating from Queen’s University Belfast, in 1961, Heaney accepted a teaching appointment at a local high school, writing poems in his spare time. Belfast in the sixties was an ideal place for an aspiring writer. An attempt to establish a regional literature was in overdrive; there were myriad literary magazines, writing workshops, festivals. Heaney soon fell in with a group of local writers who convened a workshop with the British poet and teacher Philip Hobsbaum. The atmosphere was rivalrous, but not unhealthily so; it produced, in Heaney’s words, “the sheer aspiration to best yourself.” “通往教育的天堂。”在那里，他专注于英国文学。杰拉德·曼利·霍普金斯是他的特别喜爱；他为这位十九世纪诗人的作品所震撼，那些跳跃的节奏和高度头韵的诗句。1961 年，希尼毕业于贝尔法斯特女王大学，接受了当地一所高中的教职，业余时间写诗。六十年代的贝尔法斯特是一个理想的写作爱好者之地。建立地区文学的尝试正如火如荼；有无数文学杂志、写作工作坊和节日。希尼很快加入了一个由当地作家组成的小组，他们与英国诗人兼教师菲利普·霍布斯鲍姆共同举办工作坊。氛围充满竞争，但并不不健康；正如希尼所说，这激发了“超越自我的纯粹渴望。”
Even as he participated in what scholars call the Ulster Renaissance, editing an anthology and publishing his own essays and poems, Heaney saw himself as a man apart. He was, in his own words," a slightly stick-in-the-mud (or in the frogspawn) figure, rural and un-racy," not nearly as slick and politically savvy as his more urban friends. He also saw poetry differently than some of his peers did-not only as a way into a collective movement but as a fundamentally personal project. In an early lecture, he describes poetry, with reference to Wordsworth, as a “revelation of the self to the self,” a way to put one’s feelings into words. 即使在参与学者们称之为阿尔斯特复兴运动，编辑选集并发表自己的散文和诗歌时，希尼仍将自己视为一个局外人。他用自己的话说，是“一个有点固执己见（或者说像青蛙卵一样）的乡村人物，不如他那些更城市化的朋友们那样圆滑和政治敏锐。”他对诗歌的看法也与一些同辈不同——不仅仅把诗歌看作进入集体运动的一种方式，而是视为一个根本上个人的项目。在一次早期讲座中，他引用华兹华斯的话，将诗歌描述为“自我向自我的启示”，是一种将内心感受转化为言语的方式。
By his own account, this is what he achieved in “Digging,” the lead poem of his first collection, “Death of a Naturalist.” The speaker watches, through a window, his father digging with a spade. It’s a familiar sight-for decades, his father has planted potatoes on land not far from where his grandfather cut turf-and he describes the labor with both accuracy and admiration: 据他自己说，这正是他在第一部诗集《自然主义者之死》的主打诗《挖掘》中所实现的。诗中的叙述者透过窗户看着他的父亲用铁锹挖土。这是一个熟悉的景象——几十年来，他的父亲一直在离祖父割草不远的土地上种植土豆——他既准确又钦佩地描述了这份劳动：
By God, the old man could handle a spade. Just like his old man. 天哪，老头真会用铁锹。就像他的老爸一样。
But the speaker has “no spade to follow men like them.” What he possesses instead is a pen, tucked “snug as a gun” between finger and thumb. As the simile suggests, the pen could be used as a weapon, producing militant verses that would advance the nationalist cause. But the poet instead chooses to follow in his father’s footsteps, using the tools at his disposal to generate new growth.“The squat pen rests./I’ll dig with it,” he declares in the poem’s final lines. 但演讲者“没有铁锹去追随像他们那样的人。”他所拥有的，是一支笔，夹在指尖和拇指之间，“像枪一样紧握”。正如这个比喻所暗示的，笔可以作为武器，写出激进的诗句来推动民族主义事业。但诗人选择追随父亲的脚步，利用手中的工具创造新的生命。“那矮胖的笔静静地躺着。/我将用它挖掘，”他在诗的最后几行中宣告。
Many of the poems in “Naturalist” extoll the activities and rhythms of agrarian life. In “Blackberry-Picking,” the speaker recalls the taste of the season’s first ripe berry-“Like thickened wine: summer’s blood was in it”-and the sense of injustice that gripped him when the berries he’d picked turned to rot. “Churning Day,” the loveliest poem in the collection, offers an intimate portrait of household work, dwelling on the moment when butter forms, like a miracle, from cream: 《自然主义》中的许多诗歌赞美农耕生活的活动和节奏。在《摘黑莓》中，叙述者回忆起季节第一颗成熟浆果的味道——“像浓缩的酒：夏天的血液在其中”——以及当他摘的浆果腐烂时那种不公的感觉。《搅奶日》是这组诗中最美的一首，描绘了家务劳动的亲密画面，细致描写了黄油从奶油中形成的瞬间，宛如奇迹：
Where finally gold flecks 最终金色的斑点
began to dance. They poured hot water then, 开始舞动。他们随后倒入热水，
sterilized a birchwood-bowl 消毒过的桦木碗
and little corrugated butter-spades. 和小巧的波纹黄油铲。
Their short stroke quickened, suddenly 他们的短促动作加快了，突然
a yellow curd was weighting the churned-up white, 一团黄色凝乳压在搅动的白色液体上，
heavy and rich, coagulated sunlight 沉重而浓郁，凝结的阳光
that they fished, dripping, in a wide tin strainer, 他们用一个宽大的锡制滤网捕鱼，滴滴答答，
heaped up like gilded gravel in the bowl. 堆积如碗中镀金的碎石。
Have lumps of butter ever been described more beautifully? (“Coagulated sunlight” always makes me catch my breath.) Like a good anthropologist, young Heaney had a knack for thick description, but, as with Hopkins, the great pleasure of his early poems is their sound. Combining the hard consonants of Old English, which he’d studied in college, with the Latinate style favored by many lyric poets, he developed a voice that was by turns ruthless and refined. Consider the first lines of “Churning Day”: “A thick crust, coarse-grained as limestone rough-cast, / hardened gradually on top of the four crocks.” Each consonant cracks like a peppercorn between the teeth. These are poems you taste. 黄油块曾有比这更美的描述吗？（“凝结的阳光”总让我屏息。）像个优秀的人类学家，年轻的希尼擅长细致描写，但正如霍普金斯一样，他早期诗歌的最大乐趣在于其声音。结合他大学时学过的古英语中坚硬的辅音和许多抒情诗人偏爱的拉丁风格，他发展出一种时而无情时而精致的声音。试想《搅拌日》的开头几句：“厚厚的硬壳，粗糙如石灰岩的粗糙涂层，/逐渐在四个罐子上硬化。”每个辅音都像牙齿间的胡椒粒爆裂。这些诗是你能品味的。
“Naturalist"was published by Faber & Faber in 1966, the year after Heaney married Marie Devlin, a schoolteacher he’d met at a university dinner. Two children and two poetry collections"Door Into the Dark” (1969) and “Wintering Out” (1972)—soon followed. “Door” closely resembled “Naturalist” in both form and theme, but “Wintering,” which Heaney worked on while teaching at U.C. Berkeley, was something of a departure. For a young Catholic from the provinces, the Bay Area was a revelation. In a letter, he described California as a “lotus land for the moment”; walking to campus, he passed "hippies, drop-outs, freak-outs, addicts, Black Panthers, Hare Krishna American kids with shaved heads."The poems in “Wintering” seem informed by Heaney’s encounters with radical individualism, and, as the critic Helen Vendler has noted, they regard traditional Irish culture with skepticism. “Wedding Day,” which one would expect to be celebratory, is instead a sad, anxious poem about the speaker’s trepidation, his father-in-law’s “wild grief,” and his bride’s “demented” determination to see the ritual through. Two poems about abandoned babies-“Limbo” and “Bye-Child”-critique a culture of sexual propriety that forced young women to do the unthinkable. Throughout, Heaney’s line is shorter, his tone colder, his diction simpler, as if the spell under which he’d written his first two books had now broken. 《Naturalist》由 Faber & Faber 于 1966 年出版，那年希尼与他在一次大学晚宴上认识的教师玛丽·德夫林结婚。随后不久，他们有了两个孩子，并出版了两部诗集《Door Into the Dark》（1969 年）和《Wintering Out》（1972 年）。“Door”在形式和主题上与《Naturalist》非常相似，但希尼在加州大学伯克利分校任教期间创作的《Wintering》则有些不同。对于一个来自乡村的年轻天主教徒来说，湾区是一个启示。在一封信中，他将加州描述为“暂时的莲花之地”；走在校园路上，他会遇到“嬉皮士、辍学者、精神失常者、瘾君子、黑豹党、剃光头的哈雷克里希纳美国孩子”。《Wintering》中的诗歌似乎受到了希尼与激进个人主义接触的影响，正如评论家海伦·文德勒所指出的，它们对传统爱尔兰文化持怀疑态度。《Wedding Day》这首诗本应是庆祝性质的，实际上却是一首悲伤、焦虑的诗，描写了诗人对婚礼的忧虑、岳父的“狂野悲痛”以及新娘“疯狂”的决心坚持完成仪式。 关于被遗弃婴儿的两首诗——《炼狱》和《再见，孩子》——批判了一种性道德文化，这种文化迫使年轻女性做出难以想象的事情。贯穿其中，希尼的诗行更短，语调更冷峻，措辞更简单，仿佛他写作前两本书时所受的魔咒已经破除。
Critics on both sides of the Atlantic praised Heaney’s early books and recognized him as a generational talent. But there were a few naysayers, who suspected that Heaney’s acclaim had less to do with his craft than with where he came from. Anthony Thwaite, reviewing “Door Into the Dark,” suggested that “the appeal of Heaney’s work is of an exotic sort, to people who can’t tell wheat from barley or a gudgeon from a pike.” Others grumbled that Heaney’s poems amounted to little more than Paddy theatre, guaranteed to please the colonizer. But Heaney hadn’t set out to explain rural folkways to a cosmopolitan\tan crowd. Like many a lyric poet, he worked out of a sense of personal-or perhaps filial-duty, guided by a preservationist impulse to record a world he loved and had lost. “It was more a case 大西洋两岸的评论家都称赞希尼的早期作品，并认可他为一代才俊。但也有少数反对者，他们怀疑希尼的声誉与他的技艺关系不大，更多是因为他的出身。安东尼·思韦特在评论《通向黑暗之门》时曾表示，“希尼作品的吸引力是一种异国情调，吸引那些分不清小麦和大麦，或者鲫鱼和狗鱼的人。”还有人抱怨希尼的诗不过是爱尔兰戏剧，注定取悦殖民者。但希尼并非想向国际观众解释乡村风俗。像许多抒情诗人一样，他出于个人——或许是孝道的责任感，怀着保护主义的冲动，记录他所热爱且已失去的世界。“这更多是一种情况。
of personal securing,” he later told an interviewer, “an entirely intuitive move to restore something to yourself.” 个人安全感，”他后来告诉一位采访者，“这是一个完全直觉的举动，旨在将某种东西恢复到自己身上。”
In August, 1972, mere weeks after Bloody Friday, when twenty-two bombs exploded across Belfast, killing nine people, Heaney, his pregnant wife, and their children left Northern Ireland for good, moving to a rented cottage in County Wicklow. (Years later, after moving to Dublin, Heaney would buy the cottage and use it as a writing retreat.) Heaney always insisted that the move had little to do with the violence in the North: he had begun to feel hemmed in by the Belfast literary crowd, and he and Marie wanted a simpler life. But his letters suggest that the violence was a factor-and why shouldn’t it have been? “It is good to be out of Belfast,” he wrote to an editor that November, after a brief trip back to the city. “For the first time I was literally afraid to drive in the streets. I think the atmosphere is darkening.” 1972 年 8 月，就在“血腥星期五”事件发生几周后，当时贝尔法斯特发生了二十二起炸弹爆炸，造成九人死亡，希尼、他怀孕的妻子和他们的孩子永远离开了北爱尔兰，搬到了威克洛郡的一间租来的小屋。（多年后，搬到都柏林后，希尼买下了这间小屋，并用作写作的隐居地。）希尼一直坚称这次搬家与北方的暴力几乎无关：他开始觉得被贝尔法斯特的文学圈束缚住了，他和玛丽想要过一种更简单的生活。但他的信件表明暴力确实是一个因素——为什么不呢？“离开贝尔法斯特是件好事，”他在那年十一月写信给一位编辑，刚刚短暂回到这座城市后说。“那是我第一次真的害怕在街上开车。我觉得气氛正在变得阴暗。”
In rural Wicklow, Heaney found a freedom that was both familiar and new. For the first time in his adult life, he had no teaching responsibilities; he lived 在威克洛乡村，希尼找到了既熟悉又新鲜的自由。成年以来的第一次，他没有教学责任；他生活在...
much like he had as a child, away from urban life and its upheavals. With distance from the North, he could now write about it. In a way, he felt he ought to. 就像他小时候一样，远离城市生活及其动荡。远离北方，他现在可以写关于它的东西。在某种程度上，他觉得自己应该这样做。
Heaney once described “North” as a book “fused at a very high pressure.” That pressure can be felt in its form. Most of the poems unfold in tight, jagged quatrains. The poem “Funeral Rites” begins: 希尼曾形容《北方》是一本“在极高压力下融合”的书。这种压力在其形式中可以感受到。大多数诗歌以紧凑、锯齿状的四行诗展开。诗歌《葬礼仪式》开头写道：
I shouldered a kind of manhood stepping in to lift the coffins of dead relations. 我肩负起一种男子气概，去抬起死去亲人的棺材。
They had been laid out 他们已经被安放好
in tainted rooms, their eyelids glistening, their dough-white hands shackled in rosary beads. 在被玷污的房间里，他们的眼皮闪闪发光，面色苍白的手被玫瑰念珠锁链束缚着。
There’s a sense of constriction here, conveyed through the short, enjambed lines and the image of hands “shackled.” The slant rhymes (“coffins” and “relations”) and irregular meter make the poem difficult to read aloud; if one savors Heaney’s early work, one practically spits out the lines above. 这里传达出一种压抑感，通过短促的跨行诗句和“被锁链束缚的手”的形象表现出来。斜韵（“棺材”和“亲属”）以及不规则的韵律使得这首诗难以朗读；如果细细品味希尼的早期作品，人们几乎会将上述诗句吐出来。
Like the speaker of “Funeral Rites,” Heaney felt it his duty to look death in its face. But as a poet he found it more productive to confront ancient corpses 像《葬礼仪式》的叙述者一样，希尼觉得有责任直面死亡。但作为一名诗人，他发现面对古老的尸体更有成效。
than recent ones. He was inspired by “The Bog People,” a book, by the Danish archeologist P. V. Glob, about the bodies of preserved Scandinavians from the Iron Age, some of whom had died violently. (The book was translated into English in 1969.) The first of Heaney’s bog poems, “The Tollund Man,” appeared in “Wintering”; more appear in "North."The corpses are described with careful, almost loving attention. “The grain of his wrists/is like bog oak,/ the ball of his heel/like a basalt egg,” Heaney writes in “The Grauballe Man.” Another bog poem, "Strange Fruit,"begins, “Here is the girl’s head like an exhumed gourd./ Oval-faced, pruneskinned, prune-stones for teeth.” Such sensitive description serves as its own funeral rite, a way to express “rever-ence”-the poet’s word-for lives that were not valued in their time. 比最近的作品更早。他的灵感来自丹麦考古学家 P. V. Glob 的著作《沼泽人》，这本书讲述了铁器时代保存下来的斯堪的纳维亚人的遗体，其中一些死于暴力。（该书于 1969 年被翻译成英文。）希尼的第一首沼泽诗《托伦德人》出现在《冬季》中；更多作品收录在《北方》中。尸体被细致入微、几乎带有爱意地描写。希尼在《格劳巴勒人》中写道：“他的手腕纹理/如沼泽橡木，/脚跟球/如玄武岩蛋。”另一首沼泽诗《奇异果实》开头写道：“这里是女孩的头，像一只被挖出的葫芦。/椭圆脸，李子皮肤，李子核般的牙齿。”如此细腻的描写本身就是一种葬礼仪式，是表达“敬意”——诗人用这个词来形容那些在当时未被重视的生命。
The connection between the violence suffered by the bog bodies and the violence in Northern Ireland is clear enough. In some poems, Heaney links the two explicitly: “Viking Dublin: Trial Pieces” includes a speech by one Jimmy Farrell, a character in a play by J. M. Synge, who describes old skulls found in Dublin. The stronger poems leave the connection implicit, and the strongest of these implicate the poet himself. 泥炭人所遭受的暴力与北爱尔兰的暴力之间的联系相当明显。在一些诗中，希尼明确地将两者联系起来：“维京都柏林：审判片段”包括了吉米·法雷尔的演讲，他是 J.M.辛格戏剧中的一个角色，描述了在都柏林发现的古老头骨。更有力的诗歌则隐含了这种联系，而最强烈的诗歌则让诗人自己也卷入其中。
“Everyone thinks I have a lot of self-control, but I refill it hourly.” “每个人都认为我有很强的自制力，但我每小时都会重新补充它。”
“Punishment,” which links ritual violence in the Iron Age to the tarring and feathering of young Catholic women who fraternized with British soldiers during the Troubles, ends with these striking lines: 《惩罚》将铁器时代的仪式性暴力与“动乱”期间对与英国士兵交往的年轻天主教女性进行涂焦油和羽毛惩罚联系起来，结尾有这样令人震撼的诗句：
I almost love you but would have cast, I know, the stones of silence. 我几乎爱你，但我知道，我会投掷沉默的石头。I am the artful voyeur . . . 我是那个巧妙的窥视者……I who have stood dumb when your betraying sisters, cauled in tar, wept by the railings, 我曾在你那些被涂满焦油、在栏杆旁哭泣的背叛姐妹面前沉默无言，who would connive in civilized outrage yet understand the exact and tribal, intimate revenge. 我会在文明的愤怒中共谋，却理解那确切而部落式的、亲密的复仇。
Even if the speaker hasn’t taken part in acts of vengeance, he recognizes why others do. “Punishment” presents the poet as yet another culpable observer, speaking but not speaking out. 即使说话者没有参与复仇行为，他也理解他人为何这样做。《惩罚》将诗人呈现为另一个有罪的旁观者，发声却未发声。
With “North,” Heaney broke what some saw as his silence on the political situation, though not everyone liked what he had to say. The English press praised the book, but a few Irish writers objected to the ways the bog poems seemed to naturalize the Troubles, attributing the conflict to an ancient curse rather than to real and ongoing politi- 通过《北方》，希尼打破了他在政治局势上的沉默，尽管并非所有人都喜欢他所说的内容。英国媒体称赞了这本书，但一些爱尔兰作家反对泥炭地诗歌似乎将冲突自然化的方式，将冲突归因于古老的诅咒，而非真实且持续的政治压迫。
cal oppression. “It is as if he is saying that suffering like this is natural; these things have always happened; they happened then, they happen now, and that is sufficient ground for understanding and absolution,” the poet Ciaran Carson wrote in The Honest Ulsterman. “这就好像他说这样的痛苦是自然的；这些事情一直发生；它们曾经发生，现在也在发生，这就是理解和宽恕的充分理由，”诗人基兰·卡森在《诚实的阿尔斯特人》杂志中写道。
In letters to friends, Heaney claimed to be untroubled by such critiques. “I am curious-nothing more-about what else is to come in the reviewing line,” he wrote to his friend Michael Longley, whose wife, the critic Edna Longley, would soon publish her own skeptical review of “North.” He’d anticipated a certain amount of hostility. In “Exposure,” the final poem in “North,” the speaker, an “inner émigré” walking in the woods of Wicklow, contemplates “the anvil brains of some who hate me” and wonders whether he’s missed his chance to write something with “once-in-a-lifetime portent.” It’s hard not to read the poem as a kind of preëmptive strike: the poet knows he’s inadequate to the moment, but he’s responded as best he could. 在给朋友的信中，希尼声称自己并不为此类批评所困扰。“我只是好奇——仅此而已——想知道接下来评论界还会有什么反应，”他写信给朋友迈克尔·朗利时说道，迈克尔的妻子、评论家埃德娜·朗利很快就会发表她对《北方》的怀疑性评论。他预料到会有一定程度的敌意。在《北方》的最后一首诗《暴露》中，诗人，一个在威克洛树林中行走的“内心流亡者”，沉思着“某些憎恨我的人的铁砧般的大脑”，并怀疑自己是否错过了写出“千载难逢的预兆”之作的机会。很难不把这首诗解读为一种先发制人的打击：诗人知道自己无法胜任这一时刻，但他已经尽力回应了。
To Heaney, finishing “North” felt like discharging a duty; he was now free to write whatever he liked. “As far as I’m concerned, publication of [the collection] is one way of exorcising this pressure to ‘say something about the north,’” he wrote to the novelist John McGahern in 1975. “It has cleared my head already.” 对希尼来说，完成《北方》就像完成了一项职责；他现在可以自由地写自己喜欢的任何东西。“就我而言，出版这部作品集是一种驱散‘谈论北方’压力的方式，”他在 1975 年写信给小说家约翰·麦加恩时说。“这已经让我头脑清醒了。”
But in the years that followed Heaney found himself saying more things about the North, and also questioning the things he’d said before. His next book, “Field Work” (1979), is an altogether more cheerful collection, yet it contains its share of political poems and elegies, including “The Strand at Lough Beg,” written for a murdered cousin. The speaker imagines coming upon his cousin’s body, covered “with blood and roadside muck,” and washing it clean with moss and dew. 但在随后的几年里，希尼发现自己开始更多地谈论北方，同时也质疑自己以前所说的话。他的下一本书《田野工作》（1979 年）是一本整体上更为欢快的诗集，但其中仍包含一些政治诗和挽歌，包括为被谋杀的表弟写的《洛赫贝格海滩》。诗中的叙述者想象自己发现了表弟的尸体，覆盖着“血迹和路边的泥土”，并用苔藓和露水将其洗净。
Several years later, Heaney resurrected this same cousin in “Station Island,” a long poem in twelve parts that amounts to the poet’s most sustained self-examination. On a pilgrimage to an old religious site in Donegal, the poem’s speaker encounters a series of ghosts, including a tinker he remembers from his childhood, an archeologist friend who died young of heart disease, and a 几年后，希尼在《车站岛》中复活了同一个表弟，这是一首由十二部分组成的长诗，是诗人最为深入的自我审视。在前往多尼戈尔一个古老宗教遗址的朝圣途中，诗中的叙述者遇见了一系列鬼魂，包括他童年记忆中的一个流浪艺人，一位因心脏病早逝的考古学家朋友，和一个...
hunger striker willing to die for a political cause. Each of them pushes him toward self-inquiry: Why has he lived the way he has? Why did he write what he wrote? At times, the ghosts accuse him: Colum McCartney, the murdered cousin, says that the speaker has “confused evasion and artistic tact,” “whitewashed ugliness,” and “saccharined my death with morning dew.” At other moments, the speaker accuses himself: “I hate how quick I was to know my place./I hate where I was born, hate everything/That made me biddable and unforthcoming.” In the poem’s last movement, the ghost of James Joyce appears, like Dante’s Virgil, to guide the speaker through this period of self-doubt. "Your obligation/is not discharged by any common rite,"Joyce declares.“What you do you must do on your own./The main thing is to write/for the joy of it.” The speaker already believed as much-Joyce’s words are “nothing I had not known/ al-ready”-but he’s relieved to have his instincts confirmed. 绝食抗议者愿为政治事业而死。他们每个人都推动他进行自我探问：他为什么会这样生活？他为什么写下那些文字？有时，鬼魂们指责他：被谋杀的表弟 Colum McCartney 说，叙述者“混淆了回避和艺术的策略”，“粉饰丑陋”，并“用晨露甜化了我的死亡”。在其他时刻，叙述者自我指责：“我讨厌自己那么快就认清了自己的位置。/我讨厌我出生的地方，讨厌一切/让我变得顺从和不坦率的东西。”在诗的最后一部分，詹姆斯·乔伊斯的幽灵出现了，像但丁的维吉尔一样，引导叙述者度过这段自我怀疑的时期。乔伊斯宣称：“你的义务/不是通过任何普通的仪式来完成的。/你所做的必须由你自己完成。/最重要的是写作/为了写作的乐趣。”叙述者早已相信这一点——乔伊斯的话“并非我未曾知道的”——但他因本能得到确认而感到宽慰。
Heaney once wrote that poetry emerges “out of the quarrel with ourselves and the quarrel with others is rhetoric.” With “Station Island,” published in a book of the same name in 1984, he transformed a quarrel with others into a quarrel with himself. The poem doesn’t so much renounce earlier work as acknowledge, even validate, critiques of it. Rather than respond directly to debates about the duties of the artist, Heaney subsumed them in his art. He was not a political poet, like Allen Ginsberg or Adrienne Rich; he did not believe that a poem could stop a tank. But he was, at heart, a pluralist. He wrote the poems he wanted to write, and he hoped others would do the same. 希尼曾写道，诗歌“源于与自己争执，而与他人的争执则是修辞。”1984 年，他在同名诗集《Station Island》中，将与他人的争执转化为与自己的争执。这首诗并非否定早期作品，而是承认，甚至肯定对其的批评。希尼没有直接回应关于艺术家职责的争论，而是将这些争论融入了他的艺术中。他不是像艾伦·金斯堡或艾德丽安·里奇那样的政治诗人；他不相信诗歌能阻止坦克。但他内心是一个多元主义者。他写自己想写的诗，并希望别人也能如此。
“Field Work” solidified Heaney’s reputation in the States. Soon enough, he was spending much of his time abroad. He started teaching at Harvard and held various positions there until 2006. In 1989, he became the Professor of Poetry at Oxford-a notable post for an Irish writer-and delivered lectures on what he called “the redress of poetry,” the ways that poetry can improve the world. He attended literary festivals in London and Moscow, socialized with friends in Poland and St. Lucia, and accepted honorary degrees in Atlanta, Car- “田野工作”巩固了希尼在美国的声誉。不久，他开始花大量时间在国外。他开始在哈佛任教，并在那里担任各种职位直到 2006 年。1989 年，他成为牛津大学的诗歌教授——这是一个对爱尔兰作家来说非常重要的职位——并发表了他所谓的“诗歌的补偿”讲座，讲述诗歌如何改善世界。他参加了伦敦和莫斯科的文学节，与波兰和圣卢西亚的朋友社交，并在亚特兰大、卡罗莱纳、费城和乌尔比诺等地接受了荣誉学位。
diff, Philadelphia, and Urbino, to name only a few locations. From 1980 onward, he was rarely in his writing cottage. He coined a term for his chaotic life style: “duty-dancing.” 从 1980 年起，他很少待在自己的写作小屋里。他为自己混乱的生活方式创造了一个术语：“责任舞蹈”。
The best poems he wrote during these busy years, like the best poems he wrote during his twenties, were about family life. “Clearances,” a sonnet sequence for his mother, who died in 1984, is an exquisite poem, far superior to “The Strand.” The poem oscillates between scenes from the mother’s life-she peels potatoes, prepares tea-and scenes from her deathbed and from an imagined afterlife. In the fifth movement, the speaker recalls folding bed linens with his mother-“So we’d stretch and fold and end up hand to hand/For a split second as if nothing had happened/For nothing had that had not always happened”-a ritual of collaboration that binds them together. There’s a lightness to much of Heaney’s late poetry. Rather than burrowing underground, he turned his gaze upward, fixating on things that could hardly be seen: not just the afterlife but sunlight, smoke, cloud formations, the wind. Critics have connected this quality to the loss of both parents (Heaney’s father died soon after his mother), but it might also be attributed to the untold hours he spent on airplanes. He took to putting his flight number at the head of his letters, as if the sky were the place he called home. 他在这些忙碌岁月中写的最好的诗，就像他二十多岁时写的最好的诗一样，都是关于家庭生活的。《清理》，一组为他 1984 年去世的母亲写的十四行诗，是一首精美的诗，远胜于《海滨》。这首诗在母亲生活的场景——她削土豆、准备茶——与她临终床边和想象中的来世场景之间摇摆。在第五部分，叙述者回忆与母亲一起叠床单的情景——“于是我们伸展折叠，最终手牵手/短暂的一瞬间仿佛什么都没发生过/仿佛那些一直发生的事都未曾发生过”——这是一种将他们紧密联系在一起的合作仪式。希尼晚期的许多诗歌带有一种轻盈感。他没有向地下钻探，而是将目光投向上方，专注于那些几乎看不见的事物：不仅是来世，还有阳光、烟雾、云朵形态、风。评论家们将这种特质与双亲的去世联系起来（希尼的父亲在母亲去世后不久也去世了），但这也可能归因于他在飞机上度过的无数小时。他开始在信件开头写上航班号，仿佛天空才是他称之为家的地方。
In 2009, four years before his death, Heaney turned seventy. He joked in letters that the festivities required more planning than the Easter Rising. He was touched by the attention but also unnerved. “My having agreed to the public celebration left me feeling I had sold/ lost a private part - the last bit of unpublic smiling man,” he wrote to a friend the following year. At times, it seemed that he’d freed himself from one set of expectations only to be weighed down by others. When he could, he escaped to Wicklow, where he could recapture the freedom of earlier years. There, he once again resembled the speaker of “Exposure,” that “inner émigré,” a man who guards his solitude but who still senses the forces that shape the world. He became, as the poem says, “a wood-kerne,” 2009 年，海尼去世前四年，年满七十岁。他在信中开玩笑说，庆祝活动比复活节起义还需要更多的筹划。他对大家的关注感到感动，但也有些不安。“我同意公开庆祝让我觉得自己卖掉了/失去了一个私人的部分——最后一点不公开微笑的男人，”他在次年写信给朋友时说。有时，他似乎刚刚摆脱了一套期望，却又被另一套期望所束缚。能逃离时，他便前往威克洛，在那里他能重新找回早年自由的感觉。在那里，他再次像《暴露》中的叙述者，那位“内心的流亡者”，一个守护自己孤独但仍能感知塑造世界力量的人。正如诗中所说，他成了“一名森林游侠”，
Lots, actually.
The New Yorker Crossword, now five days a week. 其实很多。《纽约客》填字游戏，现在每周五天更新。
Play it today at newyorker.com/crossword 今天就在 newyorker.com/crossword 玩吧
AFFINITY COMEDY 亲和喜剧
The state of the Netflix standup special. Netflix 脱口秀特别节目的现状。
BY VINSON CUNNINGHAM 文森·坎宁安 著
Matt Rife, Joe Rogan, and Langston Kerman showcase vastly contrasting styles. 马特·里夫、乔·罗根和兰斯顿·科尔曼展示了截然不同的风格。
It can be hard to tell, these days, what some people mean by “comedy.” By the evidence of the work that comedians are doing, jokes may have dropped out of the definition. Like other performers in our Balkanized, make-your-own-prime-timeentertainment landscape, many comedians act less like artists or court jesters than like notionally humorous leaders of affinity groups or of minor, mostly harmless cults. They tend to say just what their viewers want to hear, but with the rhythm, if not the cathartic finality, of a joke. 如今，有时很难分辨某些人所说的“喜剧”到底是什么意思。根据喜剧演员们的作品来看，笑话似乎已经不再是定义的一部分。像我们这个巴尔干化、自己打造黄金时段娱乐的环境中的其他表演者一样，许多喜剧演员更像是名义上幽默的亲和力团体或小型、无害邪教的领导者，而不是艺术家或宫廷小丑。他们往往只说观众想听的话，但节奏感还在，尽管缺少那种宣泄式的笑话结尾。
This rather new phenomenon has to do with the fact that comedians are springing up from more corners of our media purview than ever. Increasingly, you don’t first become aware 这一相当新的现象与喜剧演员从我们媒体视野的更多角落涌现有关。越来越多的时候，你不会首先意识到...
of them as comedians. One might be a podcaster you like, or make Instagram posts that show up on your “explore” page. Maybe another is a scene-stealing guest star on one of your favorite shows. Only later do you realize that they also happen to have a special on the way.There’s no Johnny Carson to introduce us to comics qua comics. They’ve got to sneak into your field of attention, often by way of some algorithmic back door, in order to grasp your affection. 把他们看作喜剧演员。可能是你喜欢的播客主持人，或者是在你的“探索”页面上出现的 Instagram 帖子。也许另一个是你最喜欢的节目中的抢戏嘉宾。直到后来你才意识到，他们也恰好有一个特别节目即将播出。没有约翰尼·卡森来介绍我们认识喜剧演员本身。他们必须通过某种算法的后门偷偷进入你的视野，才能赢得你的喜爱。
Take Joe Rogan, for instance. He’s come to prominence-and to infamyby way of his podcast, “The Joe Rogan Experience,” a hotbed of dorm-room conversation that sometimes plays as a mildly endearing bull session but just as often takes a turn toward conspir- 以乔·罗根为例。他通过他的播客《乔·罗根体验》走红并声名狼藉，这个播客是宿舍里谈话的温床，有时听起来像是稍显讨人喜欢的闲聊，但同样经常转向阴谋论——
acy thinking and florid misinformation, with a formlessly reactionary bent. Rogan is a longtime standup, but it’s hard to find somebody who knew him first for his jokes. He was a bit ahead of the curve in at least one way: he built a career by other means. For decades, he’s been a fixture as a commentator of U.F.C.'s mixed-martialarts matches. Well before he started his podcast, he was the host of an equally enriching program, “Fear Factor.” You know, the one where desperate Americans do nasty shit-eat a spider, suck a goat’s udder or a leechfor a little bit of cash. 充满了肤浅的思维和华丽的错误信息，带有无形的反动倾向。罗根是一个资深的单口喜剧演员，但很难找到最初因为他的笑话而认识他的人。他至少在某种程度上走在了前面：他通过其他方式建立了自己的职业生涯。几十年来，他一直是 U.F.C.综合格斗比赛的评论员。在他开始播客之前，他主持过一个同样精彩的节目《Fear Factor》（恐惧因素）。你知道的，就是那个让绝望的美国人做恶心的事情——吃蜘蛛、吮吸山羊的乳头或水蛭——以换取一点现金的节目。
In his new Netflix special, “Burn the Boats,” Rogan tells a story about a “Fear Factor” challenge that was so much more deranged than usual (the highest bar!) that the network, NBC, decided not to air it. It involved donkeys and their . . . reproductive emissions. I’m sorry to report that bit of news, but Rogan is not. He luxuriates in the scenario, rhapsodizing about the stuff-buckets of it-not for any revelation but to milk his crowd for gross-out reactions, not laughs but groans. In the special-which aired live in early August, an experiment that Netflix started with Chris Rock’s successful post-slap routine, “Selective Outrage”-Rogan wears jeans and an untucked mustard-yellow button-up shirt: business casual for guys who work for themselves. He shouts a lot, his way of creating emphasis when the logical gist of a joke won’t do the trick. 在他的新 Netflix 特别节目《Burn the Boats》中，罗根讲述了一个“Fear Factor”挑战的故事，这个挑战比平时更加疯狂（最高标准！），以至于 NBC 决定不播出。内容涉及驴子及其……生殖排放。很抱歉要报道这条新闻，但罗根并不觉得抱歉。他沉浸在这个场景中，热情洋溢地描述那些令人作呕的东西——不是为了揭示什么，而是为了从观众那里榨取恶心的反应，不是笑声而是呻吟。在这档特别节目中——于八月初直播，这是 Netflix 继 Chris Rock 成功的“Selective Outrage”后开始的实验——罗根穿着牛仔裤和一件未扎进裤子的芥末黄色扣子衬衫：这是为自雇人士准备的商务休闲装。他大声喊叫，这是他在笑话的逻辑要点不起作用时制造强调的方式。
He starts the special-shot at the Majestic Theatre in San Antonio and directed by Anthony Giordano-with some local patter about Texas, where he now lives. He’s moved his podcast operation there, and has opened a club, called Comedy Mothership, in Austin. Sounding annoyed, he notes that some media outlets have called it an “anti-woke” comedy club.“You mean… a comedy club?” he says, with an exasperated tone. It’s a clunky bit of group-reinforcing business, aimed directly at the erogenous zones of his fans. It’s not us who share some special ideology, he seems to be saying. We just like to laugh. Everybody used to be like this! It’s them-our detrac-tors-who are weirdly fixated. 他在圣安东尼奥的雄伟剧院开始了特别演出，由安东尼·乔尔达诺执导——并带有一些关于他现在居住的德克萨斯州的本地调侃。他已经把播客业务搬到了那里，并在奥斯汀开了一家名为“喜剧母舰”的俱乐部。他听起来有些恼火地指出，一些媒体称这是一家“反觉醒”喜剧俱乐部。“你的意思是……喜剧俱乐部？”他用一种恼怒的语气说。这是一种笨拙的群体强化手法，直接针对他的粉丝的敏感点。他似乎在说，不是我们有某种特殊的意识形态。我们只是喜欢笑。以前大家都是这样的！是他们——我们的批评者——奇怪地执着于此。
Indeed, a large part of Rogan’s ethos is this kind of misdirection about what constitutes an unthinking group. The sort of trans joke he tells is quite old now. Forget about being offensivewhatever happened to trying not to be a hack? This one is about the way that like-minded lemmings come together and create a latticework of ideas: 确实，罗根的理念很大一部分就是这种关于什么构成无脑群体的误导。他讲的那种跨性别笑话现在已经相当老套了。别管冒犯不冒犯了——试着不要做个庸俗的笑话制造者怎么样？这个笑话讲的是志同道合的“旅鼠”们如何聚集在一起，编织出一张思想的格子网：
Rogan is very worried about pregnant men. I guess he thinks they’re “funny,” but he also, with his shouted incredulity, wants you to think, like he does, that the mere idea of them is a universally applicable symbol of sociopolitical mania. He’s got a joke about bathrooms, too. Heard that one? In this case, anyway, the joke is about how a complex understanding of gender and the self is incompatible, somehow, with the tenets of social democracy. If you disagree, you’re a dope, an unthinking weenie, and with your scolding you’re making life less fun for Rogan and his followers. Sorry, I mean fans. This is the function of Rogan’s type of work: to reverse reality, to make members of a faction feel like freethinkers. There’s a living in it. 罗根非常担心怀孕的男性。我猜他认为他们“很有趣”，但他也用他那种大声喊叫的难以置信，想让你像他一样认为，仅仅是他们的存在这个想法就是一个普遍适用的社会政治狂热的象征。他还有一个关于厕所的笑话，听过吗？无论如何，这个笑话是关于对性别和自我复杂理解与社会民主原则某种程度上的不兼容。如果你不同意，你就是个傻瓜，一个不假思索的软蛋，而你的责备让罗根和他的追随者的生活变得不那么有趣。抱歉，我是说粉丝。这就是罗根这类工作的功能：颠倒现实，让某个派别的成员觉得自己是自由思想者。这其中有利可图。
Disoriented by my encounter with Rogan, I went looking for other specials, hopeful that they’d revive my enthusiasm for a form of entertainment that I go to for surprises, not 因为与罗根的遭遇感到迷茫，我开始寻找其他特别节目，希望它们能重新激发我对这种娱乐形式的热情，我看这种娱乐是为了惊喜，而不是...
for assurances of my own correctness. Matt Rife is a twenty-eight-year-old comic who was delivered to me by the inscrutable whims of Instagram. He started standup comedy at fifteen years old, and worked at small clubs for years. He’s known for clips he shares online of his crowd work-improvising by giving audience members a hard time-and for the increasingly combative stance he’s taken against “snowflakes.” 为了确认我自己的正确性。马特·赖夫是一位二十八岁的喜剧演员，是由 Instagram 那难以捉摸的奇思妙想带到我面前的。他十五岁开始做单口喜剧，几年间在小型俱乐部演出。他以在线分享的与观众互动片段而闻名——通过即兴表演给观众制造难题——以及他对“玻璃心”群体日益对抗的立场。
You wouldn’t know that last bit from watching his latest Netflix special, “Lucid,” directed by Erik Griffin. All we see is Rife’s interaction with an audience of modest size, loosely organized around the theme of dreams. He asks soft questions about people’s aspirations. “What’s your dream that came true?” he inquires moonily. Rife has a dudey energy and looks like a member of a forgotten boy band-he often seems to be flirting, his way of showing that he’s interested in people’s stories. He’s not really trying to crack you up. Either you’re with him already-I wasn’t-or you’ll struggle to figure out the point of his act. 你从他最新的 Netflix 特别节目《清醒》中是看不出那一点的，该节目由埃里克·格里芬执导。我们看到的只是赖夫与一个规模适中的观众的互动，节目松散地围绕梦想这一主题展开。他温和地询问人们的愿望。“你实现了什么梦想？”他梦幻般地问道。赖夫有一种兄弟般的气质，看起来像一个被遗忘的男子乐队成员——他经常似乎在调情，这是他表达对人们故事感兴趣的方式。他并不是真的想让你笑。要么你已经跟他在一起了——我没有——要么你会很难理解他的表演意义。
Speaking of dreams, the comedian Langston Kerman-you may have seen him on HBO’s “Insecure,” or on the brilliant satire “South Side,” for which he was a writer as well as a per-former-once wanted to be a poet. In his exciting new Netflix special, a saving grace, called “Bad Poetry,” directed by the comedian John Mulaney, he talks about how he lost that aspiration. “I was gonna write silky metaphors,” he says mournfully. But he made the mistake of sharing his fledgling 说到梦想，喜剧演员兰斯顿·柯尔曼——你可能在 HBO 的《不安全》或精彩的讽刺剧《南区》中见过他，他不仅是演员，还是编剧——曾经想成为一名诗人。在他令人兴奋的新 Netflix 特别节目《坏诗》，由喜剧演员约翰·穆莱尼执导中，他谈到了自己如何失去了那个梦想。“我本来想写出丝滑的隐喻，”他哀伤地说。但他犯了一个错误，把自己刚起步的作品分享给了一些他教过的高中生。
work with some high-school kids he taught. One girl shot his poetry down, and the dream wasn’t just deferredit was dead. 其中一个女孩否定了他的诗歌，那个梦想不仅被推迟了，而是彻底死去了。
What’s interesting about Kerman is that he isn’t a persona. All we really learn about him from the special is that he’s married, that he and his wife are both biracial-the “same mix,” he says: white dad, Black mom-and that they recently had a child. You’ll earn his enmity if you don’t coo over the photos he shares. But he’s not out to build a set of tenets or attitudes to which you can hitch your wagon. His style of comedy refreshingly repels that kind of watching. He’s all about jokes that start out absurd and get crazier as they proceed. The bit about mean schoolkids ends up being a way to justify a story about a teacher who fed a puppy to a snapping turtle in front of his class. Kerman once saw Forest Whitaker try to use the bathroom at inOP-the “International House,” he says grandly-without being a customer. No dice. He imagines an uptight race man, perhaps a member of the Nation of Islam, who makes an exception for Kerman’s white dad. The stuff’s just zany. Remember fun? 关于 Kerman 有趣的是，他并不是一个虚构人物。我们从特别节目中真正了解到的只是他已婚，他和妻子都是混血——他说是“同样的混合”：白人父亲，黑人母亲——而且他们最近有了一个孩子。如果你不对他分享的照片发出赞叹声，你会招致他的敌意。但他并不是想建立一套信条或态度让你依附。他的喜剧风格令人耳目一新，排斥那种观看方式。他的笑话都是从荒诞开始，随着进行变得越来越疯狂。关于刻薄学校孩子的段子最终变成了一个理由，讲述一位老师当着全班的面把一只小狗喂给了一只 snapping turtle。Kerman 曾经看到 Forest Whitaker 试图在 inOP——他大气地称之为“国际之家”——使用洗手间，但他不是顾客，结果没成功。他想象了一个拘谨的种族主义者，可能是伊斯兰民族成员，但对 Kerman 的白人父亲破例。这些内容简直疯狂。还记得乐趣吗？
We think of this kind of comedyzing, zing, zing, with little breath be-tween-as old-fashioned, something we left back on the Catskills circuit, where it belongs. But, in an age where so many people on our screens have some irritating point to prove, maybe work like Kerman’s is the way back to comedy on its own terms, as an art to be enjoyed in its purest form. Get up there and tell some jokes. I don’t want to join a club. 我们认为这种喜剧风格——嗡嗡声，嗡嗡声，几乎没有喘息——是老派的东西，是我们留在卡茨基尔斯巡回演出上的东西，属于那里。但在这样一个屏幕上有太多人带着恼人的观点要证明的时代，也许像柯尔曼的作品才是回归纯粹喜剧的方式，作为一种纯粹享受的艺术。上台讲几个笑话。我不想加入任何俱乐部。
CARTOON CAPTION CONTEST 漫画标题竞赛
Each week, we provide a cartoon in need of a caption. You, the reader, submit a caption, we choose three finalists, and you vote for your favorite. Caption submissions for this week’s cartoon, by Lonnie Millsap, must be received by Sunday, September 8th. The finalists in the August 26th contest appear below. We will announce the winner, and the finalists in this week’s contest, in the September 23rd issue. Anyone age thirteen or older can enter or vote. To do so, and to read the complete rules, visit contest.newyorker.com. 每周，我们都会提供一幅需要配上标题的漫画。你，读者，提交标题，我们选出三位决赛选手，然后你投票选出你最喜欢的标题。本周由朗尼·米尔萨普创作的漫画标题提交截止日期为 9 月 8 日星期日。8 月 26 日比赛的决赛选手如下。我们将在 9 月 23 日的期刊中公布本周比赛的获胜者和决赛选手。任何十三岁及以上的人都可以参加或投票。要参与并阅读完整规则，请访问 contest.newyorker.com。
THIS WEEK’S CONTEST 本周比赛
c 6 "" qquad\qquad
THE FINALISTS 决赛选手
“Our insurance doesn’t cover acts of God.” Rick Slusher, Brooklyn, N.Y. “我们的保险不涵盖天灾。” 里克·斯拉舍，纽约布鲁克林
“Not the breakthrough I was looking for.” Paul Casali, Scituate, Mass. “这不是我期待的突破。” 保罗·卡萨利，马萨诸塞州斯基图艾特
“I bate 'partly cloudy.” James Watson, Maplewood, Minn. “我赌‘局部多云’。” 詹姆斯·沃森，明尼苏达州梅普尔伍德
THE WINNING CAPTION 获奖标题
“Next time a ship passes, let me do the waving.” Bob Dawson, Victoria, B.C. “下次有船经过时，让我来挥手。”鲍勃·道森，维多利亚，不列颠哥伦比亚省
PUZZLES & GAMES DEPT. 谜题与游戏部
THE CROSSWORD 填字游戏
A moderately challenging puzzle. 一个中等难度的谜题。
BY WYNA LIU 文 / WYNA LIU
ACROSS 横向
1 Symbol between “I” and “NY” “I”和“NY”之间的一个符号
6 Word with whirl or car 6 个带有旋转或汽车的词
10 What one might do after saying “I don’t mean to toot my own horn, but . . .” 10 说完“我不是想自吹自擂，但是……”后可能会做的事
14 Part of a shoe that covers the foot 鞋子覆盖脚部的部分
15 Positively burning with desire 强烈渴望
17 Beaucoup 许多
18 It can make a tennis ball’s speed or direction change unpredictably 它可以使网球的速度或方向发生不可预测的变化
19 Stood in for 19 代替
21 Eggy quaffs 21 有蛋味的饮料
22 Ruminations such as “Whenever you clean something, you make something else dirty” and “If Cinderella’s slipper actually fit perfectly, it wouldn’t have fallen off” 22 沉思，比如“每当你清洁某样东西时，你会弄脏别的东西”和“如果灰姑娘的鞋子真的完全合脚，它就不会掉了”
26 “Come again?” 26 “再说一遍？”
28 Aftmost parts of boats 船的最尾部位
32 Haul qquad\qquad 拖拉 qquad\qquad
33 Corn Belt state 玉米带州
34 Line outside an airport 机场外的排队线
35 Start to amble? 35 开始漫步？
36 Map feature 36 地图特征
37 During 37 在……期间
38 Evidence of a recent rainstorm 38 最近雨暴的证据
39 Knights’ companions 39 位骑士的同伴
40 Mind-bending ability? 40 令人费解的能力？
43 Old-fashioned letter opener? 43 过时的开信刀？
48 Match 48 火柴
49 Proof that something isn’t watertight 49 证明某事并不严密
50 Sign on a convenience-store window 50 便利店窗户上的标志
54 Presents 54 礼物
55 Finally stopped losing money, say 55 终于停止亏钱，说法
561986 memoir with chapters titled “River Deep” and “Loving You Too Long” 561986 回忆录，章节标题为“河流深处”和“爱你太久” 57n^(3)57 n^{3}
58 Bit of progress, so to speak 58 进展一点点，可以这么说
59 Assigns to a role 59 分配到一个角色
DOWN 向下
1 Dances traditionally performed wearing pa’us and malos 1 传统上穿着 pa’us 和 malos 表演的舞蹈
2 Notable period 2 著名时期
3 Is qquad\qquad (probably will) 3 是 qquad\qquad （可能会是）
4 Fix a seam, say 4 缝合一条缝，比如说
5 Some used cars 5 一些二手车
6 “Blue Ribbon” beers 6 “蓝丝带”啤酒
7 Greeting in the Azores 7 亚速尔群岛的问候语
8 Parent language of Icelandic 冰岛语的母语
9 Word in the title of a Shakespeare comedy 莎士比亚喜剧标题中的一个词
10 Pink drink 粉红色饮料
11 Aired 播出
12 Big name in theatres 12 剧院中的大牌
13 “Well, huh!” 13 “嗯，哼！”
16 Indistinct, as a memory 16 模糊不清，如同记忆
20 They’re uncovered in a tank 20 它们被放在水箱里暴露着
23 One who compulsively accumulates possessions 23 强迫性收集物品的人
24 “It’s just one of qquad\qquad days . . .” 24 “这只是 qquad\qquad 天中的一天……”
25 Did some carpentry 25 做了一些木工活
27 Bits of ink 27 墨迹碎片
28 A.S.A.P. 28 尽快
29 Under control 29 在控制中
30 Dante was one when he wrote the Divine Comedy 30 但丁写《神曲》时就是这样的人
31 Cycle 31 循环
35 Like some damages 35 像某些损害赔偿
36 “Ta-da!” 36 “嗒嗒！”
38 Like the word “lay,” often 38 像“lay”这个词，经常
39 Foal’s father 39 小马驹的父亲
41 Danish currency 41 丹麦货币
42 Strait between the British mainland and the Isle of Wight, with “the” 42 英国本土与怀特岛之间的海峡，带“the”
44 Dog breed that Japan has designated a natural monument 44 日本指定为天然纪念物的犬种
45 “Garfield” cartoonist Jim 45 “加菲猫”漫画家吉姆
46 Word you might say over the phone to be connected with a real person 你可能在电话中说的 46 个词，以便与真人联系
47 Western elevations 西部高地
50 Letters on the cover of some preschool books 一些学前班书籍封面上的 50 个字母
511989 play about Capote 1989 年关于卡波特的戏剧 511
52 Group of kangaroos 52 群袋鼠
53 Hideout 53 藏身处
Solution to the previous puzzle: 前一个谜题的解答：
Find more puzzles and this week’s solution at newyorker.com/crossword 在 newyorker.com/crossword 找到更多谜题和本周的答案
A NEW SERIES 新系列
Based on the investigative article in The New Yorker by Lauren Collins. 基于劳伦·柯林斯在《纽约客》上的调查文章。
tisisib t Iut thilt thilit
Lies are stranger than fiction. 谎言比小说更离奇。
◻\square
MADS MIKKELSEN IL CONTE JACKET 马茨·米克尔森《伯爵》夹克
Sara Bareilles by Victoria Will; Alan Cumming by Emil Cohen; Naomi Klein by Sebastian Nevols; Rachel Maddow courtesy MSNBC; Audra McDonald by Allison Michael Orenstein; Seth Meyers by Lloyd Bishop NBC; Julio Torres by Mitch Zachary 维多利亚·威尔拍摄的萨拉·巴雷利斯；埃米尔·科恩拍摄的艾伦·卡明；塞巴斯蒂安·内沃尔斯拍摄的娜奥米·克莱因；MSNBC 提供的瑞秋·马多；艾莉森·迈克尔·奥伦斯坦拍摄的奥德拉·麦克唐纳；劳埃德·毕晓普 NBC 拍摄的塞斯·迈耶斯；米奇·扎查里拍摄的胡里奥·托雷斯
It’s plain to me to see You have bought yourself a boat Since the last time you and me spoke Your laundry looks so pretty. 我很清楚地看到 你买了一艘船 自从我们上次交谈以来 你的洗衣看起来很漂亮。
On “Hangover Game,” another highlight from “Boat Songs,” Lenderman 在“宿醉游戏”中，这是“船歌”中的另一个亮点，伦德曼
I’ve got a beach home up in Buffalo 我在布法罗有一座海滩别墅
And a wristwatch that’s a compass and a cell phone. … 一块既是指南针又是手机的手表。…
I’ve got a houseboat docked at the Himbo Dome 我有一艘停靠在 Himbo 圆顶的船屋
The coarse boot nestled on the lug, the shaft Against the inside knee was levered firmly. He rooted out tall tops, buried the bright edge deep 粗糙的靴子嵌在鞋钉上，靴筒紧贴膝内侧被牢牢撬住。他找出了高筒靴，深深地埋入明亮的边缘
To scatter new potatoes that we picked, Loving their cool hardness in our hands. 撒下我们刚采摘的新土豆，爱抚着它们在手中冰凉坚硬的质感。
Escaped from the massacre, 逃离了屠杀，
Taking protective colouring 采取保护色
From bole and bark, feeling 来自树干和树皮，感受着
Every wind that blows. 每一阵吹过的风。
I understand why people want to be on a team, so you just find a team that aligns with your values, right? Like, what does your team believe? “We believe that health care is a basic human right.” I agree! “We think that education should be free.” Me, too! “And men can get pregnant.” Fuck! Is that a package deal? How did that one slip through? 我理解人们为什么想加入一个团队，所以你只需找到一个与你的价值观相符的团队，对吧？比如，你的团队信仰什么？“我们相信医疗保健是基本人权。”我同意！“我们认为教育应该是免费的。”我也是！“而且男人也能怀孕。”操！这是个打包交易吗？这条怎么漏过了？
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