How Not to Be Elizabeth Gilbert
Before I put my things in storage, gave up my apartment, and headed off with one small suitcase for two years of travel that I would, of course, be turning into a book, two friends separately but within a few days of each other gave me the same piece of advice: “Just don’t be Elizabeth Gilbert.”
在我把我的东西存放起来，放弃我的公寓，带着一个小手提箱开始两年的旅行之前，我当然会把它变成一本书，两个朋友分别但在几天之内给了我同样的建议：“只是不要成为伊丽莎白·吉尔伯特。”
It is a risk, becoming Elizabeth Gilbert.
成为伊丽莎白·吉尔伯特是一种风险。
Not the international fame and money and showing up inexplicably and briefly on Project Runway All Stars .
不是国际名气和金钱，也不是莫名其妙地短暂出现在《天桥骄子》全明星上。
I mean being an obnoxious white lady in brown places.
我的意思是在棕色地方做一个令人讨厌的白人女士。
After all, I am (vaguely) middle class, equally blonde-haired and blue-eyed, and come from a nation with imperialistic aims.
毕竟，我（隐约）是中产阶级，同样金发和蓝眼睛，并且来自一个具有帝国主义目标的国家。
The critique of Gilbert emerged after the publication of her massive bestseller Eat, Pray, Love (2006).
对吉尔伯特的批评是在她的畅销书《美食、祈祷、爱情》（2006）出版后出现的。
She may travel to India, but she remains tucked away in an ashram, conversing almost exclusively with westerners, more interested in relaying the details of her recent breakup than noticing anything about her host country.
她可能会去印度旅行，但她仍然躲在修道院里，几乎只与西方人交谈，更感兴趣的是传达她最近分手的细节，而不是注意到有关东道国的任何事情。
From there, she goes to Bali and tries to rescue a poor Balinese woman by raising money to buy her a house, and then criticizes that same woman for not playing along.
从那里，她前往巴厘岛，试图通过筹集资金为一名贫穷的巴厘岛妇女买房子来拯救她，然后批评这名妇女不配合。
It gives a person the icks, and it unconsciously echoes so much literature written by missionaries, here on this island to save the savages if only they would allow it.
它让人感到恶心，并且无意识地呼应了传教士所写的大量文学作品，只要他们允许，他们就在这个岛上拯救野蛮人。
What she is doing is not strictly travel writing—it has more in common with memoir.
她所做的并不是严格意义上的旅行写作——它与回忆录有更多的共同点。
Gilbert has inspired a whole niche of faux travel writing by women, from Cheryl Strayed’s bestselling Wild (2012) to more moderate offerings by Elisabeth Eaves and Kristin Newman.
吉尔伯特启发了一系列女性虚假旅行写作，从谢丽尔·斯特雷德 (Cheryl Strayed) 的畅销书《狂野》(Wild)（2012 年）到伊丽莎白·伊夫斯 (Elisabeth Eaves) 和克里斯汀·纽曼 (Kristin Newman) 的较为温和的作品。
In this genre, the focus of attention is the self, and the beautiful locale becomes the backdrop of the real action, which is interior psychodrama.
在这种类型中，关注的焦点是自我，美丽的场景成为真实动作的背景，这就是内心心理剧。
These writers position themselves against the iconic travel writer who is, of course, male.
这些作家将自己定位为与标志性的旅行作家相对立，而后者当然是男性。
From Sir Richard Francis Burton to Bruce Chatwin to Paul Theroux, the traveler is an essentially masculine force, driven by the need to conquer, to experience life at its extremes, but most of all to explain.
从理查德·弗朗西斯·伯顿爵士到布鲁斯·查特文再到保罗·塞鲁克斯，旅行者本质上是一种男性力量，受到征服、体验极端生活的需要的驱动，但最重要的是解释。
This travel writer not only goes off to see what he can see but also becomes a kind of expert witness who explains the natives to interested parties at home.
这位旅行作家不仅出去看看他能看到的东西，而且还成为一种专家证人，向国内感兴趣的各方解释当地人。
That most of these writers, the polyglot Burton aside, did not speak the language, only spent a few weeks in their chosen locations, and came with a colonialist’s baggage stuffed full with preconceived assumptions did not make their audiences any less credulous about their authority.
除了通晓多种语言的伯顿之外，这些作家中的大多数都不会说这种语言，只在他们选择的地点呆了几周，带着殖民主义者的包袱而来，里面装满了先入为主的假设，但这并没有让他们的读者不再相信他们的权威。
Traditional travel writing surely needed to be infiltrated and broken apart, its masculine tropes challenged.
传统的旅行写作肯定需要被渗透和打破，其男性化的比喻受到挑战。
But the popular female travel narrative has overcorrected in a serious way; these writers are experts only on their own selves.
但流行的女性旅行叙事已经严重矫枉过正了。这些作家只是他们自己的专家。
Strayed complained in an interview with New York magazine that the typical male writer of her subgenre, nature writing, was “this educated white guy” with an “intellectual, dry way of writing about the natural world” without “anything about the interior life.” In Wild , however, one rarely gets any description of the world around her.
斯特雷德在接受《纽约》杂志采访时抱怨说，她的自然写作这一亚流派的典型男性作家是“一个受过教育的白人”，用“知识分子、枯燥的方式来描写自然世界”，而没有“任何关于内心生活的内容”。然而，在《狂野》中，人们很少得到对她周围世界的任何描述。
She includes next to nothing of the Pacific Crest Trail’s natural history or ecology.
她几乎没有提及太平洋屋脊步道的自然历史或生态。
The way we deny people's humanity might change over time, but it has the same result.
我们否认人性的方式可能会随着时间的推移而改变，但结果是一样的。
The authors of these narratives talk a lot about how they shouldn’t be on the road because good girls stay at home.
这些故事的作者经常谈论她们不应该上路，因为好女孩都呆在家里。
Explaining why she was leaving her marriage to travel, Gilbert writes, “Until I can feel as ecstatic about having a baby as I felt about going to New Zealand to search for a giant squid, I cannot have a baby.” Here, the act of travel itself is so subversive to gender norms that the destination almost doesn’t matter.
在解释她为什么要离开婚姻去旅行时，吉尔伯特写道：“除非我对生孩子感到像去新西兰寻找巨型鱿鱼那样欣喜若狂，否则我不能生孩子。”在这里，旅行行为本身就颠覆了性别规范，以至于目的地几乎不再重要。
This absolves the writer of responsibility for her choices—where she goes, what she does there, or how she writes about it.
这免除了作者对其选择的责任——她去哪里，在那里做什么，或者她如何写这些。
Much emphasis is put on how “authentic” their lives are, hence the self-congratulatory title of Newman’s collection of travel writing, What I Was Doing While You Were Breeding (2014).
纽曼的旅行写作集非常强调他们的生活是多么“真实”，因此有了一个沾沾自喜的标题：《你繁殖时我在做什么》(What I Was Doing While You Were Breeding) (2014)。
But these books are not so much transgressive as regressive.
但这些书与其说是越轨，不如说是倒退。
After all, they obey their gender codes: men go on adventures, women on journeys of self-discovery.
毕竟，他们遵守自己的性别准则：男性进行冒险，女性进行自我发现之旅。
I knew I shouldn’t be Elizabeth Gilbert, but I worried I would have to be Bruce Chatwin.
我知道我不应该成为伊丽莎白·吉尔伯特，但我担心我必须成为布鲁斯·查特文。
The myth of the male travel writer looms large, eclipsing what we know: that women have always been travel writers and not necessarily like Gilbert.
男性旅行作家的神话赫然耸现，超越了我们所知道的：女性一直都是旅行作家，而且不一定像吉尔伯特那样。
Women travel writers such as Freya Stark copy the male template in both travel and writing style.
弗雷娅·史塔克等女性旅行作家在旅行和写作风格上都复制了男性模板。
That the market has not sustained their work may have more to do with our expectations as readers than with any faults of their writing.
市场未能维持他们的作品可能更多地与我们作为读者的期望有关，而不是与他们写作的任何错误有关。
We still look to men to tell us about what they do and to women to tell us how they feel .
我们仍然期待男人告诉我们他们做了什么，期待女人告诉我们他们的感受。
Certainly Chatwin’s In Patagonia (1977) drips with emotion, but it is the rugged, daring doing—and the icon of the outsider and misfit—that drives both the narrative and continued interest in the writer and the story.
当然，查特文的《在巴塔哥尼亚》（1977）充满了情感，但正是这种粗犷、大胆的行为——以及局外人和格格不入的形象——推动了叙事以及对作家和故事的持续兴趣。
Chatwin finds his origins in the likes of Burton, the nineteenth-century British explorer and writer who was always getting into scrapes—starting African tribal conflicts, taking a spear through the face—but also wrote movingly on the emotional aspect of his travels.
查特文的渊源与十九世纪英国探险家兼作家伯顿类似，他总是陷入困境——引发非洲部落冲突，用长矛刺穿脸部——但他也以动人的方式描写了他旅行中的情感方面。
His passage explaining that he cries every time he departs on a journey, that he must hide his face whenever his ship leaves shore, is memorable.
他解释说，每次启程时他都会哭泣，每次船离岸时他都必须遮住脸，令人难忘。
But the frame differs for travel writers in the masculine mode.
但男性模式下的旅行作家的框架有所不同。
The story is built of action; feeling is a kind of decorative embroidery.
故事是由动作构成的；感觉是一种装饰性的刺绣。
Burton’s story still compels, and his legend endures.
伯顿的故事至今仍引人入胜，他的传奇也经久不衰。
Yet his contemporary and fellow Briton Isabella Bird, who enjoyed great popularity in her time, does not.
然而，与他同时代、同时代的英国同胞伊莎贝拉·伯德（Isabella Bird）却不然，她在那个时代享有盛誉。
Why?
为什么？
“Legend” is perhaps key, as more readers seem to know about him than read his work.
“传奇”也许是关键，因为了解他的读者似乎多于阅读他的作品的读者。
Burton was the first white European man to enter Mecca (in disguise) and report back.
伯顿是第一个进入麦加（乔装）并报告的欧洲白人。
Another expedition saw him seeking out the source of the Nile.
在另一次探险中，他寻找尼罗河的源头。
His work can be exhausting to read, as he did not seem to know when to stop writing.
他的作品读起来很累，因为他似乎不知道何时停止写作。
Almost every trip he took resulted in a multi-volume account.
几乎他的每一次旅行都会产生多卷的记录。
In contrast, Bird was simply writing to her sister with observations from the American West, Japan, and China.
相比之下，伯德只是写信给她姐姐，讲述对美国西部、日本和中国的观察。
Those letters were then fashioned into books.
这些信件随后被制成书籍。
There are elegant, striking passages, but little about her emotional state.
其中有一些优雅、引人注目的段落，但很少涉及她的情感状态。
Bird was a Victorian lady; one look at her portrait—tightly wound with hat, scarf, petticoats, corset, and scowl—and you know this is not a woman deeply in touch with her feelings.
伯德是一位维多利亚时代的女士。只要一看她的肖像——帽子、围巾、衬裙、紧身胸衣和皱眉紧紧地缠绕在一起——你就知道这不是一个深切感受自己感情的女人。
There is not much pleasure in reading either of them today.
今天读这两本书都没有太多乐趣。
Nineteenth-century travel writing carries a bad stink of colonialism; its tendency is to present the wilds of the earth as an entertainment and to focus on the madness of the uncivilized.
十九世纪的游记带有殖民主义的恶臭。它的倾向是将地球的荒野呈现为一种娱乐，并关注未开化者的疯狂。
Many of these accounts show the inhabitants of exotic lands in need of a steady British hand or American Christianity to bring them into true humanity.
其中许多记载都表明，异国他乡的居民需要英国人的稳定帮助或美国基督教的帮助，才能将他们带入真正的人性之中。
Bird was a product of her era and did not seem to possess an untimely wealth of perspective and compassion.
伯德是她那个时代的产物，似乎并不具备过时的丰富的洞察力和同情心。
It can be difficult to read her without cringing at proclamations about the strange habits of the “orientals” in Japan or the “irredeemable ugliness of the Tibetans.”
读她的文章时，很难不对日本“东方人”的奇怪习惯或“西藏人无可救药的丑陋”的言论感到畏缩。
But while Burton’s legacy remains alive and well, Bird—a woman, a spinster, traveling the world and getting paid for it—is merely a historical oddity.
然而，尽管伯顿的遗产仍然完好无损，但伯德——一个女人，一个老处女，环游世界并为此获得报酬——只是一个历史怪人。
If she is written about at all, what gets mentioned is her trip up a Hawaiʻi volcano, where she insisted on riding a standard saddle rather than side-saddle.
如果要写她的话，提到的就是她登上夏威夷火山的旅程，在那里她坚持骑标准马鞍而不是侧马鞍。
That makes her more of an adorable feminist anachronism than an adventurer.
这让她更像是一个可爱的、不合时宜的女权主义者，而不是一个冒险家。
We can be grateful that she exists, but that won’t make us feel like we have to read her books.
我们可以感激她的存在，但这不会让我们觉得我们必须读她的书。
That leads to an interesting question: Is it the book itself or instead the author’s pose that matters in travel writing?
这就引出了一个有趣的问题：在旅行写作中，重要的是书本身还是作者的姿势？
So many of the writers, or the ideas of them, outshine their work.
很多作家，或者他们的想法，都比他们的作品更出色。
And when women are still burdened—by publishers, by men, by each other—with doing things as women rather than as people, it can be difficult to find a new maneuver.
当女性仍然承受着出版商、男性和彼此的负担时，她们要以女性而非人的身份做事，就很难找到新的策略。
I wonder if it is a trade-off.
我想知道这是否是一种权衡。
If the larger-than-life adventurer is, in readers’ minds, the immovable province of men, why wouldn’t women writers play into expectations rather than deal with the obscurity that comes from playing in the big boys’ shadows?
如果在读者心目中，具有传奇色彩的冒险家是男性不可动摇的领域，那么为什么女作家不去迎合期望，而不是处理因在大男孩的阴影下玩耍而产生的默默无闻呢？
Certainly a few brilliant travel books break through, such as Katherine Boo’s National Book Award–winning Behind the Beautiful Forevers (2012), which worked in neither the masculine nor feminine mode exclusively but rather blended them to great effect.
当然，也有一些出色的旅行书籍取得了突破，例如凯瑟琳·布（Katherine Boo）荣获国家图书奖的《美丽永恒的背后》（Behind the Beautiful Forevers，2012），该书既不专门针对男性模式，也不专门针对女性模式，而是将它们融合在一起，产生了巨大的效果。
But Boo’s influence has not proven as contagious as Gilbert’s.
但事实证明，布的影响力并不像吉尔伯特那样具有感染力。
And even if you know the male travel writers were not the men their legends would have you believe, it can be difficult to negotiate a way around them.
即使你知道男性旅行作家并不是他们的传说中让你相信的那种人，也很难通过谈判找到解决办法。
Our gender can become a quick marketing hook, a way to move our work away from the towering male influence.
我们的性别可以成为一个快速的营销钩子，一种让我们的工作远离男性影响力的方式。
But it also sequesters us.
但它也隔离了我们。
If I couldn’t be Chatwin or Gilbert, who could I be?
如果我不能成为查特文或吉尔伯特，我能成为谁？
Stark, who died in 1993 at a hundred years old, was more an heir to Burton than Bird, traveling into remote regions of Iran before any other westerner dared and working as a spy during World War II.
斯塔克于 1993 年去世，享年一百岁。相比伯德，他更像是伯顿的继承人，他比任何其他西方人都敢于进入伊朗偏远地区，并在二战期间担任间谍。
She had some of her compatriots’ unfortunate colonialist tendencies, as she seemed to truly believe the British Empire brought stability and civility to the world.
她有一些同胞不幸的殖民主义倾向，因为她似乎真正相信大英帝国给世界带来了稳定和文明。
But on the whole, her fluency in the languages of the Middle East and her ability to see the Arabs as people and not curiosities brings to her writing a compassion missing from Bird’s.
但总体而言，她流利的中东语言以及将阿拉伯人视为普通人而非好奇心的能力，为她的写作带来了伯德所缺少的同情心。
That compassion resists both the notion that the people you meet would be happier if they were more like you and the modern impulse to turn these people into daemons helping you on your journey toward enlightenment.
这种同情心既抵制这样的观念，即你遇到的人如果更像你，就会更幸福，也抵制现代人将这些人变成恶魔的冲动，帮助你走向启蒙之旅。
The way we deny other people’s humanity might change over time, but it has the same result.
我们否认他人人性的方式可能会随着时间的推移而改变，但结果是一样的。
There is something a bit old-fashioned in Stark’s point of view, compared to the more personal takes of her friend Lawrence Durrell or other women travel writers of the time, such as Ella K.
与她的朋友劳伦斯·达雷尔（Lawrence Durrell）或当时其他女性旅行作家（例如艾拉·K·史塔克（Ella K.
Maillart and Annemarie Schwarzenbach.
梅拉特和安妮玛丽·施瓦岑巴赫。
Maillart traveled because she was trying to understand something in herself; Stark traveled because she was trying to understand something in the world.
梅拉特旅行是因为她试图了解自己的某些东西。斯塔克旅行是因为她试图了解世界上的某些事情。
There is a strong intelligence at work, always trying to fit what she is seeing and experiencing into a historical and political context.
工作中有一种强大的智慧，总是试图将她所看到和经历的事情融入到历史和政治背景中。
She is primarily an observer.
她主要是一个观察者。
Like Burton, she worked for the government, and both read as though filing reports for the home office.
和伯顿一样，她也为政府工作，两人读起来都像是在为内政部提交报告。
Stark was in the world with her writing, not above it like Bird, not in herself like Gilbert.
斯塔克与她的写作一起生活在这个世界上，而不是像伯德那样凌驾于世界之上，也不像吉尔伯特那样存在于她自己之中。
Her books are in the process of being reissued by the publisher I.B.
她的书正在由出版商 I.B. 重新发行。
Tauris, and putting aside the great charm and energy they possess, one can still see why interest in her work might be growing.
金牛座，抛开他们所拥有的巨大魅力和能量，人们仍然可以理解为什么人们对她的工作的兴趣可能会与日俱增。
Her great geographical loves included what are now Lebanon, Turkey, Afghanistan, and Iran, and while she did dip occasionally into a “the Empire is here to help” tone, she had a remarkable understanding of the region, with its shifting populations and its strong tribal cultures.
她热爱的地理区域包括现在的黎巴嫩、土耳其、阿富汗和伊朗，虽然她偶尔会用“帝国来帮忙”的语气，但她对该地区有着非凡的了解，了解该地区不断变化的人口和强大的部落文化。
She remembered to talk to women, not just men.
她记得要与女性交谈，而不仅仅是男性。
Her writing restores humanity to people who have otherwise been stripped down to news reports, reduced to death tolls and photos of open-mouthed weeping.
她的作品让人们恢复了人性，否则他们就会被剥夺到新闻报道、死亡人数和张口哭泣的照片。
The secret to her success was listening to the people she visited and letting them tell the story.
她成功的秘诀是倾听她拜访的人并让他们讲述故事。
This shouldn’t be any secret.
这不应该是什么秘密。
It should be what every travel writer does.
这应该是每个旅行作家都会做的事情。
But, as many have observed, the purpose of travel writing has changed as travel itself has changed and become more accessible.
但是，正如许多人所观察到的那样，随着旅行本身的变化并且变得更加容易理解，旅行写作的目的也发生了变化。
Listening is less important when readers no longer rely on written accounts to transport them vicariously to places they would never have the opportunity to see for themselves.
当读者不再依赖书面记录将他们带到他们永远没有机会亲眼目睹的地方时，倾听就不那么重要了。
Today’s writing is more aspirational.
今天写的比较有志气。
The travel writer sells not only lovely prose and insights into a new land but also the lifestyle of the rootless and adventurous.
这位旅行作家不仅推销可爱的散文和对新大陆的见解，还推销无根和冒险的生活方式。
Yet, when you establish your life and yourself as goals to aspire to, you take yourself out of the world.
然而，当你为自己的生活和自己确立了追求的目标时，你就脱离了这个世界。
Every interaction is sculpted for its eventual presentation, and the aim of every presentation is to show how wonderful your life is.
每一次互动都是为了最终的呈现而设计的，每一次呈现的目的都是为了展示你的生活是多么美好。
Since we seem these days to judge the best life not as one marked by compassion and connection but as a sensual experience of exotic foods, insider knowledge, and Instagram-able landscapes, everything that doesn’t incite the envy of the writer’s followers gets cut out.
如今，我们似乎不再将最好的生活视为以同情心和联系为标志的生活，而是将其视为一种对异国美食、内幕知识和可在Instagram上发布的风景的感官体验，所以一切不会引起作家追随者羡慕的东西都被剔除了。
If your life is an aspiration, you are a beacon, not a human, and you talk rather than listen.
如果你的生活是一种愿望，那么你就是一座灯塔，而不是一个人，你会说而不是听。
The prolific Irish writer Dervla Murphy started her career off like Bird, posting easygoing narratives about the interesting things she saw while riding her bicycle to India.
多产的爱尔兰作家德芙拉·墨菲（Dervla Murphy）像伯德一样开始了她的职业生涯，发表了轻松的故事，讲述她骑自行车去印度时看到的有趣的事情。
But now she works more like Stark, in the listening mode.
但现在她的工作方式更像斯塔克，处于倾听模式。
The shift started with her book about Northern Ireland, A Place Apart (1978).
这种转变始于她关于北爱尔兰的书《A Place Apart》（1978）。
She insists it is not a political work, that the politics of the Six Counties are too complicated for her to fully understand.
她坚称这不是一部政治作品，六郡的政治太复杂，她无法完全理解。
Indeed, there are no sweeping generalizations or proclamations as one would expect from a political work.
事实上，它并没有像人们所期望的政治著作那样进行全面的概括或声明。
Instead there is great empathy as she talks to all sides, from the pacifists to the preachers who advocate violence, and she argues with each of them.
相反，当她与各方交谈时，从和平主义者到鼓吹暴力的传教士，她都表现出极大的同理心，并与他们每一个人争论。
It seems that after A Place Apart , Murphy realized she is capable of having thoughts and opinions about politics and history—and that she is allowed to voice them in print.
似乎在《异地恋》之后，墨菲意识到她能够对政治和历史有想法和观点，并且她可以在印刷品中表达它们。
Her subsequent work is bolder.
她随后的作品更加大胆。
She travels to the Balkans after the war for Through the Embers of Chaos (2002), to Cuba for The Island that Dared (2008), and to Palestine for her latest book, Between River and Sea (2015).
她在战后前往巴尔干半岛拍摄《穿越混乱的余烬》(Through the Embers of Chaos, 2002)，前往古巴拍摄《敢于冒险的岛屿》(The Island that Dared, 2008)，并前往巴勒斯坦拍摄她的最新著作《Between River and Sea》(Between River and Sea, 2015)。
She does not hold back, and she does not become the expert; she reports.
她不退缩，她不成为专家；她报告说。
She is confident in her research, and she allows people to tell their stories.
她对自己的研究充满信心，并且允许人们讲述他们的故事。
She is engaged with the world, and while she doesn’t drift into the background as much as Stark does, she at no point betrays the belief that she is the most interesting person in the room.
她与这个世界息息相关，虽然她不像斯塔克那样经常陷入背景，但她从不背叛自己是房间里最有趣的人的信念。
In contrast to Eat, Pray, Love and Wild , though, don’t expect Murphy’s books to get the major-motion-picture treatment anytime soon.
不过，与《美食、祈祷、爱情和狂野》相比，不要指望墨菲的书很快就会成为大电影的主角。
Any travel writer who deviates from gender-defined roles risks being overlooked.
任何偏离性别定义角色的旅行作家都有被忽视的风险。
And that is a shame because we do not need men to explain the world’s far-off reaches to us anymore.
这是一种耻辱，因为我们不再需要人类向我们解释世界的遥远之处。
It turns out the inhabitants of the far-off reaches have voices of their own.
事实证明，遥远地区的居民也有自己的声音。
Nor do we still need women to tell us it is fine to set up a life outside of marriage and family.
我们也不再需要女性告诉我们在婚姻和家庭之外建立生活是可以的。
What we do need are more writers willing to break free of travel writing’s colonialist tendencies, whether expressed as contempt for backward others or admiration for their “authenticity” and guidance.
我们真正需要的是更多愿意摆脱旅行写作的殖民主义倾向的作家，无论是对落后他人的蔑视还是对他们的“真实性”和指导的钦佩。
On the other side of this dehumanization are compassion and the will to listen.
这种非人性化的另一面是同情心和倾听的意愿。
...we need your help.
...我们需要你的帮助。
Confronting the many challenges of COVID-19—from the medical to the economic, the social to the political—demands all the moral and deliberative clarity we can muster.
面对新冠肺炎 (COVID-19) 带来的诸多挑战——从医疗到经济、从社会到政治——需要我们在道德和审议上保持清晰的态度。
In Thinking in a Pandemic , we’ve organized the latest arguments from doctors and epidemiologists, philosophers and economists, legal scholars and historians, activists and citizens, as they think not just through this moment but beyond it.
在《大流行病的思考》中，我们整理了来自医生和流行病学家、哲学家和经济学家、法律学者和历史学家、活动家和公民的最新论点，因为他们不仅思考了当下的时刻，而且思考了超越这个时刻的思考。
While much remains uncertain, Boston Review ’s responsibility to public reason is sure.
尽管还有很多不确定性，但《波士顿评论》对公共理性的责任是确定的。
That’s why you’ll never see a paywall or ads .
这就是为什么你永远不会看到付费专区或广告。
It also means that we rely on you, our readers, for support.
这也意味着我们依赖您，我们的读者的支持。
If you like what you read here, pledge your contribution to keep it free for everyone by making a tax-deductible donation .
如果您喜欢此处阅读的内容，请承诺通过进行免税捐赠来为所有人免费提供您的贡献。
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收件箱中有关政治、文学等的重要读物
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打印注意：为了获得最佳打印效果，请尝试打开 Web 浏览器的打印对话框可用于打印背景和背景图形的任何选项。