Winona, Forever | Hazlitt
Ryder has always been trapped in her own anticipatory nostalgia, and the public has always wanted to keep her there.
莱德一直深陷自己的预期怀旧之中，而公众也一直希望将她留在那里。
Soraya Roberts is a writer in Toronto who has contributed to Harper's , Vanity Fair , The L.A.
索拉娅·罗伯茨 (Soraya Roberts) 是一位多伦多作家，曾为《Harper’s》、《Vanity Fair》、《L.A.》等杂志撰稿。
Review of Books and other publications.
书籍和其他出版物的评论。
She is currently...
她目前...
At 17, Winona Ryder underlined those words by Holden Caulfield in one of two copies of The Catcher in the Rye she was carrying with her.
17 岁时，薇诺娜·赖德 (Winona Ryder) 在她随身携带的两本《麦田里的守望者》中的一本中强调了霍尔顿·考尔菲尔德 (Holden Caulfield) 的这句话。
“Me and Holden are, like, this team,” she said.
“我和霍尔顿就是这个团队，”她说。
Ryder has since referred, more than once, to J.D.
此后，莱德不止一次提到 J.D.
Salinger’s magnum angstus as her bible, and has since mentioned, more than once, that she has read it about 50 times.
塞林格的《Magnum angstus》作为她的圣经，此后不止一次提到她已经读了大约 50 遍。
When she was 19, her boyfriend 1 1 Johnny Depp was her boyfriend at the time.
当她19岁的时候，她的男朋友1 1约翰尼·德普是她当时的男朋友。
gave her an auction-bought Christmas card with Salinger’s signature on it.
给了她一张拍卖买来的圣诞贺卡，上面有塞林格的签名。
At 20, Ryder still took Catcher in the Rye wherever she went as a kind of adult pacifier.
20 岁时，莱德仍然像成人奶嘴一样带着《麦田里的守望者》走到哪里。
She even wrote Salinger a fan letter, though she never sent it.
她甚至给塞林格写了一封粉丝信，尽管她从未寄出。
“I kind of said, um, that I, uh, just how much it meant to me, and thanked him for it,” she told Premiere .
“我有点说，嗯，我，呃，这对我来说意义重大，并为此感谢他，”她告诉首映。
Ryder did, however, send him a note in 1994, along with the Christmas card.
然而，莱德确实在 1994 年给他寄了一张纸条和一张圣诞贺卡。
“Dear Mr. Salinger,” it read.
“亲爱的塞林格先生，”上面写着。
“I received this as a gift because I’m a big fan, but I want to return it to you because I respect your privacy.” The only god she really believed in sent her a “thank you” in return.
“我收到这个礼物是因为我是你的忠实粉丝，但我想把它还给你，因为我尊重你的隐私。”她唯一真正信仰的神给她回了一句“谢谢”。
“It was amazing,” she told Esquire .
“这太棒了，”她告诉《时尚先生》。
“I mean, it’s possible that his publisher just typed it and had him sign it or something, but it was the greatest thing ever.”
“我的意思是，他的出版商可能只是打印了它并让他签名或其他什么，但这是有史以来最伟大的事情。”
At 27, Ryder was still praying at the altar of the prep school hero.
27 岁时，莱德仍在预科学校英雄的祭坛前祈祷。
That year she showed Vogue magazine a Tiffany frame she had received as a gift from a friend.
那一年，她向《Vogue》杂志展示了她从朋友那里收到的蒂芙尼镜框。
One side held a picture of her in 1990 at age 19, black clad, sunglasses, slumped on a couch, giving the finger.
一侧挂着一张她 1990 年 19 岁时的照片，身穿黑衣，戴着墨镜，瘫坐在沙发上，伸出手指。
The other held a page from Catcher in the Rye, the one in which Holden sees “Fuck you” on the wall of his 10-year-old sister’s school (“I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it’ll say ‘Holden Caulfield’ on it, and then what year I was born and what year I died, and then right under that it’ll say ‘Fuck you’”).
另一个拿着《麦田里的守望者》的一页，霍尔顿在他 10 岁妹妹学校的墙上看到“操你”（“我想，即使我死了，他们把我塞在墓地里，我有一块墓碑等等，上面都会写着‘霍尔顿·考尔菲尔德’，然后是我的出生年份和去世年份，然后在它的正下方会写着‘操你妈的’”你”）。
Two iconic teenagers, 40 years apart, side by side.
两个标志性的青少年，相差 40 岁，肩并肩。
“I was in Paris promoting Mermaids and I was a total insomniac and going nuts and having the worst time of my life,” Ryder explained.
“我在巴黎宣传《美人鱼》时，我完全失眠了，发疯了，度过了我一生中最糟糕的时光，”莱德解释道。
“It’s a very adolescent me, but it reminds me of that time so much...”
“这是一个非常青春期的我，但它让我想起了那段时光……”
For many of us, though, Winona Ryder is all the reminder we need.
然而，对我们许多人来说，薇诺娜·瑞德就是我们所需要的提醒。
“There’s something of an expectation for young actors not only to play young, but to have that intuition of what their generation is going through and to be on that wavelength,” says Timothy Shary, a film scholar who has published multiple books on teen cinema including Generation Multiplex: The Image of Youth in American Cinema Since 1980 and Teen Films: American Youth on Screen .
电影学者蒂莫西·沙里（Timothy Shary）表示：“人们期望年轻演员不仅要扮演年轻的角色，还要对他们这一代人正在经历的事情有直觉，并保持在那个波长上。”他出版了多本有关青少年电影的书籍，包括《多世代：1980年以来美国电影中的青年形象》和《青少年电影：银幕上的美国青年》。
“For girls of my generation who were awkward or a little bit strange, Winona Ryder was both relatable and aspirational,” wrote Alana Massey in BuzzFeed last year.
“对于我这一代那些笨拙或有点奇怪的女孩来说，薇诺娜·瑞德既让人亲近又令人向往，”阿兰娜·马西去年在 BuzzFeed 上写道。
Though Ryder was often described as the ingénue, this implies a passivity Ryder eluded in every one of her teen films—in Square Dance she beats up a woman who takes advantage of a mentally handicapped man, in Beetlejuice she sacrifices herself to save a pair of ghosts, in Heathers she encourages her boyfriend to blow himself up (then uses his body to light her cigarette), in Edward Scissorhands she falls in love with a goth anti-hero, in Welcome Home, Roxy Carmichael she spurns the local hunk and in Mermaids she propositions him.
虽然莱德经常被描述为天真无邪，但这意味着莱德在她的每一部青少年电影中都回避了一种被动性——在《广场舞》中，她殴打了一个利用弱智男人的女人；在《甲壳虫汁》中，她牺牲自己来拯救一对鬼魂；在《希瑟斯》中，她鼓励男友引爆自己（然后用他的身体来点燃她的香烟）；在《剪刀手爱德华》中，她爱上了一个哥特人。反英雄，在《欢迎回家》中，罗克西·卡迈克尔拒绝了当地的帅哥，而在《美人鱼》中，她向他求婚。
These were films in which she didn’t so much play a character as perform her own.
在这些电影中，她与其说是扮演一个角色，不如说是在表演自己的角色。
“Winona is an actress who works directly from primal instinct,” her Alien: Resurrection director, Jean-Pierre Jeunet, said.
“薇诺娜是一位直接凭原始本能工作的女演员，”她的《异形：复活》导演让-皮埃尔·热内说。
“This instinctual way of working is a rare quality usually only found in children.”
“这种本能的工作方式是一种罕见的品质，通常只存在于儿童身上。”
That her acting—that she herself 2 2 “She has made a choice to be innocent, and that’s not to suggest there’s anything false about it,” Beetlejuice writer Michael McDowell told Life .
她的表演——她本人 2 2 “她选择保持无辜，但这并不意味着她的选择有任何虚假之处，”《甲壳虫汁》的编剧迈克尔·麦克道尔告诉《生活》杂志。
“She’s innocence through and through.” —is childlike is understandable considering she reveres Caulfied, a character who reveres children.
“她是彻头彻尾的纯真。” ——考虑到她尊敬考尔菲德这个尊敬孩子的角色，她的孩子气是可以理解的。
3 3 She also exalts children and has only ever been willing to give signatures to “under-thirteens.”
3 3 她还崇尚儿童，并且只愿意为“十三岁以下”签名。
Like him, teen Ryder was the smart, ambivalent outsider searching for a place in a society that opposed those very things.
和他一样，青少年莱德也是一个聪明但矛盾的局外人，在反对这些事情的社会中寻找一席之地。
Even into her twenties, in Reality Bites and Girl, Interrupted , she was more of a delayed adolescent than an adult.
即使到了二十多岁，在《现实叮咬》和《被打扰的女孩》中，她更像是一个迟到的青少年，而不是一个成年人。
Ryder was unable to move on because of what moving on meant.
莱德无法继续前进，因为继续前进意味着什么。
And we weren’t either.
我们也不是。
Our Nonistalgia keeps her cloistered to this day in adolescence, alongside then-boyfriend Johnny Depp, before he cashed in on his eccentricity.
我们的不怀旧情绪让她在青春期一直与世隔绝，和当时的男友约翰尼·德普在一起，直到他利用自己的古怪行为赚钱。
But despite our attempts to resuscitate the past— Beetlejuice 2, Heathers: The Musical , Marc Jacobs—and as young as Ryder continues to look, she is no longer that ‘90s ingénue.
但尽管我们试图复兴过去——《甲壳虫汁 2》、《希瑟斯：音乐剧》、马克·雅各布斯——尽管莱德看上去依然年轻，但她已不再是那个 90 年代的天真无邪了。
In that sense she and Holden really are a team.
从这个意义上说，她和霍尔顿确实是一个团队。
“[Caulfield’s] central dilemma is that he wants to retain a child’s innocence, solipsism, and clarity,” wrote Harold Bloom, “but because of biology he must move into either adulthood or madness.”
哈罗德·布鲁姆写道：“考菲尔德的核心困境是，他想保留孩子的纯真、唯我主义和清晰，但由于生物学的原因，他要么进入成年，要么陷入疯狂。”
She was named after Winona, Minnesota—her place of birth—which took its name from a Dakota Sioux legend, in which the goddess Winona chose to leap off a cliff rather than marry a man she didn’t love.
她以她的出生地明尼苏达州威诺娜命名，这个名字来源于达科他苏族的一个传说，在这个传说中，女神威诺娜选择跳下悬崖，而不是嫁给一个她不爱的男人。
Her friends call her Noni, as in “no knee.” Her last name is Horowitz (well, Tomchin, but that’s another story 4 4 The Horowitzes adopted the name of the family they travelled with from Eastern Europe to Ellis Island.
她的朋友们称她为“Noni”，意思是“没有膝盖”。她的姓氏是霍洛维茨（好吧，汤姆钦，但那是另一个故事了 4 4 霍洛维茨一家采用了他们从东欧来到埃利斯岛的家人的名字。
).
）。
She considered the name unphotogenic so, for her career, her dad chose Ryder instead (perhaps while listening to a Mitch Ryder album) after they briefly paused on October (her birth month) and Huxley (one of her favourite authors).
她认为这个名字不上镜，因此，为了她的职业生涯，她的父亲在十月（她的出生月份）和赫胥黎（她最喜欢的作家之一）短暂停留后，选择了莱德（可能是在听米奇·莱德的专辑时）。
Her parents are counter-culture intellectuals—they created the Fitz Hugh Ludlow Memorial Library, the largest cache of psychoactive drug literature in the world—who raised her in a California commune.
她的父母是反文化知识分子，他们创建了菲茨·休·勒德洛纪念图书馆，这是世界上最大的精神药物文献库，他们在加利福尼亚州的一个公社抚养她。
Growing up, she was inundated with old movies and older books.
在她的成长过程中，她被老电影和老书淹没了。
At seven, she saw Greer Garson in Random Harvest .
七岁时，她在《随机收获》中看到了葛丽尔·嘉逊。
“I wanted to be like her,” Ryder told Seventeen .
“我想像她一样，”莱德告诉十七。
“Nothing could compare with Garson’s face, her expressions […] All those old movies affected me; they gave me a tingling feeling when I watched them.
“没有什么能与加森的脸、她的表情相比……所有那些老电影都影响了我；当我观看它们时，它们给我一种刺痛的感觉。
I wanted to be part of them, even the ones with tragic endings.” But she wasn’t sent to San Francisco’s American Conservatory Theater (ACT) until she was 12 after a bunch of kids at school saw her dressed in a suit—her gangster movie phase—called her a “faggot” and beat her up.
我想成为他们的一部分，即使是那些结局悲惨的人。”但直到 12 岁，她才被送到旧金山的美国音乐学院剧院 (ACT)，因为学校里的一群孩子看到她穿着西装——这是黑帮电影中的场景——称她为“基佬”并殴打她。
She enrolled to meet more people like her and got in by performing a monologue she adapted from J.D.
她报名是为了结识更多像她一样的人，并通过表演一段改编自 J.D. 的独白而被录取。
Salinger’s Franny and Zooey .
塞林格的《弗兰妮和佐伊》。
“I’m marvellous now.
“我现在很棒。
I just never felt so fantastically rocky in my entire life.”
我这辈子从来没有感到如此摇摇欲坠。”
A year in, Ryder auditioned for filmmaker David Seltzer.
一年后，莱德参加了电影制片人大卫·塞尔策的试镜。
He was casting his new movie, Lucas , specifically the role of Rina, a young teen lovesick over the titular character (Corey Haim) who is lovesick over a cheerleader (Kerri Green) who is lovesick over a quarterback (Charlie Sheen).
他正在为自己的新电影《卢卡斯》选角，特别是角色丽娜（Rina），一个对同名角色（科里·海姆饰）相思的年轻青少年，对拉拉队长（凯里·格林饰）相思，又对四分卫（查理·辛饰）相思。
Seltzer was making his choice based on one scene in particular, outside a school dance where Lucas has failed to take his crush.
塞尔策是根据一个场景做出的选择，在学校舞会外，卢卡斯未能接受他的迷恋。
Sitting by the water contemplating a bottled dragonfly nymph, Lucas is joined by Rina, who observes its ugliness..
卢卡斯坐在水边，凝视着瓶装蜻蜓幼虫，丽娜也加入了卢卡斯的行列，后者观察到了它的丑陋。
Lucas: It turns into something very beautiful, Rina.
卢卡斯：它变成了非常美丽的东西，丽娜。
Rina: Is that possible?
莉娜：这可能吗？
Lucas: Can you imagine that?
卢卡斯：你能想象吗？
Turning from something ugly into something beautiful?
从丑陋的东西变成美丽的东西？
Rina: No, frankly I can’t.
莉娜：不，老实说我不能。
“I read the scene with her and she broke my heart because she was maybe speaking a truth from deep down,” Seltzer says.
“我和她一起读了这个场景，她伤了我的心，因为她可能在内心深处说出了真相，”塞尔策说。
“I thought probably Winona would be relegated to the unattractive friend for the rest of her career.” Watching the scene, that’s difficult to see.
“我认为薇诺娜在她余下的职业生涯中可能会被降级为没有吸引力的朋友。”看场面，很难看出。
Though only 13, Ryder, with her stillness, her serene delivery, her ability to bewitch just by looking and listening, is an island of charisma.
莱德虽然只有 13 岁，但她的安静、平静的表达以及她通过观看和聆听就能迷惑的能力，是一座魅力之岛。
Perhaps all she needed to hear was Seltzer’s direction—“The camera will read your mind”—or perhaps she simply came out that way.
也许她需要听到的只是 Seltzer 的指示——“相机会读懂你的想法”——或者也许她只是这么说的。
Regardless, she dominates her few scenes, the mature poised foil to Haim’s agitated youth.
不管怎样，她在为数不多的几场戏中占据了主导地位，成熟的泰然自若衬托出了海姆躁动的青春。
(Seltzer admits, “it was not a great match because she seemed to be so much older than he was.”) At the end of the shoot, the young actors took turns sharing what Seltzer had taught them, each one fawning over his technique—except Ryder.
（塞尔策承认，“这不是一场伟大的比赛，因为她看起来比他年长很多。”）拍摄结束时，年轻演员们轮流分享塞尔策教给他们的东西，每个人都对他的技术赞不绝口——除了莱德。
“David taught me how to peel an orange in one piece,” she said, Seltzer recalls with a laugh.
“大卫教我如何把橙子剥成一片，”塞尔策笑着回忆道。
“She was not gonna play that game.
“她不会玩那个游戏。
It was pure Winona.”
这是纯粹的薇诺娜。”
Her first starring role was only her second film appearance ever and the first of many in which she played younger than she actually was.
她的第一个主演角色只是她第二次出演电影，也是她在许多电影中扮演的第一个比实际年龄更年轻的角色。
5 5 Her breasts were reportedly bound for the role.
5 5 据报道，她的胸部注定要演这个角色。
“She had a beautiful figure at 14,” says co-star Jane Alexander.
“她 14 岁时就有了美丽的身材，”联合主演简·亚历山大 (Jane Alexander) 说道。
“She was already quite mature.” In the family drama Square Dance, 14-year-old Ryder plays 13-year-old Gemma, a farm girl who falls in love with a 21-year-old mentally disabled man (Rob Lowe) after leaving her grandad (Jason Robards) to live in the city with her estranged mom (Jane Alexander).
“她已经很成熟了。”在家庭剧《广场舞》中，14 岁的莱德饰演 13 岁的农场女孩杰玛，她离开爷爷（杰森·罗巴兹饰）和关系疏远的妈妈（简·亚历山大饰）一起住在城市后，爱上了 21 岁的智障男子（罗布·劳饰）。
Alexander, who also co-executive produced the film, says that director Daniel Petrie auditioned hundreds of girls, “and then Winona walked in.” She only had one credit, but her presence was legion.
亚历山大也是这部电影的联合执行制片人，他说导演丹尼尔·皮特里试镜了数百名女孩，“然后薇诺娜走了进来。”她只有一个功劳，但她的存在却是一大堆。
“She had her own very strong personality—very authentic, very observant, forthright,” Alexander says, “she radiated a kind of naturalness not only on screen but off as well.” Ryder has credited Alexander with teaching her patience between shots and Robards with teaching her to be more natural.
“她有自己非常强烈的个性——非常真实、非常善于观察、直率，”亚历山大说，“她不仅在银幕上而且在私下都散发着一种自然的气息。”莱德称赞亚历山大教会了她在击球之间的耐心，而罗巴兹教会了她更加自然。
“If I hadn’t worked with people like Jane and Jason, I probably would have blown a lot of roles,” she said.
“如果我没有和简和杰森这样的人一起工作，我可能会演掉很多角色，”她说。
She referred to both Robards and Alexander as her mentors, though the latter denies she taught Ryder much at all.
她称罗巴兹和亚历山大都是她的导师，尽管后者否认她教会了莱德很多东西。
“If I did anything it was just to say hold on to whatever emotion you have,” Alexander says.
“如果我做了什么，那就是说要抓住你的任何情绪，”亚历山大说。
“Emotion was very readily available for her.”
“她很容易感受到情感。”
Tim Burton sensed it after only watching her once.
蒂姆·伯顿只看了她一次就感觉到了。
And he remembered it while casting his new movie about a pair of ghosts who haunt a family and befriend their young daughter, Lydia Deetz, a Wednesday Addams type.
他在选角新电影时想起了这件事，该片讲述了一对鬼魂困扰着一个家庭，并与他们的小女儿莉迪亚·迪茨（Lydia Deetz）成为朋友的故事，莉迪亚·迪茨是星期三·亚当斯类型的人。
“I had asked about Winona Ryder because I had seen her in Lucas and she had a really strong presence,” the director explained in Burton on Burton.
“我问过薇诺娜·瑞德，因为我在《卢卡斯》中见过她，她的存在感非常强，”导演在《伯顿》中解释道。
She also looked the part.
她看上去也很符合这个角色。
“A lot of those clothes were my clothes,” Ryder told Vogue in 1989.
“其中很多衣服都是我的衣服，”Ryder 1989 年告诉《Vogue》。
“My skin was actually that pale.” And from the first scene, reclining on a couch, she descends like an anemic Cleopatra into the moving bustle, the eye of the storm.
“我的皮肤其实就那么苍白。”从第一个场景开始，她斜靠在沙发上，像贫血的克利奥帕特拉一样陷入移动的喧嚣，风暴的中心。
“My whole life is a dark room,” Lydia says beneath a black veil.
“我的整个生活都是一个黑暗的房间，”莉迪亚在黑色面纱下说道。
Then: “It says live people ignore the strange and usual.
然后：“它说活着的人忽略了奇怪和平常的事情。
I myself am strange and unusual.” Ryder felt a kinship to Burton, who was an outsider like her (“I am utterly alone,” Lydia writes in her journal, the first of her many Salingeresque narrations 6 6 She also journals in Heathers and Girl, Interrupted, and has a voiceover in Mermaids.
我自己就很奇怪、不寻常。”莱德对伯顿有一种亲切感，伯顿和她一样是一个局外人（“我完全孤独，”莉迪亚在她的日记中写道，这是她众多萨林格式叙述中的第一个6 6）她还在《希瑟斯》和《女孩，中断》中写日记，并在《美人鱼》中有画外音。
).
）。
“Tim talks my language, you know?” she said at the time.
“蒂姆说的是我的语言，你知道吗？”她当时说道。
“We have the same sensibility.”
“我们有同样的感受。”
There’s a reason J.D.
J.D. 是有原因的。
Salinger, who is celebrated for his realistic depiction of anti-conformity, almost always writes “about very young people.” While Johnny Depp has profited from his quirks as an older leading man— Pirates of the Caribbean, Sweeney Todd, Alice in Wonderland— Ryder has not.
塞林格因其对反主流的现实描述而闻名，他几乎总是写“关于非常年轻人的故事”。虽然约翰尼·德普从他作为年长男主角的怪癖中获益——《加勒比海盗》、《理发师陶德》、《爱丽丝梦游仙境》，但莱德却没有。
The same way they aren’t permitted to err, women aren’t entitled to be outsiders, and older women are barely tolerated at all.
就像她们不被允许犯错一样，女性也没有资格成为局外人，而老年女性也几乎不被容忍。
What older women, which Ryder is considered now, are authorized to be is wives ( The Iceman, Experimenter ), girlfriends ( Homefront ) and mothers (Netflix’s upcoming Stranger Things ).
莱德现在所认为的老年女性，被授权的身份是妻子（《冰人》、《实验者》）、女朋友（《国土防线》）和母亲（Netflix 即将上映的《怪奇物语》）。
Ryder must thus settle for supporting roles, which do little more than highlight how much more watchable Lydia Deetz, Veronica Sawyer, and Charlotte Flax were, and why we can’t forget them.
因此，莱德必须满足于配角，这无非是凸显了莉迪亚·迪茨、维罗妮卡·索耶和夏洛特·弗莱克斯有多引人注目，以及为什么我们不能忘记他们。
As she told Interview , “you get used to thinking that things are going a certain way because of something, but then you just kind of grow up.”
正如她告诉采访的那样，“你习惯于认为事情会因为某些事情而朝着某种方向发展，但随后你就长大了。”
But grown up is not how we remember her.
但长大后的她并不是我们记忆中的样子。
“The true Ryder heroine is a gentle soul in tremulous transition to maturity,” wrote Richard Corliss in a 1994 TIME article about the twentysomething “Winona Generation.” And though last year Vogue made claims of a Winonaissance, the actress herself acknowledged it was based on her past, that the images on Instagram were largely “of this waifish, big-eyed girl.” “Nostalgia is holding onto our youth in relation to what we enjoyed at the time, when we were young, but also the people we remember being young with us,” Shary says.
理查德·科利斯 (Richard Corliss) 在 1994 年《时代》杂志一篇有关二十多岁的“薇诺娜一代”的文章中写道：“真正的莱德女主角是一个温柔的灵魂，正处于向成熟过渡的过程中。”尽管去年《Vogue》杂志声称自己是一位“Winonaissance”，但这位女演员本人也承认，这是基于她的过去，Instagram 上的照片主要是“这个流浪的大眼睛女孩”。莎里说：“怀旧是指我们对青春的怀念，是指我们在年轻时所享受的事物，以及那些我们记得年轻时与我们在一起的人。”
“You have to have a memory of the thing that happened in order to have nostalgia.
“你必须对所发生的事情有记忆，才能产生怀旧之情。
In another generation or so what was once so affirming and heartening about Winona Ryder’s late ‘80s roles will have dissipated.” Our memory of Winona Ryder is muted youth, a soft face, a remote voice, a patient performance.
在另一代人左右的时间里，薇诺娜·瑞德 (Winona Ryder) 在 80 年代末扮演的角色中曾经如此肯定和令人振奋的东西将会消失。”我们对薇诺娜·瑞德的记忆是沉默的青春、柔和的面孔、遥远的声音和耐心的表演。
Winona Ryder now is sharper, her face angular, her voice piercing, her approach aggressive.
薇诺娜·瑞德现在更加犀利，她的脸棱角分明，声音刺耳，态度咄咄逼人。
“Terrified,” is how Lui now describes the eyes that once made her famous.
“害怕”，吕现在这样描述那双曾经让她出名的眼睛。
It’s as though, no longer getting roles that she can simply be rather than perform, she is acting out.
就好像，她不再能扮演自己可以扮演的角色，而只能表演，她正在表演。
Ryder recently told The Daily Beast that when she joined HBO’s Show Me a Hero , creator David Simon warned, “Better not show those Winona eyes.” It was the opposite of what her bible had always told her, which was to be honest, innocent, pure.
莱德最近告诉《每日野兽报》，当她加入 HBO 的《英雄秀》时，主创大卫·西蒙警告说，“最好不要露出薇诺娜的眼睛。”这与圣经一直告诉她的“诚实、天真、纯洁”相反。
And in response, Ryder—never unable to be real—cut off her eyelashes.
作为回应，莱德——从来都不是真实的——剪掉了她的睫毛。
It’s virtually impossible not to make the connection to Samson, the Biblical hero whose source of power was his hair.
几乎不可能不与圣经英雄参孙联系起来，参孙的力量来源于他的头发。
Like Holden said, “Certain things they should stay the way they are.
正如霍尔顿所说：“某些事情应该保持原样。
You ought to be able to stick them in one of those big glass cases and just leave them alone.”
你应该能够把它们放在一个大玻璃柜里，然后别管它们。”
Soraya Roberts is a writer in Toronto who has contributed to Harper's , Vanity Fair , The L.A.
索拉娅·罗伯茨 (Soraya Roberts) 是一位多伦多作家，曾为《Harper’s》、《Vanity Fair》、《L.A.》等杂志撰稿。
Review of Books and other publications.
书籍和其他出版物的评论。
She is currently working on a memoir as well as a book about My So-Called Life (ECW, 2016).
她目前正在撰写回忆录以及一本关于“我所谓的生活”的书（ECW，2016）。
Somewhere out in Texas, a group is building a machine to challenge the human perception of time.
在德克萨斯州的某个地方，一个团队正在建造一台机器来挑战人类对时间的感知。
The Quebec director on tackling suicide, absence, and inherited melancholia in her latest film .
这位魁北克导演在她的最新电影中探讨了自杀、缺席和遗传性忧郁症的问题。