Best of 2022: All of our No. 5 Story Picks

## Get the Longreads Top 5 Email

## 获取长读前 5 名电子邮件

Kickstart your weekend by getting the week’s best reads, hand-picked and introduced by Longreads editors, delivered to your inbox every Friday morning.

每周五早上，将由 Longreads 编辑精心挑选和介绍的本周最佳读物发送到您的收件箱，开始您的周末。

All through December, we’ve been featuring Longreads’ Best of 2022.

整个 12 月，我们一直在精选 Longreads 的 2022 年最佳作品。

Today, we close out this year’s Best of Longreads package with a list of every story that was chosen as No. 5 in our weekly Top 5 email.

今天，我们结束了今年的最佳长读作品包，其中列出了每周前 5 名电子邮件中被选为第 5 名的每个故事。

Number five stories often have a special quality; sometimes light, sometimes humorous, often poignant, each number five story is a welcome distraction and a very important part of our weekly mix.

第五个故事通常具有特殊的品质；有时是轻松的，有时是幽默的，有时是辛酸的，每个第五个故事都是一种受欢迎的消遣，也是我们每周组合中非常重要的一部分。

Enjoy!

享受！

## — January —

## — 一月 —

## Fall Risk

## 跌倒风险

Madeleine Watts | The Believer | March 25, 2020 | 5746 words

马德琳·瓦茨 |信徒| 2020 年 3 月 25 日 | 5746 字

Madeleine Watts’ essay was published in March 2020, but the dis-ease she describes from unexplained fainting episodes is very relatable as the pandemic endures.

马德琳·瓦茨 (Madeleine Watts) 的文章发表于 2020 年 3 月，但随着疫情的持续，她所描述的不明原因晕倒事件所带来的不适感与人们非常相关。

As she examines her life and experiences leading up to and after being declared “weak with no known cause,” Watts suggests that “Our bodies are the containers for our thoughts…” It’s only by considering life stresses in hindsight (terminal family illnesses, immigration concerns, and fear for her own health) that it becomes easy to see why her body would suddenly shut down from sheer overload: “…the body sometimes articulates things that the mind cannot.” —KS

当她审视自己被宣布为“无故虚弱”之前和之后的生活和经历时，瓦茨表示，“我们的身体是我们思想的容器……”只有事后考虑生活压力（绝症家庭疾病、移民问题和对自己健康的担忧），才很容易理解为什么她的身体会因纯粹的超负荷而突然关闭：“……身体有时能表达出大脑无法表达的东西。” —KS

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## The Secret MVP of Sports?

## 体育界的秘密 MVP？

The Port-a-Potty

便盆

Ryan Hockensmith | ESPN | January 5, 2022 | 4,311 words

瑞安·霍肯史密斯 | ESPN | 2022 年 1 月 5 日 | 4,311 字

There’s nothing quite like it.

没有什么比这更好的了。

You’re out an outdoor event when nature calls; looking around, your heart sinks when see that your only option is a flimsy plastic shed, behind the door of which untold horrors lurk.

当大自然召唤时，您正在户外活动；环顾四周，当你发现唯一的选择是一个脆弱的塑料棚时，你的心沉了下去，门后潜伏着难以言喻的恐怖。

Odd as it is, though, you might fear that prospect a bit less after reading Hockensmith’s breezy tour through the history and importance of port-o-potties (and, crucially, the professional maintenance thereof).

尽管这很奇怪，但在阅读了霍肯史密斯关于便盆的历史和重要性（以及最重要的是其专业维护）的轻松之旅后，您可能不会那么担心这种前景。

Whether following a crew of Buffalo sanitation workers undertaking a frenzied early-game half-suck in the parking lots around the Bills’ stadium or speaking with academics about the future of equitable sanitation, the piece never strays from its founding charm.

无论是跟随一群布法罗环卫工人在比尔队体育场周围的停车场进行比赛前疯狂的半吸，还是与学者谈论公平卫生的未来，这部作品从未偏离其最初的魅力。

By the time you’re finished, you may not be ready to leave indoor plumbing behind, but you’ll have a newfound equanimity the next time you do have to hazard a trip to the Box of Uncertainty.

当你完成时，你可能还没有准备好把室内管道抛在脑后，但下次当你不得不冒险进入不确定性之盒时，你会获得新的平静。

(Not always, though; as Hockensmith knowingly writes, Sometimes the cost of having to hold it isn’t as bad as the price of getting to go.) And no matter how much pre-gaming you’ve done, I promise you this: you’ll never try to run across the roof of one.

（不过，情况并非总是如此；正如霍肯史密斯有意所写的那样，有时不得不持有它的成本并不像离开的代价那么糟糕。）无论你在游戏前做了多少准备，我向你保证：你永远不会试图跑过屋顶。

—PR

——公关

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## The Undoing of Joss Whedon

## 乔斯·韦登的毁灭

Lila Shapiro | Vulture | January 17, 2022 | 8,989 words

莉拉·夏皮罗 |秃鹫| 2022 年 1 月 17 日 | 8,989 字

The ’90s were a different era — a time before Netflix binging — when a whole agonizing week passed between each episode of your favorite show.

90 年代是一个不同的时代，那时 Netflix 还没有热播，当时你最喜欢的节目的每一集之间都经历了整整痛苦的一周。

Buffy the Vampire Slayer aired on Fridays at 7 p.m., and I was either ready on the sofa or scrambling to record it on VHS tape.

《吸血鬼猎人巴菲》每周五晚上 7 点播出，我要么在沙发上准备好，要么忙着把它录在 VHS 磁带上。

I loved it!

我喜欢它！

To me, Buffy was a symbol of “girl power” (a beloved ’90s phrase), a young blonde woman finally playing the hero rather than the victim.

对我来说，巴菲是“女孩力量”（90 年代流行的短语）的象征，一位年轻的金发女郎终于扮演了英雄而不是受害者。

Lila Shapiro, however, writes that the show can be interpreted differently: “the titillating tale of a woman in leather pants who is brutalized by monsters.” Disconcerting for me to consider, but in line with the recent revelations about Joss Whedon, Buffy‘s creator.

然而，莉拉·夏皮罗写道，这部剧可以有不同的解读：“一个穿着皮裤的女人被怪物残酷折磨的令人兴奋的故事。”这让我感到不安，但这与最近关于巴菲的创造者乔斯·韦登的爆料是一致的。

Shapiro has carried out extraordinary research for this article, interviewing Whedon’s former colleagues and lovers, as well as Whedon himself.

夏皮罗为这篇文章进行了非凡的研究，采访了韦登的前同事和恋人，以及韦登本人。

Once a god to his fans, public revelations from his ex-wife and former cast detailing affairs with young actresses and casual cruelty have led to his fall.

曾经是他粉丝心目中的神，但他的前妻和前演员公开揭露了他与年轻女演员的风流韵事以及随意的残忍行为，导致了他的堕落。

People are conflicted about whether he was merely difficult or crossed the line into abuse, and Shapiro finds no clear answers.

人们对他是否只是难相处还是越界虐待感到矛盾，夏皮罗没有找到明确的答案。

Whedon is keen to deflect blame, claiming that, with regard to affairs with cast members, “He felt he ‘had’ to sleep with them, that he was ‘powerless’ to resist.” An uncomfortable and frustrating read — which may tarnish some childhood memories — but a brilliant exploration into the ruin of Whedon’s reputation.

韦登热衷于推卸责任，声称，对于与演员的风流韵事，“他觉得自己‘必须’和他们上床，而他‘无力’反抗。”这是一本令人不舒服和令人沮丧的读物——可能会玷污一些童年记忆——但却是对惠登声誉毁坏的精彩探索。

—CW

—CW

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** **

## Mementos Mori

## 死亡纪念品

Sophie Haigney | The Baffler | January 27, 2022 | 1,851 words

苏菲·海格尼 |挡板| 2022 年 1 月 27 日 | 1,851 字

When was the last time you saw an ashtray?

您最后一次看到烟灰缸是什么时候？

I don’t recall, but I do remember the heavy, green glass ashtrays my parents used every day.

我不记得了，但我确实记得我父母每天使用的沉重的绿色玻璃烟灰缸。

Growing up, my brother and I had to do the dishes.

从小到大，我和弟弟必须洗碗。

I refused to wash those ashtrays, my only form of protest against their pack-a-day habit.

我拒绝清洗那些烟灰缸，这是我抗议他们每天收拾一包习惯的唯一形式。

Ashtrays are among the objects that Sophie Haigney discusses in her review of Extinct: A Compendium of Obsolete Objects at The Baffler.

烟灰缸是索菲·海格尼 (Sophie Haigney) 在她的《灭绝：迷惑器过时物品纲要》(Extinct: A Compendium of Obsolete Objects at The Baffler) 的评论中讨论的物品之一。

The book’s essays cover objects that, for one reason or another, failed or fell out of fashion.

这本书的文章涵盖了由于某种原因失败或过时的物品。

It asks: “What was it that has disappeared and why?

它问道：“是什么消失了？为什么？

And then, what was the significance of this loss?” The loss of some things, such as ashtrays — for some — is nostalgic.

那么，这次损失的意义何在？”对于某些人来说，失去一些东西（例如烟灰缸）是令人怀念的。

There’s less nostalgia for zeppelins, all-plastic houses, and flying boats.

人们不再那么怀念齐柏林飞艇、全塑料房屋和飞船。

What I enjoyed most about Haigney’s review is that it got me thinking about a social change that seemed to happen instantly, but in reality took place over decades.

我最喜欢海格尼的评论的是，它让我思考似乎立即发生的社会变革，但实际上已经发生了几十年。

As Haigney responds to Catherine Slessor’s essay: “Ashtrays are no longer status symbols, displayed waist-high in suburban living rooms.

正如海格尼对凯瑟琳·斯莱索的文章的回应：“烟灰缸不再是地位的象征，在郊区的客厅里陈列在齐腰高的地方。

Now, there is something illicit about possessing an ashtray, associated as it is with the mild rebellion of smoking cigarettes.” Slessor writes, “The ashtray is not only an adjunct to social pleasure, but a memento mori, a reminder that you are dancing with death.” —KS

现在，拥有烟灰缸是违法的，因为它与吸烟的轻微反抗有关。”斯莱索写道：“烟灰缸不仅是社交乐趣的辅助品，也是死亡的象征，提醒人们你正在与死亡共舞。” —KS

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## — February —

## — 二月 —

## What Was the TED Talk?

## TED 演讲内容是什么？

Oscar Schwartz | The Drift | January 31, 2022 | 4,757 words

奥斯卡·施瓦茨 |漂移| 2022 年 1 月 31 日 | 4,757 字

Even at the height of the TED era, I’d never bought into the idea of a TED Talk — I could never get past the ridiculousness of it all: the thought leader du jour under a spotlight, pacing back and forth on stage, taking each step, serving up each line, even delivering each pause with emotion and passion.

即使在 TED 时代的鼎盛时期，我也从未接受过 TED 演讲的想法——我永远无法摆脱这一切的荒谬之处：聚光灯下的当日思想领袖，在舞台上来回踱步，迈出每一步，说出每句话，甚至每一次停顿都充满情感和激情。

Their aim?

他们的目的是什么？

To disseminate knowledge about the future of our world with other hungry minds, but also to share their bold ideas for how to be better, superior humans.

与其他渴望的人一起传播有关我们世界未来的知识，同时也分享他们关于如何成为更好、更优秀的人类的大胆想法。

(“The TED philosophy encouraged boldness of vision, but also denial of reality,” writes Schwartz.

（“TED 哲学鼓励大胆的愿景，但也鼓励对现实的否定，”施瓦茨写道。

“As such, it was a magnet for narcissistic, recognition-seeking characters and their Theranos-like projects.”) I enjoyed Schwartz’s exploration of TED’s history and approach, and the rise and fall of the TED Talk, which had a very distinct format fusing interestingness with storytelling to create “inspiresting” content.

“因此，它吸引了自恋、寻求认可的人物和他们类似希拉洛斯的项目。”）我喜欢施瓦茨对 TED 历史和方法的探索，以及 TED 演讲的兴衰，它有一种非常独特的格式，将有趣性与讲故事融为一体，创造出“鼓舞人心”的内容。

—CLR

—CLR

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** **

## Suzanne Takes You Down to Her Place Near the River

## 苏珊娜带你去她靠近河边的地方

Lacy Warner | Guernica | February 7, 2022 | 5,082 words

莱西·华纳 |格尔尼卡 | 2022 年 2 月 7 日 | 5,082 字

Suzanne Verdal, the infamous muse and subject of the Leonard Cohen song that bears her name, is a real person.

苏珊娜·维达尔 (Suzanne Verdal) 是臭名昭著的缪斯女神，也是以她的名字命名的伦纳德·科恩 (Leonard Cohen) 歌曲的主题，她是一个真实存在的人。

And unlike Cohen who passed away in 2016, she’s still alive.

与 2016 年去世的科恩不同，她还活着。

Because she’s a human being, we know that Suzanne is much more than simply a muse, but did she have artistic aspirations of her own?

因为她是一个人，我们知道苏珊娜不仅仅是一个缪斯女神，但她有自己的艺术抱负吗？

At Guernica, writer Lacy Warner is surprised by what she finds out about Suzanne’s true super power: “In Suzanne, I saw the possibility not only of reckoning with what muses might be owed, but the chance to strike a blow for all the women who have inspired men’s art while struggling to be recognized for their own.” —KS

在《格尔尼卡》中，作家莱西·华纳 (Lacy Warner) 对苏珊娜真正的超能力的发现感到惊讶：“在苏珊娜身上，我不仅看到了思考可能欠下的缪思的可能性，而且看到了为所有启发男性艺术同时努力让自己的艺术得到认可的女性带来打击的机会。” —KS

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## On Winter

## 冬天

Matt Dinan | The Hedgehog Review | February 1, 2020 | 1,771 words

马特·迪南 |刺猬评论| 2020 年 2 月 1 日 | 1,771 字

I was born and have lived all my life in a place known for the harshest winters outside Siberia.

我出生并生活在一个以西伯利亚以外最严酷的冬天而闻名的地方。

When people in other places say it’s cold out, I try to stay quiet.

当其他地方的人说外面很冷时，我尽量保持安静。

(After all, cold is relative and it’s all about what you’re used to.) The radio announcer declared yesterday a beautiful day.

（毕竟，寒冷是相对的，这完全取决于你的习惯。）电台播音员宣布昨天是美好的一天。

(It was -20 Celsius / -4 Fahrenheit.

（当时温度为 -20 摄氏度 / -4 华氏度。

It was a lovely day.) But at this point in February, when winter is well ensconced and spring is still a distant dream, we start to think of moving somewhere, anywhere warmer.

这是美好的一天。）但在二月的这个时候，冬天已经来临，春天仍然是一个遥远的梦想，我们开始考虑搬到更温暖的地方。

Matt Dinan, in his piece at The Hedgehog Review, understands reality in a winter community and my thinking around this time of year: “But if we are being honest, it really is quite hard to sustain the illusion that there is anything good about winter after the hundredth day or so of temperatures below freezing.” This terrific essay looks at cold through the lens of poetry and literature, as Dinan collects winter reflections from Henry Miller, Emily Dickinson, and others, and of how the people of winter communities regularly faced with heavy snow and dangerous conditions help one another to get through it: “When a snowstorm is coming, we’re called on, in a relatively low-stakes way, to evaluate, deliberate, and decide—together…Schools, businesses, government offices, sports teams, choirs, volunteer groups, families, friends—every part of civil society needs to decide whether it’s worth staying open, going out, or hunkering down at home…The edifying character of winter, then, has less to do with heroic individualism than with its capacity to force us into something less common: community.” —KS

马特·迪南（Matt Dinan）在《刺猬评论》上发表的文章中，理解了冬季社区的现实以及我每年这个时候的想法：“但说实话，在气温低于冰点的第一百天左右之后，很难维持冬季有什么好处的幻想。”这篇精彩的文章通过诗歌和文学的视角来看待寒冷，迪南收集了亨利·米勒、艾米丽·狄金森等人对冬季的反思，以及经常面临大雪和危险条件的冬季社区的人们如何互相帮助度过难关：“当暴风雪来临时，我们被要求以一种相对低风险的方式一起评估、审议和决定……学校、企业、政府办公室、运动队、合唱团、志愿者团体、家庭、朋友——公民社会的每个部分都需要决定是否值得保持开放、外出还是呆在家里……因此，冬天的教化特征与其说与英雄个人主义有关，不如说与它迫使我们进入一些不常见的事物的能力有关：社区。 —KS

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## — March —

## — 三月 —

## Getaway Driver

## 逃跑司机

Lauren Hough | Texas Highways | March 1, 2022 | 3,135 words

劳伦·霍夫 |德克萨斯州高速公路 | 2022 年 3 月 1 日 | 3,135 字

Initially, I thought this beautiful essay would be about Bonnie and Clyde, but it turns out they are just a side note.

最初，我以为这篇美丽的文章是关于邦妮和克莱德的，但事实证明它们只是一个旁注。

Hough resists any temptation to glamorize her story with the famous crime gang — instead, it is the small yet compelling details about her grandpa and the community of Shamrock that drew me in.

霍夫抵制住了将她与著名犯罪团伙的故事美化的诱惑——相反，吸引我的是关于她的祖父和三叶草社区的小而引人注目的细节。

I could envision the scene as Hough describes chatting to her grandpa on the porch, smelling his pipe tobacco as he blew “smoke rings for me to slap apart before they floated to the ceiling.” The stories her grandpa relays are pulled from the haze of the Alzheimer’s that is gradually consuming his thoughts.

我可以想象霍夫描述的场景，她在门廊上与她的爷爷聊天，闻着他吹的烟斗的味道，“烟圈让我在它们飘到天花板之前拍碎”。她的爷爷讲述的故事是从阿尔茨海默氏症的阴霾中提取出来的，阿尔茨海默氏症正在逐渐吞噬他的思想。

He is particularly animated telling his childhood tale of Bonnie and Clyde hiding in the family barn and giving him a box of chocolate bars.

他特别生动地讲述了他童年的故事，邦妮和克莱德躲在家里的谷仓里，并给了他一盒巧克力。

It could be true.

这可能是真的。

Hough visits the scene in Shamrock and finds out the gang was indeed there at one point.

霍夫参观了三叶草的现场，发现这伙人确实曾经在那里。

Hough vividly paints the characters she meets in the community, who question her doubting her grandpa’s story: “‘Why wouldn’t it be true?’ Hazel responds.

霍夫生动地描绘了她在社区中遇到的人物，他们质疑她对祖父的故事的怀疑：“‘为什么这不是真的？’黑兹尔回答道。

‘It’s his story.’” And so is this essay — it is a touching homage to her grandpa, no one else.

“这是他的故事。”这篇文章也是如此——这是对她祖父的感人致敬，而不是其他人。

—CW

—CW

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## The Great American Antler Boom

## 伟大的美国鹿角繁荣

Abe Streep | The New Yorker | March 7, 2022 | 5,307 words

阿贝·斯特里普 |纽约客 | 2022 年 3 月 7 日 | 5,307 字

I found myself engrossed in Abe Streep’s account of a subculture I knew very little about — didn’t know existed, in fact — the world of the shed hunter.

我发现自己全神贯注于阿贝·斯特里普（Abe Streep）对棚屋猎人世界的亚文化的描述，而我对这种亚文化知之甚少——事实上，也不知道其存在。

Initially, I suspected a shed hunter was someone who ambles into the woods to take a casual glance about to see if a deer antler catches their eye.

最初，我怀疑棚屋猎人是那些漫步到树林里随意扫视一眼，看看是否有鹿角引起他们注意的人。

I was wrong.

我错了。

Streep illuminates me with vivid descriptions of shedder social media stars, furious bidding wars, and the May hunt — which sounds more like an intense endurance race.

斯特里普生动地描述了社交媒体明星的流失、激烈的竞购战和五月狩猎——这听起来更像是一场激烈的耐力赛，让我深受启发。

At 6:00 a.m.

早上 6:00

on May 1st, public lands in Jackson are opened up to antler seekers, and Streep describes the ensuing mad scramble, where people “raced across the water and ascended into tawny meadows.

5 月 1 日，杰克逊的公共土地向鹿角探索者开放，斯特里普描述了随后发生的疯狂争夺，人们“跑过水面，爬上黄褐色的草地。

One rider was bucked off his horse and injured himself.

一名骑手从马上摔下来并受伤。

A teen-ager from Montana alleged that someone stole an antler he had spotted first.” This story made me consider both the foibles and ingenuity of the human race; it was fascinating to learn of the obsessions and livelihoods formed around a bone that another animal discards as waste.

蒙大拿州的一名青少年声称有人偷了他最先发现的鹿角。”这个故事让我思考人类的弱点和聪明才智。了解另一种动物作为废物丢弃的骨头所形成的痴迷和生计是令人着迷的。

It is very human of us.

我们非常人性化。

—CW

—CW

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## Under The Big Sky

## 广阔的天空下

Drew Magary | Defector | March 7, 2022 | 2,443 words

德鲁·马加里 |叛逃者| 2022 年 3 月 7 日 | 2,443 字

As a teenager, I loved the Baz Luhrmann song “Everyone’s Free to Wear Sunscreen,” but it was not until much later that I learned to appreciate the line, “Be kind to your knees, you’ll miss them when they are gone.” A couple of ski accidents and a knee surgery later, I sure do miss those springy youthful knees.

十几岁的时候，我很喜欢巴兹·鲁尔曼 (Baz Luhrmann) 的歌曲《每个人都可以免费涂抹防晒霜》，但直到很久以后，我才学会欣赏这句歌词：“善待你的膝盖，当它们消失时，你会想念它们的。”几次滑雪事故和膝盖手术后，我确实很怀念那些充满弹性的年轻膝盖。

These lyrics were in my head reading this beautiful essay.

阅读这篇美丽的文章时，这些​​歌词就在我的脑海中。

Like the song, it is a lesson on how to get the most out of life — even when your body does not work in the way it once did.

就像这首歌一样，这是一堂关于如何充分利用生活的课程——即使你的身体不再像以前那样工作。

It’s a gentle piece — Drew Magary simply reminiscing about skiing with his Dad, his friends, and his family — but the writing draws you in, letting you share his happiness.

这是一篇温和的作品——德鲁·马加里（Drew Magary）只是回忆起与他的父亲、朋友和家人一起滑雪的经历——但文字却吸引着你，让你分享他的快乐。

Over the years, this joy becomes peppered with frustrations as new limitations appear: “I could feel my thighs and spine ready to burst as I held crucial turns.

多年来，随着新限制的出现，这种快乐变得充满了挫败感：“当我进行关键转弯时，我感觉我的大腿和脊柱准备爆裂。

When I felt myself going too fast, I reflexively dragged my poles behind me, as if that would slow me down any.

当我感觉自己走得太快时，我会条件反射地将撑杆拖到身后，好像这样会减慢我的速度。

Skiing will expose you like that.” But, even while dragging his poles, Magary is still awed by simply being on a mountain and declares he will keep skiing even as his body and ability deteriorate, “It’s not about conquering the mountain.

滑雪会让你暴露在这样的环境中。”不过，即使拖着滑雪杖，马加里仍然对自己在山上感到敬畏，并宣称即使身体和能力恶化，他也会继续滑雪，“这不是为了征服山峰。

It’s simply about going there.

这只是去那里。

A mountain is a god.” A sentiment with which I concur — even with my dodgy knees, I also still ski.

一座山就是一座神。”我同意这种观点——即使我的膝盖不太好，我仍然会滑雪。

—CW

—CW

* * *

** **

## Nicolas Cage Can Explain It All

## 尼古拉斯·凯奇可以解释这一切

Gabriella Paiella | GQ Magazine | March 22, 2022 | 6,673 words

加布里埃拉·派埃拉 | 《GQ》杂志 | 2022 年 3 月 22 日 | 6,673 字

As someone who’s been on the journalist side of plenty of celebrity profiles, believe me when I tell you that it’s not easy to break people out of autopilot press mode.

作为一个曾在大量名人档案中担任记者的人，请相信我，让人们摆脱自动驾驶新闻模式并不容易。

Just because you sat in Jennifer Lopez’s house or walked around with Shia LeBeouf or enjoyed a cordial but stilted breakfast with Eric Bana (all real examples) doesn’t mean you’re going to leave having gotten a single milligram of candor from them.

仅仅因为你坐在詹妮弗·洛佩兹的家里，或与希亚·勒博夫一起散步，或与艾瑞克·巴纳一起享用了诚挚但生硬的早餐（都是真实的例子），并不意味着你会从他们那里得到一毫克的坦诚。

But not every celebrity is Nicolas Cage.

但并不是每个名人都是尼古拉斯·凯奇。

And not every writer is Gabriella Paiella.

并不是每个作家都是加布里埃拉·派埃拉 (Gabriella Paiella)。

Paiella, whose GQ profiles of Diplo and Lil Dicky have already cemented her as the magazine’s preeminent anthropologist of White Dudes, captures Cage at the perfect moment: coming off a tear of 46 movies to pull himself out of bankruptcy, and looking to the future.

帕伊拉（Paiella）在《GQ》杂志上对迪普洛（Diplo）和莉尔·迪基（Lil Dicky）的报道已经巩固了她作为该杂志杰出的白人人类学家的地位，她在完美的时刻捕捉到了凯奇：在 46 部电影的催泪下摆脱破产，展望未来。

Yes, as a subject he delivers everything you hope he might — the guy opens the door in a goddamn kung fu suit — but it’s Paiella’s assiduous secondary reporting and lovely arm’s-length affection that makes the piece a gem.

是的，作为一个主题，他提供了你希望他能做到的一切——那个家伙穿着一套该死的功夫服打开了门——但正是帕耶拉孜孜不倦的二次报道和可爱的疏远感情使这部作品成为宝石。

“Nothing about him feels like an affectation,” she writes.

“他身上没有一点感觉像是做作的，”她写道。

“Not the kung fu suit, not the talking crow.

“不是功夫服，不是会说话的乌鸦。

He is a true eccentric holdout in the increasingly banal landscape of American celebrity.

在日益平庸的美国名人景观中，他是一个真正古怪的坚持者。

You never see him posting on social media, flashing his veneers above a faux self-deprecating or inspirational caption, or giving pithy sound bites on a red carpet.

你永远不会看到他在社交媒体上发帖，在虚假的自嘲或鼓舞人心的标题上炫耀自己的外表，或者在红地毯上发表简洁的原声片段。

The man is physically incapable of pith.” You already knew Cage was in National Treasure; now you’ll know he’s one himself.

这个人身体上没有髓心。”你已经知道凯奇在《国家宝藏》里了；现在你就会知道他本人就是其中之一。

—PR

——公关

* * *

** **

## — April —

## — 四月 —

## My Friend Goo

## 我的朋友咕

Deb Olin Unferth | The Paris Review | March 28, 2022 | 3,463 words

德布·奥林·恩弗斯 | Deb Olin Unferth巴黎评论 | 2022 年 3 月 28 日 | 3,463 字

“In March 2020 the entire human world was out walking,” begins Deb Olin Unferth’s charming, tender essay.

“2020 年 3 月，整个人类世界都在散步，”黛布·奥林·翁弗斯 (Deb Olin Unferth) 迷人而温柔的文章开头说道。

We all remember that time; in those earliest days of terrifying mystery, the only thing we could do was find whatever unoccupied bit of the planet we could, and move through it.

我们都记得那段时光；在那些可怕的神秘事物的最初日子里，我们唯一能做的就是找到地球上任何未被占领的地方，并穿过它。

While most of us did so to avoid anyone and everyone, however, the writer found connection — with a massive goose she names Goo.

尽管我们大多数人这样做是为了避开任何人和每个人，然而，作者发现了与一只她命名为“Goo”的大鹅的联系。

There’s more to this story, as she reminds us throughout: a long-dead older brother, a strained relationship, the hostile vagaries of the natural world.

正如她自始至终提醒我们的那样，这个故事还有更多内容：死去已久的哥哥、紧张的关系、自然世界充满敌意的变幻莫测。

Above all, as she recounts her growing intimacy with Goo, the essay serves as a paean to the idea of difficult friendship.

最重要的是，当她讲述自己与具的日益亲密的关系时，这篇文章是对艰难友谊的赞歌。

There’s less of a wallop here than a prolonged, low-grade emotional ache; Unferth draws you through her life and loss with an unerring sense of pace, and from the very beginning you sense that there’s only one place this path can end.

这里与其说是一种冲击，不如说是一种长期的、低度的情感痛苦； Unferth 以一种准确无误的节奏感带领你经历她的生活和失去，从一开始你就感觉到这条路只有一个地方可以结束。

It does, of course, at least in a way.

当然，至少在某种程度上确实如此。

But that doesn’t mean you won’t hold your breath waiting for the punch to the gut.

但这并不意味着你不会屏住呼吸，等待直击腹部的一拳。

—PR

——公关

* * *

** **

## The Legend of The Music Tree

## 音乐树的传说

Ellen Ruppel Shell | Smithsonian Magazine | April 4, 2022 | 5282 words

埃伦·鲁佩尔·壳 |史密森尼杂志 | 2022 年 4 月 4 日 | 5282字

I had never heard of “The Tree” until reading Ellen Ruppel Shell’s fascinating essay, but in certain circles, The Tree is not only famous, it is magical.

在阅读艾伦·拉佩尔·谢尔 (Ellen Ruppel Shell) 精彩的文章之前，我从未听说过“树”，但在某些圈子里，“树”不仅出名，而且很神奇。

A mahogany tree originating from the Chiquibul jungle in Belize, its beautiful wood is prized by carpenters and luthiers — with musicians claiming guitars made from The Tree produce an extraordinary sound.

这是一种原产于伯利兹奇基布尔丛林的桃花心木树，其美丽的木材受到木匠和制琴师的青睐，音乐家声称用这棵树制成的吉他可以发出非凡的声音。

Shell wanted to discover more about this Tolkienesque-sounding entity and immerses herself in its story: from being cut down in 1965 to the hunt for any remaining stashes of the precious (and finite) material today.

Shell 想要更多地了解这个听起来像托尔金式的实体，并沉浸在它的故事中：从 1965 年被砍伐到今天寻找任何剩余的珍贵（且有限）材料。

A cross between an adventure story and a collector’s tale, Shell throws in some psychology for good measure: Does this wood actually create a unique sound, or is its coveted nature influencing what people hear?

壳牌将冒险故事与收藏家的故事结合在一起，加入了一些心理因素：这种木材是否真的能发出独特的声音，或者它令人垂涎的性质是否会影响人们听到的声音？

This detailed exploration made me sit down and consider the use of rarity to define prestige.

这种详细的探索让我坐下来考虑使用稀有性来定义声望。

—CW

—CW

* * *

** **

## Too Much Vino and Project Veritas: My Extremely Weird Evening with James O’Keefe

## 太多的葡萄酒和 Veritas 项目：我与詹姆斯·奥基夫度过的极其奇怪的夜晚

Laura Jedeed | Rolling Stone | February 1, 2022 | 3,768 words

劳拉·杰迪德 |滚石 | 2022 年 2 月 1 日 | 3,768 字

This story recounts one event — but what an event it was.

这个故事讲述了一个事件——但那是一个多么奇妙的事件啊。

Laura Jedeed details the launch of James O’Keefe’s latest book, American Muckraker, and her incredulity at what takes place oozes from her words.

劳拉·杰迪德 (Laura Jedeed) 详细介绍了詹姆斯·奥基夫 (James O’Keefe) 的新书《美国揭秘者》(American Muckraker) 的推出情况，以及她对所发生事情的怀疑。

She describes “a 50-minute musical-theater production dedicated to telling O’Keefe’s story in song, dance, and strobe light.” Jedeed uses the visual prompts on stage (“A telephone repairman.

她描述了“一部 50 分钟的音乐剧作品，致力于通过歌曲、舞蹈和闪光灯讲述奥基夫的故事。” Jedeed 使用舞台上的视觉提示（“电话修理工。

Osama Bin Laden.

奥萨马·本·拉登。

A suit-and-tie journalist who interviews whistleblowers on YouTube”) to explain in detail the story they refer to, minus the reverence afforded the stage version.

一位穿着西装、打着领带的记者在 YouTube 上采访举报人”），详细解释他们所提到的故事，但不包括舞台版本所带来的尊重。

Jedeed admits to not thinking much of James O’Keefe’s work — his alt-right group, Project Veritas, attempts to discredit mainstream media and progressive groups — and, while still recognizing the problems with objective journalism, declares this “self-styled anti-elite crusader a lot like his musical theater: flashy, sometimes entertaining, and entirely pretend.” This essay aims to uncover O’Keefe’s end game — something I doubted would be revealed through a book launch — but in fact, the bizarre show O’Keefe dedicates to himself (and stars in) demonstrates a lot: “It isn’t about journalism.

杰迪德承认，他对詹姆斯·奥基夫的作品不太重视——他的另类右翼团体“真理计划”试图抹黑主流媒体和进步团体——尽管他仍然认识到客观新闻业存在的问题，但他宣称这位“自封的反精英斗士很像他的音乐剧：华而不实，有时很有趣，而且完全是假装的。”这篇文章的目的是揭开奥基夫的最终结局——我怀疑这是否会通过新书发布会来揭晓——但事实上，奥基夫为自己（和主演）献上的奇异节目证明了很多：“这与新闻业无关。

It isn’t even about fame.

这甚至与名誉无关。

It’s about a boy who loves to dance and wanted to be part of a club that would not have him even as he railed against it.” —CW

这是关于一个热爱跳舞的男孩，他想成为一个俱乐部的一员，尽管他强烈反对，但俱乐部却拒绝了他。” —CW

* * *

** **

## I Lived the #VanLife.

## 我过着#VanLife。

It Wasn’t Pretty.

这并不漂亮。

Caity Weaver | The New York Times Magazine | April 20, 2022 | 4,410 words

凯蒂·韦弗 |纽约时报杂志 | 2022 年 4 月 20 日 | 4,410 字

Sometimes it is fun to read about someone having a terrible time.

有时读到某人度过了糟糕的时光是很有趣的。

Before I am judged too harshly for this, I offer you Caity Weaver’s diverting and self-deprecating essay in defense.

在我因此受到过于严厉的评价之前，我向您提供凯蒂·韦弗（Caity Weaver）的有趣且自嘲的辩护文章。

She spends nearly 5,000 words whinging about just how much she hated living #VanLife for a few days.

她用了近 5,000 字来抱怨她是多么讨厌生活在 #VanLife 的几天。

(Her editor made her do it.

（她的编辑让她这么做。

I am glad he did.) There is something pure about such things as Weaver eating fistfuls of cheese-its in the dark when figuring out the camp stove is just too much.

我很高兴他这么做了。）像韦弗吃一把奶酪这样的事情有一种纯粹的感觉——在黑暗中，当发现营地的炉子实在太多了时。

Her descriptions — coated in cheesy crumbs rather than sugar — are wholly relatable and throw two fingers up to the Instagram illusion.

她的描述——涂满了奶酪面包屑而不是糖——完全让人产生共鸣，并且对 Instagram 上的错觉竖起了两根手指。

I am thankful for this, being guilty of falling into the thrall of the #VanLife tag myself, endlessly scrolling through pictures of beautiful people looking wistfully at beautiful things — all through flung-open-van-doors.

我对此表示感谢，因为我自己陷入了#VanLife标签的束缚，无休止地滚动浏览美丽的人渴望地看着美丽的事物的照片——所有这些都是通过猛开的货车门进行的。

I have even found myself on Craigslist looking for camper vans for sale (expensive as it turns out, I blame the tag).

我什至发现自己在 Craigslist 上寻找待售的露营车（事实证明价格昂贵，我责怪标签）。

Fortunately, this van exposé has given me another reason to stick to my tent.

幸运的是，这次货车曝光给了我另一个坚守帐篷的理由。

—CW

—CW

* * *

** **

## — May —

## — 五月 —

## In the Court of the Liver King

## 肝王宫中

Madeleine Aggeler | GQ | May 5, 2022 | 3,054 words

玛德琳·阿格勒 |智群 | 2022 年 5 月 5 日 | 3,054 字

At the nexus of Influencer and Extreme Fitness Bro lies Brian Johnson, a man who drags unholy amounts of weight through the Texas woods.

布莱恩·约翰逊 (Brian Johnson) 是影响者和极限健身兄弟的纽带，他拖着超重的体重穿过德克萨斯州的树林。

A man who does burpees on crowded New York subway cars.

一名男子在拥挤的纽约地铁车厢里做波比跳。

A man who, along with his family, sleeps without mattresses in order to better mimic the behavior of his primal ancestors.

一个男人和他的家人在没有床垫的情况下睡觉，以便更好地模仿他的原始祖先的行为。

A man who eats a pound of raw liver a day — yes, a day.

一个人每天吃一磅生肝脏——是的，一天。

It’s hard for me to type these words without laughing, yet the joy is nothing compared to that derived from reading Madeleine Aggeler’s rollicking profile of the man known to millions only as The Liver King.

对我来说，打出这些文字时很难不笑，但与阅读玛德琳·阿格勒 (Madeleine Aggeler) 对这位被数百万人称为“肝王”的男人的欢快的简介相比，那种快乐根本算不了什么。

Will you leave feeling sorry for his poor kids, sparring in their mansion’s living room and taking a fork to pigs’ heads in some Lord of the Flies fever dream of prepubescence?

你会为他可怜的孩子们感到难过吗？在他们豪宅的客厅里争吵，在青春期前的《蝇王》狂热梦想中用叉子叉着猪头？

For sure.

一定。

But if a magazine is going to give multiple pages to a bearded madman and his paleolithic worldview, you could do a lot worse than this vivid (but still humanizing) portrait.

但如果一本杂志要用多页的篇幅来介绍一个留着胡须的疯子和他的旧石器时代的世界观，你可能会做得比这张生动（但仍然人性化）的肖像更糟糕。

And a word of warning to my vegetarian friends: maybe look for a text-only version, lest the many photos of glistening organs and animal parts drive you to apoplexy.

警告我的素食朋友们：也许寻找纯文本版本，以免大量闪闪发光的器官和动物部位的照片让你中风。

—PR

——公关

* * *

** **

## The Untold Story of the White House’s Weirdly Hip Record Collection

## 白宫奇怪的时髦唱片收藏的不为人知的故事

Rob Brunner | Washingtonian | May 3, 2022 | 2,022 words

罗布·布伦纳 |华盛顿 | 2022 年 5 月 3 日 | 2,022 字

Did you know that the White House has an official record collection?

您知道白宫有官方记录收藏吗？

Can you imagine Ronald and Nancy Reagan doing the Electric Slide on music night?

你能想象罗纳德和南希·里根在音乐之夜玩电动滑梯吗？

(Apparently that never happened as the records were put in storage not long after Reagan took office.

（显然这从未发生过，因为这些记录是在里根上任后不久就被存放起来的。

Sorry for creating that image / nightmare in your mind.) Although the collection includes everything from Perry Como to the Clash, the vast majority of the albums have never been played and the last time it was expanded was in 1981.

很抱歉在你的脑海中创造了这样的形象/噩梦。）虽然该系列包括从 Perry Como 到 the Clash 的所有专辑，但绝大多数专辑从未播放过，最后一次扩展是在 1981 年。

If you had the chance to update the collection with records from the previous 40 years, what would you choose?

如果您有机会用过去 40 年的记录来更新馆藏，您会选择什么？

What would you want to put into the ears of the sitting president, their administration, and all the administrations to come?

您想向现任总统、他们的政府以及所有未来的政府传达什么信息？

John Chuldenko, President Jimmy Carter’s grandson, once shot footage for a documentary about the White House’s record collection and is keen to add to it.

吉米·卡特总统的孙子约翰·丘尔登科曾为一部有关白宫唱片收藏的纪录片拍摄过镜头，并热衷于将其添加到其中。

“…it would be a blast to bring the collection into the 21st century.

“……如果能将这个系列带入 21 世纪，那将是一场爆炸。

The White House record library ‘is a treasure, and people need to know about it,’ Chuldenko says.

丘尔登科说，白宫档案图书馆“是一座宝藏，人们需要了解它”。

‘We need to update this.

‘我们需要更新这一点。

We’ve got a lot of catching up to do.’” “And there, finally, was the collection: record-filled boxes stacked up in front of the movie screen.

我们还有很多事要做。’”“最后，就是收藏品了：装满唱片的盒子堆放在电影屏幕前。

The LPs had been kept in their original sleeves, which were inserted into color-coded binders (light blue for pop, yellow for classical, etc.).

密纹唱片一直保存在原来的封套中，并插入颜色编码的活页夹中（浅蓝色代表流行音乐，黄色代表古典音乐等）。

Each was adorned with the presidential seal and a foil stamp that read WHITE HOUSE RECORD LIBRARY.

每张都贴有总统印章和铝箔邮票，上面写着“白宫记录图书馆”。

The whole thing reeked of gravitas and respectability—except that inside a binder, rather than some speech delivered by FDR in the ’40s, you might find a mint-condition copy of Macho Man by the Village People.” —KS

整件事散发着庄重和体面的气息——只不过在活页夹里，你可能会发现一本完好无损的《乡村人》的《男子气概》副本，而不是罗斯福在 40 年代发表的演讲。” —KS

* * *

** **

## The Bronc-busting, Cow-punching, Death-defying Legend of Boots O’Neal

## 消灭野马、拳打牛、玩命的靴子奥尼尔传奇

Christian Wallace | Texas Monthly | May 11, 2022 | 6,139 words

克里斯蒂安·华莱士 |德克萨斯月刊| 2022 年 5 月 11 日 | 6,139 字

“This morning’s chore: Boots and three of his Stetsoned coworkers must round up some two dozen bulls scattered across a vast grazing pasture, drive them to a set of pens about a mile away, and load the one-ton beeves into a livestock trailer so they can be hauled to another division of the Four Sixes, the legendary West Texas ranch that sprawls across 260,000 acres…To an outsider, this might feel like a scene straight out of Lonesome Dove.

“今天早上的苦差事：布茨和他的三名斯泰森德同事必须围捕分散在广阔牧场上的大约两打公牛，将它们赶到大约一英里外的一组围栏，然后将重达一吨的牛肉装入牲畜拖车，这样它们就可以被拖到四六的另一个部门，即占地 260,000 英亩的传奇西德克萨斯牧场......对于外人来说，这可能感觉像是直接从孤独的鸽子。

For Boots, this is Tuesday morning.

对于布茨来说，这是周二早上。

He’s repeated this task countless times—his career began during the Truman administration and has now spanned seven decades—but if given the chance to be doing anything on earth, this is what he would choose every time.” Now is probably a good time to mention that this particular Boots, out on a horse rounding up Angus bulls in rural Texas, is 89-years-old.

他无数次地重复了这个任务——他的职业生涯始于杜鲁门政府时期，现在已经跨越了七十年——但如果有机会在地球上做任何事情，这就是他每次都会选择的。”现在也许是时候提一下这匹特殊的布茨了，它骑着一匹马在德克萨斯州乡村围捕安格斯公牛，已经有 89 岁了。

While Boots (a.k.a Billy Milton O’Neal) has decades on me, I am at the age where I’m starting to think more about aging not just with grace, but also vitality and a side of sass.

虽然布茨（又名比利·米尔顿·奥尼尔）比我年长了几十年，但我现在已经开始更多地思考衰老，不仅要优雅，还要充满活力和粗鲁的一面。

What are the keys to aging well?

健康老龄化的关键是什么？

If you take some pointers from Boots in this superlative profile by Christian Wallace at Texas Monthly, aging well means not just doing what you love, but being intentional, and becoming part of a community of people who share your joy.

如果你从德克萨斯月刊克里斯蒂安·华莱士（Christian Wallace）这篇最精彩的简介中借鉴布茨（Boots）的一些建议，你会发现，健康的老龄化意味着不仅要做你喜欢做的事情，而且要有意识，并成为与你分享快乐的社区的一部分。

Oh, and let’s not forget the dancing.

哦，我们不要忘记跳舞。

“Boots and Nelda were happy together.

“布茨和内尔达在一起很开心。

Perhaps more than anywhere else, they found common ground on the dance floor.

也许他们在舞池上比在其他地方更能找到共同点。

They would dance to country music, waltzes, and rags, and they loved to two-step.” —KS

他们会随着乡村音乐、华尔兹和碎布舞曲起舞，而且喜欢跳两步舞。” —KS

* * *

** **

## How The “Mother Of Yoda” Conquered Hollywood — And Why She Disappeared

## “尤达之母”如何征服好莱坞——以及她为何失踪

Falene Nurse | Inverse | May 3, 2022 | 2,767 words

法伦护士|逆| 2022 年 5 月 3 日 | 2,767 字

Growing up, two of my favorite films were The Dark Crystal and The Labyrinth.

在成长过程中，我最喜欢的两部电影是《黑水晶》和《迷宫》。

The worlds they created enthralled me — filled with magic, weirdness, and ethereal beauty.

他们创造的世界让我着迷——充满魔力、怪异和空灵之美。

Iconic to this day, they were pulled from the impressive imagination of Jim Henson, but, behind the scenes, there were other magicians at work — the puppeteers.

它们是从吉姆·汉森 (Jim Henson) 令人印象深刻的想象力中提取出来的，至今仍然具有标志性，但在幕后，还有其他魔术师在工作——木偶师。

In this profile of Wendy Froud, Falene Nurse explains how she sculpted The Dark Crystal’s puppet leads, Kira and Jen (her first job out of art school, no less).

在温迪·弗洛德的这篇简介中，法琳·纳斯解释了她如何塑造《黑水晶》的木偶主角基拉和珍（她从艺术学校毕业后的第一份工作，同样如此）。

In The Labyrinth, she lent not just her talent to the production; her baby, Toby Froud, played the child kidnapped by the Goblin King (a.k.a David Bowie in leggings so tight they came with a free anatomy lesson).

在《迷宫》中，她不仅将自己的才华运用到了制作中，而且还发挥了自己的才能。她的孩子托比·弗洛德（Toby Froud）扮演被妖精国王绑架的孩子（又名大卫·鲍伊，穿着紧身裤，还免费上了解剖课）。

Froud was even part of the force that created a certain little Jedi, earning her the nickname “the Mother of Yoda.” Yet, after this gluttony of ’80s icons, Froud seemingly disappeared for many years; Nurse reveals how CGI gradually destroyed the art of the puppet and Froud’s disdain for the Hollywood scene.

弗洛德甚至是创造了某个小绝地武士的力量的一部分，为她赢得了“尤达之母”的绰号。然而，在 80 年代的偶像盛宴之后，弗洛德似乎消失了很多年。纳斯揭示了计算机生成技术如何逐渐摧毁木偶艺术以及弗洛德对好莱坞场景的蔑视。

Then in 2019, some new magic happened: Netflix commissioned a prequel series, The Dark Crystal: The Age of Resistance.

然后在 2019 年，一些新的奇迹发生了：Netflix 委托制作了一部前传剧集《黑水晶：抵抗时代》。

Froud was brought back on board to help recreate the elegance of that world — real puppets and all.

弗洛德被带回船上，帮助重建那个世界的优雅——真正的木偶等等。

And guess what?

你猜怎么着？

Baby Froud, now all grown-up and freed from David Bowie, worked with his parents on The Age of Resistance as the Design Supervisor.

婴儿弗洛德现在已经长大，摆脱了大卫·鲍伊的束缚，与父母一起在《抵抗时代》中担任设计总监。

Now that’s a Hollywood ending.

现在这是好莱坞式的结局。

—CW

—CW

* * *

** **

## — June —

## — 六月 —

## It’s 10 P.M.

## 现在是晚上 10 点

Do You Know Where Your Cat Is?

你知道你的猫在哪里吗？

Egill Bjarnason | Hakai Magazine | May 17, 2022 / 3,900 words

埃吉尔·比亚纳森 |哈凯杂志 | 2022 年 5 月 17 日 / 3,900 字

I am writing this blurb with my cat, Trouble, sitting on my lap, as is her wont lately during work hours.

我正在和我的猫“麻烦”一起写这篇简介，它坐在我的腿上，就像她最近在工作时间的习惯一样。

Once upon a time she preferred to nestle between my husband’s arms while he typed on his laptop.

曾几何时，当我丈夫在笔记本电脑上打字时，她更喜欢依偎在他的怀里。

What changed?

发生了什么变化？

Who knows.

谁知道呢。

Cats are fickle.

猫是善变的。

They are wonderful.

他们很棒。

They are also, as this essay details, murderous.

正如本文所详述的，他们也是凶残的。

With equal doses of love, humor, and scientific data, Egill Bjarnason illuminates the danger that free-roaming (aka outdoor) cats pose to other species they see as prey — birds, namely, which are especially vulnerable on islands like Iceland, where Bjarnason lives.

埃吉尔·比亚纳森 (Egill Bjarnason) 用同样的爱、幽默和科学数据阐明了自由漫游（又称户外）猫对它们视为猎物的其他物种（即鸟类）构成的危险，鸟类在比亚纳森居住的冰岛等岛屿上尤其容易受到伤害。

In cultures accustomed to letting cats prowl in yards and alleys, coming inside only when they please, the notion of keeping them indoors at all times or, as some towns in Iceland are making a matter of policy, after an evening curfew can feel like a betrayal.

在习惯于让猫在院子和小巷里徘徊、只在它们愿意的时候才进来的文化中，让它们一直待在室内，或者像冰岛的一些城镇正在制定的政策一样，在晚上宵禁之后，感觉像是一种背叛。

How to navigate this conundrum?

如何解决这个难题？

Bjarnason offers some suggestions.

Bjarnason 提供了一些建议。

I for one am happy to keep Trouble in our apartment, where she routinely directs her killer instinct at the mice that sometimes take up residence under our stove.

我很高兴把麻烦留在我们的公寓里，在那里她经常用她的杀手本能去对付有时在我们炉子下栖息的老鼠。

My husband once claimed, his eyes wide in horror, that he witnessed her swallow one of them whole.

我丈夫有一次惊恐地睁大眼睛声称，他亲眼目睹她把其中一个吞下去。

RIP Mr. Mouse, but better you than a rare bird.

安息吧，老鼠先生，但你比一只稀有的鸟更好。

—SD

—SD

* * *

** **

## Just How Important Is Eye Contact Between Musicians?

## 音乐家之间的眼神交流到底有多重要？

And What Does It Signal?

它预示着什么？

Ariane Todes | Classical Music | May 27, 2022 | 2,015 words

阿丽亚娜·托德 |古典音乐| 2022 年 5 月 27 日 | 2,015 字

I play bass in a band.

我在乐队中演奏贝斯。

When my lead guitarist and I lock eyes, it’s because a) we’re counting up to make sure we both hit the chorus of Albert King’s “Born Under a Bad Sign” correctly b) our singer decided to sing an additional verse before the guitar solo usually starts, or c) our singer accidentally skipped a verse and we’re taking the song home early.

当我和主音吉他手目光交汇时，是因为 a) 我们正在数数，以确保我们都正确地唱出了 Albert King 的《Born Under a Bad Sign》的副歌部分 b) 我们的歌手决定在吉他独奏通常开始之前多唱一首主歌，或者 c) 我们的歌手不小心跳过了一节主歌，我们提前把这首歌带回家了。

It’s these quick glances and smiles — camaraderie across the stage — that averts disaster mid-song and helps us stay in the moment with our singer, who is often deep in the thrall of the Blues.

正是这些快速的一瞥和微笑——舞台上的友情——避免了歌曲中段的灾难，并帮助我们与经常深陷蓝调束缚的歌手一起停留在当下。

This is why I was fascinated by Ariane Todes’ dive into orchestral eye contact at Classical Music.

这就是为什么我对阿丽亚娜·托德（Ariane Todes）在古典音乐中深入研究管弦乐眼神交流着迷。

While the members of the orchestra outnumber our little four-piece by dozens, the purpose of eye contact from the conductor to various musicians and sections conveys something quite a bit different: “Basically, a conductor only has six things to tell the orchestra: it’s either faster or slower, longer or shorter, or louder or softer, and everything else is based on that.

虽然管弦乐队的成员数量比我们的小四人乐队多了几十个，但指挥家与不同音乐家和乐队的目光接触的目的传达了一些完全不同的东西：“基本上，指挥家只有六件事要告诉管弦乐队：要么更快，要么更慢，要么更长或更短，要么更大声或更柔和，其他一切都基于此。

The eyes and face are what communicates all the other things.” And, while the Blues and classical music differ vastly in style, strong eye contact among the musicians pays off in good vibes on-stage and off.

眼睛和脸是传达所有其他事物的东西。”而且，虽然布鲁斯音乐和古典音乐在风格上有很大不同，但音乐家之间强烈的目光接触会在台上和台下产生良好的氛围。

“But occasionally there are fleeting moments where something passes wordlessly – friendship, encouragement, solidarity, shared endeavour, perhaps even love – and maybe that makes eye contact the very essence of music.” —KS

“但偶尔也会有一些转瞬即逝的时刻，一些东西无声地流逝——友谊、鼓励、团结、共同努力，甚至可能是爱情——也许这使得目光接触成为音乐的本质。” —KS

* * *

** **

## The Google Engineer Who Thinks the Company’s AI Has Come to Life

## 谷歌工程师认为公司的人工智能已经成为现实

Nitasha Tiku | The Washington Post | June 11, 2022 | 2,621 words

妮塔莎·蒂库 |华盛顿邮报 | 2022 年 6 月 11 日 | 2,621 字

Could it be?

可能是吗？

After conversations with Google’s artificially intelligent chatbot LaMDA (Language Model for Dialogue Applications), engineer Blake Lemoine maintains that the bot has achieved sentience.

在与谷歌的人工智能聊天机器人 LaMDA（对话应用语言模型）对话后，工程师 Blake Lemoine 坚称该机器人已经获得了感知能力。

Google vice president Blaise Aguera y Arcas has dismissed Lemoine’s claims, despite the fact he has “argued that neural networks — a type of architecture that mimics the human brain — were striding toward consciousness.” Lemoine’s on administrative leave from Google and decided to go public.

谷歌副总裁 Blaise Aguera y Arcas 驳回了 Lemoine 的说法，尽管他“认为神经网络——一种模仿人类大脑的架构——正在向意识迈进。”勒莫万正在从谷歌休行政休假，并决定上市。

While the story sounds like it comes straight out of science fiction, Lemoine is not alone.

虽然这个故事听起来像是直接来自科幻小说，但勒莫万并不孤单。

“Lemoine is not the only engineer who claims to have seen a ghost in the machine recently.

“勒莫万并不是唯一一位声称最近在机器中看到鬼魂的工程师。

The chorus of technologists who believe AI models may not be far off from achieving consciousness is getting bolder.” Detractors, though, say that making sense is far from sentience: “Most academics and AI practitioners, however, say the words and images generated by artificial intelligence systems such as LaMDA produce responses based on what humans have already posted on Wikipedia, Reddit, message boards, and every other corner of the internet.

相信人工智能模型距离实现意识可能并不遥远的技术专家们的呼声越来越高。”不过，批评者表示，这种说法远非有道理：“然而，大多数学者和人工智能从业者表示，LaMDA 等人工智能系统生成的文字和图像会根据人类在维基百科、Reddit、留言板和互联网其他角落发布的内容产生响应。

And that doesn’t signify that the model understands meaning.” Stories like this, as well as “Ghosts,” Vauhini Vara’s incredible essay about feeding the linguistic engine GPT-3 prompts about her late sister (highlighted in Longreads’ Best of 2021), would make any skeptic think again.

这并不意味着该模型理解含义。”像这样的故事，以及 Vauhini Vara 撰写的关于向语言引擎 GPT-3 提供支持的令人难以置信的文章“幽灵”，提示了她已故的妹妹（Longreads 的 2021 年最佳作品中重点介绍了这一点），会让任何怀疑论者重新思考。

—KS

—KS

* * *

** **

## A Marriage Story

## 婚姻故事

Alan Siegel | The Ringer | June 14, 2022 | 2,330 words

艾伦·西格尔 |铃声| 2022 年 6 月 14 日 | 2,330 字

“It is, without a doubt, one of the most moving film sequences of the past 20 years.” I saw Up a long time ago, in a part of my life I’d like to forget.

“毫无疑问，这是过去 20 年来最感人的电影片段之一。”我很久以前就看过《Up》，那是我生命中我想忘记的一部分。

I don’t remember much about that time in my life (thankfully!) or much about the movie itself, other than what it reduced me to: a sobbing heap on the couch.

我不太记得我生命中的那段时光（谢天谢地！），也不记得电影本身，除了它让我变成了这样：在沙发上抽泣。

I don’t think the term “ugly cry” had been invented yet, but that’s an accurate description of my response.

我认为“丑陋的哭泣”这个词还没有被发明出来，但这是对我的反应的准确描述。

How could two animated film characters conjure such a powerful emotional response in a hapless viewer in a mere 10 minutes?

两个动画电影角色如何能在短短 10 分钟内让倒霉的观众产生如此强烈的情感反应？

At The Ringer, Up director Pete Docter and codirector Bob Peterson reflect on the care and craft that went into making Carl and Ellie, as well as the specifics of imprinting them and their shared history on the hearts of an unsuspecting audience in that seminal first part of the film.

在《The Ringer》中，《飞屋环游记》导演皮特·道格特和联合导演鲍勃·彼得森反思了制作《卡尔和艾莉》时的用心和技巧，以及在影片开创性的第一部分中将他们和他们共同的历史铭刻在毫无戒心的观众心中的具体细节。

—KS

—KS

* * *

** **

## — July —

## — 七月 —

## The Confessions of a Conscious Rap Fan

## 一位有意识的说唱迷的自白

Mychal Denzel Smith | Pitchfork | June 28, 2022 | 2,287 words

麦查尔·丹泽尔·史密斯 |干草叉| 2022 年 6 月 28 日 | 2,287 字

Hip-hop has had subgenres nearly as long as it’s had the spine of a breakbeat, but at some point it was riven by a more seismic distinction: mainstream vs. underground, and specifically the rise of “conscious” rap.

嘻哈音乐几乎从有碎拍的主旋律一样就有了子流派，但在某些时候，它被一种更具震撼性的区别所撕裂：主流与地下，特别是“有意识”说唱的兴起。

Mychal Denzel Smith was one of the many people who internalized that stance, who viewed hip-hop as a vessel of liberation and awakening to a degree that became an identity of its own.

迈克尔·丹泽尔·史密斯 (Mychal Denzel Smith) 是众多内化这一立场的人之一，他将嘻哈视为解放和觉醒的载体，并在一定程度上成为其自身的身份。

That was then, though.

但那是那时。

Now, with the 2022 return of Black Star and Kendrick Lamar — both avatars and resurrectors of conscious rap — Smith interrogates his onetime fandom, as well as the evolution (or lack thereof) of the music itself.

现在，随着 Black Star 和 Kendrick Lamar（两人都是有意识说唱的化身和复活者）于 2022 年回归，史密斯质疑了他曾经的粉丝群体，以及音乐本身的演变（或缺乏）。

“I was artificially limiting my perspective,” he writes, “in the name of some grand vision of consciousness that never cohered into anything other than my own sense of intellectual superiority.” This isn’t a discussion about art vs. artist.

“我人为地限制了自己的观点，”他写道，“以某种宏大的意识愿景为名，而这种意识除了我自己的智力优越感之外，从未与其他任何东西结合在一起。”这不是关于艺术与艺术家的讨论。

It’s a coming to grips with our own reductive tendencies, our willingness to flatten ourselves in the name of aesthetic belonging.

这是我们要正视自己的简化倾向，我们愿意以审美归属的名义扁平化自己。

If you’ve found that the backpack fits a little bit differently these days, this piece will help you notice where the straps are chafing.

如果您发现现在的背包有点不合身，这篇文章将帮助您注意到肩带磨损的地方。

—PR

——公关

* * *

** **

## ‘No Aliens, No Spaceship, No Invasion of Earth’

##“没有外星人，没有宇宙飞船，没有入侵地球”

Rachel Handler | Vulture | June 29, 2022 | 13,400 words

雷切尔·汉德勒 |秃鹫| 2022 年 6 月 29 日 | 13,400 字

I love the movie Contact, which for the uninitiated is about a female scientist who makes contact with aliens that provide schematics for building a machine that eventually carries said scientist through a wormhole to encounter said aliens.

我喜欢电影《接触》，对于外行人来说，这部电影讲述了一位女科学家与外星人接触的故事，外星人提供了建造一台机器的原理图，最终载着这位科学家穿过虫洞与外星人相遇。

The movie came out when I was 11, and I saw it twice in theaters.

这部电影在我11岁时上映，我在电影院看了两遍。

I’m pretty sure I forced it on friends at sleepovers.

我很确定我在过夜时强迫朋友这样做。

Later, for a high school project in which we had to compile scenes from movies that helped explain our worldview — I think we were learning about the concept of zeitgeist, and in retrospect the assignment doesn’t make much sense, but I digress — I chose at least one scene from Contact.

后来，在一个高中项目中，我们必须汇编电影中的场景来帮助解释我们的世界观——我认为我们正在学习时代精神的概念，回想起来，这项作业没有多大意义，但我离题了——我至少选择了《接触》中的一个场景。

All this is to say: I’ve been waiting 25 years for an oral history of the movie, and here.

所有这一切都是为了说明：我已经等待了 25 年，等待这部电影的口述历史，就在这里。

it.

它。

is.

是。

I gobbled it up.

我狼吞虎咽地吃掉了它。

I came back for seconds.

我回来了几秒钟。

My only complaint?

我唯一的抱怨？

Not enough John Hurt.

约翰·赫特还不够。

“Wanna take a ride??” Trust me, you do.

“要搭车吗？？”相信我，你会的。

—SD

—SD

* * *

** **

## The Weird, Analog Delight of Foley Sound Effects

## 拟音音效的奇怪模拟乐趣

Anna Wiener | The New Yorker | June 27, 2022 | 6,185 words

安娜·维纳 |纽约客 | 2022 年 6 月 27 日 | 6,185 字

There is something lovely about an essay that includes the phrase, “I need more ka-chunkers,” and Anna Wiener’s dive into the bizarre world of Foley sound effects is endlessly delightful.

一篇包含“我需要更多 ka-chunkers”这句话的文章有一些可爱之处，而安娜·维纳 (Anna Wiener) 对拟音音效的奇异世界的深入研究令人无限愉悦。

I love learning about things that I never even knew were a thing.

我喜欢学习那些我以前不知道的东西。

I assumed that sound effects were always added post-production in some soulless studio.

我以为音效总是在一些没有灵魂的工作室中后期制作添加的。

I was wrong: The sound of E.T.’s movements — just one example — is raw liver sliding around in a packet and “jello wrapped in a damp T-shirt.” Wiener finds that although “technology has changed the process of recording, editing, and engineering sounds …

我错了：E.T. 动作的声音——只是一个例子——是生肝脏在小包里滑动，以及“裹在湿 T 恤里的果冻”。维纳发现，尽管“技术改变了录音、编辑和工程声音的过程……

the techniques of Foley have remained stubbornly analog.” Wiener spends time with the Foley artists at Skywalker Sound, and their passion is infectious.

弗利的技术一直顽固地保持着模拟。”维纳与 Skywalker Sound 的拟音艺术家共度时光，他们的热情具有感染力。

As I read, I found myself starting to listen differently: Could slurping this cup of tea be an alien slug sliding off his chair in his intergalactic spaceship?

当我阅读时，我发现自己开始以不同的方式聆听：喝这杯茶的人会不会是一只外星鼻涕虫从他的星际飞船里的椅子上滑下来？

Could munching this packet of crisps be centaurs rustling through the forest?

咀嚼这包薯片的人会不会是在森林里沙沙作响的半人马？

Our soundscape is truly amazing, and this vivid, information-rich article will truly make you hear.

我们的音景确实令人惊叹，这篇生动、信息丰富的文章将真正让您听到。

—CW

—CW

* * *

** **

## The 50 Greatest Fictional Deaths of All Time

## 有史以来最伟大的 50 名虚构死亡事件

Dan Kois (and Other Contributors) | Slate | July 20, 2022 | 8,250 words

Dan Kois（和其他贡献者）|板岩| 2022 年 7 月 20 日 | 8,250 字

This list is so damn fun.

这份清单实在是太有趣了。

Starting in 431 B.C.

从公元前 431 年开始

and progressing chronologically, it levels the cultural playing field, quoting passages from Beowulf and Macbeth while also reveling in the transgressive lyrics of “Goodbye Earl.” It reminded me of at least one brilliant cinematic death that I’d somehow forgotten — before using an inhaler, make sure it’s not a gun!

按时间顺序推进，它平衡了文化竞争环境，引用了《贝奥武甫》和《麦克白》中的段落，同时也陶醉于《再见伯爵》的越界歌词中。它让我想起了至少一个我不知何故忘记的精彩电影死亡——在使用吸入器之前，确保它不是一把枪！

— and made me tear up at its description of a groundbreaking storyline in Doonesbury.

——它对杜恩斯伯里开创性故事情节的描述让我热泪盈眶。

Like all the best GOAT lists, it also made me consider what I would include: one of the gruesome deaths in The Omen, Mr. Jingles’ demise and resurrection in The Green Mile, Alec’s murder in Tess of the D’Urbervilles (ooooh — or the raising of the black flag at the end!?).

像所有最好的山羊名单一样，它也让我考虑了我要包括的内容：《预兆》中的可怕死亡之一、《绿色奇迹》中叮当先生的死亡和复活、《德伯家的苔丝》中亚历克的谋杀（噢——或者最后升起黑旗！？）。

“We’ve made this list during a pandemic, as real-life death has stalked us all, more tangible than ever,” Dan Kois writes.

丹·科伊斯写道：“我们在大流行期间列出了这份清单，因为现实生活中的死亡已经逼近我们所有人，而且比以往任何时候都更加切实。”

“One of the many things art can do is to help us navigate the pitfalls of life, and there’s no deeper pitfall than the final one.” —SD

“艺术可以做的众多事情之一就是帮助我们克服生活中的陷阱，没有比最后一个更深的陷阱了。” —SD

* * *

** **

## I Woke Up With an Allergy to Cold

## 我醒来时对寒冷过敏

Alison Espach | Outside | July 12, 2022 | 3,687 words

艾莉森·埃斯帕奇 |外面| 2022 年 7 月 12 日 | 3,687 字

“Sure,” you think.

“当然，”你想。

“I’m allergic to cold, too.” But this isn’t the always-need-a-sweater type of thing.

“我也对冷过敏。”但这并不是总是需要毛衣的事情。

It’s not that you feel cold; it’s that your body rebels against it.

并不是你觉得冷，而是你觉得冷。而是你的身体在反抗它。

Itching.

瘙痒。

Swelling.

肿胀。

Hives.

麻疹。

And that’s just the beginning.

这只是开始。

When Alison Espach began experiencing the symptoms of what she later learned was cold urticaria, she doubted it too.

当艾莉森·埃斯帕奇开始出现她后来了解到的寒冷性荨麻疹的症状时，她也对此表示怀疑。

Yet, the more she confronted the rare autoimmune response, the more she was forced to confront the long-past familial tragedy that may have been at its root.

然而，她越是面对罕见的自身免疫反应，她就越被迫面对可能是其根源的早已过去的家庭悲剧。

“Some people thought they were cured and woke up one day to find that they weren’t,” she writes.

“有些人以为自己已经痊愈了，但有一天醒来却发现自己没有痊愈，”她写道。

“When they least expected it, when they were out walking and a cold wind blew, their throat closed.

“当他们最意想不到的时候，当他们外出散步时，一阵冷风吹来，他们的喉咙就被堵住了。

I think of these people when I am packing for a hike, when I am headed by myself to the ocean.

当我收拾行李去远足时，当我独自前往大海时，我就会想起这些人。

I wonder if I will become one of them.

我想知道我是否会成为他们中的一员。

I wonder when tragedy will strike again.” A searching, confidently paced chronicle of a situation that’s somehow both unbelievable and all too relatable.

我不知道悲剧什么时候会再次发生。”这是一部充满探索性、节奏自信的编年史，讲述了一种既令人难以置信又让人产生共鸣的情况。

—PR

——公关

* * *

** **

## — August —

## — 八月 —

## Sam Taggart’s Hard Sell

## 萨姆·塔格特的强行推销

Tad Friend | The New Yorker | August 1, 2022 | 9,497 words

泰德朋友 |纽约客 | 2022 年 8 月 1 日 | 9,497 字

Where do I even begin to endorse Tad Friend’s safari into the world of modern-day door-to-door salespeople?

我该从哪里开始认可泰德·弗兰德进入现代上门推销员世界的探索之旅呢？

First, I guess, would be the disclaimer that this sort of subculture piece is catnip for me.

首先，我想，这是免责声明，这种亚文化作品对我来说很吸引人。

I’m a sucker for industry argot, from “bageling” to “tie-downs” to the BOLT system.

我很喜欢行业术语，从“百吉饼”到“束缚”再到 BOLT 系统。

I’m a sucker for play-by-play annotations, as when Friend details the conversations that Taggart — would-be king of the “knockers” — has with the folks unlucky enough to answer the door and expose themselves to his white-toothed psychological siege.

我很喜欢逐个比赛的注释，就像《弗兰德》详细描述了塔格特——未来的“敲门者”之王——与那些不幸开门的人的对话，让自己暴露在他的白牙心理围攻之下。

I’m a sucker for anything that plumbs the depths of alpha-bro “performance” thinking, foreign as it is to my character.

我对任何能深入探索阿尔法兄弟“表演”思维深处的东西都很着迷，尽管这对我的性格来说是陌生的。

But that’s only the starting point.

但这只是起点。

What Friend delivers here is a portrait of the want that plagues so many of us, a want for success that’s really a want for redemption.

弗兰德在这里描绘了困扰我们许多人的渴望，对成功的渴望，实际上是对救赎的渴望。

It fuels the cold calls, the seminars, the mind games.

它助长了推销电话、研讨会和心理游戏。

“Failure is abhorrent because it can induce a contagious loss of faith in the whole enterprise,” he writes.

“失败是令人憎恶的，因为它会导致人们对整个企业失去信心，”他写道。

That was likely the case in the days of Fuller brushes and vacuum cleaners, and it’s certainly the case today, with the knockers peddling home-security systems and high-commission solar panels.

在富勒刷子和吸尘器时代可能就是这种情况，今天也肯定是这种情况，因为门环兜售家庭安全系统和高佣金太阳能电池板。

Somehow as devastating as it is entertaining.

不知怎的，它既具有毁灭性，又很有趣。

—PR

——公关

* * *

** **

## The Unlikely Rise of Slim Pickins, the First Black-Owned Outdoors Retailer in the Country

## Slim Pickins 不可思议的崛起，该国第一家黑人拥有的户外用品零售商

Ian Dille | Texas Monthly | August 10, 2022 | 3,938 words

伊恩·迪尔 |德克萨斯月刊| 2022 年 8 月 10 日 | 3,938 字

Recent years have seen an explosion of discussion around racial gaps in outdoor recreation — finally.

近年来，关于户外休闲中种族差距的讨论终于爆发了。

Despite rapidly proliferating groups like Outdoor Afro and the Major Taylor Cycling Club, retail brands and shops seemed almost inertially resistant to reaching beyond their assumed audience.

尽管Outdoor Afro和Major Taylor Cycling Club等团体迅速激增，但零售品牌和商店似乎几乎惯性地抵制超出其假定受众的范围。

(“I love Patagonia products, but their marketing materials make the luxury of intentionally living in your van seem admirable, even altruistic,” Nicholas Russell wrote in 2020.

（“我喜欢巴塔哥尼亚的产品，但他们的营销材料让特意住在你的货车里的奢华看起来令人钦佩，甚至是无私的，”尼古拉斯·拉塞尔在 2020 年写道。

“The activities that outdoor companies present, whether climbing or running or snowboarding, isn’t correlated to what’s possible; it’s more about who fits the concept of that activity, who is likely to afford to buy into it.”) It’s that pattern that Jahmichah Dawes has sought to disrupt, opening an outdoors shop in small-town Texas.

“户外公司提供的活动，无论是攀岩、跑步还是滑雪板，与可能性无关；更多的是关于谁符合该活动的概念，谁可能负担得起。”）Jahmichah Dawes 试图打破这种模式，在德克萨斯州小镇开设了一家户外商店。

As such, Dawes has found himself a poster child of sorts, a symbol of something far bigger than just a man and his dream — whether he wanted to be or not.

因此，道斯发现自己是某种意义上的典范，象征着某种远比一个人和他的梦想更重要的东西——无论他是否愿意。

But as Ian Dille’s Texas Monthly profile makes clear, it’s a challenge he’s met with perseverance and mission clarity.

但正如伊恩·迪尔 (Ian Dille) 在《德克萨斯月刊》的简介中所表明的那样，他以毅力和明确的使命迎接了这一挑战。

And outdoor enthusiasts everywhere are better for it.

世界各地的户外运动爱好者都因此受益匪浅。

—PR

——公关

* * *

** **

## An Essay About Watching Brad Pitt Eat That Is Really About My Own Shit

## 一篇关于看布拉德·皮特吃东西的文章实际上是关于我自己的狗屎

Lucas Mann | Hobart | August 16, 2022 | 8,227 words

卢卡斯·曼 |霍巴特 | 2022 年 8 月 16 日 | 8,227 字

Meet Joe Black is a bad movie.

《遇见乔·布莱克》是一部糟糕的电影。

It’s long, and slow, and pretentious.

它又长、又慢、又自命不凡。

But it has one thing going for it, and that is Brad Pitt eating.

但它有一个好处，那就是布拉德·皮特吃东西。

Specifically, Brad Pitt licking peanut butter off a spoon, considering it with his tongue, and then asking for more.

具体来说，布拉德·皮特舔掉勺子上的花生酱，用舌头考虑一下，然后要求更多。

Watching this scene in the theater in middle school was a seminal moment in my sexual awakening.

中学时在剧院观看这一场景是我性觉醒的一个重要时刻。

Needless to say, I clicked fast when I saw the headline of this essay.

不用说，当我看到这篇文章的标题时，我的点击速度很快。

And I wasn’t disappointed: Lucas Mann uses Brad Pitt eating — in a number of films, but starting, rightly, with MJB — as a lens through which to consider his relationship to his own body and to the bodies of others, some of which he knows intimately, others of which he knows only from watching them on screen.

我并不感到失望：卢卡斯·曼在很多电影中都以布拉德·皮特的饮食为镜头，但从《MJB》开始，这是正确的，通过这个镜头来思考他与自己的身体以及他人的身体的关系，其中一些他非常了解，另一些他只是通过在屏幕上观看而知道。

It’s a lovely, surprising piece that makes me crave peanut butter, straight out of the jar.

这是一件可爱的、令人惊讶的作品，让我渴望直接从罐子里拿出来的花生酱。

—SD

—SD

* * *

** **

## I Loved Bike Touring—Until I Got Paid to Do It

## 我喜欢自行车旅行——直到我得到报酬为止

Caitlin Giddings| Outside | December 30, 2019 | 2,997 words

凯特琳·吉丁斯|外面| 2019 年 12 月 30 日 | 2,997 字

Full disclosure, this is an older story, from the age before COVID, no less — that distant year of 2019.

坦白说，这是一个更古老的故事，可以追溯到新冠疫情之前的时代，甚至是遥远的 2019 年。

I came across it this month when Outside made it into a podcast, a wise decision: It’s a fun, witty tale that bounces along at pace.

这个月，当《Outside》将其制作成播客时，我偶然发现了它，这是一个明智的决定：这是一个有趣、诙谐的故事，节奏很快。

Grabbing you from the start, it places you in the middle of a bike chase with “a middle-aged psychopath in high-vis spandex.” The psychopath in question is a disgruntled client kicked off one of the bike tours led by the writer, Caitlin Giddings.

它从一开始就吸引着你，让你陷入一场与“穿着高可见度氨纶的中年精神病患者”的自行车追逐之中。这位精神病患者是一位心怀不满的客户，她参加了作家凯特琳·吉丁斯 (Caitlin Giddings) 带领的自行车之旅。

Giddings relays her time as a tour guide with candor, and with just a few words manages to paint a visceral picture of dirty, sweaty trail life, and leave you giggling at the characters sharing it.

吉丁斯坦率地讲述了她作为导游的经历，仅用几句话就成功地描绘了一幅肮脏、汗流浃背的小道生活的内心画面，让你对分享它的角色咯咯笑。

It’s a snapshot of the broad spectrum of humanity, from how we deal with tragedy to how we allocate who washes the group spatula.

这是人类广泛领域的缩影，从我们如何处理悲剧到我们如何分配谁来清洗集体抹刀。

Luckily Giddings stuck out this grueling profession long enough to gather these stories, although sadly left before discovering the identity of the mysterious tent urinator.

幸运的是，吉丁斯坚持了这一艰苦的职业足够长的时间来收集这些故事，尽管遗憾的是在发现神秘帐篷小便者的身份之前就离开了。

—CW

—CW

* * *

** **

## — September —

## — 九月 —

## How Many Errorrs Are in This Essay?

## 这篇文章中有多少错误？

Ed Simon | The Millions | August 24, 2022 | 6,525 words

埃德·西蒙 |数百万| 2022 年 8 月 24 日 | 6,525 字

I spend a lot of time deliberating over words, so reading Ed Simon’s delightful essay on “when copy goes wrong” was a guilty pleasure.

我花了很多时间思考文字，所以阅读埃德·西蒙关于“当文案出错时”的令人愉快的文章是一种内疚的乐趣。

When Simon points out “Theodor Dreiser’s An American Tragedy describes a pair of lovers as being ‘like two small chips being tossed about on a rough but friendly sea,’” I was rooting for those star-crossed potatoes.

当西蒙指出“西奥多·德莱塞的《美国悲剧》将一对恋人描述为‘就像在波涛汹涌但友好的大海上抛掷的两块小薯片’”时，我为那些不幸的土豆加油。

A fan of a well-set table, I concurred “Blessed are the placemakers,” rather than “peacemakers” — as suggested in a 1562 printing of the Geneva Bible — and I chuckled that a few decades later, the “Wicked Bible” urged that you “shalt commit adultery.” There is a particularly joyful flaw in a 15th-century Croatian manuscript, where “splayed across the pages are the inky pawprints of the scribe’s cat” — the modern-day equivalent of your pet presenting its rear end in a Zoom meeting.

作为一个精心布置的餐桌的粉丝，我同意“占位者有福”，而不是“和平缔造者”——正如 1562 年印刷的《日内瓦圣经》中所暗示的那样——我笑了，几十年后，《邪恶的圣经》敦促你“不可通奸”。一份 15 世纪的克罗地亚手稿中有一个特别令人高兴的缺陷，其中“书页上散布着抄写员猫的漆黑爪印”——这相当于现代的宠物在 Zoom 会议上展示它的屁股。

After having his fun, Simon deftly moves on to the darker side of copy mistakes: In the U.S. Constitution, “commas are placed between nouns and verbs, errant commas in the Second Amendment make it unclear as to whether the right to bear arms is reserved for individuals or only ‘well regulated militias.’” Simon likes to make you think, and after dwelling on the potential damage of a wayward comma, he moves on to our very existence: Why did the Big Bang happen?

玩完之后，西蒙巧妙地转向了抄袭错误的阴暗面：在美国宪法中，“逗号放在名词和动词之间，第二修正案中错误的逗号让人不清楚携带武器的权利是保留给个人还是只属于‘管理良好的民兵’。”西蒙喜欢让你思考，在详细阐述了任性逗号的潜在损害之后，他转向了我们的存在：为什么大爆炸会发生？发生？

It was probably just a mistake as well.

这也可能只是一个错误。

—CW

—CW

* * *

** **

## The Mushrooms That Ate Luke Perry

## 吃掉卢克·佩里的蘑菇

Casey Lyons | Orion Magazine | September 6, 2022 | 2,869 words

凯西·里昂 |猎户座杂志 | 2022 年 9 月 6 日 | 2,869 字

I confess, it was the headline that drew me in.

我承认，是这个标题吸引了我。

I wasn’t a Beverly Hills, 90210 fan, never got suckered by Luke Perry’s squint-smirk combo.

我不是比佛利山庄、90210 的粉丝，从来没有被卢克·佩里的斜视傻笑组合所迷惑。

But I couldn’t resist that monster-movie construction, so I read it — and I’d urge the same of you, regardless of your feelings about Aaron Spelling primetime soaps.

但我无法抗拒那种怪物电影的结构，所以我读了它——并且我会敦促你也这么做，不管你对亚伦·斯佩林黄金时段肥皂剧的看法如何。

This piece starts with Perry’s death, but Casey Lyons uses the actor’s green burial as a springboard to trace the remarkable arc of his life as well, and in doing so to explore what we seek from our corporeal end.

这部作品从佩里的死开始，但凯西·里昂斯以演员的绿色墓葬为跳板，追踪他生命的非凡轨迹，并以此探索我们从肉体的终点所寻求的东西。

“Luke Perry knew about desire, having been buried in a laundry hamper to escape it,” Lyons writes.

“卢克·佩里了解欲望，他被埋在洗衣篮里以逃避欲望，”莱昂斯写道。

“He also knew it as the holder of a notion about physical erasure from the planet, that our bodies don’t have to harm the earth when we die.

“他还知道，作为一个关于从地球上物理抹去的观念的持有者，我们的身体在我们死后不必伤害地球。

We all know desire.

我们都知道欲望。

Death is a muse, but desire is a blunter sort of thing.” Regardless of whether the mushrooms feasted the way they were supposed to (spoiler: they didn’t!), you’ll walk away with a fuller sense of the man inside the suit, and maybe even of your own plans for that inescapable day.

死亡是缪斯，但欲望是一种更直率的东西。”不管蘑菇是否按照预期的方式享用（剧透：他们没有！），你离开时都会对西装里面的人有更全面的了解，甚至可能对那不可避免的一天你自己的计划有所了解。

—PR

——公关

* * *

** **

## The Number Ones: Crazy Town’s “Butterfly”

## 头号人物：疯狂小镇的“蝴蝶”

Tom Breihan | Stereogum | September 14, 2022 | 3,306 words

汤姆·布雷汉 |立体胶| 2022 年 9 月 14 日 | 3,306 字

There was some stellar longform journalism published this week — Eliza Shapiro and Brian M.

本周发表了一些出色的长篇新闻文章——Eliza Shapiro 和 Brian M.

Rosenthal’s groundbreaking investigation of Hasidic yeshivas, for instance, and Casey Cep’s damning look at how Johnson & Johnson is eschewing responsibility for consumer protection — but for this newsletter, I’m going to recommend a deep dive into one of the worst pop songs ever composed.

例如，罗森塔尔对哈西迪克犹太学校的开创性调查，以及凯西·塞普对强生公司如何逃避消费者保护责任的严厉审视——但在这篇时事通讯中，我将建议深入探讨有史以来最糟糕的流行歌曲之一。

I was 15 when “Butterfly” hit the airwaves.

当《蝴蝶》播出时我才 15 岁。

You probably know it; you might even be able to hum the hook or “rap” along to the chorus.

你可能知道；你甚至可以随着副歌哼唱或“说唱”。

It is not a good song.

这不是一首好歌。

It might be a crime against art.

这可能是对艺术的犯罪。

But as part of his effort to review every #1 single in the history of the Billboard‘s Hot 100, Tom Breihan traces how “Butterfly” came to be, illuminating the currents of rap, rock, pop, and fan culture that led to the utterance of the lyrics, “Hey sugar mama, come and dance with me / The smartest thing you ever did was take a chance with me.” There are moments of deadpan humor and cameos by Paul Ryan and Nancy Meyers.

但汤姆·布雷汉 (Tom Breihan) 回顾了 Billboard 百强单曲历史上每首排名第一的单曲，他回顾了《Butterfly》的诞生过程，阐明了说唱、摇滚、流行和粉丝文化的潮流，最终导致了歌词的出现：“嘿糖妈妈，来和我跳舞/你做过的最聪明的事情就是和我一起冒险。”其中有一些面无表情的幽默时刻，还有保罗·瑞安和南希·迈耶斯的客串。

Breihan makes the case that “Butterfly” manages to tip from bad into something else — “the kind of silly bullshit hit song that makes the world just slightly more fun.” I buy it.

布莱汉认为，《蝴蝶》成功地从坏事转向了其他事——“那种愚蠢的胡扯热门歌曲，让世界变得更加有趣。”我买它。

—SD

—SD

* * *

** **

## Rocketland

## 火箭乐园

Loren Grush | The Verge | September 13, 2022 | 7,100 words

洛伦·格拉什 |边缘| 2022 年 9 月 13 日 | 7,100 字

I dislike Elon Musk.

我不喜欢埃隆·马斯克。

Like, a lot.

喜欢，很多。

I know I’m not alone in this.

我知道我并不孤单。

So it was admittedly with horrified curiosity that I embarked on reading Loren Grush’s feature about people who’ve uprooted their lives, moved to middle-of-nowhere Texas, and dedicated their time, energy, even money to waiting for Musk’s SpaceX to bring humankind closer to setting foot on Mars.

因此，诚然，我怀着极大的好奇心开始阅读 Loren Grush 的专题文章，书中讲述了那些背井离乡、搬到德克萨斯州偏僻地区的人们，他们将自己的时间、精力甚至金钱都奉献给了马斯克的 SpaceX，让人类更接近踏上火星。

Grush quickly set me straight: The horror that colored my curiosity was wrong.

格拉什很快就纠正了我的观点：让我的好奇心受到恐惧的影响是错误的。

She encounters a community of seekers, believers, dreamers.

她遇到了一个由探索者、信徒和梦想家组成的社区。

There’s nothing else like it on earth, and in that there’s poignancy, even hope.

地球上没有什么比这更好的了，其中充满了辛酸，甚至是希望。

“Maybe inhabiting Mars will happen in our lifetimes.

“也许在我们的有生之年就能登陆火星。

Maybe it won’t.

也许不会。

Maybe it will never happen at all,” Grush writes.

也许这根本不会发生，”格鲁什写道。

“In the end, you just have to have a little faith.

“最后，你只需要有一点信心。

And in this dry, flat patch of Texas, you’ll find no shortage of that.” —SD

在德克萨斯州这片干燥、平坦的土地上，你会发现不乏这样的东西。” —SD

* * *

** **

## I Do Not Keep a Diary

## 我不写日记

Will Rees | Astra Magazine | September 15, 2022 | 3,051 words

威尔·里斯 |阿斯特拉杂志| 2022 年 9 月 15 日 | 3,051 字

Will Rees doesn’t yet keep a diary, but he aspires to.

威尔·里斯还没有写日记，但他渴望这样做。

Maybe.

或许。

He carries a notebook and pen, ready for the precise set of planting conditions that would allow him to sow his thoughts and ideas.

他带着笔记本和笔，准备好一套精确的种植条件，让他能够播撒他的思想和创意。

The notebook is well traveled.

这本笔记本经过了很多旅行。

The cover is worn, yet the inside remains blank as he struggles with how to portray himself on the page, asking “How would I like to appear when it is only myself who is looking?” I loved this piece because I find it wholly relatable.

封面已经破旧，但里面却一片空白，他挣扎着如何在页面上描绘自己，问道：“当只有我自己在看时，我希望如何出现？”我喜欢这篇文章，因为我发现它完全相关。

Have you ever felt those sweet yet rare moments when you’re infused with possibility, that desire to make sense of your life and your experiences, to uncover meaning in how you spend your days?

当你充满可能性，渴望理解你的生活和你的经历，发现你如何度过每一天的意义时，你是否经历过那些甜蜜而罕见的时刻？

Have you ever aspired to get thoughts down before they evaporate, before that drop of inspiration or insight is gone forever?

您是否曾渴望在想法消失之前、在灵感或洞察力永远消失之前将其记录下来？

To take pride in yourself as a thinking person who makes reflection a habit?

为自己是一个善于思考、让反思成为习惯的人而感到自豪吗？

Don’t we all?

我们都不是吗？

—KS

—KS

* * *

** **

## — October —

## — 十月 —

## Inside One Of The World’s First Human Composting Facilities

## 世界上第一个人类堆肥设施之一的内部

Eleanor Cummins | The Verge | October 3, 2022 | 2,457 words

埃莉诺·康明斯 |边缘| 2022 年 10 月 3 日 | 2,457 字

We all die, though when someone you love passes and you’re mired in grief, reducing the environmental impact of your loved one’s body isn’t generally top of mind.

我们都会死，但当您所爱的人去世而您陷入悲伤时，减少亲人身体对环境的影响通常并不是首要考虑的事情。

Burial and cremation are standard options, but both pollute the environment.

土葬和火葬是标准选择，但都会污染环境。

Embalming fluids can leach through a casket and contaminate the soil.

防腐液可能会渗入棺材并污染土壤。

Cremation requires a lot of fuel and releases carbon dioxide into the air.

火葬需要大量燃料，并向空气中释放二氧化碳。

But, what if we could actually give back to the earth after we die to help trees, plants, and flowers to flourish?

但是，如果我们能在死后真正回馈地球，帮助树木、植物和花朵蓬勃发展呢？

Enter natural organic reduction (NOR), or human composting, which is now legal in four states and counting.

天然有机还原（NOR）或人类堆肥现在在四个州是合法的，而且还在增加。

In this insightful piece at The Verge, Eleanor Cummins reports on how NOR started off as an idea in Katrina Spade’s 2013 graduate thesis and has since become a cost effective and environmentally friendly way for families to say goodbye to their loved ones.

在 The Verge 发表的这篇富有洞察力的文章中，Eleanor Cummins 报道了 NOR 如何从 Katrina Spade 2013 年研究生论文中的一个想法开始，并逐渐成为家庭与亲人告别的一种经济高效且环保的方式。

—KS

—KS

* * *

** **

## The Haunting of a Dream House

## 梦之屋的闹鬼

Reeves Wiedeman | The Cut | November 12, 2018 | 9,365 words

里夫斯·维德曼 |剪辑|十一月 12, 2018 | 9,365 字

Netflix loves a true crime miniseries and yesterday released yet another one: The Watcher.

Netflix 喜欢真实犯罪迷你剧，昨天又发布了另一部：《守望者》。

Yet to see it, I am hopeful it will be more nuanced than the endless parade of horrific murders dominating this genre.

然而，为了看到它，我希望它会比主导这一类型的无休止的可怕谋杀更加微妙。

After all, the story it is based on is more spooky than gory.

毕竟，它所依据的故事比血腥更恐怖。

First detailed in 2018 by Reeves Wiedeman in his essay for The Cut, it is classic “idyllic suburbia turns creepy,” with the Broaddus family buying their dream home, only to begin receiving alarming letters to “The New Owner.” With a strong horror vibe, these letters explain the writer has “been put in charge of watching” the house and asking questions about “the young blood” living there.

2018 年，里夫斯·维德曼 (Reeves Wiedeman) 在 The Cut 的文章中首次对此进行了详细描述，这是典型的“田园诗般的郊区变得令人毛骨悚然”，布罗德斯 (Broaddus) 家族购买了他们的梦想家园，却开始收到写给“新主人”的令人震惊的信件。这些信件带有强烈的恐怖氛围，解释说作者“负责看守”这所房子，并询问有关居住在那里的“年轻人”的问题。

Wiedeman deftly builds up the suspense but also focuses on something more mundane: neighborhood politics.

维德曼巧妙地营造了悬念，但也关注更平凡的事情：邻里政治。

Fearing for their children, the Broadduses never move into the house, but this does not stop them from investigating their neighbors to find out who “The Watcher” may be.

由于担心孩子的安全，布罗德杜斯夫妇从未搬进这所房子，但这并不能阻止他们调查邻居，找出“观察者”可能是谁。

Suspicions run high, with tensions overspilling in lawsuits and town council meetings.

疑窦丛生，诉讼和镇议会会议上气氛紧张。

Managing to combine mystery with paperwork, Wiedeman creates a compelling story that you won’t be able to stop reading.

维德曼设法将神秘与文书工作结合起来，创造了一个引人入胜的故事，让你无法停止阅读。

I hope Netflix does it justice.

我希望 Netflix 能够公正地对待此事。

—CW

—CW

* * *

** **

## Inside Ryan Reynolds and Rob McElhenney’s Great Wrexham Gambit

## 瑞安·雷诺兹和罗伯·麦克尔亨尼的雷克瑟姆大开局

Tom Lamont | GQ | August 17, 2022 | 6,715 words

汤姆·拉蒙特 |智群 | 2022 年 8 月 17 日 | 6,715 字

I once lived very close to Fulham football club.

我曾经住得离富勒姆足球俱乐部很近。

On Saturdays, when there was a home game, the streets would swell with fans, their faces shiny with sweat and blue shirts stretched tight over bellies expanded from an afternoon’s beer intake.

周六，当有主场比赛时，街道上挤满了球迷，他们的脸上汗水闪闪发光，蓝色衬衫紧紧地遮住因下午喝啤酒而鼓起的肚子。

They would happily shout chants — never deviating far from the classic “Ful-HAM, Ful-HAM!” The chanting shifted up a notch if they won, but whatever the outcome they seemed delighted to be out supporting their club.

他们会高兴地高喊口号——永远不会偏离经典的“Ful-HAM，Ful-HAM！”如果他们获胜，口号就会提高一个档次，但无论结果如何，他们似乎都很高兴能够支持他们的俱乐部。

It looked fun, and covers the extent of my football knowledge, making it on par with what Ryan Reynolds and Rob McElhenney knew when they decided to purchase Wrexham AFC.

它看起来很有趣，涵盖了我的足球知识，与 Ryan Reynolds 和 Rob McElhenney 在决定购买 Wrexham AFC 时所了解的知识相当。

Fascinated by, if not fully comprehending, football leagues (where a team can freely move up and down different tiers depending on their performance), this glitzy pair was drawn to the rundown Welsh club, determined to boost it up.

这对耀眼的组合被足球联赛（一支球队可以根据自己的表现自由地在不同的级别上上下移动）所着迷，如果不是完全理解的话，他们被这家破败的威尔士俱乐部所吸引，决心提升它的水平。

Tom Lamont explores the takeover in this lovely piece, conjuring some memorable visuals along the way.

汤姆·拉蒙特（Tom Lamont）在这部可爱的作品中探索了接管的过程，一路上唤起了一些令人难忘的视觉效果。

(I particularly enjoyed the image of the owner’s lounge, when, despite some valiant improvement efforts, the Hollywood stars arrive to find a broken toilet and beer pumps that are “only cut-out photographs of pumps.”) It’s a feel-good read, with Reynolds and McElhenney making up for their lack of knowledge with a pure enthusiasm that extends beyond the club to the town itself, a place so invested in the team that “it might be lifted, wholesale, by that team’s improving results.” The purchase has also inspired some more creative singing, and a new favorite has a rousing chorus of “Bring on the Deadpool and Rob Mc – El – Henney!“ —CW

（我特别喜欢主人休息室的形象，尽管做了一些勇敢的改进工作，好莱坞明星到达时发现了一个坏掉的马桶和啤酒泵，“只是泵的剪纸照片。”）读起来感觉很好，雷诺兹和麦克尔亨尼用一种纯粹的热情弥补了他们的知识匮乏，这种热情超越了俱乐部，延伸到了小镇本身，一个对球队如此投入的地方，“它可能会因球队不断进步的成绩而全面提升”。这次购买还激发了一些更有创意的歌唱，新的最爱有一首激动人心的合唱“带来死侍和罗布·麦克-埃尔-亨尼！” —CW

* * *

** **

## What Was Brangelina?

## 布兰吉利娜是什么？

Angelica Jade Bastién | Vulture | October 24, 2022 | 5,067 words

当归·杰德·巴斯蒂安 | Angelica Jade Bastién秃鹫| 2022 年 10 月 24 日 | 5,067 字

There have been a lot of words written about Brad Pitt and Angelina Jolie — most of them with a tinge of hysteria.

关于布拉德·皮特和安吉丽娜·朱莉的文章有很多，其中大多数都带有歇斯底里的色彩。

Magazines have long reveled in the drama of their love story (remember “Team Jolie” and “Team Aniston?”).

杂志长期以来一直沉迷于他们爱情故事的戏剧性（还记得“朱莉团队”和“安妮斯顿团队吗？”）。

This essay is refreshing, with Angelica Jade Bastién taking a calm, measured look at how the Brangelina story has played out over the years.

这篇文章令人耳目一新，安吉丽卡·杰德·巴斯蒂安 (Angelica Jade Bastién) 冷静、谨慎地审视了多年来布兰吉利娜 (Brangelina) 的故事是如何发展的。

I was never particularly enthralled by either of them, but still enjoyed this thoughtful analysis, along with the beautifully vivid descriptions of their iconic photos: “She’s unconsciously supine, made to appear in a pill-addled haze, wearing a magenta Narciso Rodriguez wool and silk crêpe dress as he, in a suit sans jacket — as if he just got home and is not quite eager to clean her mess — kneels to scoop her up.” Bastién also addresses the complicated issue of how Pitt has managed to maintain a reputation for being the good guy, despite Jolie leveling accusations of abuse against him.

我从来没有对他们中的任何一个特别着迷，但仍然喜欢这种深思熟虑的分析，以及对他们标志性照片的美丽生动的描述：“她无意识地仰卧着，看起来像是在一片药丸迷蒙的迷雾中，穿着一件洋红色纳西索·罗德里格斯羊毛和丝绸绉纱连衣裙，而他穿着西装，没有夹克——好像他刚回到家，不太急于清理她的烂摊子——跪着把她抱起来。”巴斯蒂恩还谈到了皮特如何设法保持好人声誉的复杂问题，尽管朱莉对他提出了虐待指控。

Their story is far from over.

他们的故事还远未结束。

—CW

—CW

* * *

** **

## — November —

## — 十一月 —

## A Touch of Moss

## 一点苔藓

Nikita Arora | Aeon | September 8, 2022 | 4,549 words

尼基塔·阿罗拉 | 尼基塔·阿罗拉永旺 | 2022 年 9 月 8 日 | 4,549 字

This beautiful essay is a letter of recommendation to go out and touch moss.

这封美丽的文章是一封出去触摸苔藓的推荐信。

Yes, the soft green stuff growing on walls and rocks and trees, patches and carpets that grow at a glacial pace, that harken back to an ancient, pre-human world.

是的，墙壁、岩石、树木、补丁和地毯上生长的柔软绿色物质以缓慢的速度生长，让人回想起古老的前人类世界。

But Nikita Arora isn’t recommending that readers commune with moss because it’s good for the soul to connect with nature — that’s too pat, too easy.

但尼基塔·阿罗拉（Nikita Arora）并不建议读者与苔藓交流，因为它有利于灵魂与自然的联系——这太轻率、太容易了。

Rather, Arora urges a reimagining of what it means for humans to touch the world around us.

相反，阿罗拉敦促重新思考人类接触周围世界的意义。

“Touch” comes from toche, French for “blow” or “attack,” and as Arora elucidates, the ability to touch has often been an extension of power and its attendant violence.

“触摸”源自法语“toche”，意思是“打击”或“攻击”，正如阿罗拉所阐明的那样，触摸的能力往往是权力及其随之而来的暴力的延伸。

“Perhaps the apparent superficiality of touch is the fiction,” Arora writes.

“也许触摸的表面肤浅只是虚构，”阿罗拉写道。

“The histories (colonial, racial, elitist) of human relationships with the nonhuman may have whitewashed and pigeonholed touch and its potential for radical reciprocity and for reckoning with the past and the present.” —SD

“人类与非人类关系的历史（殖民的、种族的、精英主义的）可能已经粉饰和归类了接触，及其实现彻底互惠以及审视过去和现在的潜力。” —SD

* * *

** **

## The Sweet and Sticky History of the Date

## 枣子的甜蜜和粘稠的历史

Matti Friedman | Smithsonian | November 7, 2022 | 5,377 words

马蒂·弗里德曼 |史密森尼 | 2022 年 11 月 7 日 | 5,377 字

I love visiting supermarkets while traveling, perusing aisles of foods both familiar and not.

我喜欢在旅行时逛超市，仔细浏览货架上熟悉和不熟悉的食物。

An Armenian grocery in the San Fernando Valley introduced me to pinecone jam.

圣费尔南多谷的一家亚美尼亚杂货店向我介绍了松果果酱。

A store in Bishkek surprised me with its wide array of ketchup options.

比什凯克的一家商店让我惊讶的是，这里有各种各样的番茄酱可供选择。

Then there was the supermarket in Abu Dhabi that boasted a bar filled with nothing but dates: big ones, small ones, stuffed ones, fresh ones — and in a rainbow of brown or orange hues.

阿布扎比的一家超市拥有一个酒吧，里面除了枣子外什么也没有：大枣、小枣、夹心枣、新鲜枣——颜色呈彩虹般的棕色或橙色。

Until then, I’d had no clue there were so many varieties.

在那之前，我还不知道有这么多品种。

Matti Friedman’s feature about the sumptuous fruit is equally surprising and instructive.

马蒂·弗里德曼（Matti Friedman）关于丰盛水果的专题报道同样令人惊讶且具有启发性。

It traces the date’s history from ancient times to the present and posits that the fruit tells the long, complicated story of the Middle East.

它追溯了枣子从古至今的历史，并认为这种水果讲述了中东漫长而复杂的故事。

Friedman takes readers on a tour of mythology, architecture, and empire; inside a Jurassic Park-style genetic experiment involving “resurrected” date palms; and into the halls of an agricultural conference about the future of the date in a fraught world and changing climate.

弗里德曼带领读者踏上神话、建筑和帝国之旅；侏罗纪公园式的基因实验涉及“复活”的枣椰树；走进一个农业会议的大厅，讨论这个充满忧虑的世界和不断变化的气候中的未来。

By the end of reading this piece I felt enriched — and hungry.

读完这篇文章后，我感到充实——而且感到饥饿。

—SD

—SD

* * *

** **

## Constraints: A Hometown Ode

## 约束：家乡颂

Anne P.

安妮·P。

Beatty | The Rumpus | October 18, 2022 | 3,165 words

比蒂 |喧闹| 2022 年 10 月 18 日 | 3,165 字

Anne P.

安妮·P。

Beatty never planned to move back to her hometown of Greensboro, North Carolina.

比蒂从未计划搬回家乡北卡罗来纳州格林斯博罗。

But at 33, she did.

但33岁的她做到了。

In these lovely musings, Beatty reflects on ambition, becoming a writer and an English teacher, and the fear of stasis when a person returns to the place they grew up.

在这些可爱的沉思中，比蒂反思了成为一名作家和英语老师的野心，以及当一个人回到他们长大的地方时对停滞不前的恐惧。

She also writes beautifully about adolescence and adulthood — what we hope for ourselves, and simply what is.

她还精彩地描写了青春期和成年期——我们对自己的希望是什么，以及现实是什么。

“As a kid, I was constantly looking beyond myself, beyond my world.

“小时候，我不断地超越自我、超越我的世界。

What’s out there to see?

那里有什么可看的？

To write about?” she asks.

写什么？她问。

“Now, I just want one more hour, thirty minutes even, to work from within.” I’ve been thinking deeply recently about where I am in my life — struggling as a mother, trying to be a writer — and I appreciate these refreshingly honest reflections about life and growing up.

“现在，我只想再多一个小时，甚至三十分钟，从内部开始工作。”最近，我一直在深入思考自己生活中的处境——作为一名母亲而奋斗，努力成为一名作家——我很欣赏这些关于生活和成长的令人耳目一新的诚实反思。

—CLR

—CLR

* * *

** **

## — December —

## — 十二月 —

## Nicolas Cage and John Carpenter are Cinema’s Most Studious Eccentrics

## 尼古拉斯·凯奇和约翰·卡彭特是电影界最勤奋的怪人

Hannah Ongley | Document | November 28, 2022 | 3,752 words

汉娜·昂格利 |文件| 2022 年 11 月 28 日 | 3,752 字

In my house, we worship at several artistic altars, two of which are Nicolas Cage and horror movies.

在我家，我们在几个艺术祭坛前敬拜，其中两个是尼古拉斯·凯奇和恐怖电影。

My husband is a devotee of the former, I of the latter.

我丈夫是前者的信徒，我是后者的信徒。

So I can’t help but feel that this conversation between Cage and horror auteur John Carpenter was made specially for us.

所以我不禁觉得凯奇和恐怖片导演约翰·卡朋特的这段对话是专门为我们而做的。

Situated here as two of the weirdest, most talented figures in modern Hollywood — no arguments from me — the pair talk about James Dean’s “perfect” career, how to know if your child is an actor, some very discomfiting alpacas, and doing charades with Anthony Perkins.

作为现代好莱坞最奇怪、最有才华的两位人物坐在这里——我没有异议——两人谈论詹姆斯·迪恩的“完美”职业生涯，如何知道你的孩子是否是一名演员，一些非常令人不安的羊驼，以及与安东尼·帕金斯玩猜谜游戏。

Their dialogue is a delight.

他们的对话令人愉快。

Time to rewatch Halloween and Mandy.

是时候重温万圣节和曼迪了。

—SD

—SD

* * *

** **

## The Great Canadian Baking Show Is a Pile of Wet Dough

## 伟大的加拿大烘焙秀是一堆湿面团

Alex Tesar | The Walrus | September 29, 2022 | 2,238 words

亚历克斯·泰萨尔 |海象| 2022 年 9 月 29 日 | 2,238 字

While not the weightiest story in the world, this essay debating the merits of The Great British Bake Off compared to The Great Canadian Baking Show was the soul-soothing read I needed as we stumble toward the end of the year.

虽然这篇文章不是世界上最有分量的故事，但它讨论了伟大的英国烘焙大赛与伟大的加拿大烘焙展相比的优点，这是我在年底跌跌撞撞时所需要的抚慰心灵的读物。

Besides, Alex Tesar is right: The Great Canadian Baking Show just isn’t as good.

此外，亚历克斯·泰萨（Alex Tesar）是对的：伟大的加拿大烘焙展并没有那么好。

As a British expat currently living in Canada, I consider myself in a lofty position to judge this issue, and I nodded along, self-importantly, as I read Tesar’s delicious arguments.

作为一名目前居住在加拿大的英国侨民，我认为自己处于一个崇高的地位来判断这个问题，当我读到特萨尔精彩的论点时，我自以为是地点点头。

While I have devoured all the offerings from the British side of the Atlantic, I limped through one season of the Canadian version and, with Dan Levy no longer presenting, could make it no further.

虽然我已经看完了大西洋英国一侧的所有节目，但我还是一瘸一拐地看完了加拿大版本的一季，而且由于丹·利维不再出现，我无法再继续下去了。

Tesar explains that the “bucolic village fete,” which provides the setting for both shows, makes sense against the backdrop of English history (although dwelling on a tweeness that does not always exist), but not for Canada.

特萨尔解释说，为两场演出提供背景的“田园乡村盛宴”在英国历史背景下是有意义的（尽管这种矫揉造作的感觉并不总是存在），但对加拿大来说则不然。

He continues that trying to emulate British culture, rather than “showing us what Canada is and what it could become …

他继续说，试图效仿英国文化，而不是“向我们展示加拿大是什么以及它可以成为什么......

reveals profound insecurities about what sticks us together besides maple syrup.” I also have something to say about (most) North American versions of British shows: No. Tesar offers a more nuanced perspective.

揭示了除了枫糖浆之外，我们对什么能团结在一起的深深的不安全感。”对于（大多数）北美版本的英国节目，我也有话要说：不。Tesar 提供了更细致的视角。

It may be as light as whipped cream, but what a fun read.

它可能像生奶油一样清淡，但读起来多么有趣。

—CW

—CW

* * *

** **

## Secrets of the Christmas Tree Trade

## 圣诞树贸易的秘密

Owen Long | Curbed in partnership with Epic Magazine | December 7, 2022 | 6,374 words

欧文·朗 |与 Epic 杂志合作遏制 | 2022 年 12 月 7 日 | 6,374 字

Who knew the business of Christmas trees could be completely wild?

谁知道圣诞树生意会非常疯狂？

Just read Owen Long’s entertaining story about the Christmas tree industry in New York City.

只需阅读欧文·朗 (Owen Long) 关于纽约市圣诞树行业的有趣故事。

Here, there are no quaint family tree farms or small neighborhood pop-ups — this ruthless industry is run by a few eccentric businessmen, called “tree men,” who spend most of the year preparing for the holiday season.

在这里，没有古色古香的家庭树农场或小型邻里快闪店——这个残酷的行业是由一些古怪的商人经营的，他们被称为“树人”，他们一年中的大部分时间都在为节日做准备。

There’s George Nash, an old hippie who sells trees to much of Harlem; Kevin Hammer, known as the “Keyser Söze of Christmas” and the man responsible for shaping NYC’s industry into what it is today; and Greg Walsh, who is Long’s boss (and looks exactly like Santa Claus).

乔治·纳什（George Nash）是一位老嬉皮士，他向哈莱姆区的大部分地区出售树木；凯文·哈默 (Kevin Hammer)，被称为“圣诞节的凯泽·索泽”(Keyser Söze)，他负责将纽约市的工业塑造成今天的样子；还有格雷格·沃尔什（Greg Walsh），他是朗的老板（看起来和圣诞老人​​一模一样）。

I don’t want to say too much — just sit down with a hot drink and dive into this festive and fascinating piece.

我不想说太多——坐下来喝杯热饮，沉浸在这个喜庆而迷人的作品中吧。

There are some pretty hilarious lines, so be careful not to spit out your eggnog.

其中有一些非常搞笑的台词，所以要小心不要吐出蛋酒。

—CLR

—CLR

* * *

** **

You can also browse all of our year-end collections since 2011 in one place.

您还可以在一处浏览我们自 2011 年以来的所有年终系列。