Best of 2022: Features

As part of Best of Longreads, our annual labor of love, we pored over all the stories we’ve picked in 2022 to create these year-end lists.

作为我们年度爱心劳动“最佳长读”的一部分，我们仔细研究了 2022 年挑选的所有故事，以创建这些年终清单。

The following features all embody the strong voice and excellent writing that made us fall in love with narrative journalism.

以下特点都体现了让我们爱上叙事新闻的强有力的声音和出色的写作。

Sweeping, hard-hitting, and emotional, each immerses us in a time and a place, introducing us to a fascinating set of characters that make for unforgettable stories.

每部作品都震撼人心、震撼人心、情感丰富，让我们沉浸在某个时间和地点，向我们介绍一系列迷人的角色，创造出令人难忘的故事。

Similar to last year, we asked our featured authors to share their favorite stories across categories.

与去年类似，我们要求特色作者跨类别分享他们最喜欢的故事。

You’ll see their recommendations alongside ours in this list and others to come this month.

您将在此列表中看到他们的建议以及我们的建议以及本月即将推出的其他建议。

Enjoy!

享受！

## Endless Exile

## 无尽的流放

Annie Hylton | The Walrus | February 28, 2022 | 8,160 words

安妮·希尔顿 |海象| 2022 年 2 月 28 日 | 8,160 字

Ayoob Mohammed, an Uyghur man, left his family in Xinjiang to find a better life.

维吾尔族男子阿尤布·穆罕默德 (Ayoob Mohammed) 离开家人前往新疆寻找更好的生活。

While waiting for a U.S. visa in Pakistan in September 2001, he traveled into Afghanistan — and found himself in the wrong place at the wrong time.

2001 年 9 月，他在巴基斯坦等待美国签证时前往阿富汗，结果发现自己在错误的时间来到了错误的地点。

Sold to the U.S. for bounty as an alleged terrorist, he was held in Guantánamo Bay for four years, and then exonerated.

他以涉嫌恐怖分子的身份被卖到美国以获取赏金，并在关塔那摩湾被关押了四年，然后被无罪释放。

He and a few other Uyghur detainees resettled in Albania, the only country that offered to take them.

他和其他几名维吾尔族被拘留者在阿尔巴尼亚重新定居，这是唯一愿意接收他们的国家。

But 16 years later, he is still trying to prove he’s innocent, and is unable to reunite with his wife and children in Montreal as Canada continues to reject his application for permanent residency.

但16年后，他仍在努力证明自己的清白，并且由于加拿大继续拒绝他的永久居留申请，他无法在蒙特利尔与妻子和孩子团聚。

Annie Hylton weaves an intimate story detailing Mohammed’s journey into a larger piece about the complex global politics among nations and the “invisible forces” that move people like pawns.

安妮·希尔顿 (Annie Hylton) 将一个详细介绍穆罕默德旅程的亲密故事编织成一个更大的故事，讲述各国之间复杂的全球政治以及像棋子一样移动人们的“无形力量”。

For most of us, family separation and love across borders are abstract ideas, but Hylton’s narrative of one man’s life, told with precision and empathy, makes for an emotional and devastating read.

对于我们大多数人来说，家庭分离和跨国界的爱都是抽象的概念，但希尔顿以精确和同情的方式讲述了一个人的生活，让人读起来充满情感和毁灭性。

—Cheri Lucas Rowlands

——切里·卢卡斯·罗兰兹

## The Assassination of Drakeo the Ruler

## 刺杀统治者德雷克

Jeff Weiss | Los Angeles Magazine | Jan 13, 2022 | 6,842 words

杰夫韦斯 |洛杉矶杂志| 2022 年 1 月 13 日 | 6,842 字

Categorizing a piece like this can feel like an impossible compromise.

对这样的作品进行分类感觉像是一个不可能的妥协。

Jeff Weiss’ gut punch of a story about the killing of Los Angeles rapper Drakeo spills across nearly every journalistic genre imaginable.

杰夫·韦斯 (Jeff Weiss) 对洛杉矶说唱歌手德雷克 (Drakeo) 被杀的故事进行了深入的报道，几乎涵盖了所有可以想象的新闻类型。

It’s deeply reported and essayistic, a nearly inescapable combination when the reporter in question is also an eyewitness.

它是深入报道和散文的结合，当相关记者同时也是目击者时，这几乎是不可避免的结合。

It’s a dispassionate profile written from within the clinch of a genuine years-long friendship.

这是一份冷静的简介，是在多年的真诚友谊中写成的。

But ultimately, only the word “feature” can accommodate the many ways it plumbs facts and grief with equal acuity.

但归根结底，只有“专题”这个词才能容纳它以同样敏锐的方式探究事实和悲伤的多种方式。

When Drakeo rose to prominence in the city that put gangsta rap on the map, it was because he was the herald of something unapologetically new.

当 Drakeo 在这座让黑帮说唱声名鹊起的城市声名鹊起时，那是因为他是某种新事物的先驱。

But when 113 people ambushed him backstage at an outdoor music festival last December, it was because of something much, much larger.

但去年 12 月，当 113 个人在一个户外音乐节后台伏击他时，原因是非常非常大的事情。

“To begin to understand why it happened,” Weiss writes, “is to grapple with the most corrosive aspects of humanity: the need for revenge and hatred of the other; our capacity for rage, ego, and jealousy.

韦斯写道：“要开始理解为什么会发生这种情况，就必须解决人性中最具腐蚀性的方面：复仇的需要和对他人的仇恨；我们的愤怒、自我和嫉妒的能力。

It is the boomerang of racism, police corruption, and the worship of violence.

它是种族主义、警察腐败和暴力崇拜的回旋镖。

Yet it is also a condition of the spiritual and material poverty that infects most aspects of modern American life.

然而，这也是影响现代美国生活方方面面的精神和物质贫困的一个状况。

Only here, under a deranged spell of nihilism, greed, and lust for fame, can all the codes and compasses that once governed us become meaningless.” This story won’t make you feel good.

只有在这里，在虚无主义、贪婪和名利的疯狂魔咒下，所有曾经统治我们的准则和指南针才会变得毫无意义。”这个故事不会让你感觉良好。

It certainly won’t restore your faith in human nature.

它肯定不会恢复你对人性的信心。

It might, though, help you understand why an artist like Drakeo moved the way he did.

不过，它可能会帮助您理解为什么像 Drakeo 这样的艺术家会这样做。

Why he refused to stop fighting, even while marked for death by both the state and the street.

为什么他拒绝停止战斗，即使是在被国家和街头标记为死亡的情况下。

Why he stepped out of the car that cold December night, knowing what awaited him — if not immediately, then still far too soon.

为什么他在那个寒冷的十二月夜晚走出汽车，知道等待着他的是什么——即使不是立即，也是太早了。

—Peter Rubin

——彼得·鲁宾

## Two Fathers

## 两个父亲

Mitch Moxley | Esquire | June 2, 2022 | 5,756 words

米奇·莫克斯利 |时尚先生 | 2022 年 6 月 2 日 | 5,756 字

Humboldt is a farm town of about 5,900 in central Saskatchewan, Canada.

洪堡是加拿大萨斯喀彻温省中部的一个农场小镇，约有 5,900 人。

In Humboldt, hockey is a religion.

在洪堡，曲棍球是一种宗教。

In Humboldt, everyone is proud of The Broncos, the junior hockey team.

在洪堡，每个人都为青少年曲棍球队野马队感到自豪。

It was on April 6, 2018, that a lorry crashed into the Broncos’ team bus, killing 14, and leaving the close-knit town devasted.

2018 年 4 月 6 日，一辆卡车撞上了野马队的大巴，造成 14 人死亡，这座紧密相连的小镇被毁。

In this essay, Mitch Moxley, while still telling the story of the day of the crash, focuses on what happened in the years afterward: A community left in shock, families grieving, and a high-profile court case where the driver of the lorry, Jaskirat Singh Sidhu, is charged with 29 counts of dangerous driving.

在这篇文章中，米奇·莫克斯利 (Mitch Moxley) 在讲述事故当天的故事的同时，重点关注了随后几年发生的事情：社区震惊、家庭悲痛，以及备受瞩目的法庭案件，卡车司机贾斯基拉特·辛格·西杜 (Jaskirat Singh Sidhu) 被指控犯有 29 项危险驾驶罪。

It’s a heartwrenching read, but Moxley is careful and compassionate in his portrayal of the different paths grief can take you down.

这是一本令人心碎的读物，但莫克斯利在描绘悲伤可能带你走下的不同道路时，表现得很谨慎和富有同情心。

One father who lost a son advocates for Sidhu to be deported to his home country of India after his prison sentence.

一位失去儿子的父亲主张在西杜入狱后将其驱逐回他的祖国印度。

Another father forgives him, writing letters to support his stay in Canada.

另一位父亲原谅了他，并写信支持他留在加拿大。

Moxley’s description of Sidhu meeting the man who forgave him — down on one knee, sobbing — will make your emotions somersault.

莫克斯利对西杜与原谅他的人会面的描述——单膝跪地、抽泣——会让你的情绪翻腾。

There is no clear right or wrong here, whether to forgive or not.

这里没有明确的对与错，是否原谅。

Grief has no clear answers.

悲伤没有明确的答案。

A powerful essay that looks beneath the surface of a tragedy, examining the complicated tangle of issues beneath: forgiveness, family, community, immigration, unfair work practices, and tremendous loss.

这是一篇强有力的文章，剖析了一场悲剧的表面之下，审视了其背后错综复杂的问题：宽恕、家庭、社区、移民、不公平的工作实践和巨大的损失。

—Carolyn Wells

——卡罗琳·威尔斯

## Gazawood Dreams

## 加扎木梦想

Paul Fischer | Hidden Compass | January 11, 2022 | 4,985 words

保罗·费舍尔 |隐藏的指南针 | 2022 年 1 月 11 日 | 4,985 字

It’s the rich, cinematic detail in Paul Fischer’s “Gazawood Dreams” that draws you in and holds you captivated.

保罗·费舍尔的《Gazawood Dreams》中丰富的电影细节吸引着您并让您着迷。

It’s the story of two Palestinian brothers who, despite ongoing violence around their home in the Gaza Strip, just want to make films.

这是两个巴勒斯坦兄弟的故事，尽管他们在加沙地带的家周围不断发生暴力事件，但他们只想拍电影。

Fischer introduces us to Tarzan and Arab within the ruins of Gaza City’s al-Nasr movie theatre, the site where the brothers’ cinematic dreams were born.

费舍尔向我们介绍了加沙城纳斯尔电影院废墟中的《人猿泰山》和《阿拉伯人》，这里是兄弟俩电影梦想的诞生地。

It’s been shut down since 1987.

自 1987 年以来一直被关闭。

“They called their studio Gazawood.

“他们将自己的工作室称为 Gazawood。

Its walls plastered in collages of images, Gazawood was like a psychological and emotional bunker, sheltering them from the fighter jets roaring overhead, the whipcrack of rockets firing in the distance, the sectarian arguments in the febrile streets.” Fischer paints more than just a portrait of two brothers trying to make films in a war zone, taking us from hardship to hope and from Gaza to Cannes as Tarzan and Arab persevere, despite violence and overwhelming government oppression.

它的墙壁上贴满了图像拼贴画，加扎伍德就像一个心理和情感掩体，保护他们免受头顶呼啸的战斗机、远处火箭发射的鞭炮声、狂热街道上的宗派争论的影响。费舍尔描绘的不仅仅是两兄弟在战区拍摄电影的肖像，他带领我们从苦难走向希望，从加沙到戛纳，尽管有暴力和压倒性的政府压迫，《人猿泰山》和《阿拉伯人》仍坚持不懈。

—Krista Stevens

—克里斯塔·史蒂文斯

Paul Fischer recommends three pieces that moved him in 2022:

Paul Fischer 推荐了三件 2022 年令他感动的作品：

“Does My Son Know You” by Jonathan Tjarks for The Ringer

Jonathan Tjarks 为 The Ringer 创作的《Dos My Son Know You》

Jonathan Tjarks was dying when he wrote this.

乔纳森·特贾克斯（Jonathan Tjarks）写下这篇文章时，他已经快要死了。

We were more or less the same age.

我们的年龄大致相同。

He had a young child, I have a young child.

他有一个年幼的孩子，我也有一个年幼的孩子。

I loved reading him, and I loved listening to him — on podcasts and elsewhere.

我喜欢阅读他的作品，也喜欢在播客和其他地方听他的讲话。

This is a final story about the author’s own death, his fatherhood, his faith.

这是关于作者自己的死亡、他的父亲身份和他的信仰的最后一个故事。

“The Death Cheaters” by Courtney Shea for Toronto Life

考特尼·谢伊 (Courtney Shea) 为《多伦多生活》创作的《死亡骗子》

I am fascinated by the death-and-ageing-avoidance grifter industry, and I like anything that sounds like a pitch for a Yorgos Lanthimos movie.

我对避免死亡和衰老的骗子行业很着迷，我喜欢任何听起来像欧格斯·兰斯莫斯电影的宣传的东西。

“The Dirt on Pig-Pen” by Elif Batuman for Astra

艾利夫·巴图曼 (Elif Batuman) 为阿斯特拉 (Astra) 创作的《猪圈上的污垢》

Peanuts is foundational to me and many, many other.

花生是我和许多其他人的基础。

This excavates and illuminates the strip’s depth and beauty, in such an intelligent, insightful, precise way.

这以一种聪明、富有洞察力和精确的方式挖掘和阐明了该地带的深度和美丽。

## The Price of Admission

## 入场费

Rachel Aviv | The New Yorker | March 28, 2022 | 10,600 words

雷切尔·阿维夫 |纽约客 | 2022 年 3 月 28 日 | 10,600 字

When I think about what connects Rachel Aviv’s diverse body of writing, one word comes to mind: complexity.

当我思考是什么将雷切尔·阿维夫（Rachel Aviv）多样化的写作联系在一起时，我脑海中浮现出一个词：复杂性。

She isn’t afraid of it.

她并不害怕。

She confronts the knotty, the nuanced, and the murky through reporting and language.

她通过报道和语言面对棘手、微妙和模糊的问题。

To my mind, this is what it means to do a story justice.

在我看来，这就是公正地讲述一个故事的意义。

Aviv was true to form with this feature about a teenager who escapes an abusive parent, gets a full ride to an Ivy League school, and eventually wins a Rhodes Scholarship — only to have her success and resilience challenged by the very entities that had celebrated her.

阿维夫真实地塑造了这部影片，讲述了一个青少年逃离虐待父母、免费进入常春藤联盟学校、最终赢得罗德奖学金的故事，但她的成功和韧性却受到了那些曾经为她庆祝的实体的挑战。

The story shines a glaring light on the ways that powerful institutions define, use, and abuse individual suffering.

这个故事清楚地揭示了强大的机构如何定义、利用和滥用个人的痛苦。

Calling it thought-provoking is putting it too mildly: This story is infuriating.

说它发人深省就太温和了：这个故事令人愤怒。

—Seyward Darby

——西沃德·达比

Rachel Aviv recommends a piece that made her think:

Rachel Aviv 推荐了一篇让她思考的文章：

“How To Recover from a Happy Childhood” by Rivka Galchen for The New Yorker is an extraordinary essay about childhood, grief, nostalgia, and replicating the ways of our parents.

里夫卡·加尔琴 (Rivka Galchen) 为《纽约客》撰写的《如何从快乐的童年中恢复》是一篇关于童年、悲伤、怀旧以及复制父母生活方式的非凡文章。

In a mysterious and delicate way, the essay made me feel (without making any claims to be providing advice) that I had a better grasp on what it means to be a good parent.”

这篇文章以一种神秘而微妙的方式让我觉得（没有声称提供任何建议）我更好地理解了成为一个好父母的意义。”

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。