Bethlehem Shoals: My Top 5 Longreads of 2011
Bethlehem Shoals is an editor at The Classical and the founder of FreeDarko.com.
Bethlehem Shoals 是 The Classical 的编辑，也是 FreeDarko.com 的创始人。
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• “Fear and Self-Loathing in Las Vegas,” Zach Baron, The Daily
• “拉斯维加斯的恐惧和自我厌恶”，Zach Baron，《每日报》
Hunter S.
亨特·S。
Thompson has a tendency to overshadow his subject matter, as if he invented the entire world in his own image, and this were a tenet of non-fiction.
汤普森倾向于掩盖他的主题，就好像他按照自己的形象发明了整个世界，这是非小说类的信条。
The dirty little secret of Fear and Loathing in Las Vegas is that Las Vegas was, and is, pretty damn weird in its own right.
拉斯维加斯的恐惧和厌恶的肮脏小秘密是，拉斯维加斯本身过去和现在都非常奇怪。
It may have made Thompson, or at least his most famous work, as much as he made it.
它可能成就了汤普森，或者至少成就了他最著名的作品。
The Daily dispatches Zach Baron to Sin City, where he deftly balances archaeology and immersion.
《每日报》派扎克·巴伦前往罪恶之城，在那里他巧妙地平衡了考古学和沉浸感。
When it becomes impossible to separate the two, Baron just goes with it, exactly the kind of impulse that got Thompson into trouble in the first place—and made him something other than a mere egoist.
当无法将两者分开时，巴伦就会顺其自然，正是这种冲动让汤普森首先陷入了麻烦，并使他不再是一个单纯的利己主义者。
(Part One, Part Two)
（第一部分、第二部分）
• “The History and Mystery of the High Five,” Jon Mooallem, ESPN Magazine
• “高五的历史和奥秘”，Jon Mooallem，ESPN 杂志
I’m not sure if Jon Mooallem’s cultural excavation of the high-five is a perfect piece of writing, but it pretty much epitomizes everything I think sports writing should do, or at least be allowed to do when the occasion demands it.
我不确定乔恩·穆阿勒姆对高五的文化挖掘是否是一篇完美的作品，但它几乎概括了我认为体育写作应该做的一切，或者至少在场合需要时被允许做。
This past week, David Remnick reviewed the new Howard Cosell biography.
上周，大卫·雷姆尼克回顾了霍华德·科塞尔的新传记。
Before getting to Cosell, he made the case that sports are relevant because they overwhelm, overpower, and more or less preoccupy us.
在谈到科塞尔之前，他认为体育运动具有重要意义，因为它们压倒性地、压倒性的，或多或少地让我们全神贯注。
Sports make big noise; endless broadcast, commentary, and web opinion compel us to stick around indefinitely.
体育运动会产生很大的噪音；无休无止的广播、评论和网络舆论迫使我们无限期地坚持下去。
It’s a grim vision of our relationship with games that, for many of us, are both a source of joy in themselves and anything but a closed system of stupid.
这是我们与游戏关系的一个严峻愿景，对我们许多人来说，游戏本身既是快乐的源泉，又不是一个封闭的愚蠢系统。
Mooallem picks a fairly simple, if ubiquitous detail—one that connects the playing field to daily life, rather than forcing separation of imitation—and proceeds to chase down its origins, false leads and all.
穆阿勒姆选择了一个相当简单但又无处不在的细节——将比赛场地与日常生活联系起来，而不是强行将模仿分开——并继续追查其起源、错误线索等等。
The high-five began in sports, but now belongs to us all.
击掌起源于体育运动，但现在属于我们所有人。
As it turns out, understanding the various creation myths behind it requires an acknowledgment that sports are never just what they seem.
事实证明，要理解其背后的各种创世神话，就需要承认体育运动绝非表面上那样。
If sports envelope us, they do so as part of the big picture—not an alternative to it.
如果体育包围了我们，那么它们就是大局的一部分，而不是替代方案。
• “Lonelyheart,” Kent Jones, Notebook
•“孤独的心”，肯特·琼斯，《笔记本》
When a retrospective comes to New York, it’s time for the sharpest film writers to revisit old masters.
当纽约举办回顾展时，最敏锐的电影编剧们将重温昔日大师的作品。
This past summer, Robert Ryan got the treatment.
去年夏天，罗伯特·瑞安接受了治疗。
I have a bad habit of vehemently disliking actors that any sane cinephile holds in high regard.
我有一个坏习惯，就是非常不喜欢任何理智的影迷都高度尊重的演员。
I know them, I just can’t stand them.
我了解他们，我只是无法忍受他们。
It always seems to be the ones who demand the deepest sympathy while unsettling audiences, anti-heroes whose heroism is a comfort to none.
他们似乎总是那些在让观众感到不安的同时需要最深切的同情的人，他们的英雄主义对任何人来说都不是安慰。
Ryan is one such outsider who invites no company, and Kent Jones’s piece—bloggy, to be sure, but vital and organized as any manicured feature—brought me that moment of conversion.
瑞安就是这样一个不邀请任何人陪伴的局外人，而肯特·琼斯的文章——当然是博客，但与任何精心设计的专题一样重要和有组织——给我带来了转变的时刻。
The actor I couldn’t stand became an object of fascination; Jones acknowledges all that’s surface about Ryan, while honing in on a peculiar kind of pain that locates a leading man trapped inside the creep.
那个我无法忍受的演员变成了一个令人着迷的对象；琼斯承认了瑞安的一切表面现象，同时磨练了一种特殊的痛苦，这种痛苦让主角被困在了恐怖之中。
As Jones observes, no one does alone like Robert Ryan.
正如琼斯所观察到的，没有人能像罗伯特·瑞安那样独自行动。
At that point, it’s no longer about our response, but his wooly brand of gravitas.
到那时，问题就不再是我们的反应了，而是他那羊毛般的庄重感。
• “The American Behind India’s 9/11—And How U.S. Botched Chances to Stop Him,” Sebastian Rotella, ProPublica & Frontline
• “印度 9/11 事件背后的美国人——以及美国如何错失阻止他的机会”，Sebastian Rotella，ProPublica 和 Frontline
I originally saw this story on Frontline, which led me to ask Mark if I could include a television program on this list, since longform non-fiction television was itself a dying cult.
我最初在前线看到这个故事，这让我问马克是否可以在这个列表中包含一个电视节目，因为长篇非小说类电视本身就是一种垂死的邪教。
Luckily, all Frontline stories double as ProPublica features, so on a technicality, I can slide it onto my list.
幸运的是，所有 Frontline 故事都兼作 ProPublica 的功能，因此从技术角度来说，我可以将其滑到我的列表中。
“The American Behind India’s 9/11—And How the U.S. Botched Chances to Stop Him” isn’t quite the same without the solemn voiceover and grainy footage of eighties Philadelphia and military surveillance tapes.
如果没有庄严的画外音、八十年代费城的颗粒状镜头和军事监控录像，《印度 9/11 事件背后的美国人——以及美国如何错失阻止他的机会》就不太一样了。
But the story of David Coleman Headley epitomizes the new narrative of terrorism.
但大卫·科尔曼·海德利的故事是恐怖主义新叙事的缩影。
Instead of something shadowy and exotic, it’s full of plot twists and evasions that turn familiarity into something inherently sinister.
它不是阴暗和异国情调的东西，而是充满了情节的曲折和逃避，将熟悉的东西变成了本质上险恶的东西。
Headley’s mother founded the Khyber Pass, one of Philly’s main indie venues by the time I got there in the mid-nineties.
当我九十年代中期到达费城时，海德利的母亲创立了开伯尔山口，这是费城主要的独立音乐场地之一。
I had no idea that the name referred to mama Serrill Headley’s mysterious time in the region, or that for a time, her son—drug runner, future informant and jihadist—managed the place.
我不知道这个名字指的是妈妈塞里尔·海德利在该地区的神秘时光，也不知道有一段时间，她的儿子——毒贩、未来的线人和圣战分子——管理着这个地方。
“It could happen anywhere” is chilling, if contrived; “it has roots in your backyard”, this piece’s tacit refrain, is about the process of us becoming them, a delineation that really can’t comfort us for much longer.
如果是做作的话，“它可能发生在任何地方”是令人不寒而栗的。 “它扎根于你的后院”，这件作品的心照不宣的副歌，是关于我们成为他们的过程，这个描述确实不能让我们安慰太久。
• “A Murder Foretold,” David Grann, The New Yorker
•《预言的谋杀案》，大卫·格兰，《纽约客》
I’m sure that half the known world included this David Grann banger on their list, but when making these picks, Grann is pretty much the five-hundred ton elephant in the room.
我确信一半的已知世界都将大卫·格兰 (David Grann) 列入了他们的名单中，但在做出这些选择时，格兰几乎是房间里的五百吨大象。