Kevin Smokler's Top 5 Deep Interviews of 2011
Kevin Smokler is the author of the forthcoming essay collection Practical Classics: Rereading Your Favorite Books from High School (Prometheus Books, 2013) and curator of Deep Interviews here on Longreads.
凯文·斯莫克勒 (Kevin Smokler) 是即将出版的散文集《实用经典：重读你最喜欢的高中书籍》（Prometheus Books，2013 年）的作者，也是 Longreads 上《深度访谈》的策展人。
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Here on Longreads, I’m curating Deep Interviews (#deepinterviews)—lengthy interviews with interesting people—a format I’ve grown to love.
在 Longreads 上，我正在策划深度访谈 (#deepinterviews)——对有趣的人进行冗长的访谈——这是我越来越喜欢的一种形式。
It’s not quite original reporting but certainly more than transcription, a showcase for at least three of my favorite art forms—conversation, listening and set decoration.
这不是完全原创的报道，但肯定不仅仅是转录，它展示了至少三种我最喜欢的艺术形式——对话、聆听和布景装饰。
A great interview not only brings us inside the mind of an interesting person but inside the room where the conversation happened.
一次精彩的采访不仅能让我们了解一个有趣的人的想法，还能让我们了解谈话发生的房间。
And while many of the best presenters of interviews (The Paris Review, Playboy, Bomb) use an iterative process—the final interview emerging from several sessions like portrait painting—many others, equally loved, are on-the-spot reporting while all the action sits in hotel room club chairs.
虽然许多最好的采访主持人（《巴黎评论》、《花花公子》、《炸弹》）都采用迭代过程——最终的采访是从肖像画等几次会议中产生的——但许多其他同样受到喜爱的主持人都是现场报道，而所有的行动都坐在酒店房间的俱乐部椅子上。
We the reader are invited in but are not the important person.
我们这些读者被邀请参加，但不是重要人物。
We’re probably leaning uncomfortably against the bathroom door and trying to stay out everyone’s way.
我们可能不舒服地靠在浴室门上，试图不妨碍任何人。
For this best-of list, I’ve chosen only interviews that you can read right now, no subscription required, from 5 different publications, at five different points in the trajectory of a culturally-known person.
在这个精选列表中，我只选择了您现在可以阅读的采访，无需订阅，采访内容来自 5 种不同的出版物，涉及一位文化名人的人生轨迹中的五个不同点。
If the Deep Interview is a butterfly, below we’ve got pupae to pretty flying thing, though in no order biology would understand.
如果深度访谈是一只蝴蝶，那么下面我们就看到了蝴蝶的蛹，它是一种漂亮的飞翔生物，尽管生物学无法理解它的顺序。
2012 is looking to be a denser, dizzier time for the Deep Interview.
2012 年对于深度访谈来说将会是一个更加密集、更加令人眼花缭乱的时期。
More publications are opening their archives and the Charles Foster Kane basement of the genre (explained below).
更多出版物正在开放他们的档案和该流派的查尔斯·福斯特·凯恩地下室（如下所述）。
The hashtag #deepinterviews will keep you up to date on all these developments starting right now.
主题标签 #deepinterviews 将使您随时了解从现在开始的所有这些进展。
I.
我。
William Gibson, The Paris Review Interview (Summer 2011 Issue)
William Gibson，《巴黎评论》采访（2011 年夏季号）
Gibson knocks ‘em dead here—funny, smart, but plain and practical.
吉布森在这里击败了他们——有趣、聪明，但简单实用。
A line like “We’re increasingly aware that our society is driven by these unpredictable uses we find for the products of our imagination,” which left me thinking for a solid 40 minutes, is tossed off without pause.
像“我们越来越意识到，我们的社会是由我们为想象的产品发现的这些不可预测的用途所驱动的”这样的台词让我思考了整整 40 分钟，却被毫不犹豫地扔掉了。
There’s also plenty for those of us who know science fiction much more as cultural phenomenon than by the particulars of the author’s worlds.
对于我们这些更多地将科幻小说视为文化现象而不是作者世界的细节的人来说，还有很多东西。
I’m also guessing that even the diehards will be pleased by Gibson calling Neuromancer, his most famous novel, “a soap box derby car.”
我还猜测，吉布森将他最著名的小说《神经漫游者》称为“肥皂盒德比赛车”，即使是顽固分子也会感到高兴。
II.
二.
Scott Shepherd and Richard Maxwell: Bomb Magazine (Summer 2011 Issue)
Scott Shepherd 和 Richard Maxwell：炸弹杂志（2011 年夏季号）
BOMB has featured artist-on-artist interviews as its signature offering since 1981.
自 1981 年以来，BOMB 一直将艺术家对艺术家的访谈作为其标志性服务。
About 90% of the time I have no idea who the subjects are and that’s just the way I like it.
大约 90% 的时间我不知道拍摄对象是谁，而这正是我喜欢的方式。
I read BOMB to unearth areas of creativity.
我阅读《BOMB》是为了挖掘创造力。
Their interviews are my miner’s helmet.
他们的采访是我的矿工头盔。
Scott Shepherd is an actor with the New York theater company Elevator Repair Service.
斯科特·谢泼德 (Scott Shepherd) 是纽约剧院公司电梯维修服务公司的演员。
ERS was profiled last year in the New Yorker as they were putting up GATZ, a six-hour word-for-word retelling of The Great Gatbsy.
去年，《纽约客》对 ERS 进行了专题报道，当时他们正在推出长达 6 小时逐字重述《了不起的盖茨比》的节目《GATZ》。
Richard Maxwell is an experimental theater director.
理查德·麦克斯韦是一位实验戏剧导演。
Of them, I know The Great Gatsby, the New Yorker and that’s it.
其中，我知道《了不起的盖茨比》、《纽约客》，仅此而已。
These guys don’t have a bunch of old war stories but rather experience collected as the raw material of the future, of projects yet conceived and horizons yet crossed.
这些人没有一堆古老的战争故事，而是收集经验作为未来的原材料、尚未构想的项目和尚未跨越的视野。
I don’t understand a fair amount of the theorizing about theater that they do.
我不明白他们所做的很多关于戏剧的理论。
But the conversation is open enough for curiosity and learning and in that way, is the creative process itself in miniature.
但对话足够开放，足以激发好奇心和学习，这样，就是创作过程本身的缩影。
III.
三．
tUnE-yArDs: Pitchfork Interviews (April 25, 2011)
tUNE-yArDs：Pitchfork 访谈（2011 年 4 月 25 日）
I loved Merrill Garbus (TY is her project) after reading this interview.
读完这篇采访后，我喜欢 Merrill Garbus（TY 是她的项目）。
She’s funny, self-aware, thoughtful.
她很有趣、有自知之明、深思熟虑。
She’s also exactly the kind of musician you want big sloppy success for, which is what makes this piece such a great example of a type: The interview that catches a star on the rise.
她也正是那种你希望她取得巨大成功的音乐家，这就是为什么这首作品成为这样一种类型的绝佳例子：抓住一颗冉冉升起的明星的采访。
Pitchfork catches Garbus right before a tour, when she’s “doing a lot of boring and wonderfully domestic things.” Read the rest and you’ll think “I don’t think Merrill Garbus will be doing her own laundry much longer unless she wants to.” Also the interviewer both acknowledges that TY does not fit a current musical trend yet nonetheless insists on asking if Garbus went through a “punk phase” (nothing in her afro-pop-inspired-vocal-heavy songs would indicate this.
干草叉在巡演前发现了加布斯，当时她正在“做很多无聊而又美妙的家务事”。读完剩下的内容，你会想“我认为梅里尔·加布斯不会再自己洗衣服太久了，除非她愿意。”此外，采访者都承认 TY 不符合当前的音乐趋势，但仍然坚持询问 Garbus 是否经历了“朋克阶段”（她的非洲流行音乐风格的歌曲中没有任何内容表明这一点。
The interviewer seems to think that any musician not wearing glitter must have had a punk phase) and rushing past Garbus’s narration of her musical salad days in the uncool 1980s to get to her time spent in the more culturally approved 1990s.
采访者似乎认为任何不穿亮片的音乐家都一定经历过朋克阶段），并匆匆跳过加布斯对她在不酷的 80 年代音乐沙拉日子的叙述，直接进入她在更受文化认可的 1990 年代度过的时光。
Garbus is having none of it.
加布斯对此一无所知。
She is straight with the journalist but firm that her story not fit any convention but her own.
她对记者态度坦诚，但坚定地认为，她的故事除了她自己的故事外，不符合任何惯例。
I wish only great things for Merrill Garbus after reading this.
读完本文后，我祝愿 Merrill Garbus 一切顺利。
And I hope she also files it away as capturing a moment before all those big things happened.
我希望她也把它归档，作为捕捉所有这些大事发生之前的时刻。
IV.
四．
Giancarlo Esposito: The Onion AV Club Interview (Oct.
Giancarlo Esposito：洋葱 AV 俱乐部采访（10 月 10 日）
7, 2011)
2011年7月）
Read enough interviews and you thank 18 different gods when someone with a criminally underrated career is given room to talk about themselves.
阅读足够多的采访，当一个职业生涯被严重低估的人获得谈论自己的空间时，你会感谢 18 个不同的神。
Such is the case with Giancarlo Esposito, a character actor who makes everything he appears in better just with his presence.
吉安卡洛·埃斯波西托（Giancarlo Esposito）就是这样的例子，他是一位性格演员，他的存在让他所表现的一切都变得更好。
Esposito has been acting since the 1980s and I became aware of him from starring roles in Spike Lee’s early films.
埃斯波西托从 20 世纪 80 年代起就开始演戏，我是通过在斯派克·李早期电影中担任主演而认识他的。
If you’re around my age (38) you probably remember him as Buggin’ Out in Do the Right Thing or as Cab Driver YoYo in Jim Jarmusch’s Night on Earth.
如果你和我年龄相仿（38 岁），你可能还记得他在《做正确的事》中饰演 Buggin’ Out 或在吉姆·贾木许的《地球之夜》中饰演出租车司机 YoYo。
The AV Club’s got him here for his role as Gustavo Fring, the newest addition to the acclaimed series Breaking Bad, unseen by me.
AV 俱乐部把他请到这里是因为他饰演古斯塔沃·弗林（Gustavo Fring），这是广受好评的剧集《绝命毒师》的最新成员，但我却没见过。
But I still say “thank god” and “about time.” Fifty more like this with Mr. Esposito please and at least that many actors like him.
但我仍然会说“感谢上帝”和“时间到了”。请再给埃斯波西托先生五十个这样的作品，至少有那么多演员喜欢他。
V.
五、
Martin Luther King Jr: The Playboy Interview (January, 1965, republished Oct.
小马丁·路德·金：《花花公子》访谈（1965 年 1 月，10 月再版）
21, 2011)
2011 年 21 日）
I’ve got this one here as a representation of where the availability of Deep Interviews is going.
我在这里展示了深度访谈的可用性进展情况。
Playboy has taken to republishing from its 50-year archive of interviews via reader requests on the magazines Facebook page.
《花花公子》已开始根据杂志 Facebook 页面上的读者请求重新发布其 50 年采访档案。
Martin Luther King Jr.’s is here by reader demand, a rebuke to the idea that no one reads Playboy for the articles.
马丁·路德·金的文章是应读者的要求而出现的，这是对没有人阅读《花花公子》文章的观点的谴责。
Beyond that, Playboy’s efforts are an indicator of reader demand for this kind of journalism.
除此之外，《花花公子》的努力表明了读者对此类新闻的需求。
And with any luck, more availability, more openness, at whatever rate, is where we’re headed.
幸运的话，无论以何种速度，更多的可用性、更多的开放性都是我们前进的方向。
BOMB and The Paris Review already have their complete interview archives available on line and free.
BOMB 和《巴黎评论》已经在网上免费提供完整的采访档案。
I’d love to see more publications head that way.
我希望看到更多出版物朝这个方向发展。
An even bigger interview drop is coming in the next two years.
未来两年面试的下降幅度将会更大。
The Library of Congress is in the process of digitizing the entire collection of interviews by Studs Turkel, perhaps America’s greatest interviewer.
美国国会图书馆正在将 Studs Turkel（也许是美国最伟大的采访者）的全部采访集数字化。
The first of those nearly 7,000 conversations is due to be made publicly available sometime next year.
近 7,000 次对话中的第一个对话将于明年某个时候公开。
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Share your own Top 5 Longreads of 2011, all through December.
整个 12 月，分享您自己的 2011 年 5 首长读作品。
Just tag it #longreads on Twitter, Tumblr or Facebook.
只需在 Twitter、Tumblr 或 Facebook 上标记#longreads 即可。