Zora Neale Hurston: Claiming a Space
Narrator: In Spring 1940, Zora Neale Hurston, the celebrated Harlem Renaissance writer and anthropologist, arrived in Beaufort, South Carolina to study religious trances.
旁白：1940 年春天，哈林文艺复兴时期著名作家和人类学家佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 抵达南卡罗来纳州博福特，研究宗教恍惚状态。
Narrator: For more than ten years Hurston had skirted danger traveling alone across the American South and Caribbean, documenting rural Black peoples’ lives and collecting their stories.
旁白：十多年来，赫斯顿冒着危险独自穿越美国南部和加勒比海，记录农村黑人的生活并收集他们的故事。
Educated at Howard University and Barnard, during her lifetime Zora Neale Hurston was considered the foremost authority on Black folklore.
佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 曾就读于霍华德大学和巴纳德大学，在她一生中，她被认为是黑人民间传说的最权威。
Eve Dunbar, Literary Scholar: , Literary Scholar : She’s interested in all elements of Black Folk.
伊芙·邓巴（Eve Dunbar），文学学者：，文学学者：她对黑人民间的所有元素都感兴趣。
She allows that culture to be dynamic, to have a voice in modernity.
她让这种文化充满活力，在现代性中发出自己的声音。
Irma McClaurin, Anthropologist: The research that Zora Neale Hurston did in Beaufort, South Carolina represents someone who understands that for people to trust you, you have to be in it.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：佐拉·尼尔·赫斯顿（Zora Neale Hurston）在南卡罗来纳州博福特所做的研究代表了一个人，他明白，为了让人们信任你，你必须参与其中。
And that’s what she does, she joins in with them.
这就是她所做的，她加入了他们。
Charles King, Political Scientist: She’s playing a drum.
查尔斯·金，政治学家：她在打鼓。
At the time, this seemed scandalous—that you weren’t standing off to one side with your white lab coat and your clipboard, noting down what others were doing.
当时，这似乎是可耻的——你没有穿着白色实验室外套和剪贴板站在一边，记下其他人在做什么。
IIrma McClaurin, Anthropologist: Zora studied her own people, which is not something that is supported in anthropology at that moment.
IIrma McClaurin，人类学家：佐拉研究了她自己的人民，这在当时的人类学中并不被支持。
Daphne Lamothe, Literary Scholar: Anthropology understood itself to be a science.
达芙妮·拉莫特（Daphne Lamothe），文学学者：人类学将自己理解为一门科学。
An aspect of scientific inquiry that’s really important is to be detached—and objective.
科学探究中非常重要的一个方面是保持超然和客观。
She didn’t play by those rules.
她不遵守这些规则。
Narrator: From the Jazz Age through the Great Depression, Hurston had published her extensive research in prestigious academic journals, popular magazines and ethnographic books.
旁白：从爵士乐时代到大萧条，赫斯顿在著名的学术期刊、流行杂志和民族志书籍上发表了广泛的研究成果。
But it was her fiction, thick with dialect, cultural-specificity and richly-drawn characters that over time would cement her place as one of the most important writers of the 20th century.
但随着时间的推移，她的小说充满了方言、文化特色和丰富的人物形象，巩固了她作为 20 世纪最重要作家之一的地位。
Irma McClaurin, Anthropologist: She was an innovator, using stylistic conventions of literature, but the content is rooted in the research that she did.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：她是一位创新者，使用文学的文体惯例，但内容植根于她所做的研究。
Lee D.
李 D.
Baker, Anthropologist: She was driven by her own integrity.
贝克，人类学家：她被自己的正直所驱使。
She was driven by her own passion, and she was driven by her own sense of how best to collect this folklore.
她被自己的热情所驱使，她被自己对如何最好地收集这些民间传说的感觉所驱使。
Charles King, Political Scientist: Throughout her entire life, the powerful people around her consistently thought of her as being an outsider, less than talented—a marginal figure.
查尔斯·金，政治学家：在她的一生中，她周围的有权势的人一直认为她是一个局外人，没有才华，是一个边缘人物。
Carla Kaplan, Literary Scholar: We’re talking about somebody who had an incredibly creative, fierce mind.
卡拉·卡普兰，文学学者：我们谈论的是一个拥有令人难以置信的创造力和敏锐头脑的人。
Maria Cotera, Modern Thought Scholar: Her independent streak and her iconoclasm, you could say it was both her superpower and her fatal flaw.
现代思想学者玛丽亚·科特拉：她的独立性和反传统精神，可以说是她的超能力，也是她的致命缺陷。
Zora (VO): I was glad when somebody told me, “You may go and collect Negro folk-lore.” In a way it would not be a new experience for me.
佐拉（画外音）：当有人告诉我“你可以去收集黑人民间传说”时，我很高兴。从某种意义上说，这对我来说并不是什么新鲜的经历。
When I pitched headforemost into the world I landed in the crib of negroism.
当我一头扎进这个世界时，我就掉进了黑人主义的摇篮里。
Narrator: As a child, Zora Neale Hurston possessed a keen interest in the stories she heard about people’s lives and customs while lingering at Joe Clark’s general story in Eatonville, Florida, one of a handful of all-Black towns in the United States.
旁白：佐拉·尼尔·赫斯顿（Zora Neale Hurston）还是个孩子的时候，她就对她听到的有关人们生活和习俗的故事产生了浓厚的兴趣，同时又对乔·克拉克（Joe Clark）在佛罗里达州伊顿维尔（美国少数几个全黑人城镇之一）讲述的故事流连忘返。
Zora (VO): It was the habit of the men folks particularly to gather on the store porch of evenings and swap stories.
佐拉（画外音）：男人们有晚上聚集在商店门廊上交换故事的习惯。
Even the women folks would stop and break a breath with them at times…I’d drag out my leaving as long as possible in order to hear more…to allow whatever was being said to hang in my ear.
即使是女人们有时也会停下来和他们一起喘口气……我会尽可能拖延离开的时间，以便听到更多……让所说的一切都留在我的耳边。
Irma McClaurin, Anthropologist: She’s one of those children that people would say, “Go, go away.
艾尔玛·麦克劳林，人类学家：她是那些人们会说“走开，走开”的孩子之一。
You know, this is grown folk stuff.” And the more they tell her that the more she wants to hear it.
你知道，这是成年人的事情。”他们告诉她的越多，她就越想听。
Tiffany Patterson, Historian: Zora was nosy, pure and simple.
蒂芙尼·帕特森（Tiffany Patterson），历史学家：佐拉很爱管闲事，纯粹而简单。
She had questions.
她有疑问。
She, uh, wanted to see what was going on at the store.
她，呃，想看看店里发生了什么。
Zora (VO): There were no discreet nuances of life on Joe Clarke’s porch.
佐拉（画外音）：乔·克拉克的门廊上没有任何谨慎的生活细微差别。
There was open kindnesses, anger, hate, love, envy and its kinfolks, but all emotions were naked, and nakedly arrived at.
有公开的善意、愤怒、仇恨、爱、嫉妒及其同类，但所有的情感都是赤裸裸的，赤裸裸地到达的。
It was a case of “make it and take it.”
这是一个“创造并接受”的情况。
Irma McClaurin, Anthropologist: This gathering of people swapping lies, telling stories, is something that’s going to attract her because there is an innate cultural anthropologist in her curiosity about people.
艾尔玛·麦克劳林，人类学家：这种人们互相交换谎言、讲故事的聚会会吸引她，因为她对人的好奇心中有一种与生俱来的文化人类学家的好奇心。
Lee D.
李 D.
Baker, Anthropologist: Eatonville shaped Zora Neale Hurston’s worldview from the beginning, and what it did more than anything else is it showed that Black lives mattered.
贝克，人类学家：伊顿维尔从一开始就塑造了佐拉·尼尔·赫斯顿的世界观，它最重要的是它表明了黑人生命的重要性。
Narrator: Hurston lived in an eight-room house on five acres of land with her parents, Lucy and John, and seven siblings.
旁白：赫斯顿与她的父母露西和约翰以及七个兄弟姐妹住在五英亩土地上的一栋八居室的房子里。
Religion and education were highly valued in a home ruled by her preacher father.
在她的传教士父亲统治的家庭里，宗教和教育受到高度重视。
Tiffany Ruby Patterson, Historian: Her father was very domineering.
蒂芙尼·鲁比·帕特森，历史学家：她的父亲非常专横。
Zora had her own ideas.
佐拉有她自己的想法。
She said “No I’m going to do it this way.
她说：“不，我要这样做。
I see it this way.” And it would drive her father bananas.
我是这样看的。”这会让她父亲发疯。
[LAUGHS] She was her mother’s child.
[笑]她是她母亲的孩子。
Her mother gave her permission to dream, a permission to ask questions, a permission to be artistic.
她的母亲允许她做梦，允许她提问，允许她表现艺术。
Zora (VO): Mama exhorted her children at every opportunity to “jump at de sun.” We might not land on the sun, but at least we would get off the ground.
佐拉（画外音）：妈妈一有机会就劝告她的孩子们“向太阳跳”。我们可能无法登陆太阳，但至少我们会离开地面。
Irma McClaurin, Anthropologist: The idea that she would strive to jump at the sun really puts into place the idea that Zora is always trying to reach someplace that may be unattainable to the ordinary person, and represents a real challenge for her—and a real opportunity.
艾尔玛·麦克劳林，人类学家：她努力向太阳跳跃的想法确实体现了佐拉总是试图到达普通人无法到达的地方，这对她来说是一个真正的挑战，也是一个真正的机会。
Narrator: When Hurston was thirteen, her beloved mother became ill and died.
旁白：赫斯顿十三岁时，她深爱的母亲生病去世了。
Zora (VO): That hour began my wanderings.
佐拉（画外音）：那一刻开始了我的流浪。
Mama died at sundown and changed a world.
妈妈在日落时去世，改变了世界。
Tiffany Ruby Patterson, Historian: That was devastating for the young Zora.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：这对年轻的佐拉来说是毁灭性的打击。
She’s set adrift.
她已经漂流了。
Narrator: Hurston’s father soon remarried and sent the shattered young teenager to join two siblings at Florida Baptist Academy in Jacksonville.
旁白：赫斯顿的父亲很快就再婚了，并把这个心碎的年轻少年送到了杰克逊维尔的佛罗里达浸信会学院的两个兄弟姐妹那里。
He only paid her tuition for a short time leaving Hurston to scrub the school’s floors to finish out the year—and then she was on her own.
他只支付了她一小段时间的学费，让赫斯顿擦洗学校的地板，以完成这一学年的工作——然后她就只能靠自己了。
Zora (VO): The five years following my leaving the school at Jacksonville were haunted.
佐拉（画外音）：我离开杰克逊维尔学校后的五年里，我一直在闹鬼。
I was shifted from house to house of relatives and friends and found comfort nowhere.
我从亲戚朋友的家里搬到另一家，却找不到任何安慰。
Zora (VO): It seemed that I had suffered a sea change.
佐拉（画外音）：我似乎经历了翻天覆地的变化。
I was not Zora of Orange County any more, I was now a little colored girl.
我不再是奥兰治县的佐拉，我现在是一个黑人小女孩。
I found it out in certain ways.
我从某些方面发现了这一点。
In my heart as well as in the mirror.
在心里，也在镜子里。
Narrator: Hurston spent another eight unaccounted years trying to find her way in the world.
旁白：赫斯顿又花了八年的时间，下落不明，试图在这个世界上找到自己的出路。
Zora (VO): I wanted family love and peace and a resting place.
佐拉（画外音）：我想要家庭的爱、和平以及一个休息的地方。
I wanted books and school.
我想要书本和学校。
When I saw more fortunate people of my own age on their way to and from school, I would cry inside and be depressed for days, until I learned how to mash down on my feelings and numb them for a spell.
当我在上下学的路上看到与我同龄的幸运者时，我会在心里哭泣并沮丧好几天，直到我学会了如何压制自己的感情并使它们麻木一段时间。
I felt crowded in on, and hope was beginning to waver.
我感到拥挤不堪，希望开始动摇。
Narrator: At twenty-six Hurston landed in Baltimore with education still on her mind.
旁白：赫斯顿二十六岁时来到巴尔的摩，她的心思仍然在教育上。
She realized, by working during the day, and shaving ten years from her age, she could attend high school for free at night.
她意识到，通过白天工作，让自己的年龄年轻十岁，晚上她就可以免费上高中。
With her academic prowess evident to teachers and classmates, and sustained by jobs as a waitress, maid and manicurist, an inspired Hurston enrolled in the elite Black college prep school Morgan Academy in Baltimore and then Howard Academy in Washington, DC.
赫斯顿的学术实力在老师和同学中是有目共睹的，再加上担任女服务员、女佣和美甲师的工作支撑，受到启发的赫斯顿就读于巴尔的摩的精英黑人大学预科学校摩根学院，然后进入华盛顿特区的霍华德学院。
By May 1919 she was a high school graduate ready to enroll in Howard University.
1919 年 5 月，她已经高中毕业，准备入读霍华德大学。
Charles King, Political Scientist: It’s not until she becomes an undergraduate at Howard University that Hurston feels like the gears begin to turn again, and her life restarts.
查尔斯·金，政治学家：直到成为霍华德大学的本科生，赫斯顿才感觉齿轮再次开始转动，她的生活重新开始。
Narrator: “You have taken me in.
旁白：“你已经接纳了我。
I am a tiny bit of your greatness.” Hurston vowed at her first college assembly in 1919, “I swear to you that I shall never make you ashamed of me.” She had initially thought that Howard was out of her league.
我只是你伟大的一小部分。” 1919 年，赫斯顿在她的第一次大学集会上发誓：“我向你们发誓，我永远不会让你们以我为耻。”她最初以为霍华德不是她的对手。
Chartered by the United States Congress in the late 19th century to educate Black students, Howard University, the nation’s largest Black institution of higher education, often was referred to as “the Black Harvard.” A part-time student secretly years older than her classmates, Hurston formed many close relationships and joined the theater company Howard Players and the so-called “brainy” sorority Zeta Phi Beta.
霍华德大学于 19 世纪末获得美国国会特许，旨在教育黑人学生，是美国最大的黑人高等教育机构，通常被称为“黑人哈佛”。赫斯顿是一名比她的同学大几岁的兼职学生，她建立了许多亲密的关系，并加入了霍华德演员剧团和所谓的“聪明”联谊会 Zeta Phi Beta。
Irma McClaurin, Anthropologist: It’s almost like having Eatonville in one space again, because it’s a Black space.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：这几乎就像伊顿维尔又回到了一个空间，因为它是一个黑人空间。
It’s this concentration of Black knowledge and Black talent that you’re not going to find in many other places.
这种黑人知识和黑人才华的集中是你在其他许多地方找不到的。
Tiffany Ruby Patterson, Historian: She was rubbing elbows with the developing political and cultural and social ideologies that were emerging in Black thought, and it shaped her in very important ways.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：她与黑人思想中出现的不断发展的政治、文化和社会意识形态擦肩而过，这以非常重要的方式塑造了她。
Lee D.
李 D.
Baker, Anthropologist: She met Alain Locke, who was a philosophy professor, but also the midwife, if you will, of the so-called “New Negro movement.”
贝克，人类学家：她遇到了阿兰·洛克，他是一位哲学教授，如果你愿意的话，也是所谓“新黑人运动”的助产士。
Eve Dunbar, Literary Scholar: Everybody is really excited about what it might mean to be able to slough off that Old Negro, who is the product of enslavement.
伊芙·邓巴，文学学者：每个人都对摆脱奴隶制的老黑人意味着什么感到非常兴奋。
Daphne Lamothe, Literary Scholar: Black people understood themselves to be creators of culture and art and literature, and make important contributions to how American society understood, thought about and related to Black people in America.
达芙妮·拉莫特，文学学者：黑人认为自己是文化、艺术和文学的创造者，并为美国社会如何理解、思考和与美国黑人建立联系做出了重要贡献。
One of the major projects of the New Negro renaissance, is to write about and reframe how society thinks about Black culture.
新黑人文艺复兴的主要项目之一是书写和重构社会对黑人文化的看法。
Narrator: Hurston majored in English, and penned poetry, stories, essays and plays drawing from her life in Eatonville.
旁白：赫斯顿主修英语，并根据她在伊顿维尔的生活创作诗歌、故事、散文和戏剧。
She wrote for Howard’s prestigious literary journal The Stylus and, in 1924, she co-founded The Hilltop , the university’s newspaper.
她为霍华德著名的文学期刊《The Stylus》撰稿，并于 1924 年与他人共同创办了该大学的报纸《The Hilltop》。
Off-campus Hurston found inspiration, support and encouragement from a literary salon frequented by devotées of the renaissance.
校外的赫斯顿从文艺复兴信徒经常光顾的文学沙龙中找到了灵感、支持和鼓励。
Zora (VO): I was careful to do my classwork and be worthy to stand there under the shadow of the hovering spirit of Howard.
佐拉（画外音）：我认真地做功课，配得上站在霍华德精神的阴影下。
I felt the ladder under my feet.
我感觉到梯子在我脚下。
Lee D.
李 D.
Baker, Anthropologist: At Howard University, Zora Neale Hurston was really encouraged to write and really was supported and in some respects, found her voice, her literary voice.
贝克，人类学家：在霍华德大学，佐拉·尼尔·赫斯顿确实受到鼓励写作，也得到了真正的支持，并且在某些方面找到了她的声音，她的文学声音。
Narrator: When Charles S.
旁白：当查尔斯·S.
Johnson, editor of Opportunity: A Journal of Negro Life , the influential publication of the National Urban League, invited Hurston in 1924 to submit work, she sent a joyful, day-in-the-life short story that drew from her own childhood.
1924年，全国城市联盟颇具影响力的刊物《机遇：黑人生活杂志》的编辑约翰逊邀请赫斯顿提交作品，她写了一篇取材于自己童年的欢乐的日常生活短篇故事。
Hurston’s translation of rural Black experiences into literature so impressed Johnson that he suggested that the young woman join the flourishing literary scene in New York.
赫斯顿将黑人乡村经历转化为文学，给约翰逊留下了深刻的印象，他建议这位年轻女子加入纽约蓬勃发展的文学界。
Carla Kaplan, Literary Scholar: She had waited a long time to have her intellectual gifts recognized.
卡拉·卡普兰，文学学者：她等待了很长时间才让自己的智力天赋得到认可。
At Howard, she was recognized.
在霍华德，她得到了认可。
Narrator: After five and a half years of part-time study, Hurston left Howard with an associate’s degree, and moved to Harlem.
旁白：经过五年半的兼职学习，赫斯顿带着副学士学位离开了霍华德，搬到了哈莱姆区。
Zora (VO): Being out of school for lack of funds, and wanting to be in New York, I decided to go there and try to get back in school in that city.
佐拉（画外音）：由于缺乏资金而失学，并且想去纽约，我决定去那里并尝试回到那个城市的学校。
So the first week of January, 1925, found me in New York with $1.50, no job, no friends, and a lot of hope.
1925 年 1 月的第一周，我身在纽约，身无分文，只有 1.5 美元，没有工作，没有朋友，却充满希望。
Irma McClaurin, Anthropologist: Harlem in the 1920s is a magnet.
Irma McClaurin，人类学家：20 年代的哈莱姆区是一块磁石。
It’s a satellite.
这是一颗卫星。
It’s a lightning rod.
这是一根避雷针。
It’s attracting all this great talent and energy.
它吸引了所有这些优秀的人才和精力。
Tiffany Ruby Patterson, Historian: It’s a musical world.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：这是一个音乐世界。
It’s a world of jazz.
这是一个爵士乐的世界。
It’s a literary world.
这是一个文学世界。
It’s a world of politics.
这是一个政治世界。
And she wanted to be a part of that.
她想成为其中的一部分。
Daphne Lamothe, Literary Scholar: Harlem comes to symbolize this modernity, this newness, this dynamism, this idea of change.
达芙妮·拉莫特（Daphne Lamothe），文学学者：哈莱姆区象征着这种现代性、这种新颖性、这种活力和这种变革的理念。
What you see in the Harlem Renaissance is that people are very intentional in understanding what it means to write about and represent culture, and Black culture, in particular.
你在哈莱姆文艺复兴中看到的是，人们非常有意地理解书写和代表文化，特别是黑人文化的意义。
Eve Dunbar, Literary Scholar: That idea of the new Negro sweeps the ethos of the black imaginary, the exciting condition of black people, who are by virtue of the Great Migration moving from the rural south to urban centers—Chicago, New York, Philadelphia—moving up and participating in the 20th century revolution of modernity.
伊芙·邓巴（Eve Dunbar），文学学者：“新黑人”这一概念席卷了黑人想象中的精神气质，以及黑人令人兴奋的状况，黑人凭借大迁徙从南方农村向城市中心（芝加哥、纽约、费城）移动，并参与了 20 世纪的现代性革命。
Narrator: Just four months after arriving with hope and a bag of stories, newcomer Zora Neale Hurston gained a pivotal foothold in New York at Opportunity ’s first annual literary awards.
旁白：带着希望和一包故事来到纽约仅仅四个月后，新人佐拉·尼尔·赫斯顿就在机遇号首届年度文学奖中在纽约站稳了脚跟。
María Eugenia Cotera, Modern Thought Scholar: The Opportunity Awards introduce her to the Harlem literati of New York as it’s kind of developing, rising up in this mid-1920s moment.
现代思想学者 María Eugenia Cotera：机会奖向她介绍了纽约哈莱姆区的文人，因为纽约的哈莱姆区文人在 20 年代中期正在发展和崛起。
Narrator: With over 300 guests in attendance, the event was a who’s who of the Harlem Renaissance—progressive New Yorkers, Black and white, from the worlds of literature, arts, education and philanthropy.
旁白：这次活动有 300 多名嘉宾参加，是哈莱姆文艺复兴时期的名人录——进步的纽约人，黑人和白人，来自文学、艺术、教育和慈善领域。
Langston Hughes, the promising twenty-four-year-old writer from Missouri won the first prize in poetry, but that evening Hurston won the most prizes—two second place awards and two honorable mentions.
来自密苏里州的二十四岁的有前途的作家兰斯顿·休斯赢得了诗歌一等奖，但当晚赫斯顿赢得了最多的奖项——两项二等奖和两项荣誉奖。
Tiffany Ruby Patterson, Historian: Hurston was different than others; she’d come from the South—she was funny.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：赫斯顿与其他人不同。她来自南方——她很有趣。
Irma McClaurin, Anthropologist: She is flamboyant.
艾尔玛·麦克劳林，人类学家：她很华丽。
She is bodacious.
她胆大妄为。
She is outspoken, and she also likes to be the center of attention.
她性格直率，也喜欢成为众人瞩目的焦点。
At that moment in time, Harlem is also about respectability.
在那一刻，哈莱姆区也意味着受人尊敬。
People are wanting to sort of move away from the Southern culture because it’s seen as lower class.
人们想要摆脱南方文化，因为它被视为下层阶级。
And Zora brings her Southerness with her because she's not ashamed of it.
佐拉也带着她的南方气质，因为她并不以此为耻。
Tiffany Ruby Patterson, Historian: She was smart.
蒂芙尼·鲁比·帕特森，历史学家：她很聪明。
She had ideas and she was interested in other People with ideas.
她有想法，并且对其他有想法的人感兴趣。
She fell into that world and she fit in that world.
她陷入了那个世界，她融入了那个世界。
Narrator: Prize-winner Langston Hughes later remarked, “Zora Neale Hurston is a clever girl, isn’t she?
旁白：获奖者兰斯顿·休斯后来评论道：“佐拉·尼尔·赫斯顿是一个聪明的女孩，不是吗？
I would like to know her.”
我很想认识她。”
Charles King, Political Scientist: It was at the prize ceremony where she first met Langston Hughes, and that relationship would continue to define the early part of her literary life.
查尔斯·金，政治学家：在颁奖典礼上，她第一次见到了兰斯顿·休斯，这种关系将继续定义她早期的文学生涯。
Narrator: By evening’s end, Hurston also had met and impressed two influential women who would support her academic goals.
旁白：到晚上结束时，赫斯顿还见到了两位有影响力的女性，她们给她留下了深刻的印象，她们支持她的学术目标。
Fannie Hurst, one of the nation’s most successful writers, sought out Hurston after the event to hire her as personal secretary.
美国最成功的作家之一范妮·赫斯特在活动结束后找到赫斯顿，聘请她作为私人秘书。
And Annie Nathan Meyer, a wealthy female founder of Barnard, the women’s college affiliated with Columbia University, offered Hurston admittance on the spot so that she could resume her undergraduate studies.
哥伦比亚大学附属巴纳德女子学院的富有女性创始人安妮·内森·迈耶(Annie Nathan Meyer)当场向赫斯顿录取，以便她可以继续本科学习。
Carla Kaplan, Literary Scholar: She was unusually adaptable.
卡拉·卡普兰，文学学者：她具有异常的适应能力。
She was somebody who could function in almost any milieu.
她是一个几乎可以在任何环境中工作的人。
Irma Mcclaurin, Anthropologist: The fact that Zora is able to finagle a scholarship out of an event where she meets someone for the first time speaks to her prowess as someone who is able to engage people.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：佐拉（Zora）能够从她第一次见到某人的活动中骗取奖学金，这一事实说明了她作为一个能够与人交往的人的能力。
Music (“College on a Hilltop”): There’s a college on a hilltop that’s very dear to me….
音乐（“山顶上的大学”）：山顶上有一所对我来说非常珍贵的大学……
Lee D.
李 D.
Baker, Anthropologist: When she enters Barnard, she enters an elite world of women’s education.
贝克，人类学家：当她进入巴纳德学院时，她就进入了女性教育的精英世界。
And as I understand she was the only African American woman there.
据我了解，她是那里唯一的非裔美国女性。
Music (“College on a Hilltop”): …sing to dear old Barnard…
音乐（“山顶上的学院”）：……为亲爱的老巴纳德唱歌……
Irma Mcclaurin, Anthropologist: She is what my mother would call a “fly in the buttermilk” at Barnard.
艾尔玛·麦克劳林，人类学家：她就是我母亲所说的巴纳德学院的“酪乳中的苍蝇”。
Music (“College on a Hilltop”): ….And loyal be and true….
音乐（“山顶上的大学”）：……忠诚且真实……。
Carla Kaplan, Literary Scholar: She was not only the only black student to be at Barnard at the time, she was pretending to be eight to 10 years younger than she was—and she was there without the privileges and advantages that almost everybody else at Barnard had.
卡拉·卡普兰，文学学者：她不仅是当时巴纳德学院唯一的黑人学生，而且还假装比实际年龄小 8 到 10 岁，而且她在那里并没有巴纳德学院几乎所有其他人都拥有的特权和优势。
She did not have family sending her money; she was working to get every cent that she needed.
她没有家人寄钱给她；她正在努力争取她需要的每一分钱。
Zora (VO): I feel my race.
佐拉（画外音）：我感受到了我的种族。
Among the thousand white persons, I am a dark rock surged upon, overswept by a creamy sea.
在一千个白人中，我是一块被乳白色的海洋淹没的黑色岩石。
I am surged upon and overswept, but through it all I remain myself.
我被冲击和淹没，但在这一切中我仍然是我自己。
Carla Kaplan, Literary Scholar: She had to make a decision about whether she was going to try to fit in or try to play up her difference.
卡拉·卡普兰（Carla Kaplan），文学学者：她必须做出决定，是要努力融入社会，还是要努力凸显自己的与众不同。
And in true Zora Neale Hurston style, it appears that she did both.
以真正的佐拉·尼尔·赫斯顿风格，她似乎两者都做到了。
Lee D.
李 D.
Baker, Anthropologist: Being at Barnard I’m sure gave her both confidence as well as excitement that she was as smart as anyone in the country.
贝克，人类学家：我确信在巴纳德学院给了她信心和兴奋，因为她和这个国家的任何人一样聪明。
Irma Mcclaurin, Anthropologist: She’s very secure in wanting to advance herself, and she will take advantage of any opportunity to do that.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：她非常坚定地想要提升自己，并且她会利用任何机会来做到这一点。
Carla Kaplan, Literary Scholar: When it came to needing to be popular, or get extra things, she let the fellow students in her class see her as special, and even exotic.
卡拉·卡普兰，文学学者：当需要受欢迎或获得额外的东西时，她让班上的同学认为她很特别，甚至充满异国情调。
But she never allowed anybody to treat her as lesser than or to minimize her.
但她从来不允许任何人看不起她或贬低她。
Narrator: Something of a celebrity on campus, Hurston later remarked that she was “Barnard’s sacred black cow.” She was a published writer, friends with Fannie Hurst and part of the ambitious younger generation of Harlem’s artists which made progressive minded Barnard students eager to know her.
旁白：赫斯顿在校园里颇有名气，她后来说她是“巴纳德的神圣黑牛”。她是一位出版作家，是范妮·赫斯特的朋友，也是哈莱姆区雄心勃勃的年轻一代艺术家的一员，这使得思想进步的巴纳德学生渴望认识她。
María Eugenia Cotera, Modern Thought Scholar: She starts at Barnard looking to become a teacher, which was the expected path of an upwardly mobile African American woman at the time, except she has this brilliant creativity, and a storehouse of stories and tales from Eatonville.
玛丽亚·尤金妮亚·科特拉 (María Eugenia Cotera)，现代思想学者：她在巴纳德开始希望成为一名教师，这是当时一个向上流动的非裔美国女性所期望的道路，但她拥有出色的创造力，以及来自伊顿维尔的故事和故事的宝库。
Narrator: In her second semester, Hurston wrote a paper in her anthropology class that resulted in a summons from Franz Boas, the world-renowned founder of Columbia University’s Anthropology Department.
旁白：在第二学期，赫斯顿在人类学课上写了一篇论文，引起了世界著名的哥伦比亚大学人类学系创始人弗朗茨·博阿斯的传唤。
It was an auspicious meeting for the aspiring writer-teacher.
对于这位有抱负的作家兼教师来说，这是一次吉祥的会面。
María Eugenia Cotera, Modern Thought Scholar: It wasn’t until she encountered anthropology at Barnard and Columbia, that she really began to see her culture as something that could be studied.
María Eugenia Cotera，现代思想学者：直到她在巴纳德学院和哥伦比亚大学遇到人类学，她才真正开始将自己的文化视为可以研究的东西。
She arrives in New York and at Barnard at exactly the perfect time.
她在完美的时间抵达纽约和巴纳德学院。
An arrival that is converging with transformations in anthropology.
这一到来与人类学的变革相融合。
Irma McClaurin, Anthropologist: The idea of anthropology, the way that it was formed was to study the other.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：人类学的理念及其形成方式是研究他人。
We were the objects of study, but we were not supposed to be the researchers.
我们是研究的对象，但我们不应该成为研究人员。
Lee D.
李 D.
Baker, Anthropologist: Anthropology is an old discipline.
人类学家贝克：人类学是一门古老的学科。
It really became a professional discipline in the 1840s as a defense for slavery; if all men were created equal, well, we shouldn’t have slavery, and so if they weren’t quite men or quite human, we can justify slavery.
它在 1840 年代真正成为一门专业学科，作为对奴隶制的辩护；如果人人生而平等，那么我们就不应该有奴隶制，所以如果他们不完全是人或不完全是人类，我们就可以为奴隶制辩护。
Well, then we come into the 1890s, and we have Jim Crow after Reconstruction.
好吧，然后我们进入了 1890 年代，重建后出现了吉姆·克劳法。
Guess what?
你猜怎么着？
Anthropology started to support Jim Crow segregation.
人类学开始支持种族隔离。
Anthropology in the 1890s, before Franz Boas really comes on the professional scene, construed people in terms of savage, barbarian, and civilized.
1890 年代，在弗兰茨·博阿斯真正进入专业舞台之前，人类学用野蛮、野蛮和文明来解释人类。
There was a great deal of research trying to pigeonhole people into this evolutionary hierarchy.
有大量的研究试图将人们归入这个进化层次结构中。
María Eugenia Cotera, Modern Thought Scholar: A lot of times, anthropologists didn’t actually even visit the places that they were writing about, or know the people that they were writing about.
María Eugenia Cotera，现代思想学者：很多时候，人类学家实际上甚至没有去过他们所写的地方，或者了解他们所写的人。
Narrator: These scientists, later referred to as “armchair anthropologists,” formed their theories and the foundations of the discipline based on the biased writings of colonizers— explorers, missionaries, travelers and military men.
旁白：这些后来被称为“纸上谈兵的人类学家”的科学家，根据殖民者——探险家、传教士、旅行者和军人——的带有偏见的著作，形成了他们的理论和学科基础。
Franz Boas, a German Jewish immigrant to the United States rejected their methods and conclusions.
移居美国的德国犹太移民弗兰茨·博阿斯拒绝了他们的方法和结论。
Lee D.
李 D.
Baker, Anthropologist: He was one of the first people that took living with indigenous people seriously.
贝克，人类学家：他是最早认真对待与土著人民一起生活的人之一。
And he worked with the Inuits and other people.
他与因纽特人和其他人一起工作。
And when you live with someone for a year, guess what happens—you start seeing that they have a lot to say.
当你和某人一起生活一年时，猜猜会发生什么——你开始发现他们有很多话要说。
María Eugenia Cotera, Modern Thought Scholar: Boas saw 19th century anthropology and the discourses that emerged as being biased representations of cultural others.
玛丽亚·尤金尼亚·科泰拉 (María Eugenia Cotera)，现代思想学者：博厄斯认为 19 世纪的人类学和出现的话语是对其他文化的偏见性表述。
He really wanted to bring more scientific accuracy in the description of other cultures.
他真的很想为其他文化的描述带来更多的科学准确性。
Narrator: Boas landed at Columbia University.
旁白：博阿斯登陆哥伦比亚大学。
His methodology for disputing racial and cultural hierarchies gained traction, and he became known as the father of both modern and American anthropology.
他争论种族和文化等级制度的方法论获得了关注，他被称为现代和美国人类学之父。
Columbia’s Morningside Heights campus became a magnet for students eager to please “Papa Franz.”
哥伦比亚大学莫宁赛德高地校区吸引了渴望取悦“弗朗茨爸爸”的学生。
Charles King, Political Scientist: He was helping young people to explore a completely new world of ideas that he was in the process of inventing: that people don’t come prepackaged in races or ethnicities; that cultures make sense on their own terms if you spend enough time trying to understand them.
查尔斯·金，政治科学家：他正在帮助年轻人探索他正在发明的一个全新的思想世界：人们不会被预先包装在种族或民族中；人们不会被预先包装在种族或民族中；人们不会被预先包装在种族或民族中；人们不会被预先包装在种族或民族中。如果你花足够的时间去理解文化，它们就具有其自身的意义。
Boas (Archival Footage): The mental characteristics of a race are not an expression of bodily form.
博阿斯（档案片段）：种族的心理特征并不是身体形态的表达。
They are a reflection of cultural life.
它们是文化生活的反映。
Charles King, Political Scientist: For the young people who came into his classrooms, these were revolutionary ideas.
查尔斯·金，政治学家：对于进入他课堂的年轻人来说，这些都是革命性的想法。
Lee D.
李 D.
Baker, Anthropologist: Zora Neale Hurston was excited to study anthropology at Columbia because so much of American society and the media did not value African American culture.
贝克，人类学家：佐拉·尼尔·赫斯顿（Zora Neale Hurston）很高兴能够在哥伦比亚大学学习人类学，因为美国社会和媒体的很多人并不重视非裔美国文化。
Lee D.
李 D.
Baker, Anthropologist: Franz Boas had a good eye for talent, and he didn’t care if they were Black, white, women, male, or the like.
贝克，人类学家：弗朗兹·博阿斯对人才有敏锐的洞察力，他不在乎他们是黑人、白人、女性、男性还是类似的人。
Charles King, Political Scientist: Around 1920 or so, Franz Boas said that a change had come over his seminar rooms in recent years, that as he put it, “All my best students are women.”
查尔斯·金，政治学家：大约在 1920 年左右，弗兰茨·博阿斯说，近年来他的研讨室发生了变化，正如他所说，“我所有最好的学生都是女性。”
Lee D.
李 D.
Baker, Anthropologist: Ruth Benedict, Ella Deloria, Margaret Mead, and others became anthropologists under his guidance.
贝克，人类学家：露丝·本尼迪克特、埃拉·德洛里亚、玛格丽特·米德等人在他的指导下成为人类学家。
Franz Boas becomes excited with Zora Neale Hurston because there were a number of white anthropologists that tried to understand the African-American experience, but never really got very far.
弗朗茨·博阿斯对佐拉·尼尔·赫斯顿感到兴奋，因为有许多白人人类学家试图了解非裔美国人的经历，但从未真正取得多大进展。
Narrator: With Boas’s encouragement, Hurston eagerly enrolled in more anthropology courses.
旁白：在博阿斯的鼓励下，赫斯顿急切地报读了更多的人类学课程。
Charles King, Political Scientist: Hurston signed on as a research assistant to go to Harlem and do some physical anthropological, “anthropometrical,” as it was called at the time, measurements that the Boas community and some of his students are, are engaged in.
查尔斯·金，政治科学家：赫斯顿签约担任研究助理，前往哈莱姆区进行一些体质人类学研究，即当时所谓的“人体测量学”，博阿斯社区和他的一些学生正在从事的测量工作。
Zora (VO): I am being trained for Anthropometry and to do measuring.
佐拉（画外音）：我正在接受人体测量学和测量方面的培训。
Dr. Boas says if I make good, there are more jobs in store for me and so I must learn as quickly as possible, and be quite accurate.
博阿斯博士说，如果我表现出色，就会有更多的工作等着我，所以我必须尽快学习，而且要相当准确。
Boas is eager for me to start.
博阿斯渴望我首发。
Irma McClaurin, Anthropologist: There were theories that the head sizes of different so-called races is something that was going to be able to tell us more about the level of intelligence, what kind of culture they had.
艾尔玛·麦克劳林，人类学家：有理论认为，不同所谓种族的头部尺寸能够告诉我们更多关于智力水平、他们拥有什么样的文化的信息。
Tiffany Ruby Patterson, Historian: As anthropology evolved, this data was then used to show the opposite, to show that Black people, White people, Indians were human beings with brains, eyes, ears and nose and all of that in the same place with the same capacity.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：随着人类学的发展，这些数据被用来展示相反的结果，即黑人、白人、印第安人都是拥有大脑、眼睛、耳朵和鼻子的人类，而且所有这些都在同一个地方，具有相同的能力。
But they’re operating against a very powerful ideology of the inferiority of populations.
但他们的行动是针对一种非常强大的人口劣等意识形态。
Narrator: Hurston dutifully headed down to Lenox Avenue in Harlem to measure heads she found interesting with what Langston Hughes described as a “strange-looking” anthropological device.
旁白：赫斯顿尽职尽责地前往哈莱姆区的莱诺克斯大道，用兰斯顿·休斯所说的“看起来很奇怪”的人类学设备测量她觉得有趣的头部。
He was amazed that no one bawled her out.
他很惊讶没有人大声斥责她。
Eve Dunbar, Literary Scholar: Black people understand that once they start measuring your head, they’re trying to prove that you’re not human.
伊芙·邓巴（Eve Dunbar），文学学者：黑人明白，一旦他们开始测量你的头部，他们就试图证明你不是人类。
So to go out on the street corners and ask Black people to let you measure their head would have been a big ask [laugh], but, because of her gregariousness, they comply.
因此，走到街角要求黑人让你测量他们的头部将是一个很大的要求[笑]，但是，由于她的合群性，他们遵守了。
Narrator: In February 1927 after Zora Neale Hurston had completed most of her undergraduate coursework, she boarded a train headed to Florida to begin six months of fieldwork in the South.
旁白：1927 年 2 月，佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 完成大部分本科课程后，她登上了一列开往佛罗里达州的火车，开始在南方进行为期六个月的实地考察。
Boas had convinced pre-eminent Black scholar Carter G.
博阿斯说服了杰出的黑人学者卡特 G.
Woodson, director of the Association for the Study of Negro Life and History, and wealthy sociologist and anthropologist Elsie Clews Parsons to fund her trip.
黑人生活与历史研究协会主任伍德森和富有的社会学家和人类学家埃尔西·克鲁斯·帕森斯资助了她的旅行。
Eve Dunbar, Literary Scholar: There was a certain amount of progressiveness in Boas’ vision about training, in deputizing minoritized people in order to go into their own cultures that wasn’t necessarily done.
伊芙·邓巴（Eve Dunbar），文学学者：博阿斯关于培训的愿景有一定程度的进步，即代表少数群体进入他们自己的文化，但不一定做到这一点。
And there’s a certain sense of valuing these people for what they were able to help to produce.
人们对这些人所做出的贡献有一定的重视。
Narrator: Hurston’s assignment: collect data on Black southerners—including their practices, beliefs, dances and storytelling ways.
旁白：赫斯顿的任务：收集有关南方黑人的数据，包括他们的习俗、信仰、舞蹈和讲故事的方式。
María Eugenia Cotera, Modern Thought Scholar: She goes off after taking a few classes in anthropology really intent on being this good Boasian anthropologist—following Boasian methods of participant observation.
María Eugenia Cotera，现代思想学者：她在上了几节人类学课程后就离开了，她真的一心想成为一名优秀的博阿斯人类学家——遵循博阿斯的参与观察方法。
Participant observation required that you kind of immerse yourself in another culture in order to understand it from the inside out.
参与式观察要求你将自己沉浸在另一种文化中，以便从内到外地理解它。
Narrator: To motor around the South, Hurston took out a car loan in Jacksonville using Boas’s name for reference—a surprise he did not appreciate—and secured a chrome-plated pistol.
旁白：为了驾车环游南方，赫斯顿在杰克逊维尔借了一笔汽车贷款，以博阿斯的名字作为参考——这让他并不意外——并获得了一把镀铬手枪。
Set with her two-seater she named “Sassy Susie,” Hurston took off for Eatonville.
赫斯顿带着她命名为“Sassy Susie”的两座车出发前往伊顿维尔。
Charles King, Political Scientist: Florida, in the Jim Crow era, was the heart of darkness.
政治学家查尔斯·金：在吉姆·克劳时代，佛罗里达是黑暗的中心。
Carla Kaplan, Literary Scholar: Here is a Black woman traveling alone with an exposed revolver.
卡拉·卡普兰，文学学者：这是一位黑人妇女，带着一把裸露的左轮手枪独自旅行。
She looks like a Black Annie Oakley.
她看起来像黑人安妮·奥克利。
She couldn’t have drawn more attention to herself at a time when one of the only ways for her to be safe is to fly underneath the radar.
当她唯一安全的方法之一就是在雷达下飞行时，她不可能引起更多的关注。
Zora (VO): I hurried back to Eatonville because I knew that the town was full of material and that I could get it without hurt, harm, or danger.
佐拉（画外音）：我赶紧回到伊顿维尔，因为我知道这个小镇充满了物质，而且我可以在没有伤害、伤害或危险的情况下得到它们。
Narrator: Collecting did not go as planned for one of the newest members of the American Folk-Lore Society.
旁白：对于美国民间传说协会的一位最新成员来说，收集工作并没有按计划进行。
Zora (VO): I went about asking, in carefully accented Barnardese, “Pardon me, but do you know any folk-tales or folk-songs?”
佐拉（画外音）：我用小心翼翼的巴纳德语问道：“请原谅，你知道任何民间故事或民歌吗？”
Tiffany Ruby Patterson, Historian: Black people are suspicious, I think.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：我认为黑人是多疑的。
And they’re gonna look at you like, “what’s wrong with you?
他们会这样看着你，“你怎么了？
Okay, you’re acting like white people.”
好吧，你的行为就像白人一样。”
Zora (VO): The men and women who had whole treasuries of material just seeping through their pores looked at me and shook their heads.
佐拉（画外音）：那些拥有丰富物质财富的男男女女看着我，摇了摇头。
“No, they had never heard of anything like that around there.
“不，他们从来没有听说过附近有这样的事情。
Maybe it was over in the next county.
也许在下一个县就结束了。
Why didn’t I try over there?” I did, and got the selfsame answer.
我为什么不去那里试试呢？”我这样做了，并得到了同样的答案。
Narrator: Her reports back to Boas failed to impress; in May, he sent a stern critique: “I find that what you have obtained is largely repetition of the kind of material that has been collected so much.” Hurston had come home, but her education made her an outsider.
旁白：她给博阿斯的报告未能给人留下深刻的印象； 5月，他发出了严厉的批评：“我发现你们所获得的很大程度上是对已经收集了这么多材料的重复。”赫斯顿已经回家了，但她所受的教育使她成为一个局外人。
She needed a methodology that would bring her back inside.
她需要一种能让她回到内心的方法。
María Eugenia Cotera, Modern Thought Scholar: The assumption behind participant observation was always that you were studying, as the anthropologist, a different culture.
María Eugenia Cotera，现代思想学者：参与观察背后的假设始终是，作为人类学家，你正在研究一种不同的文化。
When she approached the people as an outsider, she encountered what she called the “featherbed resistance.” The idea that they’ll let you in only so far, but really you’re not going to get at the truth of what the culture holds.
当她以局外人的身份接触人民时，她遇到了她所说的“轻率的抵抗”。他们的想法是他们只会让你进入到目前为止，但实际上你不会了解文化所蕴含的真相。
Narrator: An unexpected encounter with Langston Hughes in Mobile, Alabama in July brightened Hurston’s mood.
旁白：七月在阿拉巴马州莫比尔与兰斯顿·休斯的一次意外邂逅让赫斯顿的心情变得愉快。
She agreed to drive Hughes back to New York, and he accompanied her on fieldwork in Alabama and Georgia—the pair bonding over their shared interest in rural folk culture.
她同意开车送休斯回纽约，休斯陪她去阿拉巴马州和佐治亚州进行实地考察——两人因对乡村民间文化的共同兴趣而结下了不解之缘。
Hughes told her he would put in a good word with his New York patron.
休斯告诉她，他会向他的纽约赞助人说几句好话。
In autumn, Hurston returned North to write her reports and face her mentor.
秋天，赫斯顿回到北方写报告并面对她的导师。
Zora (VO): I went back to New York with my heart beneath my knees and my knees in some lonesome valley.
佐拉（画外音）：我回到了纽约，我的心在我的膝盖下，我的膝盖在某个孤独的山谷里。
I stood before Papa Franz and cried salty tears.
我站在弗朗茨爸爸面前，流下了咸咸的泪水。
He gave me a good going over.”
他给了我一个很好的评价。”
Lee D.
李 D.
Baker, Anthropologist: Historically, folklore has been an integral part of anthropology because people wanted to understand individuals’ worldviews.
贝克，人类学家：从历史上看，民俗一直是人类学不可或缺的一部分，因为人们想要了解个人的世界观。
It has been a way of analyzing systematically how people make sense of the world.
它是一种系统分析人们如何理解世界的方法。
María Eugenia Cotera, Modern Thought Scholar: It was anthropology that really showed Hurston that she could write about her culture and imagine a career where that could really be the source of her literary imagination.
现代思想学者玛丽亚·尤金尼亚·科特拉：人类学真正向赫斯顿表明，她可以写自己的文化，并想象一种职业，这确实可以成为她文学想象力的源泉。
Zora (VO): Folk-lore is not as easy to collect as it sounds.
佐拉（画外音）：民间传说并不像听起来那么容易收集。
I found out later that it was not because I had no talents for research, but because I did not have the right approach.
后来我发现，并不是我没有研究天赋，而是我没有正确的方法。
Charles King, Political Scientist: Hurston had learned that if you’re trying to collect folklore, you had to get people to trust you.
查尔斯·金，政治学家：赫斯顿了解到，如果你想收集民间传说，你必须让人们信任你。
Narrator: Charlotte Osgood Mason, the white, wealthy member of old New York society who was Langston Hughes’s benefactor, offered Hurston a way to resume her research.
旁白：夏洛特·奥斯古德·梅森（Charlotte Osgood Mason）是旧纽约上流社会的白人富有人士，也是兰斯顿·休斯的恩人，她为赫斯顿提供了重新开始研究的方法。
Carla Kaplan, Literary Scholar: Charlotte Osgood Mason was somebody who believed deeply that white American civilization was bankrupt and washed out, and that the key would come from what she considered “primitive peoples.” That they had the childlike energies and the childlike insights that would reinvigorate white American society.
卡拉·卡普兰（Carla Kaplan），文学学者：夏洛特·奥斯古德·梅森（Charlotte Osgood Mason）深信美国白人文明已经破产并被淘汰，而关键在于她所认为的“原始民族”。他们拥有童真的活力和童心的洞察力，可以重振美国白人社会。
Narrator: Mason supported other writers and artists of the Harlem Renaissance, including Howard professor Alain Locke.
旁白：梅森支持哈莱姆文艺复兴时期的其他作家和艺术家，包括霍华德教授阿兰·洛克。
Mason, whose grandmotherly appearance belied her imperious ways, insisted that her beneficiaries call her “Godmother.”
梅森的祖母般的外表掩盖了她专横的作风，她坚持要求她的受益人称她为“教母”。
Tiffany Ruby Patterson, Historian: Oof, Mason, ah, was a handful.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：哦，梅森，啊，是少数。
She had lots of money.
她有很多钱。
She liked having people of color around her.
她喜欢周围有有色人种。
She first was very interested in Native Americans.
她首先对美洲原住民非常感兴趣。
Irma McClaurin, Anthropologist: She is someone who believes that she has the authentic interpretation of what Black culture, Negro culture is about.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：她相信自己对黑人文化、黑人文化有真实的解释。
Narrator: When Zora Neale Hurston arrived at Mason’s Park Avenue penthouse on December 8, 1927 she was presented with a one-year contract.
旁白：1927 年 12 月 8 日，当佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 抵达梅森位于公园大道的顶层公寓时，她收到了一份为期一年的合同。
The document deemed Hurston an “independent agent” hired “to seek out, compile and collect all information possible, both written and oral, concerning the music, poetry, folk-lore, literature, hoodoo, conjure, manifestations of art and kindred subjects relating to and existing among the North American Negroes.”
该文件认为赫斯顿是一名“独立代理人”，受雇“寻找、汇编和收集所有可能的书面和口头信息，涉及音乐、诗歌、民间传说、文学、不祥之物、魔术、艺术表现形式以及与北美黑人相关和存在的同类主题。”
Lee D.
李 D.
Baker, Anthropologist: Zora Neale Hurston was an employee.
贝克，人类学家：佐拉·尼尔·赫斯顿是一名雇员。
She was employed to collect for Charlotte Osgood Mason.
她受雇为夏洛特·奥斯古德·梅森收集资金。
María Eugenia Cotera, Modern Thought Scholar: She signs a contract that she will not share any materials with anyone or publish anything outside of Mason’s approval.
María Eugenia Cotera，现代思想学者：她签署了一份合同，承诺不会与任何人分享任何材料，也不会在梅森批准之外发布任何内容。
But she’s still connected to Boas, and she still wants to stay in Papa Franz’s good graces.
但她仍然与博阿斯有联系，她仍然想继续受到弗朗茨老爹的宠爱。
Narrator: Six days after signing with Mason, Hurston boarded a train heading to Alabama with a guarantee of 200 dollars a month, money to purchase a car, and a plan for year long fieldwork in the South.
旁白：与梅森签约六天后，赫斯顿登上了前往阿拉巴马州的火车，并获得了每月 200 美元的保证金、购买汽车的资金以及在南方进行为期一年实地考察的计划。
She also had a motion picture camera, a rare and expensive tool for anthropologists, that would allow her to capture scenes of rural Black life.
她还有一台电影摄影机，这对人类学家来说是一种罕见且昂贵的工具，可以让她捕捉农村黑人生活的场景。
Zora Neale Hurston felt excited and for once—financially secure.
佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 感到兴奋，这一次，他的财务状况有了保障。
Zora (VO): Godmother dearest, you have given me my first Christmas.
佐拉（画外音）：最亲爱的教母，你给了我第一个圣诞节。
I mean the first Yule season when reality met my dreams.
我指的是现实与我的梦想相遇的第一个圣诞季。
The kind of Christmas that my half-starved child-hood painted.
我半饥饿的童年所描绘的那种圣诞节。
Thank you.
谢谢你。
Narrator: Hurston’s new methodological approach was apparent once she arrived at the Alabama home of Cudjo Lewis, one of the last known surviving Africans of the Clotilda, thought to be the last American slave ship.
旁白：当赫斯顿抵达库乔·刘易斯 (Cudjo Lewis) 在阿拉巴马州的家时，她的新方法论就显而易见了。库乔·刘易斯是克洛蒂尔达号上最后已知的幸存非洲人之一，被认为是最后一艘美国奴隶船。
Hurston used his African name, Oluale Kossola, to greet the man who had vivid memories of his capture.
赫斯顿用他的非洲名字奥卢阿莱·科索拉（Oluale Kossola）向这名对自己被捕的经历有着生动记忆的男子致意。
Lee D.
李 D.
Baker, Anthropologist: Interviewing an enslaved person that came from Africa was compelling for her.
贝克，人类学家：采访一位来自非洲的奴隶对她来说很有吸引力。
Zora Neale Hurston was genuinely intrigued and interested in mapping and understanding the relationship between African traditions and African American traditions.
佐拉·尼尔·赫斯顿（Zora Neale Hurston）对绘制和理解非洲传统与非裔美国人传统之间的关系非常感兴趣。
Narrator: Over several months she spent time with Lewis, who was in his late eighties, in Africatown, the community he co-founded after the Civil War with other West Africans.
旁白：几个月来，她与八十多岁的刘易斯一起在非洲城度过了几个月，这是他在内战后与其他西非人共同创建的社区。
Hurston brought him gifts of food and drove him to complete errands.
赫斯顿给他带来了食物作为礼物，并开车送他去完成任务。
Though she captured twenty-four minutes of Lewis with her camera, it was her extensive, detailed notes of his memories and speech that were the priority for Hurston and her anthropological research.
尽管她用相机捕捉了刘易斯二十四分钟的镜头，但赫斯顿和她的人类学研究的首要任务是她对他的记忆和演讲的广泛而详细的记录。
Carla Kaplan, Literary Scholar: As an academically trained anthropologist, getting Cudjo Lewis’s voice exact was very important—that ethnography should record with accuracy not with translation.
卡拉·卡普兰，文学学者：作为一名受过学术训练的人类学家，准确掌握库乔·刘易斯的声音非常重要——民族志应该准确记录，而不是翻译。
Irma McClaurin, Anthropologist: He’s created his own language.
艾尔玛·麦克劳林，人类学家：他创造了自己的语言。
It’s a fusion of both southern Negro dialect and as well as some African words thrown in there.
它融合了南部黑人方言和一些非洲单词。
Lee D.
李 D.
Baker, Anthropologist: Hurston’s intimacy and support of his African authenticity enabled him to open up to her in an authentic way.
贝克，人类学家：赫斯顿的亲密和对他非洲真实性的支持使他能够以真实的方式向她敞开心扉。
Narrator: From Alabama, Hurston headed off to Florida where men worked at felling pine trees, manning sawmill camps, boiling turpentine and mining phosphate.
旁白：赫斯顿从阿拉巴马州出发前往佛罗里达州，那里的人们从事砍伐松树、管理锯木厂营地、煮松节油和开采磷酸盐的工作。
Carla Kaplan, Literary Scholar: She was very interested in documenting what she called “the Negro farthest down.”
卡拉·卡普兰，文学学者：她对记录她所说的“最底层的黑人”非常感兴趣。
Zora (VO): My search for knowledge of things took me into many strange places and adventures.
佐拉（画外音）：我对事物知识的探索带我进入了许多奇怪的地方和冒险。
My life was in danger several times.
我多次遇到生命危险。
Carla Kaplan, Literary Scholar: She was often the only woman for tens of miles around with a camera, with her own car, with a gun on her hip, collecting stories.
卡拉·卡普兰，文学学者：她常常是方圆几十英里内唯一一个拿着相机、开着自己的车、腰上挎着枪、收集故事的女性。
Zora (VO): If I had not learned how to take care of myself in these circumstances, I could have been maimed or killed on most any day of the several years of my research work.
佐拉（画外音）：如果我没有学会在这种情况下如何照顾自己，那么在我几年的研究工作中，我几乎任何一天都可能会受伤或死亡。
Narrator: To win the trust of the men, she made up stories about her life.
旁白：为了赢得男人们的信任，她编造了自己的人生故事。
Zora (VO): I took occasion to impress the job with the fact that I was also a fugitive from justice, “bootlegging.” They were hot behind me in Jacksonville and they wanted me in Miami.
佐拉（画外音）：我借机向工作人员展示了我也是一名“走私”逃犯的事实。在杰克逊维尔他们对我很热情，他们希望我在迈阿密。
So I was hiding out.
所以我就躲起来了。
That sounded reasonable.
听起来很有道理。
Bootleggers always have cars.
走私者总是有车的。
I was taken in.
我被带进去了。
Music (Archival, Hurston singing “Shove It Over”): Shove it over!
音乐（档案，赫斯顿演唱“Shove It Over”）：Shove It Over！
Hey!
嘿！
Hey!
嘿！
Hey!
嘿！
Can’t you line it?
不能划线吗？
Ah shack-er-lack-er-lack-er-lack-er-lack-er-lack-er-lack!
啊，夏克-呃-缺乏-缺乏-缺乏-缺乏-缺乏-缺乏-缺乏-缺乏-缺乏！
Umph!
嗯！
Can’t you move there.
你不能搬到那里去吗？
Hey!
嘿！
Hey!
嘿！
Hey…
嘿…
María Eugenia Cotera, Modern Thought Scholar: She realized that no one was going to share songs with her or even let her into these incredibly rich spaces where people were exchanging stories and song and card playing games, if she didn’t bring something herself to the table.
María Eugenia Cotera，现代思想学者：她意识到，如果她自己不带点东西来，没有人会与她分享歌曲，甚至没有人会让她进入这些令人难以置信的丰富空间，人们在那里交换故事、歌曲和玩纸牌游戏。
Narrator: “I had to prove that I was their kind,” Hurston recalled.
旁白：“我必须证明我是他们的同类，”赫斯顿回忆道。
She sang and danced with them at their bi-monthly payday parties.
她在每两个月一次的发薪日聚会上与他们一起唱歌跳舞。
In return, they told her stories, sang work songs and played blues riffs on the guitar.
作为回报，他们给她讲故事，唱工作歌曲，并用吉他演奏布鲁斯即兴演奏。
Hurston often wrote Langston Hughes of her work from the road; the pair, with Mason’s support, were supposed to be collaborating on a folk opera.
赫斯顿经常在路上给兰斯顿·休斯写信讲述她的作品。两人本应在梅森的支持下合作创作一部民间歌剧。
Zora (VO): July 10th 1928.
佐拉（画外音）：1928 年 7 月 10 日。
Dear Langston, In every town I hold one or two story-telling contests, and at each I begin by telling them who you are and all, then I read poems from “Fine Clothes.” Boy!
亲爱的兰斯顿，在每个城镇，我都会举办一两次讲故事比赛，每次比赛我都会首先告诉他们你是谁以及你的一切，然后我读《好衣服》中的诗。男孩！
They eat it up…You are being quoted in railroad camps, phosphate mines, turpentine still, etc.
他们把它吃光了……你在铁路营地、磷酸盐矿、松节油蒸馏器等地方被引用。
María Eugenia Cotera, Modern Thought Scholar: Folks began to respond to her, and even repeat back verses of Langston Hughes’s poetry to her.
玛丽亚·尤金妮亚·科特拉，现代思想学者：人们开始对她做出回应，甚至向她重复朗斯顿·休斯的诗句。
They even began calling it “da party book,” and asking for her to bring out the party book and read something else from it.
他们甚至开始称其为“党的书”，并要求她拿出党的书并从中阅读其他内容。
Irma McClaurin, Anthropologist: Not only do they like it, they pick up a guitar and they start putting it to music.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：他们不仅喜欢它，还拿起吉他并开始将其演奏成音乐。
That kind of spontaneous creativity is amazing given the harsh conditions in which people were working.
考虑到人们工作的恶劣条件，这种自发的创造力是令人惊叹的。
Zora (VO): Everybody joined in.
佐拉（画外音）：大家都加入了。
It was the strangest & most thrilling thing.
这是最奇怪、最令人兴奋的事情。
They played it well too.
他们也打得很好。
You’d be surprised.
你会感到惊讶的。
One man was giving the words out-lining them out as the preacher does a hymn and the others would take it up and sing.
当传教士唱一首赞美诗时，一名男子正在说出概述这些内容的内容，其他人则拿起它来唱歌。
It was glorious!
太光荣了！
Lee D.
李 D.
Baker, Anthropologist: She was using this contemporary poetry that was written up in New York, bringing it down south and then the the southern folkloric tradition would take it, turn it up on its head and make it anew, and so she was documenting how folklore and culture was actually being created in front of her eyes.
贝克，人类学家：她正在使用这种在纽约写成的当代诗歌，把它带到南方，然后南方的民俗传统会接受它，将它颠倒过来并重新创造它，所以她正在记录民俗和文化是如何在她眼前实际创造的。
Lee D.
李 D.
Baker, Anthropologist: Much of the impetus for cultural anthropology, ethnography was called “salvage ethnography.”
贝克，人类学家：文化人类学的大部分动力，民族志被称为“抢救民族志”。
Charles King, Political Scientist: Salvage anthropology was the idea that one of the goals of the anthropologist was to rush in and collect things before they were all destroyed by modernity.
查尔斯·金，政治学家：拯救人类学的理念是，人类学家的目标之一是在事物被现代性摧毁之前冲进去收集它们。
On the one hand, this was a very noble pursuit, that you wanted to grab things before they disappeared.
一方面，这是一种非常崇高的追求，你想在东西消失之前抓住它们。
On the other hand, it could lead you to believe that you were visiting so-called primitive societies that existed in a permanent present.
另一方面，它可能会让你相信你正在访问永久存在的所谓原始社会。
That they had no past; they had no future.
他们没有过去；他们没有未来。
Lee D.
李 D.
Baker, Anthropologist: And that was believed by a lot of people, but Zora Neale Hurston understood that culture was not being replaced as much as it was emerging and on a continuum.
贝克，人类学家：很多人都相信这一点，但佐拉·尼尔·赫斯顿明白，文化并没有被取代，而是正在不断出现和持续。
And that was super sophisticated.
那是非常复杂的。
Zora (VO): I am getting much more material than before because I am learning better technique.
Zora（画外音）：我获得了比以前更多的材料，因为我正在学习更好的技术。
Am keeping close tab on expressions of double meaning too, also compiling lists of double words.
我也密切关注双重含义的表达，还编制了双重单词列表。
They – to give emphasis – use the noun and put the function of the noun before it as an adjective.
他们——为了强调——使用名词，并将名词的功能放在它前面作为形容词。
Example, sitting-chair, suck-bottle, cook-pot, hair-comb.
例如，坐椅、吸瓶、炊具、发梳。
I have about enough for a good volume of stories.
我的资料足够写大量的故事了。
Carla Kaplan, Literary Scholar: She may be our first Black female ethnographer documentary filmmaker.
卡拉·卡普兰，文学学者：她可能是我们第一位黑人女性民族志纪录片制片人。
She uses that expensive and rare film equipment to document the lives of ordinary, everyday Black children, and Black women, and Black communities providing for us some of the earliest footage we have of the everyday visual lives of Black southern Americans.
她使用昂贵而稀有的电影设备来记录普通黑人儿童、黑人妇女和黑人社区的生活，为我们提供了一些关于南美黑人日常视觉生活的最早的镜头。
Narrator: Hurston next traveled to New Orleans.
旁白：赫斯顿接下来前往新奥尔良。
With Mason’s support for another year, she was able to rent a three-room house.
在梅森的又一年支持下，她租到了一套三居室的房子。
She devoted most of her time to fieldwork on a topic that she perceived White folklorists to be sensationalizing and misrepresenting—“Hoodoo” and conjure: folk religion and practices created by enslaved African Americans.
她把大部分时间都花在了她认为白人民俗学家耸人听闻和歪曲的一个主题上的田野调查上——“不祥之物”和变戏法：被奴役的非裔美国人创造的民间宗教和习俗。
Daphne Lamothe, Literary Scholar: Hurston’s the daughter of a preacher.
达芙妮·拉莫特，文学学者：赫斯顿是一位传教士的女儿。
And, I think that Hurston had a strong investment in the spiritual life of Black people and Black women, in particular.
而且，我认为赫斯顿对黑人和黑人女性的精神生活进行了大力投资，特别是。
Charles King, Political Scientist: The closest that Boas and his students had gotten to participant observation would be to sit in on, uh, a ritual or religious practice and, and watch it and note down what happened.
查尔斯·金，政治科学家：博厄斯和他的学生最接近的参与观察就是坐在，呃，仪式或宗教活动中，观察并记下发生的事情。
For Hurston, you had to jump off the high dive.
对于赫斯顿来说，你必须从高处跳下。
If you’re going to study Hoodoo or Voodoo, you had to do it from the inside, and so, she went through at least four initiation rituals.
如果你要研究胡都教或巫毒教，你必须从内部开始，所以，她至少经历了四次入会仪式。
Narrator: One Hoodoo doctor asked her to chase down a Black cat in the night, boil it in a cauldron and suck on its bones.
旁白：一位胡都医生让她在夜里追捕一只黑猫，把它放在锅里煮，然后吸食它的骨头。
Another had her lie naked and fasting for sixty-nine hours, experiencing strange and altered dreams.
另一位则让她赤身裸体地躺着，禁食六十九个小时，经历奇怪且改变的梦境。
The ceremony ended with the painting of a red and yellow lightning bolt down her back.
仪式结束时，她的背上画着一道红色和黄色的闪电。
Tiffany Ruby Patterson, Historian: That she succeeded is a testament to her resilience, her willingness to do whatever she had to do to get her work done.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：她的成功证明了她的韧性，以及她愿意做任何她必须做的事情来完成她的工作。
Zora (VO): I am getting on in the conjure splendidly.I have been going to every one I hear of for the sake of thoroughness.
佐拉（画外音）：我在魔术方面进展得非常出色。为了彻底起见，我已经去过了我听说过的每一个人。
I am knee deep in it with a long way to go.
我已经深陷其中，还有很长的路要走。
Lee D.
李 D.
Baker, Anthropologist: There was this real mismatch between the goals of Charlotte Osgood Mason and the goals of Zora Neale Hurston.
人类学家贝克：夏洛特·奥斯古德·梅森的目标和佐拉·尼尔·赫斯顿的目标之间确实存在不匹配。
Hurston was collecting folklore to demonstrate the legitimacy and the sophistication of Black vernacular, Black folk life, of African American rural culture.
赫斯顿收集民间传说是为了展示黑人乡土、黑人民间生活和非裔美国乡村文化的合法性和复杂性。
Charlotte Osgood Mason was employing Zora Neale Hurston for the opposite because she thought it was primitive.
夏洛特·奥斯古德·梅森雇用佐拉·尼尔·赫斯顿来扮演相反的角色，因为她认为这很原始。
Irma McClaurin, Anthropologist: Zora is collecting what she thinks Mason wants to see, and she’s also collecting what she wants to get.
艾尔玛·麦克劳林，人类学家：佐拉正在收集她认为梅森想看到的东西，她也在收集她想得到的东西。
Narrator: Mason found Hurston’s material promising and continued her patronage.
旁白：梅森发现赫斯顿的材料很有前途，并继续赞助。
Amidst her travels Hurston had been collecting love letters for a book she wanted to write about Black love which she hid from Mason.
在旅行期间，赫斯顿一直在为一本她想写的关于黑人爱情的书收集情书，但她向梅森隐瞒了这本书。
She discussed her plans with Langston Hughes, imploring him to not tell Godmother.
她与兰斯顿·休斯讨论了她的计划，恳求他不要告诉教母。
María Eugenia Cotera, Modern Thought Scholar: There is a complex positionality that Hurston had to adopt in order to do what she wanted to do.
María Eugenia Cotera，现代思想学者：为了做她想做的事，赫斯顿必须采取一种复杂的立场。
So she does this, um, very, I would say, opportunistically.
所以她这样做，嗯，我想说，非常机会主义。
Zora (VO): July 25th 1928.
佐拉（画外音）：1928 年 7 月 25 日。
Dearest, little mother of the primitive world, take care not to overtire yourself abroad.
最亲爱的原始世界的小妈妈，在国外请注意不要劳累过度。
I am attempting a volume of work songs with music for piano and guitar…I shall send you the first song as soon as I get it finished to see if you like it.
我正在尝试制作一本包含钢琴和吉他音乐的工作歌曲……我完成后会立即向您发送第一首歌曲，看看您是否喜欢它。
Carla Kaplan, Literary Scholar: During the period when she’s collecting some of her greatest anthropological and ethnographic work, Hurston is collecting material she doesn’t have legal claim to.
卡拉·卡普兰，文学学者：赫斯顿在收集一些最伟大的人类学和民族志作品期间，正在收集她没有合法权利的材料。
María Eugenia Cotera, Modern Thought Scholar: Charlotte Osgood Mason also controlled Hurston’s expenses.
玛丽亚·尤金妮亚·科特拉（María Eugenia Cotera），现代思想学者：夏洛特·奥斯古德·梅森也控制着赫斯顿的开支。
She had to list everything that she purchased with Mason’s money down to feminine quote, unquote, feminine products.
她必须列出用梅森的钱购买的所有物品，包括女性报价、未报价、女性产品。
Narrator: Hurston once confided in Hughes how Mason’s detailed oversight and periodic angry outbursts affected her.
旁白：赫斯顿曾经向休斯吐露过梅森的细致监督和时不时的愤怒爆发对她的影响。
Zora (VO): It destroys my self respect and utterly demoralizes me for weeks.
佐拉（画外音）：这摧毁了我的自尊，让我士气低落了好几个星期。
I do care for her deeply.
我确实很关心她。
That is why I can’t endure to get at odds with her.
这就是为什么我不能忍受与她发生争执。
I don’t want anything but to get at my work with the least possible trouble.
我什么都不想要，只想以尽可能少的麻烦来完成我的工作。
María Eugenia Cotera, Modern Thought Scholar: She is agreeing to certain strictures on the Osgood Mason side, and while at the same time reaching out to Boas and keeping those fires lit.
玛丽亚·尤金尼亚·科特拉（María Eugenia Cotera），现代思想学者：她同意奥斯古德·梅森一方的某些限制，同时向博阿斯伸出援手，继续点燃这些火焰。
Carla Kaplan, Literary Scholar: He’s a very important voice.
卡拉·卡普兰，文学学者：他是一个非常重要的声音。
He is the gatekeeper of anthropology who also is an influential and an important antiracist.
他是人类学的守门人，也是一位有影响力的重要反种族主义者。
Mason was a profoundly anti-academic person.
梅森是一个极度反学术的人。
She had these notions of folklore that it had to be kept pure and kept away from the academics.
她对民间传说有这样的观念：民间传说必须保持纯粹，远离学术界。
Zora (Vo): My dear Dr. Boas, I was very proud to hear from you.
佐拉（画外音）：我亲爱的博阿斯博士，听到你的来信我感到非常自豪。
I have wanted to write you but a promise was exacted of me that I would write no one.
我本来想写信给你，但我向你保证，我不会写信给任何人。
Of course I have intended from the very beginning to show you what I have, but after I had returned.
当然，我从一开始就打算向你展示我所拥有的东西，但在我回来之后。
Thus I could keep my word and at the same time have your guidance.
这样我就可以信守诺言，同时得到你的指导。
The experience that I had under you was a splendid foundation.
我在你手下的经历为我打下了良好的基础。
I know where to look and how.
我知道该去哪里寻找以及如何寻找。
Narrator: Four months later from a small, secluded cottage she rented in Eau Gallie, Florida, Hurston updated Boas writing, that she was “sitting down to write up” the “more than 95,000 words of story material, collection of children’s games” and conjure and religious material.
旁白：四个月后，赫斯顿在佛罗里达州欧加利租的一间僻静的小小屋里更新了博厄斯的写作，说她正在“坐下来写”“超过 95,000 字的故事材料、儿童游戏集”以及魔术和宗教材料。
Zora (VO): Dear Langston, I am just beginning to hit my stride.
佐拉（画外音）：亲爱的兰斯顿，我才刚刚开始迈出步伐。
I not only want to present the material with all the life and color of my people, I want to leave no loop-holes for the scientific crowd to rend and tear us.
我不仅想呈现出我的人民的所有生命和色彩的材料，我还想不给科学界留下撕裂我们的漏洞。
Irma McClaurin, Anthropologist: Zora also wants to write for the folk.
艾尔玛·麦克劳林，人类学家：佐拉也想为民间写作。
She’s thinking of how to take this data that she’s collecting as part of her formal research and then translate it into a form that is then going to be accessible to the people she got it from originally.
她正在考虑如何将她收集的这些数据作为正式研究的一部分，然后将其转化为一种可供最初从她那里获得数据的人可以访问的形式。
Hurston (Archival VO): A railroad rail weighs 900 pounds.
赫斯顿（档案旁白）：一根铁轨重 900 磅。
The men have to take these lining bars to get it in shape to spike it down.
男人们必须把这些衬条调整好形状，才能把它钉下来。
And while they’re doing that, they have a chant.
当他们这样做的时候，他们会唱口号。
They use the rhythm to work it into place.
他们利用节奏将其落实到位。
They don’t have to look at the rail ‘cause that’s the captain’s job to see when it’s right.
他们不必看着铁轨，因为这是船长的工作，看看什么时候是正确的。
Whatever song he starts if it has a fast rhythm then they work fast and if it’s a slow one well they work you know a little slower but they get just as much work done singing somehow or another.
无论他开始唱什么歌曲，如果节奏快，那么他们就工作得很快，如果节奏慢，那么他们工作得慢一点，但他们以某种方式完成同样多的工作。
And then the boss hollers “bring on the hammer gang” and they start to spike it down.
然后老板大喊“请来锤子帮”，他们就开始把它钉下来。
Zora (VO): Darling Godmother, At last “Barracoon” is ready for your eyes.
佐拉（画外音）：亲爱的教母，“Barracoon”终于准备好迎接您了。
I pray so earnestly that I have done something that can come somewhere near your expectations.
我真诚地祈祷我所做的事情能够达到您的期望。
Narrator: In 1931 with Mason’s continued support, Hurston finished a book-length manuscript based on the interviews she had conducted three years before with Cudjo Lewis.
旁白：1931 年，在梅森的持续支持下，赫斯顿根据三年前对库乔·刘易斯的采访完成了一本长达一本书的手稿。
Hurston began submitting Barracoon to publishers.
赫斯顿开始向出版商提交 Barracoon。
Irma McClaurin, Anthropologist: Zora was very committed to authenticity.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：佐拉非常注重真实性。
She wrote that book in dialect.
她用方言写那本书。
She tried to replicate Cudjo’s own language.
她试图复制库乔自己的语言。
Publishers wanted her to translate it for white readers into Standard English, and she refused.
出版商希望她将其翻译成标准英语以供白人读者阅读，但她拒绝了。
Lee D.
李 D.
Baker, Anthropologist: That was the authenticity, that was scientifically valid and genuine.
贝克，人类学家：这就是真实性，在科学上是有效的和真实的。
And she did not want to go against that.
她不想反对这一点。
I think that was an important form of resistance.
我认为这是一种重要的抵抗形式。
Irma McClaurin, Anthropologist: That speaks to her belief that there was value in the way that Cudjo had created his own form of communication, that value did not need to be diluted, or translated for a white audience.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：这说明了她的信念，即库乔创造自己的交流方式的方式是有价值的，这种价值不需要被淡化，也不需要为白人观众翻译。
Narrator: Hurston had other publishing successes.
旁白：赫斯顿在出版业上还有其他方面的成功。
Her ethnographic writing debuted the previous year in The Journal of American Folk-Lore .
她的民族志写作于前一年首次发表在《美国民间传说杂志》上。
With Godmother’s approval, she had submitted “Dance Songs and Tales from the Bahamas” based on three months of fieldwork in the country.
经教母批准，她提交了基于三个月的巴哈马实地考察的《巴哈马舞曲和故事》。
Man (Archival VO): How do you learn most of your songs?
Man（档案旁白）：你的大部分歌曲是如何学习的？
Hurston (Archival VO): I learn ‘em.
赫斯顿（档案旁白）：我学的。
I just get in the crowd with the people if they’re signing, and I listen as best I can and I start to join in with a phrase or two and then I finally get so I can sing a verse and then I keep on until I learn all the songs, all the verses, then I sing them back to the people until they tell me that I can sing them just like them and then I take part and try it out on different people who already know the song until they are quite satisfied with that I know it and then I carry it in my memory.
我只是和人们一起签名，如果他们在签名，我会尽我所能地听，我开始加入一两个短语，然后我终于学会了，这样我就可以唱一首诗，然后我继续唱，直到我学会了所有的歌曲，所有的诗句，然后我把它们唱给人们听，直到他们告诉我我可以像他们一样唱它们，然后我参加并在已经知道这首歌的不同人身上尝试，直到他们对我知道这首歌感到非常满意，然后我把它带进我的歌里。记忆。
Narrator: In 1931 the Journal printed Hurston’s one-hundred-page article, “Hoodoo in America,” which began cementing her as the American authority on the topic.
旁白：1931 年，《华尔街日报》刊登了赫斯顿的一百页文章“美国的胡毒”，这篇文章开始巩固她作为该主题的美国权威的地位。
Narrator: When she wasn’t trying to find a home for Barracoon , Hurston spent much of 1931 focused on theater including her play The Great Day .
旁白：1931 年，当赫斯顿没有为 Barracoon 寻找下家时，她大部分时间都专注于戏剧，包括她的戏剧《伟大的一天》。
It was a showcase of Black culture that incorporated her Bahamian ethnographic research.
这是黑人文化的展示，融入了她的巴哈马民族志研究。
Mason very reluctantly supported the production—and the stakes for Hurston were high.
梅森非常不情愿地支持了制作——而赫斯顿的赌注很高。
Carla Kaplan, Literary Scholar: Most of the great artists of the Harlem Renaissance had their money in Black fiction.
卡拉·卡普兰，文学学者：哈莱姆文艺复兴时期的大多数伟大艺术家都在黑人小说中赚了钱。
Hurston believed deeply that it was going to be Black drama brought to wide audiences that was going to do more to counter racism than anything else.
赫斯顿坚信，将黑人戏剧带给广大观众，将比其他任何事情都更能对抗种族主义。
Hurston (Archival VO singing “Crow Dance”): Oh Mama Mama come see that crow, see how he fly, Oh mama come see that crow see how he fly, This crow this crow gonna fly tonight, See how he fly….
赫斯顿（档案画外音演唱“乌鸦之舞”）：哦妈妈妈妈来看看那只乌鸦，看看他如何飞翔，哦妈妈来看看那只乌鸦，看看他如何飞翔，这只乌鸦今晚要飞翔，看看他如何飞翔......。
Lee D.
李 D.
Baker, Anthropologist: Zora Neale Hurston really believed that you could not just read the folklore on the page.
贝克，人类学家：佐拉·尼尔·赫斯顿确实相信你不能只阅读书页上的民间传说。
She believed that you had to perform it, that you had to see it, you had to hear it, you had to feel it.
她相信你必须表演它，你必须看到它，你必须听到它，你必须感觉到它。
All your senses need to be engaged in this beautiful creation.
你所有的感官都需要投入到这个美丽的创作中。
Hurston (Archival VO): But what they’re talking about is what we know in the United States as the buzzard, and they’re talking about it and the buzzard comes to get something to eat and they are talking about it and they dance it.
赫斯顿（档案画外音）：但是他们谈论的是我们在美国所知道的秃鹰，他们正在谈论它，秃鹰来吃东西，他们正在谈论它并跳舞。
Carla Kaplan, Literary Scholar: She was running up incredible debt.
卡拉·卡普兰，文学学者：她负债累累。
Everybody was opposed to what she was trying to do.
每个人都反对她试图做的事情。
Narrator: On January 10th 1932 The Great Day premiered on Broadway at the John Golden Theatre.
旁白：1932 年 1 月 10 日，《伟大的一天》在百老汇约翰·戈尔登剧院首演。
Hurston ( Archival VO singing “Halimuhfack”): You may leave and go to Halimuhfack, but my slow drag will bring you back…
赫斯顿（档案旁白演唱“Halimuhfack”）：你可以离开并前往Halimuhfack，但我的缓慢拖拽会将你带回来......
Narrator: The New York Herald Tribune praised her production as “the real thing; unadulterated and not fixed and fussed up for the purposes of commerce.”
旁白：《纽约先驱论坛报》称赞她的作品“真实；纯粹，没有为了商业目的而固定和大惊小怪”。
Hurston ( Archival VO): Oh well you may go, but this will bring you back…
赫斯顿（档案旁白）：哦，好吧，你可以走了，但这会让你回来……
Hurston ( Archival VO singing “Crow Dance”): …Oh Mama come see that crow, CAAAWW!
赫斯顿（档案旁白演唱“乌鸦之舞”）：……哦，妈妈快来看看那只乌鸦，CAAAWW！
Narrator: Despite the show’s promising reviews, no producer picked it up.
旁白：尽管该剧好评如潮，但没有制片人接受。
Carla Kaplan, Literary Scholar: It was an enormous disappointment for her—one of the heartbreaks of her life.
卡拉·卡普兰，文学学者：这对她来说是巨大的失望——这是她一生中的心碎之一。
She thought it was going to be the artistic production that told people who she was.
她认为艺术作品将告诉人们她是谁。
Narrator: Sick, exhausted and bankrupt, in April Hurston reached out to Mason for financial help as she packed up to relocate to Eatonville.
旁白：四月份，赫斯顿生病、精疲力竭、破产了，她收拾行装搬到伊顿维尔时，向梅森寻求经济帮助。
Zora (VO): One other item of expense, Godmother.
佐拉（画外音）：另一项开支，教母。
I really need a pair of shoes.
我真的需要一双鞋。
You remember that we discussed the matter in the fall and agreed that I should own only one pair at a time.
你记得我们在秋天讨论过这个问题并同意我一次只应该拥有一双。
I bought a pair in mid-December and they have held up until now.
我12月中旬买了一双，一直坚持到现在。
My big toe is about to burst out of my right shoe and so I must do something about it.
我的大脚趾快要从右鞋中冲出来了，所以我必须采取一些措施。
Narrator: Hurston’s relationship with Mason—almost five years of support—had soured over time.
旁白：赫斯顿与梅森的关系——近五年的支持——随着时间的推移而恶化。
Mason paid Hurston’s theater bills and came through with six dollars for the new shoes, money for a one-way ticket and $75 in spending money.
梅森支付了赫斯顿的剧院账单，并支付了 6 美元购买新鞋、一张单程票的钱和 75 美元的零用钱。
Carla Kaplan, Literary Scholar: Charlotte Osgood Mason was unable to control Zora Neale Hurston.
卡拉·卡普兰，文学学者：夏洛特·奥斯古德·梅森无法控制佐拉·尼尔·赫斯顿。
It would be like trying to get a shooting star into a mason jar.
这就像试图将一颗流星放入玻璃瓶中一样。
And Charlotte Osgood Mason could not be controlled by Zora Neale Hurston.
夏洛特·奥斯古德·梅森也无法被佐拉·尼尔·赫斯顿控制。
Narrator: Hurston’s last check from Mason arrived in October 1932, just as the nation was heading toward record unemployment.
旁白：赫斯顿从梅森寄来的最后一张支票是在 1932 年 10 月寄到的，当时美国的失业率正走向创纪录的水平。
The Great Depression had dashed the dreams of many Americans.
大萧条粉碎了许多美国人的梦想。
Hurston had hoped for a teaching position in Florida that did not materialize.
赫斯顿曾希望在佛罗里达州找到一个教职，但没有实现。
Income from periodic writings never secured her enough money on which to live.
定期写作的收入并不能保证她有足够的钱来维持生活。
Carla Kaplan, Literary Scholar: It wasn’t just that Zora Neale Hurston lost a meal ticket.
卡拉·卡普兰（Carla Kaplan），文学学者：佐拉·尼尔·赫斯顿（Zora Neale Hurston）丢掉的不仅仅是一张餐券。
She honestly did lose somebody she saw as a kind of spiritual mother.
老实说，她确实失去了一个她视为精神母亲的人。
Narrator: Hurston had not just lost her relationship with Mason.
旁白：赫斯顿不仅失去了与梅森的关系。
A year earlier, her friendship with Langston Hughes had ended on very bad terms in part over their collaboration Mule Bone , a comedic play based on one of Hurston’s unpublished Eatonville tales.
一年前，她与兰斯顿·休斯的友谊以非常糟糕的方式结束，部分原因是他们合作了《骡骨》，这是一部根据赫斯顿未出版的伊顿维尔故事改编的喜剧剧。
Carla Kaplan, Literary Scholar: He and Zora Neale Hurston were enormously important to one another in every sense: emotionally, aesthetically, intellectually.
卡拉·卡普兰（Carla Kaplan），文学学者：他和佐拉·尼尔·赫斯顿（Zora Neale Hurston）在情感上、审美上、智力上等各个方面对彼此都非常重要。
And when their relationship exploded, they were both profoundly wounded by it.
当他们的关系爆发时，他们都受到了深深的伤害。
Narrator: When Hurston’s mentors at Columbia failed to facilitate funding for her research, she turned to the Guggenheim Foundation.
旁白：当赫斯顿在哥伦比亚大学的导师未能为她的研究提供资金支持时，她转向古根海姆基金会。
On July 25th 1933, Hurston submitted an application for a fellowship focused on “anthropology” to continue the work she had begun in New Orleans.
1933 年 7 月 25 日，赫斯顿提交了一份以“人类学”为重点的奖学金申请，以继续她在新奥尔良开始的工作。
Zora (VO): My ultimate purpose as a student is to increase the general knowledge concerning my people, to advance science and the musical arts among my people, but in the Negro way and away from the white man’s way.
佐拉（画外音）：作为一名学生，我的最终目的是增加关于我的人民的常识，在我的人民中推进科学和音乐艺术，但以黑人的方式而不是白人的方式。
Eve Dunbar, Literary Scholar: “The Negro way” means in a way that is respectful, that is set on debunking Black inferiority.
文学学者伊芙·邓巴（Eve Dunbar）：“黑人之路”意味着一种尊重的方式，旨在揭穿黑人的劣势。
I think it speaks to her, again, desire to participate in the knowledge production of anthropology.
我认为这再次说明了她参与人类学知识生产的愿望。
Charles King, Political Scientist: Hurston is an early practitioner of what would later come to be called native anthropology.
查尔斯·金，政治学家：赫斯顿是后来被称为本土人类学的早期实践者。
That is to say, she’s someone from the communities that she is studying.
也就是说，她是她所研究的社区的人。
Narrator: Hurston chose long-time mentor and Journal of American Folk-Lore editor Ruth Benedict, Franz Boas and three others—people she felt supported her goals—to submit recommendations.
旁白：赫斯顿选择了长期导师兼《美国民间传说杂志》编辑露丝·本尼迪克特、弗朗茨·博阿斯和其他三人（她认为他们支持她的目标）来提交建议。
Carla Kaplan, Literary Scholar: Most of the letters in her file are extremely problematic.
卡拉·卡普兰，文学学者：她档案中的大部分信件都存在极大的问题。
Narrator: “Papa Franz” wrote, “On the whole her methods are more journalistic than scientific and I am not under the impression that she is just the right caliber for a Guggenheim Fellowship.” Benedict assessed that Hurston had “neither the temperament nor the training to present this material in an orderly manner when it is gathered nor to draw valid historical conclusions from it.” And added in a separate letter, “I don’t think she is Guggenheim material.”
旁白：“弗朗茨老爹”写道，“总的来说，她的方法更多的是新闻性而非科学性，我并不认为她是获得古根海姆奖学金的合适人选。”本尼迪克特评估说，赫斯顿“既没有气质，也没有受过训练来在收集到这些材料时以有序的方式呈现这些材料，也没有从中得出有效的历史结论。”并在另一封信中补充道，“我不认为她是古根海姆的材料。”
Eve Dunbar, Literary Scholar: Basically, you send her to go in and collect, but have somebody who’s trained write up the material, trained, meaning credentialized.
伊芙·邓巴（Eve Dunbar），文学学者：基本上，你派她去收集，但让受过训练的人写材料，受过训练，意味着经过认证。
And I think that’s probably the hardest hurdle that she has to get over: that she’s not just a vessel for the Academy to get into these specific cultures.
我认为这可能是她必须克服的最难的障碍：她不仅仅是学院进入这些特定文化的容器。
Carla Kaplan, Literary Scholar: She does not yet have the academic credentials that are considered appropriate for Guggenheim.
卡拉·卡普兰，文学学者：她还没有被认为适合古根海姆的学历。
Which is not to say the Guggenheims only go to people with doctorates, but it remains an issue to this day: “What kinds of credentials are assumed to have to go along with that kind of recognition?” Did Franz Boas consider her lack of a Ph.D. an issue?
这并不是说古根海姆博物馆只授予拥有博士学位的人，但这至今仍然是一个问题：“什么样的证书被认为必须与这种认可相一致？”弗兰茨·博阿斯是否认为她缺乏博士学位？一个问题？
Probably.
大概。
Lee D.
李 D.
Baker, Anthropologist: Even as liberal, and as important and empowering as Franz Boas and, and some of the professors were, there was still some implicit bias that there was not equality of intellectual engagement, if you will.
贝克，人类学家：即使像弗朗茨·博阿斯和一些教授一样自由、重要和赋权，仍然存在一些隐含的偏见，即智力参与不平等，如果你愿意的话。
Eve Dunbar, Literary Scholar: That doesn’t mean whatever relationship they had was inauthentic, but I don’t think that the Academy imagined Hurston as ever being part of the knowledge it produced, or a knowledge producer in her own sake.
伊芙·邓巴，文学学者：这并不意味着他们之间的任何关系都是不真实的，但我不认为学院将赫斯顿想象成它所产生的知识的一部分，或者为了她自己而成为知识的生产者。
Irma McClaurin, Anthropologist: At the moment that Zora is claiming her space as an anthropologist, anthropology doesn’t know what to do with Black folk.
艾尔玛·麦克劳林，人类学家：当佐拉声称自己作为人类学家的一席之地时，人类学不知道如何对待黑人。
They didn’t know what to do with Zora, and I think it was a level of gatekeeping.
他们不知道如何处置佐拉，我认为这是某种程度的把关。
Carla Kaplan, Literary Scholar: She was remarkably forbearing, much more forbearing than most people could be in the circumstances she faced as a Black woman in mostly White society, in mostly sexist society, in mostly racist society, in mostly Northern and urban society.
卡拉·卡普兰（Carla Kaplan），文学学者：她非常隐忍，比大多数人在她作为黑人女性所面临的环境中更隐忍，在白人社会、性别歧视社会、种族主义社会、北方和城市社会中。
Narrator: Zora Neale Hurston was determined to have a career; “I shall wrassle me up a future or die trying,” she had once written to Mason.
旁白：佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 决心拥有自己的事业； “我要为自己的未来奋斗，否则就会死去，”她曾经写信给梅森。
Carla Kaplan, Literary Scholar: Hurston worked across many different disciplines, many different fields, many different kinds of artistry.
卡拉·卡普兰，文学学者：赫斯顿的作品涉及许多不同的学科、许多不同的领域、许多不同类型的艺术。
She worked in drama; she worked in writing; she worked in academia; she worked in teaching.
她从事戏剧工作；她从事写作工作；她在学术界工作；她从事教学工作。
Often she was working on her own.
她常常独自工作。
She was not somebody who could work well for very long for anybody else.
她不是一个可以为别人工作很长时间的人。
Irma McClaurin, Anthropologist: She alienated a lot of people.
艾尔玛·麦克劳林，人类学家：她疏远了很多人。
Zora is the kind of person you either love her, or you hate her.
佐拉是那种你要么爱她，要么恨她的人。
Charles King, Political Scientist: She could be insufferable.
政治学家查尔斯·金：她可能让人难以忍受。
The truth was, she was in many ways undisciplined.
事实是，她在很多方面都没有纪律。
Narrator: She had once written to her friend, the poet Countee Cullen, complaining about the “regular grind at Barnard”: “Don’t be surprised to hear that I have suddenly taken to the woods.
旁白：她曾经写信给她的朋友诗人卡伦伯爵，抱怨“巴纳德学院的日常苦差事”：“听到我突然走进树林，请不要感到惊讶。
I hate routine.”
我讨厌例行公事。”
Carla Kaplan, Literary Scholar: Once she was done with something, or someone, often she was completely done, and she couldn’t look back.
卡拉·卡普兰，文学学者：一旦她完成了某件事或某个人，通常她就彻底完成了，而且她无法回头。
Narrator: No longer beholden to “Godmother,” or “the Park Avenue dragon,” as she once referred to Mason in a letter, Hurston could freely pursue fiction.
旁白：赫斯顿不再受“教母”或“公园大道龙”（她在一封信中提到梅森）的影响，可以自由地追求小说。
She had been sketching out a story loosely based on the lives and experiences of her parents in Eatonville.
她一直在根据她父母在伊顿维尔的生活和经历大致勾勒出一个故事。
Hurston (Archival VO): I didn’t even have a typewriter then.
赫斯顿（档案旁白）：那时我什至没有打字机。
I got $20 from, ah, Story magazine for this short story.
我从啊，Story 杂志上为这篇短篇小说获得了 20 美元。
And so on the strength of that, I decided to sit down and write a novel.
因此，我决定坐下来写一本小说。
It took me about, uh, seven or eight weeks to write the book.
我花了大约，呃，七八周的时间来写这本书。
Narrator: Hurston’s instincts paid off.
旁白：赫斯顿的直觉得到了回报。
In May 1934, that novel, Jonah’s Gourd Vine , was published to good reviews.
1934年5月，小说《约拿的葫芦藤》出版，获得好评。
“Miss Hurston…has made the study of Negro folklore her special province.
“赫斯顿小姐……把黑人民间传说的研究作为她的专长。
This may very well account for the brilliantly authentic flavor of her novel and for her excellent rendition of Negro dialect,” gushed The New York Times Book Review .
这很可能解释了她的小说具有出色的真实风味以及她对黑人方言的出色演绎。”《纽约时报书评》滔滔不绝地说。
The title was immediately selected for the Book-of-the-Month Club.
该书立即被选入本月图书俱乐部。
Narrator: Also that year, white, wealthy shipping heiress Nancy Cunard, a regular fixture in Harlem society, published Negro Anthology , an extensive, groundbreaking collection of music, poetry, historical studies and examinations of racism.
旁白：同年，富有的白人航运女继承人南希·丘纳德（Nancy Cunard）是哈莱姆社会的常客，她出版了《黑人选集》（Negro Anthology），这是一本内容广泛、开创性的集锦，收录了音乐、诗歌、历史研究和种族主义研究。
The book featured seven of Hurston’s ethnographic writings.
这本书收录了赫斯顿的七篇民族志著作。
Irma McClaurin, Anthropologist: Those pieces are evidence of her theorizing.
艾尔玛·麦克劳林，人类学家：这些作品是她理论的证据。
She’s really articulating a theory of how she views Negro culture at that moment in time.
她确实阐述了她当时如何看待黑人文化的理论。
Zora (VO): [T]he Negro is a very original being.
佐拉（画外音）：黑人是一个非常有创意的人。
While he lives and moves in the midst of white civilisation, everything that he touches is reinterpreted for his own use.
当他在白人文明中生活和行动时，他接触到的一切都被重新解释以供他自己使用。
He has modified the language, mode of food preparation, practice of medicine, and most certainly the religion of his new country.
他改变了新国家的语言、食物准备方式、医学实践，当然还有宗教。
Narrator: That summer Hurston wrote Boas about her manuscript for Mules and Men —a book about her early anthropological forays into the South.
旁白：那年夏天，赫斯顿给博阿斯写了一篇关于她的《骡子与男人》的手稿——一本关于她早期进入南方的人类学研究的书。
She hoped that he would like the ethnographic-focused work, despite her publisher’s request to add additional material to appeal to a more general audience.
她希望他会喜欢这部以民族志为重点的作品，尽管她的出版商要求添加额外的材料以吸引更广泛的读者。
The revisions resulted in Hurston weaving the folklore stories into a first-person narrative.
这些修改导致赫斯顿将民间传说故事编织成第一人称叙述。
Lee D.
李 D.
Baker, Anthropologist: She wanted a much more comprehensive and much more scientific sort of tone, including a lot of religion, and the children’s games, and sort of almost an encyclopedia.
贝克，人类学家：她想要一种更全面、更科学的语气，包括大量的宗教和儿童游戏，几乎是一本百科全书。
Zora (VO): Dear Doctor Boas, I am full of tremors, lest you decide that you do not want to write the introduction to my “Mules and Men.” I have inserted the between-story conversation and business because when I offered it without it, every publisher said it was too monotonous.
佐拉（画外音）：亲爱的博阿斯博士，我心里充满了颤栗，唯恐你决定不再为我的《骡子与人》写序言。我插入了故事之间的对话和业务，因为当我在没有它的情况下提供它时，每个出版商都说它太单调了。
Now three houses want to publish it.
现在有三个出版社想要出版它。
So I hope that the unscientific matter that must be there will not keep you from writing the introduction.
所以我希望一定存在的不科学的事情不会阻止你写引言。
Narrator: Hurston headed to Chicago in October 1934 to stage a version of her production of The Great Day , now titled Singing Steel .
旁白：1934 年 10 月，赫斯顿前往芝加哥，上演她制作的《伟大的一天》的一个版本，现在的标题是《钢铁之歌》。
Her arrival was met with a blur of invitations to dinners and speaking engagements.
她的到来收到了模糊的晚宴邀请和演讲邀请。
The Daily New s advised, “The fascinating Zora Neale Hurston,” is “too good to miss.”
《每日新闻》评论道，“迷人的佐拉·尼尔·赫斯顿”“太好了，不容错过”。
Narrator: Hurston received an early Christmas present when her production so impressed the Rosenwald Fund that the philanthropic organization, focused on African American education, offered her a scholarship to pursue a Ph.D.
旁白：赫斯顿提前收到了一份圣诞礼物，当时她的作品给罗森沃尔德基金会留下了深刻的印象，这个专注于非裔美国人教育的慈善组织为她提供了攻读博士学位的奖学金。
Zora (VO): Dear Dr. Boas, Great news!
佐拉（画外音）：亲爱的博阿斯博士，好消息！
I have wanted the training very keenly and tried very hard to get Mrs. Mason to do it for me.
我非常渴望接受培训，并努力让梅森夫人为我做这件事。
She would give money for everything else but that.
除此以外，她愿意为其他一切都捐钱。
I realize that this is going to call for rigorous routine and discipline which everybody seems to feel that I need.
我意识到这需要严格的例行公事和纪律，每个人似乎都觉得我需要这些。
So be it.
就这样吧。
I want to do it.
我想做。
Narrator: The Rosenwald Fund had agreed to provide $3,000 over two years to support Hurston’s doctorate.
旁白：罗森沃尔德基金会同意在两年内提供 3,000 美元来支持赫斯顿的博士学位。
“The major problem…as I see it” Hurston wrote in her application, “is the collection of Negro folk material in as thorough a manner as possible, as soon as possible.
赫斯顿在她的申请中写道：“在我看来，主要问题是尽快、尽可能彻底地收集黑人民间材料。
In order to see it objectively one must have great preparation, that is if to be able to analyze, to evaluate what is before one.” For the first time since childhood, Hurston would be able to focus on being a student.
为了客观地看待它，必须有充分的准备，即能够分析、评价眼前的事物。”赫斯顿自童年以来第一次能够专注于做一名学生。
Tiffany Ruby Patterson, Historian: There was rarely a moment that she didn’t have to worry about money, that she didn’t have to borrow or work more than two or three jobs.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：她几乎每时每刻都不必担心钱的问题，她不必借钱或做两到三份以上的工作。
Zora (VO): I have been on my own since fourteen years old and went to high school, college and everything progressive that I have done because I wanted to.
佐拉（画外音）：我从十四岁起就一直独自一人，上高中、大学，以及我所做的一切进步，因为我想这么做。
I have had people say to me, why don’t you go and take a master’s or a doctor’s degree in Anthropology since you love it so much?
有人对我说，既然你这么喜欢人类学，为什么不去读个硕士或博士学位呢？
They never seem to realize that it takes money to do that.
他们似乎从来没有意识到做到这一点需要金钱。
Irma McClaurin, Anthropologist: Columbia at that moment, has organized all of its courses around salvaging information about indigenous Native Americans.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：当时的哥伦比亚大学，其所有课程都是围绕抢救有关美洲原住民的信息而组织的。
What Zora wants to do is create what I call an independent Ph.D. in Negro studies.
佐拉想做的是创建一个我所说的独立博士学位。在黑人研究中。
We would call it Black Studies.
我们称之为黑人研究。
She convinces Boas that she should do this independent Ph.D. He agrees.
她说服博阿斯她应该攻读这个独立的博士学位。他同意。
Narrator: But just one month after awarding Hurston the fellowship, the Rosenwald Fund rejected the long-term plan that she and Boas developed for her study, and informed her that they would only support one semester for a total of $700.
旁白：但就在授予赫斯顿奖学金一个月后，罗森沃尔德基金会拒绝了她和博阿斯为她的学习制定的长期计划，并告诉她，他们只会资助一个学期，总共 700 美元。
Frustrated and stressed, she lodged a soft appeal.
沮丧和压力之下，她提出了软性上诉。
Zora (VO): This is not to over-persuade you in the matter of the two-year plan.
佐拉（画外音）：这并不是要在两年计划的问题上过度说服你。
I am not being trained to do a routine job.
我没有接受过日常工作的培训。
I am being trained to do what has not been done and that which cries out to be done.
我正在接受训练，去做尚未完成的事情和迫切需要完成的事情。
Irma McClaurin, Anthropologist: They decide, and this is the language that is in some of the correspondence, that “Zora Neale Hurston is like a rough piece of iron that needs to be honed into a fine piece of steel.” And they want to insist that she follow the curriculum at Columbia, which has absolutely nothing to do with what she wants to study.
艾尔玛·麦克劳林，人类学家：他们决定，这是一些信件中的语言，“佐拉·尼尔·赫斯顿就像一块粗糙的铁，需要磨成一块精钢。”他们想坚持让她遵循哥伦比亚大学的课程，这与她想学习的东西完全无关。
Lee D.
李 D.
Baker, Anthropologist: This is after she had already been a novelist and had been a member of the American Folk-Lore Society, and the American Anthropological Association.
贝克，人类学家：这是在她已经成为一名小说家并成为美国民间传说协会和美国人类学协会的成员之后。
And she had published for the American Folk-Lore Society.
她还为美国民间传说协会发表过文章。
Narrator: Hurston agreed to the new terms, enrolled, and began attending classes, but after a few months she reconsidered.
旁白：赫斯顿同意新条款，注册并开始上课，但几个月后她重新考虑了。
Lee D.
李 D.
Baker, Anthropologist: Zora Neale Hurston did not want to be in another relationship dependent like, um, Charlotte Osgood Mason, so she was like, “Peace out.
贝克，人类学家：佐拉·尼尔·赫斯顿不想再像夏洛特·奥斯古德·梅森那样依赖另一种关系，所以她说，“安静吧。”
Like, we’re not going to do this, because I’ve been there before.”
就像，我们不会这样做，因为我以前去过那里。”
Irma McClaurin, Anthropologist: They have already decided what she can and can’t do.
艾尔玛·麦克劳林，人类学家：他们已经决定了她能做什么和不能做什么。
And she resists, as she has resisted most of her life against the conventions of gender and race—and now intellectuality.
她进行了抵抗，就像她一生中的大部分时间都在抵制性别和种族的惯例——现在又抵制知识分子的惯例一样。
It would have been easy.
这本来很容易。
She could have gone, studied those courses and everything and gotten a Ph.D. She chose not to.
她本可以去学习那些课程和一切，然后获得博士学位。她选择不这样做。
María Eugenia Cotera, Modern Thought Scholar: She was never going to be the nice and silent and acquiescent, ah, Black woman ever.
玛丽亚·尤金妮亚·科特拉（María Eugenia Cotera），现代思想学者：她永远不会成为那个友善、沉默和默许的黑人女性。
This is not who she was.
这不是她本来的样子。
Eve Dunbar, Literary Scholar: It’s an unwillingness to be disciplined in the sense of academic disciplines—anthropology, and disciplined in the sense that she won’t be contained.
伊芙·邓巴（Eve Dunbar），文学学者：这是一种在学术学科（人类学）意义上不愿意接受纪律，而在她不会被遏制的意义上受到纪律。
Carla Kaplan, Literary Scholar: There were very few Black women with doctorates of any kind in the 1930s.
卡拉·卡普兰，文学学者：在 20 世纪 30 年代，拥有任何类型博士学位的黑人女性很少。
And it would have drawn even more attention to her and mostly positive attention.
这会给她带来更多的关注，而且大多是积极的关注。
María Eugenia Cotera, Modern Thought Scholar: Benedict and Boas went out of their way to ensure that Margaret Mead was able to get a Ph.D. So we have to ask ourselves, what other aspects of her difference played into this lack of support?
María Eugenia Cotera，现代思想学者：本尼迪克特和博阿斯竭尽全力确保玛格丽特·米德能够获得博士学位。所以我们必须问自己，她的其他方面的差异导致了这种缺乏支持的情况？
Narrator: Hurston, who was likely forty-four-years-old by then, decided to stop attending classes and focus on her own writing instead.
旁白：赫斯顿当时可能已经四十四岁了，她决定不再上课，而是专注于自己的写作。
Her book Mules and Men would soon be published.
她的书《骡子和男人》很快就会出版。
“Working like a slave and liking it,” she wrote a friend in Florida.
“像奴隶一样工作并喜欢它，”她给佛罗里达州的一位朋友写道。
“But I have lost all my zest for a doctorate.”
“但我已经失去了攻读博士学位的所有热情。”
Music (Archival VO singing/clapping): …
音乐（档案配音歌唱/鼓掌）：……
Catch this guy.
抓住这个家伙。
Never come back ‘til the Fourth of July…
直到七月四日才回来……
Come pay the money…
快来交钱吧……
Come pay the money…
快来交钱吧……
Narrator: Hurston headed South mid-June 1935 to the Georgia Sea Islands, Eatonville and the Everglades on a job to collect folklore.
旁白：赫斯顿于 1935 年 6 月中旬向南前往乔治亚海群岛、伊顿维尔和大沼泽地，从事收集民间传说的工作。
Her latest travels were to facilitate the work of two white folklorists recording Negro folk songs for the Library of Congress, but it wasn’t easy.
她最近的旅行是为了促进两名白人民俗学家为国会图书馆录制黑人民歌的工作，但这并不容易。
Sensitive to Black stereotyping, at one point Hurston adamantly stopped one of her colleagues from photographing a young boy eating a watermelon.
赫斯顿对黑人的刻板印象很敏感，一度坚决阻止她的一位同事拍摄一个吃西瓜的小男孩。
And due to segregation laws in Southern towns, Hurston frequently slept in her car while her colleagues rested in a motel.
由于南部城镇的种族隔离法，赫斯顿经常睡在她的车里，而她的同事们则在汽车旅馆里休息。
Hurston (Archival VO singing): Blue bird, blue bird through my window…
赫斯顿（档案旁白演唱）：蓝鸟，蓝鸟穿过我的窗户……
Narrator: Sometimes the researchers captured Hurston’s own singing.
旁白：有时研究人员会捕捉赫斯顿自己的歌声。
Hurston (Archival VO singing): Blue bird, blue bird through my window.
赫斯顿（档案旁白演唱）：蓝鸟，蓝鸟穿过我的窗户。
Blue bird, blue bird through my window.
蓝色的鸟，蓝色的鸟穿过我的窗户。
Oh…
哦……
Narrator: That Fall Mules and Men hit the stands.
旁白：那年秋天，骡子和男人登上了看台。
Hurston opened her story explaining how she had known folklore since she was a child.
赫斯顿在故事开头解释了她如何从小就了解民间传说。
Zora (VO): But it was fitting me like a tight chemise.
佐拉（画外音）：但它就像一件紧身衬衣一样适合我。
I couldn't see it for wearing it.
戴上之后我就看不出来了。
It was only when I was off in college, away from my native surroundings, that I could see myself like somebody else and stand off and look at my garment.
只有当我上大学时，远离我的家乡，我才能像其他人一样看到自己，站起来看看我的衣服。
Then I had to have the spy-glass of Anthropology to look through at that.
然后我必须用人类学的望远镜来观察这一点。
Irma McClaurin, Anthropologist: It is Zora’s first formal collection of stories, folklore, and it cements her as a native anthropologist.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：这是佐拉第一部正式的故事和民间传说集，它巩固了她作为本土人类学家的地位。
Eve Dunbar, Literary Scholar: Why a text like Mules and Men is so important is that she resists the simple extraction, cultural extraction.
伊芙·邓巴，文学学者：为什么像骡子和男人这样的文本如此重要，是因为她抵制简单的提取、文化提取。
It becomes an opportunity for her to tell what she feels to be a more authentic story of that Black experience.
这成为她讲述黑人经历的更真实故事的机会。
Charles King, Political Scientist: Hurston is reporting on a set of experiences that she had, using the first person.
查尔斯·金，政治学家：赫斯顿正在用第一人称报告她的一系列经历。
Whether it’s a juke joint or a turpentine camp or a lumber mill or a hoodoo initiation ritual, she’s taking you as a reader into a society that she as a scientist is desperately trying to understand.
无论是自动点唱机、松节油营、木材厂还是石林入会仪式，她都在带你作为读者进入一个她作为科学家拼命想要理解的社会。
Zora (VO): I went outside to join the woofers, since I seemed to have no standing among the dancers.
佐拉（画外音）：我走到外面加入低音扬声器，因为我在舞者中似乎没有地位。
I stood there awkwardly, knowing that the too-ready laughter and aimless talk was a window-dressing for my benefit.
我尴尬地站在那里，知道那些过分的笑声和漫无目的的谈话只是为了我的利益而做的装饰。
His laugh has a hundred meanings.
他的笑有一百种含义。
Irma McClaurin, Anthropologist: Part of what she’s trying to tell us is that your very presence changes the dynamic, and so you have to account for your presence in the data that you’re collecting as well.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：她试图告诉我们的部分内容是，你的存在本身就改变了动态，因此你也必须在你收集的数据中考虑到你的存在。
This idea that you are objective, when you go, and observe and participate in these cultures, is really a misnomer.
当你去观察和参与这些文化时，你是客观的，这种想法实际上是用词不当。
Charles King, Political Scientist: And that is a way of doing social science that we now take as kind of normal.
查尔斯·金，政治科学家：这是一种进行社会科学研究的方式，我们现在认为这是正常的。
At the time, this was a revolutionary, and as Ruth Benedict would have put it, an “undisciplined” way of doing social science.
在当时，这是一种革命性的，正如露丝·本尼迪克特所说的那样，是一种“无纪律”的社会科学研究方式。
Narrator: Boas, declining to write a major introduction, submitted just three paragraphs.
旁白：博阿斯拒绝写一个主要的介绍，只提交了三段。
Carla Kaplan, Literary Scholar: He didn’t write a full scale introduction and treat her work with that kind of seriousness.
卡拉·卡普兰，文学学者：他没有写完整的介绍，也没有以那种严肃的态度对待她的作品。
Narrator: The inclusion of Boas’s text nevertheless helped the publisher promote the critically-acclaimed book.
旁白：无论如何，纳入博阿斯的文字还是帮助出版商宣传了这本广受好评的书。
Hurston (Archival VO singing - Mule on the Mount): Cap'n got a mule.
赫斯顿（档案配音演唱 - 山上的骡子）：船长有一头骡子。
Mule on the Mount Call him Jerry.
山上的骡子 叫他杰瑞吧。
Ha!
哈!
Cap'n got a mule...
船长有一头骡子...
Lee D.
李 D.
Baker, Anthropologist: I think it’s really both endearing but also telling that Zora Neale Hurston, in Mules and Men begins to blend her fiction with her science and her science with her fiction.
贝克，人类学家：我认为佐拉·尼尔·赫斯顿在《骡子与男人》中开始将她的小说与她的科学、她的科学与她的小说融为一体，这确实既可爱又说明了一切。
And I think Mules and Men is one of the best examples and the first examples of that.
我认为 Mules and Men 是最好的例子之一，也是第一个例子。
Hurston (Archival VO singing): I out had told her He must be the hell fired captain's Ha!
赫斯顿（档案画外音演唱）：我已经告诉她他一定是该死的被解雇的队长了哈！
He had blue eyes lawd lawd he had blue eyes.
他有蓝眼睛，他有蓝眼睛。
Oh don't you tell hear them a coo coo bird...
哦，你不告诉听到他们咕咕的鸟声吗......
Zora (VO): March 7th 1936: I think I must be God’s left-hand mule, because I have to work so hard.
佐拉（画外音）：1936 年 3 月 7 日：我想我一定是上帝的左手骡子，因为我必须努力工作。
The press of new things, plus the press of old things yet unfinished keep me on the treadmill all the time.
新事物的压力，加上尚未完成的旧事物的压力让我一直在跑步机上。
Hurston (Archival VO singing): I got a rainbow wrapped and tied around my shoulder.
赫斯顿（档案旁白演唱）：我的肩膀上绑着一条彩虹。
Hey!
嘿！
I got a rainbow wrapped and tied around my shoulder.
我把彩虹缠在肩上。
It look like rain, lawd, lawd, it look like rain.
看起来像雨，法律，法律，看起来像雨。
Narrator: With the success of her books, Hurston streamlined her focus, deciding that her “life work” was literature.
旁白：随着书籍的成功，赫斯顿简化了她的工作重点，决定她的“毕生事业”是文学。
But she remained committed to exploring and documenting Black lives.
但她仍然致力于探索和记录黑人的生活。
Tiffany Ruby Patterson, Historian: She said, “I have to keep going and answer the questions about my people.” And to her, she's talking about the diaspora.
蒂芙尼·鲁比·帕特森，历史学家：她说，“我必须继续前进，回答有关我的人民的问题。”对她来说，她谈论的是侨民。
She's talking about Black culture, not just in the United States, but in the Caribbean, as well.
她谈论的不仅是美国的黑人文化，还有加勒比地区的黑人文化。
Narrator: Hurston again looked to the Guggenheim Foundation for support.
旁白：赫斯顿再次向古根海姆基金会寻求支持。
In this new application, she indicated a unique description of her field of learning: “literary science.” And this time, she only asked one anthropologist to serve as a recommender.
在这个新的申请中，她对自己的学习领域进行了独特的描述：“文学科学”。而这一次，她只请了一位人类学家担任推荐人。
Melville Herskovits, a prominent former student of Boas, wrote, “I think it is not saying too much to state that Miss Hurston probably has more intimate knowledge of Negro folk life than anyone in this country.” Hurston won a Guggenheim in March—the first of two.
博厄斯的著名学生梅尔维尔·赫斯科维茨写道：“我认为，说赫斯顿小姐可能比这个国家的任何人都更深入地了解黑人民间生活，这一点并不过分。”赫斯顿在三月份赢得了古根海姆美术馆的奖项——这是两届中的第一个。
And by the next month she was off to Jamaica and Haiti.
下个月，她启程前往牙买加和海地。
Movie Trailer: Join a cult whose roots go back to darkest Africa.
电影预告片：加入一个起源于最黑暗的非洲的邪教。
Exotic, barbaric, the cult of voodoo!
异国情调，野蛮，巫毒崇拜！
Eve Dunbar, Literary Scholar: She wants to remedy, to a certain extent, the sensationalism that Americans are consuming Haitian culture and voodoo.
伊芙·邓巴（Eve Dunbar），文学学者：她想在一定程度上纠正美国人消费海地文化和巫术的耸人听闻的现象。
She feels like she can go in and tell a story about that religion that is free of the sensationalism.
她觉得她可以进去讲述一个关于宗教的故事，而不是煽情。
Narrator: Zombies existed in the minds of western society as part of a forbidding, sexual and mysterious culture associated with Haiti.
旁白：僵尸存在于西方社会的思想中，作为与海地有关的令人生畏的、性的和神秘的文化的一部分。
Daphne Lamothe, Literary Scholar: When it comes to Haiti and Jamaica, the Caribbean space, she is very much an outsider.
达芙妮·拉莫特（Daphne Lamothe），文学学者：当谈到海地和牙买加这个加勒比海地区时，她在很大程度上是一个局外人。
Irma McClaurin, Anthropologist: It’s where Zora steps into the traditional anthropology, where she’s studying the other.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：这是佐拉踏入传统人类学的地方，她正在研究他人。
She is not a member of that society.
她不是该协会的成员。
She doesn’t belong, so she has to figure out how to get inside of it.
她不属于这里，所以她必须弄清楚如何融入其中。
Daphne Lamothe, Literary Scholar: I think that Hurston had an understanding that at the root of it, whether people in Haiti thought about and talked about zombies as a kind of folklore, or a phenomenon that actually existed, that at the heart of it, this kind of fascination with the zombie is really about freewill.
达芙妮·拉莫特（Daphne Lamothe），文学学者：我认为赫斯顿从根本上理解，无论海地人将僵尸视为一种民间传说，还是一种实际存在的现象，从根本上来说，这种对僵尸的迷恋实际上是关于自由意志的。
Charles King, Political Scientist: She’s saying that if you need a category for someone who is both living and dead at the same time, that is deeply revealing about the society that you’re from.
查尔斯·金，政治学家：她的意思是，如果你需要为一个既活着又死了的人进行分类，那就深刻地揭示了你来自的社会。
And for Hurston herself, having grown up in Jim Crow Florida, she knew what that category meant for someone to be fully, wholly alive but socially dead, socially invisible to the people she was surrounded by.
对于赫斯顿本人来说，她在佛罗里达州的吉姆·克劳长大，她知道这个类别对于一个完全、完全活着但在社会上死亡、对她周围的人来说在社会上隐形的人来说意味着什么。
Narrator: Months of fieldwork in the Caribbean had distracted Hurston from an intense romantic relationship with a younger man.
旁白：在加勒比地区进行的几个月的实地考察分散了赫斯顿与一位年轻人的强烈浪漫关系的注意力。
But she could no longer ignore the narrative that had been welling up inside her.
但她无法再忽视内心涌动的叙述。
She mixed memory, history, personal experience, fiction, and research into a story told through the eyes of a southern Black American girl-turned-woman named Janie Crawford, who lives part of her life in Eatonville.
她将记忆、历史、个人经历、小说和研究融入到一个故事中，通过一个名叫珍妮·克劳福德(Janie Crawford)的美国南部黑人女孩变身的女人的眼睛讲述了一个故事，她的一部分生活在伊顿维尔。
Irma McClaurin, Anthropologist: It’s now what we call autoethnography, because it’s rooted in some of what she has lived herself, but also what she’s researched in her own community.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：现在我们称之为自我民族志，因为它植根于她自己的一些生活，也植根于她在自己社区中的研究。
Narrator: In September 1937, her book, Their Eyes Were Watching God , was on its way to becoming a mainstream critical success.
旁白：1937 年 9 月，她的书《他们的眼睛注视着上帝》即将成为主流评论界的成功。
It is a “lovely book,” stated a review in The New York Herald Tribune , praising Hurston as “an author that writes with her head and her heart.”
《纽约先驱论坛报》的一篇评论称，这是一本“可爱的书”，称赞赫斯顿是“一位用头脑和心灵写作的作家”。
Irma McClaurin, Anthropologist: That book is a great illustration of Zora blending her literary skills and talent as a writer, and also her skills and talent as an anthropologist and ethnographer.
伊尔玛·麦克劳林，人类学家：这本书很好地说明了佐拉将她作为作家的文学技巧和才华，以及她作为人类学家和民族志学家的技巧和才华融为一体。
Eve Dunbar, Literary Scholar: Janie’s a storyteller.
伊芙·邓巴（Eve Dunbar），文学学者：珍妮是一个讲故事的人。
She has this full life experience.
她拥有完整的人生经历。
She’s a survivor in a variety of ways, and she goes home to tell her girlfriend.
她在很多方面都是幸存者，她回家告诉了她的女朋友。
Irma McClaurin, Anthropologist: Zora is doing a gender analysis.
艾尔玛·麦克劳林，人类学家：佐拉正在做性别分析。
She’s really telling us about the conditions of Black women and what they have to confront against social norms, against a patriarchal society.
她实际上是在告诉我们黑人女性的处境，以及她们必须面对的社会规范和父权社会。
Zora (VO): Uh woman by herself is uh pitiful thing,” she was told over and again.
佐拉（画外音）：呃，女人独自一人是呃，可怜的事情，”她被一遍又一遍地告知。
Besides she liked being lonesome for a change.
此外，她喜欢孤独以换换环境。
This freedom feeling was fine.
这种自由的感觉真好。
These men didn’t represent a thing she wanted to know about.
这些男人并不代表她想了解的事情。
Daphne Lamothe, Literary Scholar: There are scenes where some of the very stories that she collected when she was doing fieldwork in Eatonville are incorporated into the plot.
达芙妮·拉莫特（Daphne Lamothe），文学学者：有些场景中，她在伊顿维尔进行实地考察时收集的一些故事被融入到情节中。
Irma McClaurin, Anthropologist: She’s also depicting the ways in which people interact.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：她还描绘了人们互动的方式。
That’s what anthropologists do.
这就是人类学家所做的。
They observe social interaction and document that, and so the novel is rich with how people gossip and how they make judgments about things.
他们观察社会互动并记录下来，因此小说充满了人们如何闲聊以及如何对事物做出判断的内容。
The language is so rich.
语言如此丰富。
Zora (VO): The sun was gone, but he had left his footprints in the sky.
佐拉（画外音）：太阳已经消失了，但他在天空中留下了脚印。
It was the time for sitting on porches beside the road.
正是坐在路边门廊上的时候。
It was the time to hear things and talk.
是时候听听事情并谈论了。
These sitters had been tongueless, earless, eyeless conveniences all day long.
这些保姆整天都是没有舌头、没有耳朵、没有眼睛的便利者。
Mules and other brutes had occupied their skins.
骡子和其他野兽占据了他们的皮肤。
But now, the sun and the bossman were gone, so the skins felt powerful and human.
但现在，太阳和bossman都消失了，所以这些皮肤给人一种强大而人性化的感觉。
They became lords of sounds and lesser things.
他们成为声音和次要事物的主宰。
They passed nations through their mouths.
他们通过他们的口传遍了各个国家。
They sat in judgment.
他们坐在审判席上。
Lee D.
李 D.
Baker, Anthropologist: We call it in anthropology “thick description,” which is throughout Their Eyes Were Watching God .
贝克，人类学家：我们在人类学中称之为“厚重描述”，贯穿《他们的眼睛正在注视上帝》。
Zora (VO): All night now the jooks clanged and clamored.
佐拉（画外音）：整个晚上，小丑们都在吵闹。
Pianos living three lifetimes in one.
钢琴三生合一。
Blues made and used right on the spot.
布鲁斯当场制作并使用。
Dancing, fighting, singing, crying, laughing, winning and losing love every hour.
跳舞、打架、唱歌、哭、笑、赢得或失去爱情。
Work all day for money, fight all night for love.
整天为钱工作，为爱情彻夜奋斗。
The rich Black earth clinging to bodies and biting the skin like ants.
浓郁的黑土附着在身体上，像蚂蚁一样咬着皮肤。
Lee D.
李 D.
Baker, Anthropologist: Mules and Men was science informed by fiction, and Their Eyes Were Watching God was fiction informed by science because there’s very little distinction between the signifying happening on Joe Stark’s porch and Joe Clarke’s porch.
贝克，人类学家：《骡子与男人》是受小说启发的科学，而《他们的眼睛看着上帝》是受科学启发的小说，因为乔·斯塔克的门廊和乔·克拉克的门廊上发生的事情之间几乎没有什么区别。
They’re the same thing.
它们是同一件事。
María Eugenia Cotera, Modern Thought Scholar: Their Eyes Were Watching God is to me the most personal of all of her books.
《现代思想学者玛丽亚·尤金尼亚·科泰拉：他们的眼睛注视着上帝》对我来说是她所有书中最私人的一本。
I think she’s really laying it out there.
我认为她真的把它摆在那里。
I feel like she knows it’s going to be an important book.
我觉得她知道这将是一本重要的书。
Narrator: Despite her publisher’s robust promotional campaign and rave reviews in national publications, Their Eyes Were Watching God did not sell well.
旁白：尽管出版商开展了强有力的宣传活动，并在全国性出版物上广受好评，但《他们的眼睛注视着上帝》的销量并不好。
What surely did not foster African American support were negative reviews from Hurston’s Black male contemporaries.
赫斯顿同时代的黑人男性的负面评论肯定没有促进非裔美国人的支持。
Writer Richard Wright attacked Hurston’s book stating that it “carries no theme, no message, no thought” and continued what he described as “the minstrel technique that makes the ‘white folks’ laugh.” And Alain Locke’s critique in a one-paragraph review suggested that she was drawing on old literary traditions.
作家理查德·赖特攻击赫斯顿的书，称它“没有主题，没有信息，没有思想”，并继续他所描述的“让‘白人’发笑的吟游诗人技巧”。阿兰·洛克在一篇评论中的批评表明，她正在借鉴古老的文学传统。
Narrator: Hurston was livid, and she wrote that Locke knew “less about Negro life than anyone in America.
旁白：赫斯顿勃然大怒，她写道，洛克“对黑人生活的了解比美国任何人都少。
I will send my toe-nails to debate him and I will come personally to debate him on what he knows about literature on the subject.” Her scathing response was never published.
我会用我的脚趾甲与他辩论，我会亲自来与他辩论他对这一主题的文学了解。”她的严厉回应从未发表。
María Eugenia Cotera, Modern Thought Scholar: The critical reception of her work by the Black intelligentsia is extremely disappointing, and does smack of sexism.
现代思想学者玛丽亚·尤金尼亚·科特拉（María Eugenia Cotera）：黑人知识分子对她的作品的批评非常令人失望，而且确实带有性别歧视的味道。
When the novel is dismissed as a romance or a love story, or even worse, as a kind of dialect novel in some cases, what I think is lost there is the incredibly complex vision of power and oppression and racism that is presented in that novel.
当这部小说被视为浪漫或爱情故事，或者更糟糕的是，在某些情况下被视为一种方言小说时，我认为失去的是小说中所呈现的关于权力、压迫和种族主义的极其复杂的视野。
Daphne Lamothe, Literary Scholar: The 30s was really understood to be the protest era, where the fiction was much more explicit in addressing questions of interracial conflict, of racism, and their impact on Black people.
达芙妮·拉莫特（Daphne Lamothe），文学学者：30 年代确实被理解为抗议时代，小说在解决种族冲突、种族主义及其对黑人影响的问题上更加明确。
By the time Their Eyes Were Watching God was published in 1937, the Harlem Renaissance had really kind of reached its peak and was on the wane.
到 1937 年《他们的眼睛注视着上帝》出版时，哈莱姆文艺复兴确实已经达到了顶峰，并且正在走向衰落。
Narrator: For Tell My Horse: Voodoo and Life in Haiti and Jamaica , published the next year, Hurston drew on the material she had collected during her back-to-back Guggenheim fellowships.
旁白：在第二年出版的《告诉我的马：海地和牙买加的巫术与生活》中，赫斯顿借鉴了她在连续的古根海姆奖学金期间收集的材料。
She filled this second ethnographic book with photographs, lists, music and essays exploring religion, history, politics and culture of Black people in both countries.
她在第二本民族志书中充满了照片、清单、音乐和文章，探讨了这两个国家黑人的宗教、历史、政治和文化。
Daphne Lamothe, Literary Scholar: The most compelling parts of it are the sections where she’s writing about Haitian Vodou: its rituals, its cultures, its meaning in the lives of the people who are practitioners.
达芙妮·拉莫特，文学学者：其中最引人注目的部分是她所写的有关海地伏杜教的部分：它的仪式、它的文化、它对练习者生活的意义。
The political commentary that she provides, the social commentary is much more problematic.
她提供的政治评论和社会评论问题更大。
Her Americanness really comes through in how she writes that work.
她的美国特色真正体现在她写作这部作品的方式上。
There are so many sections of it that don’t really center Haitian perspectives about their own culture in the way that she does with her ethnographies that are centered in the American South.
其中有很多部分并没有像她以美国南部为中心的民族志那样真正以海地人对自己文化的观点为中心。
Lee D.
李 D.
Baker, Anthropologist: I just don’t think the American reading public was interested in the critical assessment of Caribbean history and history of dictatorship and colonialism.
贝克，人类学家：我只是认为美国读者对加勒比历史以及独裁和殖民主义历史的批判性评估不感兴趣。
Although they were interested in the zombies.
虽然他们对丧尸感兴趣。
Narrator: Though her publisher promoted the most sensationalistic aspects of her research, Hurston’s Tell My Horse was not a commercial success.
旁白：尽管她的出版商宣传了她研究中最耸人听闻的方面，赫斯顿的《告诉我的马》并没有取得商业上的成功。
Narrator: Most reviews were mixed or negative.
旁白：大多数评论都是褒贬不一或负面的。
One very positive review must have warmed Hurston’s heart: “The judges who select the recipients of Guggenheim fellowships honored themselves and the purpose of the foundation they serve when they subsidized Zora Hurston’s visit to Haiti.
一条非常积极的评论肯定温暖了赫斯顿的心：“选择古根海姆奖学金获得者的评委在资助佐拉·赫斯顿访问海地时，尊重了他们自己和他们所服务的基金会的宗旨。
I hope the American reading public will encourage her further wanderings.
希望美国读者能够鼓励她进一步的流浪。
She ought not to be allowed to rest.”
不应该让她休息。”
Narrator: Back in Florida, Hurston continued writing for herself and for others—including a position with the federal Works Progress Administration’s Florida Writers’ Project.
旁白：回到佛罗里达后，赫斯顿继续为自己和他人写作，包括在联邦工作进步管理局的佛罗里达作家项目中担任职务。
In 1939 she released another novel and took a job teaching theater at North Carolina College for Negroes.
1939 年，她出版了另一部小说，并在北卡罗来纳州黑人学院担任戏剧教师。
The next year, her friend anthropologist Jane Belo asked her to conduct research on religious trances in Beaufort, South Carolina.
第二年，她的朋友人类学家简·贝洛请她到南卡罗来纳州博福特进行宗教恍惚状态的研究。
Hurston eagerly quit teaching mid-semester to get back into the field.
赫斯顿急切地在学期中期放弃了教学工作，重新回到了这个领域。
At Hurston’s insistence, a camera crew documented the services.
在赫斯顿的坚持下，摄制组记录了这些服务。
Lee D.
李 D.
Baker, Anthropologist: That image of her playing the drum.
人类学家贝克：她打鼓的那张照片。
You feel like she’s coming around full circle.
你感觉她又绕了一圈。
You can see her as a vivid participant observer.
你可以将她视为一个生动的参与观察者。
You can see that she is at home at this church.
你可以看出她在这座教堂里感到很自在。
Irma McClaurin, Anthropologist: The research that Zora Neale Hurston did in Beaufort, South Carolina represents the culmination of her work as an authentic anthropologist.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：佐拉·尼尔·赫斯顿（Zora Neale Hurston）在南卡罗来纳州博福特所做的研究代表了她作为一名真正的人类学家的工作的顶峰。
Narrator: “We’ve been shooting, shooting, and shooting,” the film crew reported.
旁白：“我们一直在拍、拍、拍，”摄制组报道道。
“If the gods of anthropological investigators are with us we have some swell fotos and films…Without Zora most of it would have been impossible.
“如果人类学调查之神与我们同在，我们就会有一些精彩的照片和电影……没有佐拉，这一切都是不可能的。
Zora (VO): What will be the end?
佐拉（画外音）：结局会怎样？
That is not for me to know.
这不由我知道。
Life poses questions and that two-headed spirit that rules the beginning and end of things called Death, has all the answers.
生命提出问题，而统治事物开始和结束的双头精神（称为死亡）拥有所有答案。
Narrator: At first Hurston resisted her publisher’s desire for her to write an autobiography.
旁白：起初，赫斯顿拒绝了出版商让她写自传的愿望。
Tiffany Ruby Patterson, Historian: I think she said, “It is difficult to discuss what the soul lives by.” I’m not sure she wanted to do that, was ready to do it, but she needed to write something because that’s how she made money.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：我想她说的是，“很难讨论灵魂赖以生存的东西。”我不确定她想这样做，准备好这样做，但她需要写点东西，因为这就是她赚钱的方式。
Narrator: In 1942 Dust Tracks on a Road was published to great fanfare.
旁白：1942 年，《路上的尘迹》大张旗鼓地出版了。
Hurston promoted the work, which helped establish her as a prominent literary figure.
赫斯顿宣传了这部作品，这帮助她成为了一位杰出的文学人物。
Irma Mcclaurin, Anthropologist: Zora’s autobiography is complex.
艾尔玛·麦克劳林，人类学家：佐拉的自传很复杂。
There are those who argue that she wasn’t authentic, that she didn’t tell everything because the notion of an autobiography is that it traces the life from the beginning to the end.
有人认为她不真实，她没有讲述一切，因为自传的概念是它从头到尾追溯生活。
There’s a lot of behind the scenes stuff that we really don’t have access to.
有很多幕后的东西我们确实无法访问。
Zora (VO): I am supposed to have some private business to myself.
佐拉（画外音）：我应该有自己的私事。
Whatever I do know, I have no intention of putting but so much in the public ears.
无论我所知道的是什么，我都无意将这么多内容公之于众。
Lee D.
李 D.
Baker, Anthropologist: Zora Neale Hurston’s autobiography is itself, “featherbed resistance”: she’s wearing a mask; it’s a pack of lies.
贝克，人类学家：佐拉·尼尔·赫斯顿的自传本身就是“羽翼未丰的抵抗”：她戴着面具；这是一堆谎言。
On the other hand, it is the truth as she saw it.
另一方面，这就是她所看到的事实。
It is a memoir, and you get her spirit, you get the feeling of her, her life.
这是一本回忆录，你可以了解她的精神，了解她的感觉，了解她的生活。
María Eugenia Cotera, Modern Thought Scholar: What I find really fascinating about that book is her admissions—they’re very stealthy, that some of the folklore she collected, she collected actually when she was seven years old, nine years old, when she was a child growing up in Eatonville, immersed in this culture that she later collected.
现代思想学者玛丽亚·尤金尼亚·科特拉：我觉得这本书真正令人着迷的是她的承认——它们非常隐秘，她收集的一些民间传说，实际上是她七岁、九岁时收集的，当时她还是个在伊顿维尔长大的孩子，沉浸在她后来收集的这种文化中。
Lee D.
李 D.
Baker, Anthropologist: Dust Tracks on a Road is highly edited.
人类学家贝克：《道路上的尘迹》经过高度编辑。
She had some biting lines about the United States and the role of freedom abroad versus freedom here.
她对美国以及国外自由与国内自由的作用发表了一些尖锐的言论。
But the editors, they took it out, and I guess Zora was looking forward to that royalty check and didn't want to fight for it.
但编辑们把它拿掉了，我猜佐拉期待着那笔版税支票，不想为之奋斗。
Narrator: The book with its strong sales validated the significance of her anthropological study, but success still did not translate into funding for her continued fieldwork.
旁白：这本书的强劲销量证实了她人类学研究的重要性，但成功仍然没有转化为她继续实地考察的资金。
Though she never stopped writing articles, reviews and opinion pieces—she would get by working at a variety of jobs—sometimes as a teacher, librarian, and journalist.
尽管她从未停止撰写文章、评论和评论文章，但她从事各种工作，有时担任教师、图书管理员和记者。
Tiffany Ruby Patterson, Historian: She still has a lot she wants to do.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：她还有很多想做的事情。
I think Hurston had a lot of courage to put her ideas out there, but she was also getting older.
我认为赫斯顿有很大的勇气将她的想法表达出来，但她也在变老。
Irma McClaurin, Anthropologist: It’s also the period of time where she’s falsely accused of having improper relations with a minor.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：这也是她被错误指控与未成年人发生不正当关系的时期。
People abandoned Zora Neale Hurston.
人们抛弃了佐拉·尼尔·赫斯顿。
That accusation is dropped.
这项指控被撤销。
It turns out that the woman had a vendetta against Zora, but the people who abandoned her never really come back into her life.
原来，这个女人对佐拉有仇，但抛弃她的人却再也没有真正回到她的生活中。
Narrator: When it was discovered in 1950 that she was serving as a maid, Hurston played it as if the work was just part of her research.
旁白：1950 年，当人们发现她担任女仆时，赫斯顿表现得好像这项工作只是她研究的一部分。
Daphne Lamothe, Literary Scholar: She’s having a really difficult time finding people who are interested in publishing her work.
达芙妮·拉莫特 (Daphne Lamothe)，文学学者：她很难找到对出版她的作品感兴趣的人。
Eve Dunbar, Literary Scholar: She’s an aging Black woman, with no children and no husband.
伊芙·邓巴，文学学者：她是一位年迈的黑人妇女，没有孩子，也没有丈夫。
The Negro is no longer in vogue.
黑人不再流行。
And so you just watch what happens to Black women who almost always live in precarity in this society.
所以你只要看看黑人女性发生了什么，她们在这个社会中几乎总是生活在不稳定之中。
Tiffany Ruby Patterson, Historian: By the last 10 years of her life, she has all of the ailments of older Black women.
蒂芙尼·鲁比·帕特森（Tiffany Ruby Patterson），历史学家：在她生命的最后 10 年，她患有老年黑人女性的所有疾病。
high blood pressure, gaining weight.
高血压、体重增加。
She’s still desperately trying to get enough money to continue her work, and it’s slipping through her fingers.
她仍然拼命地想赚到足够的钱来继续她的工作，但钱却从她的指缝中溜走。
Narrator: Hurston’s tendency to speak her mind entangled her in the emerging national civil rights debates.
旁白：赫斯顿直言不讳的倾向使她陷入了新兴的全国民权辩论中。
Her opinion on the Supreme Court’s 1954 ruling that ended legalized racial discrimination in schools put her at odds with many Americans.
她对最高法院 1954 年终止学校种族歧视合法化的裁决的看法使她与许多美国人产生分歧。
Zora (VO): How much satisfaction can I get from a court order for somebody to associate with me who does not wish me near them?
佐拉（画外音）：法庭命令让那些不希望我靠近的人与我交往，我能得到多少满足感？
Eve Dunbar, Literary Scholar: People cite her letter to the editor where she disparages Brown versus the Board of Education as retrograde, as anti-Black.
伊芙·邓巴（Eve Dunbar），文学学者：人们引用了她写给编辑的信，她在信中贬低布朗与教育委员会的对立，认为这是倒退，是反黑人。
But she understood that just having proximity to White people did not make Black people smarter, better, more valuable, we needed equality and equity, and financial support.
但她明白，仅仅与白人接近并不会让黑人变得更聪明、更好、更有价值，我们需要平等和公平，以及财政支持。
Zora (VO): It is a contradiction in terms to scream race pride and equality while at the same time spurning Negro teachers and self-association.
佐拉（画外音）：一方面高喊种族自豪感和平等，另一方面又排斥黑人教师和自我交往，这是一个矛盾。
Eve Dunbar, Literary Scholar: She was articulating something where her investment in a particular version of Blackness was not valued.
伊芙·邓巴（Eve Dunbar），文学学者：她表达了一些观点，即她对特定版本的《黑人》的投资没有得到重视。
Tiffany Ruby Patterson, Historian: She ends up back in the community of Black people.
蒂芙尼·鲁比·帕特森，历史学家：她最终回到了黑人社区。
Carla Kaplan, Literary Scholar: The Fort Pierce community in which she lived, loved and adored her.
卡拉·卡普兰，文学学者：她生活、热爱和崇拜的皮尔斯堡社区。
But her struggles as a woman and her struggles as a Black person in racist society were profound.
但她作为一名女性和一名黑人在种族主义社会中的斗争是深刻的。
Narrator: Zora Neale Hurston died from heart disease after a stroke on January 28th, 1960, shortly after her 69th birthday in a segregated nursing home in Fort Pierce, Florida.
旁白：1960 年 1 月 28 日，佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 69 岁生日后不久，因中风后因心脏病在佛罗里达州皮尔斯堡的一家隔离疗养院去世。
She was working on at least one novel at the time.
当时她至少正在写一本小说。
At her funeral over a hundred people, the vast majority African American, attended.
在她的葬礼上，有一百多人参加，其中绝大多数是非裔美国人。
One of the ministers remarked, “the Miami paper said she died poor.
一位部长评论道：“迈阿密报纸说她去世时很穷。
She died rich.
她死时富有。
She did something.” Zora Neale Hurston was buried in an unmarked grave.
她做了一些事。”佐拉·尼尔·赫斯顿被埋葬在一个没有标记的坟墓里。
Irma McClaurin, Anthropologist: As the story goes, when you die in a poor house they burn your stuff.
艾尔玛·麦克劳林（Irma McClaurin），人类学家：正如故事所说，当你死在一个破房子里时，他们会烧掉你的东西。
And a Black deputy sheriff comes along and he remembers that this woman was someone.
一位黑人副警长走过来，他记得这个女人是个大人物。
And he literally snatches materials, her belongings, out of the fire and hangs on to them.
他确实从火中抢走了材料，即她的物品，并紧紧抓住它们。
Charles King, Political Scientist: She had thrown herself into the world to try to rescue, redeem the things that were held by outsiders to be unimportant about marginal societies, and it was somehow fitting that the last act of her papers, her own legacy, was itself an act of rescue.
查尔斯·金，政治学家：她投身于这个世界，试图拯救、救赎那些被局外人认为对边缘社会不重要的东西，她论文的最后一幕，她自己的遗产，本身就是一种拯救行为，这在某种程度上是合适的。
Narrator: Zora Neale Hurston fell into obscurity until the 1970s.
旁白：佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 直到 20 世纪 70 年代才陷入默默无闻。
After writer Alice Walker read Their Eyes Were Watching God , she began a journey into Hurston’s life, work and death that catalyzed another Hurston rescue—this one led by literary scholars, Black women.
作家爱丽丝·沃克读完《他们的眼睛注视着上帝》后，开始了一段深入赫斯顿生活、工作和死亡的旅程，这引发了另一场对赫斯顿的拯救——这次由文学学者、黑人女性领导。
Irma McClaurin, Anthropologist: I think anthropology hasn’t acknowledged her enough, not only for her writing style, but also the fact that she put herself into that ethnographic landscape: how she impacts, how she’s impacted, how people see her as well as what she’s collecting.
艾尔玛·麦克劳林，人类学家：我认为人类学还没有充分认识到她，不仅因为她的写作风格，还因为她将自己置于民族志景观中：她如何影响，她如何受到影响，人们如何看待她以及她收藏的东西。
And that’s unique.
这是独一无二的。
Eve Dunbar, Literary Scholar: That is what she modeled very early, and what the discipline at that point wasn’t ready for.
伊芙·邓巴（Eve Dunbar），文学学者：这就是她很早就树立的榜样，而当时的学科还没有准备好。
I think it gives a lot of minoritized people access and legitimacy to the work that they most value, which is to go into their own communities.
我认为这让很多少数族裔获得了从事他们最看重的工作的机会和合法性，即进入他们自己的社区。
Lee D.
李 D.
Baker, Anthropologist: One of the few anthropologists that were doing work in the ‘20s that would sort of hold up to the integrity and the ethics of contemporary anthropology is Zora Neale Hurston.
贝克，人类学家：佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 是 20 年代为数不多的在某种程度上维护当代人类学完整性和伦理学工作的人类学家之一。
María Eugenia Cotera, Modern Thought Scholar: People are invested in saying she was a Black anthropologist, but another part of me wants to disinvite anthropology from her recuperation because there were so many moments when folks work behind the scenes not to support her, and so that is very painful.
现代思想学者玛丽亚·尤金尼亚·科特拉：人们热衷于说她是一名黑人人类学家，但我的另一部分却想把人类学从她的康复中剔除，因为很多时候人们在幕后工作并不支持她，所以这是非常痛苦的。
Carla Kaplan, Literary Scholar: She’s somebody who succeeded against all the odds and whose life was marred by lack of resources, who could have done five times as much if she had had the financial wherewithal she so richly deserved.
卡拉·卡普兰，文学学者：她是一个克服重重困难取得成功的人，她的生活因缺乏资源而受到损害，如果她拥有她应得的经济资金，她本可以做得五倍。
Charles King, Political Scientist: We now recognize her as being not only critical to the canon of American literature, but a figure whose work as a prose writer, as a social scientist, is closer to what we would now think of as good, self-aware, self-critical social science.
查尔斯·金，政治科学家：我们现在认识到她不仅对美国文学经典持批评态度，而且作为散文作家、社会科学家，她的作品更接近我们现在所认为的良好的、自我意识的、自我批判的社会科学。
Lee D.
李 D.
Baker, Anthropologist: Sometimes when you’re ahead of your time, you’re also an outlier.
贝克，人类学家：有时候，当你走在时代的前面时，你也是一个局外人。
You are marginalized and seen as, sometimes a little crazy, but in many respects people that are ahead of their time, are geniuses, and indeed she was a genius.
你被边缘化，被视为，有时有点疯狂，但在许多方面，领先于时代的人都是天才，而她确实是一个天才。
Tiffany Ruby Patterson, Historian: Hurston left us beautiful novels.
蒂芙尼·鲁比·帕特森，历史学家：赫斯顿给我们留下了美丽的小说。
She left us her vision of the legitimacy of Black people as a people, as a culture.
她给我们留下了她对黑人作为一个民族、作为一种文化的合法性的看法。
She fought for us in her writing.
她在写作中为我们而战。
She fought for Black women in her writing, in her anthropology.
她在写作和人类学中为黑人女性而战。
She believed in our worth, and she said so over and over again.
她相信我们的价值，她一遍又一遍地这么说。
She jumped at the sun.
她向着太阳跳了起来。
Zora (VO): Negro reality is a hundred times more imaginative and entertaining than anything that has been hatched up over a typewriter.
佐拉（画外音）：黑人现实比打字机创造的任何东西都富有一百倍的想象力和娱乐性。
Go hard or go home.
要么努力要么回家。
Text: After 87 years, Zora Neale Hurston’s book Barracoon was published in 2018 and became a bestseller.
文字：时隔 87 年，佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 的著作《Barracoon》于 2018 年出版，成为畅销书。
Filmmaker Tracy Heather Strain talks about Zora Neale Hurston and her interest in capturing the rural Black folk in her writings and ethnographic work.
电影制片人特雷西·希瑟·斯特兰 (Tracy Heather Strain) 谈论佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 以及她对在作品和民族志作品中捕捉农村黑人的兴趣。
In multiple trips to the south, Hurston shot 16mm film of rural Black people, culture and customs amassing 85 minutes of footage that she shot and/or directed.
在多次前往南方的旅行中，赫斯顿拍摄了有关农村黑人、文化和习俗的 16 毫米胶片，积累了她拍摄和/或导演的 85 分钟的镜头。
The renowned author and anthropologist went to the island nation in search of its religion—and its zombies.
这位著名作家和人类学家前往这个岛国寻找其宗教及其僵尸。
An in-depth biography of the influential author whose groundbreaking anthropological work would challenge assumptions about race, gender and cultural superiority that had long defined the field in the 19th century.
这是一位颇具影响力的作家的深入传记，他的开创性人类学著作挑战了 19 世纪该领域长期定义的种族、性别和文化优越性假设。
When the famed writer went to Florida to capture the sounds of the South.
当这位著名作家前往佛罗里达捕捉南方的声音时。
A glimpse into the anthropologist’s trailblazing practice, as described by Hurston herself.
正如赫斯顿本人所描述的，一睹这位人类学家的开拓性实践。
Professor Eve Dunbar and writer and historian Jonathan Square speak with historian Adriane Lentz-Smith about the intersection between studying and stealing culture.
伊芙·邓巴（Eve Dunbar）教授、作家兼历史学家乔纳森·斯奎尔（Jonathan Square）与历史学家阿德里亚娜·伦茨·史密斯（Adriane Lentz-Smith）讨论了研究文化和窃取文化之间的交叉点。