Noah Adams, longtime host of NPR's All Things Considered, has died

Heard on All Things Considered Noah Adams, a writer, broadcaster, and storyteller who hosted All Things Considered for 18 years, has died.

诺亚·亚当斯 (Noah Adams) 去世，他是一名作家、播音员和故事讲述者，主持《All Things Thought》长达 18 年。

Adams died Friday at his home in Yellow Springs, Ohio, according to his wife, Neenah Ellis.

据亚当斯的妻子尼娜·埃利斯说，亚当斯于周五在俄亥俄州黄泉市的家中去世。

He was 84.

他84岁了。

He guided listeners through major events like Ronald Reagan's landslide electoral victories, the fall of the Berlin Wall, and the September 11 terrorist attacks.

他引导听众了解罗纳德·里根压倒性选举胜利、柏林墙倒塌和 9 月 11 日恐怖袭击等重大事件。

But to the people who worked alongside him in the newsroom, Adams' journalism shone through in the softer features he reported.

但对于在新闻编辑室与他一起工作的人来说，亚当斯的新闻风格在他报道的柔和特征中脱颖而出。

Adams would ride trains across the country, or spend days in small towns talking to whoever he came across.

亚当斯会乘坐火车穿越全国，或者在小镇上呆上几天，与他遇到的任何人交谈。

He'd ask questions.

他会问问题。

He'd listen.

他会听的。

He'd write down notes and observations.

他会写下笔记和观察结果。

And then he'd produce long, thoughtful radio pieces that helped listeners understand and appreciate the world a little bit better.

然后他会制作长篇、深思熟虑的广播作品，帮助听众更好地理解和欣赏这个世界。

"He was always observing," recalled Melissa Block, who produced pieces alongside Adams for years before hosting All Things Considered herself.

“他总是在观察，”梅丽莎·布洛克 (Melissa Block) 回忆道，她在主持《All Things Thought》之前曾与亚当斯一起创作了多年的作品。

"He would have a little reporter's notebook and he would be taking notes in shorthand.

“他会有一个小记者笔记本，他会用速记法做笔记。

His writing is almost illegible – it would just be the vaguest sketches of things.

他的文字几乎难以辨认——那只是事物最模糊的草图。

But somehow, when we came back, he would capture the character of a place or a person or a town in the most vivid, rich, simple language.

但不知何故，当我们回来时，他会用最生动、丰富、简单的语言捕捉一个地方、一个人或一个城镇的特征。

It was a complete picture based on his unbelievable powers of observation."

这是基于他令人难以置信的观察力的完整画面。”

Adams, who was born in Kentucky, came to NPR in the mid-1970s, when the network was still new, and still figuring things out.

出生于肯塔基州的亚当斯于 20 世纪 70 年代中期加入 NPR，当时该网络还是个新生事物，仍在摸索解决方案。

He was private — intensely private — but told people he'd bopped around a series of jobs before falling into radio.

他很注重隐私——非常注重隐私——但他告诉人们，在进入广播行业之前，他曾换过一系列工作。

He worked construction.

他从事建筑工作。

He sold cars, as he recounted once in an on-air essay.

正如他在一篇广播文章中所描述的那样，他是卖汽车的。

In 1972, he started working at the public radio station at the University of Kentucky.

1972年，他开始在肯塔基大学公共广播电台工作。

Three years later, he applied for a job as a production assistant on All Things Considered .

三年后，他申请了《All Things Thought》制作助理的工作。

For years, the show's staff has begun each morning with a long meeting about the day's news, and what should and should not be included in the two-hour broadcast.

多年来，该节目的工作人员每天早上都会召开一次长时间的会议，讨论当天的新闻，以及两小时的广播中应该包含什么内容、不应该包含什么内容。

Like all meetings, it can be rote or boring, and many staffers can, at times, view it with some cynicism.

像所有会议一样，它可能是死记硬背或无聊的，许多员工有时会带着一些愤世嫉俗的态度看待它。

Adams never saw it that way.

亚当斯从来没有这样看。

"You would pay attention to all the mysteries out in the world," he once recalled in an NPR essay looking back at his career.

“你会关注世界上所有的奥秘，”他曾在 NPR 的一篇回顾自己职业生涯的文章中回忆道。

"You'd have a deep curiosity about the yearning.

“你会对这种渴望产生深深的好奇。

You'd notice who was in trouble, why?

你会注意到谁遇到了麻烦，为什么？

What does Washington mean?"

华盛顿是什么意思？”

Like most reporters, Adams yearned to get out of the newsroom and into the world.

和大多数记者一样，亚当斯渴望走出新闻编辑室，走向世界。

He tried to steer his reporting away from officials and politicians in Washington.

他试图让自己的报道远离华盛顿的官员和政客。

"He never liked talking to people who he knew had pre-programmed things to say," said Block.

“他从来不喜欢和那些他知道要说的话的人交谈，”布洛克说。

"He wanted people who were genuinely speaking from their heart and with conviction and sincerity.

“他希望人们真诚地发自内心、充满信念和真诚地说话。

And that's how he was.

他就是这样。

That's how he approached things."

这就是他处理事情的方式。”

He'd also try to write and talk about dogs as much as possible, working them into scenes, and into interviews.

他还尝试尽可能多地撰写和谈论狗，将它们融入场景和采访中。

It's how Adams began one memorable interview in 1987.

1987 年，亚当斯就这样开始了一次令人难忘的采访。

He was talking to an 8-year-old girl named Betsy Walter, whose parents had gotten divorced.

他正在和一个名叫贝特西·沃尔特 (Betsy Walter) 的 8 岁女孩交谈，她的父母已经离婚。

To get her comfortable, he started chatting about dogs.

为了让她舒服，他开始谈论狗。

The approach stood out to the producer Adams was working with that night: a young Ira Glass.

这种方法对当晚与亚当斯合作的制片人来说很突出：年轻的艾拉·格拉斯。

"It's the fastest, most efficient warm up of a child," Glass remembered years later.

“这是对孩子来说最快、最有效的热身，”格拉斯多年后回忆道。

"He's not talking down to her.

“他没有居高临下地对她说话。

And then he just launches into the interview."

然后他就开始接受采访。”

Adams was so good that day — at getting Betsy comfortable, at getting the quotes they wanted from the interview — that Glass took the tape of the full interview home with him, to save.

亚当斯那天表现得非常出色——让贝特西感到舒服，从采访中得到了他们想要的引言——以至于格拉斯把完整采访的磁带带回家保存起来。

As Glass listened to the taping and studied Adams' approach, he realized how well and quickly Adams connected with the girl .

当格拉斯听着录音并研究亚当斯的接近方式时，他意识到亚当斯与这个女孩的联系有多好、有多快。

How he framed his questions in just the right way, so the interview became a conversation that produced memorable quotes about the pain and confusion of divorce.

他如何以正确的方式提出问题，因此采访变成了一场关于离婚的痛苦和困惑的令人难忘的谈话。

Over the years Glass would repeatedly cite Adams and his interviewing style as an inspiration for the feel and tone of the public radio program he'd go on to create: This American Life .

多年来，格拉斯不断地引用亚当斯和他的采访风格作为他后来创作的公共广播节目《美国生活》的风格和基调的灵感来源。

Glass admitted that as a young producer, he was intimidated by Adams and his quiet confidence.

格拉斯承认，作为一名年轻的制片人，他被亚当斯和他安静的自信吓到了。

"You know, he was paired with [co-host] Susan Stamberg," Glass recalled.

“你知道，他和[联合主持人]苏珊·斯坦伯格搭档，”格拉斯回忆道。

"And Susan Stamberg's character on the air, as the host of All Things Considered , was this warm, mensch-y, chatty New York lady.

“苏珊·斯坦伯格（Susan Stamberg）在节目中饰演的角色是一位热情、有男子气概、健谈的纽约女士，她是《考虑一切》的主持人。

And he was this sort of cool, traditional broadcaster next to her."

而他在她身边就是一位很酷、很传统的播音员。”

In 1987, Adams left All Things Considered .

1987年，亚当斯离开了All Things Thought。

Another public radio icon, Garrison Keillor, had walked away from A Prairie Home Companion , and Adams went to Minnesota to launch a new variety show to replace it.

另一位公共电台偶像加里森·凯勒 (Garrison Keillor) 离开了《草原家庭伴侣》(A Prairie Home Companion)，亚当斯前往明尼苏达州推出了一档新的综艺节目来取代它。

"I remember [thinking] wow, the nerve!" said Glass.

“我记得[想]哇，有勇气！”格拉斯说。

The variety show didn't work out, and two years later, Adams was back at All Things Considered , where he was paired alongside Robert Siegel and Linda Wertheimer.

这个综艺节目没有成功，两年后，亚当斯回到了《All Things Thought》，与罗伯特·西格尔和琳达·韦特海默搭档。

The two men brought different experiences and views of the world to the show.

两人给节目带来了不同的经历和世界观。

"Noah was a voice for our going to rural America, doing stories about what was happening in small towns far from the Interstate 95 corridor," said Siegel.

“诺亚是我们去美国乡村的代言人，讲述远离 95 号州际公路走廊的小镇上发生的事情，”西格尔说。

"He was a productive writer," said Siegel.

“他是一位多产的作家，”西格尔说。

"He admired good writing and good writers.

“他钦佩优秀的写作和优秀的作家。

And he tried to be as good as he could be."

他尽力做到最好。”

Adams wrote five books, including Piano Lessons (1996) a memoir about a year he spent learning to play the piano at age 51, Far Appalachia , Following the New River North (2001), and The Flyers: In Search of Wilbur & Orville Wright , (2003).

亚当斯写了五本书，包括回忆录《钢琴课》（1996 年），讲述了他在 51 岁时学习弹钢琴的一年时间、《远阿巴拉契亚》、《沿着新河北岸》（2001 年）和《飞行者：寻找威尔伯和奥维尔·赖特》（2003 年）。

Adams' writing for the radio reached its peak, according to Siegel and many others, in an extraordinary 1981 radio documentary called " Father Cares: The Last of Jonestown ."

据西格尔和许多其他人称，亚当斯在 1981 年一部非凡的广播纪录片《父亲的关怀：琼斯镇的最后一个》中达到了他为广播电台写作的顶峰。

Jim Jones, the head of the cult whose members eventually died by mass suicide in the jungle of Guyana, had recorded hundreds of hours of audio.

该邪教的头目吉姆·琼斯（Jim Jones）录制了数百小时的音频，该邪教的成员最终在圭亚那丛林中集体自杀身亡。

NPR got its hands on it, and Adams, producer Deb Amos, and author James Reston, Jr. made it into an experimental documentary.

NPR 得到了它，亚当斯、制片人黛布·阿莫斯和作家小詹姆斯·雷斯顿将其制作成了一部实验纪录片。

One aspect of it was controversial: Adams narrated it not as a journalist, but as a fictional composite character presented as a survivor of the cult.

其中一个方面是有争议的：亚当斯不是以一名记者的身份来叙述它，而是以一个虚构的复合人物的身份呈现为邪教的幸存者。

His delivery was purposely flat, and filled with trauma.

他的分娩过程故意平淡，充满了创伤。

To Siegel, the documentary was NPR as Noah Adams wanted it to be: "Experimental use of sound.

对于西格尔来说，这部纪录片就是 NPR，正如诺亚·亚当斯所希望的那样：“声音的实验性使用。

Interesting writing.

有趣的写作。

I think he aspired to our not just having tomorrow's front page on tonight, but to have the rich back-page [features]" he said.

我认为他渴望我们不仅能在今晚拥有明天的头版，而且能拥有丰富的背版[功能]”，他说。

Adams helped shape NPR at a moment when the network's identity was still malleable.

亚当斯在 NPR 网络的身份仍然具有可塑性的时候帮助塑造了 NPR。

At a time when it wasn't quite a fully professionalized and institutionalized news gathering operation, Adams wanted the network to live up to the ideals formed during that era, says Melissa Block.

梅丽莎·布洛克说，当时它还不是一个完全专业化和制度化的新闻采集机构，亚当斯希望该网络能够实现那个时代形成的理想。

"To really capture the character of the country and the voices of everyone in their own style, in their own perspective, from their own perspective," she explained, "and to pay attention to things that were outside of the centers of power."

她解释说：“以自己的风格、自己的视角、自己的视角，真正捕捉这个国家的性格和每个人的声音，并关注权力中心之外的事物。”

Quietly, purposefully, with his notebook and his typewriter, that's what Noah Adams did.

诺亚·亚当斯（Noah Adams）静静地、有目的地用他的笔记本和打字机做了这件事。

JOEL ROSE, HOST: Noah Adams, the longtime host of this program, has died.

乔尔·罗斯（JOEL ROSE），主持人：本节目的长期主持人诺亚·亚当斯（Noah Adams）去世了。

Adams was 84 years old.

亚当斯已经 84 岁了。

He died at his home in Yellow Springs, Ohio, according to his wife, Neenah Ellis, a longtime NPR producer.

据他的妻子尼娜·埃利斯 (Neenah Ellis) 透露，他是在俄亥俄州黄泉市的家中去世的。尼娜·埃利斯是 NPR 的长期制片人。

He hosted the show for 18 years, guiding listeners through major news stories.

他主持该节目 18 年，引导听众了解重大新闻报道。

(SOUNDBITE OF ARCHIVED NPR CONTENT) NOAH ADAMS: This is special coverage from NPR News.

（NPR 存档内容的声音片段） NOAH ADAMS：这是 NPR 新闻的特别报道。

RENEE MONTAGNE: Today, the World Trade Center towers in Manhattan collapsed after being hit.

蕾妮·蒙塔涅：今天，曼哈顿世贸中心双塔被击中后倒塌。

ROSE: But as ALL THINGS CONSIDERED host Scott Detrow reports, the people who worked alongside Adams remember him as a gifted storyteller whose curiosity took him far outside of the newsroom.

罗斯：但正如《万事皆考虑》主持人斯科特·德特罗报道的那样，与亚当斯一起工作的人都记得他是一位才华横溢的讲故事者，他的好奇心使他远远超出了新闻编辑室。

MELISSA BLOCK, BYLINE: The very first time I went out in the field with Noah, we went up in a Goodyear Blimp.

梅丽莎·布洛克连线：我第一次和诺亚一起外出时，我们乘坐的是固特异飞艇。

SCOTT DETROW, BYLINE: Before she hosted ALL THINGS CONSIDERED, Melissa Block was Noah Adams' producer.

斯科特·德特罗连线：在主持 ALL THINGS CONSIDERED 之前，梅丽莎·布洛克 (Melissa Block) 是诺亚·亚当斯 (Noah Adams) 的制片人。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: I'm surprised that sometimes the ship tilts up and tilts down.

（已存档的 NPR 内容的声音片段） 亚当斯：我很惊讶船有时会向上倾斜或向下倾斜。

BLOCK: And I just remember thinking, it can't get much better than this.

布洛克：我只记得我当时想，没有比这更好的了。

DETROW: Adams came to NPR in the mid-1970s when the network was still new, still figuring things out.

DETROW：Adams 在 20 世纪 70 年代中期加入 NPR，当时该网络还很新，仍在解决问题。

Adams was private, intensely private, but told people he had bopped around a series of jobs before falling into radio.

亚当斯很注重隐私，非常注重隐私，但他告诉人们，在进入广播行业之前，他曾换过一系列工作。

He worked construction.

他从事建筑工作。

He sold cars.

他卖汽车。

In 1972, he started working at the public radio station at the University of Kentucky.

1972年，他开始在肯塔基大学公共广播电台工作。

Three years later, he applied for a job as a production assistant on ALL THINGS CONSIDERED.

三年后，他申请了一份《ALL THINGS CONSIDERED》制作助理的工作。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: I joined the ALL THINGS CONSIDERED staff and moved to Washington.

（NPR 存档内容的声音片段） 亚当斯：我加入了 ALL THINGS CONSIDERED 工作人员并搬到了华盛顿。

And there, in the morning meeting, you would pay attention to all the mysteries out on the world.

在那里，在早上的会议上，你会关注世界上所有的谜团。

You'd have a deep curiosity about the yearning.

你会对这种渴望产生深深的好奇。

You'd notice who was in trouble.

你会注意到谁遇到了麻烦。

Why?

为什么？

What does Washington mean?

华盛顿是什么意思？

DETROW: But Adams never particularly cared too much about what Washington meant.

德特洛：但是亚当斯从来没有特别关心华盛顿的意思。

His main focus over the years was to get out of Washington.

多年来他的主要目标是离开华盛顿。

BLOCK: He never liked talking to people who he knew had preprogrammed things to say.

布洛克：他从来不喜欢和那些他知道已经预先设定好要说的话的人交谈。

He wanted people who were genuinely speaking from their heart and with conviction and sincerity.

他希望人们真诚地发自内心、充满信念和真诚地说话。

DETROW: Whether it was the Mountain West or, most frequently, his native Appalachia, Adams would roam the country having conversations and just looking around.

德特罗：无论是在西部山区，还是最常见的是他的家乡阿巴拉契亚，亚当斯都会在全国各地漫游，交谈并环顾四周。

BLOCK: He was always observing, and he would have a little reporter's notebook, and he would be taking notes in shorthand.

布洛克：他总是在观察，他会有一个小记者笔记本，他会速记笔记。

His writing is almost illegible.

他的字几乎难以辨认。

But somehow, when we came back, he would capture the character of a place in the most vivid, rich, simple language.

但不知何故，当我们回来时，他会用最生动、丰富、简单的语言捕捉一个地方的特征。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: The people of Parkesburg (ph) seem half a step and a smile faster to greet you than you'll find in the cities.

（已存档的 NPR 内容的声音片段） 亚当斯：帕克斯堡 (ph) 的人们似乎比城市里的人更快半步和微笑来迎接你。

They'll roll down their car windows and say, hey, you guys lost?

他们会摇下车窗说，嘿，你们输了？

And after I'd seen one fellow with a white beard around town a couple of times, I went up to him and said, are you the man I heard about who plays Uncle Sam in the parades?

当我在城里见过一个白胡子的家伙几次后，我走到他面前说，你就是我听说的在游行中扮演山姆大叔的那个人吗？

And he said, no, I'm the one who plays Santa Claus.

他说，不，我是扮演圣诞老人的人。

DETROW: He would also try to write and talk about dogs as much as possible.

德特罗：他还会尝试尽可能多地写作和谈论狗。

He'd work them into scenes and into interviews.

他会把它们融入场景和采访中。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: Well, they don't like it.

（已存档的 NPR 内容的声音片段） 亚当斯：嗯，他们不喜欢它。

The dogs that don't like snow the first time, they just go out and they have a hard time with it.

那些第一次不喜欢雪的狗，刚出去就很难受。

They have a hard time finding a place to use a bathroom in the snow, too.

他们在雪地里也很难找到使用浴室的地方。

Did you notice?

你注意到了吗？

(LAUGHTER) BETSY WALTER: No. DETROW: It's how Adams began one memorable interview in 1987.

（笑声） 贝西·沃尔特（BETSY WALTER）：不。 德特罗（DETROW）：亚当斯就是这样开始 1987 年一次令人难忘的采访的。

He was talking to an 8-year-old girl named Betsy Walter whose parents had gotten divorced and who had dealt with that fact by writing letters to New York City Mayor Ed Koch and other public figures, asking for advice.

他正在与一位名叫贝齐·沃尔特 (Betsy Walter) 的 8 岁女孩交谈，她的父母已经离婚，为了应对这一事实，她写信给纽约市市长埃德·科赫 (Ed Koch) 和其他公众人物，寻求建议。

Adams' approach stood out to the producer he was working with that night, a young Ira Glass.

亚当斯的做法让当晚与他合作的制片人、年轻的艾拉·格拉斯（Ira Glass）印象深刻。

IRA GLASS, BYLINE: It's the fastest, most efficient warm-up of a child, and he's not talking down to her.

艾拉·格拉斯连线：这是对孩子来说最快、最有效的热身，而且他并没有居高临下地对她说话。

And, like - and then he just, like, launches into the interview.

然后，就像——然后他就开始接受采访。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: You wrote a letter to the mayor of New York, Mayor Koch.

（NPR 存档内容的声音片段） 亚当斯：您给纽约市市长科赫写了一封信。

BETSY: Right.

贝西：对。

ADAMS: Tell me about that, please.

亚当斯：请告诉我这一点。

BETSY: Well, I wrote to him because my parents are getting divorced, and I really don't know who to turn to.

贝西：嗯，我写信给他是因为我的父母要离婚了，我真的不知道该向谁求助。

DETROW: Adams was so good that day at getting Betsy comfortable, at getting the quotes they wanted from the interview that Glass took the tape of the full interview home with him to save.

德特洛：那天，亚当斯非常出色地让贝特西感到舒服，从采访中得到了他们想要的引言，以至于格拉斯把完整采访的磁带带回家保存起来。

GLASS: He just instinctively, without having to think very hard about it, he knows how to ask these questions to get to this thing that is so sensitive, but he's reading the room, right?

格拉斯：他只是本能地，不需要认真思考，他知道如何提出这些问题来了解这个如此敏感的事情，但他正在阅读房间，对吗？

He understands the tone to take with her.

他理解与她交谈的语气。

He likes her and has a little connection with her.

他喜欢她，并且和她有一点联系。

And so she has enough of a connection with him that she wants to answer.

所以她和他有足够的联系，所以她想回答。

And then he gets into this very emotional thing.

然后他就陷入了这件非常情绪化的事情。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: And in terms of their own divorce, do you understand it better now?

（已存档的 NPR 内容的声音片段） 亚当斯：就他们自己的离婚而言，您现在是否更好地理解了？

BETSY: No. ADAMS: No. Why?

贝西：不。 亚当斯：不。为什么？

What still don't you understand about that?

对此您还有什么不明白的地方？

BETSY: Well, why did they have to go off and do it?

贝西：那么，他们为什么要离开去这么做呢？

And see, the most painful part is when I saw my dad packing up, and I really don't understand because, like, it's hard because they won't tell me what happened to them.

你看，最痛苦的部分是当我看到我爸爸收拾行李时，我真的不明白，因为这很难，因为他们不告诉我他们发生了什么事。

And I really want them back together, and I don't understand why they can't.

我真的希望他们能重新在一起，但我不明白为什么他们不能。

DETROW: Over the years, in interview after interview, Glass would repeatedly cite Adams as an inspiration for the feel and tone of the public radio program he would go on to create, This American Life.

德特罗：多年来，在一次又一次的采访中，格拉斯会反复引用亚当斯作为他后来创作的公共广播节目《美国生活》的感觉和基调的灵感来源。

(SOUNDBITE OF MUSIC) GLASS: You know, he was paired with Susan Stamberg.

（音乐原声） 格拉斯：你知道，他和苏珊·斯坦伯格搭档。

(SOUNDBITE OF ARCHIVED NPR CONTENT) SUSAN STAMBERG: Good evening.

（NPR 存档内容的声音片段） SUSAN STAMBERG： 晚上好。

From National Public Radio in Washington, I'm Susan Stamberg.

我是华盛顿国家公共广播电台的苏珊·斯坦伯格。

ADAMS: And this is Noah Adams, with ALL THINGS CONSIDERED.

亚当斯：综合考虑，这是诺亚·亚当斯。

GLASS: Susan Stamberg's character on the air as the host of ALL THINGS CONSIDERED was she was this warm, menschy (ph), chatty New York lady, you know?

GLASS：苏珊·斯坦伯格（Susan Stamberg）作为《All Things Considered》的主持人，在节目中扮演的角色是一位热情、正派、健谈的纽约女士，你知道吗？

And he was the sort of cool, traditional broadcaster next to her.

在她身边，他是那种很酷、很传统的播音员。

DETROW: Later on, Adams cohosted alongside Linda Wertheimer and Robert Siegel.

德特罗：后来，亚当斯与琳达·韦特海默和罗伯特·西格尔共同主持。

ROBERT SIEGEL, BYLINE: In the kind of political shorthand of the day, we were a nondiverse pair.

罗伯特·西格尔连线：用当时的政治速记法来说，我们是一对非多元化的搭档。

We were two white guys hosting the program, but we'd really seen different parts of America.

我们是两个白人主持这个节目，但我们确实看到了美国的不同地区。

And Noah was a voice for our going to rural America.

诺亚是我们去美国乡村的代言人。

(SOUNDBITE OF ARCHIVED NPR CONTENT) ADAMS: Three miles from Frankfort, West Virginia, and far back into the frozen hollow, there's a ghost town, one of Appalachia's abandoned communities.

（已存档的 NPR 内容的声音片段） 亚当斯：距西弗吉尼亚州法兰克福三英里，在冰冻山谷深处，有一座鬼城，是阿巴拉契亚的废弃社区之一。

SIEGEL: He was a productive writer.

西格尔：他是一位多产的作家。

He admired good writing and good writers.

他钦佩优秀的写作和优秀的作家。

DETROW: Adams wrote several books, including a bestselling memoir about learning to play the piano in his 50s.

德特罗：亚当斯写了几本书，其中包括一本关于他 50 多岁学习弹钢琴的畅销回忆录。

His writing reached its peak, though, according to Siegel and many others, in an extraordinary 1981 radio documentary called Father Cares: The Last Of Jonestown.

不过，根据西格尔和许多其他人的说法，他的写作在 1981 年一部非凡的广播纪录片《父亲关怀：琼斯镇的最后一个》中达到了顶峰。

(SOUNDBITE OF ARCHIVED RECORDING) HARRIET TROPP: I have a statement to make on behalf of People's Temple.

（存档录音的声音片段） 哈里特·特罗普： 我要代表人民圣殿教发表声明。

DETROW: Jim Jones, the head of the cult that eventually committed mass suicide in the jungle of Guyana, had recorded hundreds of hours of audio.

德特罗：最终在圭亚那丛林中集体自杀的邪教头目吉姆·琼斯录制了数百小时的音频。

NPR got its hands on it.

NPR 得到了它的帮助。

And Adams, producer Deb Amos and author James Reston Jr. made it into an experimental documentary.

亚当斯、制片人黛布·阿莫斯和作家小詹姆斯·雷斯顿将其拍成了一部实验纪录片。

(SOUNDBITE OF ARCHIVED RECORDING) JIM JONES: I got my claws (ph).

（存档录音的原声片段） JIM JONES：我得到了我的爪子（ph）。

I got compasses (ph).

我有指南针（ph）。

I got guns.

我有枪。

I got dynamite.

我有炸药。

SIEGEL: It's incredibly vivid.

西格尔：非常生动。

You feel like you've seen pictures.

你感觉就像看过照片一样。

(SOUNDBITE OF ARCHIVED RECORDING) JONES: (Shouting, inaudible).

（存档录音的声音片段） 琼斯：（喊叫，听不清）。

SIEGEL: You are transported somewhere, and you feel like it's as palpable to you as if you could see it.

西格尔：你被传送到某个地方，你感觉它触手可及，就好像你能看到它一样。

DETROW: In 2015, Adams and Amos recounted the process in an interview with the audio storytelling website, Transom.

DETROW：2015 年，亚当斯和阿莫斯在接受音频故事网站 Transom 采访时讲述了这一过程。

(SOUNDBITE OF ARCHIVED RECORDING) DEBORAH AMOS, BYLINE: You know, it took us months to put this thing together.

（存档录音的声音片段）黛博拉·阿莫斯连线：你知道，我们花了几个月的时间才把这件事放在一起。

It's not like, you know, we had six weeks and did nothing else.

你知道，我们并不是有六个星期的时间什么也没做。

ADAMS: I think it was all done extra.

亚当斯：我认为这一切都是额外完成的。

We were all working different jobs at National Public Radio.

我们都在国家公共广播电台从事不同的工作。

And we didn't take, you know, six months away from those jobs to do this program.

你知道，我们并没有离开这些工作六个月来完成这个项目。

We just did it really.

我们只是真的这么做了。

I mean, I'm not even sure we got paid for it.

我的意思是，我什至不确定我们是否得到了报酬。

(SOUNDBITE OF ARCHIVED NPR CONTENT) JONES: (Shouting, inaudible).

（NPR 存档内容的声音片段） 琼斯：（喊叫，听不清）。

ADAMS: But then defectors from the People's Temple - traitors, Dad called them - started telling stories of manipulation and being...

亚当斯：但后来人民圣殿教的叛逃者——爸爸称他们为叛徒——开始讲述操纵和被……的故事。

(SOUNDBITE OF ARCHIVED RECORDING) AMOS: I'm not sure if we could get away with any of that today in NPR.

（存档录音的声音片段） AMOS：我不确定我们今天在 NPR 中是否能逃脱惩罚。

There's so many rules and political commissars, and here's how we do it, and we can't do that.

这么多的规矩、这么多的政委，我们就是这么干的，我们做不到。

DETROW: To Robert Siegel, the documentary was NPR as Noah Adams wanted it to be.

德特罗：对于罗伯特·西格尔来说，这部纪录片是 NPR 所希望的那样。

SIEGEL: Experimental use of sound, interesting writing - I think that he aspired to our not just having tomorrow's front page on tonight, but to have the really - the rich back pages.

西格尔：实验性地使用声音、有趣的写作——我认为他渴望我们不仅能在今晚拥有明天的头版，而且能拥有真正的——丰富的背页。

DETROW: Quietly, purposefully, with his notebook and his typewriter, that's what Noah Adams did.

德特罗：诺亚·亚当斯（Noah Adams）就是用他的笔记本和打字机安静地、有目的地做的事情。

Scott Detrow, NPR News, Washington.

斯科特·德特罗 (Scott Detrow)，美国国家公共广播电台 (NPR) 新闻，华盛顿。

CORRECTION Oct.

十月修正

20th, 2026

2026 年 20 日

A previous photo credit misspelled Antony Nagelmann's first name as Anthony.

之前的一张照片将安东尼·纳格曼的名字拼成了安东尼。