707: We Are in the Future - This American Life

707：我们在未来

707 · This American Life · 原文

You are using an outdated browser.

您正在使用过时的浏览器。

Please upgrade your browser or activate Google Chrome Frame to improve your experience.

请升级您的浏览器或激活 Google Chrome 浏览器内嵌框架以改善您的体验。

注册免费试用《Life Partners》，您可以观看视频“故事与即兴表演之夜”。

00:00 00:00 Transcript Share This American Life Life Partners How to Listen Episodes Recommended About Overview Staff Announcements Fellowships Jobs Music Make Radio On The Road FAQ Submissions Merch Contact Us Our Other Shows Merch Follow Us Life Partners Subscribe to our newsletter Full episode Toggle Audio and Transcript Sync Transcript | Episode #707 | June 5, 2020 707: We Are in the Future Note: This American Life is produced for the ear and designed to be heard.

00:00 00:00 文字记录分享此美国生活生活伙伴如何收听剧集推荐关于概述员工公告奖学金工作音乐在路上制作电台常见问题解答提交商品联系我们我们的其他节目商品关注我们生活伙伴订阅我们的时事通讯整集切换音频和文字记录同步文字记录 | 内容第 707 集 | 2020 年 6 月 5 日 707：我们在未来注：《美国生活》是为耳朵而生，旨在让人们听到。

If you are able, we strongly encourage you to listen to the audio, which includes emotion and emphasis that's not on the page.

如果可以的话，我们强烈建议您收听音频，其中包括页面上没有的情感和重点。

Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors.

文字记录是使用语音识别软件和人工转录员结合生成的，可能包含错误。

Please check the corresponding audio before quoting in print.

请在印刷版引用前检查相应的音频。

Prologue: Prologue Ira Glass Hey, everybody.

序言：序言 Ira Glass 大家好。

Ira Glass here.

艾拉·格拉斯在这里。

So here at our program, during these weeks of protests and sorrow in the wake of the killing of George Floyd, we thought that today, we would offer a different way of thinking about where we are and where we might be going, and we would rerun our show about Afrofuturism, which is a way of looking at the harsh realities of the present that at least has a little hope built in.

因此，在我们的节目中，在乔治·弗洛伊德被杀后的这几周的抗议和悲伤中，我们认为今天我们应该提供一种不同的方式来思考我们现在在哪里以及我们可能要去哪里，并且我们将重新播放我们关于非洲未来主义的节目，这是一种看待当前严酷现实的方式，至少有一点希望。

We first ran the show right after a very different kind of violence and very different protesters than we're seeing today.

我们第一次举办这个节目是在一场与我们今天看到的完全不同的暴力和抗议者之后。

This is back in the summer of 2017, just one week after white nationalists with torches marched in Charlottesville and a white supremacist deliberately rammed his car into a crowd, killing a woman named Heather Heyer.

时间回到 2017 年夏天，就在一周前，白人民族主义者手持火把在夏洛茨维尔游行，一名白人至上主义者故意将自己的汽车撞向人群，导致一名名叫希瑟·海耶 (Heather Heyer) 的妇女死亡。

This is in all of our heads as we made the episode you're about to hear, all of us wanting to feel some shred of hope.

当我们制作你们即将听到的这一集时，这是我们所有人的想法，我们所有人都希望感受到一丝希望。

So here is that original show from 2017.

这是 2017 年的原创节目。

It's This American Life from WBEZ Chicago.

这就是 WBEZ 芝加哥的《美国生活》。

OK, give me a level.

好吧，给我一个等级吧。

Neil Drumming This is me, about how much-- how loud I talk.

尼尔·击鼓这就是我，关于我说话的声音有多大。

Not long ago, one of my co-workers here at the radio show, Neil Drumming and I took a field trip to Philadelphia.

不久前，我和广播节目的一位同事尼尔·德鲁明 (Neil Drumming) 前往费城进行了实地考察。

We're going to Amalgam Comics and Coffee.

我们要去 Amalgam 漫画和咖啡店。

It's a comic shop.

这是一家漫画店。

Neil Drumming It's a comic book store, yeah, and also like a coffee shop.

Neil Drumming 这是一家漫画书店，是的，也像一家咖啡店。

[CHUCKLES] Yes, but it's I think the first comic book store owned by a black woman on the East Coast.

[咯咯笑]是的，但我认为这是东海岸第一家由黑人女性拥有的漫画书店。

I think we do.

我想我们做到了。

Ira Glass We're here because recently Neil's gotten really interested in Afrofuturism, and there's this whole intersection between Afrofuturism and comic books.

Ira Glass 我们来这里是因为尼尔最近对非洲未来主义非常感兴趣，而且非洲未来主义和漫画书之间存在着交叉。

The founder of something called the Afrofuturism Network is speaking at this comic store on this particular day.

非洲未来主义网络的创始人在这一天在这家漫画店发表演讲。

And what exactly is Afrofuturism?

非洲未来主义到底是什么？

Neil's been prepping for this question.

尼尔一直在准备回答这个问题。

I don't know.

我不知道。

There's, like, a long-winded academic Wikipedia explanation which I've never even been able to internalize or remember, honestly, if we're being honest.

比如说，维基百科上有一个冗长的学术解释，老实说，如果我们诚实的话，我什至无法内化或记住它。

What I like about Afrofuturism, it just seems very-- it's this way of talking about black people in a way that's really hopeful.

我喜欢非洲未来主义的一点是，它似乎非常——这是一种以一种真正充满希望的方式谈论黑人的方式。

It's this idea that we would be engaged in the same kinds of things that science fiction writers have always talked about.

正是这个想法让我们从事科幻小说作家一直谈论的同样的事情。

That we would be engaged with technology, that we would have a future in space, that we would master time travel, that we would have a future in utopian or dystopian landscapes.

我们将致力于技术，我们将在太空中拥有未来，我们将掌握时间旅行，我们将在乌托邦或反乌托邦景观中拥有未来。

It's like--

这就像——

So probably, this is about science fiction.

所以这很可能是关于科幻小说的。

That's really just the tip of the iceberg.

这实际上只是冰山一角。

And the science fiction part is meaningful because, while there've been black characters in sci-fi for a while now, they're almost never the protagonists.

科幻小说的部分很有意义，因为虽然科幻小说中出现黑人角色已经有一段时间了，但他们几乎从来都不是主角。

They're never the ones driving the action.

他们从来都不是推动行动的人。

And for so long, in so many imaginings of the future, in so much science fiction, there were no black people at all.

长期以来，在对未来的许多想象中，在科幻小说中，根本没有黑人。

Which, as Neil points out, makes no sense.

正如尼尔指出的那样，这毫无意义。

He says you can tell black people are going to make it into the future because they've survived so much already over the centuries.

他说，你可以看出黑人将会走向未来，因为他们已经在几个世纪以来生存下来了。

One of the things that's really specific about Afrofuturism that I like is that it takes in account the past, in a lot of ways.

我喜欢的非洲未来主义真正独特的一点是，它在很多方面考虑了过去。

It imagines that black people forms of survival, through the slave trade, through persecution, that that's almost a technology in itself, the ways in which we've come through those things.

它想象黑人的生存形式，通过奴隶贸易，通过迫害，这本身几乎就是一种技术，我们经历这些事情的方式。

Yeah.

是的。

And that everything that's been a part of our culture has made it possible for us to pave the way for the future.

我们文化中的一切都使我们能够为未来铺平道路。

That's the thing that I like about it, I think.

我想这就是我喜欢它的地方。

The feeling like, despite whatever trials or travails you've come through, that you will exist in the future.

这种感觉就像，无论你经历过什么考验或痛苦，你仍然会存在于未来。

That just kind of makes me-- it makes me love being black.

这让我喜欢上了黑人。

It makes me feel, like, what I love about being black.

这让我感觉到，我喜欢身为黑人。

Like, oh, yeah.

就像，哦，是的。

You know, we can get through this.

你知道，我们能渡过难关。

Things we've known about forever, Neil says are now called Afrofuturism.

尼尔说，我们永远知道的东西现在被称为非洲未来主义。

Old school stuff, like Parliament Funkadelic's pimped-out, trippy rides to outer space, which predates the term by 20 years.

老派的东西，比如Parliament Funkadelic 的外太空游乐设施，比新学期早了20 年。

[MUSIC - "MOTHERSHIP CONNECTION" BY PARLIAMENT FUNKADELICS]

[音乐 - PARLIAMENT Funkadelics 的“Mothership Connection”]

Starchild, citizens of the universe, recording angels, we have returned to claim the pyramids.

星孩，宇宙公民，记录天使，我们已经回来夺取金字塔了。

Party on the mothership.

母舰上的派对。

I am the mothership connection.

我是母舰连接。

Lately, you see lots of famous black people excited about Afrofuturism.

最近，你看到许多著名的黑人对非洲未来主义感到兴奋。

Rihanna and Solange appear in black space age fashion.

蕾哈娜 (Rihanna) 和索兰吉 (Solange) 身穿黑色太空时代时装亮相。

The director of Selma and 13th, Ava DuVernay, is making a TV series based on a novel by the woman who's kind of a godmother to the movement, sci-fi writer Octavia Butler.

《塞尔玛》和《13th》的导演艾娃·杜威内 (Ava DuVernay) 正在根据科幻小说作家奥克塔维亚·巴特勒 (Octavia Butler) 的小说制作一部电视剧，她是这场运动的教母。

That's after DuVernay finishes the science fiction classic A Wrinkle in Time with black actors in some of the leads.

那是在杜威内完成了由黑人演员主演的科幻经典《时间的皱纹》之后。

And then there's Marvel making Black Panther into a big mainstream movie.

然后漫威将《黑豹》打造成一部主流大片。

Then we'll go over to the Childish Gambino album that was a tribute to Parliament Funkadelic.

然后我们将欣赏《Childish Gambino》专辑，该专辑是对Parliament Funkadelic 的致敬。

And Janelle Monae's tour a couple years ago was a whole sci-fi stage show with men in lab coats, a story about androids.

几年前，加奈尔·梦奈 (Janelle Monae) 的巡演是一场完整的科幻舞台表演，男人们穿着实验室外套，讲述一个关于机器人的故事。

She sings about spaceships.

她唱的是关于宇宙飞船的歌。

[MUSIC - "ELECTRIC LADY" BY JANELLE MONAE]

[音乐 - JANELLE MONAE 的“Electric Lady”]

Ooh, I'll re-program your mind.

哦，我会重新编程你的思想。

Come on, get in.

来吧，进来吧。

My spaceship leaves at 10.

我的宇宙飞船十点出发。

Oh!

哦！

And comics.

还有漫画。

Neil and I were in Philadelphia for comics, after all.

毕竟，尼尔和我是在费城看漫画的。

The thing that Neil was most excited to see in the comic book store was the new Iron Man, where-- I don't know if you heard this-- in the comics, Tony Stark is in a coma, replaced by a black teenage girl genius.

尼尔在漫画店里最兴奋看到的就是新版《钢铁侠》，不知道你有没有听说过，漫画中托尼·斯塔克处于昏迷状态，取而代之的是一位黑人天才少女。

And she invents a suit that's comparable to Tony Stark's Iron Man suit, which is, like, my favorite piece of fictional technology, anyway.

她发明了一套可以与托尼·斯塔克的钢铁侠套装相媲美的套装，无论如何，这是我最喜欢的虚构技术。

As he points out, replacing Tony Stark with a black teenage girl, that pierces right into the arc reactor heart of the techno superhero sci-fi pantheon.

正如他指出的，用一个黑人少女取代托尼·斯塔克，这直接刺入了科技超级英雄科幻万神殿的弧形反应堆核心。

I mean, think about who Tony Stark, the original Iron Man is.

我的意思是，想想托尼·斯塔克是谁，最初的钢铁侠。

He's a wealthy white man.

他是一个富有的白人。

He's like, a millionaire white guy.

他就像一个百万富翁白人。

He's the unattainable.

他是那个遥不可及的人。

It's great to have, like, a robot suit and save the world, but how do most people imagine themselves in that context?

拥有一套机器人套装并拯救世界真是太好了，但大多数人在这种情况下会如何想象自己呢？

Whereas this girl, her education takes her to this place that a billionaire once was at.

而这个女孩，她的教育将她带到了亿万富翁曾经去过的地方。

I mean, that's inspiring.

我的意思是，这很鼓舞人心。

It's moving.

它在动。

I don't know, maybe I'm being-- I was thinking about it a lot, and why has my interest been sparked so much recently?

我不知道，也许我……我想了很多，为什么最近我的兴趣这么大？

I've always loved science fiction, but the idea of black people in science fiction appeals to me now because of that notion of telling your own story, because the way black people are talked about, it's often a bleak future and--

我一直很喜欢科幻小说，但科幻小说中黑人的想法现在吸引了我，因为讲述自己的故事的想法，因为谈论黑人的方式通常是一个黯淡的未来，而且——

And a bleak present.

和一个黯淡的礼物。

Neil Drumming Yeah, yeah.

尼尔打鼓是啊是啊。

A bleak present and maybe no future at all, you know what I mean?

黯淡的现在，也许根本没有未来，你明白我的意思吗？

And so think about-- if you're-- I don't know.

所以想一想——如果你——我不知道。

Maybe not everyone feels this, but I've been watching-- there's just a lot of videos of terrible things happening to black people.

也许不是每个人都能感受到这一点，但我一直在观看——有很多关于黑人发生的可怕事情的视频。

It's literally like almost a genre.

从字面上看，它几乎就像一种流派。

And there's gotta be a parallel narrative, you know what I mean?

而且一定有一个平行的叙述，你知道我的意思吗？

There's gotta be a parallel narrative.

一定有一个平行的叙述。

And I think for me, the parallel narrative is Afrofuturism.

我认为对我来说，平行的叙述是非洲未来主义。

And so-- I don't know.

所以——我不知道。

It's a way of feeling like-- it's so hard for me to say this without laughing at myself, but it is genuinely hopeful.

这是一种感觉——我很难在不嘲笑自己的情况下说出这样的话，但它确实充满希望。

It's a way of feeling hope.

这是感受希望的一种方式。

We sit on a curb way too long talking about this and finally head inside the comic book store.

我们在路边坐了太久谈论这件事，最后走进了漫画书店。

It's bright and spacious and smells great, like fresh coffee.

房间宽敞明亮，闻起来很香，像新鲜的咖啡。

Decked out in posters for Wonder Woman, and Spidey, and X-Men, and Moon Girl.

海报上贴满了《神奇女侠》、《蜘蛛侠》、《X战警》和《月亮女孩》的海报。

The store was busy because Afrofuturism enthusiast and author William Jones was there to give a lecture on the history of black people in comic books.

店里很忙，因为非洲未来主义爱好者兼作家威廉·琼斯在那里做漫画书中黑人的历史讲座。

He popped a slide of a comic book cover from the '60s onto a screen.

他将一张 60 年代漫画书封面的幻灯片放到屏幕上。

This is 1966.

这是1966年。

Now we have the introduction of the Black Panther, not affiliated with the political organization.

现在我们引入了黑豹，不隶属于政治组织。

And the reason why I say that is because Marvel Comics recognize that maybe people are going to think we support the Black Panther Party, so they briefly changed his name to the Black Leopard.

我之所以这么说是因为漫威漫画认识到也许人们会认为我们支持黑豹党，所以他们短暂地将他的名字改为黑豹。

It didn't last, and folks were not buying it.

它并没有持续多久，人们并不买账。

Most of the crowd is black, and nearly every adult Neil and I talked to was familiar with the basic ideas and iconic figures of Afrofuturism, including the owner, Ariell Johnson, a super energetic 34.

大多数人群都是黑人，尼尔和我交谈过的几乎每一个成年人都熟悉非洲未来主义的基本思想和标志性人物，包括店主阿里尔·约翰逊 (Ariell Johnson)，她是一个 34 岁的超级充满活力的人。

She and Neil talked about the subject for a while, and it became clear that for Neil, Afrofuturism's really about the future, but for Ariell, it's about the present.

她和尼尔就这个话题讨论了一段时间，很明显，对于尼尔来说，非洲未来主义实际上是关于未来的，但对于阿里尔来说，它是关于现在的。

It's something she sees every day.

这是她每天都会看到的东西。

Black people today, black people who are alive and walking around, it's like, we are Afrofuturism.

今天的黑人，那些活着并四处走动的黑人，就像，我们是非洲未来主义。

There's a quote that says, I am my ancestor's wildest dreams.

有句话说，我是我祖先最疯狂的梦想。

And I think that's true.

我认为这是真的。

It's like, when we think about our history in this country, from when we were first brought here, and the condition that they were in, the freedoms that we have now, the things that we are working to accomplish and achieve, those are only things that they could have dreamed about in their wildest dreams.

就像，当我们思考我们在这个国家的历史时，从我们第一次被带到这里的时候，以及他们所处的状况，我们现在拥有的自由，我们正在努力完成和实现的事情，这些只是他们在最疯狂的梦想中所能梦想的事情。

They could not have imagined-- it's like, I own this store, you know what I mean?

他们无法想象——就像，我拥有这家商店，你知道我的意思吗？

And so I am Afrofuturism.

所以我是非洲未来主义。

You are Afrofuturism.

你是非洲未来主义。

The fact that we're walking around, we're defying and challenging stereotypes and negative images.

事实上，我们四处走动，我们正在反抗和挑战刻板印象和负面形象。

It's been a hard week for stereotypes and negative images, and it's been a brutal week for the past returning into the present and feeling like progress never comes.

对于刻板印象和负面形象来说，这是艰难的一周；对于过去回到现在、感觉进步永远不会到来的来说，这也是残酷的一周。

It's been a week where lots of us have wondered about the future in this country, where things are going.

这一周我们很多人都对这个国家的未来以及事情的进展感到好奇。

Against that, today, we pose another way to see the world.

与此相反，今天我们提出另一种看待世界的方式。

Another way to look at the future and the past that puts it in some context, and helps make sense of things, maybe gives a little hope.

另一种看待未来和过去的方式，将其置于某种背景下，有助于理解事物，也许会带来一点希望。

I'm joined in the studio right now by my colleague, Neil.

我的同事尼尔现在加入了我的工作室。

Hello.

你好。

Hey.

嘿。

Ira Glass Hey.

艾拉·格拉斯嘿。

OK, so my thinking is-- well, our thinking is, since I know really very little about this, about Afrofuturism, and you know--

好吧，所以我的想法是——好吧，我们的想法是，因为我对这个、关于非洲未来主义知之甚少，你知道——

I think I know a little bit more.

我想我知道的还多一点。

Quite a bit more.

还多了一点。

OK.

好的。

So our plan is that I'm going to go away, at least till halfway through the show, and you will stick around?

所以我们的计划是我要离开，至少直到演出进行到一半，而你会留下来？

Yeah, no, I've been writing pieces and talking to people all over the country about this, so I feel like I have a little bit of a grasp on it.

是的，不，我一直在写文章并与全国各地的人们谈论这个问题，所以我觉得我对此有了一些了解。

OK.

好的。

All right.

好的。

So I'll see you halfway through.

那么我们半程再见。

Till then, I'm going to throw some sci-fi here.

在那之前，我要在这里讲一些科幻小说。

You have the com.

你有com.

I appreciate that.

我很欣赏这一点。

All right.

好的。

Stay with us.

留在我们身边。

Act One, Metropolis Now.

第一幕，现在的大都市。

I started really puzzling over Afrofuturism a couple of years ago when I went to an Afrofuturism conference in New York.

几年前，当我去纽约参加一个非洲未来主义会议时，我开始对非洲未来主义感到困惑。

Up until that day, I'd mostly heard the term used to refer to musicians like Sun Ra or to science fiction by Samuel Delany or Colson Whitehead.

直到那天为止，我听到的这个词大多用来指代像 Sun Ra 这样的音乐家，或者指塞缪尔·德拉尼 (Samuel Delany) 或科尔森·怀特海德 (Colson Whitehead) 的科幻小说。

But at this conference, they were Afrofuturist artists, designers, programmers, filmmakers, fashionistas, healers, yoginis.

但在这次会议上，他们是非洲未来主义艺术家、设计师、程序员、电影制作人、时尚达人、治疗师、瑜伽修行者。

There was even a woman selling homemade hot pepper sauce in the lobby.

大堂里甚至还有一位女士在卖自制的辣椒酱。

I began to realize that Afrofuturism wasn't an art movement in the way that I thought of, like, Cubism or Impressionism.

我开始意识到非洲未来主义并不是我所想象的立体主义或印象派那样的艺术运动。

It wasn't static or rigidly defined.

它不是静态的或严格定义的。

The people at this conference who were so liberally applying the word were doing so because they thought it made their work seem somehow more active and vital, but I didn't understand exactly how.

这次会议上那些如此随意地使用这个词的人这样做是因为他们认为这让他们的工作在某种程度上显得更加活跃和有活力，但我不明白到底是怎么回事。

As the term became more ubiquitous and The New York Times used Afrofuturism to talk about Beyoncé's wardrobe changes, I was still trying to figure out the essence of the thing.

随着这个词变得越来越普遍，《纽约时报》用“非洲未来主义”来谈论碧昂斯的服装变化，我仍在试图弄清楚事情的本质。

Like, what makes something Afrofuturist?

比如，是什么造就了非洲未来主义？

I called the woman who'd given the keynote address back at that conference in 2015, activist and writer Adrienne Maree Brown.

我给 2015 年那次会议上发表主题演讲的女士打了电话，她是活动家兼作家艾德丽安娜·玛丽·布朗 (Adrienne Maree Brown)。

Adrienne told me that if I wanted to see Afrofuturism that I should visit her hometown, Detroit, Michigan, a post-apocalyptic city, she'd said.

艾德丽安告诉我，如果我想看到非洲未来主义，我应该去她的家乡密歇根州底特律，这是一个后世界末日的城市，她说。

The auto industry is nearly gone.

汽车工业几乎消失了。

The city's infrastructure is crumbling.

这个城市的基础设施正在崩溃。

Many people can't afford basic resources like water and light.

许多人买不起水和光等基本资源。

It's like the setting for some dystopian sci-fi story.

这就像一些反乌托邦科幻故事的背景。

As soon as I started reading up on the place, I came across this headline in the Detroit Metro Times, "Inside Ingrid LaFleur's Afrofuturist Mayoral Campaign." Wow.

当我开始阅读这个地方时，我在《底特律地铁时报》上看到了这个标题：“英格丽德·拉弗勒尔的非洲未来主义市长竞选活动的内部”。哇。

There was a woman running for mayor of Detroit, and the basis of her platform wasn't socialism or libertarianism.

有一位女性竞选底特律市长，她的政纲基础不是社会主义或自由主义。

It was Afrofuturism.

这就是非洲未来主义。

So I flew out there to hang out with her.

所以我飞到那里和她一起出去玩。

I got to hear her do some fundraising, give a speech, talk to some potential voters, and we drove around.

我听到她进行一些筹款活动，发表演讲，与一些潜在选民交谈，然后我们就开车四处走动。

And see all the different types of architecture here.

并在这里查看所有不同类型的建筑。

Ingrid is striking, impeccably styled and glamorous, yet still very bohemian, with a shock of gray in her perfectly coiffed hair.

英格丽德 (Ingrid) 引人注目，造型无可挑剔，魅力四射，但仍然非常波西米亚风格，完美的发型中带有一丝灰色的头发。

She pointed out her favorite landmarks.

她指出了她最喜欢的地标。

We visited a compact urban farm where they make something edible called Afro-Jam.

我们参观了一个紧凑的城市农场，他们在那里制作一种叫做非洲果酱的可食用食品。

We rode past a spot in Detroit's North End, where George Clinton's band Parliament-Funkadelic played one of his most iconic albums.

我们骑行经过底特律北端的一个地方，乔治·克林顿的乐队Parliament-Funkadelic在那里演奏了他最具标志性的专辑之一。

George Clinton did create the Mothership Connection in Detroit, and he performed it here on Oakland Avenue, which is the street that we're on right now.

乔治·克林顿确实在底特律创造了“母舰连接”，他在奥克兰大道上表演了它，也就是我们现在所在的街道。

Taking a reporter around and bragging about your hometown is what you'd expect from anyone running for mayor, but it wasn't long before Ingrid the Afrofuturist showed up as well.

带着记者到处吹嘘自己的家乡是任何竞选市长的人都会做的事情，但没过多久，非洲未来主义者英格丽德也出现了。

The mothership is this wonderful symbol of our future space.

母舰是我们未来空间的美妙象征。

And for me, it's this reminder of this empowering future space that can-- the possibilities of that and how it's always present.

对我来说，这提醒了我们这个赋予未来空间的力量——它的可能性以及它如何始终存在。

We were talking about stuff I knew.

我们正在谈论我所知道的事情。

I grew up listening to Parliament records too and reading the comics on the album covers.

我也是听议会唱片长大的，也读专辑封面上的漫画。

I always thought it was cool, groundbreaking stuff.

我一直认为这是很酷、具有开创性的东西。

But when Ingrid talked about it, she scaled it up to something more grand and spiritual, and a little esoteric.

但当英格丽德谈论它时，她将其扩展为更宏伟、更精神、还有一点深奥的东西。

To be honest, I found her a bit difficult to follow on this and other topics.

老实说，我发现她在这个话题和其他话题上有点难以理解。

But with her enthusiasm, she was just fun to listen to.

但由于她的热情，听她说话很有趣。

And anyway, I came to Detroit to find out about Afrofuturism, and here she was, someone super eager and ready to talk about it, whether or not what she said made sense to me.

不管怎样，我来到底特律是为了了解非洲未来主义，而她就在这里，一个超级渴望并准备谈论它的人，无论她说的话对我来说是否有意义。

But my orientation, even within Afrofuturism, has always been cosmic.

但即使在非洲未来主义内部，我的取向也始终是宇宙性的。

I'm a cosmic person.

我是一个宇宙人。

Here she is discussing time.

她在这里讨论时间。

Ingrid Lafleur Time can be defined in 20 million different ways.

Ingrid Lafleur 时间可以用 2000 万种不同的方式来定义。

It can go diagonally up.

它可以对角向上。

It can go diagonally down, below our feet, just like in the universe, right?

它可以斜向下，在我们脚下，就像在宇宙中一样，对吗？

And here she is on the subject of lunch.

她现在正在谈论午餐的话题。

Pleasure has to resonate all through the future, through your movement, into your world.

快乐必须在未来、通过你的行动、进入你的世界产生共鸣。

A pleasurable experience for me eating-wise would be eating a great green salad.

对我来说，吃一顿美味的蔬菜沙拉是一次愉快的经历。

I'm going to time travel a little myself here and let you know that Ingrid LaFleur did not win the primary.

我要在这里进行一次时间旅行，让你们知道英格丽德·拉弗勒尔没有赢得初选。

She never even got on the ballot officially.

她甚至从未正式参加过投票。

When I was there with the election rapidly approaching, she was still sorting out her policy points.

当我在那里时，选举临近，她仍在整理她的政策要点。

She talked to me vaguely about reviving Detroit's creative economy to rival the glory days of Motown and about the city's litter problem.

她含糊地向我谈到了复兴底特律的创意经济以与汽车城的辉煌岁月相媲美，以及该市的垃圾问题。

Two days before the primary, she published a more thorough plan that called for, among other things, a universal basic income for Detroiters paid partly in digital currency.

初选前两天，她发布了一项更彻底的计划，其中包括要求底特律人实行全民基本收入，部分收入以数字货币支付。

I guess that's pretty futuristic.

我想这非常具有未来感。

But at the heart of Ingrid's campaign was an idea that I found far more compelling than any specific policy she put forth.

但英格丽德竞选活动的核心是一个想法，我发现它比她提出的任何具体政策都更具说服力。

In her plan for Detroit, she writes, "In order to manifest true revitalization, we must consider the histories and oppressions of the Black American population.

她在底特律的计划中写道：“为了实现真正的复兴，我们必须考虑美国黑人的历史和压迫。

The foundation of every institution, government, police, education, the museum was built to silence, disallow, displace, and render powerless Black Americans.

博物馆是每个机构、政府、警察、教育的基础，其建立的目的是为了压制、禁止、取代和使美国黑人变得无能为力。

These institutions were never created for Black Americans to truly prosper.

这些机构从来不是为了让美国黑人真正繁荣而创建的。

It's time for a new plan."

是时候制定新计划了。”

That's not something you hear from many politicians, but it makes sense here because Detroit is 80% Black.

许多政客不会这么说，但在这里这是有道理的，因为底特律 80% 是黑人。

Fixing the city means fixing it for Black people.

修复这座城市意味着为黑人修复它。

Ingrid sees Black Americans as the protagonist in the story of Detroit, its future and its past.

英格丽德将美国黑人视为底特律及其未来和过去故事的主角。

When I was growing up, people loved to say it was like 110% Black.

在我成长的过程中，人们喜欢说它就像 110% 黑人。

It was super Black.

这是超级黑。

It was just Black.

这只是黑色。

This is the other thing about Ingrid.

这是英格丽德的另一件事。

Maybe she's idealizing.

也许她正在理想化。

I wouldn't know.

我不知道。

But she carries a shining vision of Detroit's past with her everywhere she goes.

但无论走到哪里，她都带着对底特律过去的闪亮憧憬。

We drove past vacant houses and empty lots.

我们开车经过空置的房屋和空地。

So much of Detroit is falling apart, neglected or abandoned.

底特律的大部分地区正在分崩离析、被忽视或被遗弃。

But underneath it all, she still sees a vibrant city populated with a thriving Black middle class.

但在这一切的背后，她仍然看到了一个充满活力的城市，居住着蓬勃发展的黑人中产阶级。

I grew up walking through this park at dusk.

我从小就在黄昏时穿过这个公园。

There would be people riding bikes, jogging, playing squash at dusk.

黄昏时分，人们会骑自行车、慢跑、打壁球。

Like, it's getting dark.

比如说，天快黑了。

And my mother and I, we felt completely comfortable and safe walking through these woods.

我和我的母亲，穿过这些树林感到非常舒适和安全。

In the car, we talked about Afrofuturism.

在车上，我们谈论了非洲未来主义。

At one point, I told her about the conference that I'd been to and how by now I'd heard the word "Afrofuturism" used to describe everything from comic books to condiments.

有一次，我告诉她我参加过一次会议，以及我现在如何听到“非洲未来主义”这个词用来形容从漫画书到调味品的一切事物。

But it wasn't coming into focus for me.

但它并没有成为我的焦点。

I was starting to wonder if it was just a term for putting a positive spin on anything a Black person has ever done or will ever do.

我开始怀疑这是否只是一个对黑人曾经做过或将要做的事情给予积极评价的术语。

Like, I was moved by the optimism that seems inherent in Afrofuturism.

就像，我被非洲未来主义固有的乐观主义所感动。

Yes.

是的。

Neil Drumming But I was also like, if it's everything, then what is the point of it?

Neil Drumming 但我也想，如果这就是一切，那还有什么意义呢？

But that is the point, imagining a more healthier present and future, and kind of recontextualizing the past so that it's empowering instead of victimizing.

但这就是重点，想象一个更健康的现在和未来，并重新审视过去，这样它就会赋予人们力量，而不是成为受害者。

It's our way of not only surviving, but it's also a way of healing in the moment because there's constant traumas that we're dealing with, historical and present day.

这不仅是我们生存的方式，也是当下治愈的方式，因为我们正在处理持续不断的创伤，无论是历史上的还是现在的。

So it's a way of allowing ourselves to shapeshift, to accommodate whatever comes our way.

所以这是一种允许我们改变自己的方式，以适应我们遇到的任何事情。

Ingrid eventually dropped me back at my hotel.

英格丽德最终把我送回酒店。

Earlier, she'd given me a greasy brown bag containing a cookie, which I now finally got around to eating.

早些时候，她给了我一个油腻的棕色袋子，里面装着一块饼干，现在我终于有时间吃它了。

It turned out to be the most delicious gluten-free cookie I'd ever tasted, but I was still feeling hungry and a bit confused by our conversation.

事实证明，这是我吃过的最美味的无麸质饼干，但我仍然感到饥饿，并且对我们的谈话感到有点困惑。

Whatever bigger point she had been making about Afrofuturism, I was afraid that it had been lost on me.

无论她对非洲未来主义提出了什么更重要的观点，我恐怕都没有理解。

I went looking for a burger and a stiff drink to mull it over.

我去找了一个汉堡和一杯烈性饮料来仔细考虑。

At a bar, over bourbon, I met a guy that I'm going to call Sam, with dark skin and hints of gray in his sideburns that portrayed his boyish face.

在一家酒吧，喝着波本威士忌时，我遇到了一个人，我将称他为山姆，他皮肤黝黑，鬓角略带灰色，勾勒出他孩子气的脸。

He was dressed for a night on the town-- light blazer, Burberry shirt, patterned silk scarf.

他在镇上过夜时穿着轻便的西装外套、Burberry 衬衫、带图案的丝巾。

I asked him and another patron, both Detroit residents, if they'd heard of Ingrid LaFleur for mayor.

我问他和另一位底特律居民是否听说过英格丽·拉弗勒尔担任市长。

They hadn't.

他们没有。

When Sam got up to pay his check after we'd only been talking for a few minutes, he surprised me by asking if I wanted to go with him to check out some of the other spots around town.

当我们只聊了几分钟后，萨姆起身去付支票时，他问我是否愿意和他一起去看看镇上的其他一些地方，这让我感到惊讶。

I wasn't dressed for it, and I'd left my recording equipment in my room, but what the hell?

我没有穿好衣服，而且我把录音设备留在了我的房间里，但这到底是怎么回事？

Sam said it was OK for me to describe what happened next.

萨姆说我可以描述接下来发生的事情。

Sam had a nice car, a Mercedes.

萨姆有一辆好车，一辆奔驰。

It never cost him more than $10 to park it in a lot.

他把车停在停车场的花费从未超过 10 美元。

He loved that about Detroit.

他喜欢底特律的这一点。

Parking was so cheap.

停车费太便宜了。

He'd moved here from New York some time in the late '90s and fallen hard for the city.

他在 90 年代末的某个时候从纽约搬到了这里，并深深地爱上了这座城市。

As we drove, he talked up the real estate.

我们一边开车，他一边谈论着房地产。

He talked about his job and the IT business he ran out of his home.

他谈到了他的工作以及他在家里经营的 IT 业务。

Things seemed to be going well.

事情似乎进展顺利。

We met up with Sam's friend, Rick, a bald, bearded, alpha male type in a reddish leather jacket, and followed him in his new BMW to a place called The Griot.

我们遇到了山姆的朋友里克，他是一个秃头、留着胡子、穿着一件红色皮夹克的大男人，然后开着他的新宝马跟着他去了一个叫“格里奥特”的地方。

It was the type of establishment what's commonly referred to as grown and sexy.

这是一种通常被称为“成熟而性感”的机构类型。

Rick ordered another round of bourbon and some wings, and flirted with the bartender.

里克又点了一杯波本威士忌和一些鸡翅，并与酒保调情。

By now it was clear that these guys were looking to meet women.

到目前为止，很明显这些人正在寻找女性。

And that was weird because of this thing that Sam had told me earlier while we were in the car together.

这很奇怪，因为之前我们一起在车里时萨姆告诉过我这件事。

He'd said that not too long ago, his wife had gotten sick, and he'd taken care of her for a year.

他说不久前，他的妻子生病了，他照顾了她一年。

And then she died, leaving Sam and their teenage son with only each other.

然后她死了，只剩下萨姆和他们十几岁的儿子。

Sam didn't actually want to be doing what we were doing tonight.

萨姆实际上并不想做我们今晚正在做的事情。

This was, like, only his second time out as a single man.

这似乎是他作为单身汉第二次外出。

He didn't feel ready to meet women, to date, but he also felt like it was time.

到目前为止，他觉得还没有准备好与女性约会，但他也觉得是时候了。

He couldn't wait forever.

他不能永远等待。

So he was doing what he felt like he had to do to move forward.

所以他正在做他认为必须做的事情才能继续前进。

Sam and Rick took me to a few different spots that night, but the one that I remember the most was a place called Floods.

那天晚上，萨姆和瑞克带我去了几个不同的地方，但我印象最深刻的是一个叫洪水的地方。

From the outside, it looked like a common family restaurant.

从外面看，它就像一个普通的家庭餐馆。

I thought it was closed until we rounded the corner and saw the cluster of people leaving their cars with the valet.

我以为它已经关门了，直到我们拐过拐角，看到一群人把车交给代客泊车。

Inside, Floods was huge.

里面，洪水很大。

Sam said it was probably about 2,500 square feet.

Sam 说大概有 2,500 平方英尺左右。

A massive bar separated two rooms.

一个巨大的酒吧分隔了两个房间。

At one point, there was both a band and a DJ playing simultaneously.

有一次，乐队和 DJ 同时演奏。

And wall to wall, there were well-dressed, grown-up Black folks dancing and singing along to classic soul, funk, and R&B.

整面墙都是穿着考究的成年黑人，随着经典灵魂乐、放克和 R&B 的节奏载歌载舞。

It reminded me of how Ingrid had described the Detroit she grew up in and its thriving Black middle class.

这让我想起英格丽德如何描述她长大的底特律及其蓬勃发展的黑人中产阶级。

110% Black, she'd said-- super Black, just Black.

110% 黑人，她说过——超级黑人，就是黑人。

I'd been drinking all night, so yeah, I was already a little in my feelings.

我整个晚上都在喝酒，所以是的，我已经有点情绪化了。

But I swear, I teared up at the sight of it all.

但我发誓，看到这一切我泪流满面。

Sam hadn't wanted to come to Floods at first because he thought too many people would recognize him.

萨姆一开始并不想来弗拉兹，因为他认为太多人会认出他。

I think he didn't want to be judged for being out on the town after his wife's death.

我想他不想因为妻子去世后还在城里而受到评判。

And when we walked in, he seemed a little uncomfortable.

当我们走进去时，他似乎有点不舒服。

We split up for a while, and later he found me standing in a corner at the edge of the dance floor, mesmerized.

我们分开了一段时间，后来他发现我站在舞池边缘的一个角落里，神情恍惚。

He pulled out his phone and showed me the number he'd just gotten of a beautiful woman who'd walked in earlier and drawn quite a bit of attention.

他拿出手机，给我看了他刚刚收到的一个漂亮女人的号码，她早些时候走进来，引起了相当多的注意。

Earlier in the day, Ingrid had said a bunch of Afrofuturist stuff to me about Detroit, shapeshifting, and reckoning with its past, and healing.

当天早些时候，英格丽德对我说了一堆关于底特律、变形、反思过去以及治愈等非洲未来主义的话题。

I felt like I was seeing some smaller version of that now with Sam.

我觉得我现在和萨姆一起看到了一些较小的版本。

Most days, he was probably just a guy in some pain, struggling to survive this very traumatic thing that happened.

大多数时候，他可能只是一个处于痛苦之中的人，在发生的这件非常痛苦的事情中挣扎着生存。

But tonight, in spite of that, Sam was imagining a better future and doing something about it.

但今晚，尽管如此，萨姆仍在想象一个更美好的未来，并为此采取了一些行动。

He smiled, shouted some words of encouragement at me over the music, and waded back into the crowd.

他微笑着，在音乐中对我喊了一些鼓励的话，然后涉水回到了人群中。

His spirits were up.

他的精神振奋起来。

His evening wasn't over.

他的夜晚还没有结束。

Act Two, Past and Perfect.

第二幕，过去时和完成时。

So there's this idea that occurs over and over in Afrofuturism that, summed up, basically says the past is always with us.

因此，非洲未来主义中反复出现了这种想法，总结起来，基本上就是说过去总是与我们同在。

It affects us.

它影响着我们。

It has the power to make us stronger if we learn how to use it properly.

如果我们学会如何正确使用它，它就能让我们变得更强大。

Some West African cultures represent this idea with the image of what's called the Sankofa bird.

一些西非文化用桑科法鸟的形象来表达这一想法。

It's a bird walking forward, but with its head looking backward, meaning no matter what, we carry the past with us into the future.

这是一只向前走的鸟，但它的头向后看，这意味着无论如何，我们都会带着过去走向未来。

In one of the most well-known Afrofuturist novels, Kindred by Octavia Butler, the main character finds herself traveling back and forth between her normal, contemporary life in the present, and the world of her ancestors in the Antebellum South, where she's treated like a slave.

在最著名的非洲未来主义小说之一奥克塔维亚·巴特勒（Octavia Butler）的《亲属》（Kindred）中，主角发现自己在正常的当代生活和战前南部她祖先的世界之间来回穿梭，在那里她被当作奴隶对待。

And the two time periods start to merge.

这两个时间段开始融合。

That's fiction.

那是小说。

Our next story is told by a woman who went through a version of that in real life.

我们的下一个故事是由一位在现实生活中经历过类似情况的女人讲述的。

When I graduated from NYU with a BA in drama and a mostly unplanned double major in anthropology, my mother asked me, what are you going to do with that, act in a museum?

当我从纽约大学毕业，获得戏剧学士学位和人类学双学位时，我母亲问我，你打算用它做什么，在博物馆表演？

This seemed especially rude coming from a sociologist, but she had a point.

这话出自一位社会学家之口似乎特别粗鲁，但她说得有道理。

For the first few years of my adult life, that's exactly what I did.

在我成年后的头几年，我就是这么做的。

During those years, Azie Dungey was living in her hometown, a suburb of Washington DC, working as an actor at night in plays for which she was paid almost nothing.

那些年里，阿齐·邓吉住在家乡华盛顿特区的郊区，晚上在戏剧中担任演员，但几乎没有报酬。

And to make some extra cash for Christmas, she took a gig, time traveling to the least desirable job of the 18th century.

为了在圣诞节赚点外快，她找了一份零工，时间旅行到了 18 世纪最不理想的工作。

She was a slave, or she played one anyway, performing for tourists at George Washington's estate, Mount Vernon, for weekend events called Mount Vernon by Candlelight.

她是一名奴隶，或者无论如何她扮演了一个奴隶，在乔治·华盛顿的弗农山庄园为游客表演，参加名为“弗农山烛光”的周末活动。

The halls of the mansion were decked for Christmas.

宅邸的大厅装饰得充满了圣诞节气息。

Visitors would walk through, stopping in each room to meet a character and hear their monologue about the season.

参观者会走过每个房间，在每个房间停下来遇见一个角色，并听到他们关于这个季节的独白。

There was Mrs. Washington, beloved wife, Dr. James Craik, Washington's physician and best bud, Nellie Custis, sweet-natured granddaughter, and me, Caroline Branham, slave.

其中有华盛顿夫人，心爱的妻子，詹姆斯·克雷克医生，华盛顿的医生和最好的朋友，内莉·卡斯蒂斯，性情甜美的孙女，还有我，卡罗琳·伯兰罕，奴隶。

I had a script that I used to talk about Caroline's life.

我有一个剧本，用来谈论卡罗琳的生活。

It was short.

时间很短。

Besides the odd "I'm a slave at Christmas too, a slave to my husband and kids" joke from 40-year-old white women, people were interested and respectful.

除了 40 岁白人女性开的“圣诞节时我也是奴隶，丈夫和孩子的奴隶”这样的奇怪玩笑外，人们对此很感兴趣，也很尊重。

After Christmas, I decided to stay on the job.

圣诞节过后，我决定继续工作。

It started out fine.

开始一切顺利。

The winter weather meant the visitors were mostly local and relatively few.

冬季天气意味着游客主要是当地人，而且相对较少。

I enjoyed my daily walks on the tree-lined lanes, soft snow falling on my hooded mulberry-colored cape as I looked out at the stunning view of the Potomac River.

我喜欢每天在绿树成荫的小路上散步，当我眺望波托马克河的壮丽景色时，柔软的雪落在我的桑葚色斗篷上。

And when it was too cold, I would stay in the library and read through musty old books and primary source letters and notations that helped me understand this distant world I inhabited and the woman I portrayed.

当天气太冷时，我会呆在图书馆里，阅读发霉的旧书和主要来源字母和符号，帮助我了解我居住的这个遥远的世界和我描绘的女人。

I was Caroline Branham, a real woman who had been housemaid to Mrs. Washington.

我是卡罗琳·伯兰罕，一个真正的女人，曾经是华盛顿夫人的女仆。

I studied Caroline's life and times for months.

我花了几个月的时间研究卡罗琳的生活和时间。

And every day when I put on a beautiful crimson dress with tiny yellow and green flowers, I became her.

每天，当我穿上一件美丽的深红色连衣裙，上面开着黄色和绿色的小花时，我就成了她。

With each eyelet I laced on my corset, I felt myself get closer to her posture, how her body related to the world.

随着我在紧身胸衣上系上每个孔眼，我感觉自己越来越接近她的姿势，以及她的身体与世界的关系。

With my hair pulled back in two large French braids under a bonnet, I sat on a bench and set my fingers to the work Caroline did-- rows of stitches on shirts and brightly colored embroidery.

我把头发向后梳成两条法式大辫子，戴在帽子下，坐在长凳上，把手指放在卡罗琳做的工作上——衬衫上的一排针脚和色彩鲜艳的刺绣。

I could picture her laying down her head at night next to her husband, Peter, and their six children-- Wilson, Rachel, Jemima, Leanthe, Polly, and little Peter.

我可以想象她晚上躺在她丈夫彼得和他们的六个孩子旁边——威尔逊、雷切尔、杰米玛、莉安特、波莉和小彼得。

I imagined how she hoped that one day they would wake up in a world better than the one she'd been given.

我想象着她多么希望有一天他们醒来时会发现一个比她所拥有的更好的世界。

Then spring came, and tourists from around the country started pouring into Mount Vernon.

春天来了，来自全国各地的游客开始涌入弗农山。

My job was to simply be available to the visitors, to talk to them and answer their questions as Caroline.

我的工作就是以卡罗琳的身份为来访者提供服务，与他们交谈并回答他们的问题。

This time, there was no script.

这一次，没有剧本。

And I realized pretty quickly that just being there, existing as a Black woman in that place, was a threat to the fantasy of a noble America.

我很快意识到，仅仅作为一名黑人女性存在在那里，就对高贵的美国的幻想构成了威胁。

I was the stain on George Washington's white house.

我是乔治·华盛顿白宫上的污点。

And I watched them grapple with this right in front of me.

我看着他们在我面前努力解决这个问题。

Me, the least confrontational human being you'll ever meet.

我，是你见过的最不具有对抗性的人。

I mean, it took me till I was 25 years old to tell my mom I did not like her baked tofu smothered in Kraft barbecue sauce.

我的意思是，我直到 25 岁才告诉妈妈我不喜欢她的卡夫烧烤酱烤豆腐。

Some people were so uncomfortable with me that they bumbled through the first random thing that came to their mind.

有些人对我感到非常不舒服，以至于他们脑子里想到的第一件事就笨手笨脚地想出来了。

You're a slave?

你是奴隶？

Oh, OK.

哦，好吧。

So are the vegetables in the garden real?

那么菜园里的蔬菜是真的吗？

Fake vegetables.

假蔬菜。

This is an outdoor garden.

这是一个室外花园。

They are literally coming out of the ground, and there is a man standing there watering them.

它们确实是从地里钻出来的，有一个人站在那里给它们浇水。

Or they immediately asked questions with obvious answers that they just hadn't thought through.

或者他们立即提出问题，并给出明显的答案，但他们只是没有考虑清楚。

Why don't you go up to Massachusetts and go to school instead of being a slave, one person asked.

一个人问道，你为什么不去马萨诸塞州上学，而不是当奴隶。

Right, as soon as I can get rid of this very obvious brown skin, steal a horse and a map that I can't read, I will be on my way.

是的，只要我能摆脱这个非常明显的棕色皮肤，偷一匹马和一张我看不懂的地图，我就上路了。

Or they'd go into immediate denial mode, like the old woman who out of nowhere yelled at me, George Washington had no slaves.

或者他们会立即进入否认模式，就像那位老妇人突然对我大喊大叫，乔治·华盛顿没有奴隶。

I said, yes, he did.

我说，是的，他做到了。

She responded, no, he didn't.

她回答说，不，他没有。

And this went on back and forth until her son got embarrassed and pulled her away.

这样一来二去，直到她的儿子感到尴尬，把她拉走了。

Or they offered another offense as some sort of defense.

或者他们提供另一种进攻作为某种防御。

But the Irish were slaves too.

但爱尔兰人也是奴隶。

OK, that's not really true.

好吧，事实并非如此。

And what the hell does that have to do with me?

这到底和我有什么关系？

And of course, there were those who would take the opportunity to teach me instead.

当然，也有人愿意借此机会来教我。

You know, slavery was a good, industrious life where you got room and board for your work.

你知道，奴隶制是一种美好而勤劳的生活，你可以为工作提供食宿。

Mm-hm, a one-room cabin they built themselves with eight people sleeping on a dirt floor and a bag of cornmeal every week-- room and board.

嗯嗯，他们自己建造了一个单间小屋，八个人睡在肮脏的地板上，每周有一袋玉米粉——食宿。

It was just a bizarre situation to be in, playing Caroline.

扮演卡罗琳真是一个奇怪的情况。

I'd be sitting next to Miss Nellie in the midst of her roleplay, who'd be going on and on about the lovely letters that her dear grand-papa, George Washington, had written her, or all the fancy soirées that she attended.

我会坐在内莉小姐的旁边，她正在扮演角色，她会不停地谈论她亲爱的祖父乔治·华盛顿写给她的可爱的信，或者她参加的所有华丽的晚会。

We'd be in the greenhouse with a gorgeous garden outside on an estate that overlooked the Potomac.

我们会在温室里，外面有一个美丽的花园，位于俯瞰波托马克河的庄园里。

I'd literally hear white visitors sigh, listening to Miss Nellie read from her letters, full of nostalgia for this time long gone.

我确实听到白人游客叹息，听内莉小姐读她的信，充满了对那段早已逝去的时光的怀念。

They'd talk about how much simpler things were back then, how touching George Washington's letters were, what a fine man, and how lucky Miss Nellie was to live such a charming life.

他们会谈论那时的事情是多么简单，乔治·华盛顿的信是多么感人，他是一个多么好的人，以及内莉小姐能过上如此迷人的生活是多么幸运。

It was charming.

很迷人。

I was charmed by it.

我被它迷住了。

Then it'd be my turn.

然后就轮到我了。

Here's what I talked about-- how my husband is rented from Mrs. Washington's relative and how he could be sent back at any time, how I go home to my cabin at night hoping that none of my children have been sold, that once my friend was whipped so bad her fingers were torn and she couldn't sew for three weeks-- all real stuff from Caroline Branham's life.

这就是我所说的——我的丈夫是如何从华盛顿夫人的亲戚那里租来的，如何可以随时把他送回来，我如何在晚上回到我的小屋，希望我的孩子没有被卖掉，有一次我的朋友被鞭打得很厉害，她的手指被撕裂了，三个星期都不能做针线活——所有这些都是来自卡罗琳·伯兰罕生活的真实故事。

One time, an old lady just walked up to me while I was talking, hugged me, whispered, "I'm sorry," and walked away.

有一次，当我说话时，一位老太太走到我面前，拥抱我，低声说：“对不起”，然后就走开了。

Another time, a man handed me a $20 bill.

还有一次，一个男人递给我一张 20 美元的钞票。

So I guess that was reparations.

所以我猜那是赔偿。

In Caroline's day, there were typically no more than 10 white people who lived in the Washington household at any given time.

在卡罗琳时代，在任何特定时间，华盛顿家里居住的白人通常不超过 10 人。

Meanwhile, there were 316 slaves.

与此同时，还有316名奴隶。

And who was there to tell their story?

谁在那里讲述他们的故事？

Me.

我。

I was the only Black actor.

我是唯一的黑人演员。

So I felt like it was up to me to be all 316 people, to research them too, so I could talk about my friend the blacksmith or Delphi the wool spinner.

所以我觉得我有责任成为这 316 个人，对他们进行研究，这样我就可以谈论我的铁匠朋友或羊毛纺纱工德尔菲。

I learned so much about being a slave that to this day, there is space in my brain devoted to this information.

我学到了很多关于成为奴隶的知识，以至于直到今天，我的大脑中仍然有空间专门用于这些信息。

Like, I can tell you how to shine silver with horse urine, which herbs to use to make your owner sick, but not kill her, how beating a slave and then dousing them with saltwater to disinfect the wounds was called pickling.

比如，我可以告诉你如何用马尿擦亮银子，用什么草药让你的主人生病，但不能杀死她，如何殴打奴隶，然后用盐水浇在伤口上消毒，这叫做腌制。

Pickling-- I hate that I know that.

Pickling——我讨厌我知道这一点。

As my time at Mount Vernon went on, I began to notice there was something that would happen in particular with white men.

随着我在弗农山庄的日子继续下去，我开始注意到有些事情会发生，特别是在白人身上。

It was like, almost despite themselves, they would act out the power dynamic from 1797.

就好像他们几乎不由自主地表现出了 1797 年以来的权力动态。

I can remember at least five times when a white man of a certain age sat on a bench way too close to me and said something like, I used to be into a black girl, back when I was young.

我记得至少有五次，一个特定年龄的白人坐在离我太近的长凳上，说了类似这样的话：我年轻时曾经喜欢过一个黑人女孩。

Then he would pause, presumably waiting for my response.

然后他会停下来，大概是在等待我的回应。

What am I supposed to say to that, exactly?

我到底应该说什么呢？

Thank you?

谢谢你？

Once, a man got physical.

有一次，一个男人有了身体。

I was walking down the lane on a particularly hot and busy day when a tall, burly, white man grabbed my arm, pulled me towards him, and said, show me where you're branded.

在一个特别炎热和忙碌的日子里，我沿着小巷散步，一个高大魁梧的白人抓住我的手臂，把我拉向他，然后说，让我看看你的烙印在哪里。

I was startled and could only get out the words, sir, I haven't been branded.

我吓了一跳，只能吐出一句话，先生，我没有被烙印。

And then he and his wife began laughing heartily.

然后他和他的妻子开始开怀大笑。

Well, you got it good up here.

嗯，你在这里做得很好。

We're from South Carolina, and they branded them down there.

我们来自南卡罗来纳州，他们在那里给我们打上了烙印。

Girl, you got it good.

姑娘，你做得很好。

And then one time, one of the guys I work with, also in costume, wearing a tricorn hat, he and I were walking from the farm back to the mansion, and we decided to take the forest trail.

有一次，和我一起工作的一个人，也穿着戏服，戴着三角帽，他和我从农场步行回宅邸，我们决定走森林小道。

We were having a nice, normal conversation when out of the blue he says, hey, let's re-enact a slave rape.

我们正在进行愉快、正常的谈话，突然他说，嘿，让我们重演一场奴隶强奸案。

You tear up your clothes a little bit and go running out of the forest screaming, and I'll follow behind you, pulling up my pants.

你撕破衣服，尖叫着跑出森林，我就跟在你后面，拉起裤子。

He laughed.

他笑了。

I didn't say anything.

我什么也没说。

I just sort of tittered.

我只是有点窃笑。

I [BLEEP] tittered.

我[BLEEP]窃笑。

That's an old timey, fancy way of saying I laughed with the bastard.

这是一种古老而奇特的说法，用来表示“我和那个混蛋一起笑”。

I laughed because I didn't know what else to do, because I felt completely and utterly powerless.

我笑了，因为我不知道还能做什么，因为我感到完全无能为力。

I started calling in sick a lot because I was sick a lot.

我开始经常请病假，因为我病得很厉害。

My stomach would twist and turn.

我的胃会翻腾。

I would sometimes get a choking feeling and cough as if to vomit, but nothing was there.

有时我会感到窒息并咳嗽，好像要呕吐，但什么也没有。

I had terrible headaches, and I couldn't do anything but sleep.

我头疼得厉害，除了睡觉什么也做不了。

And one day, it occurred to me that Caroline felt this way too, this exact way.

有一天，我突然想到卡罗琳也有这种感觉，正是这种感觉。

The farm manager who oversaw slaves on the mansion house farm noted that Caroline, quote, "complained of a pain in her head and side," and had, quote, "a very dry bad cough." George Washington's friend, Dr. Craik, is recorded as having treated her for such bad stomach pains that he had to bleed her, give her stomach drops, and prescribed 20 pills for bowel obstruction.

负责管理豪宅农场奴隶的农场经理指出，卡罗琳“抱怨头部和侧面疼痛”，并且“咳嗽得很厉害”。据记录，乔治·华盛顿的朋友克雷克医生曾治疗过她严重的胃痛，以至于不得不给她放血、给她滴胃药，并开了 20 粒治疗肠梗阻的药。

My job was to inhabit Caroline's life, but she started inhabiting mine.

我的工作是占据卡罗琳的生活，但她开始占据我的生活。

I had this weird sensation that I was living in multiple time periods at once, like the Sankofa bird.

我有一种奇怪的感觉，我同时生活在多个时间段，就像桑科法鸟一样。

I started seeing Mount Vernon everywhere in the modern world.

我开始在现代世界随处看到弗农山。

An evolutionary psychologist wrote a blog post for Psychology Today, where he claimed that he'd objectively proved that Black women are the least attractive of all races of women with science.

一位进化心理学家为《今日心理学》撰写了一篇博客文章，他声称他已经用科学客观地证明了黑人女性是所有种族女性中最没有吸引力的。

This happened in the year of our Lord 2011.

这发生在我们的主2011年。

I saw this only a few days after reading Thomas Jefferson's Notes on the State of Virginia for work.

我在阅读托马斯·杰斐逊的《弗吉尼亚州工作笔记》几天后就看到了这一点。

Apparently Jefferson-- who, by the way, was known to have slaves with the lightest skin possible-- had come to the same conclusion about my race and gender over 200 years ago.

显然，杰斐逊——顺便说一句，他以拥有尽可能浅肤色的奴隶而闻名——在 200 多年前就对我的种族和性别得出了同样的结论。

He said that black men prefer white women, and black women are preferred by orangutans.

他说黑人男性更喜欢白人女性，而猩猩更喜欢黑人女性。

Oh, so that's why I'm single.

哦，原来如此，所以我还是单身。

Then, Trayvon Martin.

然后是特雷冯·马丁。

I was watching the news one evening about a black boy harassed and pursued by a white Latino man who was convinced that he didn't belong in his neighborhood.

一天晚上，我正在看一则新闻，内容是一名黑人男孩被一名拉丁裔白人骚扰和追逐，这名白人确信他不属于他的社区。

And because of this compulsion, the innocent black boy ended up dead.

由于这种强迫，这个无辜的黑人男孩最终死了。

My heart was in my gut.

我的心在我的肠子里。

The first thought that came into my head, he didn't have his pass.

我脑子里第一个念头是：他没有通行证。

Pass?

经过？

I shook it off.

我把它甩掉了。

No, that can't be right.

不，那是不对的。

When a slave left their plantation, they had to carry a pass from their master or overseer saying where they were going and when they were expected to return.

当奴隶离开他们的种植园时，他们必须携带主人或监工的通行证，说明他们要去哪里以及预计何时返回。

Not having your pass, or your free papers if you were free, was dangerous.

没有通行证，或者如果你有空的话，没有你的免费证件是很危险的。

At any time, any white person could stop you and demand to see your pass.

任何时候，任何白人都可以拦住你并要求查看你的通行证。

If you didn't produce it, you were thrown in jail.

如果你没有出示它，你就会被关进监狱。

Having black skin alone was enough to make you suspicious, and a white stranger could be the judge and jury of your fate.

光是黑皮肤就足以让你产生怀疑，而一个白人陌生人可能会成为你命运的法官和陪审团。

Trayvon Martin didn't have his pass.

特雷冯·马丁没有拿到传球。

There's a thing white people say to black people all the time.

白人总是对黑人说一句话。

I've had it said to me.

有人对我说过。

Why don't you just get over it-- "it" being slavery and all historical oppression.

你为什么不克服它——“它”就是奴隶制和所有历史压迫。

Why don't you just get over it, they say.

他们说，你为什么不克服它呢？

It's in the past.

这是过去的事了。

What I would say to white people in response is that you're not over the past.

作为回应，我想对白人说的是，你们还没有忘记过去。

Every year, you flock from all over the country to Mount Vernon and other places like it-- to monuments, and museums, and reenactments.

每年，您都会从全国各地涌向弗农山和其他类似的地方——参观纪念碑、博物馆和重演活动。

There's President's Day and the fireworks that blast over George Washington's house every 4th of July.

每年 7 月 4 日是总统日，乔治华盛顿的宅邸上空都会燃放烟花。

There are the Confederate flags and statues of Robert E.

这里有南方联盟旗帜和罗伯特·E·肯尼迪的雕像。

Lee that you don't want taken down.

李说你不想被拿下。

No, I can't get over it, and neither can you.

不，我无法克服它，你也不能。

None of us can.

我们谁都不能。

Azie Dungey.

阿齐·邓吉。

These days, she's co-executive producer on a new comedy from Lena Waithe called Twenties, and writing a book of essays about her experiences at Mount Vernon, called How I Survived the 18th Century.

如今，她是莉娜·维特 (Lena Waithe) 的一部新喜剧《二十年代》(Twenties) 的联合执行制片人，并写了一本关于她在弗农山庄的经历的散文集，《我如何度过了 18 世纪》(How I Survived the 18th Century)。

Coming up, we warp from the past back to the future, to Daveed Diggs and an underwater world of tomorrow.

接下来，我们从过去回到未来，回到戴维德·迪格斯和明天的水下世界。

That's in a minute from Chicago Public Radio when our program continues.

芝加哥公共广播电台一分钟后我们的节目仍在继续。

It's This American Life.

这就是美国生活。

I'm Ira Glass.

我是艾拉·格拉斯。

Today's program, we are in the future, which we first broadcast in 2017, a show inspired by Afrofuturism, which my co-worker Neil Drumming became interested in back then as a lens to view the future, the past, and the present.

今天的节目《我们在未来》是我们在 2017 年首次播出的节目，灵感来自于非洲未来主义，我的同事 Neil Drumming 当时就对它产生了兴趣，作为观察未来、过去和现在的镜头。

When we made this episode a few years ago, we named it after an album by the experimental jazz artist Sun Ra, We Are in the Future.

几年前，当我们制作这一集时，我们以实验爵士艺术家 Sun Ra 的一张专辑《We Are in the Future》命名它。

And now here we are in the future, three years later.

现在我们已经来到了未来，三年后。

It does not look good here, and it feels even worse.

这里看起来不太好，而且感觉更糟。

In terrifying ways, it resembles the futures of so many dystopian sci-fi novels that I was once happy to think of as merely fiction.

它以可怕的方式与许多反乌托邦科幻小说的未来相似，而我曾经很高兴地认为这些小说只是小说。

Still, even though this episode was created from hopefulness, pain, confusion, rage, they were all baked into it because that is the reality of being Black in America.

尽管如此，尽管这一集是由希望、痛苦、困惑、愤怒创造的，但他们都融入其中，因为这就是美国黑人的现实。

Afrofuturism doesn't say that Black people won't still be fighting for rights, dignity, breath, even as private corporations are building rockets to send tourists into space.

非洲未来主义并不意味着黑人不会继续为权利、尊严、呼吸而战，即使私营公司正在建造火箭将游客送入太空。

Afrofuturism just asserts that we will still be here then and that fight will still be in us.

非洲未来主义只是断言，那时我们仍然会在这里，战斗仍然会在我们心中。

Here's a song by Sun Ra, a little bit of call and response.

这是 Sun Ra 的一首歌，一点点的呼唤和回应。

It's called "The Space Age Is Here to Stay."

它被称为“太空时代将继续存在”。

(SINGING) It's going to be like your ancestors said, even though they're cold and dead.

（唱）这将会像你的祖先所说的那样，尽管他们已经寒冷而死了。

The space age is here to stay.

太空时代即将到来。

Space age is around to stay.

太空时代即将到来。

Yeah, the space age is here to stay.

是的，太空时代已经到来。

Space age is here to stay.

太空时代即将到来。

Act Three, The Black Sea.

第三幕，黑海。

Ira Glass So this one I know about.

Ira Glass 我知道这个。

There's this hip hop group called CLPPNG.

有一个嘻哈乐队叫 CLPPNG。

It's Bill Hutson, Jonathan Snipes, and Daveed Diggs, who, listeners might know-- Daveed Diggs is on the soundtrack to Hamilton.

这是比尔·赫特森、乔纳森·斯奈普斯和戴维德·迪格斯，听众可能知道他们——戴维德·迪格斯是《汉密尔顿》的配乐。

He plays Lafayette and Thomas Jefferson.

他扮演拉斐特和托马斯·杰斐逊。

And we commissioned CLPPNG to write a sci-fi story for us, a song.

我们委托中电巴新为我们写了一个科幻故事，一首歌。

And what they made was a tribute to a Detroit band from the '90s called Drexciya.

他们制作的作品是向 90 年代底特律乐队 Drexciya 致敬。

And Drexciya had created this whole mythology in their band.

Drexciya 在他们的乐队中创造了整个神话。

And the mythology was based on the idea that pregnant African women on slave ships were sometimes thrown overboard.

这个神话的基础是奴隶船上怀孕的非洲妇女有时会被扔下海。

And Drexciya imagined that the babies survived and learned to live and thrive underwater, and that the babies founded a Black Atlantis under the sea.

德雷西娅想象着婴儿们在水下生存下来并学会了生活和茁壮成长，婴儿们在海底建立了一个黑色的亚特兰蒂斯。

And so in this song that CLPPNG wrote for us, the civilization under sea was living peacefully for centuries, unaware that humans were above on land until those of us who live on the surface, we intruded on their underwater civilization by firing seismic air cannons into their world, looking for oil.

所以在中电巴新为我们写的这首歌中，海底文明和平地生活了几个世纪，不知道人类在陆地上，直到我们这些生活在水面上的人，通过向他们的世界发射地震空气炮，侵入他们的水下文明，寻找石油。

And then they kind of slowly over the course of the song, you'll hear they slowly rise to the surface, psyching up for a war.

然后他们在歌曲的过程中慢慢地，你会听到他们慢慢地浮出水面，为战争做好准备。

So you'll hear the air cannons.

所以你会听到空气炮的声音。

You'll hear them come to the surface.

你会听到它们浮出水面。

Anyway, you'll hear it all.

不管怎样，你都会听到的。

Here's the song.

这是这首歌。

Clppng Y'all remember how deep it go.

Clppng 你们都记得它有多深。

Started from the bottom.

从底部开始。

Y'all remember how deep it go, for y'all had to come back.

你们都记得它有多深，因为你们都必须回来。

Deep.

深的。

Y'all remember when it used to be deep, so deep, so, so deep.

你们都记得它曾经很深，那么深，那么深。

Hey.

嘿。

When y'all swam up out your mama while your mama was asleep.

当你们在你妈妈睡着的时候从你妈妈身边游出来的时候。

So deep, so, so deep.

那么深，那么深。

Hey.

嘿。

And y'all remember when y'all had the dance floor lit.

你们都记得舞池被点亮的时候。

Dark.

黑暗的。

No two step.

没有两步。

Deep.

深的。

Y'all don't even sweat.

你们连汗都没有。

Deep.

深的。

As deep as it gets.

有多深就有多深。

Dreaming dead, sleeping, keeping time.

梦见死了，睡觉，计时。

Y'all heart beat.

你们都心动了

Deep.

深的。

Y'all heart beat.

你们都心动了

Deep.

深的。

And all the fishes had they eyes bugged out because y'all dancing underwater, and y'all don't get wet.

所有的鱼的眼睛都被挖出来了，因为你们都在水下跳舞，而且你们都没有被淋湿。

And the dark smelled sweet.

黑暗闻起来很甜。

And y'all tails touched reef.

你们的尾巴都碰上了礁石。

Y'all feed off the bottom, but now y'all remember.

你们都是从底部吃东西的，但现在你们都记得了。

Y'all remember.

你们都记住了。

Y'all remember.

你们都记住了。

Pressure outside the vehicle, 832.2 bars.

车外压力，832.2 巴。

Y'all remember when the deep got hot, when y'all moved on up, how y'all used to argue about the water getting warmer.

你们都记得当深渊变热时，当你们都向上移动时，你们曾经如何争论水变暖的问题。

Still, y'all loved a little bit of light up in the deep.

尽管如此，你们都喜欢深处的一点光。

So deep, so, so deep.

那么深，那么深。

Hey.

嘿。

Y'all remember saying how it couldn't be them two legs because y'all came from two-legs.

你们都记得说过不可能是两条腿，因为你们都是两条腿出来的。

And y'all mamas would have loved y'all if they could've breathed, but they wasn't ready for the deep.

如果你们还能呼吸的话，妈妈们一定会爱你们的，但她们还没有准备好进入深渊。

So deep, so, so deep.

那么深，那么深。

Hey.

嘿。

Y'all remember when the first blast came.

你们都记得第一次爆炸是什么时候发生的。

And the beat fell off.

节拍消失了。

And the dreams got woke.

梦醒了。

And the light bent bad.

而且光线弯曲得不好。

And the fishes belly up.

而且鱼都肚皮朝上。

And them coral castles crumbled because they wasn't quite enough.

这些珊瑚城堡倒塌了，因为它们还不够。

And conversation used to break like the floor quake, like the bleached bones.

谈话常常断断续续，就像地板地震一样，就像漂白的骨头一样。

And the finned friends fled from they home, but the blast wouldn't stop because they wanted black gold.

鳍朋友们逃离了家，但爆炸并没有停止，因为他们想要黑金。

And them no gills had to feel it because they couldn't be told.

他们根本不需要感觉到它，因为他们无法被告知。

Y'all remember.

你们都记住了。

Y'all remember.

你们都记住了。

Y'all remember when the regime change, that no please, no calm seas.

你们都记得当政权更迭时，不，请，大海不会平静。

Let the water rise-- so deep, so, so deep.

让水上升——那么深，那么深。

Oil slick upon the sleeper was an awful thing to realize.

轨枕上的油污是一件可怕的事情。

If the two-legs want to wake the dead, they gon' have to bring more fire.

如果两条腿想要唤醒死者，他们就必须带来更多的火。

Y'all is closer to the earth.

你们离地球更近了。

So deep.

这么深。

And y'all was talking how to get up in their heads and got to being real inspired.

你们都在谈论如何振作起来并获得真正的灵感。

Circumstances of the birth has got you feeling like an army, better yet a navy.

出生的环境让你感觉自己像一支军队，更好的是海军。

And they gone gave y'all the blessing.

他们的离开给了你们所有的祝福。

Now y'all going crazy.

现在你们都疯了。

They live with green upon the surface, but they ain't deep.

他们的生活表面上是绿色的，但并不深。

That pistol shrimp will knock a two-leg off his feet.

那只手枪虾会把他的两条腿打下来。

Y'all perfecting the steam void to rip up they ships.

你们正在完善蒸汽虚空来撕裂他们的船只。

They using sonar as second language.

他们使用声纳作为第二语言。

Y'all fluent with it.

你们都很熟练。

And all the dreamers is woke now, but nightmares swim.

现在所有的梦想家都醒了，但噩梦仍在继续。

But everybody hear that "bloop" know y'all coming for them.

但每个人听到“噗”的一声就知道你们是冲着他们来的。

Y'all remember.

你们都记住了。

Y'all remember.

你们都记住了。

Y'all remember when the call went out.

你们都记得电话响起的时候。

Hey.

嘿。

No deep, no more deep.

不深，不深。

Sunshine.

阳光。

Y'all remember when the call went out.

你们都记得电话响起的时候。

Hey.

嘿。

No deep, no more deep.

不深，不深。

Sunshine.

阳光。

Y'all remember feeling wind upon your skin.

你们都记得风吹过皮肤的感觉。

No deep, no more deep.

不深，不深。

Sunshine.

阳光。

Y'all remember how it burned in the beginning.

你们都记得它一开始是如何燃烧的。

No deep.

没有深。

Ride on 'em.

骑在他们身上。

Ride on 'em.

骑在他们身上。

Ride on 'em.

骑在他们身上。

Y'all remember seeing sun across the surface on the day that y'all first came up out the water.

你们都记得第一次从水里出来的那天看到阳光照耀在水面上。

So, so deep.

那么、那么深。

How the breaking of the surface showed the sky without a border, and the air is so much hotter.

地表的破裂展现出无边无际的天空，空气也变得更加炎热。

So, so deep.

那么、那么深。

How the woke dreamer screamed and it rose tides.

醒来的梦者如何尖叫，潮水如何上涨。

And the waves stretched up like a mountain high.

海浪像一座山一样高高地伸展开来。

And the no gills gasped, and they closed eyes.

无鳃喘息着，闭上了眼睛。

And they prayed to their gods, and they ask why.

他们向他们的神祈祷，并询问为什么。

And then y'all cry too 'cause y'all recognize mama in the faces of the ones that y'all were terrorized.

然后你们也哭了，因为你们都在那些被你们吓坏的人的脸上认出了妈妈。

They were sisters and brothers.

他们是兄弟姐妹。

They were the babies born up out the water, not connected to each other, not in knowledge of the one drop.

他们是从水中出生的婴儿，彼此没有联系，对一滴水一无所知。

But they had to learn today.

但他们今天必须学习。

Y'all had one shot.

你们都有一枪了。

Let the sun burn today.

让今天的太阳燃烧吧。

Let them feel the dark even deeper today.

让他们今天更深地感受到黑暗。

Make a two-leg a believer today.

今天让两条腿成为信徒。

Let them know that they done woke a sleeper from a sleep.

让他们知道他们已经把一个熟睡的人从睡梦中吵醒了。

So deep.

这么深。

That y'all been dancing without any feet.

你们都在没有脚的情况下跳舞。

So, so deep.

那么、那么深。

Here's the nerve that they struck with a blast that they broke with a drill that they burnt with the gas.

这是他们用爆炸击中的神经，他们用钻头打破了他们用气体燃烧的神经。

Y'all remember.

你们都记住了。

So deep.

这么深。

Sunshine.

阳光。

Ride on 'em.

骑在他们身上。

Y'all remember.

你们都记住了。

So deep.

这么深。

Sunshine.

阳光。

Ride on 'em.

骑在他们身上。

Y'all remember.

你们都记住了。

So deep.

这么深。

Sunshine.

阳光。

Ride on 'em.

骑在他们身上。

Y'all remember when y'all had to let 'em breathe.

你们都记得当你们不得不让他们呼吸的时候。

Ride on 'em.

骑在他们身上。

Hey.

嘿。

Initiating tidal wave sequence-- uniform, Romeo, 030.

引发潮汐序列——制服，罗密欧，030。

Daveed Diggs with Bill Hutson and Jonathan Snipes are CLPPNG.

戴维德·迪格斯（Daveed Diggs）、比尔·赫特森（Bill Hutson）和乔纳森·斯奈普斯（Jonathan Snipes）都是 CLPPNG。

This song, commissioned by our program when we first broadcast today's show, ended up on their album The Deep, which you can find with their other music at their website.

这首歌是我们在首次播出今天的节目时受我们节目委托制作的，最终收录在他们的专辑《The Deep》中，您可以在他们的网站上找到该专辑和他们的其他音乐。

Their website is their band's name, which is the word "clipping" without the vowels.

他们的网站是他们乐队的名字，是没有元音的“clipping”这个词。

clppng.com.

clppng.com。

Act Four, Childhood's End.

第四幕，童年的结束。

Looking into Afrofuturism over the past few months, I found myself thinking about time and space a lot.

在过去的几个月里，我对非洲未来主义进行了研究，发现自己对时间和空间的思考很多。

Time, because so many of these stories involve people thinking about the past or the future, or seeing the past and the future in the here and now, and space because all of that time travel is cued by very specific places-- Detroit, or Mount Vernon, or Philadelphia, or wherever.

时间，因为很多故事都涉及人们思考过去或未来，或者在此时此地看到过去和未来，而空间，因为所有的时间旅行都是由非常特定的地方暗示的——底特律、弗农山、费城或任何地方。

During those same months, I also became sort of obsessed with these two videos that I saw on YouTube.

在那几个月里，我也开始沉迷于在 YouTube 上看到的这两个视频。

I couldn't help connecting them in my mind, because for me they were both about a particularly precious intersection of time and space.

我情不自禁地在脑海中将它们联系起来，因为对我来说它们都是关于一个特别珍贵的时间和空间的交集。

The time is that period when children have left school for the day, but haven't yet made it home.

这个时间是孩子们放学但尚未回家的时间。

And the space is that distance, however many blocks, however many miles it takes those kids to walk from one to the other.

空间就是这样的距离，不管孩子们从一个地方走到另一个地方需要多少街区、多少英里。

In other words, these two videos are about those moments when kids are out in the world on their own and the adults they bump into.

换句话说，这两个视频讲述的是孩子们独自在外面的世界以及他们遇到的成年人的那些时刻。

You may have seen the first video.

您可能已经看过第一个视频。

It takes place in Atlantic City.

它发生在大西洋城。

Two black teenagers in sweatpants and sneakers are fighting in the middle of a residential street on their way home from school when a slightly older black Man, Ibn Ali Miller, emerges from camera right and puts an end to the fight with a stern but passionate talking to.

两名穿着运动裤和运动鞋的黑人青少年在放学回家的路上在住宅区街道中央打架，这时一名年龄稍大的黑人伊本·阿里·米勒从镜头右侧出现，用严厉但充满激情的交谈结束了这场打斗。

The clip went viral.

这段视频迅速走红。

Miller was honored by the city.

米勒受到了这座城市的表彰。

Steve Harvey had him on his couch.

史蒂夫·哈维让他坐在沙发上。

I saw it for the first time on my Facebook feed this past winter, and I viewed it on YouTube many times since.

去年冬天，我第一次在 Facebook 上看到它，此后我在 YouTube 上观看了很多次。

It does not disappoint.

它不会让人失望。

It gets better every time I watch it.

每次看都会变得更好。

When it begins, the two boys grapple and flail at each other sloppily-- one tall, one chubby, both defiant.

当比赛开始时，两个男孩草率地扭打和殴打对方——一个很高，一个胖乎乎的，两个男孩都挑衅。

Other kids crowd around, recording with their cell phones, egging them on.

其他孩子围过来，用手机录音，怂恿他们。

Square up.

摆正。

Go ahead, [BLEEP] off him.

来吧，[哔]离开他。

[BLEEP].

[哔]。

Then, seemingly out of nowhere, Miller bops into frame, his hands in his pockets, wearing work boots and a knit cap.

然后，米勒似乎突然出现在画面中，双手插在口袋里，穿着工作靴，戴着针织帽。

He immediately starts to call out the kids who are recording.

他立即开始喊出正在录音的孩子们。

Everybody on your phones though.

但每个人都在打电话。

Oh, y'all, y'all the real cowards.

哦，你们，你们都是真正的胆小鬼。

Record that, too.

也记录一下吧

Everybody on a phone, record that.

每个人都打电话，记录下来。

Everybody record on the phone real cowards.

每个人都在电话里记录着真正的胆小鬼。

Cowards, Miller calls them.

米勒称他们为胆小鬼。

Then he turns his attention to the two boys in the center.

然后他将注意力转向中间的两个男孩。

Listen, they all laughing, little brother.

听着，他们都在笑，小兄弟。

But you really upset.

但你确实很不高兴。

And you really upset.

而你真的很沮丧。

You more mad than he is.

你比他还生气。

I can see it in your face.

我可以从你的脸上看到它。

So you fighting for a reason.

所以你们战斗是有原因的。

He only fighting you because you want to fight him.

他只是因为你想与他战斗而与你战斗。

No, he came to me.

不，他来找我了。

He touched me.

他触碰了我。

I wasn't [BLEEP].

我没有[BLEEP]。

I don't even know.

我什至不知道。

Miller listens.

米勒听着。

And then he tells the boys something they probably hadn't considered, that they were most likely tricked into fighting by someone who thought it would be entertaining.

然后他告诉男孩们一些他们可能没有考虑到的事情，他们很可能被一个认为打架很有趣的人欺骗了。

And now all of their so-called friends are recording them go at it.

现在他们所有所谓的朋友都在录制他们的表演。

Look around.

环顾四周。

Who ill-advised you?

谁给你出谋划策了？

You told you wrong?

你说错了吗？

Who told you wrong?

谁告诉你错了？

You want to answer that?

你想回答这个问题吗？

I'm saying, who told you wrong, little bro?

我说，小兄弟，谁说你错了？

And the only reason I'm saying this to all y'all, yo, because you're almost men.

我对你们所有人说这些的唯一原因是因为你们几乎都是男人了。

All of y'all, yo.

你们大家，哟。

You're almost men.

你们几乎都是男人了。

Y'all ain't kids no more.

你们都不再是孩子了。

Y'all girls ain't little girls no more.

你们都不再是小女孩了。

Look, yo.

你看，哟。

Y'all men, yo.

你们都是男人，哟。

Y'all men, yo.

你们都是男人，哟。

14, 15, 16-- y'all men.

14、15、16——你们都是男人。

Start acting like it, yo.

开始表现得像这样吧，哟。

We ain't gonna get nowhere like this, yo.

我们不会像这样下去的，哟。

We ain't going to get nowhere like this, he says.

他说，这样我们不会有任何进展。

Here, what Miller does that I love is steer the conversation away from personal grievances towards something bigger.

在这里，我喜欢米勒所做的就是将谈话从个人恩怨转向更大的事情。

He tries to tell these kids that they are part of a community.

他试图告诉这些孩子，他们是社区的一部分。

He tells them that their actions have consequences and that those consequences only get more serious as they get older.

他告诉他们，他们的行为会产生后果，而且随着年龄的增长，这些后果只会变得更加严重。

Without condescending to them, Miller talks to them about their futures.

米勒没有居高临下地与他们交谈，而是与他们谈论了他们的未来。

You think it's a game out here?

你以为这是一场游戏吗？

Ain't no game out here.

这里没有游戏。

It's real out here, little bro.

这是真的，小兄弟。

Word up.

说起来。

Don't make your parents look like this, yo.

别让你的父母变成这样，哟。

If y'all live around here, y'all live somewhere good.

如果你们都住在这附近，你们就住在好地方。

Don't mess that up.

别把事情搞砸了。

He's no longer just trying to get them to save face or avoid humiliation.

他不再只是想让他们保住面子或避免羞辱。

He's warning the boys that as they become men, young black men, the world will become even more dangerous for them.

他警告男孩们，当他们成为男人、年轻的黑人时，世界对他们来说将变得更加危险。

Miller won't leave until the two shake hands.

在两人握手之前米勒不会离开。

They don't want to at first.

他们一开始并不想这么做。

Only the chubby kid extends his hand.

只有胖乎乎的孩子伸出了手。

Y'all don't shake hands or I'm not leaving, bro.

你们都不要握手，否则我不会离开，兄弟。

I'm not leaving, bro.

我不会离开，兄弟。

Shake hands, bro.

握手吧，兄弟。

Just shake his hand, bro.

握一下他的手吧，兄弟。

Neil Drumming The other kid doesn't.

尼尔打鼓另一个孩子则不打鼓。

The chubby kid pulls his hand back.

胖乎乎的孩子把手抽了回来。

Put your hand back out, bro.

兄弟，把手放回来。

He gonna shake it this time, I promise you.

这次他会动摇的，我向你保证。

Put your hand back out, bro.

兄弟，把手放回来。

He gonna shake it, bro.

他会动摇它，兄弟。

He does.

他做到了。

It's actually difficult for me to express how moved I was by this video.

事实上，我很难表达这段视频给我带来的感动。

The beauty of it is that even while Miller is insisting that these teenagers become responsible for themselves, his actions demonstrate that they're not necessarily alone, that there is compassion, and wisdom, and guidance available to them.

它的美妙之处在于，尽管米勒坚持让这些青少年对自己负责，但他的行为表明他们并不一定是孤独的，他们有同情心、智慧和指导。

It was like a window into a world where people who don't know each other still give a damn, a window that I could rewind, and re-watch, and forward to my friends to click Like.

它就像一扇通往一个世界的窗户，在这个世界里，互不相识的人仍然在乎，我可以倒带、重新观看、转发给我的朋友们点击“赞”。

It was at once exhilarating and comforting.

这既令人兴奋又令人欣慰。

I rode that high for a week, maybe two.

我在这么高的位置骑了一周，也许两周。

Then another video popped up in my Facebook feed.

然后另一个视频出现在我的 Facebook 动态中。

This one is shakier and from a low angle, obviously recorded surreptitiously.

这张比较摇晃，而且角度很低，显然是偷偷录制的。

The view is of the intersection of Bedford Avenue and Campus Road, Midwood High School on one side of the street.

该视图是贝德福德大道和校园路的交叉口，米德伍德高中位于街道一侧。

Brooklyn College is on the other.

布鲁克林学院在另一边。

I recognized it immediately because I used to live 10 minutes away.

我立刻就认出了它，因为我以前住的地方离这里只有 10 分钟路程。

There's still snow on the ground, and the cell phone is buffeted about by wind.

地上还有雪，手机被风吹得东倒西歪。

Its camera wobbles up behind two uniformed police officers walking slowly down Campus Road.

它的摄像头在两名穿着制服的警察身后摇晃着，警察沿着校园路缓慢行走。

The one on the left has both hands in his pockets.

左边的双手插在口袋里。

The one on the right has his baton already drawn.

右边的人已经拔出了接力棒。

A handful of black teenagers walk obstinately before them, headed away toward Flatbush Avenue.

几个黑人青少年固执地走在他们前面，朝弗拉特布什大道走去。

There's no way to know for sure what happened before the video started rolling.

无法确定视频开始播放之前发生了什么。

There were, most likely, the beginnings of a snowball fight, but it's unclear who was unhappy about that.

很可能是一场打雪仗的开始，但尚不清楚谁对此感到不高兴。

The police were not called.

警察没有被叫来。

They were already on site.

他们已经在现场了。

In the footage, one of the cops says, come on, let's go, though the kids are already going.

在视频中，一名警察说，来吧，我们走吧，尽管孩子们已经走了。

The cop on the right reaches out.

右边的警察伸出手。

It looks like he shoves a boy in a pink hoodie.

看起来他推了一个穿着粉色连帽衫的男孩。

The boy flinches, snapping his head around.

男孩畏缩了一下，猛地转过头。

Stop touching me, he says.

别再碰我了，他说。

The cop responds with, what are you going to do about it, which is obnoxious and a stupid question.

警察的回答是，你打算怎么做，这是一个令人讨厌且愚蠢的问题。

But that doesn't stop him from asking it at least five more times, like a kid taunting another kid.

但这并不能阻止他至少再问五次，就像一个孩子嘲笑另一个孩子一样。