为什么大多数男作家写妹子不如女作家写汉子来的萌

漆黑的星子:


People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that.





所以我說,我其實並不喜歡讀文學。




The Boys In Summer:



标题是在开玩笑。

中午在微博看到美籍多米尼加作家朱诺特•迪亚斯(Junot Diaz)2012年的一篇演讲稿,觉得很有意思也不长就翻译一下。英文水平有限,如有翻错请指正。



译者:Ryod

  如果你是一名年轻的男作家,这是一条简单的规则:你得习惯这么个事实,那就是你总会写砸女性,而最糟糕的女性作家笔下的好男人总比最优秀的男性作家笔下的好女人出彩。这还只是最低限度。因为男性化异性恋特权的根本问题在于,不管是在圣多明各还是美国,你的一生都在被人告知女人不是人,女人没有独立的主观看法。正因为你听着这些论调长大,当你上大学时才会如此吃惊,意识到“哦,女人不是给我找麻烦然后跟我上床的人”。( “Oh, women aren’t people who does my shit and fucks me.”)

  我认为这对男孩们来说是个巨大的挑战,因为他们想要假装自己能写好女孩。每次我教男孩们写作,我把他们写的女性念给他们听,然后我会问,“哟,你觉得这是篇好文章?”这帮混球为了各种陈词滥调的文字相互攻击,但他们不会为了那些继承自环境、用在女性身上的恶毒描述争吵……那是他们对性别歧视的简称,他们觉得那是观察的结果。他们认为自己那男权至上的扭曲想法是种深刻的见解。如果你在写作课程中对一个男生说他们的角色是性别歧视,这男生的反应就好像你说他操蛋地热爱希特勒一样。他们会激烈抗争,因为他们想保留这种艺术创作中极为恶毒的性别歧视,因为这正是他们一直以来被教导的东西。

  而我认为第一步要做的,就是承认你——由于你的特权——曲解了女性的主观性。要是没有大量的协助,你甚至没法得到一个D。我觉得男性作家们能期待的最好成绩是D,偶尔能有个附赠的C。而平均水准的女性作家在描写男性这点上立刻就能得到B,因为她们的一生都被教育“男人是有主观见解的”。事实上,甚至一部分女权革命在说,“我也是,混球们。”所以女性内在会有这种想法是社会造成的。

  人们描写种族时亦如此。你如果不是在美国的中下阶层里长大,大概需要人指点一下如何描写种族问题。混球们会写“我有一个黑人朋友”,而他们那些破烂玩意听起来跟千篇一律的3K党小说没差。

  我们文化中最恶毒的公式不是靠着政治口号进行传播,而是在平凡的表述中世代相传。正是借着我们的小说,性别歧视、种族歧视、同性恋恐惧症等等的邪恶病毒一代又一代地流传下去。如果你想成为优秀的创作者,那就意味你得“真正地”描绘世界。当你写作那些陈词滥调时——不管是性别歧视、种族歧视、同性恋恐惧症还是阶级歧视——那就是他妈的陈词滥调。混球们会为他们那些关于X的陈词滥调杀了你,但他们希望他们的陈词滥调是关于他们的种族、阶级和不同。他们一旦失去这些就会迷失方向。对我来说,这也一直是个巨大的挑战。

  身为一名作家,如果你打心底想写出些新东西,你就必须弄清楚——借助社区的帮助——怎样才能摆脱那些加诸于你身上的操蛋公式。它们是灌输进你脑子里,而不是与生俱来的。我们之所以需要志同道合的创作者,就是因为他们能帮助我们不偏离正轨。他们会告诉你,“知道吗?你有点他妈的恐同”。带着那些过分单纯化的曲解可没法描述世界的真貌。它们是陈词滥调。人们能明白艺术,通常是因为它们叫人不愉快。艺术令人不快。艺术易于违反道德的特性必须涉及如何让人们面对现实。而性别歧视是逃避现实、逃避女性的真实状况的手段。同性恋恐惧症是逃避现实、逃避面对自己不同人群的手段。我们躲在这些东西的背后避免与现实发生碰撞。但艺术的本质正在于此。


===============原文================

If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Domingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”

And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.

And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.

It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.

The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.

As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that.

— Junot Diaz speaking at Word Up Bookshop, 2012


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  1. Aii -小松川-As High As LearningM for Memes 转载了此文字
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    真是微妙的情节啊…XK
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    想到了凝视理论......

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