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Review回顾:野蛮的数学

经过

本周的阅读

图片礼貌Wikimedia Commons.

“革命不是晚宴,或写一篇文章,或绘画图片或做刺绣,”毛泽东着名的令人震惊。“一场革命是一个起义,一种暴力行为,其中一级推翻了另一级。”这种暴力在一个国家公民的后果是南非作家C. A. Davids的新小说的主题如何成为革命者, out from Verso this month. In chapters that crisscross between present-day Shanghai, apartheid-era Cape Town, Beijing during the suppression of the Tiananmen Square protests, and a series of McCarthy-era letters from Langston Hughes to a South African friend, Davids follows the friendship of Beth, a South African diplomat, and Zhao, a Chinese writer, as they come to terms with the moments of betrayal, naivete, and political cowardice in both of their pasts.

但历史,如革命,复杂,大卫在她对普通人在急性政治危机的时刻面临的不可能选择的描绘中敏感。“Do not forget,” writes Zhao in a manuscript that will appear on Beth’s doorstep early in the book, “that there exists a mathematics of brutality where the amount of blood spilled is inversely proportional to emotional resonance, so that after the first viewing of an act of inhumanity one begins to grow numb somewhere inside one’s head and heart.” Writing isn’t a revolution—but it is a way of recording one’s humanity.—Rhian Sasseen

I Never Promised You a Rose Garden,图形从墨菲矮小的人,玩on the myth of Portland as a liberal haven, a city of roses sequestered from the far-right enclaves that pockmark the rest of the state. It begins as a rumination on River Phoenix, and the artsy punk Portland crowd that took him in, and mushrooms into an account of white nationalism in the Pacific Northwest. The book hinges on the hate crime that alit Portland in 1988, the murder of Mulugeta Seraw, a college student who had moved to the city from Ethiopia to study business. It traces the connections between Phoenix, Keanu Reeves, Gus Van Sant (who made Phoenix his pet), the punk club owner Mr. X, and the killer, Kenneth “Ken Death” Mieske, another of Van Sant’s teenage muses and a member of the neo-Nazi gang Eastside White Pride.I Never Promised You a Rose Garden为脆弱,挥发性和偏执狂绘制兄弟会的肖像。墨菲展示了俄勒冈本身的历史在白色至上沐浴,其成立与白欧洲甾酸盐的愿望绑定。Murphy recounts Ken Death’s murder trial and its resonance outside the courtroom, and also acts as amateur investigator, tracking down incriminating details in old footage, and as a memoirist: Murphy grew up in Portland, attended the same K-12 school as Phoenix, and crushed on him as a fan. Murphy’s handwritten cursive script, which accompanies the illustrations on lined newsprint, oozes the naivete and intimacy of a diary entry or elementary school composition book—a fitting choice for a book that is both confession and corrective history lesson. Their illustrations, drawn with a paintbrush, are in the gray and indigo palette of that drippy city. Each one dimples in the places where pools of water-soluble ink have bled through and dried. It’s rare to find a graphic artist whose captions and drawings are balanced in their storytelling power, but Murphy is one.

Like Murphy, the photographer and textile artist Lisa Anne Auerbach is ambivalent about the legacy of punk. At seventeen, she’d go to all-ages shows in Chicago, pull out her camera in the middle of the mosh pit, and shoot the sweat-streaked faces streaming past her, the teenagers in their homemade band tees, the boots in the air, and the skinheads swinging by with their bare torsos and shining scalps. She developed the Tri-X film in her high school darkroom and hung on to the negatives for over three decades. A selection of these photos, taken in the spring of 1985 at the clubs Cubby Bear and Cabaret Metro, were recently assembled into the gorgeous photobook。由格拉斯哥的工作人员发表于2021年的合作社,这本书是苗条而有效的。它包括Laa,全页的黑白照片印在丰富的卡片库存上,并将其作为Diptychs搭配,以及与ethan Swan,DIY社区和音乐潜水作者进行的艺术家采访。“我想记录坑的舞蹈和狂喜,半赤裸的身体,戏剧和仪式和侵略,”Laa写道。她还讨论了怀旧的机制和像这样的再现形象的道德规范,你可以瞥见,敲击和混合在尸体中,带有他穿制服的皮革,别针和艾莉安皮肤在相机下燃烧的硬核种族主义的碎片闪光。你看不到坑,而没有看到全面和“时尚”的肤色,也可能吹灭他们的一些敌人。谈到坑的无数的东西,因为那些从远处盯着那里盯着它的人,困扰着它的条纹,并扔掉它:“观众像浪潮一样搬到了群众,一群鱼,一堆垃圾。我们回应了音乐,互相运动。坑被编纂和随机,有机和暴躁。“- 格雷厄姆