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(单词翻译:双击或拖选)
AILSA CHANG, HOST:
Past is prologue1 is the perfect description of the tempest brewing2 at the heart of a new novel. It's called "Your House Will Pay," and it's written by Steph Cha, who's Korean American. The book's based on true events that took place around the 1992 LA race riots. It explores how those tensions still simmer today.
And when we spoke3, I asked her how much those lingering tensions shaped her novel.
STEPH CHA: You know, I started writing this book in 2014 right after Michael Brown's murder. And the rise of the Black Lives Matter movement kind of happened in the beginning stages of my writing this novel. And I remember seeing news coverage4 of the rioting in Baltimore after the death of Freddie Gray. And during that riot, Korean businesses were also targeted. And a lot of the resentments5 that were expressed, they could've come right out of early '90s Los Angeles.
And I found that really interesting.
CHANG: Yeah.
CHA: You know, seeing this renewed attention in the media as I was starting to write this novel, I kept thinking, this is not about the past at all. This is about right now.
CHANG: Your story is based on the real-life shooting of Latasha Harlins. She was an African American teenager who was shot dead by a Korean American woman who was running a store in South LA back in 1991. This woman had thought that Latasha was stealing orange juice. And I want to ask you what was it about Latasha Harlins' story that stuck with you or made you want to write a book based on her killing6?
CHA: Well, Latasha Harlins' murder and the light sentence that Soon Ja Du got off with - she was convicted of voluntary manslaughter, but the judge, in an extraordinary decision that basically overruled the jury, sentenced her to no jail time. It was an enormous miscarriage7 of justice.
And, you know, just being part of the same community with her and knowing that she is a Korean woman who lives in Los Angeles and that there is a high chance that I went to church with somebody who went to church with her, you know?
CHANG: Yeah.
CHA: There is something about being part of a minority group or a tight-knit ethnic8 group in America that kind of makes you adopt these group emotions.
CHANG: You felt almost a vicarious guilt9 by association.
CHA: Yes. And I think that this is something that is common to people in minority groups - that you feel anger as a group, or you feel grief or shame.
CHANG: The media does not come off very well in your novel. Like, there's this character who seems to be building his entire professional reputation off of the girl who was killed in this story. Can you tell me what you were trying to say?
CHA: First of all, I will say that you mostly see this journalist through the point of view of Shawn, who has lost his sister. So it's his sister that this journalist has built his career.
CHANG: Right, Shawn is the younger brother of the woman who is sort of taking the Latasha Harlins role in this story.
CHA: Yes. You know, the issue with this journalist is not that he had bad intentions; it's that he flattened10 her, and he took her and turned her into this angelic, perfect victim. And that's something that I've seen a lot of in discussions of, frankly11, dead black children. And it's really disheartening. And yet, I understand why it's done because, somehow, there is more attention paid to these victims when they were going to go to college or they were good children who obeyed their parents and finished high school.
And I had that responsibility in mind as I wrote this book that I wanted to make sure that even though these characters are fictional12 that I treated them like they were real people.
CHANG: Yeah. On that note, the Korean woman was the one who shot a black girl dead for...
CHA: In the back of the head.
CHANG: In the back of the head. And yet, it felt like you were saying in this book the criminal justice system was set up to protect that Korean woman. Do you believe that Asian people have a certain privilege when it comes to the criminal justice system that black people don't?
CHA: Yes, I do. And this is something that I wanted to address, too. You know, this is a book about two groups of color. And, you know, I'm Asian American, and I feel solidarity13 with people of color in this country, but I'm also aware that it's not the same struggle. And I think there's an impulse to consider it the same struggle or part of the same thing, but the reality is that Asian Americans are treated differently from black Americans.
CHANG: Yes.
CHA: It certainly shows up in the criminal justice system. I mean, you know, Asians get hit with this image of quietness and meekness14 and politeness, whereas black people get hit with you're angry, you're violent. These stereotypes15 are - you know, even if they're both groups of stereotypes, one set is much more damaging than the other and results in different outcomes in the criminal justice system, also in education.
You know, in all these different arenas16, Asian Americans are able to code white and black Americans just are not. You know, and sometimes - and Asian Americans have this in-between status, you know, where sometimes we code as people of color. It kind of depends on who's telling the story and what the story is.
CHANG: Could you read a passage for me that really struck me? It's on Page 297.
CHA: OK. (Reading) Los Angeles - this was supposed to be at the end of the frontier, land of sunshine, promised land, last stop for the immigrant, the refugee, the fugitive17, the pioneer. It was Shawn's home, where his mother and sister had lived and died. But he had left, and so had most of the people he knew, chased out, priced out, native children living in exile. And he saw the fear and rancor18 here in the ones who'd stayed. The city of good feeling, of tolerance19 and progress and loving thy neighbor was also a city that shunned20 and starved and killed its own. No wonder was it that it huffed and heaved, ready to blow, because the city was human, and humans could only take so much.
CHANG: I mean, it's easy to get the feeling reading your book that you think LA could erupt at any given moment because of these problems, these racial tensions that are still brewing that - because they haven't resolved. Do you feel that way - that this city is still on the brink21?
CHA: I feel that way about the entire country. Let's get that straight. But I think LA is a place that people do think of as this progressive paradise. But it is a place that has a lot of problems and a lot of divisions, and ones that are age-old that are not being dealt with.
And I think it's kind of a microcosm for the rest of the country. You know, it's a very diverse place where people are constantly clashing. And so I can see it happening in LA. I mean, but I can also see it happening in any major city.
CHANG: Steph Cha's new book is called "Your House Will Pay." Thank you very much for speaking with us today.
CHA: Thank you.
(SOUNDBITE OF KEVIN SHIELDS' "GOODBYE")
1 prologue | |
n.开场白,序言;开端,序幕 | |
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2 brewing | |
n. 酿造, 一次酿造的量 动词brew的现在分词形式 | |
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3 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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4 coverage | |
n.报导,保险范围,保险额,范围,覆盖 | |
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5 resentments | |
(因受虐待而)愤恨,不满,怨恨( resentment的名词复数 ) | |
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6 killing | |
n.巨额利润;突然赚大钱,发大财 | |
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7 miscarriage | |
n.失败,未达到预期的结果;流产 | |
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8 ethnic | |
adj.人种的,种族的,异教徒的 | |
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9 guilt | |
n.犯罪;内疚;过失,罪责 | |
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10 flattened | |
[医](水)平扁的,弄平的 | |
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11 frankly | |
adv.坦白地,直率地;坦率地说 | |
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12 fictional | |
adj.小说的,虚构的 | |
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13 solidarity | |
n.团结;休戚相关 | |
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14 meekness | |
n.温顺,柔和 | |
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15 stereotypes | |
n.老套,模式化的见解,有老一套固定想法的人( stereotype的名词复数 )v.把…模式化,使成陈规( stereotype的第三人称单数 ) | |
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16 arenas | |
表演场地( arena的名词复数 ); 竞技场; 活动或斗争的场所或场面; 圆形运动场 | |
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17 fugitive | |
adj.逃亡的,易逝的;n.逃犯,逃亡者 | |
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18 rancor | |
n.深仇,积怨 | |
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19 tolerance | |
n.宽容;容忍,忍受;耐药力;公差 | |
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20 shunned | |
v.避开,回避,避免( shun的过去式和过去分词 ) | |
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21 brink | |
n.(悬崖、河流等的)边缘,边沿 | |
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