-
(单词翻译:双击或拖选)
RAY SUAREZ, HOST:
Let's turn to the city of Chicago. It's been a momentous1 year in Chicago in part because of the continued spike2 in violent crime. A poet is trying to change the reasons people talk about his hometown. Kevin Coval has been called Chicago's unofficial poet laureate.
For some 20 years, his poetry has been popular in literary circles and in the hip-hop scene. And he's the author of seven books, many of them poetry. His newest is called "A People's History Of Chicago." In it, Coval tells the story of Chicago's working class in minority communities who built the city in some 77 poems. And he joins us now from New York. Welcome.
KEVIN COVAL: Thanks so much for having me.
SUAREZ: Did you set out to be a poet? How did you find your way to poetry?
COVAL: Yeah. I mean, through hip-hop I was always fascinated with stories, and I grew up having the benefit of listening to my dad and my aunt tell the same stories again and again. And for a long time as a kid, I was kind of annoyed that they wouldn't stop repeating the same stories.
But eventually I kind of figured that that was my own family's oral history. And so I began to listen a little more intently, and it kind of, you know, vibrated with the same kind of working-class narratives5 that hip-hop was also telling me simultaneously6 in the headphones and boombox that I was listening to. And, you know, I was attracted to some of the, you know, revision-isms of KRS-One and Public Enemy. And they were, of course, countering a lot of the whitewashing7 that I was getting both in my public school education as well as my own Hebrew school. And so that really fascinated me, too.
SUAREZ: But a white guy doing this has to be careful, no? I mean, there's all this angry back and forth8 about authenticity10, who gets to say what, who gets to do what. Did you have to not only make clear it was homage11, but that this was an embrace born of real love?
COVAL: Yeah. Well, I think hip-hop gives all people permission to tell their authentic9 story. And I think that's part of what it has done for me. And, I mean, we're also talking about now 40 years into the culture. And, you know, from the beginning white people were around and from the beginning, you also had white practitioners12.
I think the problem is when we kind of continue to tell cultural production in America with the same whitewashed13 lens, and we continue to kind of give more praise to the white appropriators or even potentially white innovators in a form that is clearly of the African Diaspora, clearly created by black and brown people in these countries. And the attention that we give sometimes skews, you know, to the whites. And so, you know, part of my work is, one, to interrogate14 whiteness and hopefully deconstruct it with people around me who are down for the same things.
SUAREZ: Well, starting from the beginning of the city and the name of a skunk15 - or a stinky onion and the Indian word for that which gives us Chicago, you stop along the way at cultural and political mileposts. And you end with the Cubs16 winning the World Series and why you love the city. So it's kind of a history book, but it's a very selective telling. How did you pick and choose which parts of these 300 years to tell and what events to cover?
COVAL: One of my colleagues, Nate Marshall, who was a - he was one of my main editors of "A People's History Of Chicago," and, you know, Nate suggested that we come to the number 77 for the amount of area communities that are in the city, and that was a target. And so we kind of, you know, selected poems I think that were most successful as well as really being cognizant of the spectrum17 of experiences we were hoping to tell with the book.
And, of course, I mean, there are giant gaps in the book. And my hope and plan over the course of these 365 days in the city of Chicago is to do 180 readings in the city, at least one in every neighborhood and have those readings be accompanied by and large from workshops and do a lot of listening over the course of this year.
SUAREZ: I've asked you to pick out some stuff to read. Could you bring us something from the book?
COVAL: Well, it's one of those poems where workers have indeed won, and it's called "The Republic Window Workers Sit-In December 5, 2008." (Reading) Organizing began with whispers in the break room, a tavern18 after-punch clock. When the company comes to close, the workers will not leave. For six days, capitalism19 gets its ass3 kicked. The workers united will never be defeated. They refuse to be refuse. Boss man could care less. They sit like Buddhas20, bodies on the line in lawn chairs with coolers and hot aluminum-wrapped tamales. The company thought they slick, opened a non-union odd (ph) shop in Red Oak, Iowa, under the name Echo, and the poems write themselves, echoes of the republic for which it stands. The workers sit. The workers are the best poets - five years from now will take over the whole joint21, fire the CEO, rename the company New Era, build a worker-owned co-op. On this day, capitalism lost.
SUAREZ: The book has 77 homes, and you tell stories like that of the Republic Window strike. But if you've never even set foot in the city if you're listening to this radio program in - on an expressway near Phoenix22 in your kitchen in New England, is there going to be something for you in this book?
COVAL: Yes. And I think I hope two things happen - one, that it is part of what this book does - it speaks to the counter-narrative4 that, you know, media around the country and even in our own city are trying to perpetuate23 this notion that Chicago is something that it is not. Chicago is in the midst of a cultural renaissance24 ran by young people 16 to 26 who are changing the way the world gets down. And so I hope people can lean into the book.
And also I hope that wherever folks are listening, they can also begin to investigate and listen to the stories of their own city. You know, this book itself is influenced by the progressive historian Howard Zinn, who I had the occasion to meet. You know, Howard's belief that these stories of the underdog need to be told. We need to constantly counter the dominant25 tropes of the main narrative that is being said about our city and about our country.
And I think it's really in the experience of working people, of people of color, of people who struggle to make the city, I think those are the stories that I'm interested in telling that I hope people wherever they are begin to investigate and listen to and speak themselves.
SUAREZ: That was poet and author Kevin Coval talking to us about his new book "A People's History Of Chicago." Thanks for joining us.
COVAL: Thanks so much for your questions. I appreciate it.
1 momentous | |
adj.重要的,重大的 | |
参考例句: |
|
|
2 spike | |
n.长钉,钉鞋;v.以大钉钉牢,使...失效 | |
参考例句: |
|
|
3 ass | |
n.驴;傻瓜,蠢笨的人 | |
参考例句: |
|
|
4 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
参考例句: |
|
|
5 narratives | |
记叙文( narrative的名词复数 ); 故事; 叙述; 叙述部分 | |
参考例句: |
|
|
6 simultaneously | |
adv.同时发生地,同时进行地 | |
参考例句: |
|
|
7 whitewashing | |
粉饰,美化,掩饰( whitewash的现在分词 ); 喷浆 | |
参考例句: |
|
|
8 forth | |
adv.向前;向外,往外 | |
参考例句: |
|
|
9 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
参考例句: |
|
|
10 authenticity | |
n.真实性 | |
参考例句: |
|
|
11 homage | |
n.尊敬,敬意,崇敬 | |
参考例句: |
|
|
12 practitioners | |
n.习艺者,实习者( practitioner的名词复数 );从业者(尤指医师) | |
参考例句: |
|
|
13 whitewashed | |
粉饰,美化,掩饰( whitewash的过去式和过去分词 ) | |
参考例句: |
|
|
14 interrogate | |
vt.讯问,审问,盘问 | |
参考例句: |
|
|
15 skunk | |
n.臭鼬,黄鼠狼;v.使惨败,使得零分;烂醉如泥 | |
参考例句: |
|
|
16 cubs | |
n.幼小的兽,不懂规矩的年轻人( cub的名词复数 ) | |
参考例句: |
|
|
17 spectrum | |
n.谱,光谱,频谱;范围,幅度,系列 | |
参考例句: |
|
|
18 tavern | |
n.小旅馆,客栈;小酒店 | |
参考例句: |
|
|
19 capitalism | |
n.资本主义 | |
参考例句: |
|
|
20 Buddhas | |
n.佛,佛陀,佛像( Buddha的名词复数 ) | |
参考例句: |
|
|
21 joint | |
adj.联合的,共同的;n.关节,接合处;v.连接,贴合 | |
参考例句: |
|
|
22 phoenix | |
n.凤凰,长生(不死)鸟;引申为重生 | |
参考例句: |
|
|
23 perpetuate | |
v.使永存,使永记不忘 | |
参考例句: |
|
|
24 renaissance | |
n.复活,复兴,文艺复兴 | |
参考例句: |
|
|
25 dominant | |
adj.支配的,统治的;占优势的;显性的;n.主因,要素,主要的人(或物);显性基因 | |
参考例句: |
|
|