Posted at 2019.07.18 Category : 未分類
本当はもっと早くにアップしたかったんですが、日本でも記事になったセレーナの記事です。
2019年7月10日 10:11 発信地：ロンドン/英国
記事で「その一方でセレーナは、全米で受けたのは性差別だという主張は変えていない。」とあるようにハーパーズ バザーのエッセイを読むとむしろこちらを強調しているように感じます。
In this candid, first-person essay, Serena Williams opens up about last year's controversial match at the US Open—and why she’ll never regret using her voice to speak out against injustice.
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BY SERENA WILLIAMS AND PHOTOGRAPHS BY ALEXI LUBOMIRSKI; FASHION EDITOR: MIGUEL ENAMORADO
JUL 9 2019, 8:00 AM EDT
It was in this moment that I realized the real reason the US Open was so hard for me to get over: It wasn’t because of the backlash I faced but rather because of what had happened to the young woman who deserved so much more in her special moment. I had felt that it was my fault and that I should have kept my mouth closed. But now, seeing her text putting everything in perspective, I realized she was right.
This incident—though excruciating for us to endure—exemplified how thousands of women in every area of the workforce are treated every day. We are not allowed to have emotions, we are not allowed to be passionate. We are told to sit down and be quiet, which frankly is just not something I’m okay with. It’s shameful that our society penalizes women just for being themselves.
Ever since I was a little girl, I’ve felt a need to voice my opinion and be heard. Some may not like it, and to be honest, that’s their prerogative. I respect it. Growing up as the youngest of five girls, I learned that I had to fight for everything I wanted. And I won’t ever stop raising my voice against injustice.
以前紹介したキップリングの詩の最後の部分をセレーナがyou will be a woman, sister!と読み替えていたものがありました。
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
もし君が、膨大な勝利の結晶をたった一回のコイン・トスの結果と引き換えるリスクを負えるなら、
そして、それに負け、一言も不満を漏らさず、最初からやり直すことができるなら、
もし君が、集中力と体力がなくなってしまった後も、気力を振り絞ることができるなら、
そして、そのことに「頑張って！」と言っている意志しか残っていない君が、頑張ることができるなら、
If you can talk with crowds and keep your virtue,
Or walk with kings -- nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run --
Yours is the Earth and everything that's in it,
And -- which is more -- you'll be a Man, my son!
もし君が、自分の美徳を崩すことなく（自分を見失わずに）、人々と話をすることができるなら、
また、庶民の感覚を失うことなく、王様とともに道を歩むことができるなら、
もし君の敵と愛する友人のどちらもが、君のことを傷つけることがないのであれば、
もし君が、全て人が大切であり、大切にしすぎなければ、
もし君が、失敗の許されない一分間を、60秒間の長距離走のように走ることができるなら、
この世界はもう君のもの、すべてはそのなかに詰まっている
そして、君は一人の立派な人になるのだ
このことを知ったのは次のエッセイを読んだからでした。キップリングのifを取り巻く現状を紹介してくれています。帝国主義者であったため評判が悪いためMaya AngelouのStill I Riseという詩に変えようという運動が最近もあったようです。物事がそんなに簡単ではないのはMaya Angelouはキップリングの詩を愛読していたとか。
Christopher Benfey
Last year, indignant students at the University of Manchester painted over a mural displaying the verses of “If—” and replaced them with Maya Angelou’s “Still I Rise.” (Were they perhaps channeling Lindsay Anderson’s over-the-top If…, his 1968 film about an insurrection at an English public school?) Student outrage directed at Kipling is understandable. Didn’t Kipling write that notoriously racist screed “The White Man’s Burden,” an explicit invitation to the United States to assume Britain’s imperial mantle by occupying the Philippines? (George Orwell said it should have been called the “black man’s burden,” and James Baldwin agreed.) And wasn’t Kipling a close friend of that imperialist monster Cecil Rhodes, and a resolute supporter himself of the British colonial project in his native India? What writer could be more politically incorrect than Kipling, as a friend recently warned me when I told him I was completing a book on Kipling in America?
And yet, the Kipling case isn’t so simple. By a serendipity presumably unnoticed by the students, in Angelou’s I Know Why the Caged Bird Sings, young Maya “enjoyed and respected Kipling,” singling out “If—” for praise. In fact, “Still I Rise” appears to be modeled in part on Kipling’s don’t-back-down poem. “You may write me down in history / With your bitter, twisted lies,” Angelou writes defiantly, “But still, like dust, I’ll rise.” Perhaps Antonio Gramsci, the Italian Marxist thinker and translator of the poem, put the complex appeal of “If—” best. “Kipling’s morality is imperialist only to the extent that it is closely linked to a specific historical reality,” Gramsci wrote from one of Mussolini’s prisons, “but there are lessons in the poem for any social group struggling for political power.”
Maya AngelouのStill I Riseもセレーナが読んでいるものがありました。とても力づけられる詩です。
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