好きなライターを見つけよう

JANUARY 5, 2015
Out Loud: Teju Cole’s Favorite Things
BY THE NEW YORKER

自分の好きなライターを見つけていろいろ読んでいくのがいいかもしれません。じゃないといつまでも村上春樹の新作がどうだか、みたいな話しかできませんし。。。

好きな作家の一人Teju Coleがニューヨーカーのポッドキャストで好きな映画、音楽、詩などをざっくばらんに話していました。

キェシロフスキ監督のTrois Couleurs: Rougeが好きだと語っています。英語だとThree Colors: Redで、日本語はトリコロール/赤の愛としています。愛をつけてしまうのが日本的な映画タイトルですね（苦笑）



昨年でたBeckのMorning Phaseも何度も聞いたと言っています。



詩ではギリシャの詩人Giorgos Seferisが好きだそうです。

Open City (2012/02/01) Teju Cole 商品詳細を見る

Teju Coleの書いたOpen Cityは好きな小説の一つですが、ニューヨーカーに寄稿したり、下記のようなアフリカ作家会議に参加したり幅広く活躍しているようです。個人的には次作に取り組んでもらいたいのですが。。。



これ以外にもWhite-Savior Industrial Complexという言葉で途上国チャリティを問題視したり、

The White-Savior Industrial Complex
TEJU COLEMAR 21 2012, 7:15 AM ET
If we are going to interfere in the lives of others, a little due diligence is a minimum requirement.

今年はHafizというTwitter小説を発表したりといろいろなことに挑戦しています。

Teju Cole Writes A Story A Tweet At A Time
JANUARY 16, 201411:00 AM ET

まあ、Yutaの好きなライターの基準は決まってしまっている感じです（汗）その一つが、言葉にならないものに言葉を見つけようと努力している態度をもっていることです。下記の写真家Glenna Gordoへのインタビューを読んでも彼にはそのような問題意識があることがわかります。

NOVEMBER 13, 2014
Photographing the Unphotographable
BY TEJU COLE

COLE: Hetherington really was a remarkable journalist. I had just watched “Restrepo,” his documentary about Afghanistan, and was utterly awed by it. Then the sad news came in of his death in Libya. I can imagine how an encounter with someone like him, with that kind of personal courage and ethical commitment, would really transform your sense of photography.
I feel you are doing some remarkable work yourself right now. An image of yours for Rukmini Callimachi’s extraordinary piece on ISIS hostages showed a “chess set,” improvised from pieces of paper. It was a wonderful picture, because it not only told a strong story but because it also made me realize that you were doing something no one else in photojournalism is doing in quite the same way: you had found a way to photograph the unphotographable. How does one take a photo of an abduction? How does one portray captivity? The work you’ve been doing with objects has been an intriguing answer to these questions. It goes beyond whatever the clichés of war photography are.
But let’s loop back to some work you did earlier in this mode. How did you come to make photos of the objects left behind by the Nigerian girls abducted from Chibok?

GORDON: For the Chibok girls, I knew I wanted to do something that would visually represent their absence. I really didn’t want to photograph the rallies and protests; those images would be more about the protesters than the girls. I realized I could photograph the girls by photographing some of their belongings. The idea was simple, but the execution was not. Getting items from the remote town of Chibok to a photo studio in the capital of Abuja was like moving a mountain.
At first, I was afraid the parents would think I was trying to do some kind of juju with their girls’ things. There’s a combination of suspicion and superstition in this part of the world that I thought I would be up against. In the end, this wasn’t an issue in terms of getting the things, but it was an issue once I had the things in my possession. When I was in the photo studio and moving the dresses around to photograph them, I felt like I was moving ghosts. I realized these objects had immense power. Each item had the distinct smell of the owner, faintly or strongly but recognizably. And the notebooks felt so deeply personal, with their doodles and school lessons and letters to relatives.

好きなライターをどのように見つけるか？　こればかりはいろいろと模索するしかないでしょうね。。。