Posted at 2016.05.05 Category : 未分類
最近のアマゾンのKindleの値段設定が高すぎるので不満だったのですが、安くなっている本をみつけました。今年のピューリッツァー賞を受賞したThe Sympathizerです。
ピューリッツァー賞に加えてエドガー賞も受賞したようですね。受賞発表のプレスリリースはTOEIC的な文章です。
April 28, 2016, New York, NY: Mystery Writers of America is proud to announce the winners of the 2016 Edgar Allan Poe Awards, honoring the best in mystery fiction, non-fiction and television published or produced in 2015. The Edgar® Awards were presented to the winners at our 70th Gala Banquet, April 28, 2016 at the Grand Hyatt Hotel, New York City.
彼のインタビューはこちら。アメリカでベトナム戦争を語るものはたくさんありますが、どうしてもアメリカ人の視点からのものに偏りがちですよね。
Pulitzer winner Viet Thanh Nguyen: 'My book has something to offend everyone'
The Sympathizer won despite Nguyen feeling he was writing against the tastes of most publishers, who insist that writers of color pander to white audiences
Friday 22 April 2016 17.36 BST
Viet Thanh Nguyen’s The Sympathizer took home the Pulitzer prize for fiction this week. This will make him an author newly in demand. But in an interview, the artist tells the Guardian he is under no illusions about how books get sold.
“The literary industry and the entire social and cultural system of the United States work to tempt writers of color into writing for white people,” says Nguyen. “‘If I had written the book for a white audience, I would have sold it for a lot more money and many more publishers would have been bidding for it.”
The Sympathizer tells the story of an unnamed half-Vietnamese, half-French communist spy who lives a double life in Los Angeles. Nguyen, a Vietnamese refugee who grew up in California’s Bay Area, has always been fond of spy novels. The life of the spy, who makes his way by duality and subterfuge, resonated with someone who grew up as an immigrant in America. “There’s that experience of feeling between two worlds, seeing things from two sides, being the lone minority in an environment,” he says. “It was very liberating to write about someone who is completely unlike me in his biography, even though he is like me emotionally.”
700円だったことをいいことに、研究者としての著書であるNothing Ever Diesもついでに買ってしまいました（汗）
The Sympathizer
Nothing Ever Dies
昨年ベトナム戦勝終結40周年に寄せてNYTに投稿したものがありました。「ベトナム戦争」と呼ぶけどラオスにもカンボジアにも被害をもたらしているという視点とても大切だと思います。
Our Vietnam War Never Ended
By VIET THANH NGUYENAPRIL 24, 2015
LOS ANGELES — THURSDAY, the last day of April, is the 40th anniversary of the end of my war. Americans call it the Vietnam War, and the victorious Vietnamese call it the American War. In fact, both of these names are misnomers, since the war was also fought, to great devastation, in Laos and Cambodia, a fact that Americans and Vietnamese would both rather forget.
In any case, for anyone who has lived through a war, that war needs no name. It is always and only “the war,” which is what my family and I call it. Anniversaries are the time for war stories to be told, and the stories of my family and other refugees are war stories, too. This is important, for when Americans think of war, they tend to think of men fighting “over there.” The tendency to separate war stories from immigrant stories means that most Americans don’t understand how many of the immigrants and refugees in the United States have fled from wars — many of which this country has had a hand in.
ここでもBut in mastering that language and its culture, I learned too well how Americans viewed the Vietnamese.とアメリカ人の視点でしかベトナムが語られないことを指摘しています。
I watched “Apocalypse Now” and saw American sailors massacre a sampan full of civilians and Martin Sheen shoot a wounded woman in cold blood. I watched “Platoon” and heard the audience cheering and clapping when the Americans killed Vietnamese soldiers. These scenes, although fictional, left me shaking with rage. I knew that in the American imagination I was the Other, the Gook, the foreigner, no matter how perfect my English, how American my behavior. In my mostly white high school, the handful of Asian students clustered together in one corner for lunch and even called ourselves the Asian Invasion and the Yellow Peril.
教授になって小説も書いて賞をもらって、人もうらやむサクセスストーリー。家族も裕福で兄弟も医者でいうことなしと思ったらour family story is a story of loss and deathと書いています。確かに戦争がなければアメリカにくることもなかったんですよね。
This Black April, the 40th, is a time to reflect on the stories of our war. Some may see our family of refugees as living proof of the American dream — my parents are prosperous, my brother is a doctor who leads a White House advisory committee, and I am a professor and novelist. But our family story is a story of loss and death, for we are here only because the United States fought a war that killed three million of our countrymen (not counting over two million others who died in neighboring Laos and Cambodia). Filipinos are here largely because of the Philippine-American War, which killed more than 200,000. Many Koreans are here because of a chain of events set off by a war that killed over two million.
We can argue about the causes for these wars and the apportioning of blame, but the fact is that war begins, and ends, over here, with the support of citizens for the war machine, with the arrival of frightened refugees fleeing wars we have instigated. Telling these kinds of stories, or learning to read, see and hear family stories as war stories, is an important way to treat the disorder of our military-industrial complex. For rather than being disturbed by the idea that war is hell, this complex thrives on it.
彼の指摘にハッとさせられました。移民を受け入れる寛容な国アメリカというよりも、移民を受け入れているのは自ら起こした戦争の後処理をしているだけかもしれないんですよね。
ピューリッツァー賞に加えてエドガー賞も受賞したようですね。受賞発表のプレスリリースはTOEIC的な文章です。
April 28, 2016, New York, NY: Mystery Writers of America is proud to announce the winners of the 2016 Edgar Allan Poe Awards, honoring the best in mystery fiction, non-fiction and television published or produced in 2015. The Edgar® Awards were presented to the winners at our 70th Gala Banquet, April 28, 2016 at the Grand Hyatt Hotel, New York City.
彼のインタビューはこちら。アメリカでベトナム戦争を語るものはたくさんありますが、どうしてもアメリカ人の視点からのものに偏りがちですよね。
Pulitzer winner Viet Thanh Nguyen: 'My book has something to offend everyone'
The Sympathizer won despite Nguyen feeling he was writing against the tastes of most publishers, who insist that writers of color pander to white audiences
Friday 22 April 2016 17.36 BST
Viet Thanh Nguyen’s The Sympathizer took home the Pulitzer prize for fiction this week. This will make him an author newly in demand. But in an interview, the artist tells the Guardian he is under no illusions about how books get sold.
“The literary industry and the entire social and cultural system of the United States work to tempt writers of color into writing for white people,” says Nguyen. “‘If I had written the book for a white audience, I would have sold it for a lot more money and many more publishers would have been bidding for it.”
The Sympathizer tells the story of an unnamed half-Vietnamese, half-French communist spy who lives a double life in Los Angeles. Nguyen, a Vietnamese refugee who grew up in California’s Bay Area, has always been fond of spy novels. The life of the spy, who makes his way by duality and subterfuge, resonated with someone who grew up as an immigrant in America. “There’s that experience of feeling between two worlds, seeing things from two sides, being the lone minority in an environment,” he says. “It was very liberating to write about someone who is completely unlike me in his biography, even though he is like me emotionally.”
700円だったことをいいことに、研究者としての著書であるNothing Ever Diesもついでに買ってしまいました（汗）
The Sympathizer
Nothing Ever Dies
昨年ベトナム戦勝終結40周年に寄せてNYTに投稿したものがありました。「ベトナム戦争」と呼ぶけどラオスにもカンボジアにも被害をもたらしているという視点とても大切だと思います。
Our Vietnam War Never Ended
By VIET THANH NGUYENAPRIL 24, 2015
LOS ANGELES — THURSDAY, the last day of April, is the 40th anniversary of the end of my war. Americans call it the Vietnam War, and the victorious Vietnamese call it the American War. In fact, both of these names are misnomers, since the war was also fought, to great devastation, in Laos and Cambodia, a fact that Americans and Vietnamese would both rather forget.
In any case, for anyone who has lived through a war, that war needs no name. It is always and only “the war,” which is what my family and I call it. Anniversaries are the time for war stories to be told, and the stories of my family and other refugees are war stories, too. This is important, for when Americans think of war, they tend to think of men fighting “over there.” The tendency to separate war stories from immigrant stories means that most Americans don’t understand how many of the immigrants and refugees in the United States have fled from wars — many of which this country has had a hand in.
ここでもBut in mastering that language and its culture, I learned too well how Americans viewed the Vietnamese.とアメリカ人の視点でしかベトナムが語られないことを指摘しています。
I watched “Apocalypse Now” and saw American sailors massacre a sampan full of civilians and Martin Sheen shoot a wounded woman in cold blood. I watched “Platoon” and heard the audience cheering and clapping when the Americans killed Vietnamese soldiers. These scenes, although fictional, left me shaking with rage. I knew that in the American imagination I was the Other, the Gook, the foreigner, no matter how perfect my English, how American my behavior. In my mostly white high school, the handful of Asian students clustered together in one corner for lunch and even called ourselves the Asian Invasion and the Yellow Peril.
教授になって小説も書いて賞をもらって、人もうらやむサクセスストーリー。家族も裕福で兄弟も医者でいうことなしと思ったらour family story is a story of loss and deathと書いています。確かに戦争がなければアメリカにくることもなかったんですよね。
This Black April, the 40th, is a time to reflect on the stories of our war. Some may see our family of refugees as living proof of the American dream — my parents are prosperous, my brother is a doctor who leads a White House advisory committee, and I am a professor and novelist. But our family story is a story of loss and death, for we are here only because the United States fought a war that killed three million of our countrymen (not counting over two million others who died in neighboring Laos and Cambodia). Filipinos are here largely because of the Philippine-American War, which killed more than 200,000. Many Koreans are here because of a chain of events set off by a war that killed over two million.
We can argue about the causes for these wars and the apportioning of blame, but the fact is that war begins, and ends, over here, with the support of citizens for the war machine, with the arrival of frightened refugees fleeing wars we have instigated. Telling these kinds of stories, or learning to read, see and hear family stories as war stories, is an important way to treat the disorder of our military-industrial complex. For rather than being disturbed by the idea that war is hell, this complex thrives on it.
彼の指摘にハッとさせられました。移民を受け入れる寛容な国アメリカというよりも、移民を受け入れているのは自ら起こした戦争の後処理をしているだけかもしれないんですよね。
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