书评:缺席:英语老师。

G. Gaylard
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引用次数: 0

摘要

过时和时代错误,也许并不奇怪,在最近的南部非洲小说中很突出,或者可能只是在南部非洲白人男性的小说中。在库切的《耻辱》和弗拉迪斯拉维奇的《不安分的超市》中最为明显的是,这个主题以白人男性(大卫·卢里和奥布里·蒂尔饰)的形式处理帝国的碎片,他们分别发现自己在1994年后的“新南非”背景下被解雇和退休,不得不开始努力寻找某种新生活。同样,大部分的戏剧性和娱乐性都来自于两个角色都不太能应付挑战。在这两种情况下,他们在某种程度上已经习惯了自己的方式,充满了假设和轻易的判断,这是在种族隔离的庇护就业的安全网中被呵护的一生所允许的。两人都抱怨种族等级颠倒带来的大量错误和不公正,这些错误和不公正使他们孤立无存,并发现自己无法(或许更重要的是,不愿)克服根深蒂固的偏见和价值观。此外,两个主角都发现自己的资源有限,都被抛回了他们已经遗忘了几十年的基本技能水平。然而,这两部小说都很受欢迎——前者在1999年获得布克奖,后者在2002年获得《星期日泰晤士报》小说奖——并成为后种族隔离时代文学文化和教育的支柱,这表明事物变化越多,它们就越保持不变;换句话说,几十年,甚至几个世纪的卓越地位不可能被一扫而空。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Book Review: Absent: The English Teacher.
Obsolescence and anachronism, perhaps unsurprisingly, have been prominent in Southern African fiction of late, or perhaps just in Southern African fiction by white males. Most famously apparent in Coetzee's Disgrace and Vladislavic's The Restless Supermarket, this theme deals with the detritus of empire in the form of white males (David Lurie and Aubrey Tearle) who find themselves redundant and retired, respectively, in the context of 'the new South Africa' after 1994, and have to begin to scrape together some sort of new life. Much of the drama and amusement, again respectively, comes from both characters being not much up to the challenge. In both cases they are somewhat set in their ways and full of the assumptions and easy judgements that a lifetime cosseted within the safety net of apartheid's sheltered employment allowed. Both rail against the plenitude of errors and injustices that accompany the inversion of the racial hierarchy that leaves them high and dry, and find themselves unable (and perhaps more importantly, unwilling) to overcome their ingrained prejudices and values. Moreover, both protagonists find their resources limited and both are thrown back on a level of basic skill that they have utterly forgotten about for many decades. However, the fact that both novels have been well-received - the former winning the Booker Prize in 1999 and the latter the Sunday Times Fiction Prize in 2002 - and have become mainstays of post-apartheid literary culture and education, suggests that the more things change the more they stay the same; in other words, decades, even centuries, of preeminence cannot just be swept away.
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