不思议乐队继续说话

IF 0.4 4区 历史学 Q1 HISTORY
Regina N. Bradley
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Nana shook her head and went about her business. I was scary, but I couldn't turn away. I watched <em>Unsolved Mysteries</em> in the country, where there were no streetlights, the darkness swallowed me whole, and nobody could hear me screaming if a serial killer made his way to the house or Bigfoot scratched at the bars of my bedroom window. <em>Unsolved Mysteries</em> was the portal to my imagination running wild, and fear was the pilot.</p> <p>Robert Stack never narrated, but I had unsolved mysteries of my own: why did Paw Paw turn down the radio and whisper whenever we passed a cemetery? Who was really dumb enough to try and steal a Bible from the haunted church on the dirt road by our house that only appeared <strong>[End Page 92]</strong> under a full moon? How could an oak tree with moss look so damn sinister? What was <em>really</em> the deal with the Broom Man, someone Nana said lived in her neighborhood when she was a girl and could make a broom dance because he sold his soul to the Devil?</p> <br/> Click for larger view<br/> View full resolution <p><em>Dollbaby standing in the orchard at midday</em>, by Allison Janae Hamilton, 2015. Archival pigment print, 40 × 60 in. © Allison Janae Hamilton,</p> <p>courtesy of the artist and Marianne Boesky Gallery.</p> <p></p> <p>I didn't know the term for my personal mysteries of living in the South was Southern Gothic.</p> <p><small><strong>southern gothic is a catchall</strong></small> for the region's peculiarities and how it exists. The South is not easily translatable, and the Gothic offers insight into how to make sense of the indecipherable. Themes of decay and rot, haunting, and deep-rooted secrets of family and self-betrayal are pathways for understanding the Southern Gothic as it is celebrated in literary and cultural studies. But like so many touchstones for understanding the region, the Southern Gothic heavily leans towards white experiences, including making sense of the half-life of the South's most prominent <strong>[End Page 93]</strong> obsession: the Confederacy. This mourning for the Old South is captured in stories of the rotting grandeur of plantation houses, the slow death of southern debutantes and their fading gentlemen callers, and the macabre procession of anonymous white mobs inflicting violence on unnamed Black people. In its most ideal form, the Southern Gothic makes the South's most grotesque and unsavory realities palatable without requiring or demanding accountability.</p> <p>Still, the Gothic is also useful as an entry point for understanding Black folks' experiences in the South. The Black Southern Gothic also builds on the region's peculiarities of race, class, and memory but is far less forgiving of these occurrences. In her book <em>African American Gothic</em>, Maisha Wester observes, \"[the] Black literary gothic significantly rewrites the notion of the uncanny.\" The Black Southern Gothic is a calculated and intentional pushback against the definition of southern Blackness as timid, spineless, or reactionary to the violence of white supremacy. The fear of death or retaliation for being Black in the South is a trope that vibrates throughout social, historical, and cultural narratives of the region. As Trudier Harris writes in her book <em>The Scary Mason-Dixon Line</em>, \"If God fears the South, then obviously there is little hope for mere black mortals.\" However, reading southern Blackness through a Gothic lens demonstrates our agency and resilience. There are plentiful examples of the Black Southern Gothic in Black culture: Charles Chesnutt infuses the Gothic in his collection of short stories <em>The Conjure Woman</em> (1899), set in North Carolina, to push back against the widespread nostalgia of...</p> </p>","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Uncanny Keep On Talkin'\",\"authors\":\"Regina N. Bradley\",\"doi\":\"10.1353/scu.2023.a917569\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\\n<p> <ul> <li><!-- html_title --> The Uncanny Keep On Talkin' <!-- /html_title --></li> <li> Regina N. Bradley </li> </ul> <p><strong>W<small>hen</small> <small>i was a kid</small></strong>, Wednesday nights were reserved for <em>Unsolved Mysteries</em>. A man's disembodied voice warned viewers that we were about to watch something that \\\"was not a news broadcast,\\\" followed by a crescendo of synthesizers and Robert Stack's gravelly voice and direct stare into the camera.</p> <p>\\\"You always get scared by just the introduction,\\\" Nana fussed while standing directly in front of the television. \\\"Watch something else before you have to go to bed.\\\"</p> <p>She wasn't wrong.</p> <p>\\\"But this is my <em>show</em>,\\\" I protested. Robert Stack scowled from the screen in agreement. Nana shook her head and went about her business. I was scary, but I couldn't turn away. I watched <em>Unsolved Mysteries</em> in the country, where there were no streetlights, the darkness swallowed me whole, and nobody could hear me screaming if a serial killer made his way to the house or Bigfoot scratched at the bars of my bedroom window. <em>Unsolved Mysteries</em> was the portal to my imagination running wild, and fear was the pilot.</p> <p>Robert Stack never narrated, but I had unsolved mysteries of my own: why did Paw Paw turn down the radio and whisper whenever we passed a cemetery? Who was really dumb enough to try and steal a Bible from the haunted church on the dirt road by our house that only appeared <strong>[End Page 92]</strong> under a full moon? How could an oak tree with moss look so damn sinister? What was <em>really</em> the deal with the Broom Man, someone Nana said lived in her neighborhood when she was a girl and could make a broom dance because he sold his soul to the Devil?</p> <br/> Click for larger view<br/> View full resolution <p><em>Dollbaby standing in the orchard at midday</em>, by Allison Janae Hamilton, 2015. Archival pigment print, 40 × 60 in. © Allison Janae Hamilton,</p> <p>courtesy of the artist and Marianne Boesky Gallery.</p> <p></p> <p>I didn't know the term for my personal mysteries of living in the South was Southern Gothic.</p> <p><small><strong>southern gothic is a catchall</strong></small> for the region's peculiarities and how it exists. The South is not easily translatable, and the Gothic offers insight into how to make sense of the indecipherable. Themes of decay and rot, haunting, and deep-rooted secrets of family and self-betrayal are pathways for understanding the Southern Gothic as it is celebrated in literary and cultural studies. But like so many touchstones for understanding the region, the Southern Gothic heavily leans towards white experiences, including making sense of the half-life of the South's most prominent <strong>[End Page 93]</strong> obsession: the Confederacy. This mourning for the Old South is captured in stories of the rotting grandeur of plantation houses, the slow death of southern debutantes and their fading gentlemen callers, and the macabre procession of anonymous white mobs inflicting violence on unnamed Black people. In its most ideal form, the Southern Gothic makes the South's most grotesque and unsavory realities palatable without requiring or demanding accountability.</p> <p>Still, the Gothic is also useful as an entry point for understanding Black folks' experiences in the South. The Black Southern Gothic also builds on the region's peculiarities of race, class, and memory but is far less forgiving of these occurrences. 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引用次数: 0

摘要

以下是内容的简要摘录,以代替摘要: 雷吉娜-N.-布拉德利(Regina N. Bradley) 我小时候,每周三晚上的节目是《未解之谜》。一个男人的声音警告观众,我们即将看到的 "不是新闻广播",然后是合成器的高潮、罗伯特-斯塔克沙哑的嗓音和直视镜头的眼神。"你总是被前言吓到,"娜娜站在电视机前大惊小怪。"睡觉前看点别的吧"她说得没错。"可这是我的节目,"我抗议道。屏幕上的罗伯特-斯塔克皱着眉头表示同意。娜娜摇摇头,继续做她的事。我很害怕,但又不能不看。我在乡下看《未解之谜》,那里没有路灯,黑暗将我吞噬,如果有连环杀手闯进家门,或者大脚怪抓破我卧室窗户的铁栅栏,没人能听到我的尖叫。未解之谜》是我驰骋想象力的入口,而恐惧则是领航员。罗伯特-斯戴克从来没有解说过,但我自己也有未解之谜:为什么每当我们经过墓地时,爪爪就会把收音机的声音调低并窃窃私语?到底是谁这么蠢,竟然想从我们家附近土路上那座只在满月时出现 [第 92 页完] 的闹鬼教堂里偷圣经?一棵长满青苔的橡树怎么会看起来那么阴森恐怖?扫帚人到底是怎么回事?娜娜说,她还是个女孩的时候,扫帚人就住在她家附近,他能让扫帚跳舞,因为他把灵魂出卖给了魔鬼。 点击查看大图 查看完整分辨率 Dollbaby 站在正午的果园里,作者:Allison Janae Hamilton,2015 年。档案颜料打印,40 × 60 英寸© Allison Janae Hamilton,由艺术家和 Marianne Boesky 画廊提供。 我不知道我生活在南方的个人奥秘的术语是南方哥特式。南方哥特式是该地区特殊性及其存在方式的总称。南方并不容易翻译,而哥特式则提供了如何从难以解读的事物中找出意义的见解。衰败和腐朽、鬼魂缠绕、根深蒂固的家庭秘密和自我背叛等主题是理解南方哥特式的途径,因为它在文学和文化研究中备受推崇。但是,就像许多理解该地区的试金石一样,南方哥特式在很大程度上倾向于白人的经验,包括对南方最突出 [结束语第 93 页] 的迷恋--南方邦联--的半衰期的理解。这种对老南方的哀悼体现在以下故事中:种植园房屋日渐腐朽的壮观景象、南方名媛的缓慢死亡及其逐渐消逝的绅士,以及无名白人暴徒对无名黑人施暴的恐怖过程。在其最理想的形式中,南方哥特式使南方最怪诞、最不光彩的现实变得可以接受,而不需要或要求承担责任。不过,哥特式也是理解黑人在南方经历的一个有用切入点。南方黑人哥特式作品也以该地区种族、阶级和记忆的特殊性为基础,但对这些现象的宽容度要低得多。梅莎-韦斯特(Maisha Wester)在她的《非裔美国人哥特式》一书中指出,"黑人文学哥特式极大地改写了不可思议的概念"。南方黑人哥特式是对南方黑人胆怯、懦弱或对白人至上主义暴力反动的定义的蓄意反击。南方黑人对死亡或报复的恐惧是贯穿该地区社会、历史和文化叙事的一个特例。正如特鲁迪尔-哈里斯(Trudier Harris)在她的著作《可怕的马森-迪克森线》(The Scary Mason-Dixon Line)中写道:"如果上帝惧怕南方,那么黑人凡人显然希望渺茫。然而,从哥特式的视角来解读南方黑人,可以展示我们的能动性和韧性。黑人文化中有大量黑人南方哥特式的例子:查尔斯-切斯纳特(Charles Chesnutt)在他以北卡罗来纳州为背景的短篇小说集《女魔术师》(1899 年)中注入了哥特式风格,以回击人们对南方黑人的普遍怀念。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Uncanny Keep On Talkin'
In lieu of an abstract, here is a brief excerpt of the content:

  • The Uncanny Keep On Talkin'
  • Regina N. Bradley

When i was a kid, Wednesday nights were reserved for Unsolved Mysteries. A man's disembodied voice warned viewers that we were about to watch something that "was not a news broadcast," followed by a crescendo of synthesizers and Robert Stack's gravelly voice and direct stare into the camera.

"You always get scared by just the introduction," Nana fussed while standing directly in front of the television. "Watch something else before you have to go to bed."

She wasn't wrong.

"But this is my show," I protested. Robert Stack scowled from the screen in agreement. Nana shook her head and went about her business. I was scary, but I couldn't turn away. I watched Unsolved Mysteries in the country, where there were no streetlights, the darkness swallowed me whole, and nobody could hear me screaming if a serial killer made his way to the house or Bigfoot scratched at the bars of my bedroom window. Unsolved Mysteries was the portal to my imagination running wild, and fear was the pilot.

Robert Stack never narrated, but I had unsolved mysteries of my own: why did Paw Paw turn down the radio and whisper whenever we passed a cemetery? Who was really dumb enough to try and steal a Bible from the haunted church on the dirt road by our house that only appeared [End Page 92] under a full moon? How could an oak tree with moss look so damn sinister? What was really the deal with the Broom Man, someone Nana said lived in her neighborhood when she was a girl and could make a broom dance because he sold his soul to the Devil?


Click for larger view
View full resolution

Dollbaby standing in the orchard at midday, by Allison Janae Hamilton, 2015. Archival pigment print, 40 × 60 in. © Allison Janae Hamilton,

courtesy of the artist and Marianne Boesky Gallery.

I didn't know the term for my personal mysteries of living in the South was Southern Gothic.

southern gothic is a catchall for the region's peculiarities and how it exists. The South is not easily translatable, and the Gothic offers insight into how to make sense of the indecipherable. Themes of decay and rot, haunting, and deep-rooted secrets of family and self-betrayal are pathways for understanding the Southern Gothic as it is celebrated in literary and cultural studies. But like so many touchstones for understanding the region, the Southern Gothic heavily leans towards white experiences, including making sense of the half-life of the South's most prominent [End Page 93] obsession: the Confederacy. This mourning for the Old South is captured in stories of the rotting grandeur of plantation houses, the slow death of southern debutantes and their fading gentlemen callers, and the macabre procession of anonymous white mobs inflicting violence on unnamed Black people. In its most ideal form, the Southern Gothic makes the South's most grotesque and unsavory realities palatable without requiring or demanding accountability.

Still, the Gothic is also useful as an entry point for understanding Black folks' experiences in the South. The Black Southern Gothic also builds on the region's peculiarities of race, class, and memory but is far less forgiving of these occurrences. In her book African American Gothic, Maisha Wester observes, "[the] Black literary gothic significantly rewrites the notion of the uncanny." The Black Southern Gothic is a calculated and intentional pushback against the definition of southern Blackness as timid, spineless, or reactionary to the violence of white supremacy. The fear of death or retaliation for being Black in the South is a trope that vibrates throughout social, historical, and cultural narratives of the region. As Trudier Harris writes in her book The Scary Mason-Dixon Line, "If God fears the South, then obviously there is little hope for mere black mortals." However, reading southern Blackness through a Gothic lens demonstrates our agency and resilience. There are plentiful examples of the Black Southern Gothic in Black culture: Charles Chesnutt infuses the Gothic in his collection of short stories The Conjure Woman (1899), set in North Carolina, to push back against the widespread nostalgia of...

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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: In the foreword to the first issue of the The Southern Literary Journal, published in November 1968, founding editors Louis D. Rubin, Jr. and C. Hugh Holman outlined the journal"s objectives: "To study the significant body of southern writing, to try to understand its relationship to the South, to attempt through it to understand an interesting and often vexing region of the American Union, and to do this, as far as possible, with good humor, critical tact, and objectivity--these are the perhaps impossible goals to which The Southern Literary Journal is committed." Since then The Southern Literary Journal has published hundreds of essays by scholars of southern literature examining the works of southern writers and the ongoing development of southern culture.
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