巨人谷:Lauren Delaunay Miller 编著的《优胜美地攀岩核心女性的故事》(评论)

IF 0.2 3区 文学 0 LITERATURE, AMERICAN
Peter L. Bayers
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Drawing from frontier mythology and western tropes of the outlaw male hero, the film recounts the ground-breaking climbing achievements of hypermasculine individual climbers and the hedonistic counterculture of the Yosemite climbing scene from the 1950s to the first decade of the twenty-first century. Judging from the film, the story of Yosemite climbing has been—with but one exception in Lynn Hill—the prerogative of white males who competed with one another to demonstrate their prowess on the cliff formations of the Valley. If women had a role in Yosemite, it was primarily as an object of desire for the fraternity of \"manly\" men.</p> <p>Lauren Delaunay Miller's <em>Valley of Giants</em>, a compelling anthology of thirty-eight original and previously published interviews, letters, memoirs, and essays from (almost exclusively) white women climbers is a welcome feminist counter-history to the mythic story of Yosemite climbing. Though today women climbers in Yosemite abound, Miller writes that the stories in this anthology \"demonstrate that women have always been at the center of Yosemite climbing\" (16), as far back as the 1930s. Though for decades their numbers were relatively small compared to the male population, <em>Valley of Giants</em> underscores that, like many of their male counterparts, women climbers lived for months at a time as countercultural \"dirtbags\" scraping by with their male peers in \"Camp 4,\" and they were as—if not more—capable as many of their male peers in their climbing ability.</p> <p>Though many male climbers considered women equal in ability, <strong>[End Page 377]</strong> the sad—and, given the historical context, unsurprising—reality was that women were patronized and disparaged by other men, for example, when in the early 1970s one male climber made the contemptible comment to Ellie Hawkins that \"women were talented in cooking and sewing but didn't have the spatial intelligence\" to ascend the massive cliffs (101). But these women suffer no male fools, illustrated by 1960s climber Jan Sacherer, who relates an incident about how her first husband belittled her on a climb. Infuriated, she responded by unroping and downclimbing a section of the cliff, \"leaving him alone and aghast,\" after which she never \"climbed with him or any man in Yosemite\" (54). And capturing the egregious bias of received Yosemite climbing history, Lynn Hill, one of the most respected and accomplished Yosemite climbers in the world, points out that though Beverly Johnson put up a first ascent on El Capitan with Charlie Porter in 1974, she \"was not given credit or even acknowledgement during those times, [which] was disgraceful to me\" (115).</p> <p>At the same time, <em>Valley of Giants</em> offers an alternative ethos to what Libby Sauter acknowledges has been \"a culture of competition and bravado [that] has always pervaded the Valley climbing scene\" (183). For instance, Steph Davis explains that she draws from Eastern philosophies in an effort to transcend a competitive climbing ethos, and Sauter, while acknowledging that though climbing might seem to be a strictly \"individual pursuit,\" at root it is a communal activity (185). And world-class climber Beth Rodden relates a story about her successful project to be the first person to climb a route she named \"Meltdown.\" She states, \"'<em>Meltdown</em>' was the pinnacle of my accomplishments in climbing\" after \"fifteen years of wanting to push myself and the sport of climbing\" (173). But with time this accomplishment began to ring hollow as Rodden \"felt pressure to do more and bigger and better\" (173). Unhappy, she walked away from climbing stardom to share a quiet, unassuming domestic life. She observes, \"I love going on hikes and climbs with my husband and son that I would have scoffed at in my younger days\" (173). 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Bayers </li> </ul> Lauren Delaunay Miller, ed., <em>Valley of Giants: Stories from Women at the Heart of Yosemite Climbing</em>. Seattle: Mountaineers Books, 2022. 240 pp. Paper, $21.95. <p>Yosemite Valley is a mythical Western landscape in US climbing lore, and nothing better captures this mythos than the award-winning film <em>Valley Uprising</em> (2014). Drawing from frontier mythology and western tropes of the outlaw male hero, the film recounts the ground-breaking climbing achievements of hypermasculine individual climbers and the hedonistic counterculture of the Yosemite climbing scene from the 1950s to the first decade of the twenty-first century. Judging from the film, the story of Yosemite climbing has been—with but one exception in Lynn Hill—the prerogative of white males who competed with one another to demonstrate their prowess on the cliff formations of the Valley. 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Though for decades their numbers were relatively small compared to the male population, <em>Valley of Giants</em> underscores that, like many of their male counterparts, women climbers lived for months at a time as countercultural \\\"dirtbags\\\" scraping by with their male peers in \\\"Camp 4,\\\" and they were as—if not more—capable as many of their male peers in their climbing ability.</p> <p>Though many male climbers considered women equal in ability, <strong>[End Page 377]</strong> the sad—and, given the historical context, unsurprising—reality was that women were patronized and disparaged by other men, for example, when in the early 1970s one male climber made the contemptible comment to Ellie Hawkins that \\\"women were talented in cooking and sewing but didn't have the spatial intelligence\\\" to ascend the massive cliffs (101). But these women suffer no male fools, illustrated by 1960s climber Jan Sacherer, who relates an incident about how her first husband belittled her on a climb. Infuriated, she responded by unroping and downclimbing a section of the cliff, \\\"leaving him alone and aghast,\\\" after which she never \\\"climbed with him or any man in Yosemite\\\" (54). And capturing the egregious bias of received Yosemite climbing history, Lynn Hill, one of the most respected and accomplished Yosemite climbers in the world, points out that though Beverly Johnson put up a first ascent on El Capitan with Charlie Porter in 1974, she \\\"was not given credit or even acknowledgement during those times, [which] was disgraceful to me\\\" (115).</p> <p>At the same time, <em>Valley of Giants</em> offers an alternative ethos to what Libby Sauter acknowledges has been \\\"a culture of competition and bravado [that] has always pervaded the Valley climbing scene\\\" (183). 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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:评论者: 巨人谷:Lauren Delaunay Miller 编著的《巨人谷:约塞米蒂攀岩中心女性的故事》(Valley of Giants:优胜美地攀岩核心女性的故事》。西雅图:西雅图:登山者书店,2022 年。240 页。纸质版,21.95 美元。优胜美地山谷是美国攀岩传说中充满神话色彩的西部景观,获奖影片《山谷起义》(Valley Uprising)(2014 年)就是对这一神话的最好诠释。影片借鉴了边疆神话和西部亡命男主角的故事,讲述了 20 世纪 50 年代到 21 世纪头十年间,极具男子气概的个人攀岩者所取得的突破性攀岩成就,以及优胜美地攀岩界的享乐主义反主流文化。从影片中可以看出,优胜美地的攀岩故事一直是白人男性的专利--除了林恩-希尔(Lynn Hill)是个例外--他们相互竞争,在山谷的悬崖峭壁上展示自己的实力。如果说女性在优胜美地有什么作用的话,那也主要是作为 "男子汉 "兄弟会的欲望对象。劳伦-德劳内-米勒(Lauren Delaunay Miller)的《巨人谷》(Valley of Giants)是一本令人信服的文集,收录了 38 篇由白人女性登山者(几乎全部)撰写的访谈、书信、回忆录和散文等原创作品和以前出版的作品,是一部值得欢迎的女权主义反历史著作,对优胜美地登山的神话故事进行了反驳。尽管如今优胜美地的女性登山者比比皆是,但米勒写道,这本选集中的故事 "表明女性一直是优胜美地登山运动的中心"(16),最早可以追溯到 20 世纪 30 年代。尽管几十年来,与男性相比,女性登山者的人数相对较少,但《巨人谷》强调,与许多男性登山者一样,女性登山者也是反文化的 "土包子",她们在 "4 号营地 "与男性同龄人一起生活了数月之久,她们的攀登能力与许多男性同龄人不相上下,甚至有过之而无不及。尽管许多男性登山者认为女性具有同等能力,但[第 377 页完]可悲的是,在当时的历史背景下,女性却受到其他男性的轻视和贬低,例如,在 20 世纪 70 年代初,一位男性登山者对艾莉-霍金斯(Ellie Hawkins)发表了令人鄙视的评论,称 "女性在烹饪和缝纫方面很有天赋,但却不具备攀登巨大悬崖的空间智慧"(101)。但是,这些女性不会受男性愚弄,20 世纪 60 年代的登山者扬-萨切尔(Jan Sacherer)就说明了这一点,她讲述了自己的第一任丈夫在一次登山中轻视她的事件。恼羞成怒的她拔掉绳索,顺着一段悬崖向下攀登,"留下他一个人,让他大吃一惊",此后她再也没有 "和他或优胜美地的任何男人一起攀登过"(54)。林恩-希尔(Lynn Hill)是世界上最受尊敬、最有成就的优胜美地攀登者之一,她指出,尽管贝弗利-约翰逊(Beverly Johnson)在 1974 年与查理-波特(Charlie Porter)一起完成了埃尔卡皮坦(El Capitan)的首次攀登,但 "在那段时间里,她没有获得任何荣誉,甚至没有得到任何承认,这对我来说是不光彩的"(115)。与此同时,《巨人谷》提供了另一种精神风貌,而不是 Libby Sauter 所承认的 "一直弥漫在巨人谷攀岩界的竞争和炫耀文化"(183)。例如,斯蒂芬-戴维斯(Steph Davis)解释说,她从东方哲学中汲取营养,努力超越攀岩的竞争风气,而索特(Sauter)也承认,尽管攀岩看似是一种严格意义上的 "个人追求",但从根本上说,它是一种集体活动(185)。世界级攀岩运动员贝丝-罗登(Beth Rodden)讲述了她的一个故事,她成功地成为了第一位攀登她命名为 "熔炉"(Meltdown)的路线的人。她说,"'Meltdown'是我在攀岩运动中取得的最高成就",在此之前,"我已经有 15 年的时间想要推动自己和攀岩运动的发展"(173)。但随着时间的推移,这一成就开始变得空洞,因为罗登 "感到了压力,要做得更多、更大、更好"(173)。不甘寂寞的她离开了攀岩明星的行列,开始了平静、平淡的家庭生活。她说:"我喜欢和我的丈夫和儿子一起远足和登山,这在我年轻的时候是不屑一顾的"(173)。在谈到初级攀岩路线时,她说:"如果我能...
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Valley of Giants: Stories from Women at the Heart of Yosemite Climbing ed. by Lauren Delaunay Miller (review)
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Valley of Giants: Stories from Women at the Heart of Yosemite Climbing ed. by Lauren Delaunay Miller
  • Peter L. Bayers
Lauren Delaunay Miller, ed., Valley of Giants: Stories from Women at the Heart of Yosemite Climbing. Seattle: Mountaineers Books, 2022. 240 pp. Paper, $21.95.

Yosemite Valley is a mythical Western landscape in US climbing lore, and nothing better captures this mythos than the award-winning film Valley Uprising (2014). Drawing from frontier mythology and western tropes of the outlaw male hero, the film recounts the ground-breaking climbing achievements of hypermasculine individual climbers and the hedonistic counterculture of the Yosemite climbing scene from the 1950s to the first decade of the twenty-first century. Judging from the film, the story of Yosemite climbing has been—with but one exception in Lynn Hill—the prerogative of white males who competed with one another to demonstrate their prowess on the cliff formations of the Valley. If women had a role in Yosemite, it was primarily as an object of desire for the fraternity of "manly" men.

Lauren Delaunay Miller's Valley of Giants, a compelling anthology of thirty-eight original and previously published interviews, letters, memoirs, and essays from (almost exclusively) white women climbers is a welcome feminist counter-history to the mythic story of Yosemite climbing. Though today women climbers in Yosemite abound, Miller writes that the stories in this anthology "demonstrate that women have always been at the center of Yosemite climbing" (16), as far back as the 1930s. Though for decades their numbers were relatively small compared to the male population, Valley of Giants underscores that, like many of their male counterparts, women climbers lived for months at a time as countercultural "dirtbags" scraping by with their male peers in "Camp 4," and they were as—if not more—capable as many of their male peers in their climbing ability.

Though many male climbers considered women equal in ability, [End Page 377] the sad—and, given the historical context, unsurprising—reality was that women were patronized and disparaged by other men, for example, when in the early 1970s one male climber made the contemptible comment to Ellie Hawkins that "women were talented in cooking and sewing but didn't have the spatial intelligence" to ascend the massive cliffs (101). But these women suffer no male fools, illustrated by 1960s climber Jan Sacherer, who relates an incident about how her first husband belittled her on a climb. Infuriated, she responded by unroping and downclimbing a section of the cliff, "leaving him alone and aghast," after which she never "climbed with him or any man in Yosemite" (54). And capturing the egregious bias of received Yosemite climbing history, Lynn Hill, one of the most respected and accomplished Yosemite climbers in the world, points out that though Beverly Johnson put up a first ascent on El Capitan with Charlie Porter in 1974, she "was not given credit or even acknowledgement during those times, [which] was disgraceful to me" (115).

At the same time, Valley of Giants offers an alternative ethos to what Libby Sauter acknowledges has been "a culture of competition and bravado [that] has always pervaded the Valley climbing scene" (183). For instance, Steph Davis explains that she draws from Eastern philosophies in an effort to transcend a competitive climbing ethos, and Sauter, while acknowledging that though climbing might seem to be a strictly "individual pursuit," at root it is a communal activity (185). And world-class climber Beth Rodden relates a story about her successful project to be the first person to climb a route she named "Meltdown." She states, "'Meltdown' was the pinnacle of my accomplishments in climbing" after "fifteen years of wanting to push myself and the sport of climbing" (173). But with time this accomplishment began to ring hollow as Rodden "felt pressure to do more and bigger and better" (173). Unhappy, she walked away from climbing stardom to share a quiet, unassuming domestic life. She observes, "I love going on hikes and climbs with my husband and son that I would have scoffed at in my younger days" (173). And in regard to a beginner climbing route she states, "If I could do...

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Western American Literature
Western American Literature LITERATURE, AMERICAN-
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