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(单词翻译:双击或拖选)
Untangling the contradictions of crime novelist Patricia Highsmith
In Alfred Hitchcock's 1951 movie Strangers on a Train, a man strikes up a conversation with a seatmate, leading to an indecent proposal. In Anthony Minghella's 1999 film The Talented Mr. Ripley, a grifter befriends a spoiled playboy, then offs him when the relationship gets complicated.
Literary critic Terry Castle says most people know Patricia Highsmith's writing through screen adaptations, but her original stories are even more chilling and compelling. "The main characters do not make sense. They seem to behave irrationally2 at certain points, rationally at other points. They do good things and then they do absolutely horrific things."
The same might be said of Highsmith. Her story begins in Fort Worth, Texas, in 1921. Abandoned by her father in infancy3, a love-hate relationship with her mother left deeper scars. As Castle explains, "Her mother was very ambivalent4 about having her in the first place, and one of Highsmith's favorite stories to tell was that her mother had tried to abort5 her by ingesting turpentine."
As a student at Barnard College, Highsmith wrote short stories. Rebuffed by the literary establishment, she initially6 made her living writing comic books, which she considered akin7 to writing B-movies. Caped8 superheroes didn't align9 with the world of smoke and shadows, code words and double-identities that drew her interest.
When she wasn't writing, Highsmith frequented bars like Spivy's Rooftop, where Bertha Levine, also known as Madame Spivy, entertained a mix of New York's gay and literary worlds with an air of discretion10.
"Highsmith was very beautiful as a young woman and charismatic," Castle says, "and she was enthusiastically homosexual, but at the same time that feeling was counterbalanced by shame and guilt11."
Two years after Highsmith's 1950 debut12 novel Strangers on a Train became a bestseller, she wrote The Price of Salt, a lesbian love story between a glamorous13 housewife and a young shopgirl inspired by her own chance encounter with a customer at a department store where she had taken a holiday job.
Rather than ending in murder or marriage, the protagonists14 got away with the possibility of a happy ending — a first in an era where lesbianism was considered deviant, even criminal. To safeguard her career, Highsmith published the book under the alias15 Claire Morgan, not officially claiming it as her own until it was republished as Carol in 1990.
The original paperback16 became an underground classic, selling more than a million copies, but mainstream17 fame eluded18 her. Swiss filmmaker Eva Vitija says Highsmith had more in common with Dostoyevsky than Mickey Spillane. "In the U.S. she was kind of put into the box of mystery and crime novelist and her writing didn't really fit that."
Starting in the early 1960s, Highsmith zigzagged19 across Europe, writing, drinking and pursuing ill-fated affairs. Throughout her career, Highsmith would write more than 20 novels as well as short stories, essays and articles. She also kept voluminous notebooks and diaries.
Highsmith's final years were spent in Switzerland, where she lived in a brutalist bunker of her design with her many cats, snails20 and disappointments. She died from cancer in 1995, before the resurgence21 of interest in her work sparked by the 1999 film adaption of The Talented Mr. Ripley and then Todd Haynes' 2015 adaption of Carol. Today there is even an online "choose your own Highsmith" book recommendation engine.
At the same time, Highsmith's legacy22 has been tarnished23 by a series of unflattering posthumous24 disclosures in biographies by Andrew Wilson (2003), Joan Schenkar (2009) and Richard Bradford (2021), as well as the 2021 publication of selections from her diaries and notebooks — 1,000 pages whittled25 down from some 8,000 pages that had been tucked away in her closet.
Some of those pages reveal a bitter, hateful woman whose rants26 are filled with racism27, antisemitism and misogyny. Yet filmmaker Eva Vitija says that person contradicts another Highsmith she saw there, a hopeful, romantic writer in perpetual search of love. Intrigued28, Vitija set about finding some of Highsmith's former lovers. Her documentary Loving Highsmith, which opens in theaters next month, pairs Highsmith's diary entries with the testimony29 of those paramours, such as the writer Marijane Meaker, who says Highsmith was "easy to love, let's put it that way."
In contrast, Grace Ellis and Hannah Templer's new graphic30 novel, Flung Out of Space, points to other evidence, such as an annotated31 "love chart" that Highsmith once used to rank her conquests, to arrive at a different conclusion. The medium Ellis and Templer use to tell her story rubs up against Highsmith's fraught32 history with comics. Her bigotry33 is addressed head-on in the book's forward, with Ellis noting that leaning into the subject's complexity34 is essential to recognizing her humanity, however flawed.
Interior pages from Flung Out of Space: Inspired by the Indecent Adventures of Patricia Highsmith, by Grace Ellis and Hannah Templer
Illustration: Hannah Templer for Abrams ComicArts, 2022
One panel shows Highsmith seeking conversion35 therapy to cure her attraction to women; another shows her picking up women in the group therapy sessions. Ellis explains that Highsmith's shame and subversion36 were both fueled by societal blinders. "How many groups could you possibly be in as a lesbian in the '40s and '50s and know for certain that everyone in that group is also a lesbian?"
1 transcript | |
n.抄本,誊本,副本,肄业证书 | |
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2 irrationally | |
ad.不理性地 | |
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3 infancy | |
n.婴儿期;幼年期;初期 | |
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4 ambivalent | |
adj.含糊不定的;(态度等)矛盾的 | |
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5 abort | |
v.使流产,堕胎;中止;中止(工作、计划等) | |
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6 initially | |
adv.最初,开始 | |
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7 akin | |
adj.同族的,类似的 | |
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8 caped | |
披斗篷的 | |
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9 align | |
vt.使成一线,结盟,调节;vi.成一线,结盟 | |
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10 discretion | |
n.谨慎;随意处理 | |
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11 guilt | |
n.犯罪;内疚;过失,罪责 | |
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12 debut | |
n.首次演出,初次露面 | |
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13 glamorous | |
adj.富有魅力的;美丽动人的;令人向往的 | |
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14 protagonists | |
n.(戏剧的)主角( protagonist的名词复数 );(故事的)主人公;现实事件(尤指冲突和争端的)主要参与者;领导者 | |
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15 alias | |
n.化名;别名;adv.又名 | |
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16 paperback | |
n.平装本,简装本 | |
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17 mainstream | |
n.(思想或行为的)主流;adj.主流的 | |
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18 eluded | |
v.(尤指机敏地)避开( elude的过去式和过去分词 );逃避;躲避;使达不到 | |
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19 zigzagged | |
adj.呈之字形移动的v.弯弯曲曲地走路,曲折地前进( zigzag的过去式和过去分词 ) | |
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20 snails | |
n.蜗牛;迟钝的人;蜗牛( snail的名词复数 ) | |
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21 resurgence | |
n.再起,复活,再现 | |
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22 legacy | |
n.遗产,遗赠;先人(或过去)留下的东西 | |
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23 tarnished | |
(通常指金属)(使)失去光泽,(使)变灰暗( tarnish的过去式和过去分词 ); 玷污,败坏 | |
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24 posthumous | |
adj.遗腹的;父亡后出生的;死后的,身后的 | |
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25 whittled | |
v.切,削(木头),使逐渐变小( whittle的过去式和过去分词 ) | |
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26 rants | |
n.夸夸其谈( rant的名词复数 );大叫大嚷地以…说教;气愤地)大叫大嚷;不停地大声抱怨v.夸夸其谈( rant的第三人称单数 );大叫大嚷地以…说教;气愤地)大叫大嚷;不停地大声抱怨 | |
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27 racism | |
n.民族主义;种族歧视(意识) | |
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28 intrigued | |
adj.好奇的,被迷住了的v.搞阴谋诡计(intrigue的过去式);激起…的兴趣或好奇心;“intrigue”的过去式和过去分词 | |
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29 testimony | |
n.证词;见证,证明 | |
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30 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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31 annotated | |
v.注解,注释( annotate的过去式和过去分词 ) | |
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32 fraught | |
adj.充满…的,伴有(危险等)的;忧虑的 | |
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33 bigotry | |
n.偏见,偏执,持偏见的行为[态度]等 | |
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34 complexity | |
n.复杂(性),复杂的事物 | |
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35 conversion | |
n.转化,转换,转变 | |
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36 subversion | |
n.颠覆,破坏 | |
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