The brutal lynching of two young black men in Marion, Indiana, on August 7, 1930, cast a shadow over the town that still lingers. It is only one event in the long and complicated history of race relations in Marion, a history much ignored and considered by many to be best forgotten. But the lynching cannot be forgotten. It is too much a part of the fabric of Marion, too much ingrained even now in the minds of those who live there. In Our Town journalist Cynthia Carr explores the issues of race, loyalty, and memory in America through the lens of a specific hate crime that occurred in Marion but could have happened anywhere.
Marion is our town, America’s town, and its legacy is our legacy.
Like everyone in Marion, Carr knew the basic details of the lynching even as a child: three black men were arrested for attempted murder and rape, and two of them were hanged in the courthouse square, a fate the third miraculously escaped. Meeting James Cameron–the man who’d survived–led her to examine how the quiet Midwestern town she loved could harbor such dark secrets. Spurred by the realization that, like her, millions of white Americans are intimately connected to this hidden history, Carr began an investigation into the events of that night, racism in Marion, the presence of the Ku Klux Klan–past and present–in Indiana, and her own grandfather’s involvement. She uncovered a pattern of white guilt and indifference, of black anger and fear that are the hallmark of race relations across the country.
In a sweeping narrative that takes her from the angry energy of a white supremacist rally to the peaceful fields of Weaver–once an all-black settlement neighboring Marion–in search of the good and the bad in the story of race in America, Carr returns to her roots to seek out the fascinating people and places that have shaped the town. Her intensely compelling account of the Marion lynching and of her own family’s secrets offers a fresh examination of the complex legacy of whiteness in America. Part mystery, part history, part true crime saga, Our Town is a riveting read that lays bare a raw and little-chronicled facet of our national memory and provides a starting point toward reconciliation with the past.
On August 7, 1930, three black teenagers were dragged from their jail cells in Marion, Indiana, and beaten before a howling mob. Two of them were hanged; by fate the third escaped. A photo taken that night shows the bodies hanging from the tree but focuses on the faces in the crowd—some enraged, some laughing, and some subdued, perhaps already feeling the first pangs of regret.
Sixty-three years later, journalist Cynthia Carr began searching the photo for her grandfather’s face.
From the Hardcover edition.
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我必须承认,我一开始对这种过于“美国式”的质朴感到些许不适应,总觉得少了点欧洲戏剧惯有的那种对社会结构的深刻批判或对个人内心挣扎的极致挖掘。然而,深入阅读后,我发现它的批判性是内敛且更加根本的。它没有批判政治体制或阶级固化,而是直指人类最根本的困境:对“失去”的恐惧和对“永恒”的渴望。剧本中的每一次告别,无论是早晨出门,还是最终的死亡,都带着一种令人心碎的宿命感。它温柔地告诉你,一切都会结束,但又以一种更温柔的方式提醒你,正是因为一切都会结束,所以每一个此刻才值得被珍视。剧本的语言处理极其精妙,对话简短、重复,却像咒语一样,将日常生活的平庸性提升到一种近乎神圣的境地。它不是让你笑或哭,而是让你在看完之后,对窗外的任何一棵树、天空中的任何一朵云,都会产生一种全新的、带着哀伤的敬意。
评分这部作品,与其说是戏剧,不如说是一场关于“存在”的沉思录。它以一种近乎禅意的、去戏剧化的方式,剥开了日常生活的表层,直抵人性的核心。舞台上的寂静,那种令人不安的空白,迫使观众必须填补上自己内心深处的经验和情感。剧中的人物,并非传统意义上拥有完整性格弧线的角色,他们更像是符号,是“任何一个城镇中,任何一个家庭里的人”。剧本没有刻意制造冲突或高潮,反而是在这种平淡如水的叙事中,蕴藏着巨大的力量。我尤其欣赏导演在处理时间流逝和死亡主题时的手法——它不是通过宏大的场景转换来实现,而是通过人物之间极其细微的、几乎是耳语般的对话,以及舞台上那些日常可见的物件(比如早晨的牛奶瓶,晚上的灯光)被赋予的永恒意义。看完之后,我不是在思考情节,而是在回味那些瞬间,那些被我们日常忽略、却构成了我们生命本质的“小事”。它挑战了我们对“戏剧”的既有认知,提供了一种近乎冥想的观剧体验,让你在散场后,仍久久无法从那种“清醒的梦境”中抽离出来。
评分对于那些习惯了强情节、快节奏的戏剧爱好者来说,这部作品可能显得过于平淡甚至沉闷。但对于寻求真正“心灵触动”的读者而言,它无异于一场洗礼。它的精髓在于其留白艺术——作者留下了大量的空白,并非因为无话可说,而是相信观众的心灵有能力去填补这些空缺,并从中发现比任何明确的陈述都更深刻的共鸣。我尤其着迷于它处理“死亡”的方式,它不是一个突如其来的、充满戏剧性的终点,而是一个自然而然、早有预示的过渡,与出生、结婚、日常劳作并置,成为生命循环中不可或缺的一环。这种对生命整体性的接纳,消解了死亡的恐怖感,代之以一种平静的、对宇宙秩序的理解。这部作品像是一首优美的挽歌,献给所有平凡而又独一无二的生命瞬间。
评分这部作品的叙事结构,简直是结构主义文学的一个教科书范例,但它又完全不落入学院派的刻板。它像一条河流,自顾自地向前流淌,不为观众的期待而转弯,也不为制造戏剧张力而加速。最引人入胜的是它对“旁观者”角色的运用。这个角色,与其说是舞台上的一个人物,不如说是剧作者本人,或者是观众的化身,站在时间之外,冷静地观察着舞台上的一切生与灭。这种“超脱”的视角,给予了作品一种近乎神性的距离感,使得那些关于爱情、失落、成长和死亡的普世主题,得以在不失个体情感深度的前提下,达到一种宏大的哲学高度。我常常觉得,这个剧本像一面镜子,映照出的不是角色的命运,而是观众自身在时间洪流中的渺小与珍贵。它要求观众放下“看故事”的心态,转而进入一种“体验生命”的状态。
评分初读剧本时,我的感受是:这太“空”了,空到让人有点抓狂。它摒弃了所有华丽的辞藻和复杂的舞台调度,仿佛作者刻意把所有装饰物都剥光,只留下骨架。然而,正是这种极简主义,才使得文本中那些看似简单、甚至幼稚的对白,显现出一种近乎寓言式的重量。特别是关于“活在当下”的主题,剧本没有直接说教,而是通过人物对日常琐事的执着描写——比如对天气、对邻居、对一份早餐的关注——来巧妙地传达。这让我开始反思,我们一生中真正“活着”的时刻,究竟有多少是真正被我们感知到的?大多数时间,我们似乎都在为未来做准备,或者在回忆过去,而错过了手中正在发生的一切。这部戏的伟大之处,就在于它用一种近乎残酷的坦诚,将“时间”这个抽象概念,具象化为那些一去不复返的、每一秒都独一无二的“现在”。它不是让你感动流泪,而是让你感到一种深刻的、带着敬畏的清醒。
评分很喜欢的一本小说,市场能让我回味其中,每每想到就告诫自己珍惜眼前的生活。
评分其实是本不错的书。
评分喜欢结尾。
评分其实是本不错的书。
评分喜欢结尾。
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