Gathering twenty-one widely known Southern artists from four Southern states, photographer Karekin Goekjian has captured the vital human connections between the creator and the object. Working with moonlight, twilight, or a touch of flash, Goekjian photographs each artist and his art in the settings where that creative work occurs--the yards, worksheds, and woods of Alabama, Georgia, Mississippi, and North Carolina. "Goekjian's photographic art has an intensity that holds its own with self-taught art," says art critic and writer Donald Kuspit. "His photographs have the same aura of direct yet enigmatic statement, conveying the same sense of urgent abstraction and moral emergency." From Alabama, Goekjian photographed Thornton Dial, Sr., Lonnie Holley, Ronald Lockett, W. C. Rice, Jimmy Lee Suddeth, and Mose Tolliver. From Georgia, Howard Finster, Dilmus Hall, Peter Loose, R. A. Miller, Harold Rittenberry, Jr., Reverend John D. Ruth, and Willie Tarver are included. Mississippi artists included are Burgess Dulaney, A. J. Mohammed, Sulton Rogers and Earl Simmons. And North Carolinians photographed are Benny Carter, James Harold Jennings, Clyde Jones, and Vollis Simpson. Goekjian's extraordinarily vivid portraits of them in their special environments seem as natural as the clay, metal, wood, and paint these artists use. In a sense Goekjian paints with light. Each portrait produces a surreal effect that parts the curtain on the individual artist's special world and achieves a rare empathy with the subject matter. Drawing on the raw, earthy spirit that infuses these paintings and sculptures, Goekjian creates photos that are works of art in themselves. Goekjian, a native of Beirut, Lebanon, and a resident of Athens, Georgia, is a photographer whose work has been widely exhibited and is in permanent collections of major international museums. Robert Peacock, who wrote the artists' biographies and edited this book, has also written "Paradise Garden: A Trip through Howard Finster's Visionary World" and "Sleep: Bedtime Reading." He lives in New York City. Gerard C. Wertkin is the Director of the Museum of Folk Art, New York City, and a professor at New York University. OUTSIDER ARTISTS IN THEIR OWN WORDS: "Why do I make art? I don't know why I do art. For fifteen years of my life I wouldn't give you two cents for all the art on earth. I didn't even finger paint when I was in school." BENNY CARTER, north carolina "I PAINT with my brush, 'cause that's why I got it and that brush don't wear out. When I die, the brush dies." JIMMY LEE SUDDETH, alabama "Howard Finster is a second Noah, to reach the world before it is too late. I am having more success in a way than Noah had. The first Noah preached to the world; he didn't get a one of them saved. This is what I am all about here trying to get peace in the world a thousand more years, to live here." HOWARD FINSTER, georgia "I always liked to play with mud. I guess I never growed up." BURGESS DULANEY, mississippi "I love to paint because my paintings are beautiful. The president told me so." MOSE TOLLIVER, alabama
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尽管这本书的篇幅宏大,主题晦涩,但我必须承认它在人物塑造上的深厚功力。这里的角色,不是传统意义上为了推动情节而存在的工具人,他们更像是某种复杂情感和时代精神的化身。他们身上有一种极其深刻的、近乎宿命的悲剧性。作者很少直接告诉我们角色的内心想法,而是通过他们对待琐事的态度,来展现其内在的裂痕。举个例子,一个角色如何对待他桌上的灰尘,比他如何谈论爱情或死亡,更能揭示他的本质。这些人物的“不完整性”是我最欣赏的一点;他们充满了矛盾和自我冲突,做出的选择往往既合理又荒谬,完全符合人性的复杂真相。我特别喜欢作者处理他们之间关系的方式——疏离而又紧密,充满了未言明的历史纠葛和情感负债。阅读这些人物的挣扎,让我感觉自己仿佛在窥视一个真实而又痛苦的生命历程,这种沉浸式的、非说教式的对人性的探讨,使得这本书超越了单纯的文学作品,具有了一种近乎人类学田野调查的厚度。
评分这本书,说实话,初读时我差点就放下了。它的开篇铺陈得极为缓慢,仿佛一位上了年纪的匠人,非要用最繁琐的工具,将一块璞玉细细打磨。那种对环境的描摹,达到了近乎苛刻的程度——每一棵树的形态,每一缕阳光穿过树叶投下的斑驳光影,甚至空气中湿度带来的那种微弱的黏腻感,都被作者用密集的词藻堆砌出来。我一开始觉得这是一种矫揉造作,心想,一个故事而已,何必如此大费周章?然而,当我耐下性子,真正沉浸进去之后,我才意识到,这种“慢”,其实是一种刻意的“酝酿”。作者似乎想通过这种方式,将读者从日常的喧嚣中彻底剥离,强行置入一个完全由他掌控的、节奏极其缓慢的宇宙。书中人物的对话也极为精炼,充满了潜台词,有时候,一个眼神的交汇,或者一个轻微的停顿,其信息量远超过一段冗长的独白。我记得有一个场景,两位主角在一家古旧的茶馆里,空气中弥漫着陈年的茶叶和木头的味道,他们谈论着家乡的收成,但字里行间流露出的却是对命运的无力感。这种克制的美学,让我联想到早期的欧洲文学作品,那种对人物内心世界的细致入微的剖析,确实令人印象深刻,尽管它对耐心是一种极大的考验。
评分如果用一个词来形容这本书的语言风格,我可能会选择“厚重”或者“雕塑感”。它绝不是那种轻松易读、直白流畅的文字。相反,每一个句子都像是经过千锤百炼,词语的选择极其考究,充满了古典的韵味,但又带着一种奇异的现代疏离感。很多段落,我不得不停下来,反复琢磨作者究竟是如何将一个简单的动作(比如“关上门”)写出如此多的层次感。书中充满了大量的比喻和象征,这些意象并非是取自我们日常生活的常见事物,而是构建了一个完全属于这本书的符号系统。比如,一种特定的蓝色,在书中反复出现,但每一次出现,它代表的情绪或者指涉的意义都在微妙地变化。这迫使读者不仅要理解字面意思,更要破译这些独创的符号密码。我感觉自己像是在进行一场艰苦的考古工作,试图从这些复杂的语言沉积层中,发掘出隐藏在底下的原始信息。这种阅读体验很累,但一旦理解了某个关键的象征,那种豁然开朗的满足感,是其他轻快小说带不给的。
评分这本书的氛围营造堪称一绝,它成功地在“现实”与“梦境”之间架设了一座极度不稳定的桥梁。在阅读过程中,我常常产生一种强烈的“身份错位感”——我分不清哪些情节是角色真实经历的,哪些是他们内心的幻觉或者预兆。这种界限的模糊,极大地增强了故事的神秘色彩和压抑感。书中大部分场景都笼罩在一层永恒的、灰蒙蒙的雾气之中,即便是描绘光明的段落,也显得格外微弱和不确定。最令我不安的是,作者似乎对“真实”的定义持怀疑态度。书中反复探讨“记忆的不可靠性”以及“叙述者本身的潜在欺骗性”。这让读者从一开始就处于一种高度警惕的状态,对文本本身产生质疑。你不能轻易相信任何一个角色所说的话,也不能完全信赖你所读到的描述。这种不断自我否定的叙事策略,使得全书弥漫着一种挥之不去的哲学焦虑,让人读完后很久都无法从那种不安的氛围中抽离出来,仿佛世界的某些基本法则已经被这本书彻底动摇了。
评分这本书的结构,简直像是一个迷宫,我得承认,我可能只走出了外围的几层。它似乎没有一条明确的线性叙事主线,而是采用了碎片化的、多重视角的叙事手法。你读着A的日记,突然一个转折,跳到了B的来信,紧接着又是一个时代背景的插入,有时候甚至会突然出现一些像是历史文献的摘录,关于某个虚构的古老宗教仪式的描述。这种跳跃性,初看是混乱的,是令人抓狂的,就像你手里拿着一张拼图,但所有的拼块都打乱了,而且很多拼块的花纹都极其相似。我花了很长时间才适应这种叙事节奏,试图在这些看似不相关的片段之间建立起作者私有的逻辑联系。最让我感到震撼的是,作者似乎对“时间”本身有着一种非常个人化的理解。在书中,过去、现在和未来经常模糊交叠,人物的记忆并非按时间顺序重现,而是根据情绪的触发点随机闪现。这使得阅读过程充满了“发现的乐趣”,每当你以为自己抓住了某个核心线索时,作者总能用一个意想不到的视角,将你推回到原点,让你重新审视之前读到的所有内容。这需要读者投入极高的主动性去构建属于自己的理解框架。
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