广告

女人如何变成一件家具

通过

艺术与文化

古斯塔韦·卡特尔巴托,梳妆台的妇女, 1873年。公共领域,通过维基共享

我的祖母收集香水瓶,对于一个如此平凡和凶猛的女人来说,这似乎是一件古怪的事。我有三个,是她活着的时候给我的。他们住在一个抽屉,然后,在一个装饰的时刻,在书架上,我已经放在更高的遥不可及,就像我女儿试图爬上去玩,我们之间一个缓慢移动的游戏,直到现在他们那么高的视图。我对对象往往不会伤感,但我至少不想让他们休息,这从我的祖母,我拥有什么守护她的亲生女儿,他仍未婚,还一个人住在这个房子里,她出生在我的家人。这两款瓶子是糖果色的玻璃蓝色和紫色的双生瓶,瓶塞是用胶木做的,另一款更小的瓶子则是手工绘制的紫色花朵,花茎是蓝绿色的,花蕊是黄色的,还有金色的喷雾器。它们在我家不是贵重物品,只有在它们住过的房子里、壁炉架上和玻璃上积满了灰尘,才会变成古董。我现在还能看到祖母卧室里沉重的木制梳妆台上的动物园,上面盖着塑料,下面是蕾丝桌垫。在桌垫的上方,可以透过塑料看到黑白照片:亲戚的肖像,婴儿照片,和她已故丈夫的照片,当她去世仍然是一个年轻女子与一个年轻的孩子,离开她一个寡妇,直到她死在她的年代,从中风半身不遂,但仍统治世界从她的餐桌上,挥舞着她的掠夺者在她的成年子女,兴高采烈地威胁说,不管他们犯了什么罪,通常是(她的话)愚蠢,就要用它打他们。 The table itself was covered always with at least a cheap cloth-backed vinyl or plastic decorative tablecloth of garish pattern, frayed or cracking at the edges, and for holidays, a nicer, solid-colored linen cloth on top. Underneath was the heavy mahogany table, like all the furniture in my grandmother’s house, the immovable furniture of generations. My grandmother’s collection of perfume bottles crowded next to her jewelry, which was minimal and rotely worn, including not only her heavy wedding band, which my sister keeps asking for, but also her silver watch, which my grandmother must have had to wear to keep time while working the linens counter at Marshall Field’s all those decades after becoming a widow, having had to close up her husband’s butcher shop and store where she had previously presided behind the register, the calves widening from girlish into matronly, all those varicose vein decades, after suddenly becoming a single mother with a young child to raise, her older grown sons, the twins, away in the Navy, later returning in order to gather around their mother, one staying unmarried and in that house until his untimely death, the other moving away, but not too far, that other being my father, who accrued his own museum, having lived for his own decades in the state of the widower, although his savings account was never the subject of existential dread, he having been the one who made all the money in his marital life, my mother at home with the children, as was the way. She was a saint, an angel, both my uncle, my grandmother’s son, and my father, my grandmother’s other son, said about both their mother and my mother, respectively, at their funerals, one having died of an astonishing old age, and the other, at a sudden and tragic middle age. I didn’t recognize who they were talking about. All I recognized was the empty monologue of Catholicism, which serves to erase by anointing the woman at home, who only exists in service to others but not to herself. Does she even exist, I often have wondered, to herself? Writing this I have no idea why my grandmother collected perfume bottles, were they gifts that her sons brought home from overseas, and they began to unthinkingly accumulate, over birthdays and Christmases? My grandmother cut her ridged nails with the kitchen scissors, she never wore makeup, let alone perfume. I have no idea what my grandmother, or my aunt, or my mother, thought about at night in their empty houses, in the solitude of caretakers. I have no idea if they were unhappy, whether they thought of their girlhood, or when the children were young, whether they had regrets, and if they could, what would they confess? I have no idea because I never asked, and they would never have said. It would have been an impossibility. Their inner monologue would have been closed to me.

你需要明白的是,一个女人是如何变成一件家具的。那种住在像博物馆一样的房子里,满是她过去的遗物的女人。葡萄牙作家玛丽亚·朱蒂特·德·卡瓦略(Maria Judite de Carvalho)唯一的小说,紧凑而无情的悲剧空衣柜最初发表在1966年,寡妇多拉罗萨里奥管理一家古玩店被小女儿的博物馆,一个占领了她的同情的女性熟人网络,必要的恳求,卡瓦略模拟的困境,苦涩的清晰度醒来的一个社会的残忍,掩饰了疲惫。关于朵拉Rosário你需要了解的是她已经很老了,过了她的盛年,这意味着按照伟大女性戏剧的传统,她已经36岁了。在他活着的时候,她无能的丈夫拒绝让她工作,她应该呆在家里,照顾她的孩子,在她母亲长达十年的寡妇生涯中,她的孩子成长为一个快乐而冷漠的少年。在过去的十年里,朵拉一直生活在博物馆的古董家具中,打扮得像一个“不执班的修女”,也在照顾已故丈夫的记忆,需要的自我分解就像持续哀悼的狂喜被带入一种艺术形式。她的意识的排列是一种练习,想象力可以在单调中漂移,类似于另一篇由玛格丽特·尤尔·科斯塔(Margaret Jull Costa)翻译的著名葡萄牙语翻译,费尔南多·佩索阿(Fernando Pessoa)的翻译,里面的职员贝尔纳多·苏亚雷斯(Bernardo Soares)难民书.在这些巴洛克风格的物品中设置的精致的通道的风格比雇来守卫它们的坚固而不动的女人更有价值。这种空虚和尘土的痛苦,像博物馆一样的主妇:

她在过去十年中度过了最佳部分,在桌子上大而小,一些半圆形并靠在墙上,其他像长腿鸟类一样,脚下半睡觉,略微不稳定,其他人在坚定的腿上站立用坚固的金属爪抓地板。还有阳光写作书桌和一个高大,精致的etienne艾薇儿,胸部可追溯到各个世纪,一个孤独的摄政休息室椅子,它的室内装潢穿着薄片,以及许多其他家具,都是非常完整的课程简历和所有吞食精力充沛的木虫,但仍然很坚固,聚集在一起,就像腐朽的贵族在一个房屋里的高级老年人。玻璃圆顶覆盖着刚刚停下来的漂亮时钟,从十八世纪,华丽的箱子,精致,优雅的象牙雕像,奇特板与金属托架,一个漂亮的波斯地毯,以及在这里和那里散落在墙上,冻结在飞行中多年后,是巴洛克式天使,胖乎乎的,谦虚地遮掩的拼凑,甚至穿着完全穿着的靴子,所有这些都与他们的鸟翅膀传播。它在博物馆里面有 - 因为它真的比商店更多的博物馆,因为它比买家更多的游客 - Dora花了她的日子。

我们家的长辈们在提及任何禁忌的时候都有一种回避的姿态,那些禁忌的话题包括通奸、离婚以及传统婚姻的巨大不幸。空衣柜故事发生在一个修道院里,三代妇女也一直拒绝听到任何此类禁忌,或者也许是真相,除了一个未婚阿姨的独白(被解释为怪癖或一段插曲),接着又促成了婆婆/女家长的午夜忏悔——在小说中,她衰老的形象以一系列滑稽可笑的形式呈现出来——向她的儿媳朵拉(Dora)忏悔,朵拉是一个封闭的、非常不时髦的寡妇。这种对几代女性之间不可言说的描述引发了一系列事件,为我们的女主人公虚度的一生打开了一个遗憾的深渊,并暂时回归自我,或一个新的自我,乐观主义的短暂性和技巧。然后,晚些时候提供小说的框架,多拉罗萨里奥,将和绝望,讲述了她一生的悲剧她诙谐幽默但仍悲哀的旁白,前女友和扔到一边的情妇的一个男人,一个跳梁小丑,书中所有的男性角色是笨蛋,仅仅是那些仍然不公正地掌握着所有权力的影子催化剂。还有一个十几岁的女儿,不假思索的对她的声明在她自己的青春和美貌的她母亲的绝望,她永远看不到她的母亲一生的牺牲,虽然是一个递归的她未来的命运一旦她得到她认为她总是想要什么,这是成为一个有钱人的妻子。

空的衣柜我想到了伟大的现代主义小说的妻子,他们的职业是乏味和持久的作品-根据G.H.的热情。作者是中世纪葡萄牙作家克拉丽斯·利斯佩克特玛格丽特·杜拉斯Lol Stein的狂欢,当然还有弗吉尼亚·伍尔夫的作品夫人史册。(尽管卡瓦略的角色比伍尔夫的更有趣也更残忍)读这本小说的时候,我被文学的可能性唤醒了,文学是在讲述一种意识,即现实生活变得单调而多余,没有想象力或更高的思想(书记员的消失,妻子和她的过去式,寡妇)。如此完整、鲜活的文学作品如此长时间未被翻译,令人感到震惊。这是一本滑稽而令人震惊的小说,讲述了一个传统天主教寡妇的意识,就像被一种残忍的父权制包围着的树脂,在葡萄牙萨拉查政权的上帝、祖国和家庭独裁统治下,这种压迫更加严重。像这样的作品,背景设定在一个将天主教和“家庭价值观”武器化的独裁者的统治下,从本质上讲,具有深刻的政治色彩,即使不是这样,特别是如果它的背景设定在一系列的内部空间,在家庭空间,在服务空间。我读这部小说与类似于热烈的悲伤,好像我不相信这种意识终于呈现在文学,所以很多女性的意识熟悉但不可知的,不再低调,不饱和与假装的虔诚但活着,活着与愤怒鄙视成欢闹的力量,充满着强烈的悲伤。

凯特·赞布里诺最近的一本书是对Hervé吉伯特的研究,就像已经死了一样写作.她是2021年的古根海姆非小说奖得主,目前正在创作一本作品集,失踪的人。

许可使用的介绍空衣柜(Two Lines出版社,2021)。版权所有©双线出版社2021。