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cover of episode The New Yorker Celebrates a Hundred Years as a Poetry and Fiction Tastemaker

The New Yorker Celebrates a Hundred Years as a Poetry and Fiction Tastemaker

2025/2/4
logo of podcast The New Yorker Radio Hour

The New Yorker Radio Hour

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Deborah Treisman
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Kevin Young
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David Remnick:作为《纽约客》的编辑,我见证了杂志百年来在文学领域的贡献,特别是小说和诗歌的发表。我们回顾了过去,并庆祝了这些成就。 Deborah Treisman: 我负责编辑《纽约客》百年小说选集。在选择作品时,我发现即使是天才作家,也并非所有作品都完美无缺。那些被拒稿的著名作家,他们的作品在当时可能确实存在不足。我们应该记住,作品的成功与否,取决于其自身的文学价值和对读者的影响。 此外,人们对《纽约客》小说的刻板印象是:故事通常围绕郊区白人中产阶级已婚男子的生活展开,并以顿悟结尾。但实际上,《纽约客》发表的作品远比这丰富多彩。重新阅读这些作品,我更关注的是它们所反映的时代特征。幽默是时间上过时得最快的东西,很多过去被认为很有趣的作品,现在已经难以理解。 Kevin Young: 我负责编辑《纽约客》百年诗歌选集。我将诗歌选集按一天的时间顺序组织,而非按主题或字母顺序,这样更能体现诗歌之间的联系。1969年的《纽约客》诗歌选集里没有一位有色人种诗人,而我成为《纽约客》历史上第六位发表作品的黑人诗人,这反映了美国诗歌多样性的缺失。诗歌选集的编辑过程并不总是能体现出最佳的包容性,这可能与投稿者的选择有关,也可能与杂志本身的氛围有关。奥登对轻体诗歌的广阔视野启发了我,他将布鲁斯音乐也纳入其中,这让我意识到,很多哈莱姆文艺复兴时期的诗歌也符合《纽约客》的风格。诗歌能够有效地反映社会事件,例如加州山火和新冠疫情,《纽约客》能够快速地发表反映这些事件的诗歌。扎耶夫斯基的诗歌《尝试赞美这残缺的世界》发表于9·11事件后一周的《纽约客》杂志,这首诗歌完美地体现了那段时期美国人的感受,因此被选为诗歌选集的开篇。 从15岁起我就梦想着编辑《纽约客》诗歌百年选集,如今梦想成真。

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David Remnick talks with *The New Yorker’s *literary guiding lights: the fiction editor Deborah Treisman) and the poetry editor Kevin Young). Treisman edited “A Century of Fiction in The New Yorker),” and Young edited “A Century of Poetry in The New Yorker),” both of which were published this month.  “When you asked me to do this,” Young remarks to David Remnick, “I think my first response was, I’ve only wanted to do this since I was fifteen. . . . It was kind of a dream come true.” Treisman talks about the way that stories age, and the difficulty of selecting stories. “The thing to remember is that even geniuses don’t always write their best work right right off the bat. People make a lot of noise about rejection letters from The New Yorker that went to famous writers, or later-famous writers. And they were probably justified, those rejections.”