Something All Our Own

作者:Hill, Grant

页数:192

出版时间:2003-12

价格:$ 73.39

isbn号码:9780822333067

具体描述

Since 1990, Grant Hill has thrilled sports fans with his artistry on the basketball court, first as an All-American player at Duke University and then as a six-time NBA All-Star for the Detroit Pistons and the Orlando Magic. During these years, Hill has amassed a collection of art, by African Americans, that he now shares with the public through this book, which accompanies a traveling exhibition. The forty-six pieces documented here include thirteen works that span the career of the great Romare Bearden, from his 1941 gouache painting Serenade to the important collages of the 1980s. Hill's fascination with artists' depiction of women is represented in Elizabeth Catlett's lithographs, many of them from the 1992 series "For My People," and her sculptures in stone, bronze, and onyx.In addition to these two giants of twentieth-century art, the Hill Collection features pieces by Phoebe Beasley, Arthello Beck Jr., John Biggers, Malcolm Brown, John Coleman, Edward Jackson, and Hughie Lee Smith. Hill began collecting art in the early 1990s after learning from his parents to appreciate artworks not only as objects of beauty but as expressions of heritage and culture. According to the internationally known curator Alvia J. Wardlaw, he is part of an emerging group of young African American collectors who have 'raised the bar for others.' Hill writes, 'Getting to know yourself means understanding your background and appreciating those who have come before you. My father has a saying he uses in speeches: 'To be ignorant of your past is to remain a boy. 'The interest in my heritage as an African American is reflected in this collection.'"Something All Our Own" features Wardlaw's essay on the history of African American collecting. It also features articles about Bearden and Catlett by the scholars Elizabeth Alexander and Beverly Guy-Sheftall and reflections about Hill by the historian John Hope Franklin, Duke's basketball coach Mike Krzyzewski, and the sportswriter William C. Rhoden. Hill and his father, the NFL great Calvin Hill, contribute a dialogue that explores their motivations for collecting art.At the heart of the book are the exquisite color photographs of the forty-six artworks included in the exhibition, with commentary by Wardlaw and by Hill himself. As a star athlete, Grant Hill is well aware that African Americans who excel in sports and entertainment are more broadly recognized than their counterparts in artistic fields. He strives to inspire young people to explore their heritage and broaden their concept of excellence by learning more about African American art. By sharing his artworks with collectors and fans, Hill reminds us that while the jump shot is ephemeral, art is enduring.

用户评价

初读此书时，我的注意力立刻被作者构建的叙事节奏所捕获。它不是那种线性、平铺直叙的故事推进方式，而是更像一幅由无数碎片记忆点编织而成的挂毯。每一个章节的切换都伴随着时间线的跳跃，有时候是跨越数十年，有时候仅仅是场景的微妙转换，但每一次跳跃都精准地扣在了某个关键的情感节点上。我特别欣赏作者在环境描写上所展现出的近乎偏执的细节捕捉能力。例如，书中对某个特定小镇上晾晒衣物的气味、午后阳光穿过百叶窗在木地板上拉出的细长光影，以及老式收音机里断断续续传出的爵士乐声的描述，都达到了令人屏息的逼真程度。这种细腻入微的描绘，使得读者并非“阅读”故事，而是“居住”在故事之中。我发现自己开始不自觉地用书中的人物的视角去看待周围的世界，对日常生活中那些被我们忽略的微小感官输入变得异常敏感。然而，这种精妙也带来了阅读上的挑战：如果你期待一个明确的“接下来会发生什么”的指引，这本书可能会让你感到一丝迷失。它要求读者主动去连接那些看似松散的线索，去填补作者故意留下的空白，这无疑是对读者专注力和想象力的一次高强度考验。

《Something All Our Own》这本书的封面设计给我留下了极其深刻的第一印象。那种深沉的蓝调，混合着一些仿佛穿越了时光的褪色金色，立刻让人联想到某种宏大叙事下的个人记忆。我记得在书店里看到它时，光线不太好，但我还是被那种封面材质的粗粝感吸引住了。它不像现在很多小说那样追求光滑和亮丽，反而有一种皮革老旧家具的质感，仿佛这本书本身就是一件值得珍藏的古董。文字排版也很有意思，标题的字体带着一种维多利亚时代小说的古典美，而作者的名字却以一种现代的、极简的衬线体呈现，这种强烈的对比，让我立刻意识到作者在试图探讨的，可能就是传统与现代、历史与个人的交织与碰撞。我当时就有一种预感，这本书的内容绝不会是轻松愉快的阅读体验，它更像是一份需要投入大量心神去解读的文献，或者说，是一扇通往某个特定时代或特定群体内心世界的沉重之门。我当时在书架前站了足足五分钟，反复摩挲着封面，思考着那个“All Our Own”究竟指向的是一份共同的财产、一段共同的经历，还是一种无法言喻的、私有的情感纽带。这种强烈的视觉冲击和引发的哲学思辨，是近年来我所见过的最成功的书籍包装之一，它成功地在尚未翻开书页之前，就已经为读者构建了一个充满神秘感和历史厚重感的阅读场景。

这本书的语言风格，尤其是它的句式结构和词汇选择，展现出一种近乎音乐性的韵律感，这让我在多次中断阅读后重新拾起时，总能迅速找回那种特定的“语感”。作者似乎偏爱使用那些在日常交流中已经很少出现的、带有古典韵味的词汇，它们并不晦涩，但却为整个叙事增添了一层庄重和距离感。某些段落，我甚至需要放慢速度，大声朗读出来，才能完全捕捉到句子内部的抑扬顿挫和潜藏的讽刺意味。这种对语言的极致雕琢，使得阅读体验本身成了一种艺术享受。但同时，这也要求读者必须保持高度的警觉性，因为一个微小的词义偏差，可能就会导向对人物动机的完全误判。总而言之，这是一部需要被反复阅读、细细品味的文学作品，它所提供的远不止一个故事，而是一整套感知世界的方式。它沉重、复杂、美丽而又令人不安，它成功地在读者的内心深处，开辟了一个需要用时间和耐心去细细耕耘的独特空间。

从主题的深度挖掘来看，我认为作者在这本书里，巧妙地规避了那些老生常谈的宏大命题，转而聚焦于“继承”与“遗忘”这一对永恒的哲学张力。它探讨的不是历史的宏观走向，而是历史如何以一种幽灵般的方式，渗透到日常的餐桌上、未曾修缮的阁楼里，以及那些代代相传的沉默协议中。我感受到一种强烈的，关于“文化身份流失”的焦虑感。角色们似乎都在努力抓住一些已经消逝的、摇摇欲坠的东西，比如某种失传的技艺、一种古老的语言习惯，或者仅仅是童年记忆中某栋建筑的精确方位。这种追寻的徒劳感，被作者用一种近乎诗意的悲凉笔调书写出来，令人心碎又深思。它迫使我们反思，我们今天所拥有的，究竟是真正的“我们”的产物，还是仅仅继承自前人的残骸？在快速迭代的现代社会中，这本书像是一个强有力的提醒，告诉我们，有些东西一旦被遗忘，其带来的真空是无法用新事物来轻易填补的。

这本书的人物群像塑造，简直是文学教科书级别的范本。我尤其关注那个被家族历史深深困扰的中心人物——她的每一次呼吸、每一次眼神的闪躲，都仿佛被置于显微镜下进行剖析。作者的高明之处在于，她没有简单地将角色标签化，比如“受害者”或“反抗者”，而是展现了人性的复杂与矛盾的共存。你会看到这个角色在面对巨大压力时展现出的惊人韧性，紧接着，又会在一个极其私密的瞬间，流露出对既定命运的深深的无力感。更令人称奇的是那些配角，即便是仅仅出现两三次的过客，也被赋予了令人难忘的生命力。比如那个总是坐在街角咖啡馆里，从不点单，只是静静观察路人的老人，他几乎没有对话，却通过他凝视的方式，暗示了整个社区深层的秘密和集体潜意识。这种对“边缘人物”的关注，极大地丰富了故事的维度，让读者体会到，每一个生命个体，无论多么微不足道，都在这个庞大的历史洪流中扮演着不可替代的角色，他们的沉默和行动同样具有重量。