Something All Our Own

作者:Hill, Grant

页数:192

出版时间:2003-12

价格:$ 32.71

isbn号码:9780822333180

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

主题的探讨深度，是这本书最让我折服的地方。它似乎是在用一个看似简单、私人化的故事外壳，包裹着对宏大哲学命题的深刻反思。它没有直接给出一个明确的答案，而是像一个高明的辩论家，抛出了无数个相互冲突的观点和视角，强迫读者自己去构建理解世界的框架。关于“记忆的可靠性”和“身份的建构”，这两个主题在不同的情节线索中交织出现，令人深思。我们所坚信的“自我”，究竟是基于事实的累积，还是基于我们选择性地讲述给自己的故事？作者通过反复模糊现实与虚幻的界限，成功地制造了一种令人不安的真实感。读完后，我花了很长时间才从那种对自身认知系统的怀疑中抽离出来。这本书的伟大之处在于，它不仅讲述了一个故事，更重要的是，它挑战了我们看待经验和历史的方式。它像一面棱镜，将我们习以为常的世界观折射出无数细碎但重要的光谱，让人不得不重新审视那些被我们视为理所当然的基石。

这本书的叙事节奏把握得实在令人称道，从开篇那几章缓慢而深沉的铺垫，到中段那种如同脱缰野马般疾驰的冲突爆发，再到最后收束时的回味悠长，作者展现出了对情节张弛的精妙控制力。初读时，我甚至有些不耐烦那开头的细腻描摹，那些关于环境、人物内心活动的冗长段落，总让人觉得故事进展得太过缓慢，仿佛被困在某个潮湿的角落里无法呼吸。然而，正是那些看似无关紧要的枝叶，在后来的叙事中，像暗线一样悄悄地串联了起来，构成了支撑整个故事骨架的坚实基础。当那些埋下的伏笔在恰当的时机如同花火般绽放时，那种豁然开朗的惊喜感，足以让人立刻回溯前面的章节，重新审视那些被自己匆忙略过的文字。特别是高潮部分，作者几乎将所有主要角色的命运拧成一股麻绳，互相缠绕，步步紧逼，那种压迫感不是通过宏大的战争场面来营造的，而是通过精准捕捉角色在极端压力下的微小反应——一个眼神的闪烁，一次颤抖的手指，一段未曾说出口的对白——来实现的。读完后，我甚至觉得，如果节奏稍有不同，哪怕是提前或推迟了某个关键事件的发生，这本书都会失去它现有的韵味。这种对叙事“时机”的把握，是作者高超技艺的体现，让人忍不住想要再读一遍，去体会那种“慢中蕴含快”的独特节奏感。

这本书的构建方式，完全打破了我对传统叙事结构的预期。它不像一条直线，更像一个复杂的迷宫，充满了精心设计的“死胡同”和“秘密通道”。作者巧妙地采用了多重叙事者，并且让每一个叙事者都带有强烈的个人偏见和信息缺失。这导致读者在阅读过程中，必须时刻保持警惕，不断地在不同版本的“事实”之间进行交叉比对和甄别。我发现自己常常需要停下来，做一些简单的笔记，试图理清谁在何时、因为什么原因对信息进行了过滤或扭曲。这种“元叙事”的结构，不仅增加了阅读的互动性和智力挑战，也极大地丰富了故事的层次。故事的真相仿佛被碎片化地散落在迷宫的各个角落，而揭示真相的过程，本身就构成了故事的另一条重要线索。这是一种极具野心的尝试，因为它要求读者不仅要沉浸于故事本身，还要参与到故事构建的元游戏之中，去扮演一个侦探的角色。最终的拼图拼好时，那种成就感，是单纯线性叙事无法给予的。

这部作品在人物塑造上的细腻程度，几乎达到了令人发指的地步。它不是简单地给角色贴上“好人”或“坏人”的标签，而是将每个人都描绘成一个充满矛盾、不断挣扎的有机体。我尤其被那个看似最坚不可摧的角色所吸引，他身上那种长久以来压抑的脆弱感，如同冰山一角下的暗流，随时可能将所有平静撕裂。作者似乎对人性的灰度有着深刻的洞察，笔下没有绝对的圣徒，也没有纯粹的恶魔，每个人都在自我合理化的泥潭中挣扎求生。阅读过程中，我时常会陷入一种错觉，仿佛我不是在读一个故事，而是在观察身边真实发生的生活片段。那些角色之间的对话，充满了未尽之意和潜台词，你必须调动所有的感官去解码那些字里行间未被明确表达的情感和意图。这种非线性、多层次的交流方式，极大地增加了阅读的深度和挑战性，但也带来了巨大的满足感。每次深入了解一个角色的动机时，我都会对自己先前的判断产生怀疑，这种反复的自我修正，恰恰证明了角色塑造的成功。他们不再是虚构的符号，而是具有真实生命重量的存在，让人在合上书本后，依然能感受到他们持续的影响力。

这本书的语言风格，简直就像一位技艺精湛的陶艺家，对待泥土般的文字，精雕细琢，充满敬意。它的遣词造句不是追求华丽的辞藻堆砌，而是在于其精准和质感。你会发现，一些非常寻常的词汇，经过作者的组合和语境的衬托，突然焕发出一种前所未有的力量感。例如，描述某个场景时的光影变化，或者某个瞬间的心理感受，作者总能找到那个“刚刚好”的形容词，不多一分则显得累赘，不少一毫则显得苍白。我尤其欣赏那些长句的结构，它们蜿蜒曲折，如同河流入海前的复杂水道，信息量巨大却又条理清晰，读起来有一种古典音乐般的韵律感。这种语言上的考究，使得阅读过程成为一种享受，每一次呼吸的节奏似乎都必须配合着作者的句式结构来调整。当然，这种风格也意味着它可能不适合那些追求快餐式阅读体验的读者，因为它要求读者必须慢下来，用心去感受每一个词语在句子中所承载的分量和声响。对于我来说，这更像是在品鉴一坛陈年的佳酿，需要耐心等待其风味在舌尖上慢慢散开。