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波弗特海破碎的冰面 图片来源:USGS/Unsplash
2017年11月,《火线》主创大卫·西蒙(David Simon)在推特上发布了一张照片,内容是俄勒冈州某处高尔夫球场外已经燃起熊熊山火,打球的选手们却依旧泰然自若,不紧不慢地将球推入洞中。“在当今美国诸多视觉隐喻的万神殿里,这个镜头是最出彩的,”他就这张图片谈道,照片是某位业余摄影爱好者拍下的,她在准备从飞机上跳伞时捕捉到了这一抓拍机会。与这个故事有关的一切 图像和背景 看起来似乎比小说还要荒诞不经。
在西蒙发布这条推文之前一年,印度小说家阿米塔夫·高希在其里程碑式的论战性著作《大混乱:气候变迁与不可思议之事》(
The Great Derangement: Climate Change and the Unthinkable)当中拷问了为何作家们 包括他自己 在小说里几乎都不去触及世界上最为紧迫的问题。然而,如今极端�
Last modified on Sat 26 Jun 2021 04.58 EDT
In September 2017, David Simon, creator of
The Wire, tweeted a photograph of golfers calmly lining up their putts on a Florida course as wildfires raged in the background. “In the pantheon of visual metaphors for America today, this is the money shot,” he wrote of the picture, which was taken by an amateur photographer who spotted the photo-op as she was about to skydive out of a plane. Everything about this story – the image, the circumstances – seems stranger than fiction.
A year before Simon’s tweet, in a landmark polemic,
The Great Derangement: Climate Change and the Unthinkable, Indian novelist Amitav Ghosh had questioned why so few writers – himself included – were tackling the world’s most pressing issue in their fiction. But now, as extreme weather swirls around the globe, melting glaciers, burning forests, flooding districts and annihilating species, the climate emergency has brought the unimaginable into our d