I was brought to The New Yorker

24 年前，

as art editor

我到紐約客雜誌 （The New Yorker）

to rejuvenate

擔任藝術編輯，

what had by then become a somewhat staid institution

去把活力和精神帶給

and to bring in new artists

當時已古板不再變化的機構，

and to try to bring the magazine from its ivory tower

並帶入新的藝術家，

into engaging with its time.

試著把雜誌從它的象牙塔帶出來，

And it was just the right thing for me to do

讓它與時代結合。

because I've always been captivated by how an image can --

對我來說，那是一件 對的、該做的事，

a simple drawing --

因為我一直都覺得，一張圖像──

can cut through the torrent of images that we see every single day.

一張簡單的繪畫──

How it can capture a moment,

如何在我們每日看到的圖像洪流中 開出一條路，是很讓人著迷的。

how it can crystallize a social trend or a complex event

它如何能夠捕捉到一個時刻，

in a way that a lot of words wouldn't be able to do --

它如何能用許多文字 都做不到的方式，

and reduce it to its essence and turn it into a cartoon.

將社會趨勢或複雜事件 給具體呈現出來──

So I went to the library

並將之精簡後，再轉為一幅漫畫。

and I looked at the first cover drawn by Rea Irvin in 1925 --

所以，我去了圖書館，

a dandy looking at a butterfly through his monocle,

我看著這第一張封面， 它是瑞厄文在 1925 年所繪的。

and we call it Eustace Tilley.

一個時髦男子透過 他的單片眼鏡看著一隻蝴蝶。

And I realized that as the magazine had become known

我們稱它為「 尤斯特斯．特利。」

for its in-depth research and long reports,

我了解到，這本雜誌會出名，

some of the humor had gotten lost along the way,

是因為它的深度研究 以及很長的報導，

because now often Eustace Tilley was seen as a haughty dandy,

在過程中，有些幽默不見了，

but in fact, in 1925,

因為現在，尤斯特斯．特利 通常被視為是高傲的時髦男子，

when Rea Irvin first drew this image,

但事實上，在 1925 年，

he did it as part of a humor magazine

當瑞厄文最初畫這張圖時，

to amuse the youth of the era,

是把它當作幽默雜誌的一部份，

which was the flappers of the roaring twenties.

用來娛樂那個時代的年輕人，

And in the library,

也就是咆哮的二十年代的 年輕時髦女子。

I found the images that really captured the zeitgeist

在圖書館中，

of the Great Depression.

我找到一些圖像，它們真的捕捉到了

And it showed us not just how people dressed

經濟大蕭條的時代精神。

or what their cars looked like,

它呈現的不只是人們的穿著、

but also what made them laugh,

或是他們開什麼樣的車，

what their prejudices were.

也呈現出什麼能讓他們笑、

And you really got a sense

他們的偏見是什麼。

of what it felt like to be alive in the '30s.

你真的能夠了解

So I called on contemporary artists,

活在三十年代是什麼樣的感覺。

such as Adrian Tomine here.

所以我拜訪了當代藝術家，

I often call on narrative artists --

比如畫這張圖的阿德里安．突米內。

cartoonists, children's book authors --

我常會拜訪敘事性藝術家，

and I give them themes such as,

如漫畫家、童書作者，

you know, what it's like to be in the subway,

我會給他們主題，像是

or Valentine's Day,

在地鐵是什麼感覺、

and they send me sketches.

或情人節。

And once the sketches are approved by the editor,

他們會把草圖寄給我。

David Remnick,

一旦草圖被編輯大衛．瑞姆尼克

it's a go.

審核過了，

And I love the way

就可以用了。

those images are actually not telling you what to think.

我喜歡的是，

But they do make you think,

那些圖像其實並不是 在告訴你要怎麼想，

because the artist is actually --

但它們會讓你去思考，

it's almost a puzzle;

因為藝術家其實──

the artist is drawing the dots,

這幾乎像是在解謎；

and you, the reader, have to complete the picture.

藝術家畫出一部份，

So to get this image on the left by Anita Kunz,

而身為讀者的你， 得把整幅圖給完成。

or the one on right by Tomer Hanuka,

所以，若要了解左邊這張 安妮塔．庫恩茲設計的圖像，

you have to play spot the differences.

或是右邊這張 桐姆爾． 阿努卡設計的，

And it is something that ...

你得要玩比比看差在哪的遊戲。

It's really exciting to see

這就像是……

how the engagement with the reader ...

能夠看見讀者的參與感，

how those images really capture --

是很讓人興奮的……

play with the stereotypes.

那些圖像如何描繪──

But when you get it,

吐槽你的刻板印象。

it rearranges the stereotypes that are in your head.

但當你看懂的時候，

But the images don't just have to show people,

它會顛覆你腦中的刻板印象。

sometimes it can be a feeling.

但圖像並不見得一定要 呈現什麼給人看，

Right after September 11,

有時，它可以是一種感覺。

I was at a point,

在 911 事件之後，

like everybody else,

我處在一個狀況，

where I really didn't know how to deal with what we were going through,

和其他人一樣，

and I felt that no image could capture this moment,

我不知道要如何呈現我們所經歷的，

and I wanted to just do a black cover,

我覺得沒有任何圖像 能夠描繪出我們當時的感受，

like no cover.

我想要做一個黑白的封面，

And I talked to my husband, cartoonist Art Spiegelman,

就像沒有封面一樣。

and mentioned to him that I was going to propose that,

我先生亞特．史匹格爾曼 是個漫畫家，我跟他談了這事，

and he said, "Oh, if you're going to do a black cover,

跟他提到我的封面提案，

then why don't you do the silhouette of the Twin Towers,

他說：「喔，如果你要 做黑白的封面，

black on black?"

那你為什麼不做 世貿雙子星大樓的輪廓，

And I sat down to draw this,

黑色加在黑色上面？」

and as soon as I saw it,

我坐下來，畫了這個，

a shiver ran down my spine

當我看到它的那一刻，

and I realized

我的脊椎起了一陣涼意，

that in this refusal to make an image,

我了解到，

we had found a way to capture loss

在百般不願意中，

and mourning

我們找到了一種方式來 回憶我們的失去、

and absence.

悲痛、

And it's been a profound thing that I learned in the process --

與離別。

that sometimes some of the images that say the most

我在過程中學到的是 很深奧的東西──

do it with the most spare means.

有時，含有最多意涵的圖像，

And a simple image can speak volumes.

往往卻是用最簡單的方式表達。

So this is the image that we published by Bob Staake

一張簡單的圖像 可以訴說出一大堆的道理。

right after the election of Barack Obama,

我們出版的這個圖像是 巴伯．史達克的作品，

and captured a historic moment.

在歐巴馬的選舉之後出版的，

But we can't really plan for this,

捕捉到了這個歷史性的時刻。

because in order to do this,

但我們無去計畫這些，

we have to let the artist experience the emotions that we all feel

因為為了做到這樣，

when that is happening.

我們得要讓藝術家體驗到 事件發生時我們所有人

So back in November 2016,

感受到的情緒。

during the election last year,

所以，回到 2016 年 11 月，

the only image that we could publish was this,

去年，在選舉時，

which was on the stand on the week that everybody voted.

我們唯一能出版的圖像就是這個，

(Laughter)

在大家投票的那週，擺在報攤上。

Because we knew somebody would feel this --

（笑聲）

(Laughter)

因為我們知道有些人的 感受就是這樣──

when the result of the election was announced.

（笑聲）

And when we found out the result,

當選舉結果公佈時。

we really were at a loss,

當我們得知結果時，

and this is the image that was sent by Bob Staake again,

我們真的不知如何是好，

and that really hit a chord.

這張圖像同樣也是 巴伯．史達克寄來的，

And again,

它真的有打中人心。

we can't really figure out what's going to come next,

同樣的，

but here it felt like we didn't know how to move forward,

我們真的無法知道 接下來會發生什麼事，

but we did move forward,

當下感覺到，似乎 我們不知道如何向前進，

and this is the image that we published after Donald Trump's election

但我們確實向前進了，

and at the time of the Women's March

這張圖像是我們在 川普選舉之後出版的，

all over the US.

那時正值全美各地的

So over those 24 years,

女權大遊行。

I have seen over 1,000 images come to life week after week,

所以在這 24 年間，

and I'm often asked which one is my favorite,

一週又一週，我看過了 一千多張活生生的圖像，

but I can't pick one

我常被問，哪張是我的最愛，

because what I'm most proud of is how different every image is,

但我無法選出一張，

one from the other.

因為我最驕傲的就是每張圖像

And that's due to the talent and the diversity

都有自己的獨特性，

of all of the artists that contribute.

原因是所有的藝術家們都貢獻出了

And now, well,

他們的才華和多樣性。

now, we're owned by Russia,

而現在，

so --

現在我們是歸俄國所有，

(Laughter)

所以──

In a rendering by Barry Blitt here,

（笑聲）

Eustace has become Eustace Vladimirovich Tilley.

在巴瑞．比李特所設計的表現中，

And the butterfly is none other than a flabbergasted Donald Trump

尤斯特斯變成了俄式名字 尤斯特斯．弗拉基米洛維奇．特利，

flapping his wings,

而蝴蝶不是別人， 正是啞然失色的川普，

trying to figure out how to control the butterfly effect,

拍著他的翅膀，

and the famed logo that was drawn by Rae Irvin in 1925

試著想出要如何控制蝴蝶效應，

is now in Cyrillic.

而瑞厄文在 1925 年 設計的著名商標，

So, what makes me really excited about this moment

現在改用西里爾字母來寫。

is the way that ...

對於這個時刻，讓我感到很興奮的

You know, free press is essential to our democracy.

是那方式……

And we can see from the sublime to the ridiculous

你知道的，自由媒體對於 我們的民主而言是很重要的，

that artists can capture what is going on

從崇高的到可笑的，我們可以看見

in a way that an artist

藝術家能夠捕捉到發生的事情，

armed with just India ink and watercolor

這種方式是一個藝術家

can capture and enter into the cultural dialogue.

即使只有墨水和水彩顏料，

It puts those artists at the center of that culture,

也能捕捉並進入文化對話。

and that's exactly where I think they should be.

這會把藝術家放在那文化的中心，

Because the main thing we need right now is a good cartoon.

那也是我認為他們該身處的地方。

Thank you.

因為現在我們最需要的 就是好的漫畫。

(Applause)

謝謝大家。