دانلود کتاب The Journals of Spalding Gray – مجلات اسپالدینگ گری

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Review For all its seeming straightforwardness, Gray’s confessional enterprise raised thorny questions about the nature of autobiographical performance. One of the things that kept his audience coming back was the mixture of revelation and reserve, self-lacerating candor and self-mocking comedy the low-key New England native employed. How much of Gray’s art was a transcription of reality, and how much was a refraction or deflection, a carefully cultivated fiction packaged as the truth? Now, in a book sure to be carefully sifted for fresh evidence, *The Journals of Spalding Gray* add another provocative layer to the story. Selected by Nell Casey from some 5,000 pages, these edited entries begin in 1967, when the 25-year-old Gray was working as a regional theater actor in Houston. They end in 2003, as he spiraled toward suicide. Gray died in 2004, after an apparent jump from the Staten Island Ferry. Casey supplies useful and well-made narrative bridges. The result is a kind of memoir in fragments, frank and elliptical, unsparing and occluded. . . . Gray was full of shadow parts. A number of them emerge with more clarity and starkness in his journal than they did onstage. . . . *The Journals of Spalding Gray* reveal a tangle of interlocking identities. There’s the thread of the artist coming of age and finding his singular theatrical voice and another about the backstage exploits of a demi-celebrity. We get gossip and jealousy (Gray was riveted by the amount of money Dustin Hoffman made), travelogue and therapy, marriage and the lurking demon of suicide. Finally this is a book about self-consciousness, which was both the engine and the anguish of Gray’s life. . . . One puzzle is whether the journal itself, presumably a zone of private contemplation, was just another form of mediated experience. Casey makes the case, at one point, that Gray wanted to have his journal entries published. But in a way that’s beside the point. Whether onstage or alone with his notebook, Gray was forever tracing and retracing the pathways that made him who he was. Steven Winn, *The San Francisco Chronicle* *The Journals of Spalding Gray* reveal someone who was at once addicted to the rush of self-exposure and yet was also deeply private. Brooklyn-based journalist Nell Casey has edited Grays literary anatomy down to a readable package. . . . Like Gray, who riveted millions just by sitting at a desk and talking, the best practitioners of self-revelation make it look effortlessas if theyve delivered a spontaneous laying bare of the facts. In fact, it requires a literary sleight of handthe ability to show all and reveal nothingthat is anything but simple. As Grays journals show, he honed his craft carefully, tweaking and adjusting his stories for maximum narrative torque. I miss Spalding Gray. His death was not just an untimely tragedy among the litany of talented, creative folk who are cruelly dragged away by attendant demons before their time (Kurt Cobain, Chris Farley and Amy Winehouse come immediately to mind) but a loss that has resonated with me for years. Even now, Ill be walking down a city street somewhere or hear a song come on the radio, and think, I wish Spalding Gray were here for this. Leah McLaren, *The Globe and Mail* During his nearly 30 years as a man onstage alone, Gray perfected the art of turning his life into art . . . Grays journals show a man who was constantly walking a line between trying to keep something for himself and believing it was is artistic duty to share everything with his audience. . . . Even for a born confessional raconteur like Gray, that line between the public and the private must have been hard to walk. . . . A romantic might even say Gray sacrificed himself for a greater purpose, that he was the truest kind of artistthe kind for whom there was no life outside of what he created with it. Josh Rosenblatt, *The Austin Chronicle* Reading these journals one is impressed with the highly aestheticized provenance of Grays truth-telling. Plainly the monologue was as much a theatrical as a personal form for him, despite how much he depended on the candid and at times almost sensationalized rendering of his life experience. On the other hand, the exploitation of personal experience is itself one of the darker obsessions that Gray reveals in these journals. . . . In [them], Gray has no audience to spare, and the unmediated rawness with which he confronts his own death wish, particularly toward the end when he recapitulates his mothers earlier trauma in his own move out of a beloved house during a period of mental instability, is perhaps the most profoundly disturbing element these entries reveal. If his audience would be shaken and surprised by the lack of forthcomingness in an artist who sought to create the illusion of truth-telling, then in his journals Gray was seemingly unafraid to unravel his own dark thoughts. Francis Levy, *The East Hampton Star* *The Journals of Spalding Gray, *edited by Nell Casey and culled from the *Swimming to Cambodia *performance artists notebooks, letters, and tapes, plus interviews with his widow and friends, reveal a daring melancholic (he committed suicide in 2004) who mined his chaotic inner life, troubled relationships, and tragic family history to create sterling works onstage anchored by his signature desk, water glass, notebook, and microphone. Lisa Shea, *Elle* **** The conflict found throughout Grays extensive journals [is] between his own relentless search for transcendence and the often shocking absurdity of worldly contingency of the sort that will, eventually, tragically, short-circuit him. . . . Its distressing to read the way happiness generates sadness and terror in Grays psyche, because his work could be the source of so much pleasure to his audiences. Even offstage: one friend tells the editor Nell Caseywho has done an admirable job knitting together a selection of Grays journal entries with interviews, and her own thoughtful takethat Gray was so seductive a storyteller that just sitting around a downtown loft, hearing him recount the mundane details of his day, could torture you with pleasure. He invented a performance genre out of this narrative prowess. But the dark side, the journals reveal, was just how much Gray himself was tortured with self-torture. Hed make light of it in his monologues, [which], stripped to the minimum of voice and story, [were] Homeric, odysseys performed on a bare stage with a bare wooden desk and chair. . . In some ways it was ancient, Gray as the Homer of small things. In some ways it spoke to the moment, with a light touch of philosophical and spiritual consciousness . . . it had that artful quality of seeming artless, but somehow he had found the sweet spot where remorse and laughter meet, and it was like attending a therapy session on laughing gas. . . . Looking backward, he spoke for a generation; looking forward, he helped inspire (for better and worse) a generation of memoirists, most of whom lacked his self-deprecating humor . . . He becomes one of Americas great talkers and theatrical raconteurs. Mark Twain, Oscar Levant, Fran Lebowitz, Richard Pryor are his peers. He made holding an audience in the palm of his hand seem effortless, yet his journals reveal how much he rehearsed and revised. In some ways the journals help us understand Grays obsessive confessional impulse and his snatching at spiritual consolation. . . . The final sections of the journals are particularly painful to read as Gray struggles to maintain his life while undergoing antidepressive treatments . . . These final pages radiate some of the unbearable sadness of the end of *One Flew Over the Cuckoos Nest*. Gray comes across as a genuinely noble, striving, seeking soul, felled by a malignant fate. . . . Grays work deserves to last. Ron Rosenbaum, *The New York Times Book Review* **** I counted Grays monologues among the most entertaining and rewarding experiences I ever had in a theater. Here was a man who found dark comedy in the story of his own mothers suicide and his fear that he too would take his own life. . . . and [in 2004] his body was found washed up on the Brooklyn waterfront. He left behind two children, a wife, a legacy of brilliant performances that helped pave the way for the essays and monologues of David Sedaris, the cast of [National] Public Radios This American Life, and more than 5,000 pages of journals. One of the most disturbing yet insightful aspects of reading *The Journals of Spalding Gray, *Nell Caseys distillation of Grays unpublished, personal writing, is learning how magnificently and artfully Gray constructed his appealing onstage and onscreen persona out of his own obsessions, neuroses, and troubled history. For his monologues, Gray drew upon seminal events and themes that are detailed in his journals: death, suicidal fantasies, his marriages, his sexual fixations, his acting, and his hypochondria. But he did so selectively, creating [a] sympathetic character. . . To accuse an author of being a narcissistic journal writer may well be missing the point of journaling altogether. These journals are perhaps most useful in helping one to understand the healing and purgative power that Gray and no doubt many other troubled artists have found in both writing and performing. [But] in entries from Grays last years, the reader may note that even the act of writing no longer had the power to save the man. . . . Sobering Adam Langer, *The Boston Globe* The brilliant, tormented performer mesmerized audiences with his autobiographical monologues, bu… Product Description Riveting, funny, heartbreaking, at once raw and lyrical: these journals reveal the complexity of the actor/writer who invented the autobiographical monologue and perfected the form in such celebrated works as *Swimming to Cambodia. *Here is the first intimate portrait we have of the man behind the charismatic performer who ended his life in 2004: evolving artist, conflicted celebrity, a man struggling for years with depression before finally succumbing to its most desperate impulse. Begun when he was twenty-five, the journals give us Grays reflections on his childhood; his craving for success; the downtown New York arts scene of the 1970s; his love affairs, marriages and fatherhood; his travels in Europe and Asia; and throughout, his passion for the theater, where he worked to balance his compulsion to tell all with his terror of having his deepest secrets exposed. Culled from more than five thousand pages and including interviews with friends, colleagues, lovers, and family, *The Journals of Spalding Gray* gives us a haunting portrait of a creative genius who we thought had told us everything about himselfuntil now. *From the Hardcover edition.*

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ترجمه ماشینی :

نقد و بررسی با همه صراحت ظاهری‌اش، شرکت اعتراف گری گری سؤالات سختی را در مورد ماهیت عملکرد زندگی‌نامه‌ای مطرح کرد. یکی از چیزهایی که باعث بازگشت مخاطبانش شد، آمیزه‌ای از مکاشفه و محجوب، صراحت خودآرایی و کمدی خود تمسخرآمیز بود که بومیان نیوانگلند کم‌کلاس از آن استفاده می‌کردند. چقدر از هنر گری رونویسی از واقعیت بود، و چقدر یک انکسار یا انحراف، داستانی که با دقت پرورش داده شده بود به عنوان حقیقت بسته بندی شده بود؟ اکنون، در کتابی که مطمئناً برای شواهد تازه باید به دقت غربال شود، *ژورنال های اسپالدینگ گری* یک لایه تحریک آمیز دیگر به داستان اضافه می کند. این مدخل های ویرایش شده توسط نل کیسی از حدود 5000 صفحه انتخاب شده است، در سال 1967، زمانی که گری 25 ساله به عنوان یک بازیگر تئاتر منطقه ای در هیوستون کار می کرد. آنها در سال 2003 به پایان می رسند، زیرا او به سمت خودکشی می رود. گری در سال 2004 پس از یک پرش آشکار از کشتی استاتن آیلند درگذشت. کیسی پل های روایی مفید و خوش ساختی را فراهم می کند. حاصل آن نوعی خاطره نویسی است، صریح و بیضوی، بی امان و بسته. . . . خاکستری پر از قسمت های سایه بود. تعدادی از آنها با وضوح و شفافیت بیشتری نسبت به روی صحنه در ژورنال او ظاهر می شوند. . . . *ژورنال های اسپالدینگ گری* مجموعه ای از هویت های در هم تنیده را نشان می دهد. موضوعی است که هنرمند به سن بلوغ می‌رسد و صدای منحصربه‌فرد تئاتری‌اش را پیدا می‌کند و موضوع دیگری در مورد سوءاستفاده‌های یک چهره نیمه‌سلبریتی در پشت صحنه. ما به شایعات و حسادت می پردازیم (گری با مقدار پولی که داستین هافمن به دست آورده بود پرچ می کرد)، سفرنامه و درمان، ازدواج و شیطان کمین خودکشی. در نهایت این کتابی در مورد خودآگاهی است که هم موتور و هم درد و رنج زندگی گری بود. . . . یکی از معماها این است که آیا خود مجله، احتمالاً منطقه ای از تفکر خصوصی، فقط شکل دیگری از تجربه واسطه ای بوده است یا خیر. کیسی در یک نقطه این موضوع را مطرح می کند که گری می خواست نوشته های مجله خود را منتشر کند. اما به نحوی که در کنار موضوع است. چه روی صحنه و چه تنها با دفترچه‌اش، گری برای همیشه مسیرهایی را دنبال می‌کرد که او را به کسی که بود می‌ساختند. استیون وین، *سانفرانسیسکو کرونیکل* *ژورنال‌های اسپالدینگ گری* شخصی را نشان می‌دهد که در همان لحظه به عجله خودآگاهی معتاد شده بود و در عین حال عمیقاً خصوصی بود. نل کیسی، روزنامه نگار مستقر در بروکلین، آناتومی ادبی گریس را تا یک بسته خوانا ویرایش کرده است. . . . مانند گری، که میلیون‌ها نفر را فقط با نشستن پشت میز و صحبت کردن، پرچ کرد، بهترین تمرین‌کنندگان مکاشفه نفس، آن را بدون دردسر جلوه می‌دهند، اگر واقعیت‌ها را به‌طور خودجوش بیان کنند. در واقع، نیاز به تدبیر ادبی دارد، توانایی نشان دادن همه چیز و آشکار کردن هیچ چیز که چیزی جز ساده نیست. همانطور که ژورنال‌های گریس نشان می‌دهند، او کار خود را با دقت بالا می‌برد، داستان‌هایش را برای حداکثر گشتاور روایت تغییر می‌داد و تنظیم می‌کرد. دلم برای اسپالدینگ گری تنگ شده است. مرگ او نه تنها یک تراژدی نابهنگام در میان انبوهی از افراد با استعداد و خلاق بود که به طرز ظالمانه ای توسط شیاطین خدمتکار پیش از زمانشان کشیده می شوند (کرت کوبین، کریس فارلی و امی واینهاوس بلافاصله به ذهن می رسند) بلکه ضایعه ای بود که برای من طنین انداز شد. سال ها. حتی الان، در یک خیابان شهری در جایی قدم می زنم یا آهنگی را می شنوم که از رادیو می آید، و فکر می کنم، ای کاش اسپالدینگ گری برای این کار اینجا بود. لی مک‌لارن، *گلوب و میل* در طول تقریباً 30 سال زندگی‌اش به تنهایی روی صحنه، گری هنر تبدیل زندگی‌اش به هنر را به کمال رساند. . . ژورنال های گریس مردی را نشان می دهند که دائماً در خطی بین تلاش برای نگه داشتن چیزی برای خود و اعتقاد به این که این کار است، یک وظیفه هنری است که همه چیز را با مخاطبانش به اشتراک بگذارد. . . . حتی برای یک رقیب اعتراف زاده متولد شده مانند گری، این خط بین عمومی و خصوصی باید سخت باشد. . . . حتی ممکن است یک رمانتیک بگوید که گری خود را فدای هدفی بزرگتر کرد، که او واقعی ترین نوع هنرمندی بود که برای او زندگی خارج از آنچه او با آن خلق کرد وجود نداشت. جاش روزنبلات، *The Austin Chronicle* با خواندن این مجلات، شخص تحت تأثیر منشأ بسیار زیباشناختی حقیقت‌گویی گریس قرار می‌گیرد. واضح است که مونولوگ برای او به همان اندازه تئاتری بود که یک فرم شخصی بود، علیرغم اینکه چقدر به ارائه صریح و گاه تقریباً پر شور تجربه زندگی خود وابسته بود. از سوی دیگر، بهره‌برداری از تجربه شخصی خود یکی از وسواس‌های تاریک‌تر است که گری در این مجلات آشکار می‌کند. . . . در [آنها]، گری مخاطبی ندارد که ببخشد، و خامی بدون واسطه ای که با آرزوی مرگ خود روبرو می شود، به ویژه در پایان زمانی که او آسیب های قبلی مادرش را در نقل مکان خود از خانه محبوب در یک دوره ذهنی مرور می کند. بی‌ثباتی، شاید عمیق‌ترین عنصری است که این نوشته‌ها آشکار می‌کنند. اگر مخاطبان او از فقدان حضور در هنرمندی که به دنبال ایجاد توهم حقیقت‌گویی بو

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