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For Art Spiegelman, the Pulitzer Prize-winning author of Maus , the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers , his first new book of comics since the groundbreaking Maus , is a masterful and moving account of the events and aftermath of that tragic day.
對于普利策獎得主、《鼠》(Maus)作者阿特?施皮格爾曼(Art Spiegelman)來說，2001年9月11日的恐怖襲擊既是高度個人化的，也是高度政治化的?！稛o塔之影》是他繼開創(chuàng)性的《鼠》之后的第一本漫畫新書，對那悲慘一天的事件和后果進行了嫻熟而感人的描述。
Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda.
斯皮格爾曼和他的家人見證了發(fā)生在曼哈頓下城社區(qū)的襲擊:他十幾歲的女兒幾天前就在雙子塔正下方上學了，他們在這個地區(qū)已經(jīng)住了很多年。但那天早上他們經(jīng)歷的恐怖對斯皮格爾曼來說只是一個開始，因為他的痛苦很快被對美國政府的憤怒所取代，美國政府無恥地為自己的先入為主的議程選擇了這些事件。
He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey—with his singular artistry and his characteristic provocation, outrage, and wit—the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.
他用他最熟悉的方式回應。在一個超大的，兩頁的傳播格式，與最早的報紙漫畫的規(guī)模相呼應(Spiegelman說，這在襲擊后給他帶來了安慰)，他講述了他在國家悲劇中的經(jīng)歷，以他獨特的藝術和他特有的挑釁，憤怒和智慧，傳達了事件本身的深不可及的嚴重性，它對他生活的明顯和陰險的影響，以及不同尋常的，這些變化往往隱藏在9/11后國家安全的名義下實施，并已開始破壞美國民主的基礎。
