So 24 years ago, I was brought to The New Yorker as art editor
24年前，我加入了《纽约客》做艺术编辑，
to rejuvenate what had by then become a somewhat staid institution
想要带来一点活力改变当时有点古板的风格，
and to bring in new artists and to try to bring the magazine from its ivory tower into engaging with its time.
并且引进新的艺术家，想将这本杂志带出象牙塔，让它与时俱进。
And it was just the right thing for me to do because I've always been captivated by how an image can -- a simple drawing
这对我而言像是注定要做的事，我总是对图像非常着迷，因为一幅简单的绘画，
can cut through the torrent of images that we see every single day.
就可以切入我门每天所见的图像洪流，
How it can capture a moment,
它是如何能捕捉一个瞬间，
how it can crystallize a social trend or a complex event in a way that a lot of words wouldn't be able to do
把用语言很难描述清楚的社会趋势或者复杂事件具像化，
and reduce it to its essence and turn it into a cartoon.
提炼它的本质并用卡通的形式表现出来。
So I went to the library and I looked at the first cover drawn by Rea Irvin in 1925
于是我去图书馆，找到了雷亚·欧文在1925年所做的第一期封面，
a dandy looking at a butterfly through his monocle, and we call it Eustace Tilley.
一位时髦男士透过单片眼镜在观察一只蝴蝶，我们叫他尤斯塔斯·提利。
And I realized that as the magazine had become known for its in-depth research and long reports,
我意识到随着杂志靠深度研究和长篇报道出名后，
some of the humor had gotten lost along the way, because now often Eustace Tilley was seen as a haughty dandy,
这期间它的幽默感慢慢丢失了，因为现在尤斯塔斯·提利常常被视为一个傲慢的花花公子，
but in fact, in 1925, when Rea Irvin first drew this image,
但实际上，在1925年，当雷亚·欧文最初创作这幅画的时候，
he did it as part of a humor magazine to amuse the youth of the era, which was the flappers of the roaring twenties.
他是将其作为一本幽默杂志的封面来画的，为的是取悦那个年代的年轻人，他们是咆哮的二十年代的引领者。
And in the library, I found the images that really captured the zeitgeist of the Great Depression.
在图书馆里，我找到了一些封面，它们抓住了大萧条时代的时代精神。
And it showed us not just how people dressed or what their cars looked like,
它展现的不仅仅是人们的穿着打扮，或他们开的是什么车，
but also what made them laugh, what their prejudices were.
还包括什么会让他们发笑，他们有什么偏见。
And you really got a sense of what it felt like to be alive in the '30s.
你能真切感受到，生活在30年代是什么感觉。
So I called on contemporary artists, such as Adrian Tomine here.
于是我邀请当代的画家们，比如艾德里安·托明。
I often call on narrative artists -- cartoonists, children's book authors
我经常邀请叙事画家--比如卡通画家，儿童书籍作家，
and I give them themes such as, you know, what it's like to be in the subway, or Valentine's Day, and they send me sketches.
我给他们选定主题，比如，在地铁里是什么感觉，或者过情人节是什么感觉，他们就会发给我草图。
And once the sketches are approved by the editor, David Remnick, it's a go.
一旦这些草图被主编--大卫·雷姆尼克--审核通过，就会被采用。
And I love the way those images are actually not telling you what to think.
我喜欢这种方式，这些画并没有告诉你应该如何思考。
But they do make you think, because the artist is actually -- it's almost a puzzle;
但他们会引发你的思索，因为画家实际上只是--就像一幅拼图，
the artist is drawing the dots, and you, the reader, have to complete the picture.
画家只是画出一些点，而你，每一位读者，要补全这幅画。
So to get this image on the left by Anita Kunz, or the one on right by Tomer Hanuka, you have to play spot the differences.
因此，想读懂左边这幅，阿尼塔·昆茨的作品，或者右边这幅，托摩尔·阿努卡的作品，你需要分析他们之间的不同。
And it is something that ... It's really exciting to see how the engagement with the reader
而这中间...与读者的互动是非常让人兴奋的事情。
how those images really capture -- play with the stereotypes.
这些画是怎么抓住...怎么打破陈规的。
But when you get it, it rearranges the stereotypes that are in your head.
一旦你看懂它的深意，它会令你耳目一新。
But the images don't just have to show people, sometimes it can be a feeling.
但是图片不仅仅可以展示有时候它也代表一种情感。
Right after September 11, I was at a point, like everybody else,
“9·11”发生之后，我陷入了一种状态，跟所有人一样，
where I really didn't know how to deal with what we were going through,
我不知道该怎么接受所发生的一切，
and I felt that no image could capture this moment, and I wanted to just do a black cover, like no cover.
我感觉没有任何一幅画能抓住那个瞬间，我只想做一个全黑的封面，就像没有封面一样。

And I talked to my husband, cartoonist Art Spiegelman, and mentioned to him that I was going to propose that, and he said,
我跟我丈夫亚特·斯皮格尔曼聊了一下，他是一名漫画家，我告诉他我准备用黑色的封面，他说，
"Oh, if you're going to do a black cover, then why don't you do the silhouette of the Twin Towers, black on black?"
“既然你打算用黑色的封面，为什么不加上双子塔的轮廓呢，黑底黑图。”
And I sat down to draw this, and as soon as I saw it,
于是我坐下来开始画，我第一眼看到它，
a shiver ran down my spine and I realized that in this refusal to make an image,
就感觉浑身一阵颤栗，我意识到我们在这种拒绝描绘图画的过程中
we had found a way to capture loss and mourning and absence.
找到了一种捕捉失去和表达哀痛以及缺失的方式。
And it's been a profound thing that I learned in the process
在设计过程中，我学到的最深刻的道理是，
that sometimes some of the images that say the most do it with the most spare means. And a simple image can speak volumes.
最丰富的画面反而是留白最多的。看似简单，实则含义很深。
So this is the image that we published by Bob Staake right after the election of Barack Obama, and captured a historic moment.
而这副画就是鲍勃·斯塔克在奥巴马竞选总统之后创作的，它捕捉到了一个历史时刻。
But we can't really plan for this, because in order to do this,
但我们并不能计划好封面图，因为为了创作这些画，
we have to let the artist experience the emotions that we all feel when that is happening.
我们需要让艺术家体会到所有人在事件发生时的感受。
So back in November 2016, during the election last year,
再聊回2016年，去年选举期间，
the only image that we could publish was this, which was on the stand on the week that everybody voted.
我们唯一可以选择出版的画是这张，这是在大家大选投票那一周的态度。
Because we knew somebody would feel this -- when the result of the election was announced.
因为我们当竞选结果公布的时候--有人是这样想的。
And when we found out the result,
而当我们看到竞选结果的时候，
we really were at a loss, and this is the image that was sent by Bob Staake again, and that really hit a chord.
感觉不知所措，而这幅同样是鲍勃·斯塔克创作的画触动了我们的心弦。
And again, we can't really figure out what's going to come next,
重申一下，我们并不能真的弄清未来会发生的事情，
but here it felt like we didn't know how to move forward, but we did move forward,
虽然大选给我们的感觉是不知道未来如何前进，但我们确实在进步，
and this is the image that we published after Donald Trump's election and at the time of the Women's March all over the US.
在唐纳德·特朗普大选之后，全美进行女性大游行时，我们选了这幅画。
So over those 24 years, I have seen over 1,000 images come to life week after week,
在过去的24年，我一周又周地见证了一千多张封面画的诞生，
and I'm often asked which one is my favorite,
我经常被要求选一张最喜欢的画，
but I can't pick one because what I'm most proud of is how different every image is, one from the other.
但是我选不出来，因为其中任何一幅画都是极具特色，这是让我最骄傲的。
And that's due to the talent and the diversity of all of the artists that contribute.
所有艺术家贡献的天赋与差异是画作独特的原因。
And now, well, now, we're owned by Russia, so...
而现在，我们国家已经属于俄罗斯了，所以呢...
In a rendering by Barry Blitt here, Eustace has become Eustace Vladimirovich Tilley.
在巴里·布利特的提醒下，尤斯塔斯改为尤斯塔斯·弗拉基米罗维奇·提利。
And the butterfly is none other than a flabbergasted Donald Trump flapping his wings,
蝴蝶不是别人，正是被吓破胆的唐纳德·特朗普，煽动着翅膀，
trying to figure out how to control the butterfly effect,
想弄清如何控制蝴蝶效应，
and the famed logo that was drawn by Rae Irvin in 1925 is now in Cyrillic.
而1925年雷亚·欧文画的著名杂志标题，现在也用西里尔字母替代。
So, what makes me really excited about this moment is the way that ...
如今让我最激动就是、就是那种方式...
You know, free press is essential to our democracy.
众所周知，言论自由是我们民主不可或缺的一块。
And we can see from the sublime to the ridiculous that artists can capture what is going on in a way
我们可以看到不论内容是崇高还是荒谬，艺术家们都能捕捉当下发生的事情，
that an artist armed with just India ink and watercolor can capture and enter into the cultural dialogue.
他们会拿着水彩和印度制造的墨水，以某种方式捕捉并加入文化交流。
It puts those artists at the center of that culture, and that's exactly where I think they should be.
这意味着艺术家应该位于文化的中心，我也认为那就是艺术家的地位。
Because the main thing we need right now is a good cartoon. Thank you.
因为现在我们需要的是好的卡通画作。谢谢。