我给儿子和女儿读故事书时经常把他们放在我腿上。过去这几年,我重新发现了伊索、格林兄弟和安徒生的奇妙。我一直对文体,对研究恐怖、西部、魔幻、科幻等等的原型和结构感兴趣,重新发明形式,透过一面文学透镜重访它们,像我之前许多人做过的那样:玛格丽特·阿特伍德,迈克尔·沙邦,丹·乔恩,吉姆·谢泼德,以及乔治·桑德斯。而且我渐渐开始以大体相同的方式解读这些寓言和童话:用批评的眼光。它们是如此不可思议的黑暗,角色怪诞,语气通常全知全能,它们通常采用描述性总结而不是场景描述(效果极佳),而且图画也和文字一样令人遐想。过去的一年,我与丹尼 When I read my storybook to my son and daughter I often put them on my lap. In the past few years, I have rediscovered the wonder of Aesop, Green Brothers and Andersen. I have been interested in stylistic works, archetypes and structures of horror, western, magical, science fiction, and so on, reinventing forms and revisiting them through a literary lens, as I have done before: Margaret · Atwood, Michael Sabon, Dan Jon, Jim Shepard, and George Sanders. And I gradually began to interpret these fables and fairy tales in much the same way: with a critical look. They are so magically dark that their characters are grotesque and their moods are usually omniscient and omniscient. They usually use descriptive summarization rather than scene descriptions (excellent results), and the drawings are just as reverberant as the words. In the past year, I and Danny