New York postcard

Author: Na Si
Publisher:
Publish Date: 2005-03-01
Features: Introducing American postcards/Na Si began writing a column titled "New York Postcards" in The Three Colours Life Weekly in 1996, and this book is a collection of articles from the column. I feel that The Life Weekly represents one of the new forms of public spaces in contemporary China, a necessary aspect of civil society. Whether in its existence or the content it covers, it is indeed an important part of public space. Contemporary Chinese intellectuals are easily influenced by grand theories, but my view has always been that while ordinary people may not read elite publications, elites may not necessarily need to read popular ones—elites also need food, drink, entertainment, and the pleasures of life. There are certain aspects that everyone needs to pay attention to. On the other hand, I believe that writing about cultural matters in a relaxed and casual manner also holds significance. To me, culture is merely a habit of survival. When I was young, I had a passion for reading and often attended art exhibitions, watched movies, and went to the theatre. Eating out, going on outings, and visiting parks to see flowers were all habits for me. Just like a friend of mine from a medical family, who was trained from a young age to maintain excellent hygiene habits, which always impressed me deeply. As the saying goes, habits are hard to break. In New York, I didn’t write about these things out of a specific reason to observe culture, but rather because I was going to have fun and read anyway. When Zhu Wei invited me, I thought it would be harmless to write something that would benefit both myself and others. I don’t have a habit of keeping a diary, so now it’s like keeping a cultural diary— isn’t that great? If I don’t have my own unique insights, sharing the opinions of the local public can also be beneficial. Of course, I still remember the existence of readers, and while I write more about popular culture, in today’s era, the distinctions between high and low, new and old culture are often blurred. I pay little attention to such boundaries and mix unrelated things together. In trendy terms, I’m playing with postmodernism? Suddenly, everyone is rushing to critique popular culture. My approach is to first observe the phenomena before jumping to conclusions, to understand more and judge less. If I say there’s a principle behind writing these things, that is it. I don’t expect readers to necessarily agree with my opinions—I hope to inspire their own. I studied science at university, then switched to the humanities, and later spent two years studying art in the U.S. That’s why I have too many scattered interests. Since the column had no strict requirements, I just wrote whatever came to mind. I talk a lot about movies because they are more familiar to me and it’s easier to write about them. Additionally, I indeed have an interest in writing about movies to honor my mother, who dedicated her career to them, and to remember the film education I received from her. So, these articles are quite, and I’ve roughly categorized them into cultural essays, film reviews, New York life, and contemporary America, mainly to help readers get a grasp of the content, though it wasn’t my original intention to structure them this way. Zhu Wei’s original idea was for me to write about fun things in New York, but it ended up being more like "Living in New York, with a Heart for China, and an Eye on the World" (a joke). They were put together rather casually and came out rough. I had planned to do some thorough revisions, but I was too busy with other things and had no choice but to let it be. I never intended to take on the responsibility of introducing America to the Chinese. These are just postcards after all. I often joke with my friends that after this book, I’ll write about Tang and Song poetry or Suzhou and Yangzhou. What I mean is that I’m a person with too many diverse interests—America, China, the East, and the West all have things I love and things I dislike. This little book strives not to demonize anyone or idealize any place, hoping instead to discuss matters in a plain and straightforward manner, just as a form of discourse. There’s a seriousness to it amidst the leisure. The world changes so quickly, and some of the timely articles may now seem a bit dated, but they can still serve as small footnotes in history. For example, when I wrote about Gates in 1995, the internet was still in its infancy in China, yet the prospects I foresaw have now blossomed like wildfire. To my surprise, many readers encouraged me, which I am deeply grateful for. That is also one of the reasons I’ve been able to write until today. If readers have any opinions, you can email me at risina@ yahoo.com. I welcome hearing from you. November 2000, New York.... The fashion industry owes a great debt to Versace, as he can be seen as a lone guardian who saved the struggling industry—now, who else can the fashion industry rely on but Madonna? Fashion is, after all, a game driven by art, commerce, popularity, vanity, and entertainment, and Versace is someone who brought the entertainment aspect of fashion to the forefront. Haute couture was originally detached from the masses, and without the act of watching and being watched, it would have had no way to survive. As for Versace’s vulgarity and extravagance—how can fashion be taken only seriously? The relationship between Versace and Miami is a story filled with destiny. It all started in 1991 when he happened to pass through and was taken by a taxi driver to "where something is happening." The driver took him to South Beach, and he fell in love with the place at first sight. He is gay, and Miami has a relaxed gay community, but more importantly, what could be more aligned with Versace’s style than Miami’s bright colors, diverse ethnicities and cultures, and its shallow, optimistic, and trendy atmosphere? His breakthrough work was actually inspired by the 1980s TV series Miami Vice. Unexpectedly, Miami also became the end of his systematic story. Houses like Chanel and Dior have managed to maintain their names and continue to exist even after the passing of their founders. Versace’s future, however, remains uncertain. But in reality, Versace is a family business. His brother Santo is the company’s president, and his sister Donatella is the creative director and responsible for designing lower-end lines like Versus. They issued a statement saying they would absolutely continue to develop the business. Versace, according to reports, is a calm, insatiable learner, and passionate about all kinds of things and art forms. He once claimed to have four moods: conservative, crazy, rock, and dramatic. Versace’s story is a dazzling flourish in this loud and flamboyant era. With Mediterranean classical passion and contemporary rock vitality, he staged a vibrant carnival in the 1960s. Yet, unexpectedly, a gunshot shattered the aria, leaving the stage in chaos, everyone stunned and staring at each other.