正文翻譯

What Happened to Playboy’s First Black Cover Girl?
She was destined to become a supermodel but bad timing and a series of misfortunes thwarted what could have been

《花花公子》的第一位黑人封面女郎有著怎樣的人生經(jīng)歷?
她注定要成為一名超級(jí)名模，但糟糕的時(shí)機(jī)和一系列的不幸挫敗了她的夢(mèng)想

Those who were employed as Bunnies had strict guidelines such as not dating customers, not giving out their phone numbers, and not allowing boyfriends or spouses within two blocks of the club. Darine began working at the Playboy Club in the late ’60s and had her admirers, including Bill Cosby. “He loved my sister,” brother David recounts. “He was crazy about Darine, He’d follow her around even. She liked him as far as his abilities and everything but she had no romantic feelings about him. From what she told me, he was respectful, kind, and there were never any problems.” Also at the Playboy Club is where she would meet her soon-to-be-husband, David Ray.

對(duì)于那些被雇傭?yàn)橥门傻呐?，花花公子有?yán)格的規(guī)定，比如不能和顧客約會(huì)，不能透露他們的電話號(hào)碼，不允許男朋友或配偶出現(xiàn)在離俱樂(lè)部?jī)蓚€(gè)街區(qū)之內(nèi)。
達(dá)琳20世紀(jì)60年代末開(kāi)始在花花公子俱樂(lè)部工作，并有她的崇拜者，包括比爾 · 科斯比（ 漂亮國(guó)演員、編劇、藝術(shù)家）。
“ 他愛(ài)我的妹妹，”弟弟大衛(wèi)回憶道“他為達(dá)琳瘋狂，他甚至到處跟蹤她，就他的能力和一切而言，她喜歡他，但她對(duì)他沒(méi)有浪漫的感覺(jué)，從她告訴我的情況來(lái)看，他很有禮貌，很和藹，從來(lái)沒(méi)有什么問(wèn)題。”
同樣在花花公子俱樂(lè)部，她將在那里見(jiàn)到她即將成為丈夫的戴維·雷。

David Ray was a respected dentist with an equally impressive pedigree. His father was a geneticist and Howard University professor who once worked alongside Watson and Crick, discoverers of the human genome. His mother was also an educator as well as a nutritionist. Darine’s mother could not have been more thrilled. According to Sheila, “I think what my mother thought was once she does the modeling, she would still be married as a fallback. You need a fallback position. Mom wanted that security for her.” They married in 1970 and honeymooned in Jamaica.

戴維 · 雷是一位受人尊敬的牙醫(yī)，他的血統(tǒng)同樣令人印象深刻，他的父親是一位遺傳學(xué)家和霍華德大學(xué)的教授，曾與人類基因組的發(fā)現(xiàn)者——沃森與克里克一起工作，他的母親是一名教育家和營(yíng)養(yǎng)學(xué)家。
達(dá)琳的母親非常激動(dòng)，據(jù)希拉說(shuō)： “我認(rèn)為我母親的想法是，一旦她做了模特，她仍然會(huì)結(jié)婚作為退路，你需要一個(gè)退路，母親希望她有這樣的安全感?！彼麄冇?970年結(jié)婚，并在牙買加度過(guò)了蜜月。

Becoming a dentist’s wife was an enviable position, especially for a Black woman of the mid-20th century. And for a while, Darine acclimated herself to that role, aligning herself with a social set of two other couples and calling themselves “six-pack” while playing stepmother to David’s six-year-old son, David Jr. Whenever Darine could be convinced to go out onto the water (she couldn’t swim), David would take her sailboating or they’d watch television in the living room together as a family. Darine worked a series of other jobs in advertising, hostessing, and bank telling but it was the latter that changed the course of her life forever.

成為一個(gè)牙醫(yī)的妻子是一個(gè)令人羨慕，尤其是對(duì)于一個(gè)20世紀(jì)中期的黑人婦女來(lái)說(shuō)。
有一段時(shí)間，達(dá)琳適應(yīng)了這個(gè)角色，她把自己和另外兩對(duì)夫婦聯(lián)系在一起，在扮演戴維六歲的兒子小戴維的繼母這一角色時(shí)，稱自己是“六塊腹肌的女漢子”，戴維會(huì)帶她去劃船，無(wú)論什么時(shí)候達(dá)琳都會(huì)去 ( 她不會(huì)游泳) ，或者一家人一起在客廳里看電視，達(dá)琳還做過(guò)一系列其他的工作，包括廣告、招待和銀行出納，但正是后者永遠(yuǎn)地改變了她的人生軌跡。

One day, a man came into the bank where Darine worked as a teller, complimented her looks, and asked if he could take her picture. She agreed and that man, who just so happened to be a photographer, brought those photos to the attention of the Playboy editorial team. Though mainstream magazines of that particular era were dominated with White faces, Playboy, in particular, was subversive not only for its exposure of the female form, but also for its politics. Hugh Hefner himself dove headfirst into civil rights activism, donating to the Rainbow PUSH Coalition, publishing Alex Haley long before his Roots fame, interviewing Miles Davis, and giving $25,000 as a reward to anyone who could find the bodies of slain Mississippi civil rights workers. In Jesse Jackson’s own words, “He was a change agent and a risk taker for racial equality and justice… Hef reached across the color line of fear and indifference.” Arguably these beliefs both personally and professionally are what opened a path of opportunity for Darine as a model.

一天，一個(gè)男人走進(jìn)達(dá)琳當(dāng)出納員的銀行，稱贊她的長(zhǎng)相，問(wèn)他是否可以給她拍張照片，她同意了，而那個(gè)恰好是攝影師的男人把這些照片帶給了《花花公子》的編輯團(tuán)隊(duì)。
那個(gè)時(shí)代的主流雜志都是白人面孔，但《花花公子》尤其具有顛覆性，不僅是因?yàn)樗鼘?duì)女性形象的曝光，也因?yàn)樗恼我馕丁?br/>休 · 赫夫納自己一頭扎進(jìn)了民權(quán)運(yùn)動(dòng)，向彩虹推動(dòng)聯(lián)盟 ( Rainbow PUSH Coalition) 捐款，在亞歷克斯 · 哈利出名之前很久就出版了他的作品，采訪了邁爾斯 · 戴維斯 ，并向任何能找到被殺害的密西西比民權(quán)工作者尸體的人提供2.5萬(wàn)美元獎(jiǎng)勵(lì)。
用杰西 · 杰克遜的話來(lái)說(shuō)，“他是一個(gè)變革者，是種族平等和正義的風(fēng)險(xiǎn)承擔(dān)者... ... 赫夫納跨越了恐懼和冷漠的種族界限?！?br/>可以說(shuō)，這些個(gè)人和職業(yè)上的信念，都為達(dá)琳成為一個(gè)模特開(kāi)辟了一條機(jī)遇之路。

Darine was proud of being a cover girl and her family was relieved that she wasn’t a centerfold where she most likely would have been fully nude without any shielding. She was mindful of her family and did not want to disappoint their expectations of her. Before Darine, Playboy had already featured two other Black models — March 1965’s Jennifer Jackson and October 1969’s Jean Bell — but neither had been a solo cover star. Two other White women were shot as outtakes for the October 1971 cover before Darine was chosen. For the cover, she wore an afro wig and the seat behind which Darine posed was designed right on the set. While other magazines were struggling with how to properly light and photograph darker skin, her image was taken behind a black background to contrast both her skin color and afro. She even lied to her mother that her naked body was airbrushed and that she was wearing a swimsuit in order to avoid scrutiny.

作為封面女郎，達(dá)琳感到很自豪，她的家人也因?yàn)樗皇锹泱w插頁(yè)女郎而松了一口氣，她很關(guān)心她的家庭，不想讓他們對(duì)她的期望失望。
在達(dá)琳之前，《花花公子》已經(jīng)有過(guò)兩位黑人模特——1965年3月的詹妮弗 · 杰克遜和1969年10月的讓 · 貝爾——但這兩位都不是單獨(dú)的封面明星。
在達(dá)琳被選中成為封面人物之前，1971年10月的封面中還拍攝了另外兩位白人女性，封面上，她戴著一頂非洲式的假發(fā)，而達(dá)琳擺姿勢(shì)的座位就是在拍攝現(xiàn)場(chǎng)設(shè)計(jì)的。
當(dāng)其他雜志還在糾結(jié)如何恰當(dāng)?shù)卣樟梁团臄z深色皮膚時(shí)，她的照片是在全黑色背景下拍攝的，以對(duì)比她的皮膚顏色和非洲式發(fā)型。她甚至對(duì)她的母親撒謊說(shuō)她的裸體是經(jīng)過(guò)噴繪處理的，而且為了躲避審查，她穿著泳裝。

The cover was a runaway hit of an estimated 6 million copies in print. Years before American Vogue, ELLE, and Harper’s Bazaar had a Black woman grace their cover, Playboy became a maverick. In fact, in 2005, the American Society of Magazine Editors listed this feat as one of the 40 most important magazine covers of the past 40 years.

據(jù)估計(jì)，這張封面的印刷量達(dá)到了600萬(wàn)冊(cè)，早在美國(guó)《Vogue》、《ELLE》和《Harper 's Bazaar》封面出現(xiàn)黑人女性的幾年前，《花花公子》就成了特立獨(dú)行的代表，事實(shí)上，2005年美國(guó)雜志編輯協(xié)會(huì)將這一壯舉列為過(guò)去40年來(lái)40個(gè)最重要的雜志封面之一。

Almost immediately, Darine’s modeling career took off and her ambition soared. She began traveling between Chicago and New York, represented by Shirley Hamilton, Ford, Ellen Harth, and Nina Blanchard agencies. She graced other covers, such as Essence and the Chicago Sun-Times, and did print work for companies such as Virginia Slims and Ultra Sheen. But she would soon face challenges in both her professional and personal lives. The more demanding her work schedule became, the more her marriage to Ray suffered. Where Ray was consistent by working at a clinic during the day and then at a private clinic till late in the evening, Darine’s life required more versatility at a quicker pace than her former life as a dentist’s wife would allow.

幾乎是在同一時(shí)間，達(dá)琳的模特事業(yè)開(kāi)始騰飛，她的野心也隨之飆升，她開(kāi)始往返于芝加哥和紐約之間，由雪莉 · 漢密爾頓、福特、艾倫 · 哈思和尼娜 · 布蘭查德經(jīng)紀(jì)公司代理。
她還登上了其他的封面，比如《Essence》雜志和《芝加哥太陽(yáng)報(bào)》，也為弗吉尼亞 Slims 和 Ultra Sheen 這樣的公司做過(guò)封面。
但她很快就面臨著職業(yè)和個(gè)人生活的挑戰(zhàn)，她的工作日程安排越緊張，她和雷的婚姻就越不幸，雷白天在診所工作，然后在私人診所一直工作到深夜，達(dá)琳的生活比她以前作為牙醫(yī)妻子的生活需要更多靈活性，節(jié)奏也更快。

Eventually, the couple agreed to part and divorce as Darine spent more time in New York and also some runway gigs in Europe. She poured herself deeper into the fashion industry but many doors were closed for one person in particular: Beverly Johnson. According to her former stepson David, “I remember her always feeling a bit of competition with Beverly Johnson but not out of spite. She was the first Black model to break through the old guard. She would have conversations with my dad about how Beverly Johnson would get certain jobs and she was trying to get the same jobs.”

最終，這對(duì)夫婦同意分手并離婚，因?yàn)檫_(dá)琳花了更多的時(shí)間在紐約和歐洲的一些時(shí)裝表演上，她全身心地投入到時(shí)尚行業(yè)中，據(jù)她的前繼子小戴維說(shuō)，“我記得她總是覺(jué)得自己和貝弗利 · 約翰遜有點(diǎn)競(jìng)爭(zhēng)，但不是出于怨恨，她是第一個(gè)突破舊保守圈的黑人模特，她會(huì)和我父親談?wù)撠惛ダ?· 約翰遜是如何得到某些工作的，她也在努力得到同樣的工作?！?/p>

The 1970s were the heyday for Black models breaking into the mainstream fashion industry, a period that was precipitated by Naomi Sims becoming the first Black model to grace the cover of Ladies Home Journal in 1968. There were other predecessors, such as Donyale Luna, who was the first African American model to be on the cover of British Vogue, and Dorothea Towles Church, who modeled for houses such as Schiaparelli, Dior, and Balmain. However, most Black models looked to Europe to have any kind of considerable success. Eric Darnell Pritchard, associate professor in the English department at the University of Buffalo, said, “In the case of Johnson, when she became the first Black model to appear on the cover of Vogue Magazine in 1974, that of course meant that her look was one that some other magazines, beauty companies, and other commercial advertisers would seek. As such, modeling agents undoubtedly would want at least one or more clients who had the Beverly Johnson look.”

20世紀(jì)70年代是黑人模特進(jìn)入主流時(shí)尚界的全盛時(shí)期，這一時(shí)期是由1968年娜奧米 · 西姆斯成為第一位登上《婦女家庭雜志》封面的黑人模特沉淀下來(lái)的，當(dāng)然還有其他的前輩，如 Donyale Luna，她是第一個(gè)登上英國(guó)《 Vogue 》雜志封面的非裔美國(guó)人模特，Dorothea Towles Church，她曾為Schiaparelli、Dior和Balmain等品牌做過(guò)模特。
然而，大多數(shù)黑人模特取得了相當(dāng)大的成功都是在歐洲，紐約州立大學(xué)水牛城分校英語(yǔ)系副教授埃里克 · 達(dá)內(nèi)爾 · 普里查德說(shuō): “以貝弗利 · 約翰遜為例，當(dāng)她成為第一個(gè)出現(xiàn)在1974年《 Vogue 》雜志封面上的黑人模特時(shí)，這顯然意味著她的造型是其他雜志、美容公司和其他商業(yè)廣告商所追求的，因此，模特經(jīng)紀(jì)人無(wú)疑會(huì)希望至少有一個(gè)或多個(gè)客戶擁有貝弗利 · 約翰遜的長(zhǎng)相?！?/p>

There were other “l(fā)ooks” — those of Bethann Hardison, Iman, Mounia, Alva Chinn, and Pat Cleveland. However, in the words of Pritchard, “…in a business that offers such limited opportunities to Black women regardless of ‘the look,’ to be expected to fit a mold that was not you or to have to compete for a booking against a person who is known for what you are trying to effect in a casting puts you at a disadvantage in some respect.” In Darine’s case, as she would relay to her family during many exasperated conversations, she was either “too Black” or “not Black enough.”

也還有其他一些“外表”獨(dú)特的模特——貝珊 · 哈迪森、伊曼、 Mounia、Alva Chinn和帕特 · 克利夫蘭等等，用普里查德的話來(lái)說(shuō)，“ ...... 在這樣一個(gè)給黑人女性提供的機(jī)會(huì)如此有限的行業(yè)里，不管你的‘外表’如何，你都要被期待著去適應(yīng)一個(gè)不是你的角色，或者不得不與一個(gè)選角中以強(qiáng)勢(shì)而聞名的人競(jìng)爭(zhēng)一個(gè)預(yù)約，這在某種程度上讓你處于不利地位?！?br/>達(dá)琳曾在多次憤怒的談話中告訴她的家人，她要么被嫌“太黑” ，要么被嫌“不夠黑”。

But shouldn’t Stern’s groundbreaking cover mean an abundance of offers? Not quite. She quickly learned that the New York world was much more cutthroat and elitist than the streets of Chicago. According to Marcellas Reynolds, former model, fashion stylist, and author of Supreme Models: Iconic Black Women Who Revolutionized Fashion, “There are models who do fashion editorials and runway, then there are catalog models, then commercial models. Those worlds seldom mix… Appearing in the pages of Playboy, which for many of its centerfolds was an entree into acting, definitely excluded someone from legitimate work as a fashion model. Add to that the role race played in fashion, further limiting the amount of available work, and there was no place for Darine.”

但是達(dá)琳開(kāi)創(chuàng)性的封面難道不應(yīng)該意味著大量的邀請(qǐng)嗎？不完全是。她很快意識(shí)到，紐約的世界比芝加哥的街道更殘酷，更精英化。
前模特、時(shí)裝設(shè)計(jì)師、《 頂級(jí)模特: 革新時(shí)尚的標(biāo)志性黑人女性 》一書(shū)的作者瑪塞拉斯 · 雷諾茲說(shuō)： “有些模特做時(shí)尚社論和 T 臺(tái)，然后是模特，然后是商業(yè)模特，這些世界很少混雜在一起... 出現(xiàn)在《花花公子》的封面上，對(duì)于很多人來(lái)說(shuō)是進(jìn)入演藝圈的必經(jīng)之路，也絕對(duì)排除了一些人從事合法的時(shí)裝模特工作，再加上種族在時(shí)尚界所扮演的重要角色，進(jìn)一步限制了有效工作的數(shù)量，因此也就沒(méi)有了達(dá)琳的位置。”

Frustrated by the lack of modeling opportunities, Darine moved to Los Angeles for newer pastures but was not fond of the city’s scene or the Hollywood industry in its entirety. She was a photographer’s model and she wasn’t inspired by film or music to make a transition there. She returned to Chicago and worked as a fashion director at Burrell Advertising Agency and also provided image consultation and costume design for the likes of Lena Horne, Aretha Franklin, and Michael Jordan. In addition, she created Darine Stern Agency to foster the careers of emerging models and provided talent for clients such as Sears, Canadian Mist, Kellogg’s, and Ford Motor Company, though it shut down within a few short years.

由于缺乏當(dāng)模特的機(jī)會(huì)，達(dá)琳搬到了洛杉磯，尋找更新的機(jī)會(huì)，但她并不喜歡這個(gè)城市，也不喜歡整個(gè)好萊塢產(chǎn)業(yè)。
她是一名攝影模特，她并沒(méi)有受到電影或音樂(lè)的啟發(fā)，在那里轉(zhuǎn)型，她回到了芝加哥，在伯瑞爾廣告公司擔(dān)任時(shí)裝總監(jiān)，還為莉娜 · 霍恩、艾瑞莎 · 富蘭克林和邁克爾 · 喬丹等人提供形象咨詢和服裝設(shè)計(jì)。
此外，她還創(chuàng)立了Darine Stern Agency 培養(yǎng)新晉模特，并為西爾斯、 Canadian Mist、凱洛格和福特汽車公司等客戶提供人才，不過(guò)這家公司短短幾年內(nèi)就倒閉了。

In the late ’80s, Darine moved to Martha’s Vineyard where she assisted choreographer Marla Blakey on a For Colored Girls production and acted in a soap opera pilot centering the lives of those who live in Oak Bluffs, a historic, African American community within Martha’s Vineyard, that never aired. Throughout her multilayered career, Darine was worried about her looks. “Beauty,” as her sister Sheila puts it, “is a double-edged sword. It can cut through anything but it can cut you.”

80年代后期，達(dá)琳搬到了瑪莎葡萄園島，在那里她協(xié)助編舞瑪拉艾特制作了一部彩虹艷盡半邊天（ For Colored Girls，字面含義為“為有色女性特制”）劇，并在一部肥皂劇試播中出演，該劇以居住在奧克布拉夫斯的人們的生活為中心，奧克布拉夫斯是馬撒葡萄園島（島嶼名，位于美國(guó)馬薩諸塞州東南海岸附近）內(nèi)一個(gè)歷史悠久的非裔美國(guó)人社區(qū)，但這部劇從未播出。
在她多層次的職業(yè)生涯中，達(dá)琳一直擔(dān)心她的外表，正如她的姐姐希拉所說(shuō)，“ 美，是一把雙刃劍，它可以切斷任何東西，但它也可以切斷你自己?！?/p>

For Darine, a woman now in her forties, would ask her sister Sheila how she looked for her age and entertained the thought of plastic surgery. Unbeknownst to Darine, she would not be going to a doctor to salvage her looks but rather her life, for she was diagnosed with breast cancer at the age of 43. Speaking with Blakey about Darine’s cancer diagnosis, she emphatically tells me, “She did everything she could to get better — holistics, eating right, exercising. She did everything.” She befriended Cheryl Stark and Margery Meltzer through a local cancer support group and they became inseparable. “She was so young,” Meltzer says. “Even when she became ill, her spark always showed through. She was a loving, gentle soul with a quick wit.” She tried to get stem cell treatment but she wasn’t responding well enough to the preliminary cycles to qualify. When the cancer was metastasizing, one of her friends since her time at the Playboy Club used her money to put Darine on a plane back to Chicago.

達(dá)琳，一個(gè)四十多歲的女人，會(huì)問(wèn)她的姐姐希拉自己在這個(gè)年齡長(zhǎng)的怎么樣，并產(chǎn)生了整容的念頭。
達(dá)琳不知道的是，醫(yī)生不會(huì)來(lái)挽救自己的容貌，而是來(lái)救自己的命，因?yàn)樗?3歲時(shí)被診斷出患有乳腺癌。
在談到達(dá)琳的癌癥診斷時(shí)，她斷然告訴我，“她盡了一切努力讓自己好起來(lái)——心理、健康飲食和鍛煉，她什么都做?！?br/>她通過(guò)當(dāng)?shù)氐囊粋€(gè)癌癥支持小組與謝麗爾 · 斯塔克和瑪格麗 · 梅爾澤成為朋友，她們變得形影不離。
“她那時(shí)太年輕了，”梅爾澤說(shuō)“ 即使在她生病的時(shí)候，她的活力也總是顯露出來(lái)，她也是個(gè)有愛(ài)心的、溫柔的人，機(jī)智敏捷?！彼噲D接受干細(xì)胞治療，但初步治療效果并不理想，癌細(xì)胞轉(zhuǎn)移的時(shí)候，她在花花公子俱樂(lè)部的一位朋友用她的錢把達(dá)琳送上了回芝加哥的飛機(jī)。

There at a hospice, relatives and other loved ones would move in and out of the room. Most times, Darine wouldn’t speak. That is until Ray came to visit. Her brother David recounts, “Obviously she was carrying some kind of torch for him because she revived when he walked in the room.” In Darine’s last call to Meltzer, she had a vision: “…she told me she’d had a dream the night before in which I was having a ‘party’ to celebrate her life with lots of people. I assured her that I would do that and I did.”

在那里的安寧療養(yǎng)院，親戚和其他親人在房間里進(jìn)進(jìn)出出，大多數(shù)時(shí)候，達(dá)琳都不說(shuō)話，直到雷（前夫）來(lái)看她。
她的哥哥大衛(wèi)回憶說(shuō)： “很明顯，她對(duì)他依然有某種愛(ài)慕之情，因?yàn)樗蛔哌M(jìn)房間，她就蘇醒過(guò)來(lái)了。”
在達(dá)琳給梅爾澤打的最后一個(gè)電話中，她說(shuō)自己出現(xiàn)了一個(gè)幻覺(jué)：“ ...... 她告訴我，前一天晚上她做了一個(gè)夢(mèng)，夢(mèng)里我正在舉辦一個(gè)‘派對(duì)’ ，與許多人一起慶祝她的一生，我向她保證我會(huì)這么做，我為她辦了這樣一場(chǎng)派對(duì)。”

On February 5, 1994, Darine Stern passed away. A memorial scholarship in her honor was created at Chicago State University where she once studied education before fully pursuing professional modeling. Her most famous image still belongs to Playboy. Since her passing, her sister Sheila has kept an archive of many of her sister’s headshots, editorial spreads, letters, and résumés as a way to keep Darine’s legacy alive. Though Darine is considerably lesser known than her contemporaries, her story demonstrates the constraints of what Black women could have been and the flowers they could have been given while they still were alive. It is a bittersweet reminder of where we’ve arrived and an admonition of what more needs to be done so that Black women will no longer be footnotes throughout turning points in our culture.

1994年2月5日，達(dá)琳 · 斯特恩去世。
為了紀(jì)念她，芝加哥州立大學(xué)為她設(shè)立了一個(gè)紀(jì)念獎(jiǎng)學(xué)金，她曾在那里學(xué)習(xí)教育，然后完全從事專業(yè)模特工作。
她最著名的形象仍然是《花花公子》的封面照，自她去世以后，她的姐姐希拉一直保存著許多她的大頭照、社論、信件和簡(jiǎn)歷的檔案，以此來(lái)保存達(dá)琳的遺產(chǎn)，盡管達(dá)琳比她同時(shí)代的人知名度要低得多，但她的故事表明了黑人女性的局限性，這是一個(gè)苦樂(lè)參半的提醒，提醒我們走到了何種地步，并告誡我們還需要做更多的事情，使黑人女性不再是我們文化的轉(zhuǎn)折點(diǎn)的注腳。

評(píng)論翻譯

Jen Marie Pollard
Wonderful story. Thanks for sharing about this relatively unknown trailblazer.

很精彩的故事，謝謝你分享介紹這位相對(duì)不為人知的先驅(qū)者。

nichole wesson
Thank you for sharing her story. In everything we do, we should be acknowledged for that contribution. With the recent passing of Katherine Johnson, it is necessary that we share our stories so those that come after know who we are and how we got there, including the struggles. It is the struggles we can look to so we are reminded of our strength.

感謝您分享她的故事，在我們所做的每一件事中，我們的貢獻(xiàn)都應(yīng)得到承認(rèn)，隨著最近凱瑟琳 · 約翰遜的去世，我們有必要分享我們的故事，讓后來(lái)者知道我們是誰(shuí)，我們是如何走到這一步的，包括我們的奮斗，這是我們可以看到的斗爭(zhēng)，提醒我們所擁有的力量。

Juliet Alvarez Ixta
What a beautiful story. Thank you for giving Darine’s story a voice and sharing it to the world!

多么美麗的故事，謝謝你為達(dá)琳發(fā)聲，并分享給世界 !

Esther Famojure
Thank you for this article. This is important history that we should be aware of and Mrs. Darine should always be remembered and honored.

謝謝你的這篇文章，這是我們應(yīng)該認(rèn)識(shí)到的重要?dú)v史，達(dá)琳夫人應(yīng)該永遠(yuǎn)被銘記和尊敬。

Munoz-Nieves Jose
What always impresses me when I read the stories of Black Women in the history of America what stands out is their intelligence, bravery and daring. These women, from all ethnicities and cultures, are beacons of the possible for all mankind. These essays are not only tributes but also examples that we all can aspire to.

美國(guó)歷史上黑人女性的故事，總是給我留下深刻的印象，她們的智慧、勇敢和大膽，這些來(lái)自不同種族和文化的女性是全人類可能的指路明燈，這些故事不僅是贊頌，也是我們所有人都渴望的榜樣。