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Those included all the parts, and they were few enough, customarily assigned to black actors. While the men were con-men, hustlers or drug addicts, the women were plump maids or prostitutes, Jezebels or Aunt Jemimas.
這些角色包括所有的角色，而且數量很少，通常都是由黑人演員扮演的。男性角色通常是些騙子、皮條客或癮君子，而女人則是臃腫的女傭或失足女、毒婦或Aunt Jemimas這樣的類型。
Characters like these had no dimension, no complexities or professions or family life, as white characters did.
像這樣的角色毫無內涵，枯燥乏味，也沒有職業或家庭生活，與那些白人角色不同。
They were cartoons, the insulting half-wit faces on tins of chewing tobacco or laundry bleach, when they should have been teachers and lawyers, doctors and politicians, mothers and fathers. They were never given their full, true humanity.
他們只是卡通形象，以極具侮辱意味的傻子形象出現在咀嚼煙草或洗衣漂白劑包裝上，而他們本應該是教師、律師、醫生、政客、母親和父親。可他們從未被賦予完整的、真實的人性。
She especially longed to see black sisters portrayed as they really were: the strength of their race, the ones who held their families together when the men went off, for whatever reason. (She knew all about that, saving Miles Davis time after time when the jazzman broke up their relationship with the stench of his philandering and the horrors of his cocaine.)
她十分渴望看到關于黑人姐妹真實境況的描述，關于黑人種族力量的介紹，關于黑人男子因各種原因離家后，將整個家庭凝聚在一起的黑人女性的寫照。（她對此感觸頗深：邁爾斯·戴維斯（Miles Davis）是一位爵士樂手，他拈花惹草、吸食可卡因，令二人的關系破裂，而她卻不計前嫌，屢次對他施以援手。）
The role she treasured most came in “Sounder” in 1972, where she played the wife of a Louisianan sharecropper who, when her husband was imprisoned for stealing food, had to run the farm and raise the children alone. It won her a best-actress Oscar nomination. As Rebecca, wearing cornrows as she hoed the dry soil and pinned up washing, she thought of her own mother, her fierce mentor, who had also brought up her children largely single-handed.
她最珍視的角色是1972年在《兒子離家時》(Sounder)飾演一位路易斯安那佃農的妻子。她的丈夫因偷盜糧食入獄，她不得不獨自經營農場，撫養孩子。她憑借這部電影獲得了奧斯卡最佳女主角提名。她飾演的麗貝卡梳著玉米辮，辛勤地耕種干涸的土地、晾曬洗好的衣物，她想起了自己的母親，母親是她嚴厲的導師，同時也是一位將孩子獨自拉扯大的女性。
They were poor, moving from tenement to tenement in Harlem, but her mother always managed to whip up potatoes and salt pork for their meals, and to sew the wonderful organza dresses her daughters wore in church. From her she had inherited, as well as her “blessed assurance” of God’s guidance, her stiff, straight back.
他們的日子很拮據，在哈萊姆區的廉價公寓里搬來搬去，但她的母親總能設法煮土豆和腌豬肉給孩子們吃，還能縫制女兒們在教堂里穿的漂亮的歐根紗連衣裙。她從母親那里繼承了那不屈、挺直的脊背，也繼承了上帝指引她的“祝福的保證”。
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