A genre-bending collection of prose poems from Pulitzer Prize–winner Franz Wright brings us surreal tales of childhood, adolescence, and adult awareness, moving from the gorgeous to the shocking to a sense of peace. Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet.
In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.
Franz Wright’s most recent works include Wheeling Motel and Earlier Poems. Walking to Martha’s Vineyard was awarded the Pulitzer Prize in 2004, and he has also been the recipient of two National Endowment for the Arts grants, a Guggenheim Fellowship, a Whiting Fellowship, and the PEN/Voelcker Award for Poetry, among other honors. He lives in Waltham, Massachusetts, with his wife, the translator and writer Elizabeth Oehlkers Wright.
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这本书最让我印象深刻的是它对“记忆”与“现实”边界的模糊处理。故事中充斥着大量的闪回、幻觉,以及被篡改的片段,让你始终处于一种“什么才是真的”的怀疑状态中。这种叙事手法非常高明,它不仅仅是为了制造悬念,更是为了探讨记忆本身的不可靠性以及个体经验的主观性。我常常在想,如果我的记忆也是由我自己的情感和需求重新编织的,那么我所认定的“事实”还剩下多少?作者巧妙地利用这种不确定性,构建了一个既荒凉又充满诗意的精神迷宫。这本书读完后,我不仅对故事本身有了思考,更是对“我如何记住过去”这个问题产生了强烈的兴趣,无疑是一次令人心神不宁但又极富启发的阅读体验。
评分这本书的文字功底简直是教科书级别的存在,特别是那些对人物内心世界的刻画,精妙绝伦。每一个角色的心理活动都被剥离得极其干净,那种矛盾、挣扎、自我怀疑,都写得真实到让人心痛。我很少读到能将“人性的灰度”描绘得如此透彻的作品。没有绝对的好人或坏人,每个人都在自己的逻辑里挣扎求存,他们的选择,无论在外人看来多么荒谬或卑劣,在他们自己的世界观里都有着无可辩驳的合理性。这使得故事不仅仅停留在表面的冲突,而是深入到了哲学的层面——关于选择的代价与救赎的可能性。我反复读了几遍关于主角某段独白的章节,每一次都有新的感悟,这种深度是很多畅销书无法比拟的。
评分坦率地说,这本书的节奏把控得有点像慢炖的汤药,药味是有的,但火候拿捏得恰到好处,就是需要时间去熬。情节推进得极其缓慢,如果你期待的是那种一页一转折的刺激感,那这本书可能会让你感到无聊。然而,如果你能沉下心来,你会发现这种“慢”并非拖沓,而是为了营造一种密不透风的压抑感。作者似乎在用这种缓慢的节奏,让你切身体会到角色被困住的无力感。每一次微小的进展,都显得来之不易,而每一次退步,都让人感到命运的不可抗拒。读完合上书本的那一刻,我感到的是一种长时间紧绷后的放松,仿佛自己也刚刚经历了一场漫长的、缓慢而艰苦的旅程。
评分我必须得承认,这本书的叙事结构对我来说是一个不小的挑战。它并非那种线性叙事,而是像一幅被打乱的拼图,需要读者自己去寻找碎片,然后努力将它们拼凑起来。起初读起来确实有些费劲,好几次差点想放弃,但越往后读,那种“解谜”的乐趣就越发明显。作者似乎并不在乎你是否能立刻理解所有的情节,他更注重的是让你去体验那种迷失和探索的过程。这种处理方式非常大胆,也体现了作者极高的文学自信。我欣赏这种不迎合读者的写作态度,它强迫你跳出舒适区,主动地去思考作者想要传达的深层意涵。最终拼凑出的画面,虽然带着棱角,但无疑是震撼人心的,让人回味无穷。这本书更像是文学爱好者的一场智力与情感的双重探险。
评分这本书的氛围感真是绝了,读完后感觉自己仿佛置身于那片静谧又略带诡谲的森林之中。作者对环境的描写细致入微,每一个光影、每一片叶子的呼吸声都能被清晰地捕捉到。那种幽深、迷离的笔触,让人在阅读时会不由自主地放慢节奏,细细品味每一个字句。故事的主线虽然在推进,但更多的是一种情绪的渲染,那种挥之不去的疏离感和淡淡的哀愁,像藤蔓一样缠绕着心头。我特别喜欢那种克制的情感表达,它不像直白的倾诉那样轰轰烈烈,而是像水面下的暗流,不动声色地积蓄力量,直到某一刻才猛然爆发,让人措手不及。整体来说,这是一部非常“有味道”的作品,适合在一个安静的下午,泡上一杯浓茶,慢慢沉浸其中,去感受那份难以言喻的诗意与沉重。
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