In this tour de force of psychological unease--now a major motion picture starring Charlotte Gainsbourg and Sinead Cusack--McEwan excavates the ruins of childhood and uncovers things that most adults have spent a lifetime forgetting--or denying. "Possesses the suspense and chilling impact of Lord of the Flies."--Washington Post Book World.
In this tour de force of psychological unease--now a major motion picture starring Charlotte Gainsbourg and Sinead Cusack--McEwan excavates the ruins of childhood and uncovers things that most adults have spent a lifetime forgetting--or denying. "Possesses the suspense and chilling impact of Lord of the Flies."--Washington Post Book World.
Ian McEwan is the bestselling author of more than ten books, including the novels The Comfort of Strangers and Black Dogs, both shortlisted for the Booker Prize, Amsterdam, winner of the Booker Prize, and The Child in Time, winner of the Whitbread Award, as well as the story collections First Love, Last Rites, winner of the Somerset Maugham Award, and In Between the Sheets. He has also written screenplays, plays, television scripts, a children’s book, and the libretto for an oratorio. He lives in London.
Biography
One of the most distinguished novelists of his generation, Ian McEwan was born in England and spent much of his childhood traveling with his father, an army officer stationed in the Far East, Germany, and North Africa. He graduated from Sussex University in 1970 with a degree in English Literature and received his MA in Creative Writing from the University of East Anglia.
McEwan burst upon the literary scene in the mid-1970s with two short story collections that highlighted with equal clarity his early predilection for disturbing, somewhat shocking subject matter and his dazzling prose style. Similarly, his 1978 debut novel, The Cement Garden, attracted as much attention for its unsettling storyline as for its stylistic brilliance. But even though his early work was saturated with deviant sex, violence, and death (so much so that he earned the nickname "Ian MacAbre"), he was never dismissed as a mere purveyor of cheap thrills. In fact, two of his most provocative works (The Comfort of Strangers and Enduring Love) were shortlisted for major U.K. awards.
As he has matured, McEwan has moved away from disquieting themes like incest, sadism, and psychotic obsession to explore more introspective human dramas. In an interview with The New Republic he described his literary evolution in this way:
"One passes the usual milestones in life: You have children, you find that whether you like it or not, you have a huge investment in the human project somehow succeeding. You become maybe a little more tolerant as you get older. Pessimism begins to feel something like a badge that you perhaps do not wear so easily. There is something delicious and reckless about the pessimism of being 21. And when you get older you feel maybe a little more delicate and hope that things will flourish. You don't want to take a stick to it."
Among many literary honors, McEwan has been awarded the Somerset Maugham Award for First Love, Last Rites (1976) and the Whitbread Prize for The Child in Time (1987). Nominated three times for the Booker Prize, he finally won in 1998 for Amsterdam. He has also received the WH Smith Literary Award and National Book Critics' Circle Fiction Award for Atonement (2001) and the James Tait Black Memorial Prize for Saturday (2005).
《水泥花园》:未成年人的乱伦王国 我是在看完电影《赎罪》后才看伊恩·麦克尤恩的这本《水泥花园》的。书很薄,属于他的早期作品,但是写得很诡异——相对来说,《赎罪》算得上是一部“正常”的小说,虽然我未读过。 看完书,大致拎了一下整个构架。小说分两部,十个章节...
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评分 评分在看了那么多对于杰克的解析之后,我反倒对朱莉更感兴趣。在麦克尤恩惯常使用的青春期男孩视角下,女孩往往投射着他们的某种渴望。对于杰克来说,朱莉气质里带着的诱惑性和侵略性能满足他成长里某种隐秘的幻想。在一开头朱莉就被描述成那种校园里的popular girl. 她穿着亮绿色...
评分迈克尤恩的《水泥花园》 文/梁坏坏 伊恩原名伊恩·迈克尤恩,1948年生人,被誉为当今英国最优秀的小说家之一。我看的这部小说名字叫做《水泥花园》,发表于1975年,《外国文艺》2006年第6期翻译给了中国读者,2007年6月,新星出版社出版了精装单行本。2008年1月,我在...
这本书的氛围感塑造得实在太到位了,读完之后,那种挥之不去的情绪就像是夏日午后被暴晒过的柏油路面散发出的热浪,闷得人有些喘不过气,却又带着一种难以言喻的真实感。作者对细节的捕捉简直是微观层面的手术刀,每一个细小的动作,每一句未尽之言,都被放在显微镜下解剖。我特别欣赏它那种不动声色的叙事方式,它不像那些强行塞给你情节转折的小说,而是像一个老旧的留声机,缓慢地、带着沙沙的杂音,一点点地播放出那些尘封的往事和人物内心的挣扎。角色的塑造极其立体,他们身上那种固执、别扭、甚至有些自我毁灭的特质,都让人在阅读时忍不住会心一笑,因为你会发现,天哪,这不就是生活里那些最真实也最难堪的一面吗?这本书并不试图给你提供任何廉价的慰藉或明确的答案,它只是把一团复杂的、纠缠在一起的线团摊在你面前,让你自己去辨认,去感受那种在泥泞中前行的重量。那种压抑感不是来自外部的巨大冲突,而是源自人物之间微妙的张力,是那种“我们都知道有些事情不对劲,但谁都不愿意先伸手去触碰”的沉默。我读完后很久都没有合上书页,只是盯着封皮,仿佛还能听到那些人物在彼此沉默的对视中进行的漫长对话。
评分这本书最让我感到惊艳的地方在于它对“关系”的复杂性的揭示,尤其是在家庭结构内部的权力动态与情感依附上。它没有采用传统叙事中那种非黑即白的好人与坏人的设定,相反,每个人都像是一个破碎的镜子,折射出多重矛盾的光芒。你会在同一个人身上同时看到深深的爱意和近乎残酷的控制欲,看到对自由的渴望和对既有秩序的深深依赖。作者的高明之处在于,他没有对这些矛盾进行道德审判,而是以一种近乎冷静的、人类学的观察视角,记录下这些关系是如何在日常的琐碎中自然生成、又在微妙的博弈中不断演化的。读到某些段落时,我甚至会感觉到一种强烈的代入感,不是因为我经历了完全相同的事情,而是因为那种微妙的、难以言喻的情感张力,那种我们都曾在某个不那么光彩的瞬间体验过的复杂人性。这种对人与人之间情感链条的解构和重塑,使得这本书具有了一种持久的阅读价值,它不是读完就扔掉的消遣品,而是能让你时不时回味、重新审视自己人际关系的工具书。
评分坦白说,这本书的节奏感是比较挑人的,它不是那种能让你一目十行、快速推进的爆米花读物。它更像是慢炖的浓汤,需要你投入足够的时间和耐心去细品那些看似平淡无奇的日常切片。我个人非常享受这种“慢”——这种慢不是拖沓,而是一种对生活质地的高度尊重。作者似乎对“时间流逝”这件事有着深刻的理解,他没有用宏大的时间跨度来讲述故事,而是聚焦于几个关键的、密不透风的时期,把这些时期拉长、放大,让我们能清晰地看到每一个微小决定如何像蝴蝶扇动翅膀一样,最终引发了意想不到的后果。更让我印象深刻的是它对空间感的处理。书中的场景描绘,比如那些老旧的建筑、被遗忘的角落,与其说是背景,不如说是角色情绪的延伸。那些墙壁、那些光线、那些空气中的气味,都在无声地诉说着关于停滞、关于期待、关于某种无法逃离的宿命。这种环境与人物高度融合的手法,让整个故事拥有了一种近乎舞台剧的凝重感和仪式感。我喜欢它在不借助华丽辞藻的情况下,仅凭精准的动词和名词的排列组合,就能构建起一个如此丰满、如此令人信服的世界。
评分我必须承认,这本书在某些时刻读起来是相当“费力”的,但这种费力感恰恰是其价值所在。它强迫你走出舒适区,去面对那些我们通常会下意识忽略或合理化的生活碎片。叙事结构上,它似乎有意地打乱了线性的时间顺序,更像是意识流与现实描写的交织体,信息碎片像散落的拼图一样,需要读者主动去寻找连接点,去填补那些留白的意义。这种开放性对于那些喜欢主动参与到意义建构中的读者来说,无疑是一种极大的享受。每一次重新阅读,似乎都能从不同的角度重新理解某个角色的动机,或者发现之前被忽略掉的、隐藏在场景描述中的预兆。它没有明确的“高潮”,故事的张力是内敛的、持续累积的,最终的结果可能并不像传统小说那样具有爆发性,但它带来的那种“必然如此”的震撼感,却更加深刻和持久。它更像是一部严肃的文学作品,注重的是对人类经验的深度探索,而不是单纯的娱乐性。
评分这本书的语言风格是一种极其克制但又内含巨大能量的混合体。它摒弃了过多冗余的形容词和副词堆砌,转而依赖于精确的名词和具有画面感的动词,营造出一种近乎纪实文学的质感。然而,在这层冷静的外表之下,却涌动着一股强大的情感暗流。作者似乎很擅长使用对比,比如用极度平淡的对话来烘托背后巨大的情感鸿沟,或者用一个明亮的场景来反衬人物内心的晦暗。这种语言的张力处理得非常高级,它要求读者必须保持警惕,不能轻易放过任何一个被轻易带过的词语,因为每一个词语都可能蕴含着比表面信息更深一层的含义。我特别欣赏它那种近乎诗意的精准性,它让你意识到,语言的力量不在于堆砌多少词藻,而在于如何用最少的笔墨,勾勒出最复杂的内心世界。读完后,我甚至会尝试模仿这种简洁有力的叙事方式来记录自己的日常,可见其影响之深远。
评分电影美过小说
评分期待太大的作品
评分冷静的可怕,日常琐事描写都让人毛骨悚然。
评分Ian McEwan的童年阴影。。。
评分就是喜欢他的书 嗷嗷
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