1985. First-year student and Kate Bush fan Brian falls for beautiful University Challenge queen Alice Harbinson in a brilliant comedy of love, class, growing up and the all-important difference between knowledge and wisdom.
小說One Day作者David Nicholls的第一部作品,講述一個平凡而有趣,彷彿每個人生活的成長故事。
Born in 1966 in Eastleigh, Hampshire. David attended Toynbee Comprehensive school, and attended Barton Peveril Sixth Form College, before going to the University of Bristol in 1985 to study English Literature and Drama.
Having graduated, and keen to pursue a career as an actor, he won a scholarship to study at the American Musical and Dramatic Academy in New York, before returning to London in 1991. There he worked in a number of bars and restaurants before finally earning an Equity card. He worked sporadically as an actor for the next eight years, appearing in plays at Battersea Arts Centre, the Finborough, West Yorkshire Playhouse and Birmingham Rep. In between jobs he worked as a bookseller at Waterstones, Notting Hill.
A three year stint at the Royal National Theatre followed, understudying and playing small parts in, amongst others, Arcadia, Machinal, Inadmissable Evidence and The Seagull. During this period, he began to read plays and film scripts as a freelance reader, before taking a job at BBC Radio Drama as a script reader/researcher. This led to script-editing jobs at London Weekend Television and Tiger Aspect Productions.
During this period, he began to write, developing an adaptation of Sam Shepard’s stage-play Simpatico with the director Matthew Warchus, an old friend from University. He also wrote his first original script, a situation comedy about frustrated waiters, Waiting, which was later optioned by the BBC.
Simpatico was turned into a feature film in 1999, starring Sharon Stone, Catherine Keener, Jeff Bridges, Nick Nolte and Albert Finney. This allowed David to start writing full-time, and his first TV production followed soon afterwards; I Saw You, a one-off romantic-comedy starring Paul Rhys and Fay Ripley, which won best single play at the annual BANFF television festival. Four episodes of Cold Feet followed, and since then David has written for film and TV as well as fiction. He has been twice nominated for BAFTA awards and his first novel, Starter for 10 was featured on the first Richard and Judy Book Club.
David's TV credits include an updated version of Much Ado About Nothing, with Damian Lewis and Sarah Parrish (BAFTA nominated - Best Single Play) and the one-off play After Sun, starring Peter Capaldi and Sarah Parrish. An acclaimed adaptation of Tess of the D'Urbervilles followed, starring Gemma Arterton, Eddie Redmayne, Hans Matheson and Jodie Whittaker.
In fiction, he has written three novels, Starter for Ten, The Understudy and One Day. In film, Simpatico was followed by the movie version of Starter for Ten, directed by Tom Vaughan, with James MacAvoy and Rebecca Hall, and an adaptation of Blake Morrison's memoir And When Did You Last See Your Father? directed by Anand Tucker, and starring Colin Firth, Jim Broadbent and Julie Stevenson. The feature film version of One Day, directed by Lone Scherfig, began production in July 2010, with Anne Hathaway, Jim Sturgess, Romola Garai, Rafe Spall, Jodie Whittaker, Ken Stott and Patricia Clarkson.
At present, David is writing his fourth novel, as well as working on a feature-film version of Dickens' Great Expectations.
David lives in North London with his partner Hannah and two children.
FAVOURITE THINGS (in no particular order)
Books
Franny and Zooey, Catcher in the Rye, Tender is the Night, The Great Gatsby, Bleak House, Great Expectations, Our Mutual Friend, Portnoy’s Complaint, Goodbye Columbus, Tess of the D’Urbervilles, Far From the Madding Crowd, The Mayor of Casterbridge, Brideshead Revisited, A Handful of Dust, The Whitsun Weddings, Betrayal, Hangover Square, The Real Thing, The Girls of Slender Means, Therese Raquin.
Also most things by George Orwell, Muriel Spark, Fitzgerald John Donne, Dickens, Hardy, TS Eliot, Philip Roth, John Cheever, Richard Yates, Melville, Larkin, Pauline Kael, Penelope Fitzgerald, Alan Bennett, Hecht and MacArthur, Edward St. Aubyn, Chekhov, Chandler, Brecht, Mamet, Shepard, on and on…
Films
The Philadelphia Story, The Graduate, 8 ½, The Apartment, Double Indemnity, Sunset Boulevard, Rushmore, Annie Hall, Manhattan, Husbands and Wives, Love and Death, Stardust Memories, Sunday Bloody Sunday, Day for Night, The 400 Blows, The Awful Truth, Bringing Up Baby, Ninotchka, North by Northwest, Alien, Aliens, The Shining, Barry Lyndon, All the Presidents Men, The Big Sleep, The Conversation, The Godfather I and II, Cutters Way, Dawn of the Dead, Day of the Dead, The Taking of Pelham 123, Kes, Brazil, Suspiria, The Parallax View, Sullivan’s Travels, Witness, Tootsie, Blade Runner, The Ladykillers, Billy Liar, Don't Look Now, Blood Simple, Fargo, Raising Arizona, The Host, Sympathy for Mr Vengeance,The Thing, Pusher, The Odd Couple, The Producers, on and on and on…
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这本书简直是为我这种“半吊子”技术爱好者量身定做的!我之前尝试过好几个入门级的编程指南,但总是感觉信息量太大,一下子把我淹没了,还没开始多久就已经想放弃了。这本书的结构设计得太巧妙了,它不像那些厚得能当砖头的教材,而是非常注重“刚刚好”的平衡感。一开始,作者就用一种非常轻松幽默的口吻,将那些晦涩难懂的专业术语掰开了揉碎了讲,完全没有那种高高在上的说教感。比如,它在讲解变量的时候,不是直接扔一堆代码示例,而是用了一个非常贴近生活的比喻,让我瞬间就抓住了核心概念。我尤其欣赏它在每章末尾设置的“迷你挑战”,这些挑战的难度曲线设计得非常平滑,让你在学完新知识后能立刻进行实践,而不是等到学完整个章节才发现自己什么都忘了。更重要的是,它没有一股脑地灌输知识,而是引导你去思考“为什么”要用这种方法,而不是仅仅告诉你“怎么做”。这种思维模式的培养,比单纯记住几个语法规则要重要得多。对于想快速建立扎实基础,又不想在枯燥的理论中迷失方向的人来说,这本书绝对是首选。我感觉自己不再是那个在代码海洋里瞎扑腾的旱鸭子了,而是有了一个靠谱的救生圈。
评分我以一个有着多年非技术背景,但对数据分析抱有浓厚兴趣的职场人士的角度来看待这本书,它的实用性超出了我的预期。我需要的不是成为一名软件工程师,而是能用工具解决我日常工作中遇到的数据处理难题。这本书在选择示例和应用场景时,展现出了惊人的洞察力。它没有过多纠缠于底层原理的复杂性(这对我来说是噪音),而是聚焦于如何快速地将学到的技能应用到实际的数据清洗、转换和可视化中去。比如说,书中有一章专门讲解了如何用它所介绍的技术高效地处理“脏数据”,那种处理流程的逻辑清晰度,让我感觉像是拿到了一套别人梦寐以求的“快速修复工具箱”。我立刻将书中的方法应用到了我部门上季度提交的一份报告中,原本需要花费两天时间手动核对和修正的错误,现在只需要半个小时就能搞定。这不仅仅是效率的提升,更是对工作流程的革命。作者的叙事风格非常注重效率和结果导向,语言简洁有力,很少有冗余的形容词或复杂的长句。读起来就像是在听一位经验丰富的前辈在旁边手把手指导你完成一项任务,那种“即学即用”的感觉,是其他很多理论书籍无法给予的。对于希望快速将新技能转化为生产力的成年学习者来说,这本书的价值简直是无可估量。
评分这本书的社区支持和后续资源的可获取性,是支撑我持续学习的重要动力。虽然我个人更倾向于通过书本自学,但技术世界瞬息万变,一个与时俱进的支持系统至关重要。这本书的作者显然也意识到了这一点。随书附带的在线资源库非常丰富,不仅包含了所有代码示例的最新版本,还定期更新与书本内容相关的外部链接和前沿资讯。更令人欣慰的是,作者似乎非常积极地参与到读者社群的互动中。我在尝试一个较为复杂的案例时遇到了一个非常细微的上下文理解问题,我在官方论坛上提问后,不到一天就得到了来自“似乎是作者本人”的回复,他不仅解决了我的疑问,还指出了一个我在后续章节中可能还会遇到的潜在问题,并提供了额外的优化建议。这种高水平、高效率的维护和互动,极大地提升了我的学习粘性。它告诉我,我购买的不是一本静态的书籍,而是一个持续更新、有人维护的学习生态系统。对于需要长期学习某一技能的人来说,这种“活的”支持,比书本本身的内容可能还要珍贵。
评分我必须强调一下这本书在“错误处理与调试”方面的处理方式,这才是区分一本优秀入门书和一本平庸入门书的关键所在。很多教材在成功演示代码运行的那一刻就戛然而止了,仿佛世界上的代码都是完美无瑕的。但现实是,我们把更多的时间花在查找那些让人抓狂的错误信息上。这本书却反其道而行之,它不仅教你如何写出正确的代码,更投入了大量的篇幅,系统地展示了常见的错误类型,并提供了对应的调试思路。作者似乎预料到了读者会在哪里绊倒,提前在那里设置好了“路标”。它不是简单地罗列错误代码,而是深入分析了错误背后的逻辑陷阱。比如,它会用“假如你看到了这个报错,请先检查这三个地方”这样的结构来引导,这比死记硬背错误代码要有效得多。这种前瞻性的指导,极大地增强了我的独立解决问题的能力,让我从一个“复制粘贴型”学习者,逐渐转变为一个能够独立分析和修复 Bug 的学习者。这种对学习者成长路径的深刻理解和关怀,使得这本书不仅仅是一本技术手册,更像是一位耐心的导师,在我每一次遇到挫折时,都能及时伸出援手。
评分这本书的排版和视觉设计简直是一场视觉盛宴,这在技术书籍中是极其罕见的。我承认,我是一个视觉驱动的学习者,如果一本书看起来像一本发黄的电话簿,我大概率会直接放弃。然而,这本书的作者(或设计团队)显然深谙“美观即是生产力”的道理。每一个代码块都有明确的颜色高亮区分,关键的概念被巧妙地用插图或图表标注出来,而不是简单地用粗体字来堆砌。这种精心设计的视觉层级结构,极大地减轻了我的认知负担。例如,当介绍一个新函数时,它的参数和返回值会被放在一个独立的、设计精良的“信息卡片”中,而不是被埋没在一大段文字里。这使得我复习时,可以迅速定位到我需要的信息点,而不用重新阅读整个章节。而且,这本书的纸张质量和装订工艺也相当出色,拿在手里有一种沉甸甸的厚实感,每次翻阅都成为一种享受。这种对用户体验的极致追求,让我感觉作者对待读者的态度是极其尊重的,他们不仅提供了知识,更提供了一种愉悦的学习体验。对于那些在寻找一本既能充实大脑,又能取悦眼睛的书籍的读者来说,这本书的外部表现已经为它赢得了极大的优势。
评分Audiobook read by David Tennant
评分是因为电影才读的小说。但发现其实还是电影好看…毕竟电影里男主的颜值和气质都在…而小说里的Brian却是充满了屌丝、尴尬和完全沉迷于Alice颜值的一个很自我的人。他不懂如何和妈妈沟通,没有去关心妈妈的悲伤,只是一味的逃避。就连最后虽然和Rebecca在一起,但是那些还是喜欢着Alice,并不知道他到底是不是喜欢Rebecca,还是只是因为她能让他笑…看这本书能感觉到他的自卑、自负。但是光说故事的话,写得还蛮好笑的。
评分Audiobook read by David Tennant
评分AudioBook 4Hrs 心累 Mark错误 DT朗读 刚刚搜索发现卷福还演了电影 为什么我觉得故事情节简单 没什么内容 不过每个track开头有个智力通关题目总让我想到CM开头
评分有些人的青春總是踏踏實實地尷尬著。
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