Filled with fascinating details of expatriate life, "French Impressions" is a riveting account of an American family's (mis)adventures abroad. Photos.
A year in France in 1950 for the Littell family was not exactly A Year in Provence with Peter Mayle. No lovely scenery, no edible delights, not even good wine. But the Littell's French adventures are certainly entertaining. Put an inept American housewife in a country entirely devoted to cuisine, and in the working-class city of Montpellier, "which made Cleveland look like Paris," and you have the makings of a madcap comedy with a heroine who might well have been Lucille Ball with two small children. Based on the writings of journalist Mary W. Littell and written in her voice by her son John, who was 4 years old when the Littell's went to France, the book follows the family of four from one quirky adventure to another. Mary, who is a failure at learning French, survives in her strange new home by speaking like Tonto--using simple words in the present tense, or in English and loudly when all else fails, and by buying up all the canned food in the city. She's a one-woman sideshow when she shops and accidentally starts The Great Mayonnaise War when the league of French housewives tries to teach her the best way to make mayonnaise (half insist on using a fork, the others declare spoon is best). Little John becomes Mary's interpreter (of French and French ways) while 15-month-old Stephen rarely stops crying. Mary's husband Frank reads his small children Great Expectations and is the world's most outrageous teller of historical tales. He also makes a scientific search of 52 bars. Being 1950, there's much cocktail drinking and the parenting is a bit archaic. Mary never does learn to cook, but, fortunately, she does learn that love and affection work better when parenting than yelling. French Impressions is a fun romp through a vanished way of life--both American and French--with a fabulous and witty storyteller.
--Lesley Reed
"No normal people, unless facing imminent arrest, would even contemplate such madness," Littell says of the year his family spent in France in the early 1950s. Frank Littell, John's father, enrolled at the University of Montpellier on the G.I. Bill, taking his wife, Mary, and his young sons along. The tales of the family's experiences in the south of France are told from the perspective of Mary, whose diaries and other writings form the basis for this memoir. With Frank busy at school, Mary is left to fend for herself and to try to make herself at home in the strange city. A self-described dunce at learning languages, she struggles to communicate with the locals, while her children, four-year-old John and 15-month-old Stephen, effortlessly switch between English and French. Mary recounts with self-deprecating humor the disastrous Thanksgiving dinner when, unable to procure a turkey, she unknowingly cooks a swan; her encounters with the "O-la-la ladies" (so-called for their invariable reaction to Mary's decadent American buying habits) during her daily shopping trips; and her horror when she discovers she has been ordering alcoholic cider for Stephen at their local watering hole. Inevitably, despite such obstacles, intrepid Mary and her family win the hearts of their neighbors and settle into the pace of life in Montpellier. Charmingly related with Mary's dry wit, the anecdotes that make up this memoir are amusing if dated. B&w photos.
Height (mm) 203 Width (mm) 136
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这部作品的文字流淌着一种近乎催眠的韵律,读起来仿佛置身于一个慵懒的午后,阳光透过百叶窗在木地板上投下斑驳的光影。作者对于细节的捕捉达到了近乎偏执的程度,无论是清晨空气中弥漫的湿润泥土气息,还是老式咖啡馆里咖啡豆被研磨时发出的那种低沉而满足的“嗡嗡”声,都被细腻地描摹出来。我特别欣赏叙事者处理时间的方式,它不是线性的、机械的前进,而更像是一种回忆与当下交织的漩涡。翻阅书页时,我能清晰地感受到那种缓慢而坚定的节奏感,仿佛时间本身也被赋予了情感和重量。书中对人物内心活动的刻画也极为精准,那些未说出口的犹豫、那些不经意间流露出的脆弱,都通过精妙的对话和环境烘托被展现得淋漓尽致。它不是那种需要你紧抓不放、担心错过关键情节的类型,相反,它鼓励你放慢呼吸,去品味每一个词语所承载的深意。读完合上书本的那一刻,我感觉自己像是刚从一场漫长而宁静的梦中醒来,带着一丝挥之不去的、温柔的怅惘。
评分这部小说的语言风格充满了锐利的讽刺和对现代社会虚伪表象的无情解剖。作者的文字像一把冰冷的解剖刀,毫不留情地剖开了那些被精心包装的体面与光鲜,直指人性深处的自私和荒谬。它的基调是阴郁而疏离的,充满了黑色幽默,但这种幽默并非让人发笑,而是让你在心底泛起一阵寒意,因为它揭示了太多我们习以为常却又心知肚明的不对劲之处。书中对白的设计尤其精妙,那些言简意赅、充满机锋的对话,如同高手间的过招,每一次交锋都暗藏着权力斗争和潜在的背叛。我尤其欣赏作者构建的那些反英雄角色,他们复杂、矛盾、充满缺陷,却又无比真实,让人无法简单地用“好”或“坏”来定义。阅读过程中,我几次停下来,反复品味那些掷地有声的句子,它们像是冷水一样浇醒了读者沉溺于廉价感动的思维定势。如果你期待一个充满阳光和浪漫的旅程,那你可能要失望了,这本书更像是一场对现代文明的清醒、甚至可以说是痛苦的审视。
评分这本书的魅力在于它的“地方感”——那种渗透在每一个章节里的浓烈到令人窒息的地域气息。作者对特定地域的文化习俗、历史遗迹以及地方方言的运用达到了出神入化的地步,让人仿佛能闻到海风咸湿的味道,听到老城区石板路上回荡的脚步声。故事的主线或许简单,但作者却巧妙地利用这些地域元素作为情感的载体,让环境成为了角色的延伸,甚至可以说,环境本身就是最重要的角色之一。阅读时,我感觉自己被牢牢地“锚定”在了那个虚拟却又无比真实的小镇上,与书中的人物一同经历了季节的更迭和命运的转折。作者在处理世代相传的秘密和家族宿命时,展现了极高的文学修养,那种跨越时空的牵绊被描述得既宿命又充满了人性的挣扎。这是一部关于根源、关于乡愁、关于被土地塑造成形的灵魂的深刻颂歌,读完后,我立刻产生了去那个遥远地方走一遭的冲动。
评分天哪,我简直不敢相信作者是如何在如此有限的篇幅内构建出这样一个庞大而错综复杂的情感迷宫。这本书的结构极其大胆,采用了碎片化的叙事手法,像是将一块块打碎的彩色玻璃重新拼凑起来,虽然每一块都有其独特的纹理和光泽,但最终组合在一起却呈现出令人震撼的完整图景。每一次翻页都像是在进行一次考古挖掘,你永远不知道下一层会揭示出怎样的历史真相或人物动机。那些看似毫不相关的场景和人物,在情节的后半段突然以一种令人拍案叫绝的方式碰撞融合,那种“原来如此”的顿悟感贯穿始终,让人忍不住掩卷长叹。坦白说,初读时会有些许吃力,需要集中全部精力去追踪那些时间线的跳跃和视角的不规则转换,但一旦适应了作者的叙事节奏,那种探索未知领域带来的兴奋感是无与伦比的。它挑战了传统的线性阅读习惯,强迫读者从一个更具主动性的角度去参与故事的构建。这是一部需要反复咀嚼、值得在书页边写满批注的佳作,绝对不是可以“听着广播”就能读完的轻松读物。
评分我对这本书的整体感受是——纯粹的、不受拘束的想象力的胜利。作者似乎完全摆脱了任何既有的文学范式或类型限制,将读者带入了一个逻辑自洽却又完全超脱现实的维度。书中对于“非人”角色的刻画,达到了令人惊叹的细腻程度,它们不仅拥有了逼真的生理结构,更被赋予了复杂的情感光谱和哲学思辨能力。那些关于存在本质和宇宙规律的探讨,并非干巴巴的说教,而是自然地融入到角色的行动和命运之中,读起来毫不突兀。书中的世界观构建极其宏大,每一个细节——无论是奇异的生态系统,还是独特的社会阶层划分——都经过了深思熟虑的推敲,形成了一个紧密咬合的整体。我尤其喜欢那种“突然的奇观”被作者用极其平实的笔触描绘出来的反差感,这种处理方式使得那些超凡脱俗的景象显得触手可及,也因此更具震撼力。这是一次真正的智力冒险,它拓宽了我对“小说可以是什么”的认知边界,读完之后感觉自己的思维被极大地拉伸和重塑了。
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