安妮·賴斯(Anne Rice),吸及血鬼之母,抑或是一個筆名,一個古老幽暗世界的麵具。賴斯以18世紀末的新奧爾良的時空背景為敘事原點,上下挪移,橫越法國大革命時期的混亂失序、中世紀的陰沉動蕩、羅馬時代的狂歡饗宴,直逼古埃及王朝的殘酷壯麗全景,編織齣一幅縱橫曆史,上至遠古,下至20世紀末的群魔綉帷,承載瞭超自然國度的奢靡、絕望與狂夢。 代錶作有: 《夜訪吸血鬼》 《吸血鬼萊斯特》 《吸血鬼女王》 《肉體竊賊》 《布萊剋伍德莊園》 《血頌》
The time is now.
We are in a small room with the vampire, face to face, as he speaks--as he pours out the hypnotic, shocking, moving, and erotically charged confessions of his first two hundred years as one of the living dead. . .
He speaks quietly, plainly, even gently . . . carrying us back to the night when he departed human existence as heir--young, romantic, cultivated--to a great Louisiana plantation, and was inducted by the radiant and sinister Lestat into the other, the "endless," life . . . learning first to sustain himself on the blood of cocks and rats caught in the raffish streets of New Orleans, then on the blood of human beings . . . to the years when, moving away from his final human ties under the tutelage of the hated yet necessary Lestat, he gradually embraces the habits, hungers, feelings of vampirism: the detachment, the hardened will, the "superior" sensual pleasures.
He carries us back to the crucial moment in a dark New Orleans street when he finds the exquisite lost young child Claudia, wanting not to hurt but to comfort her, struggling against the last residue of human feeling within him . . .
We see how Claudia in turn is made a vampire--all her passion and intelligence trapped forever in the body of a small child--and how they arrive at their passionate and dangerous alliance, their French Quarter life of opulence: delicate Grecian statues, Chinese vases, crystal chandeliers, a butler, a maid, a stone nymph in the hidden garden court . . . night curving into night with their vampire senses heightened to the beauty of the world, thirsting for the beauty of death--a constant stream of vulnerable strangers awaiting them below . . .
We see them joined against the envious, dangerous Lestat, embarking on a perilous search across Europe for others like themselves, desperate to discover the world they belong to, the ways of survival, to know what they are and why, where they came from, what their future can be . . .
We follow them across Austria and Transylvania, encountering their kind in forms beyond their wildest imagining . . . to Paris, where footsteps behind them, in exact rhythm with their own, steer them to the doors of the Théâtre des Vampires--the beautiful, lewd, and febrile mime theatre whose posters of penny-dreadful vampires at once mask and reveal the horror within . . . to their meeting with the eerily magnetic Armand, who brings them, at last, into intimacy with a whole brilliant and decadent society of vampires, an intimacy that becomes sudden terror when they are compelled to confront what they have feared and fled . . .
In its unceasing flow of spellbinding storytelling, of danger and flight, of loyalty and treachery, Interview with the Vampire bears witness of a literary imagination of the first order.
安妮赖斯也是天平座,1941年10月4日,和我相差不远。 我其实很傻,一直以为吸血鬼故事的作者应该是上上上个世纪,就像斯托克那样是作古的人。但安妮赖斯不仅健在,而且在照片上涂着烟熏眼,披着狂躁的长发。眼神里就像是想要变成吸血鬼的那类。我这类。 好像这两三年的圣诞节...
評分这是很久以前看的了。 现在还是很清楚记得看完最后一页的那个星期天下午。 一切都是那么清晰。那天是很少见的下雨天。陷在沙发里面,雨打在通往阳台的玻璃门上。外面的天空啊树啊停车场啊人啊马路啊都融在一起,变成灰灰的一团模糊不清。 当时的感觉有点遥远,还是记得是很难...
評分 評分 評分看过就随便说说自己想的吧(仅看过第一部,希望坚持看完所有) 我必须承认,我看《夜访吸血鬼》的影片实是冲着“杜拉德•皮特”、“汤姆•克鲁斯”、“安东尼奥•班德拉斯”这三个好莱坞呼风唤雨的男星去的。 然而,我依旧先去看了原著——安妮•赖斯吸血鬼系列的第一...
印象深刻小說係列又加入一本,非常寫實、非常自省的吸血鬼小說,比人更有人性,糾結,彷徨,自我否定,關於愛與恨,本能與剋製,以及永生的悖論
评分印象深刻小說係列又加入一本,非常寫實、非常自省的吸血鬼小說,比人更有人性,糾結,彷徨,自我否定,關於愛與恨,本能與剋製,以及永生的悖論
评分Interview with a Vampire
评分Marvelous
评分Interview with a Vampire
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