Like Kafka's The Castle, Invitation to a Beheading embodies a vision of a bizarre and irrational world. In an unnamed dream country, the young man Cincinnatus C. is condemned to death by beheading for "gnostical turpitude." an imaginary crime that defies definition. Cincinnatus spends his last days in an absurd jail, where he is visited by chimerical jailers. an executioner who masquerades as a fellow prisoner, and by his in-laws. who lug their furniture with them into his cell. When Cincinnatus is led out to be executed. he simply wills his executioners out of existence: they disappear, along with the whole world they inhabit.
Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.
The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri.
Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses--the baffling mirror, the black velvet backdrop, the implied associations and traditions--which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.
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这本小说的开篇就将人猛地拽入一个光怪陆离、令人窒息的境地。那种感觉,就像是戴着一副扭曲的眼镜去观察日常生活,一切都似曾相识却又彻底颠倒了逻辑。作者高超的笔触描绘出的那种无处不在的、形而上的压迫感,让人脊背发凉。它不是那种直白的恐怖,而是一种渗透进骨髓的荒谬,你明明知道有些事情不对劲,却找不到明确的靶子去指责或反抗。主人公的处境,那种被架空的、被审判的命运,映射出我们现实生活中对权威和既定规则的无力感。阅读过程中,我常常需要停下来,深吸一口气,努力将自己从那种黏稠的、令人不安的氛围中抽离出来。文字的密度非常高,每一个句子都像精心打磨过的玻璃碎片,折射出晦涩的光芒。它挑战的不仅是叙事常规,更是读者对“真实”的定义。那是一种对存在本质的深刻拷问,让人在合上书页后,依然久久无法释怀那种被困在迷宫中的徒劳感。这种体验是独特的,它迫使你用一种全新的、近乎病态的视角去重新审视你所处的环境,实在是一次对心智的彻底洗礼。
评分从文学技法上来看,这本书简直是大师级的炫技,但这种“炫技”绝非故作高深,而是服务于其核心主题的必要手段。叙事节奏的把控达到了炉火纯青的地步,时而拖沓得让人几乎要放弃,细节的堆砌让人感觉时间被无限拉伸,仿佛那审判前的等待永无止境;而下一秒,情节又会以一种令人措手不及的速度猛烈推进,留下满地狼藉的困惑。语言的运用更是千变万化,时而华丽繁复,充满了古典主义的雕琢感,充满了隐喻和双关,需要反复咀嚼才能品出其中深意;转瞬之间,又变得尖锐、冷静,如同冰冷的解剖刀,精准地剖开人物的内心世界。这种风格上的巨大跳跃,非但没有造成阅读的割裂,反而增强了作品的宿命感和戏剧张力。那些重复出现的意象和梦魇般的场景,在不同的章节中以不同的面貌出现,如同某种心理暗示,不断加固着主角乃至读者的精神防线。可以说,这本书更像是一部精密的、充满象征意义的艺术装置,而非简单的故事叙述,值得反复品味和解读。
评分这本书在氛围的营造上达到了一个令人难以企及的高度,那种持续的、低频的焦虑感几乎要穿透纸面。整个叙事空间仿佛被一个巨大的、看不见的钟罩笼罩着,所有的人物,无论地位高低,似乎都被困在了这个封闭的生态系统内。环境的描写也极具特色,建筑的宏大与人物的渺小形成了强烈的对比,那些冰冷、巨大的空间象征着制度的不可撼动和个体的微不足道。光线、色彩、气味,都被赋予了强烈的象征意义,共同构建了一个让人感到压抑和窒息的感官世界。每一次场景的转换,都像是一次更深入的下潜,将读者带入更深层次的心理迷宫。我特别欣赏作者如何巧妙地利用环境的细节,来暗示人物内心的腐蚀和精神的崩塌,很多时候,环境本身就是一种沉默的审判者。这种对细节的执着和对整体氛围的掌控力,使得阅读体验具有极强的沉浸感,简直让人无法喘息。
评分这部作品的魅力,很大程度上源于其对“非理性”逻辑的精妙运用,它拒绝提供任何简单的答案或明确的解释,反而将读者置于一个持续的、充满矛盾的张力场之中。读者就像是那个被指控的“局外人”,不得不去拼凑那些碎片化的线索,试图理解这场荒诞剧的“意义”。然而,所有的努力最终可能都会导向一个令人沮丧的结论:或许根本就没有一个可以被逻辑完全捕捉的“意义”。这种对清晰度和确定性的彻底拒绝,本身就是一种强有力的批判。它挑战了我们习惯于从因果链条中寻找慰藉的阅读习惯,强迫我们去接受那种不完美、不完备的叙事结构。最终留下的,不是一个故事的结局,而是一种挥之不去的质疑,关于我们如何定义“正义”,以及在面对一个注定要坍塌的系统时,我们能以何种姿态站立。这是一种深刻的、带着悲剧色彩的清醒。
评分读完之后,我最大的感受是那种深植于文本之中的、对“自由意志”的深刻探讨。它不是那种直白的哲学论辩,而是通过极端的情境和人物的反应,将这个问题层层剥开。我们常常认为自己是行动的主宰者,但在这部作品中,每一个行动似乎都已经被预设好了轨迹,每一次挣扎都像是在既定的程序中执行着预先写好的代码。那种被设计好的命运感,让人不寒而栗。人物的对话往往充满了一种令人不安的疏离感,他们谈论着最重大的事情,语气却像是在讨论天气,这种反差极大地凸显了荒诞性。特别是那些看似理智的、维护秩序的论调,在细究之下,会发现其逻辑链条的脆弱不堪,充满了循环论证的陷阱。它迫使你去思考,当我们生活在一个被精心构建的“现实”框架内时,我们所感受到的“自由”,究竟有多少成分是真正的自主选择,又有多少只是被默许的幻觉?这种对个体主体性的颠覆,是极其震撼人心的。
评分I wish I could enjoy it more
评分I wish I could enjoy it more
评分它是虚无,所有的情节都构建在毫无意义的基础上,现实和虚幻相互混淆,如梦似幻。然而它也是在死气沉沉上演奏的小提琴,意象、记忆与文字游戏又使这虚无过分美丽。
评分开始逐渐理解为什么他可以被视为一位伟大的作家,以及为何有如此多的Nabokov scholar。若是把这本书与视觉艺术以及马勒二放在一起,一定会构成一门美妙的课。
评分Perpetually trapped.
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