Martin Lynch-Gibbon is a 41-year-old well-to-do wine merchant whose childless marriage to an older woman called Antonia has been one of convenience rather than love. It never occurs to him that his ongoing affair with a young academic called Georgie could be immoral. Displaying quite a number of macho attributes in his relationships with women, Lynch-Gibbon is shocked when, out of the blue, his wife tells him that she is going to leave him for Palmer Anderson, her psychoanalyst and a friend of the couple's, with whom she has had a secret affair for quite some time. Lynch-Gibbon moves out of their London house but still does not want to publicize his affair with Georgie, let alone become engaged to her.
At roughly the same time Cupid's arrow hits Lynch-Gibbon again. This time he falls for Honor Klein, Anderson's stepsister, who is a lecturer in anthropology at Cambridge, a woman who, on seeing her for the first time, he remembers finding rather repulsive. Like a man possessed, he follows her to Cambridge and, in the middle of the night, breaks into her house, only to find her in bed with her stepbrother. When, shortly afterwards, Antonia confesses to him that she has also been sleeping with his older brother Alexander ever since he introduced them to each other ("You mean you didn't know at all? Surely you must have guessed."), Lynch-Gibbon's world starts disintegrating. Despite his being a wine merchant, he chooses whisky as his constant companion. In the end, however, he realizes that life must -- and somehow will -- go on.
In A Severed Head, Murdoch succeeds in presenting a middle-aged bourgeois who initially thinks of himself as a survivor but realizes that he is in fact a victim. Throughout the novel, all the main characters insist that they have long overcome conventional morality, that they are free agents in the truest sense of the word, but in spite of his hedonism Lynch-Gibbon's residual moral posture just will not go away. Murdoch is particularly good at conveying the atmosphere of benevolence and the apparent lack of hard feelings among the individuals that have wronged and been wronged. ("It is not at all our idea that you should leave us. In a strange and rather wonderful way we can't do without you. We shall hold on to you, we shall look after you," Anderson says to Lynch-Gibbon, who sees himself as a cuckold rather than anything else.) At times funny, sad at others, A Severed Head also deals with more serious issues such as abortion (Georgie terminates her pregnancy at an early stage of her relationship with Lynch-Gibbon) and attempted suicide (again it is Georgie who tries to take her own life after being rejected by both Lynch-Gibbon and his brother).
Despite these serious overtones, A Severed Head is regarded by many readers as the most entertaining of Murdoch's novels. As British novelist William Sutcliffe put it, "Of all the lots-of-people-screwing-lots-of-other-people novels this is probably the best, and certainly the weirdest. With less philosophising and more shagging than Murdoch's other books, it is a joy to see this wonderful writer let her hair (and her knickers) down.
Together with J. B. Priestley, Murdoch adapted her book for the stage. After four previews, the Broadway production, directed by Val May, opened on October 28, 1964 at the Royale Theatre, where it ran for only 29 performances. The cast included Robin Bailey and Jessica Walter.
Dame Jean Iris Murdoch DBE (15 July 1919 – 8 February 1999) was an Irish-born British author and philosopher, best known for her stories regarding ethical and sexual themes. Her first published novel, Under the Net, was selected in 2001 by the editorial board of the American Modern Library as one of the 100 best English-language novels of the 20th century. In 1987, she was made a Dame Commander of the Order of the British Empire.
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这本书的叙事手法简直是令人拍案叫绝,作者仿佛是一位技艺高超的魔术师,将错综复杂的人物关系和层层叠叠的悬念编织得天衣无缝。开篇就抛出了一个极具冲击力的场景,瞬间将读者的心绪紧紧抓住,让人迫不及待地想探究背后的真相。更妙的是,故事的节奏把控得恰到好处,时而疾风骤雨般推进,将人推向情绪的顶点;时而又放缓笔调,让角色在细腻的心理描写中缓缓展开,为后续的爆发积蓄力量。我特别欣赏作者对于环境和氛围的营造,那种压抑、幽暗,仿佛伸手就能触摸到的不安感,透过文字直抵人心。每一次翻页,都像是在解开一个复杂的迷局,新的线索总是在不经意间浮现,引导着我们走向下一个意想不到的转折点。这本书的魅力就在于,它不急于给出答案,而是让你沉浸在追寻的过程中,享受那种抽丝剥茧的快感。读完后劲十足,那种关于人性复杂性和道德困境的思考,久久不能散去,需要时间去消化和回味。
评分从整体结构来看,这部小说的宏大叙事视野令人印象深刻,它巧妙地将个人命运的悲欢离合,融入到一个更大时代背景或社会议题的探讨之中。叙事线索繁多,但作者的处理方式极为高明,所有的支线最终都能以一种令人意想不到却又合乎情理的方式汇聚到主旨上,没有丝毫的冗余和拖沓感。这本小说读起来有一种史诗般的厚重感,即便是在描写个人私密的情感纠葛时,也能感受到那种历史洪流的推搡力量。我必须提到的是,作者对气氛渲染的把握达到了炉火纯青的地步,特别是那些高潮部分的处理,简直是教科书级别的示范——你知道事情即将爆发,但你完全无法预料它会以何种形式、在哪个瞬间炸裂,那种期待中的恐惧和兴奋交织的情绪,让人欲罢不能。这绝不是一部可以轻松消遣的作品,它要求读者投入相当的注意力和思考深度,但回报的,是远超预期的阅读满足感。
评分这部小说的魅力在于其对“不确定性”的极致运用,它不断地挑战读者的预设和认知边界。我发现自己在阅读过程中,不断地修正自己对事件真相的判断,每一次以为自己抓住了关键线索时,作者总能用一个巧妙的转折将我推翻。这种叙事上的不稳定感,恰恰构成了其独特的张力。与其他同类作品相比,这本书更注重内在逻辑的严密性,所有的看似巧合,最终都会被归因于深思熟虑的布局,这使得阅读体验非常“扎实”。此外,书中人物的对话充满了张力与潜台词,他们言语交锋的背后,隐藏着更深层次的权力斗争或情感角力,你必须仔细辨析字里行间那些未说出口的内容,才能真正理解角色的动机。这种需要“二次阅读”去体悟细节的特性,极大地延长了这本书的生命力,值得反复品味。
评分坦白说,这本书的叙事节奏对我来说是充满惊喜的。它不像某些悬疑小说那样一味追求快速推进,而是像一位老道的猎人,懂得何时该静静潜伏,何时该突然出击。有几处情节的展开,我感觉自己仿佛被悬置在了半空中,那种对下一步发展的强烈渴望几乎令人难以忍受,而作者却偏偏选择在最关键的时刻插入一段完全不同的场景或视角切换,这种“吊胃口”的手法处理得高明而自然,丝毫不让人感到刻意。这种错落有致的节奏感,使得全书的阅读体验如同欣赏一出精心编排的交响乐,有慢板的铺陈,也有辉煌的乐章。更重要的是,作者没有陷入情节的炫技之中而忽略了情感的真实性,那些在极端境遇下人物展现出的脆弱、坚韧和爱恨交织的复杂情感,是支撑起整个宏大结构的最坚实基础,让读者在智力被挑战的同时,心灵也受到了强烈的触动。
评分这部作品的文字功力实在令人叹为观止,它不仅仅是在讲述一个故事,更像是在进行一场华丽的文学探戈。作者的遣词造句精妙绝伦,即便是描述最平淡的场景,也能被赋予一种奇异的美感和深远的寓意。我尤其关注小说中那些富含象征意义的符号和意象,它们如同散落在叙事脉络中的宝石,需要读者细心收集和解读才能窥见全貌。角色的塑造更是立体得令人信服,没有绝对的善恶之分,每个人都有其自身的逻辑和无法言说的苦衷,他们的选择,无论多么令人震惊,在故事的语境下都显得那么合理且充满悲剧色彩。这种对人性的深刻洞察,使得整个故事不仅仅停留在情节的刺激层面,而上升到了哲学思辨的高度。阅读的过程,与其说是被动接受情节,不如说是一种主动参与的解码过程,每一次细微的表情变化,每一句看似随意的对话,都可能蕴含着关键信息,需要反复揣摩,这种智力上的挑战感是阅读体验中非常宝贵的一部分。
评分一本疯狂的小故事……也许更多的关于存在和解释存在的哲学。 一直到最后还是那么刺激……>< 几个关键词:freedom, consciousness...
评分爱尔兰作家真的厉害得很吓人……
评分一本疯狂的小故事……也许更多的关于存在和解释存在的哲学。 一直到最后还是那么刺激……>< 几个关键词:freedom, consciousness...
评分一本疯狂的小故事……也许更多的关于存在和解释存在的哲学。 一直到最后还是那么刺激……>< 几个关键词:freedom, consciousness...
评分一本疯狂的小故事……也许更多的关于存在和解释存在的哲学。 一直到最后还是那么刺激……>< 几个关键词:freedom, consciousness...
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