One of the most important and blazingly original writers of his generation, George Saunders is an undisputed master of the short story, and Tenth of December is his most honest, accessible, and moving collection yet.
In the taut opener, “Victory Lap,” a boy witnesses the attempted abduction of the girl next door and is faced with a harrowing choice: Does he ignore what he sees, or override years of smothering advice from his parents and act? In “Home,” a combat-damaged soldier moves back in with his mother and struggles to reconcile the world he left with the one to which he has returned. And in the title story, a stunning meditation on imagination, memory, and loss, a middle-aged cancer patient walks into the woods to commit suicide, only to encounter a troubled young boy who, over the course of a fateful morning, gives the dying man a final chance to recall who he really is. A hapless, deluded owner of an antiques store; two mothers struggling to do the right thing; a teenage girl whose idealism is challenged by a brutal brush with reality; a man tormented by a series of pharmaceutical experiments that force him to lust, to love, to kill—the unforgettable characters that populate the pages of Tenth of December are vividly and lovingly infused with Saunders’s signature blend of exuberant prose, deep humanity, and stylistic innovation.
Writing brilliantly and profoundly about class, sex, love, loss, work, despair, and war, Saunders cuts to the core of the contemporary experience. These stories take on the big questions and explore the fault lines of our own morality, delving into the questions of what makes us good and what makes us human.
Unsettling, insightful, and hilarious, the stories in Tenth of December —through their manic energy, their focus on what is redeemable in human beings, and their generosity of spirit—not only entertain and delight; they fulfill Chekhov’s dictum that art should “prepare us for tenderness.”
Advance praise for Tenth of December
“ Tenth of December shows George Saunders at his most subversive, hilarious, and emotionally piercing. Few writers can encompass that range of adjectives, but Saunders is a true original—restlessly inventive, yet deeply humane.”—Jennifer Egan, Pulitzer Prize–winning author of A Visit from the Goon Squad
“George Saunders is a complete original, unlike anyone else, thank god—and yet still he manages to be the rightful heir to three other complete American originals—Barthelme (the lyricism, the playfulness), Vonnegut (the outrage, the wit, the scope), and Twain (the common sense, the exasperation). There is no author I recommend to people more often—for ten years I’ve urged George Saunders onto everyone and everyone. You want funny? Saunders is your man. You want emotional heft? Saunders again. You want stories that are actually about something—stories that again and again get to the meat of matters of life and death and justice and country? Saunders. There is no one better, no one more essential to our national sense of self and sanity.”—Dave Eggers, author of A Hologram for the King
Praise for George Saunders
“Not since Twain has America produced a satirist this funny.”—Zadie Smith
“George Saunders makes the all-but-impossible look effortless. We’re lucky to have him.”—Jonathan Franzen
“An astoundingly tuned voice—graceful, dark, authentic, and funny—telling just the kinds of stories we need to get us through these times.”—Thomas Pynchon
George Saunders was born December 2, 1958 and raised on the south side of Chicago. In 1981 he received a B.S. in Geophysical Engineering from Colorado School of Mines in Golden, Colorado. He worked at Radian International, an environmental engineering firm in Rochester, NY as a technical writer and geophysical engineer from 1989 to 1996. He has also worked in Sumatra on an oil exploration geophysics crew, as a doorman in Beverly Hills, a roofer in Chicago, a convenience store clerk, a guitarist in a Texas country-and-western band, and a knuckle-puller in a West Texas slaughterhouse.
After reading in People magazine about the Master's program at Syracuse University, he applied. Mr. Saunders received an MA with an emphasis in creative writing in 1988. His thesis advisor was Doug Unger.
He has been an Assistant Professor, Syracuse University Creative Writing Program since 1997. He has also been a Visiting Writer at Vermont Studio Center, University of Georgia MayMester Program, University of Denver, University of Texas at Austin, St. Petersburg Literary Seminar (St. Petersburg, Russia, Summer 2000), Brown University, Dickinson College, Hobart & William Smith Colleges.
He conducted a Guest Workshop at the Eastman School of Music, Fall 1995, and was an Adjunct Professor at Saint John Fisher College, Rochester, New York, 1990-1995; and Adjunct Professor at Siena College, Loudonville, New York in Fall 1989.
He is married and has two children.
His favorite charity is a project to educate Tibetan refugee children in Nepal. Information on this can be found at http://www.tibetan-buddhist.org/index...
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最让我印象深刻的是,作者在处理“道德模糊地带”时所展现出的那种成熟和勇气。书里的人物很少有绝对的好人或坏人,每个人都在自身的局限和环境的压力下做着艰难的抉择。他巧妙地避开了二元对立的陷阱,而是深入探索了人性的灰色地带。有一篇关于一个普通职员卷入某种小规模丑闻的故事,读起来令人坐立不安。你能够理解他做出那些不光彩决定的动机——可能是恐惧,可能是对被认可的渴望,甚至是某种无意识的反抗。作者没有给我们提供一个简单的道德标签,而是把那个角色赤裸裸地放在我们面前,迫使我们去反思:如果是我,我会怎么做?这种强迫性的自我审视,是这本书最宝贵的馈赠之一。它不是在教育我们如何生活,而是在拓宽我们理解他人行为复杂性的边界。阅读体验是高度内省的,甚至可以说,在某种程度上是令人不安的,因为它剥开了社会契约下那些精心掩盖的自私和软弱。
评分这部作品的结构设计充满了惊喜,它不是那种传统的起承转合,更像是一系列精心布置的音乐小品,它们各自独立,却又通过某种看不见的频率相互连接。这些短小的叙事单元之间,往往存在着主题上的回响或者意象上的呼应,需要读者自己去搭建那座桥梁。有一段关于一个孩子在游乐场独自等待父母的片段,那种纯粹的、被遗弃的孤独感,被渲染得极其到位。紧接着下一篇,可能就是关于一个老年人在养老院中回忆往昔的场景,尽管人物和时间跨度都不同,但那种对“等待”和“虚无”的把握,却在无形中产生了共振。这种“碎片化”的叙事,非但没有造成内容的松散,反而增强了整体的张力,就像打磨过的宝石,从不同角度折射出同一束光。它要求读者积极参与到意义的构建过程中来,这是一种主动的、充满活力的阅读方式,而不是被动地接收信息。读完后,我感觉自己的思维模式都被微妙地调整了,对事物间的联系有了更敏锐的感知。
评分这本书的语言运用达到了令人叹为观止的境界,简直是文字的艺术品。它有一种内在的韵律感,即使是描述最平淡无奇的场景,也能从中提炼出诗意。作者似乎对每一个词语都有着近乎偏执的挑剔,力求用最精准、最不浪费笔墨的方式去构建画面。我花了很长时间去反复品味那些句子,有些段落,我需要放慢呼吸才能跟上作者的思路。比如,他描述光影穿过百叶窗落在地板上的效果,那种光斑的形状、移动的速度,以及它所暗示的时间流逝,都被描绘得既具体又抽象。这并不是一本可以让你轻松“扫读”的书,它要求你全神贯注,像是在解一道复杂的数学题,每一步推理都必须严密。这种阅读体验是反主流的,它挑战了当代阅读追求速度的习惯。但回报是巨大的,当你最终理解了作者试图构建的那个细微的情感结构时,那种满足感是无与伦比的。感觉就像是发现了一个新的光谱,看到了以前从未注意到的色彩。
评分我得说,作者对于美国中西部那种特有的、带着一丝萧瑟和坚韧的地域色彩的把握,简直是教科书级别的。你几乎能感受到那些广袤土地上的风,吹过那些老旧的农场和沉默的社区。那些人物,他们不是那种高高在上、远离尘嚣的文学形象,他们是活生生的,带着生活的重压和不完美。他们的对话充满了地方性的口音和停顿,真实到让你觉得可以随时走进去,加入他们的午餐。其中几篇作品对“失败”这一主题进行了极其深入的挖掘。这里的失败不是那种戏剧性的、好莱坞式的崩溃,而是那种缓慢的、几乎难以察觉的日常侵蚀,是梦想一点点被现实磨平的过程。我尤其欣赏作者没有美化这种失败,也没有过度渲染悲情。他只是用一种近乎科学的冷静,记录了生活的熵增。这种克制的力量,比任何煽情的文字都要有力得多。每次合上书卷,都会有一种沉甸甸的、却又很干净的感觉,仿佛经历了一场精神上的洗礼,让你对那些在时代洪流中默默承受着的人们,生出一种由衷的敬意。这本书提供了一种罕见的、不带偏见的观察世界的视角。
评分这本精选集读起来就像是走进了一个个精心设计的迷宫,每一个转角都藏着一个意想不到的景象,让人在迷失中寻找着某种深刻的共鸣。作者的笔触极其细腻,捕捉到了日常生活中那些转瞬即逝的、难以言喻的情绪和瞬间。比如,其中一篇关于家庭聚会的描写,简直是神来之笔。那种表面上的和睦与潜藏在每个人心底的疏离感,被他描绘得淋漓尽致。你仿佛能闻到餐桌上食物的香气,感受到空气中那份压抑的、只有在亲人之间才会产生的微妙张力。更绝妙的是,他从不急于给出任何结论或道德评判,只是冷静地铺陈事实,让读者自己去消化其中的复杂性。读完后,你不会觉得得到了一个明确的答案,而是被抛入了一个更深层次的思考之中,关于人与人之间的连接究竟有多脆弱,又有多么坚韧。故事结构常常是非线性的,跳跃感很强,但这并非故弄玄虚,而是模仿了人类记忆和意识流动的真实状态,让人沉浸其中,体验到一种既熟悉又陌生的阅读快感。这种叙事方式,考验着读者的耐心,但一旦适应,那种智力上的愉悦感是无可替代的。
评分2018.09.05.
评分The SG diary, tenth of december
评分(The semplica girl diaries)把压力放到了孩子身上,非常简短的故事,很简洁,很干脆,孩子对于家庭的负担,很像是两人爱情中的第三者,却又是血之亲交。第一人称叙述,风格化语言,直击人物心理。赞。
评分其实没读完,但实在是读不下去了= = 下个月Saunders来学校我是不会去听他的讲座的=w=!
评分我室友说借这本书给我看。谢谢他。可是我读不下去。
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