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Book Description
Here, firmly rooted in her own social setting for the first time, is the real Jane Austen--the shy woman willing to challenge convention, the woman of no pretensions who nevertheless called herself "formidable," a woman who could be frivolous and yet suffer from black depressions, who showed unfailing loyalty and, in the conduct of her own life, unfailing bravery. In an act of understanding and brilliant synthesis, Claire Tomalin reveals Jane Austen with a clarity never before achieved, one which makes us look upon her novels with fresh and even greater admiration.
The world she wrote about--that place of civility and reassuring stability--was never quite her own. As Tomalin shows, Jane Austen's family existed on the very fringe of the world she described in her fiction, struggling to get ahead with little money and no land in the competitive society of Georgian England, sometimes succeeding but often failing with painful consequences. New research in family papers has yielded a rich, tragicomic picture of the Austen clan--their ambitions, their matrimonial alliances, their exotic connections with India and France. At the same time, Tomalin's explorations in local archives reveal a surprising view of the neighbors the family lived among in Hampshire, more extravagant and eccentric by far than anyone depicted in Austen's books. We realize how much closer her genius lies, in its splendid artifice, to the great comic operas of Mozart than to the main tradition of the English novel.
But it is in the deeply human portrait of Jane Austen herself that this biography excels. The honesty and directness of her personality (perfect heroines made her "sick and wicked"), her strength in giving up a chance at marriage to follow the path her vocation as a writer required her to take, the warmth and long consistency of her relationship with her sister, Cassandra, the poignancy of her death--Claire Tomalin here captures, with unforgettable skill, the living character of a great writer who is read, reread, read again, and adored, now more than ever.
Amazon.com
The author of Pride and Prejudice, Persuasion, and other comedies of manners gets a biography similar in tone to her own books: intelligent but not intellectual, witty without being nasty. Claire Tomalin, author of four previous biographies of notable British women, treats Jane Austen (1775-1817) with the respect her genius deserves. Tomalin eschews gossip and speculation in favor of a sober account of the writer's life that nonetheless sparkles with sly humor. Perceptive analyses of each of Austen's novels, with autobiographical links suggested but never insisted upon, add to the value of Jane Austen: A Life.
From The New York Times
In her marvelous new biography of Austen, the English writer Claire Tomalin strips away this mythology to reveal a tough, humorous and highly resourceful woman. She not only depicts a life that was considerably more worldly than commonly supposed, but also delineates an emotional experience "full of events, of distress and even trauma," which permanently shaped Austen's apprehension of the world.... Writing in vivid, authoritative prose, she does a masterly job of delineating the complex emotional mathematics of the Austen clan, showing us the bonds of rivalry, affection and dependence that linked Jane with her sister and six brothers, and their myriad cousins.... Ms. Tomalin has pulled off something very difficult: She has written a biography that reflects Austen's own exacting standards, a book that radiates intelligence, wit and insight.
Michiko Kakutani
From Kirkus Reviews
The second major Austen biography of the season expertly places the great novelist in her historical moment, without attempting to fully plumb her psyche. Austen, writes Tomalin (The Invisible Woman: The Story of Nelly Ternan and Charles Dickens, 1991, etc.), ``has a way of sending biographers away feeling that, as Lord David Cecil put it, she remains `as no doubt she would have wished--not an intimate but an acquaintance.' '' Tomalin does indeed fall short of conveying the kind of three-dimensional portrait so painstakingly achieved by David Nokes in his recent Austen biography (p. 1012). She speculates on how the novelist's sojourn with a village wet nurse affected her in infancy, on how she handled heartbreak as an adult, and on the impact of the various family crises that marked her later life--guesswork being of the essence for the Austen biographer, given that most of her correspondence was destroyed by her family after her death. But Tomalin doesn't convince with her tentative explanations of what made Austen tick. Be it somewhat lacking in depth, however, the sketch of the famous author that emerges from Tomalin's unassuming, lucid, and concise account of Austen's family life and of her meteoric rise to fame in her last years does do justice to the integrity of her complex character. Her mobile intelligence and biting humor come across smartly. What's more, Tomalin offers impressive accounts of the evolution and meanings of Austen's novels, and of how she and her works related to their literary antecedents, from Samuel Johnson to the popular novelist Charlotte Smith, and to their historical context of revolution and war. Nice historical detailing--attention, for example, to the expense of the paper on which Austen wrote--adds period flavor. Recommended for those seeking a brief introduction to Austen's life, times, and work; those wishing to burrow deep into the author's consciousness will want to consult Nokes.
From Library Journal
Despite only a few surviving personal papers and letters, no autobiographical notes, and no diaries written by Jane Austen, attempts to piece together the life and personality of the author abound. An experienced biographer, Tomalin makes do by focusing more on the Austen family, acquaintances, and friends than on Austen herself, forthrightly acknowledging, "It is only because of her writing that we think them worth remembering; and yet she is at almost every point harder to summon up than any of them...she is as elusive as a cloud in the night sky." Like David Nokes's recent biography, Jane Austen (LJ 9/1/97), Tomalin's presents an engaging story of the life and times of the Austen family. Although Tomalin's biography is not as detailed as Nokes's, it offers a freshness in its attention to, and compassion regarding the child-rearing practices of the Austens, the physical demands on child-bearing women, and to the portrayal of Austen's will, determination, and energy in her final days. Recommended for literature collections for its perspective and minimal speculations.
Jeris Cassel, Rutgers Univ. Libs., New Brunswick, N.J.
From AudioFile
This is a beautifully lucid and balanced biography in which the biographer is not afraid to appear as a personality. The text is always informed by a keen, but never obsessive, awareness of what can and cannot be known about an intensely private and not very well documented individual. Donada Peters would, one senses, read an Austen novel splendidly. Occasional quotations hint at a considerable command of character voices. She is an ideal voice for this biography, which is written with Austen-like clarity and which wears its solid scholarship lightly. Here is an ideal companion to an Austen collection. J.N.
About Author
Claire Tomalin is the author of several prize-winning biographies--of Mary Wollstonecraft; Katherine Mansfield; Dickens's secret mistress, Nelly Ternan; and Dora Jordan, the actress who for twenty years was companion to the future George IV. Educated at Cambridge University, she served as literary editor of the New Statesman and The Sunday Times. Claire Tomalin lives in London and is married to the playwright Michael Frayn.
Book Dimension :
length: (cm)20.2 width:(cm)13.1
“在这最后一页的空间里,我必须回归她自身。回到那个孩子:她曾在书籍的避难所中找到一个新世界,比她摸索的现实世界更有意义。回到一个女孩:当她发现自己创作故事的可能之后,她的想象力起航,飞往惊人的方向。回到一个充满活力、喜欢跳舞、爱说笑话的年轻姑娘,她也曾梦想...
评分“在这最后一页的空间里,我必须回归她自身。回到那个孩子:她曾在书籍的避难所中找到一个新世界,比她摸索的现实世界更有意义。回到一个女孩:当她发现自己创作故事的可能之后,她的想象力起航,飞往惊人的方向。回到一个充满活力、喜欢跳舞、爱说笑话的年轻姑娘,她也曾梦想...
评分“在这最后一页的空间里,我必须回归她自身。回到那个孩子:她曾在书籍的避难所中找到一个新世界,比她摸索的现实世界更有意义。回到一个女孩:当她发现自己创作故事的可能之后,她的想象力起航,飞往惊人的方向。回到一个充满活力、喜欢跳舞、爱说笑话的年轻姑娘,她也曾梦想...
评分“在这最后一页的空间里,我必须回归她自身。回到那个孩子:她曾在书籍的避难所中找到一个新世界,比她摸索的现实世界更有意义。回到一个女孩:当她发现自己创作故事的可能之后,她的想象力起航,飞往惊人的方向。回到一个充满活力、喜欢跳舞、爱说笑话的年轻姑娘,她也曾梦想...
评分“在这最后一页的空间里,我必须回归她自身。回到那个孩子:她曾在书籍的避难所中找到一个新世界,比她摸索的现实世界更有意义。回到一个女孩:当她发现自己创作故事的可能之后,她的想象力起航,飞往惊人的方向。回到一个充满活力、喜欢跳舞、爱说笑话的年轻姑娘,她也曾梦想...
这本书最让我震撼的地方,在于它对“自我认知”的探索。它展示了在那个要求女性保持“得体”和“顺从”的时代背景下,一个有思想的女性如何努力去定义自己的价值和幸福。主角的成长线索并非那种一蹴而就的戏剧性转变,而是一个充满反复和自我怀疑的漫长过程。她会犯错,会因为虚荣心而做出错误的判断,也会因为外界的压力而暂时迷失方向。但关键在于,她总能在关键时刻展现出惊人的自我修正能力和内在的勇气。这种“不完美”正是她迷人的地方,她不是一个被塑造成的完美偶像,而是一个活生生的、有血有肉的个体,正在努力平衡传统期望与个人抱负之间的巨大鸿沟。我喜欢看她如何通过对文学、对知识的渴求,来建立起一个不依赖于婚姻和财富的自我支撑体系。这种精神上的独立和对生活质量的坚持,即便在今天看来,依然具有振聋发聩的现实意义。这本书不是在教人如何去爱,而是在教人如何成为一个值得被爱、并且能够独立面对生活的完整的人,这一点,远比一个简单的浪漫结局要深刻得多。
评分说实话,刚开始读这本书的时候,我还有点担心它会是那种故作高深的文学作品,读起来会让人感到晦涩难懂,但出乎意料的是,它的语言非常直观,同时又保持着一种古典的韵味。作者似乎有一种魔力,能把日常琐碎的生活场景,描绘出史诗般的质感。比如,一场简单的茶会,在你笔下就成了各方势力试探、情感暗战的沙场,每个人都戴着面具,小心翼翼地行礼、寒暄,而你却能穿透那层层伪装,直达人物最真实的欲望与恐惧。我特别喜欢那种通过环境来烘托人物心境的手法,比如突然降临的暴雨,或是窗外不合时宜的鸟鸣,都精准地卡在了情绪爆发的前一秒,极大地增强了戏剧张力。这本书的结构也设计得非常巧妙,看似松散的日常叙事,实则有着严丝合缝的内在逻辑,所有的线索最终都会汇集成一个令人信服的结局。它不是靠突发的事件来推动情节,而是靠人物之间复杂、微妙的关系网,缓慢而坚定地向真相逼近。读完之后,你不会觉得故事结束了,反而会有一种意犹未尽的感觉,总想回去再琢磨琢磨那些关键的转折点,去探究一下,如果当初人物做了另一个选择,故事又会走向何方。这种留给读者的思考空间,恰恰是它超越一般消遣读物的价值所在。
评分这本书的文字简直是丝绸般顺滑,每一次翻页都像是一场精心编排的宫廷舞会,每一个词汇都找到了它最恰当的位置,没有丝毫的累赘或仓促。作者对人物内心的刻画入木三分,那些潜藏在礼仪与得体之下的暗流涌动,被描绘得淋漓尽致。我尤其欣赏那些细腻的对话,它们不仅仅是信息的传递,更是角色性格、社会地位乃至情感状态的晴雨表。你会发现,那些未说出口的话语,往往比直接的表白更具力量,那些一个眼神、一次不经意的触摸,都在无声地诉说着整个故事的重量。故事的节奏控制得极好,既有令人心焦的悬念,也有令人会心一笑的幽默瞬间。它并非那种情节跌宕起伏、需要屏住呼吸去追赶的类型,而更像是一杯需要慢慢品味的陈年佳酿,每一次回味都能尝出新的层次和更深的底蕴。我常常在读到某些场景时,会停下来,闭上眼睛,仿佛身临其境地感受着那个时代的空气,那种微妙的社交压力和对真挚情感的渴望,在字里行间交织成一幅生动的历史画卷。阅读体验是极其沉浸和愉悦的,它提供了一种逃离现实的优雅途径,让人在那个井井有条却又暗藏波澜的世界里,找到片刻的慰藉与思考的空间。
评分这本书的魅力,很大程度上源于它对“阶层”与“身份”这一主题近乎冷酷的审视。作者毫不留情地揭示了在那个特定的社会结构下,个人情感是如何被物质条件和门第观念无情地挤压和扭曲的。你可以在书中清晰地看到,即便是最真挚的爱意,也必须先通过社会经济地位的“质量检验”,才能获得一丝生存的权利。这种现实的残酷性,并非是通过激烈的冲突来展现,而是渗透在每一个家族聚会、每一次信件往来、甚至每一次舞会上那些细微的礼节差异中。我尤其欣赏作者在塑造那些看似“完美”的角色时,所展现出的那种深刻的讽刺意味。他们遵循规则,赢得赞誉,但在内心深处,却可能充满了嫉妒、算计和不甘。这种表里不一的张力,让角色变得无比真实,也让人不禁反思,我们身处的时代,是否也隐藏着类似的无形枷锁。每一次读到主角因为无法摆脱出身的束缚而做出痛苦的让步时,我都会感到一种强烈的共情,仿佛能体会到那种理想与现实碰撞后留下的钝痛。这本书,与其说是一部爱情故事,不如说是一部关于社会结构如何重塑个人命运的社会学观察报告,只是它的呈现方式极其优雅和迷人。
评分我必须承认,这本书的开头部分略显缓慢,需要读者有一定的耐心去适应那种慢节奏的叙事风格,它没有立刻抛出引人入胜的钩子,而是花了相当的篇幅来铺陈背景和介绍庞大的角色群像。但一旦你越过了最初的“适应期”,你会发现这种扎实的铺垫是多么必要和宝贵。等到人物关系逐渐清晰,彼此间的矛盾和潜在的联系浮现出来时,故事的张力便如同一根被拉满的弓弦,蓄势待发。作者对细节的痴迷简直令人惊叹,无论是对乡村庄园的描绘,还是对服饰面料的描述,都精确到令人信服,仿佛能闻到那个年代特有的香水味和潮湿的泥土气息。更妙的是,这种对外部世界的细致描摹,总是与人物的内心活动紧密相连。比如,一个角色对花园的抱怨,实际上反映了他对当前人际关系的失望;对天气的好恶,也折射出他对未来机遇的期许或担忧。这种互文式的写作手法,极大地丰富了文本的内涵,让每一句话都可能拥有双重甚至三重含义。它要求读者主动参与到解读中去,而不是被动接受信息,这无疑是一种更高层次的阅读享受。
评分some of the points Tomalin makes feels a bit far-fetched, but overall they are quite interesting... and why does she hate Emma Woodhouse so?!
评分some of the points Tomalin makes feels a bit far-fetched, but overall they are quite interesting... and why does she hate Emma Woodhouse so?!
评分some of the points Tomalin makes feels a bit far-fetched, but overall they are quite interesting... and why does she hate Emma Woodhouse so?!
评分some of the points Tomalin makes feels a bit far-fetched, but overall they are quite interesting... and why does she hate Emma Woodhouse so?!
评分some of the points Tomalin makes feels a bit far-fetched, but overall they are quite interesting... and why does she hate Emma Woodhouse so?!
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