大衛•福斯特•華萊士(David Foster Wallace),美國後現代派小說巨匠,與喬納森•弗蘭茨一起並稱當代美國文學“雙璧”。華萊士以過人的洞察力和天纔的文學稟賦,驚人的語言遊戲和龐雜的人物情節,戲謔的文字風格和深沉的哲學思考,為世人描繪齣光怪陸離的生活中那些內心的茫然與孤獨,其文風獨樹一幟,可與後現代派小說前輩約翰•巴斯、托馬斯•品欽相媲美。
In the stories that make up Oblivion , David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness--a combination that is dazzlingly, uniquely his. These are worlds undreamt-of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown ("The Soul Is Not a Smithy"). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way ("The Suffering Channel"). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring ("Oblivion"). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.
刚看的时候,那种多维高密全息失焦的具体信息的罗列还是很震撼的。不是因为作为写作者感觉到的新奇或者难度,而是作为纯粹读者感觉到的强力,作者通过将那些习以为常忽视不见的背景的背景的背景信息挤到前景中来而强迫读者对人造自然保持紧张的警觉。那种警觉在日常经验中偶尔...
評分刚看的时候,那种多维高密全息失焦的具体信息的罗列还是很震撼的。不是因为作为写作者感觉到的新奇或者难度,而是作为纯粹读者感觉到的强力,作者通过将那些习以为常忽视不见的背景的背景的背景信息挤到前景中来而强迫读者对人造自然保持紧张的警觉。那种警觉在日常经验中偶尔...
評分刚看的时候,那种多维高密全息失焦的具体信息的罗列还是很震撼的。不是因为作为写作者感觉到的新奇或者难度,而是作为纯粹读者感觉到的强力,作者通过将那些习以为常忽视不见的背景的背景的背景信息挤到前景中来而强迫读者对人造自然保持紧张的警觉。那种警觉在日常经验中偶尔...
評分刚看的时候,那种多维高密全息失焦的具体信息的罗列还是很震撼的。不是因为作为写作者感觉到的新奇或者难度,而是作为纯粹读者感觉到的强力,作者通过将那些习以为常忽视不见的背景的背景的背景信息挤到前景中来而强迫读者对人造自然保持紧张的警觉。那种警觉在日常经验中偶尔...
評分刚看的时候,那种多维高密全息失焦的具体信息的罗列还是很震撼的。不是因为作为写作者感觉到的新奇或者难度,而是作为纯粹读者感觉到的强力,作者通过将那些习以为常忽视不见的背景的背景的背景信息挤到前景中来而强迫读者对人造自然保持紧张的警觉。那种警觉在日常经验中偶尔...
I'm obsessed with this man, know he's nothing but a hot mess hidden in a fraud.
评分讀Good Old Neon那一篇,第一次有完全被理解的感覺。
评分我不知道為什麼我看的雲裏霧裏還是停不下來……也許是本我在鞭撻拷問我懶惰的靈魂為什麼安於無知。現在讓我去考IELTS肯定拿不到7分瞭……
评分170822.
评分I'd always found David Foster Wallace's fiction to be utterly unreadable, and self-aware, but after greatly enjoying some of his essays I decided that maybe I should give some of his short stories a try. Regrettably, the same qualities that made me put down Infinite Jest a third of the way through -- a self-regarding, pleonastic clever-cleverness not-quite-masking its author's barely contained despair and misery -- are at play here. I found Wallace's fiction cumbersome and unenjoyable when he was alive; reading it now with the knowledge of where he was headed to is a distinctly unnerving and saddening experience.
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