In Homer’s account in The Odyssey, Penelope - wife of Odysseus and cousin of the beautiful Helen of Troy - is portrayed as the quintessential faithful wife, her story a salutary lesson through the ages. Left alone for twenty years when Odysseus goes off to fight in the Trojan war after the abduction of Helen, Penelope manages, in the face of scandalous rumours, to maintain the kingdom of Ithaca, bring up her wayward son, and keep over a hundred suitors at bay, simultaneously. When Odysseus finally comes home after enduring hardships, overcoming monsters and sleeping with goddesses, he kills her suitors and - curiously - twelve of her maids.
.
In a splendid contemporary twist to the ancient story, Margaret Atwood has chosen to give the telling of it to Penelope and to her twelve hanged Maids, asking: "What led to the hanging of the maids, and what was Penelope really up to?" In Atwood’s dazzling, playful retelling, the story becomes as wise and compassionate as it is haunting, and as wildly entertaining as it is disturbing. With wit and verve, drawing on the storytelling and poetic talent for which she herself is renowned, she gives Penelope new life and reality - and sets out to provide an answer to an ancient mystery.
When Margaret Atwood announced to her friends that she wanted to be a writer, she was only 16 years old. It was Canada. It was the 1950s. No one knew what to think. Nonetheless, Atwood began her writing career as a poet. Published In 1964 while she was still a student at Harvard, her second poetry anthology, The Circle Game, was awarded the Governor General's Award, one of Canada's most esteemed literary prizes. Since then, Atwood has gone on to publish many more volumes of poetry (as well as literary criticism, essays, and short stories), but it is her novels for which she is best known.
.
Atwood's first foray into fiction was 1966's The Edible Woman, an arresting story about a woman who stops eating because she feels her life is consuming her. Grabbing the attention of critics, who applauded its startlingly original premise, the novel explored feminist themes Atwood has revisited time and time again during her long, prolific literary career. She is famous for strong, compelling female protagonists -- from the breast cancer survivor in Bodily Harm to the rueful artist in Cat's Eye to the fatefully intertwined sisters in her Booker Prize-winning novel The Blind Asassin.
.
Perhaps Atwood's most legendary character is Offred, the tragic "breeder" in what is arguably her most famous book, 1985's The Handmaid's Tale. Part fable, part science fiction, and part dystopian nightmare, this novel presented a harrowing vision of women's lives in an oppressive futuristic society. The Washington Post compared it (favorably) to George Orwell's iconic 1984.
.
As if her status as a multi-award-winning, triple-threat writer (fiction, poetry, and essays) were not enough, Atwood has also produced several children's books, including Princess Prunella and the Purple Peanut (1995) and Rude Ramsay and the Roaring Radishes (2003) -- delicious alliterative delights that introduce a wealth of new vocabulary to young readers.
“我已是死人,因而无所不知。”曾获得布克奖的加拿大作家玛格丽特·阿特伍德的新书这样开头。别误会,这并不是又一本阿特伍德式的反乌托邦小说,而是英国坎农格特出版公司(Canongate)发起的“重述神话”出版计划中的一本。他们邀请了包括翁贝托·艾柯、若泽·萨拉马戈、托妮...
評分虽然阿特伍德以用词洗练,如同老练的家庭主妇切分感恩节火鸡一样,可是这本书读着就像一个聪明无处用的主妇的无日无夜的腹黑。 重写的佩妮洛普故事很知识分子,表现一:综合了荷马史诗和Robert Graves的希腊神话企鹅版中的内容,讲述了佩妮洛普出嫁之前的故事,暗示了各种谣言...
評分《珀涅罗珀记》是加拿大女作家玛格丽特.阿特伍德为“重述神话”系列所撰写的作品。该书是以珀涅罗珀的视角来对《奥德修斯记》进行反拨。作者通过珀涅罗珀,奥德修斯妻子这一角色,颠覆了以男性为主,歌颂男性英雄业绩,忽视女性内心感受的文学作品并对此加以调侃,哪怕...
評分這部作品的敘事視角轉換得極其精妙,它不像我們過去讀到的那些史詩那樣,將焦點完全集中在那些手握刀劍的英雄身上。相反,它將聚光燈投射到那些在幕後默默承受、被曆史遺忘的女性角色身上。我尤其欣賞作者如何捕捉到那些細微的情感波動,那種被規訓和期待壓抑到近乎窒息的內心掙紮。你會看到,那些本該是背景闆的侍女們,她們的對話、她們的恐懼、她們在漫長等待中對命運的竊竊私語,都被賦予瞭驚人的重量和深度。這種細膩的筆觸,讓我仿佛能聞到古老織布機上散發的塵土味,感受到她們在幽暗角落裏互相取暖的體溫。它挑戰瞭我們對“忠誠”和“榮譽”這些宏大敘事的傳統理解,展示瞭在權力結構下,個體,尤其是女性個體,是如何用自己的方式去生存、去反思,去定義自己的“史詩”。讀完後,你很難再用以往的眼光去看待那些經典故事瞭,因為你突然意識到,你錯過瞭太多角落裏的真實聲音。
评分從結構上看,這部作品的巧妙之處在於它對敘事焦點的不斷轉移和重新定位。它構建瞭一個多層次的觀看體係,你以為你已經掌握瞭故事的中心人物或主要衝突,但緊接著,敘事者就會以一種近乎戲謔的方式將你的注意力引嚮完全不同的邊緣群體。這種不確定性製造瞭一種持續的張力,讓你永遠無法完全安坐於一個固定的立場上。它迫使讀者必須主動參與到意義的構建中去,去填補那些巨大的敘事空白,去揣測那些被省略的對話。與其說是在讀一個故事,不如說是在參與一場關於“誰有權講述”的辯論會。這種結構上的不穩定,反而賦予瞭作品強大的生命力和持久的討論價值,因為它拒絕提供一個簡單的、一錘定音的結論。
评分我得說,這部小說的語言風格簡直是一種享受,它有著一種令人難以抗拒的、近乎吟誦般的韻律感,但又絕不流於矯揉造作的古風。它在古典的莊嚴感和現代的尖銳諷刺之間找到瞭一個極其微妙的平衡點。有些段落的節奏快得像一場風暴,充滿瞭對既定秩序的猛烈衝擊;而另一些時刻,文字又變得如同清晨的薄霧,彌漫著一種揮之不去的、帶著宿命感的悲涼。作者在用詞的選擇上極為大膽且精準,很多比喻都齣乎意料卻又擲地有聲,仿佛一下子揭開瞭層層疊疊的帷幕,讓你直視那些被美化過的殘酷現實。閱讀的過程更像是一場沉浸式的戲劇體驗,角色的內心獨白如同獨奏,時而高亢,時而低迴,將那些埋藏已久的不公和怨懟,以一種近乎詩意的形式傾瀉而齣。對於那些追求文字美感和思想深度的讀者來說,這絕對是一場盛宴。
评分這部作品的基調是復雜的,它不是純粹的悲劇,也遠非簡單的復仇故事。其中滲透著一種冷峻的、甚至帶著一絲黑色幽默的清醒。你會發現,即便是那些看似處於受害者地位的角色,她們的內心世界也充滿瞭算計、權衡和人性的灰色地帶。作者非常坦誠地展示瞭,在極端壓力下,道德的邊界是如何模糊不清的。這種對“完美受害者”形象的徹底顛覆,是極其大膽且必要的。它讓我們看到,女性之間的關係,並非總是如田園牧歌般純潔,也充滿瞭嫉妒、競爭和微妙的聯盟。正是這種毫不留情的真實感,讓角色的悲劇性達到瞭新的高度——她們的睏境,不僅來自於外部的壓迫,也來自於自身的局限和人性的弱點。這讓整個閱讀體驗變得沉重,但又無比深刻和令人信服。
评分這本書最讓我震撼的一點是它對“時間”這個概念的處理。它不是綫性的、不可逆轉的,而是一種可以被反復審視、被質疑其閤理性的存在。通過一種近乎超現實的視角,作者讓過去、現在與那些未曾發生的可能性交織在一起,形成瞭一種非常復雜的敘事迷宮。你不再是單純地跟隨情節發展,而是在不斷地辨認哪些記憶是真實的,哪些又是被權力建構齣來的神話。這種對時間維度的解構,使得故事的主題得到瞭極大的延展——它不再僅僅是關於一個古老故事的“補遺”,而是在探討所有被記錄的曆史,其本身的可靠性問題。每一個場景的重現,都伴隨著新的解讀和側重,讓你不得不停下來,對自己過去所接受的一切“標準答案”産生深刻的懷疑。
评分對照原文,發現這本書的漢譯本翻譯的不錯。
评分撲哧!
评分看《奧德賽》的憤憤不平在看到本書奧德修斯即使逃到天涯海角也無法擺脫復仇的結局後有所緩解。古代的英雄史詩換一個女性角色視角解讀會異常有趣。感謝我的文學教授Ellen Rentz女士。
评分對照原文,發現這本書的漢譯本翻譯的不錯。
评分看《奧德賽》的憤憤不平在看到本書奧德修斯即使逃到天涯海角也無法擺脫復仇的結局後有所緩解。古代的英雄史詩換一個女性角色視角解讀會異常有趣。感謝我的文學教授Ellen Rentz女士。
本站所有內容均為互聯網搜索引擎提供的公開搜索信息,本站不存儲任何數據與內容,任何內容與數據均與本站無關,如有需要請聯繫相關搜索引擎包括但不限於百度,google,bing,sogou 等
© 2026 book.quotespace.org All Rights Reserved. 小美書屋 版权所有