Cathy and Chris now live together as "husband" and "wife". The book is narrated by Cathy's two children, Jory and Bart. Chris and Cathy now have a child together (adopted), Cindy. Jory is handsome and is taking up ballet, but Bart is misunderstood. The two boys enjoy playing at an abandoned mansion beside their house, and are saddened when they are not allowed to play there anymore because an old lady is moving in. The boys become very curious about the old lady and begin to spy on her. Bart goes more often then Jory and soon the old lady invites him in for milk and cookies. She tells him to call her "Grandmother". Bart becomes stranger than he ever was before and begins saying very cruel things to his mother. John Amos Jackson, the butler that is mentioned in the other books, is now the cause for more heartache for the Sheffield family. He tells Bart that all women are sinful. He gives Bart Malcom Foxworth's journal and tells Bart to read it every night and take in his words. Bart starts to think that he is actually Malcolm, and begins to hate women just like he did.
Bart's transformation soon quickens and he starts to harm everyone around him, even his "Grandmother" who gives him almost anything he wants. Chris and Cathy take Bart to a psychiatrist to find out why he hates his mother. Soon Bart and Jory find out who their parents really are, brother and sister. Chris and Cathy begin confronting the old lady next door only to discover that the old lady is their mother. Corrine desperately wants her children's love back but Cathy won't listen to her and ends up slapping and hitting her. John Amos has a plan with Bart to kill Cathy and Corrine so he has them locked in a cellar with nothing to eat. But finally Bart realizes he loves and needs his mother so he tells his father (Chris) where Cathy and Corrine are. The old mansion catches fire and they must get to Cathy and Corrine as fast as they can. But the butler hits Chris over the head so he is knocked out and can't do anything. Jory plays a large role in this too. He also has confronted the grandmother on several occasions. But Bart goes and saves his mother who is on the verge of dying. Corrine carries her daughter out of the house to save her life, only to realize that she herself is on fire. Corrine dies from the exertion of rolling on the ground, trying to put out the fire. Chris and Cathy try to do everything to make Bart feel loved. Bart was still confused about himself but began recovering. Cathy narrates the epilogue; she states that Bart will not allow them to act as man and wife any more.
Cleo Virginia Andrews (June 6, 1923 – December 19, 1986), better known as V. C. Andrews or Virginia C. Andrews was an American author. She was born in Portsmouth, Virginia, and died of breast cancer at the age of 63.
Andrews' novels combine Gothic horror and family saga, revolving around family secrets and forbidden love (frequently involving themes of consensual incest, most often between siblings), and they often include a rags-to-riches story. Her most well-known novel is the infamous bestseller Flowers in the Attic (1979), a tale of four children locked in the attic of a wealthy Virginia family by their estranged religious grandmother for four years.
Her novels were so successful that after her death her estate hired a ghost writer, Andrew Neiderman, to write more stories to be published under her name.
Her novels have been translated into French, Italian, German, Spanish, Japanese, Turkish, Greek, Finnish, Swedish and Hebrew.
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我很少会为一个故事的主题概念如此着迷。这本书的核心概念,虽然没有被明确地定义为某一特定流派,但它触及了关于记忆的可靠性与身份构建的本质问题。它提出的疑问是:如果我们的记忆是可以被编辑、被重构,甚至是植入的,那么“我是谁”这个问题还剩下多少可信的根基?作者巧妙地运用了多重视角来推进叙事,但这些视角之间并非完全同步,它们各自拥有自己的信息盲区和主观滤镜,这使得真相的拼图异常复杂。每一次我认为自己已经接近核心秘密时,作者总能适时地抛出一个新的悖论或一个意想不到的反转,将读者的预设彻底打乱。这种智力上的博弈感让我欲罢不能。我甚至会暂停阅读,回去重读前面的章节,试图捕捉那些最初被忽略的线索,那些看似随意的对话,在后期的语境下,竟然都变成了意义深远的伏笔。这种严密的逻辑结构和精妙的布局,让这本书具有了极高的重读价值,每一次重读,都会发现新的层次和新的解读角度,这无疑是一部结构主义大师级的作品。
评分这本小说,初读时总觉得名字里带着一丝晦涩的暗示,仿佛预示着某种荆棘密布的旅程。我是在一个周五的晚上,被朋友极力推荐下翻开的。一开始,我以为这会是一部宏大叙事的历史剧,或者是那种需要不断查阅背景资料的硬核科幻,毕竟封面那种略显古旧的字体和配色总能给人带来这种错觉。然而,故事的开端却出乎意料的贴近生活,聚焦于一个看似平凡的家庭,在看似平静的小镇上,悄然酝酿着一场足以颠覆他们既有世界观的危机。作者的笔触极其细腻,对于人物内心活动的刻画简直是入木三分,尤其是对主角成年后面对童年阴影时的那种挣扎与矛盾,描绘得淋漓尽致。我甚至能感受到角色在深夜失眠时,翻来覆去、辗转反侧的焦虑感。情节推进得不快不慢,像是在慢火熬煮一锅浓汤,每一个细节都不是无足轻重的铺垫,而是构成最终风味的关键香料。我特别欣赏作者处理叙事节奏的方式,她懂得在紧张的对峙之后,插入一段充满诗意的环境描写,让读者的情绪得以喘息,也让整个故事的层次感更加丰富。这种张弛有度的叙事,使得即便是最平淡的对话,也蕴含着巨大的张力,让人忍不住想要一探究竟,这“荆棘”究竟藏在了何处。
评分读完之后,我花了整整一个下午的时间,只是坐在窗边,对着远处的树影发呆。这本书最震撼我的地方,在于它对“选择”这一主题的探讨,深刻得近乎残酷。它没有给我那种非黑即白的道德审判,而是将人物置于一片巨大的灰色地带,让他们在两难的境地中挣扎、妥协,甚至在事后进行漫长的自我说服。我感觉作者根本不是在写故事,而是在进行一场哲学实验,用生动的角色作为实验对象,观察他们在极端压力下人性的边界究竟能被推到何处。其中关于亲情与自我救赎那几章,我几乎是屏住呼吸读完的,那种复杂的情感纠葛,那种既想保护又想逃离的矛盾心理,完全击中了我内心深处的一些柔软和防备。更令人称奇的是,作者在构建世界观时,并未采用宏大的架空设定,而是将那些深植于人类共同记忆中的恐惧和渴望,巧妙地融入到日常生活的琐碎场景之中。比如,一次寻常的家庭聚餐,一次无意的眼神交汇,都可能成为引爆全部矛盾的导火索。这种将“深渊”植入“日常”的手法,比直接描绘恐怖场面更具穿透力,让人合上书本后,依然会下意识地审视自己生活中的每一个“常态”。
评分坦白说,这本书的阅读体验是带有一定“负重感”的,它不是那种读完就能立刻感到轻松愉快的消遣之作,更像是一次深入心灵的潜水。我必须承认,在阅读中期,我一度感到非常压抑,因为角色的困境似乎没有出路,每走一步都像是踩在刀尖上。那种被命运无形之手操控的无力感,透过文字清晰地传递给了读者。但正是这份沉重,让最终的爆发显得如此必要和真实。作者的语言风格我非常喜欢,她似乎对词汇的筛选有着近乎偏执的追求,每一个形容词和动词都像是经过精确计算的,绝不冗余,却又精准地传达了情绪的细微差别。尤其是她对环境的描写,不是简单的布景,而是情绪的延伸和烘托。比如当主角感到绝望时,天气必然是阴郁的、光线是晦暗的,但这种对应关系处理得非常高级,不会显得俗套,反而像是一种古典悲剧中的宿命感。这本书更像是一面镜子,照出的是我们都不愿正视的生命中的缺陷和未解之谜,它强迫你直面那些你一直试图用忙碌来回避的内心噪音。
评分从文学技巧的角度来看,这本书是一次大胆的实验,成功地融合了多种叙事元素,却又没有让作品显得四不像。它有着史诗般的背景设定(尽管只是暗示性的),却聚焦于最微小的人际互动;它有着悬疑小说的节奏感,却服务于深刻的心理探究。我尤其欣赏作者对“时间”的处理。故事的时间线并非线性展开,而是像被打乱的磁带,在不同的时间点之间进行跳跃、重叠和交叉对比。这种非线性叙事不仅增加了阅读的挑战性,更重要的是,它完美地模拟了人类记忆的运作方式——碎片化、非逻辑性、被当前情绪所重塑。当不同时间轴上的事件最终交汇时,那种豁然开朗的感觉,配上随之而来的悲剧性冲击,简直是教科书级别的叙事高潮。读完后,我感觉自己刚刚经历了一场漫长而复杂的精神漫步,筋疲力尽,但内心却被一种难以言喻的充盈感所占据。它不仅提供了一个引人入胜的故事,更提供了一种观察世界、理解复杂人性的全新视角,绝对值得所有对深度文学感兴趣的读者细细品味。
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