移民

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出版者:漓江出版社
作者:霍华德·法斯特
出品人:
页数:505
译者:邝启漳
出版时间:1981-11
价格:1.37
装帧:平装
isbn号码:
丛书系列:霍华德移民三部曲
图书标签:
  • 霍华德·法斯特
  • 美国
  • 爱情
  • 小说
  • 1981
  • 移民史
  • 移民生活
  • 文化冲突
  • 身份认同
  • 社会融入
  • 海外生活
  • 家庭变迁
  • 漂泊
  • 奋斗
  • 游子思乡
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具体描述

作者简介

Howard Melvin Fast (November 11, 1914 – March 12, 2003) was an American novelist and television writer. Fast also wrote under the pen names E. V. Cunningham and Walter Ericson.

Fast was born in New York City. His mother, Ida (née Miller), was a British Jewish immigrant, and his father, Barney Fast, was a Ukrainian Jewish immigrant whose name was shortened from Fastovsky upon arrival in the USA. When his mother died in 1923 and his father became unemployed, Howard's youngest brother, Julius, went to live with relatives, while he and his older brother Jerome worked by selling newspapers. He credited his early voracious reading to his part-time job in the New York Public Library.

Young Howard began writing at an early age. While hitchhiking and riding railroads around the country to find odd jobs, he wrote his first novel, Two Valleys, published in 1933 when he was 18. His first popular work was Citizen Tom Paine, a fictional account of the life of Thomas Paine. Always interested in American history, he also wrote The Last Frontier, about an attempt by Cheyennes to return to their native land; and Freedom Road, about the lives of former slaves during Reconstruction.

The novel 'Freedom Road' is based on a true story and was made into a 1979 film starring Muhammad Ali, who, in a very rare acting role, plays Gideon Jackson, an ex-slave in 1870's Virginia who gets elected to the US Senate in Washington DC and battles other former slaves and white sharecroppers to keep the land they tended all their lives

Fast spent World War II working with the United States Office of War Information, writing for Voice of America. In 1943, he joined the Communist Party USA and in 1950 he was called before the House Committee on Un-American Activities; in his testimony, he refused to disclose the names of contributors to a fund for a home for orphans of American veterans of the Spanish Civil War (one of the contributors was Eleanor Roosevelt), and was given a three-month prison sentence for contempt of Congress.

It was while he was in jail that Fast began writing his most famous work, Spartacus, a novel about an uprising among Roman slaves. Blacklisted by major publishing houses following his release from prison, Fast was forced to publish the novel himself. By the standards of a self-published book, it was a great success, going through seven printings in the first four months of publication. (According to Fast in his memoir, 50,000 copies were printed, of which 48,000 were sold.) He subsequently established the Blue Heron Press, which allowed him to continue publishing under his own name throughout the period of his blacklisting. Just as the production of the film version of "Spartacus" (released in 1960) is considered a milestone in the breaking of the Hollywood blacklist, the reissue of Fast’s novel by Crown Publishers in 1958 effectively ended his own blacklisting within the American publishing industry.

In 1952, Fast ran for Congress on the American Labor Party ticket. During the 1950s he also worked for the Communist newspaper, the Daily Worker. In 1953, he was awarded the Stalin Peace Prize. Later in the decade, Fast broke with the Party over issues of conditions in the Soviet Union and Eastern Europe.

In the mid-1950s, Fast moved with his family to Teaneck, New Jersey.[2] In 1974, Fast and his family moved to California, where he wrote television scripts, including such television programs as How the West Was Won. In 1977, he published The Immigrants, the first of a six-part series of novels.

He married his first wife, Bette Cohen, on June 6, 1937. Their children are Jonathan and Rachel. Bette died in 1994. In 1999 he married Mercedes O'Connor, who already had three sons. He died in Old Greenwich, Connecticut on March 12, 2003.

Fast's son Jonathan Fast, himself a novelist, was married to novelist Erica Jong; their daughter is the novelist Molly Jong-Fast.

The writer Julius Fast was Howard Fast's younger brother.

目录信息

读后感

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这是偶然在家里的书柜翻到了这本书,今天中午刚刚读完,想着写一下观后感吧,就来到这里了。 当初看简介读到丹的帝国覆灭还没有什么感觉,因为在读之前他们还不是一个个鲜活的人物呈现在我脑海中。 我很遗憾雅各妹妹的死去,这是这本书中我最感到,原谅我找不到词来形容这种感...

评分

这是偶然在家里的书柜翻到了这本书,今天中午刚刚读完,想着写一下观后感吧,就来到这里了。 当初看简介读到丹的帝国覆灭还没有什么感觉,因为在读之前他们还不是一个个鲜活的人物呈现在我脑海中。 我很遗憾雅各妹妹的死去,这是这本书中我最感到,原谅我找不到词来形容这种感...

评分

这是偶然在家里的书柜翻到了这本书,今天中午刚刚读完,想着写一下观后感吧,就来到这里了。 当初看简介读到丹的帝国覆灭还没有什么感觉,因为在读之前他们还不是一个个鲜活的人物呈现在我脑海中。 我很遗憾雅各妹妹的死去,这是这本书中我最感到,原谅我找不到词来形容这种感...

评分

这是偶然在家里的书柜翻到了这本书,今天中午刚刚读完,想着写一下观后感吧,就来到这里了。 当初看简介读到丹的帝国覆灭还没有什么感觉,因为在读之前他们还不是一个个鲜活的人物呈现在我脑海中。 我很遗憾雅各妹妹的死去,这是这本书中我最感到,原谅我找不到词来形容这种感...

评分

这是偶然在家里的书柜翻到了这本书,今天中午刚刚读完,想着写一下观后感吧,就来到这里了。 当初看简介读到丹的帝国覆灭还没有什么感觉,因为在读之前他们还不是一个个鲜活的人物呈现在我脑海中。 我很遗憾雅各妹妹的死去,这是这本书中我最感到,原谅我找不到词来形容这种感...

用户评价

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这本书最让我感到震撼的是它对“身份重塑”过程中伴随的文化失语现象的剖析。它超越了仅仅描述文化冲突的层面,深入探讨了当一个人必须在新的环境中扮演一个全新的角色时,他内在的“母语”是如何逐渐被“异语”所侵蚀和覆盖的。作者通过主人公与自己故乡亲人的书信往来,展现了语言隔阂是如何一步步将亲情疏远。那些原本可以轻松表达的爱意、担忧和幽默,在翻译成另一种文化语境后,变得僵硬、笨拙,甚至产生误解。这种“说不出来”的痛苦,被描绘得极其揪心。它不仅是语言上的不通,更是情感连接的断裂。更进一步说,作者暗示了这种“失语”不仅仅针对外部世界,也针对主人公自己。当他用新的语言描述自己的经历时,他也在不断地、无意识地修改着自己的过去。他开始用新的词汇来定义自己曾经的信仰和价值观,而这些新的定义,是否还是他本来的样子?这本书没有提供简单的答案,它留给读者的是一个深刻的疑问:当我们不断适应新的世界时,我们究竟是获得了新生,还是永远地失去了根基?这种对存在本质的探讨,让这本书的深度远超一般的题材作品。

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这本书的叙事方式简直是匠心独运,作者将一幅幅看似不经意的日常生活场景,通过细腻入微的笔触描绘出来,却又在这些日常的表象下,暗流涌动着复杂的人性纠葛与社会变迁的宏大主题。我读到主人公在异国他乡初次面对语言不通、文化隔阂时的那种无助与彷徨,仿佛能切身体会到那种被世界抛弃的孤立感。作者没有用宏大的口号去渲染“漂泊”的悲壮,而是聚焦于那些微不足道的瞬间:比如,在寒冷的清晨,主人公为了弄清楚一份复杂的医疗表格而与工作人员反复周旋,汗水浸湿了后背;又比如,在一次偶然的家庭聚会上,他因为一个无心之语,引发了周围人微妙的、带着审视的目光。这些细节的堆砌,让人物的内心世界立体而丰满,让人不禁反思,我们所谓的“安居乐业”究竟建立在多么脆弱的基础之上。更让我印象深刻的是,书中对于“家”这个概念的解构与重塑。它不再仅仅是一个地理坐标,而是一个不断迁徙、不断被重新定义的精神容器。每一次搬家,每一次与故土的远距离通话,都在提醒着主人公,他正在用时间换取一种全新的身份认同,而这种交换的代价,是难以估量的失落与怀念。这种娓娓道来的叙事节奏,时而缓慢得让人几乎要沉溺其中,时而又因某个关键事件的爆发而猛然加速,成功地捕捉了身处转型期个体的微妙心境。

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从结构上来看,这部作品的布局非常大胆,它拒绝遵循传统的小说叙事弧线。它更像是通过一系列碎片化的、相互关联却又在时间线上跳跃的“切片”来构建一个完整的故事世界。初看之下,你会觉得情节有些松散,信息点需要自己去拼凑,但当你看到三分之一处,开始理解作者设置的那些隐藏的线索和重复出现的符号时,你会惊叹于这种看似松散背后的严密逻辑。书中有一条贯穿始终的、关于“一份失踪的旧信件”的暗线,它在不同的章节以不同的角度被提及,每一次都提供了新的视角,却从未被完全揭示,直到最后才以一种近乎哲学的暗示收尾。这种非线性的叙事策略,完美地契合了记忆和创伤的本质——它们往往不是以清晰的线性方式呈现的,而是以闪回、联想和不完全的片段形式存在。这要求读者必须保持高度的专注力,并且愿意去接受叙事上的不确定性。这种处理方式极大地增强了作品的艺术性和挑战性,它拒绝喂养读者,而是要求读者主动参与到意义的建构过程中去。

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这本书的语言风格,老实说,初读时可能会让人感到一丝晦涩,但一旦你适应了它的节奏,就会发现其中蕴含着巨大的能量和独特的韵律感。作者似乎对每一个词语都有着近乎偏执的考究,力求用最精炼的表达,撬动出最深远的意境。它不是那种直抒胸臆的白话文,更像是一种经过精心雕琢的散文诗,充满了象征和隐喻。比如,书中多次出现的“雾气”意象,它时而代表着身份认同的模糊不清,时而又象征着对未来的不确定性,每一次出现都有其微妙的语境变化,需要读者反复揣摩。我尤其欣赏作者对场景氛围的营造能力,那种北欧冬季特有的、冷冽而又带着一丝希望的微光,被刻画得入木三分。阅读过程中,我常常需要停下来,不是因为情节太快,而是因为某个句子的结构或者某个比喻太过精妙,让人忍不住要回味再三。这种阅读体验是沉浸式的,你感觉自己不是在看一个故事,而是在参与一场关于语言和存在的智力游戏。虽然这种风格对一些追求快速阅读体验的读者来说可能是一个挑战,但对于热爱文字本身质感的读者来说,这无疑是一场盛宴。它迫使你放慢速度,去聆听文字背后的呼吸和心跳。

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坦率地说,这本书在人物塑造上展现出了一种极度的复杂性,让人难以用简单的“好”或“坏”来标签化任何一个角色。作者似乎对人性的灰色地带情有独钟,笔下的人物没有一个是完美的圣人,也没有绝对的恶棍,他们都是在特定环境下被塑造成型的、充满矛盾的集合体。拿主角的导师来说,一个看似慈祥、给予了主角诸多帮助的长者,在关键时刻却展现出了令人心寒的功利主义倾向,这种背叛感,比任何外部的恶意攻击都更具杀伤力。而主角自身,也并非一个全然的受害者,他为了生存和融入,也曾做出过违背初衷的选择,那些自我辩护和内在挣扎,被描绘得极其真实和令人唏嘘。这种对人性的不加粉饰的刻画,让人在阅读时常常感到一种生理上的不适,但正是这种不适,才更显出作品的深刻。它探讨的不是简单的正邪对抗,而是个体在面对巨大结构性压力时,如何一步步蚕食掉自己原本的道德底线,最终达成一种勉强可以接受的平衡。这种对“道德妥协”的深入挖掘,使得这本书的后劲十足,读完很久之后,那些人物的面孔和他们的困境依然会时不时地浮现在脑海中。

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这一个以爱结束的帝国,也是以爱开始的地方。

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这一个以爱结束的帝国,也是以爱开始的地方。

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这一个以爱结束的帝国,也是以爱开始的地方。

评分

这一个以爱结束的帝国,也是以爱开始的地方。

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这一个以爱结束的帝国,也是以爱开始的地方。

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