Ian McEwan’s symphonic novel of love and war, childhood and class, guilt and forgiveness provides all the satisfaction of a brilliant narrative and the provocation we have come to expect from this master of English prose.
On a hot summer day in 1935, thirteen-year-old Briony Tallis witnesses a moment’s flirtation between her older sister, Cecilia, and Robbie Turner, the son of a servant and Cecilia’s childhood friend. But Briony’s incomplete grasp of adult motives–together with her precocious literary gifts–brings about a crime that will change all their lives. As it follows that crime’s repercussions through the chaos and carnage of World War II and into the close of the twentieth century, Atonement engages the reader on every conceivable level, with an ease and authority that mark it as a genuine masterpiece.
Author Biography: Ian McEwan is the bestselling author of more than ten books, including the novels The Comfort of Strangers and Black Dogs, both shortlisted for the Booker Prize, Amsterdam, winner of the Booker Prize, and The Child in Time, winner of the Whitbread Award, as well as the story collections First Love, Last Rites, winner of the Somerset Maugham Award, and In Between the Sheets. He has also written screenplays, plays, television scripts, a children’s book, and the libretto for an oratorio. He lives in London.
Winner of the 2002 National Book Critics Circle Award, Fiction
Shortlisted for the 2001 Booker Prize
One of the most distinguished novelists of his generation, Ian McEwan was born in England and spent much of his childhood traveling with his father, an army officer stationed in the Far East, Germany, and North Africa. He graduated from Sussex University in 1970 with a degree in English Literature and received his MA in Creative Writing from the University of East Anglia.
McEwan burst upon the literary scene in the mid-1970s with two short story collections that highlighted with equal clarity his early predilection for disturbing, somewhat shocking subject matter and his dazzling prose style. Similarly, his 1978 debut novel, The Cement Garden, attracted as much attention for its unsettling storyline as for its stylistic brilliance. But even though his early work was saturated with deviant sex, violence, and death (so much so that he earned the nickname "Ian MacAbre"), he was never dismissed as a mere purveyor of cheap thrills. In fact, two of his most provocative works (The Comfort of Strangers and Enduring Love) were shortlisted for major U.K. awards.
As he has matured, McEwan has moved away from disquieting themes like incest, sadism, and psychotic obsession to explore more introspective human dramas. In an interview with The New Republic he described his literary evolution in this way:
"One passes the usual milestones in life: You have children, you find that whether you like it or not, you have a huge investment in the human project somehow succeeding. You become maybe a little more tolerant as you get older. Pessimism begins to feel something like a badge that you perhaps do not wear so easily. There is something delicious and reckless about the pessimism of being 21. And when you get older you feel maybe a little more delicate and hope that things will flourish. You don't want to take a stick to it."
Among many literary honors, McEwan has been awarded the Somerset Maugham Award for First Love, Last Rites (1976) and the Whitbread Prize for The Child in Time (1987). Nominated three times for the Booker Prize, he finally won in 1998 for Amsterdam. He has also received the WH Smith Literary Award and National Book Critics' Circle Fiction Award for Atonement (2001) and the James Tait Black Memorial Prize for Saturday (2005).
“由于愧疚,她不时地自我折磨,将一个个细节串成一个无休止的圈环,一串需要一生去拨弄的念珠。” 说到“年华老去”这个词,情不自禁地就想在前面加个“十分钟”。我猜之所以说“十分钟”,不过是想强调瞬间被年华抛弃的那种恐慌感。其实我并没有那么容易恐慌,不过是在读完A...
评分1 首先,Ian McEwan对于电影的改编是满意的。这位英国作家自己动手写过电影剧本,却只把电影视作比书籍次一等的媒介。小说能够让读者感受到,写作者的思维和情绪是如何奔涌向前的,这点上,电影很难做到。意识的流动是能够浮出纸面的,它是一种自成生命的东西,在阅读的时候苏...
评分这是一部注定不会让人感到快乐的书,麦克尤恩甚至连一丁点儿的享受或憧憬快乐的权利与机遇都不会恩赐给读者。倘若只是好人蒙难--本应幸福的享受他们间真挚爱情的少男少女们最终饮恨而别,那倒也就罢了。可恨的是,造成悲剧的罪魁祸首们,无论他们是有意或无意的,满怀仇恨或充...
评分Cecilia和Robbie送Briony坐地铁,Briony走进地铁站,就此永别姐姐和准姐夫。之后作者写下以下文字,终结小说惊心动魄的第三部分。 "... She was surprised at how serene she felt, and just a little sad. Was it disappointment? She had hardly expected to be forgive...
我是在一个非常喧嚣的环境中开始阅读这本书的,但它有一种奇特的魔力,能将周围的一切都隔绝在外。它的语言风格是如此的精准和考究,即便是在描绘最平淡的日常场景时,也蕴含着一种古典的庄重感。这本书最成功的地方,在于它展现了“代际创伤”的延续性。一个错误的决定,如何像滚雪球一样,影响到后来几代人的生活轨迹,甚至改变了历史的走向。这不仅仅是一个人的悲剧,更是一个时代的缩影。我欣赏作者对“歉疚”这种复杂情感的细致解剖,它不是一个单一的情绪,而是混合了羞愧、怀念、不甘和无望的复杂混合体。读完之后,我发现自己对周围的人和事都多了一份审慎和同情,因为它让我更深刻地体会到,每一个行动背后,都可能隐藏着一个我们永远无法完全理解的故事。
评分说实话,这本书的节奏感对我来说有些像是一场精心设计的慢跑,前半段的铺陈细腻得近乎拖沓,但正是这种看似缓慢的积累,才让后来的爆发显得如此具有震撼力。它讲述的不是一个关于浪漫爱情的故事,而是一部关于“叙事责任”的教科书。作者对于细节的执着令人印象深刻,每一个物件、每一句对话,似乎都埋藏着后文的伏笔,这种结构上的严谨性非常高超。我非常喜欢作者处理时间跨度的方式,它不是线性的,而是充满了跳跃和回溯,像是在翻阅一本泛黄的相册,每一页都承载着不同的重量和光影。这本书的魅力在于它的“留白”,它不会把所有答案都摆在你的面前,而是把解读的权利交给了读者。这种互动的阅读体验,让我感觉自己不只是一个旁观者,更像是一个参与了这场漫长审判的陪审员。
评分我必须承认,初读时我有些被它的文采所迷惑,那些华丽的辞藻和精妙的比喻,像是一层层诱人的糖衣,让人沉醉于文字本身的美感之中。然而,一旦剥开这层外衣,更深层次的主题便浮现出来:关于战争的残酷与个体的无力感。故事后半段转入二战的背景,视角立刻变得宏大而悲怆。作者没有去描绘宏大的战争场面,反而聚焦于个体在巨大历史洪流面前的挣扎与救赎的徒劳。那种漂泊感、流亡的绝望,以及对于过往无法挽回的深深悔恨,通过主人公的漂泊生涯被烘托得格外沉重。我尤其欣赏作者处理“原谅”这个主题的方式,它不是一个简单的“对不起”就能解决的课题,而是一条漫长、布满荆棘的自我救赎之路。读完后,我久久不能平静,那种对“生命中错失的美好”的追忆,混合着对时间流逝的无力感,是如此真实而又令人心碎。
评分从文学评论的角度来看,这部作品对“艺术家的伦理困境”进行了极其深刻的探讨。主人公的职业身份,使得她与她所“创造”或“误写”的命运之间产生了一种微妙而危险的张力。我们看到了一个创作者如何试图用文字去弥补现实中的巨大过失,但同时,文字本身的力量又是多么的有限和苍白。这种自我救赎的努力,穿插着对文学本质的思考,使得这本书的内涵远超一般的文学小说。我被那种强烈的宿命感所吸引,仿佛命运之轮一旦启动,任何微小的修正都显得那么苍白无力。它让我思考,当我们用“艺术”来逃避现实的残酷时,付出的代价究竟是什么?它提供了一种沉重的美学体验,让你不得不正视那些被掩盖的真相,即便它们是如此难以承受。
评分这部作品的叙事手法真是令人拍案叫绝,它如同一个技艺高超的织工,用极其细腻的笔触编织了一张关于人性、记忆与时代变迁的巨网。开篇的场景设置,那种夏日午后的慵懒与紧张感并存的氛围,瞬间就将我拽入了故事的核心。作者对于人物心理活动的刻画,简直是入木三分,那种青春期特有的敏感、误解与自以为是,被描绘得淋漓尽致,让人仿佛能触摸到角色内心深处的颤动。特别是对一场关键性事件的侧面描写,那种从不同角色的视角出发,对同一事实进行不断地重塑和解构,展现了“真相”的脆弱与多面性。这不是一本简单的读完就忘的故事,它强迫你不断地反思:我们所坚信的“事实”,究竟有多少是源于我们自己的想象和固执?这种对叙事可靠性的挑战,使得整部作品的阅读体验充满了智力上的愉悦与道德上的拷问。光是关于“一个念头如何可以摧毁一切”的讨论,就足够我深思良久。
评分这本书,用来纪念5分的伍尔夫,2分的简·奥斯汀,2分的伊夫林·沃,和1分的作者自己。
评分这本书,用来纪念5分的伍尔夫,2分的简·奥斯汀,2分的伊夫林·沃,和1分的作者自己。
评分这里没有罪恶,只有错失,错失不需要忏悔和救赎,因为命运本身无可毁责。(原本的受害者变成凶手,才是真正的冷酷卑劣。)鱼书鸿雁好催泪,尾声精彩,第二部的战时光景可以呼吸感知。【三天可以看完的书,硬拖了一个半月
评分这本书,用来纪念5分的伍尔夫,2分的简·奥斯汀,2分的伊夫林·沃,和1分的作者自己。
评分这本书,用来纪念5分的伍尔夫,2分的简·奥斯汀,2分的伊夫林·沃,和1分的作者自己。
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