In 1936, Shostakovitch, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, executed on the spot), Shostakovitch reflects on his predicament, his personal history, his parents, various women and wives, his children—and all who are still alive themselves hang in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for decades to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party and compelled, constantly, to weigh appeasing those in power against the integrity of his music.
Barnes elegantly guides us through the trajectory of Shostakovitch's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant exploration of the meaning of art and its place in society.
Julian Patrick Barnes is a contemporary English writer of postmodernism in literature. He has been shortlisted three times for the Man Booker Prize--- Flaubert's Parrot (1984), England, England (1998), and Arthur & George (2005), and won the prize for The Sense of an Ending (2011). He has written crime fiction under the pseudonym Dan Kavanagh.
Following an education at the City of London School and Merton College, Oxford, he worked as a lexicographer for the Oxford English Dictionary. Subsequently, he worked as a literary editor and film critic. He now writes full-time. His brother, Jonathan Barnes, is a philosopher specialized in Ancient Philosophy.
He lived in London with his wife, the literary agent Pat Kavanagh, until her death on 20 October 2008.
谈到英国小说家朱利安·巴恩斯,普通读者和尖刻的评论家首先会想到的一个词是:聪明。这不仅仅指巴恩斯总能带给人新鲜的感觉(特别是在小说内容趋向同质化的今天),而且还在于巴恩斯似乎总能找到最贴切的叙述方式,更不用提语言的精炼和美感,以及层出不穷的金句。从《福楼拜...
评分这本书的叙事方式,对我而言是比较陌生的。我记得大概在GXJ的一些片断里有过这样的感觉,一种游离在事件之外冷眼旁观,以一种思想演进的方式来推进情节。 反而前苏联的历史背景显得模糊了。 肖斯塔科维奇这样一个人物,和我想象的处在那样政治高压的情况下的人的表现不太一样。...
评分 评分 评分1)不愧是Magdalen毕业的 2)全书最喜欢第二部分结尾写Western hypocrites的部分 3)想知道作者如何这么了解‘恐惧’
评分用三个超级长镜头,通过肖斯塔科维奇在一生中最关键的节点上(被党报批判,代表苏联在美国巡演,老年入党)清点自己的生活来讲他的一生,讲在集权下苟活的艺术和艺术家。结构新颖,文字也好,但如纽约时报所说,写肖斯塔科维奇思考人生,但写得更像是小说家思考肖斯塔科维奇思考人生。而且个人认为这种向内层层折叠的叙事结构只适合写短篇,不然读者老是憋着一口气等待叙事浮回现实的时间点,憋得好累。
评分苏黎世转机买的,飞机上读完。字词考究、机智揶揄,写的畅快淋漓全是反话,有一种天啊你居然懂哎!之感,想笑之余想想哑然。黑了很多人包括苏联首长、萨特、美国人道主义者,哲思议论精彩、想法叙述可信,但没有感受那么深切的心理折磨,一需要写心理就有点抽离开始抒情。可能作者也不能够relive那种痛苦吧。总觉这种介于传记和小说之中的文体再那么一抒情就有点像同人文????
评分或许我正活在一个很适合读这本书的年代 像做梦一样 刹不住车
评分1)不愧是Magdalen毕业的 2)全书最喜欢第二部分结尾写Western hypocrites的部分 3)想知道作者如何这么了解‘恐惧’
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