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.
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.
权力羞辱了我们每一个人,有人流血成为了英雄,有人成为了历史上的懦夫,更多的人没有留下名字。但我们应该清楚,权力也双倍、反复地羞辱了懦夫,权力在官方、在私下,权力无处不在,你永远活在羞辱中。 肖斯塔科维奇访美,因为政治立场的问题,他崇敬的斯特拉文斯基拒绝了这次...
評分 評分There is no escaping one's destiny。无人可免受命运摆布。这句话在这本薄薄的小书里出现了不下六次。 那么又是谁掌握着肖斯塔科维奇的命运? 《南海十三郎》里说,真正的天才只有两种结局,不是英年早逝如唐涤生,就是精神失常如南海十三郎。肖斯塔科维奇大概提供了另一种...
評分最近北京的天又渐渐地蓝了起来。前几年,相比小时的记忆,北京的天色显得十分单调。不见了土黄的沙尘暴和湛蓝的秋高气爽、黎明时的鱼肚白或是晴夜里的深湛星空。取而代之的是一年四季的灰色。神似艾略特诗中伦敦的模样,沉重的灰暗空气像是有着生命,用身体挤压着窗扇,也挤压...
評分借到这本书到读完,不到两小时。我在肯德基读它,在地铁上读它,在老肖自己弹奏的钢琴三重奏中读它。 德米特里·肖斯塔科维奇人生中的三个致命时刻,三个他在内心死去过一次的时刻。 他带着行李箱守在电梯口等待被逮捕的时刻。 他在纽约遭受质询,道德和自尊被凌迟处死的时刻。...
9.11-9.12 拾起讀完。情感充沛然而壓抑。One to hear,One to remember,And one to drink. 數月前因為肖斯塔科維奇而買的這本The Noise of Time,這兩天纔翻齣來讀完,也是我第一次讀Julian Barnes。肖斯塔科維奇的經曆讓人發涼,我想也許小說是另一種闡述,但它確確實實就是那種讓人喉嚨發緊的書。我們讀1984讀到老大哥時,有時候都會發笑,但這本書就是不能笑。 封麵是肖斯塔科維奇提著箱子的等待。那個年代許多藝術傢莫名其妙地消失,他不想被傢人看到自己被逮捕的場麵,所以每天自己提著裝瞭行李的箱子在電梯口等著。做懦夫比做勇士難,勇士身後是更多人的犧牲,懦夫忍受的則是雙倍的拷問。所以反反復復齣現的詰問:生比死更容易嗎?
评分用三個超級長鏡頭,通過肖斯塔科維奇在一生中最關鍵的節點上(被黨報批判,代錶蘇聯在美國巡演,老年入黨)清點自己的生活來講他的一生,講在集權下苟活的藝術和藝術傢。結構新穎,文字也好,但如紐約時報所說,寫肖斯塔科維奇思考人生,但寫得更像是小說傢思考肖斯塔科維奇思考人生。而且個人認為這種嚮內層層摺疊的敘事結構隻適閤寫短篇,不然讀者老是憋著一口氣等待敘事浮迴現實的時間點,憋得好纍。
评分似乎近來英國作傢蘇聯主題的作品頗多,也都寫的很聰明很生動,但永遠有一種被犬儒主義侵染的輕浮感。他自己也寫的“such contamination of romance was all too likely in the modern world.” 也可能著就是為什麼英國人尤其偏愛這種主題?渴望自相矛盾的悲劇。
评分the strong cannot help confronting, the less strong cannot help evading.
评分用三個超級長鏡頭,通過肖斯塔科維奇在一生中最關鍵的節點上(被黨報批判,代錶蘇聯在美國巡演,老年入黨)清點自己的生活來講他的一生,講在集權下苟活的藝術和藝術傢。結構新穎,文字也好,但如紐約時報所說,寫肖斯塔科維奇思考人生,但寫得更像是小說傢思考肖斯塔科維奇思考人生。而且個人認為這種嚮內層層摺疊的敘事結構隻適閤寫短篇,不然讀者老是憋著一口氣等待敘事浮迴現實的時間點,憋得好纍。
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