From Publishers Weekly Adopting the voice of a sensitive girl approaching adolescence, Wayland (It's Not My Turn to Look for Grandma!) fashions a sequence of poems unfolding over the course of a school year. The speaker takes on such topics as kissing games, crushes and close relationships ("Leslie sprinkles my path/ with wonders/ under the grin/ of the moon"). Toward the end of the collection, she shares the excitement of having her first poem published ("I woke up early,/ my body buzzy/ like a playground ball boing-ing down a long hallway"). While Wayland essentially captures the truth of the age, the poems themselves are uneven. Memorable images and sweet sentiments coexist with well-worn observations (addressing her older sister, the narrator says, "I still sometimes/ want to be you./ Did you/ ever want to be/ me?") and some preciousness ("Carlo plays cello. He's mellow./ Frank's full of drama and trauma." While the novel-in-verse format has been more effectively deployed elsewhere (e.g., Sonya Sones's What My Mother Doesn't Know or Virginia Euwer Wolff's Make Lemonade and True Believer), this work succeeds in making reading and writing poetry more accessible to teens who may otherwise find these tasks intimidating. Wayland's endnote includes specific suggestions for writing and submitting poems, noting that her Web site lists places where young writers can get published. Final artwork not seen by PW. Ages 12-up.Copyright 2002 Cahners Business Information, Inc. --This text refers to an out of print or unavailable edition of this title. From School Library Journal Grade 7-9-This "novel in poems" covers the school year of a girl who is young enough to be shaving her legs for the first time but old enough to be learning how to kiss. Between fall and spring, she goes from an imaginary boyfriend to a real one to the loss of that boyfriend: "-all the space in the world/wouldn't be enough for him/and as close as he could ever come to me/would never/be close enough for me." From the humiliation of getting the "Susie Spineless Award" at the drama party to the exhilaration of having a poem published in a magazine, the unnamed heroine is a girl in transition, with all the intensity of emotion associated with adolescence. Readers will relate to her boredom in school: "Fed up with this dull/class, my mind pecks open its/cage and flies away." Other observations are more personal. Wayland remembers this time of life well; in fact, some of the poems are based on her own journals. She uses simple language in a graceful yet direct way. Readers will also find the book's compact size and sophisticated mixed-media illustrations on most pages appealing. Similar in form to Sonya Sones's Stop Pretending (HarperCollins, 1999), this is a quieter, more episodic, and perhaps more universal tale.Lauralyn Persson, Wilmette Public Library, IL Copyright 2002 Reed Business Information, Inc. --This text refers to the Library Binding edition. See all Editorial Reviews
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第一段: 这部小说的开篇简直像一记闷棍,让人措手不及。作者似乎对人物的内心世界有着近乎残忍的洞察力,每一个微小的犹豫、每一次不经意的眼神交流,都被细致入微地捕捉并放大。故事的节奏把握得非常巧妙,初期看似平缓,实则暗流涌动,大量的环境描写和环境对人物心理的影响构成了叙事的主体。我尤其喜欢那种弥漫在字里行间的淡淡的、难以言喻的忧郁感,它不是那种直白的悲伤,更像是一种对逝去时光的怅惘,挥之不去。阅读过程中,我常常需要停下来,反复咀嚼那些看似简单却意味深长的对话。叙述者的视角在不同角色间游走,却又保持着一种疏离的观察者的姿态,这使得我们既能深入体验角色的挣扎,又能保持一定的客观距离去评判他们的选择。那种对人性复杂性的毫不避讳的展现,让人在合上书页后,仍久久无法从那种氛围中抽离出来,感觉自己也一同经历了那段充满迷雾的旅程。
评分第二段: 说实话,一开始我有点被这书的文风“劝退”了,它不像我惯常阅读的那些情节驱动型小说那样直奔主题。这里的“情节”更像是一种由无数细小事件串联起来的有机体,你得有耐心去等待那些看似不相关的碎片最终拼凑出一个令人震撼的全貌。作者的句法结构常常出人意料,长句多用排比和嵌套,读起来有点像在品尝一种需要细细咀嚼的陈年佳酿,初品可能觉苦涩,但回甘悠长。我特别关注了其中关于“选择与后果”这一主题的处理方式,它没有给出简单的道德判断,而是呈现了无数个灰色地带。那些人物的动机往往是多重的,甚至是互相矛盾的,这才是真实生活的写照。这本书的伟大之处在于,它迫使读者参与到意义的构建中来,你不能只是被动地接受故事,而是必须主动地去寻找隐藏在文字背后的逻辑和情感的锚点。
评分第四段: 这本书给我最大的启发在于其对“时间感”的颠覆性处理。它不是线性的叙事,而是像打碎的镜子一样,在不同的时间点之间自由跳跃,过去、现在、甚至是一种假设的未来,都在同一页纸上相互叠加、相互映照。起初,这种跳跃让人感到困惑,需要极强的专注力来梳理脉络。但一旦适应了这种节奏,你会发现作者的用意所在——他想表达的是,我们的记忆和身份本身就是由这些碎片化的时间点构成的,过去从未真正过去。特别是书中反复出现的几个象征性物品或意象,每一次在不同时间线中出现,其意义都会发生微妙的偏移和深化,形成了一个极其精密的语义网络。这种叙事技巧的高超之处在于,它成功地模拟了人类大脑处理复杂经验的方式。
评分第五段: 抛开那些高深的文学技巧不谈,这本书的魅力也源于它对“沉默”的深刻挖掘。很多时候,最重要的信息并非通过对话传达,而是通过角色选择不说什么、选择如何回避某个问题来体现的。作者非常擅长构建这种“言语的空缺”,让读者去填补那些被刻意压抑的情感和真相。这种“留白”的手法,使得书中的张力始终保持在一种高频振动的状态,你总觉得下一秒就会有爆炸性的揭示,但这种揭示往往是以一种近乎无声的方式发生的。我特别喜欢那种人物之间心照不宣的理解与隔阂并存的状态,它揭示了人际关系中最微妙也最难以言喻的部分——我们如何努力与他人连接,又如何不可避免地孤独着。这是一本需要细读、慢品,并且值得反复回味的深度作品。
评分第三段: 我必须赞扬一下这本书的场景描绘能力,简直是教科书级别的。它不是那种大开大合、光影斑驳的视觉冲击,而是对日常场景进行了一种近乎哲学的解构。比如对一间老旧公寓里光线如何随着下午的推移而缓慢变化,对某种特定气味(比如旧书和潮湿木头的混合味)的捕捉,都精准到让人仿佛能身临其境地感受到那种空间的重量和历史的沉淀。这种沉浸感建立起来后,人物的情感变化就显得格外真实可信,他们的痛苦和喜悦不再是悬浮的,而是深深根植于他们所处的物理环境之中。这种处理方式让我想起一些欧洲的文学大师,他们擅长用空间来隐喻角色的精神困境。读完后,我甚至对自家窗外那片熟悉的街景产生了全新的、带着某种忧伤色彩的观察角度。
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