The BBC National Short Story Award 2017

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出版者:Comma Press
作者:Benjamin Markovits
出品人:
页数:144
译者:
出版时间:2017-11-1
价格:0
装帧:Paperback
isbn号码:9781910974353
丛书系列:
图书标签:
  • WillEaves
  • ShortStories
  • JenniFagan
  • HelenOyeyemi
  • Fiction
  • CynanJones
  • BenjaminMarkovits
  • 短篇小说
  • 文学奖
  • 英国文学
  • BBC
  • 小说集
  • 当代文学
  • 短篇故事
  • 文学
  • 奖项
  • 2017
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具体描述

There is in the short story, at its most characteristic, something we do not often find in the novel, Frank O’Connor wrote, "an intense awareness of human loneliness." The stories shortlisted for the BBC National Short Story Award with BookTrust 2017 all feature characters that are disconnected, willingly or unwillingly, from those around them: a mysterious out-of-towner is shunned by her new colleagues; a grieving husband retreats into his old compulsion for hoarding; a promising academic risks his career for a casual liaison with a younger man. And whether we follow the characters’ need to be alone – like the fisherman drifting dangerously far from shore – or trace it back to its root – like the daughter burying her violent father – what we find there is always unexpected. This year’s shortlist was selected by authors Eimear McBride, Jon McGregor and Sunjeev Sahota, as well as BBC Radio’s Di Speirs and acclaimed novelist Joanna Trollope who chaired the panel and introduces the collection.

作者简介

Benjamin Markovits grew up in Texas, London, Oxford and Berlin. He has published seven novels, including Either Side of Winter, about a New York private school, and a trilogy on the life of Lord Byron: Imposture, A Quiet Adjustment and Childish Loves. His most recent novel, You Don't Have To Live Like This, about an experimental community in Detroit, won the James Tait Black Prize for Fiction in 2015. He won a Pushcart Prize for his short story Another Sad, Bizarre Chapter in Human History. Granta selected him as one of the Best of Young British Novelists in 2013.

Cynan Jones is the author of five novels, The Long Dry, Everything I Found on the Beach, The Dig, Bird, Blood, Snow and Cove. His work is widely translated, and short stories have appeared on BBC Radio 4 and in a number of anthologies and publications including Granta Magazine and The New Yorker. He also scripted an episode of the television crime drama Hinterland. He has won a Betty Trask Award, the Wales Book of the Year Fiction Prize, and a Jerwood Fiction Prize, and a chapter of The Dig was shortlisted for the Sunday Times EFG Private Bank Short Story Award in 2013. His latest novel Cove is currently longlisted for the Europese Literatuurprijs (in the Netherlands).

Helen Oyeyemi is the author of several highly acclaimed novels, including The Icarus Girl (2005); The Opposite House (2007); White is for Witching (2009), which won a Somerset Maugham Award and was a Shirley Jackson Award finalist; Mr Fox (2011) and Boy, Snow, Bird (2014), which was a finalist for the Los Angeles Times Book Prize. Her short story collection, What is not yours is not yours was published in 2016 and won the PEN Open Book Award. Helen was selected as one of Granta's Best Young British Novelists in 2013. She studied social and political sciences at Corpus Christi, Cambridge.

Will Eaves was the Arts Editor of the Times Literary Supplement from 1995 to 2011. He teaches in the Writing Programme at the University of Warwick. He is the author of four novels: The Oversight ( 2001; shortlisted for the Whitbread - now Costa - First Novel Award), Nothing To Be Afraid Of (2005; shortlisted for the Encore Award), This Is Paradise (2012), and The Absent Therapist ( 2014; shortlisted for the Goldsmiths Prize); and two collections of poetry: Sound Houses ( 2011) and The Inevitable Gift Shop ( 2016; shortlisted for the Ted Hughes Award for New Work in Poetry).

Jenni Fagan has been nominated for the Pushcart Prize and was shortlisted for the Dundee International Book Prize, the Desmond Elliott Prize, and the James Tait Black Prize for her debut novel The Panoptican (2012). In 2013, she was selected as one of Granta's Best Young British Young Novelists and appointed as a writer-in-residence at the University of Edinburgh.

目录信息

Introduction by Joanna Trollope
The Collector by Benjamin Markovits
The Edge of the Shoal by Cynan Jones
If A Book is Locked There's Probably a Good Reason for That, Don't You Think? by Helen Oyeyemi
Murmur by Will Eaves
The Waken by Jenni Fagan
· · · · · · (收起)

读后感

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总的来说,这本书像是一个精心策划的文学品鉴会,每一位作家都带来了自己最拿手的“菜肴”,风格迥异,但都达到了极高的水准。你不会在其中找到任何一篇可以被轻易归类或预测的故事走向,这种不可预测性正是它的迷人之处。它涵盖了从极度写实到略带魔幻现实的各种笔触,有对亲密关系中微妙张力的细腻解剖,也有对宏大历史叙事中小人物命运的深情回望。阅读它的过程就像是进行一场快速却又深刻的旅行,在短时间内体验了不同的人生切面和情绪波澜。对于任何热爱文学、渴望探索当代写作前沿的读者来说,这绝对是一份不容错过的收藏品。它不仅展示了故事的力量,更重要的是,它展示了语言作为载体所能达到的无限可能性,每一次翻页,都是一次对未知阅读领域的勇敢探索。

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阅读这批入围或获奖的故事集,我最大的感受是,现代短篇叙事已经进化到了一个非常成熟且令人兴奋的阶段。这里的文字不再是单纯的讲述故事,而更像是在进行一种精密的实验,探索语言和情感的边界。有几篇作品的结构设计极其巧妙,它们挑战了传统的线性叙事,通过非线性的时间跳跃、多重视角的切换,构建起一种迷宫般的阅读体验。每一次以为自己抓住了故事的脉络,作者又会突然抛出一个意想不到的转折,让你不得不重新审视之前的所有判断。其中一篇涉及家庭秘密的作品,其叙事密度之高令人咋舌,信息碎片被巧妙地散落在对话、环境描写甚至是人物的内心独白之中,需要读者全神贯注地去拼凑,这种需要主动参与的阅读过程,极大地提升了阅读的沉浸感和智力上的满足感。它不是那种可以让你边喝咖啡边随便翻翻的书,它要求你放下一切干扰,全身心地投入到作者构建的这个精妙的文字迷宫中去。那些隐藏在字面之下的潜台词和象征意义,更是值得反复琢磨,每次重读都会有新的领悟。

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这本合集简直是一场文字的盛宴,让我仿佛置身于一个又一个精心雕琢的微观世界。翻开书页,首先被吸引的是那种扑面而来的、鲜活的生命力。故事的开篇往往就带着一种不容置疑的引力,作者们似乎都深谙如何用最简洁的笔触勾勒出复杂的人性图景。我尤其欣赏其中几篇对于日常细节的捕捉,那种细腻到近乎苛刻的观察,让那些原本平淡无奇的场景瞬间焕发出奇异的光彩。比如,有一篇关于一个老人在自家后院整理工具的故事,通过他对每一把生锈铁锹的爱惜和对苔藓生长的叹息,读者能真切地感受到时间在个体生命中留下的深刻烙印,那种对逝去时光的追忆和对当下宁静的珍惜,在字里行间流淌,情感的张力把握得恰到好处,没有丝毫矫揉造作,纯粹而有力。每一篇短篇小说都像是一颗打磨光滑的鹅卵石,握在手中能感受到它独特的温度和质地,读完后回味无穷,仿佛自己也参与了故事中人物的命运沉浮。这种多样性是短篇集最大的魅力所在,它提供了一种即时满足感,却又留下悠长的回响,让人迫不及待地想知道下一篇又会带来怎样的惊喜。

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那些关于社会议题的描绘,更是展现了这批作品的锐度和深度。它没有采用那种说教式的、大张旗鼓的批判,而是通过极其个人化和微观的视角,不动声色地揭示出宏大背景下个体所遭受的挤压与异化。例如,有一篇描绘了在快速城市化进程中,一个社区被拆迁前夕人们的微妙心态,那种对“家园”这个概念的复杂情感——既有对新生活的期盼,又有着对失去根基的无助恐慌——被描绘得入木三分。作者精准地捕捉到了那种介于希望与绝望之间的灰色地带,那不是简单的正义与邪恶的对抗,而是复杂人性在时代洪流中的真实反应。文字的质感冷峻而克制,却蕴含着巨大的情感能量,如同平静的水面下涌动的暗流。它让你思考的不是“应该如何”,而是“我们正在如何失去”,这种直击人心的力量,远比任何宏大叙事来得更具冲击力,让人在合上书本之后,依然能清晰地感受到那些被时代洪流裹挟的个体的悲哀与坚韧。

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从纯粹的文学技艺角度来看,这本选集堪称是当代英语文学创作水平的一个缩影。很多作者在语言的运用上达到了出神入化的境界,他们对词汇的选择、节奏的把控,简直是教科书级别的示范。有几篇作品的散文诗般的风格,那种句子结构的长短交错,仿佛是音乐的起伏,读起来具有一种独特的韵律美。我尤其对那些在对话中展现人物性格的篇章印象深刻,那些看似寻常的日常对话,却充满了试探、误解与未说出口的爱意或敌意,每一句停顿和每一个省略号都似乎经过了精密的计算。这种对语言肌理的极致打磨,让故事的阅读体验从“看”变成了“听”,你几乎能“听见”人物的呼吸和心跳。这种对“如何说”的执着,丝毫不妨碍故事的流畅性,反而使之更具张力和感染力,证明了优秀的短篇小说可以在极度浓缩的篇幅内,完成史诗般的复杂度和美感。

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就那麼回事吧 5/10. Helen Oyeyemi那篇-is it eloquence that makes you people believe things?//The waken-Scotland某"傳統": 開窗但把廚房裡的椅子移走這樣spirit有路可回不會生氣但就算回來也沒地方坐2333333 (沒查到但感覺有點搞笑

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就那麼回事吧 5/10. Helen Oyeyemi那篇-is it eloquence that makes you people believe things?//The waken-Scotland某"傳統": 開窗但把廚房裡的椅子移走這樣spirit有路可回不會生氣但就算回來也沒地方坐2333333 (沒查到但感覺有點搞笑

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就那麼回事吧 5/10. Helen Oyeyemi那篇-is it eloquence that makes you people believe things?//The waken-Scotland某"傳統": 開窗但把廚房裡的椅子移走這樣spirit有路可回不會生氣但就算回來也沒地方坐2333333 (沒查到但感覺有點搞笑

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就那麼回事吧 5/10. Helen Oyeyemi那篇-is it eloquence that makes you people believe things?//The waken-Scotland某"傳統": 開窗但把廚房裡的椅子移走這樣spirit有路可回不會生氣但就算回來也沒地方坐2333333 (沒查到但感覺有點搞笑

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就那麼回事吧 5/10. Helen Oyeyemi那篇-is it eloquence that makes you people believe things?//The waken-Scotland某"傳統": 開窗但把廚房裡的椅子移走這樣spirit有路可回不會生氣但就算回來也沒地方坐2333333 (沒查到但感覺有點搞笑

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