After her award-winning trilogy of Victorian novels, Sarah Waters turned to the 1940s and wrote THE NIGHT WATCH, a tender and tragic novel set against the backdrop of wartime Britain. Shortlisted for both the Orange and the Man Booker, it went straight to number one in the bestseller chart. In a dusty post-war summer in rural Warwickshire, a doctor is called to a patient at Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house, once grand and handsome, is now in decline, its masonry crumbling, its gardens choked with weeds, the clock in its stable yard permanently fixed at twenty to nine. But are the Ayreses haunted by something more sinister than a dying way of life? Little does Dr Faraday know how closely, and how terrifyingly, their story is about to become entwined with his. Prepare yourself. From this wonderful writer who continues to astonish us, now comes a chilling ghost story.
Sarah Waters, 35, was born in Pembrokeshire, South West Wales, United Kingdom. She studied English Literature at the undergraduate and postgraduate levels, at the universities of Kent and Lancaster. As a student she lived for two years in Whitstable, the sea-side town—famous for its oysters—in which her first novel, Tipping the Velvet, is partly set. In 1988 she moved to London; her first full-time job was in an independent bookshop; later she worked in public libraries. In 1991 she decided to return to postgraduate study, and she spent the next three years writing a Ph.D. thesis, on lesbian and gay historical fiction. She developed a daily writing routine, and a passion for language and composition. She had articles on gender, sexuality, and history published in various scholarly journals, including Feminist Review, Journal of the History of Sexuality, and Science as Culture.
But while working on her thesis, and becoming increasingly interested in London life of the nineteenth century, Waters began to conceive the historical novel that would become Tipping the Velvet. With the thesis complete, and supporting herself with bits of teaching and part-time library work, she started to write. The novel was finished in just over a year, and was published in the U.K. by Virago (1998) and in the U.S. by Riverhead (1999). The BBC is in the process of adapting the book into a major series with director Andrew Davies, who also directed the BBC’s adaptation of Jane Austen’s Pride and Prejudice and Anthony Trollope’s The Way We Live Now.
By 1991, Waters had already begun her second novel, Affinity. This was completed with help from a London Arts Board New London Writers Award, and appeared in the U.K. in 1999 and in the U.S. in 2000. Waters taught for a time for the Open University, a national educational institution offering undergraduate schooling to mature students from a range of social backgrounds. She has also tutored on creative writing programs. She published articles on literature as recently as 1999, but now devotes herself full time to the writing of fiction. Her third novel, Fingersmith, was completed in 2001, and she is currently at work on her next book. She still lives in London, a city she finds endlessly inspiring; but she dreams, too, of returning to a life by the sea.
Sarah Waters made the Granta list for 2003.
莎拉沃特斯的每一本小说都在创造新的惊喜;《小小陌生人》是她的第五本创作,也是迄今为止唯一一本与同性恋题材无关的小说,因为它是献给莎拉父母的作品。烂木头初看介绍以为这是一本和《林先生的孙女》差不多的温馨小册子,谁知到手竟是500+的巨著。我就知道,莎拉出品,必属...
評分《小小陌生人》,既不浮夸,也不波澜壮阔,仿似BBC中的英国乡间,即细腻又迷蒙,充满了人文关怀和神秘气氛。 故事元素都是大众熟悉的幽灵现象、心理幻觉、古宅、爱情,可它并没有按照同类型小说套路来拼贴,整个故事,几乎等同于医生的感官日记,“看到”他所看,“听到”...
評分個人不太喜歡!!
评分看完這個“驚訝”的結局,感覺被小陌生人扇瞭一巴掌…撇開核心說一句,華老師對BG的感情描繪也真叫純熟鋒利。看“我”和Caroline吵架,幾頁前我還心想“卡洛琳你就放下吧“幾頁後我就成瞭“Faraday pls move on”…語言通俗但依然幾處的刻畫都極具渲染力。還有幾處明顯的(如最後對taint的解讀)對文學評論(診斷)的戲仿,而整本書也是反偵探小說模式(完全不是FS式的敘事)的,用pre-modern的布景對post-modernism做瞭一番展示。(再次說明故事越難讀拔高的空間越大(再也不相信Man Booker Shortlist瞭
评分還不錯,讀到中間真的被嚇得隻敢白天看。。。
评分連夜馬不停蹄的讀完,簡直欲罷不能,這是一個充滿糾纏氛圍陰冷哀傷久久無法釋懷的鬼故事,ghost得那麼透徹,淒涼,氛圍描寫非常到位。
评分看完這個“驚訝”的結局,感覺被小陌生人扇瞭一巴掌…撇開核心說一句,華老師對BG的感情描繪也真叫純熟鋒利。看“我”和Caroline吵架,幾頁前我還心想“卡洛琳你就放下吧“幾頁後我就成瞭“Faraday pls move on”…語言通俗但依然幾處的刻畫都極具渲染力。還有幾處明顯的(如最後對taint的解讀)對文學評論(診斷)的戲仿,而整本書也是反偵探小說模式(完全不是FS式的敘事)的,用pre-modern的布景對post-modernism做瞭一番展示。(再次說明故事越難讀拔高的空間越大(再也不相信Man Booker Shortlist瞭
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