Amazon.com In Swiss writer Zoë Jenny's haunting debut novel, The Pollen Room, an absent mother poisons her daughter's world, down to its very air. Always on her way out the door, trailing scarves, hair, and discarded blossoms in her wake, Lucy is so distracted, unmaternal, and alluring that it's hard to say whether she makes things worse for the narrator--her daughter, Jo--when she's around or when she's gone. Jo never gives up hope for Lucy, meaning she gets endlessly pummeled. When Lucy takes off permanently with her lover Alois, abandoning her 5-year-old daughter to the reckless care of her father, Jo must spend nights entirely alone in the house while her father drives a delivery truck. For the adolescent girl, reunited with Lucy in Alois's house after his suspicious death, it is another deeper, fresher hell to watch her mother--at the first sign of recovered energy--begin to plan her escape into the arms of another new man. Jo, to the contrary, can't flee anywhere. She barely gets out of bed. Her landscape, though, is in constant motion--particularly when she's outdoors, or with Lucy. "It would be pretty creepy up here alone at night, don't you think?" I asked her. She looked over at me as if I'd said something completely irrelevant, and suddenly the ground seemed to buck under my feet as if I were riding on the back of an unbroken beast. The sky threatened to open wide, and I felt the hardness of the earth beneath me. I tried to concentrate on the mole under the left corner of Lucy's mouth, but her face broke up into pieces as she leaned over me, peering into my eyes. Translated from the German by Paris Review editor Elizabeth Gaffney, The Pollen Room charts Jo's suffocating life with an uncommon, unflinching eye. Time passes, and Jo's world simply does not rebuild itself. But readers will find their own worlds enlarged by the sustained lyricism and honesty in Zoë Jenny's writing. --Jean Lenihan --This text refers to an out of print or unavailable edition of this title. From Publishers Weekly Abandonment by her mother precipitates a sad and debilitating chain of events for a young girl in this elliptical coming-of-age debut novel published last year to considerable fanfare and sales in Switzerland and Germany. In prose that even in translation is limpid and fresh, Swiss author Jenny begins the first-person narrative as the mother, Lucy, departing her first marriage, leaves kindergarten-age Jo in the care of her father, a publisher of books "no one ever bought." Swiftly, deftly, Jenny captures the loneliness of a young child whose father works at his press all day and drives a delivery truck all night to make ends meet. Fifteen years later, Jo is living with her mother and Alois, an artist. When he dies suddenly, Lucy retreats into his painting studio, gathering flowers from the garden at night and spreading their pollen all over the room. Jo witnesses her mother's mental breakdown and crashes through the studio windows to save her. Lucy refuses her help, and finally runs off with no explanation to an island in the Indian Ocean. Jo is left on her own to find herself, and to find someone to love her. Though lyrical, Jenny's elusively impressionistic style, without surnames, place names and other details, unmoors the narrative. But the emotional melody about Europe's rudderless children rings true and clear. Jenny is an unmistakable descendant of postwar German authors such as Frisch, Durrenmatt and Bachman; the anomie permeating her novel feels familiar. Rather than the depredations of war and its aftermath, however, Jenny describes the ravages of the late 20th century: drugs and raves; AIDS; neglectful, divorced parents; and ersatz culture. In the world that Jenny's characters inherit, a sacred town is razed to build hotels for religious pilgrims and the organ grinder's music comes not from an organ but a CD. Jenny's indictment is powerful and compelling. Agent, Petra Eggers. Foreign rights sold in U.K, France, Italy, Greece, Korea, Norway and the Netherlands. Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title. See all Editorial Reviews
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这本名为《苍蝇之眼》的小说,在阅读之初就带着一种令人不安的沉重感。作者对细节的描摹达到了近乎偏执的程度,仿佛每一个场景都浸透着潮湿和腐朽的气息。故事的主线围绕着一位老侦探对一桩多年前悬案的执念展开,但真正引人入胜的,是那些穿插其中的、关于记忆如何扭曲现实的哲学思辨。我尤其欣赏叙事者如何巧妙地运用环境心理学来烘托人物的内心世界;比如,那栋位于城市边缘,常年被浓雾笼罩的旧公寓,其斑驳的墙皮和吱呀作响的地板,简直就是主角内心焦虑的具象化。读到高潮部分,真相的揭露并非如传统推理小说那般爽快利落,反而像是在迷雾中摸索,每一步都充满了不确定性,留给读者的更多是震撼而非释然。这种处理方式,极大地考验了读者的耐心,但对于那些钟情于氛围营造和心理深度的读者来说,无疑是一场盛宴。书中的人物对话也极为精妙,他们很少直抒胸臆,而是通过沉默、停顿和不经意的肢体语言来传递信息,使得每一次交流都充满了张力。
评分这部名为《橡树下的秘密会议》的乡村小说,完全颠覆了我对“田园牧歌”的固有印象。它的笔触细腻得像夏日午后透过百叶窗洒落的阳光,但在这份温暖之下,却潜藏着令人窒息的保守与偏见。故事围绕着一个封闭小镇上几代人之间的恩怨情仇展开,核心冲突是关于一块世代相传的土地的归属问题。作者的叙事节奏非常缓慢,大量的篇幅用于描绘季节的更迭、农作物的生长,以及镇民们日复一日的重复性生活。起初我感到有些不耐烦,觉得情节推进过于拖沓,但很快我就意识到,这种“慢”正是作者表达主题的手段——那些被时间缓慢冲刷却从未真正愈合的创伤,只有在缓慢的节奏中才能被真正展现。人物塑造方面,镇上的老妇人们的对话尤其精彩,她们的每一句含糊不清的暗示和看似无意义的闲聊,都可能蕴含着决定命运的关键信息。整本书弥漫着一种“无可逃脱”的气息,是对乡土情结中黑暗面的一次深刻解剖。
评分《星河低语者》是一部太空歌剧的杰作,它成功地将宏大的宇宙史诗与个体命运的细微情感交织在一起。我必须承认,开篇的几章因为涉及大量的星系政治结构和高等文明的起源学,阅读起来略显吃力,需要集中精力去消化那些新创的术语和复杂的社会等级体系。但一旦进入主线,那种史诗般的叙事力量就完全抓住了我。作者构建的世界观之宏大,令人叹为观止——从冰冷的机械生命体到拥有集体意识的植物文明,每一种外星种族的设定都经过了精心的生物学和文化学考量,绝非是简单的“人形外星人”的替换。书中关于“信息熵增与文明终结”的探讨,更是触及了科幻文学的核心命题。最让我震撼的是对主角——一位被放逐的星际领航员——的刻画。他的孤独感并非来自物理上的隔离,而是源于他对宇宙真理的洞察,这种“看得太远”带来的哲学上的疏离感,被描绘得既悲壮又美丽。这是一部需要细细品味,甚至需要对照图谱来阅读的作品,但它的回报是巨大的,它能让你重新审视我们在宇宙中的位置。
评分我最近读完的《零点算法师》简直是一场纯粹的智力挑战。这是一部硬核的赛博朋克惊悚小说,它的技术细节密度高到令人头皮发麻。故事背景设定在一个完全由数据流和量子计算驱动的未来都市,主角是一个被植入了能够预测市场波动的“先知芯片”的黑客。这本书的魅力在于,作者没有试图简化那些复杂的编程逻辑或加密技术,而是将其作为叙事本身的一部分,毫不避讳地抛给读者。你几乎需要一边查阅资料一边阅读,才能跟上主角在虚拟空间中与强大公司防火墙进行的“意识对抗”。书中对“自由意志在算法面前的消亡”这一主题的探讨,是极其尖锐和令人不安的。例如,主角试图打破一个早已被计算好的未来轨迹时,系统反馈给他的那种冰冷、无机质的抵抗,读来让人脊背发凉。这本书绝对不适合寻求轻松阅读的读者,但对于那些热衷于探讨技术伦理和信息战的硬核科幻迷来说,它提供了一种前所未有的沉浸式体验。
评分说实话,《潮汐之下的歌谣》的封面设计具有极强的迷惑性,它看起来像是一本柔美的古典诗集,但内容却是一部充满原始生命力的神话史诗。作者显然对古代的海洋信仰和民间传说有着深厚的造诣,全书充满了对水、月亮和潮汐力量的诗意赞颂与恐惧。叙事结构非常松散,更像是一系列碎片化的“见证”集合,由不同的岛民、水手,甚至是一些非人类的生物口述而成。这种多视角的切换,使得故事本身显得有些飘忽不定,缺乏传统意义上的明确情节线索。然而,正是这种破碎感,营造出一种亘古不变的神秘氛围。书中关于“记忆如何在水中得以保存和传递”的描述,富有极强的画面感和象征意义。我最喜欢的部分是描述一位老渔夫如何通过聆听海浪的声音来预知风暴的片段,那种人与自然之间近乎融合的神秘连接,被作者用极其古老和韵律感强的语言捕捉了下来。整本书读下来,仿佛经历了一场漫长而迷幻的梦境,充满着未被驯化的野性之美。
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