From Publishers Weekly With this madcap sophomore outing, after 2001's Edgar-nominated Gun Monkeys, Gischler challenges Kinky Friedman for top slot in the zany noir subgenre of mystery fiction-and for sheer mayhem and body count momentum, Gischler may triumph. Itinerant poetry teacher Jay Morgan is one semester into a short-term contract as a visiting professor at Eastern Oklahoma University when he wakes up with that time-honored mystery cliche, a dead girl in his bed. Before he can react-before, actually, he realizes she's dead-he's called into the office of the dean and handed the unenviable assignment of editing the poetry of crusty old Fred Jones, a major donor to the campus literary magazine. For Morgan, who loathes amateur poets, this is pretty bad news. Jones is just as dismayed with his new editor's appearance ("Is this guy on the dope? Don't saddle me with no dopehead"). But Jones has surprising skills: he quickly takes care of Morgan's corpse problem and, you guessed it, he turns out to be one hell of a poet. Besides the dead girl, there are a number of other comic plot threads: a street thug with a bag of stolen dope assumes the identity of one of his victims and attends the university as a poetry graduate student; an undergrad reporter writing a story on Morgan quickly drags him into bed; and the bad guy owner of the stolen dope rolls into town bent on revenge. Gischler deftly weaves together these elements and more and comes up with plenty of laughs (and an equal number of groaners), all imbedded within a small war's worth of bullets and blood. This is a far-fetched but fast and viciously enjoyable read.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Booklist In his acknowledgments, Gischler reassures his colleagues at Rogers State University that the oddball characters who populate his fictional Eastern Oklahoma University are not based on them. Considering the drunks, dopers, phonies, and weirdos he portrays, Rogers State personnel will be happy to believe him. This offbeat, implausible, black-humored, thoroughly enjoyable tale concerns visiting professor Jay Morgan and drug lord Harold Jenks, who is posing as a poetry grad student. Morgan, who has no qualms about sleeping with students, finds one dead in his bed. When Ginny, another student, witnesses Morgan's cover-up of the crime, she is happy to keep quiet--as long as she can be Morgan's new bedmate. A strange old man helps Morgan bury the dead girl and promises to help him--providing Morgan evaluates his poetry. Meanwhile, poseur Jenks finds himself one of Morgan's students. With all its goofiness, the story manages to generate a surprising level of suspense, as bad guys come after Morgan and Jenks. Slightly over the top, perhaps, but an utterly entertaining foray into a very bent version of academia. Jenny McLarinCopyright © American Library Association. All rights reserved See all Editorial Reviews
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说实话,我拿到这本书时,其实是带着一点怀疑的,毕竟近代的文学作品中,太多打着“实验性”旗号的作品最终沦为故作高深的文字堆砌。然而,这本书的独特之处在于,它虽然在结构上看似松散,充满了大量的间隙和留白,但其核心的逻辑和情感线索却异常坚韧。作者非常擅长运用“未尽之言”的力量。很多重要的对话和冲突,往往在最高潮的地方戛然而止,或者仅仅通过一个眼神、一个动作来暗示其全部的重量。这种处理方式极大地激发了读者的参与感和想象力,我们被迫跳入文本的空白处,用自己的经历和解读去填补那份缺失。这使得每个读者对这本书的理解都带有极强的个人印记。我常常读完一个章节后,需要合上书本,在脑海中反复重构刚才发生的事件,试图去捕捉那些被刻意省略掉的因果链条。这种“智力上的共谋”感,是很多平铺直叙的作品所无法比拟的,它让阅读过程变成了一场主动的、高强度的智力探索。
评分这本书的语言风格,坦白地说,有一种近乎傲慢的疏离感。它很少试图去拉近与读者的距离,几乎没有那些安慰性的、引导性的词句来确保你的理解。作者仿佛站在一个极高的瞭望台上,冷眼旁观着他笔下人物的挣扎与沉浮,并将这些观察以一种近乎科学报告般的精确度记录下来。这种冷峻的叙述视角,使得人物的悲剧性更显得无可避免和具有普遍性。我不是说它没有情感,恰恰相反,正是因为这种极度的克制和理性,当一丝微弱的人性光辉或痛苦的情感流露时,其冲击力反而成倍增加。它拒绝用煽情的方式来强迫你共情,而是通过精准的细节描摹,让你自己得出结论。这种对读者情感自主权的尊重,是我在当代文学中非常欣赏的一种态度。它不给你喂食,而是给你原材料,让你自己去烘焙属于你自己的阅读体验,这种成熟的姿态,让这本书在我的书架上占据了一个非常特殊的位置。
评分我花了将近一周的时间才勉强读完前三分之一,主要原因在于它的叙事节奏,简直像是在用一种极慢的、近乎冥想的方式展开故事。每一个场景的切换都显得异常缓慢而审慎,大量的内心独白和对环境的细致捕捉,几乎占据了文本的半壁江山。这对于习惯了快节奏叙事的现代读者来说,无疑是一种挑战,但如果你愿意放慢脚步,你会发现其中蕴含的巨大信息量。作者似乎对“时间”这个概念有着独特的理解,他似乎并不急于推动情节发展,而是热衷于在每一个微小的瞬间中挖掘出人性的复杂性和环境的微妙张力。举个例子,书中描述主角在一家老式咖啡馆等待某人的场景,光是那杯咖啡的温度、窗外行人的衣着、桌面上光线的移动,就被拆解分析了数页之久。这种写法,与其说是小说,不如说更像是一种高度提炼的、充满哲思的散文诗。它要求读者必须全神贯注,任何一次走神都可能导致错过一个关键的情感转折点,或者理解错一个看似无关紧要的物件符号。
评分这本书最让我印象深刻的是其对“声音”的描绘能力。我发誓,在阅读过程中,我能真切地听到那些文字所暗示的声响。无论是城市深夜里远方传来的警笛声,还是老旧留声机播放时偶尔出现的细微杂音,作者都将其精准地捕捉并转化为了文字。他不是简单地写“他听到了声音”,而是通过一系列复杂的感官描述,让声音有了重量、有了质地、甚至有了情绪。这不仅仅是文学技巧的炫耀,更是构建世界观的关键一环。通过声音的层次感,作者成功地将一个相对封闭的叙事空间拓宽到了无限之外。我甚至能感受到那些声音对主角心理状态的潜移默化影响——那些低沉的嗡鸣声,是如何一点点磨损他的耐心,而突然爆发的尖锐噪音,又是如何成为他情绪的导火索。这种将听觉体验视觉化的写作手法,极具颠覆性,也让我开始重新审视自己日常生活中那些被忽略的声音细节。
评分这本书的封面设计简直是艺术品,那种复古的字体搭配着一张略显斑驳的黑白照片,瞬间把我拉回到那个烟雾缭绕、爵士乐低沉的年代。我不得不说,光是这份装帧和排版,就已经值回票价了。内页纸张的质感也处理得恰到好处,不是那种廉价的亮面纸,而是带着微微粗砺感的米白纸张,让阅读成为一种触觉上的享受。作者在文字的选择上极为考究,每一个词汇都像是经过精心打磨的宝石,闪烁着独特的光芒。读起来,我能清晰地感受到那种对语言艺术的极致追求,仿佛每一句话都不是随随便便写下的,而是深思熟虑后的精妙布局。尤其是那些用来描绘场景的段落,那种细腻入微的笔触,让人仿佛能闻到空气中弥漫的旧皮革和墨水的味道。这本书的作者显然是一位对美学有着深刻理解的人,这种对细节的执着,使得整本书从视觉到文本都散发着一种高级的、内敛的魅力。它不像某些畅销书那样追求直白的冲击力,而是更倾向于营造一种沉浸式的、需要慢慢品味的氛围,像一杯陈年的威士忌,需要时间去体会它复杂而悠长的回甘。
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