From Publishers Weekly Distinguished plastic surgeon Trevor Lucas may not be guilty of the four murders he stands accused of, as Ablow's gruesome psychological thriller opens, but he has clearly lost his mind, claiming that his right arm is controlled by Satan. Frank Clevenger, hero of Ablow's first novel, Denial, and consulting forensic psychiatrist to the Massachusetts police, is well aware of Lucas's innocence, since he framed him to save their mutual lover, the pathologically jealous but pitiable Kathy Matheson. Kathy's four victims were Lucas and Clevenger's other sexual partners, including the woman who was Frank's real love, but he sees Kathy only as a victim, since she was raped by her father as a child. When Lucas takes control of the hospital ward where he is being held, cuts off his arm and begins mobilizing the criminally insane inmates to assist him in vivisecting their fellow patients and members of the hospital staff, Clevenger makes a foray into the grisly ward and convinces the state police to hold off their assault on the hospital for 24 hours so he can delve into Lucas's past to discover the roots of his trauma. Astonishingly, the cops agree, and Clevenger is off to Baltimore, Lucas's hometown. Along the way, ponytailed Clevenger scores heroin, falls in love with a prostitute and continues to affirm that criminals with difficult childhoods are not responsible for their actions. Pockmarked with paeans to the spiritual and evangelical powers of modern psychotherapy, the narrative leaps from one far-fetched scene to the next as Ablow erects the thin framework for a tale lavishly laced with sex and violence. Loose ends dangle at the conclusion, suggesting that this may not be the last readers hear of the adventures of the troubled Dr. Clevenger. (Sept.) FYI: Forensic psychiatrist Ablow is a practicing psychiatrist specializing in violence. Copyright 1999 Reed Business Information, Inc. From Library Journal In this repulsive sequel to Denial, Ablow gives us a thriller that doesn't thrill. Still riddled with guilt as a result of the events in Denial, Frank Clevenger watches the trial of Trevor Lucas, a plastic surgeon accused of two murders. Lucas pleads insanity, claiming that his right arm is possessed by Satan. When he arrives at the psychiatric hospital, he takes hostages and saws off his arm. His one demand is to talk to Clevenger, who knows Lucas is innocent because he himself is hiding the real killer, a woman they both loved. Lucas doesn't want revenge, however; he wants Clevenger's help. A good thriller has an exciting protagonist with whom the reader can identify and situations that might seem implausible but work in the context of the plot. Projection fails on both of these counts. Clevenger is impossible to like, and the situations that propel the story get more and more ludicrous. Unfortunately, it looks as if another sequel is on the way. Purchase only where there are fans of the previous book.AJeff Ayers, Seattle P.L. Copyright 1999 Reed Business Information, Inc. See all Editorial Reviews
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我必须承认,这本书的开篇部分对我来说是一道不小的门槛,它的信息密度大到令人窒息,仿佛在一瞬间被扔进了一个高速运转的机器内部,所有的齿轮和传动轴都在我耳边轰鸣。大量的术语和背景设定,如果没有事先的准备,很容易让人望而却步。然而,一旦熬过了最初的适应期,就会发现作者构建的世界观是如此的宏大且自洽。那种细致入微的系统设计,从底层逻辑到上层应用,都展现了作者惊人的想象力和严密的逻辑思辨能力。我尤其欣赏那些看似无关紧要的技术细节,它们最终都以一种出人意料的方式,成为推动情节发展的关键节点。这本书给我的感觉是,它在讲述一个故事的同时,也在搭建一个全新的操作系统,而我们,则是被邀请进去试用新系统的第一批用户。它需要的不是感性的投入,而是纯粹的智力上的参与和运算,读完之后,感觉自己的思维清晰度都提高了几个档次。
评分这本书的叙事结构简直是迷宫,初读时我被情节的枝蔓牵引得晕头转向,仿佛置身于一个信息过载的数字洪流之中。作者似乎刻意模糊了现实与虚构的边界,每一个转折点都带着强烈的眩晕感。我特别欣赏那种抽丝剥茧的写作手法,它强迫读者不断地质疑自己接收到的信息。书中对于“真实性”的探讨非常深刻,它不仅仅停留在哲学层面,而是通过一系列错综复杂的人物关系和闪回的场景,将这种不确定性渗透到每一个对话和环境描写中。我记得有一次,我读到一个关于时间悖论的段落,不得不停下来,反复揣摩作者是如何构建这种逻辑上的不自洽,却又在情感上让人信服的。那些对未来科技的描绘,虽然宏大,却又充满了令人不安的细节,比如特定感官的缺失或异化,让人读完后对日常的感知都产生了一丝怀疑。这本书需要极高的专注度,一旦分神,很可能就跟不上主角那条飘忽不定的主线了。总而言之,这是一次对心智的极限挑战,但回报是精神层面被彻底颠覆的阅读体验。
评分我花了很长时间才适应这本书的语言风格,它华丽得有点过分,但又极其精准,简直就像是用最昂贵的颜料在描绘一幅末世图景。那些描述性的段落,简直可以单独摘出来作为散文来欣赏,充满了对光影、质地、气味的细致捕捉,仿佛能通过文字感受到潮湿的空气和金属的冰冷触感。然而,这种过度的美感与故事本身的残忍内核形成了强烈的反差,这种对比制造出一种令人心碎的美学效果。我必须承认,有些段落的句子结构非常复杂,充满了嵌入式从句和罕见的词汇,初读时确实需要字典的辅助,但这并非炫技,而是作者在试图用最饱满的词汇去承载其所要表达的复杂意境。这本书在情绪的渲染上是极其克制的,它不会直接告诉你应该悲伤,而是通过对环境细节的渲染,让你自己去体会那种弥漫在空气中的无望感。对我来说,阅读它更像是一场对语言极限的探索,挑战着我作为读者的理解边界。
评分这本书最让我印象深刻的是它对“记忆”这个概念的解构。它不是简单地回忆过去,而是把记忆本身塑造成一个动态的、可编辑的、甚至具有物理形态的实体。我喜欢作者如何利用不同角色的记忆碎片来拼凑一个整体的叙事,但这个整体永远是残缺不全的,而且不同角色的“事实”之间存在着根本性的矛盾。这迫使我必须扮演一个侦探的角色,去审视每一个声称是“回忆”的叙述,试图找出其背后的叙事者偏见或故意的篡改。这种不确定性带来的阅读乐趣是无与伦比的,它彻底打破了传统小说中作者即是上帝的设定。整本书读下来,我感觉自己像是完成了一个复杂的拼图游戏,但最终拼出来的图画,其本身也是一个谎言。这种对主体性叙事的颠覆,是这部作品最深刻的地方,它挑战了我们对“自己是谁”这个基本问题的认知。
评分这本书的气质是那种冷峻、近乎刻薄的疏离感,像是在一个巨大的、冰冷的玻璃幕墙后面观察人类的表演。它没有试图去迎合读者的情感需求,而是用一种近乎纪实的、甚至略带嘲讽的笔调,剖析了社会结构中的那些隐秘的权力运作和人性的荒谬。我尤其赞叹作者在刻画群像戏时的功力,每个人物都像是一块被精心打磨过的棱镜,折射出不同的社会病症,却没有一个人物是扁平的道德符号。他们的动机往往是多层次的,充满了灰色地带,这使得整个故事的张力维持在一个极高的水平。我感觉作者对社会学的观察极其敏锐,他用极其凝练的语言构建了一个看似稳定实则暗流涌动的世界观。阅读过程中,我常常会产生一种被“教育”的感觉,不是说教,而是那种被揭示了某种冰冷真理后的震撼。这本书的节奏把握得也十分老道,在平缓的描述中突然爆发出令人窒息的冲突,这种张弛有度的处理,让阅读过程充满了期待和不安。它更像是一部结构精密的社会观察报告,而非传统的文学作品。
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