The stunning first novel in Louise Erdrich's Native American series, Love Medicine tells the story of two families, the Kashpaws and the Lamartines. Written in Erdrich's uniquely poetic, powerful style, it is a multi-generational portrait of strong men and women caught in an unforgettable drama of anger, desire, and the healing power that is love medicine.
Karen Louise Erdrich was born on June 7, 1954 in Little Falls, Minnesota. Erdrich grew up in Wahpeton, North Dakota, where both of her parents were employed by the Bureau of Indian Affairs. She is a member of the Turtle Mountain Band of Chippewa. Erdrich graduated from Dartmouth College in 1976 with an AB degree, and she received a Master of Arts in creative writing from Johns Hopkins University in 1979.
Erdrich published a number of poems and short stories from 1978 to 1982. In 1981 she married author and anthropologist Michael Dorris, and together they published The World's Greatest Fisherman, which won the Nelson Algren Award in 1982. In 1984 she won the National Book Critics Circle Award for Love Medicine, which is an expansion of a story that she had co-written with Dorris. Love Medicine was also awarded the Virginia McCormick Scully Prize (1984), the Sue Kaufman Prize (1985) and the Los Angeles Times Award for best novel (1985).
In addition to her prose, Erdrich has written several volumes of poetry, a textbook, children's books, and short stories and essays for popular magazines. She has been the recipient of numerous awards for professional excellence, including the National Magazine Fiction Award in 1983 and a first-prize O. Henry Award in 1987. Erdrich has also received the Pushcart Prize in Poetry, the Western Literacy Association Award, the 1999 World Fantasy Award, and the Scott O'Dell Award for Historical Fiction in 2006. In 2007 she refused to accept an honorary doctorate from the University of North Dakota in protest of its use of the "Fighting Sioux" name and logo.
Erdrich's novel The Round House made the New York Times bestseller list in 2013.
在初读之时,所谓的“沉重”与“苦难”却更易被印第安人类似原生状态的情爱热情所掩盖。加之并非按某一戏剧线索跟进的组织手法,淡而散,所以有男生说不能读完,因为显得太“女气”。 另一个原因大约在于作者有意或无意地将“苦难”轻描淡写而过——和《活着》相比,这种色彩...
评分我最喜欢的章节是在描写玛丽和露露。 在修道院里和魔鬼较量的玛丽,十四岁,认清了祈祷的本质动力是来自魔鬼的诱惑。玛丽的手上留下了耶稣的烙印,就像奴隶的待遇,在伤口裹着枕巾,她逃离魔鬼驱使的虔诚祷告,在下山的路上遇到了莽撞的尼科特。 直到儿女满堂,印第安美男子事...
评分原文地址:[http://www.qh505.com/blog/post/5261.html] 我们很容易想像自己的生活在这片变幻莫测的水下,但事实上,我们生活在陆地上。 ——《渡[河》(1984)] 1984年的“渡河”,其实车开在那里就停下来了,连同道路,都像没有了前进的方向。河阻碍了一切,像是1984年这个关...
评分细腻、灵动、魔幻版的语言,有些比喻令人心驰神往。 但全书失之冗琐拖沓,结构安排不够精致细巧,大可砍去三分之一。 省略的部分略显突兀。 作者强于女性叙事,尽管使用复调手法,但男性话语和人物形象处于相对黯淡的劣势。女性形象突出鲜明。
评分不太好译、值得一读的厄德里克 张廷佺 路易丝·厄德里克是美国当代最多产、最有成就、最富创造力的作家之一,是美国印第安文艺复兴第二次浪潮的代表人物,曾先后获得纳尔逊·阿尔格伦短篇小说奖、欧·亨利短篇小说奖、全国书评家协会奖、司各特·奥台尔历史小说奖、全国图书...
这本书,简直是一场关于人性的迷宫探险,作者的笔触细腻得令人发指,仿佛能透过纸面感受到每一个角色的呼吸与挣扎。我尤其欣赏那种不加修饰的真实感,它不像那些矫揉造作的文学作品,试图用华丽的辞藻掩盖空洞的内核。相反,它赤裸裸地撕开了现代社会中人与人之间复杂纠葛的面纱,那些关于爱、背叛、救赎的探讨,都不是简单的二元对立,而是充满了灰色地带的微妙。读到某些情节时,我甚至会停下来,闭上眼睛,去回味作者是如何不动声色地构建出那种令人窒息的氛围的。书中的每一个人物,即便是配角,都拥有着自己完整而矛盾的生命轨迹,他们的选择,无论多么令人费解,最终都能在深层的心理逻辑中找到支撑。这不仅仅是一部小说,更像是一份对人类情感光谱的深度调研报告,让人在阅读的过程中,不断地反思自身,甚至对自己过往的某些决定产生新的理解。那种阅读完后,脑海中久久不能散去的重量感,是衡量一部好作品的绝佳标准。
评分这本书的语言风格,用“冷峻中的炽热”来形容或许最为贴切。作者似乎有一种天赋,能用最简洁、最不带感情色彩的词汇,描绘出最激烈、最原始的情感冲撞。我常感叹,同样是描写悲伤,有的人是用倾盆大雨,而这位作者,却只用一滴恰到好处的冰水,就能让你全身打颤。更值得称赞的是,它避开了传统叙事中那种廉价的煽情陷阱。面对极端的痛苦或狂喜,角色的反应往往是内敛的、压抑的,这种“反高潮”的处理方式,反而带来了更具穿透力的震撼力,因为它更贴近我们现实生活中那些“说不出口的痛”。阅读过程就像是和一位沉默的智者进行了一场漫长的对视,他不会直接给你答案,但会引导你去直面那些最想逃避的问题。如果你期待的是一个皆大欢喜的结局或者明确的道德说教,那么你可能会感到失望,但如果你寻求的是一份对存在本质的深刻拷问,那么这本书绝对是必读的佳作。
评分我向来对那些故作高深的叙事结构敬而远之,但这部作品的巧妙之处在于,它在保持叙事流畅性的同时,又埋藏了足够多的伏笔和象征意义,让喜欢深度挖掘的读者能乐在其中。开篇的节奏把握得极佳,不是那种急于抛出重磅炸弹的急躁,而是像一位经验丰富的棋手,步步为营,先铺陈出平静的日常,然后才在不经意间,让那些暗流涌动的情绪一点点浮现出来,最终汇集成一场无可避免的情感风暴。我尤其喜欢作者对于环境描写的运用,那些城市角落、光影变化,无一不是角色的内心状态的外化,这种“写景即写心”的古典手法,被赋予了现代都市的疏离感,读起来别有一番滋味。它不是那种读完就扔在一边的快消品,它值得被反复品味,因为每一次重读,你可能都会捕捉到初次阅读时遗漏的那些细微的暗示,它们如同散落的珍珠,只有串联起来,才能看到完整的星空图景。
评分坦白说,起初我是带着一种审视的态度去阅读的,因为书名本身带来的联想太过宏大和抽象,很容易落入故作高深的窠臼。然而,这本书却以一种近乎朴实的笔触,讲述了远超乎日常的深刻议题。它没有宏大的历史背景或奇幻设定作为支撑,所有的重量都压在了普通人的日常抉择之上。作者对心理学和哲学概念的运用是内化的,而非生硬的引用,这使得那些复杂的思辨能够自然地融入角色的日常对话和内心独白之中,不显突兀。更难能可贵的是,尽管主题深沉,但作品中依然流淌着一股韧劲十足的生命力,那是一种即便身处泥潭,依然努力向着光亮攀爬的姿态。这种对“希望的复杂性”的探讨,远比单纯的绝望或乐观来得更有力量,它教会我在接受生活的不完美之余,依然要保持一份清醒而坚韧的追求。
评分我是一个对结构和节奏要求极为苛刻的读者,很多作品往往在过半处就因为叙事疲软而让我弃读。然而,这部作品的张力自始至终都保持在一个令人紧张的水平线上。作者似乎对时间的把控有着近乎偏执的精准度,知道何时该加速,何时该放慢,何时又该进行一次“时间跳跃”来重塑读者的认知。它不像一部线性的小说,更像是一个多维度的交响乐章,不同的线索和时间轴像不同的声部,时而交织,时而并行,但最终都服务于一个宏大的主题。我特别佩服作者在处理“信息不对称”上的高明之处,有些关键信息直到最后才被揭示,但回望前文,你会发现所有蛛丝马迹早已被精心布置,这种恍然大悟的阅读体验,是检验一部小说是否具有上乘水准的关键指标。读完后,我甚至忍不住想去研究一下作者的写作大纲,以解开其中精妙的布局。
评分A Native American saga narrated through acute and shape observation and perspective. One of the hardest books I have read recently. Frankly, I need to pick the brain of anyone who understands this book better.
评分A Native American saga narrated through acute and shape observation and perspective. One of the hardest books I have read recently. Frankly, I need to pick the brain of anyone who understands this book better.
评分A Native American saga narrated through acute and shape observation and perspective. One of the hardest books I have read recently. Frankly, I need to pick the brain of anyone who understands this book better.
评分A Native American saga narrated through acute and shape observation and perspective. One of the hardest books I have read recently. Frankly, I need to pick the brain of anyone who understands this book better.
评分A Native American saga narrated through acute and shape observation and perspective. One of the hardest books I have read recently. Frankly, I need to pick the brain of anyone who understands this book better.
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