"Couch hits on an improbable, even fantastic premise, and then rigorously hews to the logic that it generates, keeping it afloat (at times literally) to the end."
— Los Angeles Times "Delightfully lighthearted writing. . . . Occasionally laugh-out-loud funny, the enthusiastic prose carries readers through sporadic dark moments . . . Parzybok’s quirky humor recalls the flaws and successes of early Douglas Adams."— Publishers Weekly "The book succeeds as a conceptual art piece, a literary travelogue, and a fantastical quest."
— Willamette Week "Hundreds of writers have slavishly imitated—or outright ripped off—Tolkien in ways that connoisseurs of other genres would consider shameless. What Parzybok has done here in adapting the same old song to a world more familiar to the reader is to revive the genre and make it relevant again"
— The Stranger A Spring Summer Indie Next Reading List Pick: Top 10 Reading Group Suggestions
" Couch follows the quirky journey of Thom, Erik, and Tree as they venture into the unknown at the behest of a magical, orange couch, which has its own plan for their previously boring lives. Parzybok's colorful characters, striking humor, and eccentric magical realism offer up an adventuresome read."
—Christian Crider, Inkwood Books, Tampa, FL A January 2009 Indie Next List Pick "This funny novel of furniture moving gone awry is a magical realism quest for modern times. Parzybok's touching story explores the aimlessness of our culture, a society of jobs instead of callings, replete with opportunities and choices but without the philosophies and vocations we need to make meaningful decisions."
—Josh Cook, Porter Square Books, Cambridge, MA "A lot of people are looking for magic in the world today, but only Benjamin Parzybok thought to check the sofa, which is, I think, the place it’s most likely to be found. Couch is a slacker epic: a gentle, funny book that ambles merrily from Coupland to Tolkien, and gives couch-surfing (among other things) a whole new meaning.”
—Paul La Farge "One of the strangest road novels you'll ever read. It's a funny and fun book, and it's also a very smart book. Fans of Tom Robbins or Christopher Moore should enjoy this."
—Handee Books
"It is an upholstered Odyssey unlike any other you are likely to read. It is funny, confusing in places, wild and anarchic. It is part Quixote, part Murakami, part Tom Robbins, part DFS showroom. It has cult hit written all over it."
—Scott, Me and My Big Mouth Benjamin Parzybok on tour: http://booktour.com/author/benjamin_parzybok In this exuberant and hilarious debut reminiscent of The Life of Pi and Then We Came to the End , an episode of furniture moving gone awry becomes an impromptu quest of self-discovery, secret histories, and unexpected revelations. Thom is a computer geek whose hacking of a certain Washington-based software giant has won him a little fame but few job prospects. Erik is a smalltime con man, a fast-talker who is never quite quick enough on his feet. Their roommate, Tree, is a confused clairvoyant whose dreams and prophecies may not be completely off base. After a freak accident fl oods their apartment, the three are evicted—but they have to take their couch with them. The real problem? The couch—huge and orange—won’t let them put it down. Soon the three roommates are on a cross-country trek along back roads, byways, and rail lines, heading far out of Portland and deep into one very weird corner of the American dream. Benjamin Parzybok is the creator of Gumball Poetry , a journal published through gumball machines, and the Black Magic Insurance Agency, a city-wide mystery/treasure hunt. He has worked as a congressional page, a ghostwriter for the governor of Washington, a web developer, a Taiwanese factory technical writer, an asbestos removal janitor, and a potato sorter. He lives in Portland, Oregon, with the writer Laura Moulton and their two children.
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从文学类型的角度来看,这本书大胆地游走在多种风格之间,让人难以用单一标签去界定它。它有着社会写实主义的尖锐笔触,毫不留情地撕开了某些社会结构下人性的伪装和压抑;但同时,它又融入了大量的象征主义和近乎魔幻的元素,使得现实的边界变得模糊不清,让人不禁质疑自己所感知的真实性。我感觉作者在玩一场文字游戏,但这场游戏有着极高的严肃性。它探讨的主题宏大而沉重——关于道德的沦丧、身份的重塑以及信仰的崩塌——但作者处理这些议题的方式却出奇地冷静克制,没有过度煽情,而是通过精密的结构和象征符号来传递其力量。阅读它,就像在观看一场精心编排的、光影交错的舞台剧,灯光永远在变化,你永远无法确定此刻的焦点在哪里,但正是这种不确定性,让你无法移开目光,生怕错过任何一个稍纵即逝的暗示。这是一部需要被反复品味、细细研读的佳作。
评分这部小说读完后,我的心头萦绕着一种难以言喻的复杂情感,它像一张巨大的、色彩斑驳的挂毯,每一针一线都诉说着关于“寻找”与“迷失”的故事。作者对于人物内心世界的刻画达到了近乎残酷的精准,那些隐藏在日常言行之下的焦虑、渴望和自我欺骗,被一层层剥开,展现在读者眼前。我尤其欣赏叙事节奏的掌控,它并非一马平川,而是充满了起伏跌宕,如同经历了一场漫长的、在浓雾中摸索前行的旅途。有些章节,情节推进得缓慢而细腻,仿佛时间被拉伸至极限,专注于描摹一束光线穿过窗棂投射在地板上的微妙变化;而另一些时候,故事的洪流则以令人窒息的速度向前奔涌,把人裹挟其中,直到故事的终点才让人喘匀气。这本书的魅力很大程度上来源于其对环境氛围的营造,那种弥漫在字里行间的疏离感和潜在的张力,让人总在期待着下一个转折点,却又害怕那个转折的到来。这绝不是一本能让人轻松翻阅的读物,它要求读者投入全部的心神,去解码那些潜藏在对话和场景背后的多重意义,最终完成一次对自我内心深处的深刻反思。
评分我简直要为这本书的语言艺术鼓掌喝彩!这哪里是文字,简直是雕塑家手中的粘土,被作者揉捏、打磨、塑造成了千奇百怪的形态。我很少见到一部作品,能将如此古典的句式结构与当代人尖锐的生存困境结合得如此天衣无缝。它的对话精妙绝伦,表面上看似平淡无奇,实则暗流汹涌,每一个停顿、每一次省略都蕴含着巨大的信息量,仿佛在进行一场高深的智力博弈。我花了大量的时间去重读那些描述性的段落,仅仅是为了品味那些词语的排列组合是如何构建出一种独特的、近乎诗意的画面感。那种对细节的执着,对感官体验的捕捉,使得阅读过程本身变成了一种纯粹的审美享受。然而,这种对形式美的极致追求,也带来了一定的阅读门槛,你必须愿意沉浸其中,去适应它那独特的韵律和节奏,否则很容易被那些繁复的修饰和冗长的内心独白所裹挟,产生迷失感。但这迷失感本身或许也是作者想要传达的一种主题——在这个信息爆炸的时代,我们寻找清晰的意义,却常常发现自己被更宏大、更晦涩的结构所吞噬。
评分老实说,一开始我差点被这本书劝退。它的开篇异常缓慢,信息量稀疏得让人抓狂,我甚至怀疑自己是不是拿错了书,是不是错过了什么重要的前言介绍。但坚持读下去的理由,完全来自于一种直觉:作者似乎在故意设置障碍,考验读者的耐心,而背后一定藏着巨大的宝藏。果然,当故事行进到三分之一处时,所有的线索开始以一种令人惊叹的方式交织融合,那些之前看似不相关的片段,如同宇宙中的星辰,突然连成了清晰的星座图。那种“啊哈!”的顿悟时刻,是阅读体验中最令人上瘾的部分。这本书最成功的地方,在于它构建了一个逻辑自洽却又极度反常的世界观,在这个世界里,人们的行为逻辑不再是我们通常所认知的范畴,但作者却用无比坚实的内在逻辑支撑起了这一切的合理性。我感觉自己像一个人类学家,被邀请去观察一个完全陌生的文明,学习他们的规则,理解他们的偏执。读完后,我需要花好几天时间才能将自己从那种“异域感”中抽离出来,重新适应现实世界的色彩。
评分这部作品给我的感受,更像是一次对“时间”概念本身的哲学探讨。它不是按部就班地讲述一个故事,而更像是一系列碎片化的记忆闪回、交叉叙事和多重视角的并置。作者巧妙地运用了非线性叙事手法,让过去、现在和未来在同一个页面上共存,模糊了我们对因果关系的传统认知。我们读到的故事,与其说是一条河流,不如说是一个巨大湖泊中不同深度的水层,每一层都有着自己的温度和压力。这种结构要求读者必须时刻保持警惕,主动去填补那些被故意留白的连接点。最让我印象深刻的是几个关键角色的“缺席”,他们从未真正出现,却通过其他人物的描述和残缺的文献资料,构建出一种强烈的存在感,这种“缺席的在场”处理得极其高明。它迫使我们思考,我们所依赖的“事实”究竟有多么可靠,而我们对历史的理解,又是在多大程度上建立在不完整的信息之上。这本书的阅读体验是高度智力化的,充满了挑战,但回报也是丰厚的。
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