'I lost my own father at 12 yrs of age and know what it is to be raised on lies and silences my dear daughter you are presently too young to understand a word I write but this history is for you and will contain no single lie may I burn in hell if I speak false.' In a dazzling act of ventriloquism, Peter Carey gives the Australian outlaw Ned Kelly a voice so wild, passionate and original that it is impossible not to believe that the famous bush ranger himself is speaking from beyond the grave. Carey gives us Ned Kelly as orphan, as Oedipus, as horse thief, farmer, bush ranger, reformer, bank-robber, police-killer and, finally, as his country's beloved Robin Hood. In 1878 Francis Harty, a poor farmer, said, 'Ned Kelly is the best bloody man that has ever been in Benalla, I would fight up to my knees in blood for him - I have known him for years, I would take his word sooner than another man's oath'. By the time of his hanging in 1880 a whole country would seem to agree - and it is a measure of Peter Carey's achievement that he has not only made art from his country's great story but that he persuades us all to understand the true measure of that 'best bloody man'.
Peter Carey was born in Australia in 1943. He was educated at the local state school until the age of eleven and then became a boarder at Geelong Grammar School. He was a student there between 1954 and 1960 — after Rupert Murdoch had graduated and before Prince Charles arrived. In 1961 he studied science for a single unsuccessful year at Monash University. He was then employed by an advertising agency where he began to receive his literary education, meeting Faulkner, Joyce, Kerouac and other writers he had previously been unaware of. He was nineteen. For the next thirteen years he wrote fiction at night and weekends, working in many advertising agencies in Melbourne, London and Sydney. After four novels had been written and rejected The Fat Man in History — a short story collection — was published in 1974. This slim book made him an overnight success. From 1976 Carey worked one week a month for Grey Advertising, then, in 1981 he established a small business where his generous partner required him to work only two afternoons a week. Thus between 1976 and 1990, he was able to pursue literature obsessively. It was during this period that he wrote War Crimes, Bliss, Illywhacker, Oscar and Lucinda. Illywhacker was short listed for the Booker Prize. Oscar and Lucinda won it. Uncomfortable with this success he began work on The Tax Inspector. In 1990 he moved to New York where he completed The Tax Inspector. He taught at NYU one night a week. Later he would have similar jobs at Princeton, The New School and Barnard College. During these years he wrote The Unusual Life of Tristan Smith, Jack Maggs, and True History of the Kelly Gang for which he won his second Booker Prize. He collaborated on the screenplay of the film Until the End of the World with Wim Wenders. In 2003 he joined Hunter College as the Director of the MFA Program in Creative Writing. In the years since he has written My Life as a Fake, Theft, His Illegal Self and Parrot and Oliver in America (shortlisted for 2010 Man Booker Prize)
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从文学技巧的角度来看,这部作品的**结构安排**堪称一绝。它不是线性的、按时间顺序推进的传统结构,而是采用了多重视角和时间跳跃的复杂手法,就像是无数个散落在地上的玻璃碎片,读者需要不断地拼凑才能看到完整的画面。这种手法极大地增强了悬念感和探索欲,每当以为自己抓住了故事的主线时,作者又会通过一个突如其来的闪回或者一个局外人的视角,将你拉回到一个全新的维度去审视已发生的事情。这种非线性的叙事,完美地契合了主角那种充满逃亡和不确定性的生命状态——永远在被追逐,永远在回忆,永远在不确定的未来中摸索。更令人称赞的是,尽管结构复杂,但作者的文字功底极其扎实,每一个场景的切换都处理得无比流畅,过渡自然,完全没有让人感到晦涩难懂。这就像是在看一部高超剪辑的电影,镜头语言的切换精准而有力,每一次的视角转换都服务于主题的深化,而不是为了炫技。对于喜欢在阅读中进行主动思考和推理的读者来说,这种探索式的阅读体验,是无比令人满足的。
评分这本书最让我感到**惊艳**的是它对‘真相’这个概念的解构。它不是一本简单的“英雄传”或者“恶徒录”,它更像是一场漫长而充满烟雾的审判,作者似乎有意将所有证据都摆在读者面前,却从不急于给出最终的定论。你时常会陷入一种道德的泥潭:在这个法律和道德都极度摇摆的年代,什么是对,什么是错?书中对体制内外的冲突描绘得入木三分,特别是公权力与民间力量之间的那种近乎**野蛮的拉锯战**,让人感到一种莫名的压抑和无力感。每一次“胜利”都伴随着更深的悲剧,每一次反抗似乎都只是加速了灭亡的步伐。我特别喜欢作者在处理关键转折点时的那种‘留白’,他没有用过多的渲染来煽动情绪,而是让事实本身说话,让读者自己去感受那种历史的荒谬和无情。这种克制的叙事技巧,反而比歇斯底里的控诉更有力量。读完后,我对于历史叙事中那些‘绝对正面’或‘绝对反面’的脸谱化人物有了更深层次的警惕,这本书提醒我们,在历史的迷雾中,所谓的‘正义’往往是最模糊不清的那一个概念。
评分坦白说,初读时我有些被它的**语言的粗粝感**给震慑住了。它没有那种古典历史文献的庄重和雕琢,反而充满了口语化的、近乎粗犷的生命力,仿佛每一个句子都是从那个时代最朴实的牧民口中直接迸发出来的。这种风格上的选择,无疑让故事的代入感提升到了一个新的维度。我可以清晰地想象出那些对话场景,充满了俚语和特有的地方口音,让冰冷的历史事件瞬间变得鲜活而富有张力。然而,这种极端的写实主义也带来了一定的阅读门槛,初学者可能会在某些地方感到措手不及,需要放慢速度去解码那些时代特有的表达方式。但一旦适应了这种节奏,你就会发现作者在看似随意的叙述下,隐藏着极其**严谨的史料考证**。他巧妙地将那些枯燥的官方记录、法庭证词,融入到充满情感的叙事中,使得历史的脉络清晰可见,又不失故事的流畅性。这需要高超的驾驭文字的能力,要做到既‘野’又‘准’,确实不易。这本书的价值,就在于它成功地做到了‘以小见大’,通过聚焦于少数几个命运多舛的个体,勾勒出了一个宏大而动荡的社会图景,让人不得不佩服作者对史料的消化和重构能力。
评分这部作品的叙事手法简直是一场智力上的盛宴,作者仿佛是一位高明的魔术师,将历史的碎片以一种近乎**不可思议的精确度**重新编织起来。我尤其欣赏他对于时代背景的刻画,那种十九世纪末澳大利亚内陆那种粗犷、无序却又充满了潜在暴力的氛围,被描绘得淋漓尽致。每一次翻页,都像是随着主角一起深入了那片尘土飞扬的旷野,空气中弥漫着羊毛和烈酒的味道。书中对人物心理的细腻捕捉,尤其是那些处于社会边缘地带的人们,他们如何在法律的灰色地带挣扎求生,又如何在被主流社会排斥后走向极端,这种深层次的探讨,远超一般传记或历史叙述的范畴。作者似乎对每一个次要角色都倾注了同等的关注,使得整个故事群像立体鲜明,而非仅仅围绕着那个传奇人物打转。你能在字里行间感受到一种强烈的、近乎**宿命论**的悲剧色彩,仿佛所有的人物都无法逃脱被历史洪流吞噬的命运。对于那些醉心于研究社会结构如何塑造个体命运的读者来说,这本书无疑是一部不可多得的深度文本,它不仅仅是在讲述一个故事,更是在解剖一个时代的精神内核。读完之后,留下的不是简单的阅读快感,而是一种对人性复杂性和历史必然性的深刻反思,那种回味悠长的感觉,非常难得。
评分这部作品对**社会阶层固化**的批判,可以说是毫不留情,却又充满了悲悯。它清晰地展示了在那个社会体系下,出身背景如何像一座无法逾越的大山,无论个体能力如何出众,只要你生错了地方,选择了错误的族群,你的命运似乎就已经被提前写好了。书中对警察系统、司法机构以及媒体的描写,构建了一个看似公平实则处处偏颇的权力网络。我能感受到作者对于底层人民那种深切的同情,他们不被理解,他们的挣扎被误读,他们的反抗被简单粗暴地定性为“罪恶”。这种系统性的压迫,最终将一个个具有潜在光芒的个体,逼入了绝境,只能以最激烈的方式来反抗一个根本不愿倾听他们的世界。阅读过程中,我多次停下来,思考如果我自己置身于那种无路可走的环境中,是否也会做出同样的选择。这种强烈的代入感和对社会不公的深刻反思,使得这本书超越了单纯的历史传记,成为了一部具有**永恒价值的社会寓言**。它迫使我们审视现今社会中那些隐形的壁垒,以及权力傲慢可能带来的灾难性后果。
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