菲利普・羅斯(Philip Roth),1933年齣生在美國新澤西州的紐瓦剋市,被認為是當代最傑齣的美國猶太裔作傢之一。羅斯以短篇小說《再見,哥倫布》崛起,在過去的十年間,他已贏得美國多個主要文學奬項,1998年更是憑藉《美國田園詩》一舉獲得美國普利策文學奬,電影《人性汙點》即由他2000年齣版的同名暢銷小說改編,他也是近年來獲諾貝爾文學奬呼聲頗高的作傢之一。
David Kepesh is white-haired and over sixty, an eminent TV culture critic and star lecturer at a New York college, when he meets Consuela Castillo, a decorous, well-mannered student of twenty-four, the daughter of wealthy Cuban exiles, who promptly puts his life into erotic disorder. Since the sexual revolution of the 1960s, when he left his wife and child, Kepesh has experimented with living what he calls an "emancipated manhood," beyond the reach of family or a mate. Over the years he has refined that exuberant decade of protest and license into an orderly life in which he is both unimpeded in the world of eros and studiously devoted to his aesthetic pursuits. But the youth and beauty of Consuela, "a masterpiece of volupt" undo him completely, and a maddening sexual possessiveness transports him to the depths of deforming jealousy. The carefree erotic adventure evolves, over eight years, into a story of grim loss. What is astonishing is how much of America's post-sixties sexual landscape is encompassed in THE DYING ANIMAL. Once again, with unmatched facility, Philip Roth entangles the fate of his characters with the social forces that shape our daily lives. And there is no character who can tell us more about the way we live with desire now than David Kepesh, whose previous incarnations as a sexual being were chronicled by Roth in THE BREAST and THE PROFESSOR OF DESIRE. A work of passionate immediacy as well as a striking exploration of attachment and freedom, THE DYING ANIMAL is intellectually bold, forcefully candid, wholly of our time, and utterly without precedent--a story of sexual discovery told about himself by a man of seventy, a story about the power of eros and the fact of death.
从前言开始吧,小时候喜欢小说很多,后来,但凡是有字的东西都非得想法设法去看。别人的读后也罢,前言也好,代序都好,总之,我真是喜欢书的。 如果阅读主要是作为谈资。。。我想,我无法避免这样的莫名骄傲感,总是话唠和爱掉书袋的自己,这是我值得小自傲的极少数时刻。 “...
評分苏轼《与王庠》写道:“书富如入海,百货皆有之,人之精力,不能兼收尽取,但得其所欲求者。” 读菲利普•罗斯《垂死的肉身》,找到一个很好的比喻:“她就像新孵出的雏鸟,圆圆的前额上还粘着蛋壳碎片也不奇怪。”除了这个比喻之外,值得“一意求之”的是教授大卫•凯...
評分很精彩,可以感受到很多。关于以下问题,什么是永恒不变的爱,什么是地老天荒的情感。与其说亘古不变或地老天荒,那些都只是梦想与憧憬,唯有敢于付出真情才会到爱情永在。其实美丽的爱情如同所有美丽的事物,珍惜它,爱护它,才有机会伴随它。 爱情可以没有年龄的差距,...
評分先看电影《挽歌》,尔后读了原著小说《垂死的肉身》。由于电影影像的局限性,或者导演的镜头缺乏超常规的想象力和表现力,无法精准地具象这样一部饱含大量心理描写的故事,电影因此没能达到小说的深度。这样的遗憾,在看以香味描写见长的小说《香水》改编的电影中同样存在...
評分那个叫康秀拉·卡斯底洛的古巴女孩,衬衣总是敞到第三颗钮扣,如同巴尔蒂斯画作中初次逾距的处女。她在一次PARTY结束后,从藏身的浴室里出来,对教授先生说,我聪明吧,一直藏在你楼上的浴室里,现在我想和你睡觉。然后她脱掉毛衣,露出丰满的胸部,他们自然就睡在了一起——这...
080210-120210 / how much do we care about body than brain? sex, what do we want from it?
评分080210-120210 / how much do we care about body than brain? sex, what do we want from it?
评分看完電影纔急急的把剩下的看完的
评分六旬老教授把妹自白
评分六旬老教授把妹自白
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