In Homer’s account in The Odyssey, Penelope - wife of Odysseus and cousin of the beautiful Helen of Troy - is portrayed as the quintessential faithful wife, her story a salutary lesson through the ages. Left alone for twenty years when Odysseus goes off to fight in the Trojan war after the abduction of Helen, Penelope manages, in the face of scandalous rumours, to maintain the kingdom of Ithaca, bring up her wayward son, and keep over a hundred suitors at bay, simultaneously. When Odysseus finally comes home after enduring hardships, overcoming monsters and sleeping with goddesses, he kills her suitors and - curiously - twelve of her maids.
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In a splendid contemporary twist to the ancient story, Margaret Atwood has chosen to give the telling of it to Penelope and to her twelve hanged Maids, asking: "What led to the hanging of the maids, and what was Penelope really up to?" In Atwood’s dazzling, playful retelling, the story becomes as wise and compassionate as it is haunting, and as wildly entertaining as it is disturbing. With wit and verve, drawing on the storytelling and poetic talent for which she herself is renowned, she gives Penelope new life and reality - and sets out to provide an answer to an ancient mystery.
When Margaret Atwood announced to her friends that she wanted to be a writer, she was only 16 years old. It was Canada. It was the 1950s. No one knew what to think. Nonetheless, Atwood began her writing career as a poet. Published In 1964 while she was still a student at Harvard, her second poetry anthology, The Circle Game, was awarded the Governor General's Award, one of Canada's most esteemed literary prizes. Since then, Atwood has gone on to publish many more volumes of poetry (as well as literary criticism, essays, and short stories), but it is her novels for which she is best known.
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Atwood's first foray into fiction was 1966's The Edible Woman, an arresting story about a woman who stops eating because she feels her life is consuming her. Grabbing the attention of critics, who applauded its startlingly original premise, the novel explored feminist themes Atwood has revisited time and time again during her long, prolific literary career. She is famous for strong, compelling female protagonists -- from the breast cancer survivor in Bodily Harm to the rueful artist in Cat's Eye to the fatefully intertwined sisters in her Booker Prize-winning novel The Blind Asassin.
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Perhaps Atwood's most legendary character is Offred, the tragic "breeder" in what is arguably her most famous book, 1985's The Handmaid's Tale. Part fable, part science fiction, and part dystopian nightmare, this novel presented a harrowing vision of women's lives in an oppressive futuristic society. The Washington Post compared it (favorably) to George Orwell's iconic 1984.
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As if her status as a multi-award-winning, triple-threat writer (fiction, poetry, and essays) were not enough, Atwood has also produced several children's books, including Princess Prunella and the Purple Peanut (1995) and Rude Ramsay and the Roaring Radishes (2003) -- delicious alliterative delights that introduce a wealth of new vocabulary to young readers.
《珀涅罗珀记》书评 她们是一群花样年华的少女,十二位天真的女孩,以俏脸蛋儿墨兰托为首的十二个姑娘。她们本该纯真无邪,却因为奴隶的身份不得不撩起青涩的裙子忍受王公贵族的侮辱。读完这本经典神话的重现,我被书本的戏剧性的创作形式所吸引。全书的主人公珀涅罗珀...
评分 评分《珀涅罗珀记》对奥德塞故事的讲述很有趣,可是方式没法接受,文化鸿沟吧,大概。 可当她在九十七页提到“珀涅罗珀之网”时我却有所触动。 总感觉我们每个人都在织网,许多东西都被用来做丝。然后在休息时努力拆掉它,想看到自己原来的样子。然后又是工作,继续把网织厚。 诗状...
评分虽然读过荷马史诗的人大概并不多,但奥德赛、珀涅罗珀、海伦、帕里斯这些名字却是众所皆知的。一场因争夺世上最漂亮女人而起的战争,在十年后靠着木马计变成一场屠城,胜者凯旋却在归途中被女神滞留,又是十年后终于归家,看到的是还在忠贞等待自己的妻子。 征战、杀人无数、航...
评分《珀涅罗珀记》对奥德塞故事的讲述很有趣,可是方式没法接受,文化鸿沟吧,大概。 可当她在九十七页提到“珀涅罗珀之网”时我却有所触动。 总感觉我们每个人都在织网,许多东西都被用来做丝。然后在休息时努力拆掉它,想看到自己原来的样子。然后又是工作,继续把网织厚。 诗状...
这部作品的基调是复杂的,它不是纯粹的悲剧,也远非简单的复仇故事。其中渗透着一种冷峻的、甚至带着一丝黑色幽默的清醒。你会发现,即便是那些看似处于受害者地位的角色,她们的内心世界也充满了算计、权衡和人性的灰色地带。作者非常坦诚地展示了,在极端压力下,道德的边界是如何模糊不清的。这种对“完美受害者”形象的彻底颠覆,是极其大胆且必要的。它让我们看到,女性之间的关系,并非总是如田园牧歌般纯洁,也充满了嫉妒、竞争和微妙的联盟。正是这种毫不留情的真实感,让角色的悲剧性达到了新的高度——她们的困境,不仅来自于外部的压迫,也来自于自身的局限和人性的弱点。这让整个阅读体验变得沉重,但又无比深刻和令人信服。
评分我得说,这部小说的语言风格简直是一种享受,它有着一种令人难以抗拒的、近乎吟诵般的韵律感,但又绝不流于矫揉造作的古风。它在古典的庄严感和现代的尖锐讽刺之间找到了一个极其微妙的平衡点。有些段落的节奏快得像一场风暴,充满了对既定秩序的猛烈冲击;而另一些时刻,文字又变得如同清晨的薄雾,弥漫着一种挥之不去的、带着宿命感的悲凉。作者在用词的选择上极为大胆且精准,很多比喻都出乎意料却又掷地有声,仿佛一下子揭开了层层叠叠的帷幕,让你直视那些被美化过的残酷现实。阅读的过程更像是一场沉浸式的戏剧体验,角色的内心独白如同独奏,时而高亢,时而低回,将那些埋藏已久的不公和怨怼,以一种近乎诗意的形式倾泻而出。对于那些追求文字美感和思想深度的读者来说,这绝对是一场盛宴。
评分这部作品的叙事视角转换得极其精妙,它不像我们过去读到的那些史诗那样,将焦点完全集中在那些手握刀剑的英雄身上。相反,它将聚光灯投射到那些在幕后默默承受、被历史遗忘的女性角色身上。我尤其欣赏作者如何捕捉到那些细微的情感波动,那种被规训和期待压抑到近乎窒息的内心挣扎。你会看到,那些本该是背景板的侍女们,她们的对话、她们的恐惧、她们在漫长等待中对命运的窃窃私语,都被赋予了惊人的重量和深度。这种细腻的笔触,让我仿佛能闻到古老织布机上散发的尘土味,感受到她们在幽暗角落里互相取暖的体温。它挑战了我们对“忠诚”和“荣誉”这些宏大叙事的传统理解,展示了在权力结构下,个体,尤其是女性个体,是如何用自己的方式去生存、去反思,去定义自己的“史诗”。读完后,你很难再用以往的眼光去看待那些经典故事了,因为你突然意识到,你错过了太多角落里的真实声音。
评分从结构上看,这部作品的巧妙之处在于它对叙事焦点的不断转移和重新定位。它构建了一个多层次的观看体系,你以为你已经掌握了故事的中心人物或主要冲突,但紧接着,叙事者就会以一种近乎戏谑的方式将你的注意力引向完全不同的边缘群体。这种不确定性制造了一种持续的张力,让你永远无法完全安坐于一个固定的立场上。它迫使读者必须主动参与到意义的构建中去,去填补那些巨大的叙事空白,去揣测那些被省略的对话。与其说是在读一个故事,不如说是在参与一场关于“谁有权讲述”的辩论会。这种结构上的不稳定,反而赋予了作品强大的生命力和持久的讨论价值,因为它拒绝提供一个简单的、一锤定音的结论。
评分这本书最让我震撼的一点是它对“时间”这个概念的处理。它不是线性的、不可逆转的,而是一种可以被反复审视、被质疑其合理性的存在。通过一种近乎超现实的视角,作者让过去、现在与那些未曾发生的可能性交织在一起,形成了一种非常复杂的叙事迷宫。你不再是单纯地跟随情节发展,而是在不断地辨认哪些记忆是真实的,哪些又是被权力建构出来的神话。这种对时间维度的解构,使得故事的主题得到了极大的延展——它不再仅仅是关于一个古老故事的“补遗”,而是在探讨所有被记录的历史,其本身的可靠性问题。每一个场景的重现,都伴随着新的解读和侧重,让你不得不停下来,对自己过去所接受的一切“标准答案”产生深刻的怀疑。
评分看《奥德赛》的愤愤不平在看到本书奥德修斯即使逃到天涯海角也无法摆脱复仇的结局后有所缓解。古代的英雄史诗换一个女性角色视角解读会异常有趣。感谢我的文学教授Ellen Rentz女士。
评分扑哧!
评分看《奥德赛》的愤愤不平在看到本书奥德修斯即使逃到天涯海角也无法摆脱复仇的结局后有所缓解。古代的英雄史诗换一个女性角色视角解读会异常有趣。感谢我的文学教授Ellen Rentz女士。
评分对照原文,发现这本书的汉译本翻译的不错。
评分看《奥德赛》的愤愤不平在看到本书奥德修斯即使逃到天涯海角也无法摆脱复仇的结局后有所缓解。古代的英雄史诗换一个女性角色视角解读会异常有趣。感谢我的文学教授Ellen Rentz女士。
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