Raleigh doesn't have a soul. A cat stole it - or at least that's what she tells people - or at least that's what she would tell people if she told people anything. But that would mean talking to people, and the mere thought of social interaction is terrifying. How did such a shy teenage girl end up in a car with three of her hooligan classmates on a cross-country road trip? Being forced to interact with kids her own age is a new and alarming proposition for Raleigh, but maybe it's just what she needs - or maybe it can help her find what she needs - or maybe it can help her to realize that what she needs has been with her all along.
Bryan Lee O'Malley (born 21 February 1979) is a Canadian cartoonist. His first original graphic novel was Lost at Sea (2003), and he is currently working on (and best-known for) the six-volume Scott Pilgrim series (2004 to present). All of his graphic novels thus far have been published by Portland, Oregon-based Oni Press. He is also a songwriter and musician (as Kupek and formerly in several short-lived Toronto bands).
Prior to having his own material published, O'Malley illustrated the Oni Press miniseries Hopeless Savages: Ground Zero, written by Jen Van Meter. He also lettered many Oni Press comics, including the majority of Chynna Clugston's output between 2002 and 2005.
In 2005, O'Malley won the Doug Wright Award for Best Emerging Talent and was nominated for 3 Harvey Awards. In 2006, he was nominated for an Eisner Award for 'Best Writer/Artist - Humour', and won 'Outstanding Canadian Comic Book Cartoonist (Writer/Artist)' in the Joe Shuster Awards. He was also nominated for two Eagle Awards and for a second Doug Wright Award.
He currently lives near the Halifax Regional Municipality, Nova Scotia, with his wife, cartoonist Hope Larson.
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读完全书(假设我已经读完了),我最大的感受是它带来的那种持久的、挥之不去的“后劲”。很多惊险小说读完后,紧张感很快就消散了,但这部作品留下的,是关于“选择”的沉重思考。它没有提供一个简单明了的道德标杆,反而将主角置于一连串灰色地带的抉择之中:是遵循理智还是屈服于情感?是放弃希望以求得片刻的安宁,还是坚持毫无根据的信念继续煎熬?书中对于这些抉择后果的探讨是极其深入且不带偏见的。它迫使我反思自己在日常生活中那些看似微不足道的决定背后,隐藏着何种深层次的驱动力。这种文学作品的价值,正在于它能将读者的思绪从书页带到自身经验的边界,进行一次彻底的自我审视。我会被书中某些角色的牺牲或背叛行为反复咀嚼,直到确定自己对那种人性复杂性的理解是否足够深刻。
评分从结构上看,作者似乎有意为之,采用了非线性的叙事结构,将现在进行时的绝望与过去某个关键时刻的回忆交织在一起。这种跳跃感起初让人有些措手不及,但很快,我便领会到这种处理方式的高明之处:回忆部分并非简单的背景交代,而是对当前困境的某种投射或解释。比如,一段关于童年的一次迷路经历,被巧妙地嵌入到主角当前在无边无际中迷失方向的描述里,使得“迷失”这个概念从单纯的物理状态,上升到了形而上学的层面。作者通过这种结构上的回环往复,不断加深了主题的重量。我喜欢这种需要读者主动参与到情节重建中的阅读体验,它拒绝了被动接受信息,而是要求我们像侦探一样,将散落的碎片拼凑出完整的情感地图。这让阅读过程本身成了一种智力上的挑战和情感上的享受。
评分我必须承认,我对这类聚焦于极端困境下的个体心理的作品一向抱持着审慎的态度,生怕落入俗套的英雄主义叙事中。然而,这部作品的叙事节奏掌握得极其高明。它并非一味地追求高潮迭起,反而是通过大量的内心独白和对日常琐事的精确记录,营造出一种令人窒息的真实感。比如,作者花了整整一章来描述主角如何费力地修补一个微小的破损,这个过程的枯燥与重复,反而将“坚持”这一主题进行了最朴素也最震撼的诠释。角色的成长不是通过突如其来的顿悟达成的,而是通过日复一日、汗水与绝望交织的积累。书中对配角(如果有的话,或者是一些虚无的意象)的侧面描写也极富张力,它们往往只是几句简短的提及,却能瞬间激活读者脑海中对“失落”或“失去”的联想,为故事增添了丰富的隐喻层次。这种克制而有力的叙事手法,让我对作者的掌控力感到由衷的敬佩。
评分这本书的语言风格有一种奇特的、近乎古典的韵律感,即使是在描述最原始的生存挣扎时,文字也保持着一种令人惊艳的优雅。它不是那种直白粗粝的口语化描述,而更像是一首被拆解重组的史诗。在某个描绘天气突变的情节中,作者使用了大量叠词和排比,将风暴的肆虐描绘得既具视觉冲击力,又充满了音乐的美感,仿佛在进行一场宏大的交响乐表演,而主角的渺小则成了这场表演的衬底。这种对美感的坚持,使得即使在最黑暗的时刻,读者也能瞥见一丝人性的光辉——或许是来自于对记忆中温暖的坚守,或许是源于对自然规律的敬畏。我特别欣赏作者在不使用过多专业术语的情况下,成功地让读者理解了主角所面临的物理困境,这完全是依靠高超的文学想象力来实现的,而不是依赖机械的说明。
评分这部小说的开篇就牢牢抓住了我的心。作者对于环境的细致描绘简直令人叹为观止,文字如同画笔,将那种广袤无垠、令人敬畏的蓝色世界栩栩如生地呈现在眼前。我仿佛能闻到咸湿的海风,感受到阳光炙烤皮肤的灼热,耳边充斥着海浪永不停歇的轰鸣声。主角在面对突如其来的变故时,那种从震惊、否认到最终接受现实的心理转变过程,刻画得极其真实而富有层次感。尤其让我印象深刻的是他与自我内心深处的对话,那些关于生存的本能、对过去的回溯以及对未来未知的恐惧,都通过流畅而富有哲思的叙事得以展现。书中对于时间流逝的感知也处理得非常巧妙,在那种与世隔绝的环境中,时间似乎被拉伸、扭曲,每一刻都变得异常漫长而沉重,却又在不经意间悄然溜走。这种对生存状态的深度挖掘,超越了一般的冒险故事范畴,更像是一次对人类精神韧性的深刻探访。我非常期待后续情节如何进一步拷问这位主角的意志极限。
评分走过这一切然后回头看,不过如此~
评分据说算是作者第一部作品,非常细腻非常teenager
评分据说算是作者第一部作品,非常细腻非常teenager
评分走起文艺路线了~
评分18岁真好
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