10:04: A Novel

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出版者:Faber & Faber
作者:Ben Lerner
出品人:
页数:256
译者:
出版时间:2014-9
价格:USD 25.00
装帧:Hardcover
isbn号码:9780865478107
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图书标签:
  • 小说
  • 美国文学
  • BenLerner
  • 诗歌
  • 艺术
  • 美国
  • 文学
  • audible
  • 小说
  • 悬疑
  • 时间
  • 都市
  • 心理
  • 推理
  • 现代
  • 女性
  • 成长
  • 秘密
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具体描述

In the last year, the narrator of 10:04 has enjoyed unlikely literary success, has been diagnosed with a potentially fatal medical condition, and has been asked by his best friend to help her conceive a child. In a New York of increasingly frequent superstorms and social unrest, he must reckon with his own mortality and the prospect of fatherhood in a city that might soon be underwater.

A writer whose work Jonathan Franzen has called “hilarious . . . cracklingly intelligent . . . and original in every sentence,” Lerner captures what it’s like to be alive now, during the twilight of an empire, when the difficulty of imagining a future is changing our relationship to both the present and the past.

Review

Praise for 10:04

“At 240 pages, his new novel does not announce itself as a magnum opus. But given Lerner’s considerable humor, rigorous intelligence, and shred breed of conscience—his bighearted spirit and formal achievement—it is. A generous, provocative, ambitious Chinese box of a novel, 10:04 is a near-perfect piece of literature, affirmative of both life and art, written with the full force of Lerner’s intellectual, aesthetic, and empathetic powers, which are as considerable as they are vitalizing." —Maggie Nelson, The Los Angeles Review of Books

“This masterful, at times dizzying novel reevaluates not just what fiction can do but what is is . . . Hilarious and incisive, Lerner’s [10:04] would succeed without the layers of fiction (on reality on fiction). But with that narrative device, the book achieves brilliance, at once a study of how fiction functions and an expansive catalog of life.” —Tiffany Gilbert, Time Out New York [Five-star review]

“A brilliant novel . . . As promising a second effort as Atocha Station was a debut.” —Juliet Lapidos, The New Republic

“Reading Ben Lerner gives me the tingle at the base of my spine that happens whenever I encounter a writer of true originality. He is a courageous, immensely intelligent artist who panders to no one and yet is a delight to read. Anyone interested in serious contemporary literature should read Ben Lerner, and 10:04 is the perfect place to start.” —Jeffrey Eugenides, author of The Marriage Plot

“Ben Lerner is a brilliant novelist, and one unafraid to make of the novel something truly new. 10:04 is a work of endless wit, pleasure, relevance, and vitality.” —Rachel Kushner, author of The Flamethrowers

Praise for Leaving the Atocha Station

“A work so luminously original in style and form as to seem like a premonition, a comet from the future.” —Geoff Dyer, The Observer

“Lerner’s writing [is] beautiful, funny, and revelatory.” —Deb Olin Unferth, Bookforum

“[A] subtle, sinuous, and very funny first novel . . . There are wonderful sentences and jokes on almost every page.” —James Wood, The New Yorker

“One of the funniest (and truest) novels . . . by a writer of his generation.” —Lorin Stein, The New York Review of Books

“Flip, hip, smart, and very funny . . . Reading it was unlike any other novel-reading experience I’ve had for a long time.” —Maureen Corrigan, NPR’s Fresh Air with Terry Gross

“Remarkable . . . a bildungsroman and meditation and slacker tale fused by a precise, reflective and darkly comic voice.” —Gary Sernovitz, The New York Times Book Review

“The overall narrative is structured round [these] subtle, delicate moments: performances, as Adam would call them, of intense experience. They’re comic in that obviously, Adam is an appalling poseur. But they’re also beautiful and touching and precise.” —Jenny Turner, The Guardian

“Leaving the Atocha Station is a marvelous novel, not least because of the magical way that it reverses the postmodernist spell, transmuting a fraudulent figure into a fully dimensional and compelling character.” —Sam Sacks, The Wall Street Journal

“An extraordinary novel about the intersections of art and reality in contemporary life.” —John Ashbery

“Utterly charming. Lerner’s self-hating, lying, overmedicated, brilliant fool of a hero is a memorable character, and his voice speaks with a music distinctly and hilariously all his own.” —Paul Auster

“Last night I started Ben Lerner’s novel Leaving the Atocha Station. By page three it was clear I was either staying up all night or putting the novel away until the weekend. I’m still angry with myself for having slept.” —Stacy Schiff

“A character-driven ‘page-turner’ and a concisely definitive study of the ‘actual’ versus the ‘virtual’ as applied to relationships, language, poetry, experience.” —Tao Lin, The Believer

“Ben Lerner’s Leaving the Atocha Station is a slightly deranged, philosophically inclined monologue in the Continental tradition running from Büchner’s Lenz to Thomas Bernhard and Javier Marías. The adoption of this mode by a young American narrator—solipsistic, overmedicated, feckless yet ambitious—ends up feeling like the most natural thing in the world.” —Benjamin Kunkel, New Statesman’s Books of the Year 2011

在一个被时间洪流裹挟的现代都市,一场突如其来的疫情如同一张巨大的阴影,笼罩在每一个人的生活之上。疫情不仅打乱了日常的节奏,更让人们被迫面对生命中的脆弱与孤独。在这个特殊时期,几个截然不同的人物的生活轨迹开始悄然交织。 主人公之一,是一位在艺术界备受瞩目的年轻作家。他以敏锐的观察力和深刻的洞察力著称,笔下的人物总是充满复杂的情感与挣扎。然而,突如其来的疫情打断了他的创作灵感,令他陷入了前所未有的瓶颈。他开始质疑自己的艺术价值,也开始审视人与人之间的真实联系。城市的喧嚣被寂静取代,街头巷尾的空旷让他倍感压抑,他开始在回忆与现实之间寻找答案,试图从纷繁的思绪中捕捉一丝灵光。 与此同时,一位年轻的流行病学家正奋战在抗疫第一线。她年轻、有为,却也承受着巨大的压力。每一天,她都要面对冰冷的数据、无休止的会议,以及无数需要拯救的生命。在巨大的责任感驱使下,她几乎将全部精力投入到工作中,忽略了个人生活,也逐渐疏远了曾经亲密的家人和朋友。疫情不仅是对科学的挑战,更是对她个人坚韧和情感的考验。她如何在科学的严谨与人性的关怀之间找到平衡? 在城市的另一端,一位年迈的哲学家,曾经以其对存在主义的深刻见解而闻名。如今,他身患重病,在生命的最后阶段,他选择将自己关在公寓里,与书本和思绪为伴。疫情的蔓延,让他更加深切地体会到生命的短暂与无常,也让他重新审视了自己一生的追寻。他开始思考,在生命的尽头,什么才是真正重要的?是名誉、是成就,还是那些在平凡生活中被忽略的温暖瞬间?他试图用最后的时光,整理自己的人生哲学,并试图将这些感悟传递出去。 还有一位年轻的母亲,在疫情爆发后,她不得不独自承担起照顾孩子和家庭的重担。她的丈夫被困在另一个城市,无法回家。日复一日的隔离生活,让她感到疲惫不堪,也让她开始质疑生活的意义。她看着孩子纯真的眼睛,却不知道如何解释这个充满不确定性的世界。她在孤独中寻求力量,在困境中学习成长,也开始重新认识到母性的伟大与坚韧。 这些看似独立的人物,在疫情的特殊背景下,却因为一些看似偶然的事件而产生了微妙的联系。或许是在一次线上讲座中的意外留言,或许是共享同一份新闻报道的感慨,又或许是一次偶然的电话。他们开始通过各种方式,在虚拟世界中寻求慰藉与连接。在信息爆炸的时代,他们又一次被提醒,即使身处隔离,人类的情感与需求却是如此的共通。 小说不仅仅描绘了疫情下的生存状态,更深入地探讨了在生命面临挑战时,个体的反思与成长。作家试图在文字中找寻人性的光辉,流行病学家在数据中寻找生命的希望,哲学家在寂静中探寻存在的意义,而年轻的母亲则在责任与爱中汲取力量。他们在这个特殊的时期,以各自的方式,重新定义了“连接”的含义,也重新审视了生命中真正珍贵的价值。 故事的叙述并非线性,而是通过不同人物的视角,如同拼图一般,逐渐勾勒出整个城市在疫情下的众生相。这种碎片化的叙事方式,恰恰呼应了疫情带来的信息碎片化和生活节奏的打乱。然而,正是这些看似零散的片段,最终汇聚成一幅宏大而感人的画卷,展现了人类在困境面前的韧性、智慧与爱。 小说也探讨了当下社会中的一些普遍议题,例如科技对人际关系的影响,信息茧房的形成,以及在危机时刻,个体与社会之间的关系。它并没有提供简单的答案,而是鼓励读者去思考,去感受,去体味生活中的点滴细节。 在故事的结尾,疫情或许并未完全结束,但每个人都以一种新的姿态,重新站立起来。他们或许依然面临着挑战,但他们的内心已经悄然发生改变。他们学会了更加珍惜当下,更加懂得感恩,也更加明白,在生命的旅途中,连接与爱,才是支撑我们前行的最强大力量。这不仅仅是一个关于疫情的故事,更是一个关于人性、关于生命、关于在不确定世界中寻找意义的深刻寓言。

作者简介

Ben Lerner was born in Topeka, Kansas, in 1979. He has been a Fulbright Fellow, a finalist for the National Book Award for Poetry, a Howard Foundation Fellow, and a Guggenheim Fellow. His first novel, Leaving the Atocha Station, won the 2012 Believer Book Award, and excerpts from 10:04 have been awarded The Paris Review’s Terry Southern Prize. He has published three poetry collections: The Lichtenberg Figures, Angle of Yaw, and Mean Free Path. Lerner is a professor of English at Brooklyn College.

目录信息

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这本书的后半部分处理得极其巧妙,它拒绝给出任何简单明了的答案或俗套的团圆结局。相反,它将所有的线索都抛给了读者,要求我们自己去拼凑、去消化。这种开放式的收尾,不是作者的逃避,而是一种深刻的信任,他相信读者已经通过前面的阅读积累了足够的理解力,能够独自面对故事遗留下来的哲学命题。读完最后一页,我感到一阵强烈的失重感,仿佛被猛地从那个构建精妙的世界中抽离出来,留下的不是情节的完结,而是一连串关于“存在”、“选择”和“时间本质”的沉思。这本书的真正魅力,或许就在于它在合上书本后,依然在你的脑海中继续上演,那种挥之不去的余韵,才是衡量一部优秀作品的真正标尺。

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人物的塑造是这本书最令人称道之处,没有一个是扁平的符号,他们都是充满矛盾与成长的复合体。特别是几个配角的刻画,简直是神来之笔,他们虽然戏份可能不如主角突出,但其复杂的心路历程和出人意料的抉择,却为整个故事增添了无数层次的张力。我看到一些人物在面对困境时,那种挣扎、自我怀疑到最终做出艰难决定的过程,真实得让人心痛。作者高明的地方在于,他没有简单地将人物定义为“好人”或“坏人”,而是展示了人性中那些灰色地带,那些我们每个人都可能在内心深处藏匿的犹豫和欲望。每一次对话都充满了潜台词,角色的沉默往往比他们的言语更具杀伤力和信息量,这迫使我必须停下来,反复琢磨他们话语背后的真实意图。

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这本书的封面设计简直是一场视觉盛宴,那种深邃的蓝色调配合着烫金的字体,在书架上一下子就能抓住我的眼球。我拿到手的时候,那种纸张的质感就让我对里面的内容充满了期待,厚实的触感和微微带着油墨香的味道,让人忍不住想要立刻翻开。光是摩挲着封面上的纹理,我就能感受到设计者在其中倾注的心思,它不仅仅是一个容器,更像是一件艺术品。我花了好一会儿才舍得把它放下来,反复端详着封面上那个微妙的排版布局,每一个留白都处理得恰到好处,仿佛在无声地诉说着某种深沉的、尚未揭晓的故事。初读者的直觉告诉我,这本书的作者在呈现故事的“外衣”上,就已经展现出了非凡的品味和对细节的极致追求,这让我对故事本身的叙事功力和意境营造更加充满了信心。这本书的物理形态本身,就已经提供了一种沉浸式的阅读前奏,它成功地建立了一种高级而神秘的氛围,让人完全被这种精心雕琢的仪式感所吸引。

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语言风格的变化多端,是阅读过程中不断带来的惊喜。你会发现,在描述宏大场景时,作者会启用一种宏伟、几乎带有史诗感的句式,那样的文字充满了力量和磅礴的气势;然而,当镜头转向内心的独白时,笔锋又会瞬间变得极其私密和脆弱,句子变得短促、破碎,充满了感性的色彩。这种风格上的灵活切换,完美地契合了故事情绪的起伏。有时,我会因为某一个形容词的选择而驻足,心想“天哪,竟然能这样形容一个感觉!”那种精准度,仿佛作者拥有将无形的情感固化为有形物体的魔力。整本书读下来,就像是在聆听一场精心编排的交响乐,每一个音符——每一个词汇——都有其不可替代的音高和作用。

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故事的开篇如同清晨薄雾中缓缓拉开的帷幕,那种叙事节奏的把握简直是教科书级别的。作者并没有急于抛出惊天动地的事件,而是极其耐心地,用一种近乎诗意的笔触,勾勒出主人公日常生活的细微脉络。我特别喜欢他处理时间流动的方式,它不是线性的、机械的推进,而是像一条蜿蜒的河流,时而湍急,时而回旋,总是在不经意间带出一段被遗忘的回忆或是对未来的隐晦预示。这种慢热的处理方式,对于习惯了快节奏叙事的读者来说,或许需要一点适应,但一旦你沉浸进去,就会发现这种细腻入微的观察力,如何将平凡的生活场景提升到了一种哲学思辨的高度。每一个场景的切换,都伴随着对光线、声音乃至空气湿度的精准捕捉,仿佛我不是在阅读文字,而是亲身站在那个时空节点,用全身的感官去体验那里的每一秒钟。

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self-indulgent masculinity meets self-indulgent NY-centricism.the author is undoubtedly brilliant, if you understand the limits of his work.I realized how male writers make the whole world revolve around them, a big ego in the center of everything, and female writers construct a world made of interpersonal relationships, fragile as they all are.

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挑战了我对小说的定义,虚构和非虚构之间的界线被模糊掉,想象力既是记忆。不是情节推动类的,大部分是心理描写,但是很多戳中我的点。人生不就是这样,一个想法接着下一个想法,在过去,现实和未来里,在外界的刺激下肆意穿梭。作者的neurosis大概和我是同一个频道的,读的时候各种笑。It's funny because it's true.

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挑战了我对小说的定义,虚构和非虚构之间的界线被模糊掉,想象力既是记忆。不是情节推动类的,大部分是心理描写,但是很多戳中我的点。人生不就是这样,一个想法接着下一个想法,在过去,现实和未来里,在外界的刺激下肆意穿梭。作者的neurosis大概和我是同一个频道的,读的时候各种笑。It's funny because it's true.

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挑战了我对小说的定义,虚构和非虚构之间的界线被模糊掉,想象力既是记忆。不是情节推动类的,大部分是心理描写,但是很多戳中我的点。人生不就是这样,一个想法接着下一个想法,在过去,现实和未来里,在外界的刺激下肆意穿梭。作者的neurosis大概和我是同一个频道的,读的时候各种笑。It's funny because it's true.

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活吃章鱼,人工授精,《回到未来》,贾德极简主义,黑山派诗歌,客体主义诗歌。诗人不可能独立于时间。

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