"It is safe to write accurately only about the nuts and the bums." -Joseph Mitchell Entering the Hotel Intercontinental in Amman, Jordan, is like entering an African safari lodge. You're just as likely to get into an argument over double-parking in the heart of Baghdad as you are on the streets of middle America. Seven hundred dollars in "assurances" might get you a room without a desk, bed, sink, toilet, carpet, lights, or even running water. And if you can't get a good quote through friendly conversation, swilling beer and trading insults generally helps. These lessons, among others, are known to every seasoned correspondent. It takes an amateur, however, to take it all in-and truly appreciate how news stories get out from the war zone and onto the front page of The New York Times . In the spring of 2003, metro desk reporter Alan Feuer was sent to the Middle East to cover the U.S. invasion of Iraq. He was not alone: not only were forty correspondents from the Times dispatched, but hundreds of reporters from around the globe planned on locking step with the military, multitudes more following in their wake. This media swarm, along with the local opportunists, profiteers (zee Internet, anyone?), and "media fixers," are detailed here to brilliant, uncommonly funny effect. Feuer shows to what extent improv, dirty jokes, slang, drinks, sarcasm, finger-pointing, more drinks, cheekiness, and notes taken down on missing pads have to do with the news we get. He also offers a profoundly fascinating-and morally serious-examination of one's responsibility to the truth, to one's country, and to the fear, pride, and ambivalence that inform every conflict, military or otherwise. Over There tells it all with a candor bordering on recklessness, and marks the debut of a major new literary voice. "There is 'going to war' and going to war . Between the two exists an experiential chasm. Some journalists, in their inevitable accounts of 'going to war,' have blurred what, exactly, this difference is. But Alan Feuer understands the difference; indeed, this gripping, wonderful, and morbidly hilarious book is about that difference. One imagines it required real courage to write a charming, funny book about a charmless, tragic war, and genuine moral vision to do so without one speck of bullshit." -Tom Bissell, author of Chasing the Sea and God Lives in St. Petersburg "There will likely be dozens, if not hundreds, of memoirs written by reporters who covered the war in Iraq. It's a safe bet though that this one will stand apart from most of the rest. . . . This is one war memoir that demands to be read." - Booklist "Engaging . . . memorable. . . Feuer's first book helps us understand how the image of war is crafted, and for that alone it is welcome." - Kirkus Reviews "A perceptive insider's account . . . It's also a trenchant, at times self-lacerating critique of the media itself and its shallowness and isolation . . . [written with] novelistic density and introspection." - Publishers Weekly
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这本书的叙事结构简直是鬼斧神工,充满了精妙的设计感!它不是采用传统的线性叙事,而是像打乱了的拼图,通过不同时间线、不同人物的视角进行跳跃和交织,但最终所有的碎片都能完美契合,形成一个宏大而完整的图景。这种叙事手法极大地增强了悬念和张力,让你不得不带着强烈的求知欲去探寻真相。我尤其欣赏作者在处理多线叙事时的那种游刃有余,不同支线之间的节奏把握得恰到好处,有快有慢,有高潮有低谷,绝不让人感到混乱。它挑战了读者主动参与构建故事的思维模式,每一次“啊哈”的顿悟都来自于自己对先前零散信息的重新组合,这种阅读体验是极其愉悦且富有成就感的。这种非传统叙事带来的阅读体验,就像是在破解一个精心设计的密码,每解开一个环节,都会对整体架构有更深一层的理解。对于喜欢挑战智力、享受深度阅读体验的读者来说,这本书绝对是不可多得的珍品。
评分这本小说简直是把我拽进了另一个时空!作者的笔触细腻得像是老电影的胶片,每一个场景、每一个人物的对话都充满了那个年代特有的质感。我特别喜欢它对社会背景的描绘,那种看似平静却暗流涌动的氛围,让人忍不住去思考历史的重量。书中对主角内心挣扎的刻画尤为到位,那种身处十字路口时的迷茫与坚定,读起来让人感同身受,甚至会忍不住去对照自己的人生经历。说实话,一开始我对这种篇幅较长的作品有些望而却步,但一旦翻开,那种沉浸感就让人完全放不下。它不是那种快节奏的爽文,而更像是一杯需要慢慢品味的陈年老酒,后劲十足。尤其是当故事发展到某个关键转折点时,我甚至能清晰地感受到作者在文字背后倾注的情感,那种对人性的洞察和对命运的感慨,真的非常震撼。读完之后,我合上书页,花了很长时间才从那个世界抽离出来,回味无穷。它不仅仅是一个故事,更像是一堂生动的历史课,也是一幅关于成长的复杂画卷。
评分坦白说,这本书的节奏感处理得极其高明,简直像是一部精心编排的交响乐。开篇是宁静的慢板,铺陈世界观和人物关系,带着一丝不易察觉的诡异氛围。随着情节的深入,乐曲开始加速,引入了紧张的对峙和意想不到的转折,弦乐部分达到了高潮,让人屏息凝神。最妙的是,在几个关键的冲突点之后,作者会插入一段近乎冥想式的内心独白或环境描写,像是一个完美的休止符,让读者和角色都有片刻喘息和沉淀的机会,为接下来的高潮积蓄能量。这种张弛有度的节奏控制,让阅读过程充满了令人期待的起伏感。它不像有些作品后劲不足,从头到尾都保持着一种昂扬的姿态,反而能在适当的时候放慢速度,让你充分消化之前发生的一切,从而更好地投入到下一轮的情感风暴中去。这种对阅读体验的整体把控力,体现了作者深厚的功力,让人在享受故事的同时,也被其结构美学所折服。
评分我必须承认,我对这本书的语言风格爱得深沉。它完全摈弃了那些华丽辞藻的堆砌,用词极为精准、克制,却又蕴含着巨大的爆发力。作者擅长使用意象和隐喻,很多时候,寥寥数语就能勾勒出一个令人难忘的画面,或者点明一个深刻的主题。它的文字密度很高,初读时可能会觉得信息量有点大,但细细品味,你会发现每一个形容词、每一个动词都经过了千锤百炼,绝无冗余。这种“少即是多”的写作哲学,让作品呈现出一种冷峻而又极具力量的美感。特别是当描述人物内心最深处的痛苦或狂喜时,作者的笔法达到了近乎白描的境界,但这种克制反而将情感的张力推向了极致,让人读起来感觉心口被紧紧攥住。这种高级的文学表达,让我想起一些经典名著的韵味,它需要的不是快速翻页,而是随时停下来,对着某一段落反复咀嚼,体会其中微妙的韵味和深意。
评分这本书成功地塑造了一系列复杂到让人又爱又恨的角色群像。让我印象特别深刻的是,作者似乎对“好人”和“坏蛋”的概念持有一种高度审慎的态度。书中的每一个主要角色,无论其行为多么令人不齿或多么令人钦佩,其动机都得到了充分的、多维度的展现。你很难用简单的道德标签去定义他们,他们会因为环境的压力、过去的创伤而做出违背自身原则的决定,这种“人性的灰色地带”的刻画,极其真实且引人深思。我常常在想,如果我处于他们的境地,会不会做出同样的选择?这种代入感和对人性的拷问,是这部作品最宝贵的部分之一。它让我们看到,真正的冲突往往不是外部的战争或阴谋,而是角色内心深处关于良知、忠诚与生存的永恒博弈。这种对复杂人性的深度挖掘,让这部小说远远超越了一般的娱乐消遣,具有了深刻的哲学思辨价值。
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