具体描述
For over twenty years George A. Walker has compulsively maintained a visual dream diary of images remembered from his resonant sleep. Inspired by Carl Jung's theories of dreaming and the dream's relation to the unconscious Walker began to explore the dioramas encountered in his enchantment, distilling them into single black and white images in an effort to capture unconscious moments in time. Many of these same images have subsequently been transferred onto endgrain wood blocks and hand printed in limited letterpress editions. As Walker claims, dreams are the bones of the psyche, which is where all our understanding of self begins and ends.' Why is it that the black and white image is so compelling? The human eye consists of rods and cones that process the reflected light of our world. These signals are then translated into colour and form for processing by the brain. The rods, however, are considered one of the most primitive organs in the eye and are sensitive only to black and white. These rods are the first component of the eye to be activated at birth and this explains why infants respond readily to high contrast black and white images. It could be said, then, that human beings are hard-wired' to read black and white artwork. It is this instinctive physical attraction that drives Walker's exploration of the high contrasts intrinsic to wood engraving prints. The neocerebellum is the part of the cerebellum that controls visual-spacial, procedural learning and the preparation of complex movements such as would be required in the engraving of lines on a wood block. Many psychologists believe the cerebellum is where our dreams originate. Since the cerebellum is in control of the emotions and self-awareness it is one key to understanding how the brain organizes its unconscious self. In the United States, Walker is known for his many collaborations with the bestselling novelist Neil Gaiman, author of "Anansi Boys, American Gods" and "Neverwhere" and the creator/writer of the monthly cult DC Comics horror-weird series, "Sandman." Walker has published two Biting Dog Press editions of Gaiman's writing - "Murder Mysteries" and "Snow Glass Apples." In Canada, Walker is perhaps best-known for the ninety-six wood engravings he created to illustrate the Cheshire Cat Press edition of Lewis Carroll's "Alice's Adventures in Wonderland" (1988) which was printed by hand in 177 copies by Walker's long-time mentor Bill Poole at the Poole Hall Press. "Wonderland" was followed, in 1998, by yet another Cheshire Cat edition of "Through the Looking Glass and What Alice Found There" which may have given rise to Walker's current reputation as the Mad Hatter of the Canadian graphic arts, an artist of sustained and wacky integrity half way between Jose Posada and Krazy Kat'.
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这本书的整体节奏控制得炉火纯青，它像一部精密的机械钟表，每一个部分的转动都精确计算过对整体时间感的影响。某些章节的推进极其缓慢，仿佛时间被拉伸到了极限，每一个词语都被赋予了不相称的重量；而另一些章节则以一种近乎爆发性的速度掠过，留给读者的是一片模糊的残影。这种急缓交替的节奏感，非常有效地模拟了人在极端状态下对时间流逝的感知扭曲。我发现自己不自觉地跟随书中的节奏起伏，时而屏住呼吸细读，时而匆匆翻阅以求得一个喘息的机会。这种对阅读体验的生理层面的调控，是许多书籍难以企及的。它不仅仅是文字的堆砌，更像是一场精心编排的感官调度，让人在合上书本后，依然能清晰地感受到那种错乱却又和谐的时间脉冲。
评分这本书的叙事结构非常独特，它不是采用传统的线性叙事，而是像一组碎片化的梦境，将不同的场景和情绪以一种跳跃却又内在关联的方式呈现出来。初读时，我有些迷失，感觉像是在解一个没有标准答案的谜题，每一个段落似乎都指向一个更深层的意象。作者的文字功底毋庸置疑，他擅长使用那种富有张力和暗示性的语言，寥寥数语就能构建出一个完整的心理空间。我特别欣赏他那种克制的表达方式，从不急于给出结论，而是将解释的空间留给读者自己去填充。这种“留白”的处理方式，让我在阅读后依然能持续地回味和联想。读完最后一页，我合上书本，那种久久不能散去的回响感，就像是听完了一首结构复杂的大提琴协奏曲，需要时间去消化每一个音符的重量。它挑战了我的阅读习惯，迫使我放慢速度，去关注语言背后的潜台词。
评分这本书探讨的主题异常宏大，涉及了人类记忆的本质、时间感的消融，以及个体存在与集体无意识之间的微妙联系。尽管这些概念听起来有些抽象，但作者成功地通过一系列具体的、富有象征意义的案例或场景，将它们具象化了。我注意到作者在引用和借鉴哲学、神话乃至早期科学观察记录时，展现了广博的学识。最让我震撼的是他对“遗忘”的描绘——它不是简单的缺失，而是一种主动的、有力量的构建过程。这种全新的视角颠覆了我过去对该主题的认知。阅读过程中，我多次停下来，反复咀嚼那些关键性的句子，试图抓住作者试图引导我进入的那个思想迷宫的核心。它迫使我不得不进行一场深层次的自我审视，关于我自己的记忆库是如何运作的，哪些被刻意保留，哪些又被无声地抹去了。
评分这本书的封面设计简直是视觉上的盛宴，那种深邃的蓝色调配上细致入微的纹理，一下子就抓住了我的眼球。我原本以为这会是一本枯燥的学术专著，但翻开扉页后才发现，作者在排版和插图的选择上花了不少心思。那些精美的、仿佛油画般的图像，每一张都散发着一种古典与现代交织的魅力。读起来的时候，我感觉自己仿佛是漫步在一个充满神秘符号和未知风景的画廊里，沉浸在一种宁静而又引人深思的氛围中。尤其是一些跨页的大图，细节处理得极其到位，光影的变化、色彩的过渡，都展现了极高的艺术水准。虽然我可能无法完全理解其中蕴含的深层含义，但光是欣赏这些图像本身，就已经是一种享受了，它成功地将阅读体验提升到了审美体验的层次。这本书的装帧质量也无可挑剔，纸张的手感厚实而细腻，油墨的印刷清晰锐利，让人爱不释手。
评分从语言风格来看，作者明显偏爱一种高度程式化、近乎仪式感的句法结构，这赋予了全书一种庄严而又疏离的基调。我感觉到，他似乎在模仿某种古老的、失传的记录方式，力求在文字的表面构建起一道坚不可摧的壁垒，将情感的直接流露降到最低。这种“去情感化”的叙述，初读时会让人感到一丝寒意，仿佛在与一个不食人间烟火的智者对话。然而，正是这种冷静到近乎残酷的客观性，反而让其中偶尔闪现的、微弱的人性光辉显得更加珍贵和有力。这种文体选择极大地增强了作品的实验性，它不是在提供故事或信息，而是在搭建一个语言的装置，让读者自己去感受其中的机械运转和最终的断裂。对于寻求传统叙事体验的读者来说，这可能是一个不小的挑战。
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