The night after a shooting star is seen streaking through the sky from Mars, a cylinder is discovered on Horsell Common in London. At first, naive locals approach the cylinder armed just with a white flag only to be quickly killed by an all-destroying heat-ray, as terrifying tentacled invaders emerge. Soon the whole of human civilisation is under threat, as powerful Martians build gigantic killing machines, destroy all in their path with black gas and burning rays, and feast on the warm blood of trapped, still-living human prey. The forces of the Earth, however, may prove harder to beat than they at first appear.
Herbert George Wells was born to a working class family in Kent, England. Young Wells received a spotty education, interrupted by several illnesses and family difficulties, and became a draper's apprentice as a teenager. The headmaster of Midhurst Grammar School, where he had spent a year, arranged for him to return as an "usher," or student teacher. Wells earned a government scholarship in 1884, to study biology under Thomas Henry Huxley at the Normal School of Science. Wells earned his bachelor of science and doctor of science degrees at the University of London. After marrying his cousin, Isabel, Wells began to supplement his teaching salary with short stories and freelance articles, then books, including The Time Machine (1895), The Island of Dr. Moreau (1896), The Invisible Man (1897), and The War of the Worlds (1898).
Wells created a mild scandal when he divorced his cousin to marry one of his best students, Amy Catherine Robbins. Although his second marriage was lasting and produced two sons, Wells was an unabashed advocate of free (as opposed to "indiscriminate") love. He continued to openly have extra-marital liaisons, most famously with Margaret Sanger, and a ten-year relationship with the author Rebecca West, who had one of his two out-of-wedlock children. A one-time member of the Fabian Society, Wells sought active change. His 100 books included many novels, as well as nonfiction, such as A Modern Utopia (1905), The Outline of History (1920), A Short History of the World (1922), The Shape of Things to Come (1933), and The Work, Wealth and Happiness of Mankind (1932). One of his booklets was Crux Ansata, An Indictment of the Roman Catholic Church. Although Wells toyed briefly with the idea of a "divine will" in his book, God the Invisible King (1917), it was a temporary aberration. Wells used his international fame to promote his favorite causes, including the prevention of war, and was received by government officials around the world. He is best-remembered as an early writer of science fiction and futurism.
He was also an outspoken socialist. Wells and Jules Verne are each sometimes referred to as "The Fathers of Science Fiction". D. 1946.
前几天看了这本小说,听说,电影正是根据这部小说改编的。 小说讲述的是十九世纪末的英国,在一夕之间沦为火星人屠杀地狱的故事。小说伊始,主人公便透过天文望远镜观测到了火星的异常活动。当然,一并观测到这一现象的,还有诸多天文爱好者以及专家。但是,由于对宇宙认识的...
坦白说,初读这本书时,我差点被那种略显古典和冗长的叙事风格劝退。这和现在流行的快节奏小说截然不同,它更像是一幅用细腻的油彩慢慢晕染开来的历史画卷,需要足够的耐心去细细品味。然而,一旦你适应了它的节奏,就会发现那种慢工出细活带来的震撼力是无与伦比的。作者对社会阶层的观察极为敏锐,通过不同身份人物的视角,展现了在巨大危机面前,社会结构是如何在瞬间崩塌或重塑的。我特别欣赏他如何处理那种“常态的崩塌”,比如一个平日里循规蹈矩的绅士,如何为了抢夺一辆马车而变得面目全非。这种对人性阴暗面的揭露,比那些宏大的战争场面更令人心惊肉跳。而且,书中对科学幻想元素的处理极其高明,它没有过多地纠缠于技术细节的解释,而是将焦点放在了这种“异质性”力量对人类既有世界观的颠覆上。读完后,我感觉自己对“进步”这个词有了更审慎的理解,它并非总是带来福祉,有时也可能是打开潘多拉魔盒的钥匙。
评分我对文学作品中对于“异类”的想象力一直是津津乐道的。在这部作品中,作者构建的“访客”形象,绝非传统意义上的刻板反派。他们是如此的、如此地“他者”,以至于人类所有的逻辑、道德和军事力量在他们面前都显得像孩童的把戏。我特别喜欢作者在描述入侵初期,人类社会主流舆论的那种集体性失语和傲慢。大家都在用自己固有的框架去解释眼前发生的一切,从科学界的解释到宗教的警示,每一种解读都显得苍白无力。这种“认知失调”的描写,其实比外星人的武器更具批判性,它揭示了人类中心主义的傲慢是多么根深蒂固。当我们习惯了自己是宇宙的主宰时,一旦有更高级的力量降临,我们首先暴露的不是武力上的弱小,而是精神上的贫乏。这本书的伟大之处正在于,它迫使读者跳出自身的舒适区,去思考我们在宇宙中的真实定位。
评分这本小说,拿到手里的时候,就被那种沉甸甸的年代感给吸引住了。封面设计得很有心思,那种泛黄的纸张质感,仿佛能让人瞬间穿越回那个蒸汽朋克味道浓郁的维多利亚时代。我一直对那种描绘人类在面对未知、超越自身认知极限时的反应的作品情有独钟,而这本书无疑将这种探索推向了一个极端。作者的笔触细腻入微,对于人物的心理刻画简直达到了令人发指的地步。你仿佛能感受到主人公那种从最初的傲慢与不以为然,到面对毁灭性力量时的恐惧、绝望,再到最后为了生存而迸发出的原始生命力。尤其是他对环境细节的描摹,那种伦敦街头的日常景象,与突如其来的灾难形成了强烈的反差,让那种不安感层层递进。读到后半部分,我几乎是屏住呼吸读完的,那种紧凑的节奏感,让人完全无法停下来思考,只会被情节裹挟着向前冲。它不仅仅是一个关于冲突的故事,更是一部关于人类文明脆弱性的深刻反思,让人读完后久久不能平静,反复咀嚼着字里行间流露出的那种对生存本质的拷问。
评分从文学技巧的角度来看,这本书的结构安排堪称一绝。它采用了多线叙事,但又巧妙地通过一些关键的时间点和地点将所有线索串联起来,形成一张巨大的、令人窒息的网。我特别留意了叙述者在讲述过程中所使用的那些充满时代烙印的词汇和表达方式,这使得整部作品充满了浓郁的历史芳香。但最让我折服的是,它在接近尾声时处理“转折”的方式。那种突如其来的、几乎是戏谑性的解决方案,彻底颠覆了之前所有建立起来的紧张和绝望,带来的情绪冲击是巨大的。它不是一个简单的“英雄拯救世界”的俗套结局,而更像是一种对自然法则的回归。这种处理方式,与其说是在讲述一场战争的胜利,不如说是在探讨“生存”本身的复杂性。读完全书,我感到的不是战胜敌人的狂喜,而是一种历经浩劫后的虚无与庆幸交织的复杂情绪,这种回味无穷的后劲,是很多当代作品难以企及的。
评分这本书最让我印象深刻的是它的“现场感”。作者仿佛是一位躲在暗处的战地记者,用最直接、最不加修饰的语言记录下了一切。我读过很多关于灾难的小说,但很少有能像这本书一样,让我产生身临其境的错觉。那种空气中弥漫着的硫磺味,那种被高温灼烤的绝望,那种漫天尘土遮蔽了天空的压抑感,都通过文字活灵活现地呈现在眼前。更妙的是,叙述者始终保持着一种极度个人的视角,他不是一个全知的上帝,他和你我一样,只能看到他所能看到的部分,听到他所能听到的声音。这极大地增强了故事的真实性和代入感。每当他描述那些“访客”的行动轨迹时,我的心跳都会跟着加速,期待着下一秒的奇观或者更深的恐怖。这种纯粹的、不掺杂过多道德批判的记录方式,使得这部作品具有了一种近乎纪录片的冷峻力量,让人不得不直面那种突如其来的、无法抵抗的宿命感。
评分断断续续看了十天。很多科幻游戏、小说、电影里的剧情在这里都能找到。Wells之后的科幻都是炒冷饭。
评分不太喜欢 描述martians的语气带有几分崇拜。。
评分感觉在很多年后读这样一本科幻小说,感觉很清新,因为不是人工智能主导的人机互换,而是地球人类vs.非地球人类,不是那种你中有我,我中有你的混乱。
评分第一部分形容外星人的cylinder之类的,没有直观的感受;第二部分和curate躲在房子里观察火星人的描写比较吸引我。100多年前的外星人进攻,和当今的好莱坞版本比,还是略显provincial
评分断断续续看了十天。很多科幻游戏、小说、电影里的剧情在这里都能找到。Wells之后的科幻都是炒冷饭。
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