The Eye in the Door is a novel by Pat Barker, first published in 1993, and forming the second part of the Regeneration trilogy.
The Eye in the Door is set in London, beginning in mid-April, 1918, and continues the interwoven stories of Dr William Rivers, Billy Prior, and Siegfried Sassoon begun in Regeneration. It ends some time before the conclusion of the First World War later the same year. The third part of the trilogy, The Ghost Road, continues the story.
The narrative is driven by action, balanced by lengthy and well-crafted dialogues, many of which simmer with the cat-and-mouse tension of doctor-patient consultations. Description is kept close to a functional minimum.
The first and eponymous part of the Regeneration trilogy finishes somewhat inconclusively with Sassoon being cleared to return to active service on the Western Front. Several questions remain unanswered. What happens to Sassoon? How does Rivers resolve his personal conflicts over the contradictory goals of war and medicine? What resolution lies in store for the couple Billy Prior and Sarah Lumb? The Eye in the Door goes a long way to answering these questions, and raises still more.
Whereas Regeneration is an anomalous, but not unique, mixture of fact and fiction, The Eye in the Door acknowledges real events, including the campaign against homosexuals male and female being waged that year by right-wing MP Noel Pemberton Billing, but remains consistently within the realm of fiction. This grants Barker more freedom to explore her characters and their actions, the descriptions of which might be considered slanderous if attributed to real people. A major theme of the book, Prior's intense and indiscriminate bisexuality, is effectively contrasted with Rivers's tepid asexuality and Sassoon's pure homosexuality. Greater fictional scope also permits a deeper and more fascinating treatment of the complex psychological, political, and professional life of the charismatic and enigmatic central character, Billy Prior. This makes the book more purposeful and formally coherent than its predecessor.
The Eye in the Door subtly draws out some of the contradictions that war brings forth, acts that would normally be immoral become moral, the sane are treated as mad, and while a fight is waged for 'freedom' injustice and prejudice continue to flourish throughout England. The emergent conflicts shared by the main characters - some of which are artfully developed from incidental and easily overlooked minor aspects of the first book - make for intrigue that is only partially developed in this book. This sense of incompleteness, of the author holding something back, seems to presuppose a third volume in the series, perhaps calling into question the integral wholeness of this book as a stand-alone work.
[edit] Real people who appear in the Regeneration trilogy
Winston Churchill
Charles Dodgson
Robert Graves
Henry Head
Edward Marsh
Wilfred Owen
William Rivers
Robert Baldwin Ross
Bertrand Russell
Siegfried Sassoon
Harold Sherwood Spencer
Lewis Yealland
成名前“靠退稿笺打发日子”的女作家帕特·巴克(Pat Barker)意外赢获今年的英国布克小说奖,令英伦书界倍感惊奇,因为获奖名单揭晓前被认为最有望中奖的应该是9月间推出新作《摩尔人最后的叹息》(the Moor’s Last Sign)的小说家萨尔曼·拉什迪(Salman Rushdie)。
1943年出生于英格兰北方的巴克出身劳动阶层,曾就读于伦敦经济学院,从事文学创作前以教书为业。其祖母、母亲和姐姐都是吃苦耐劳的清洁工,从小由开小食店的祖父母养大的巴克对英国劳动妇女有着深厚情感,自1982年出版处女作《联盟街》(Union Street)后,她一直以劳动妇女的悲惨命运为题材进行写作,相继写出了《炸塌你的房子》(Blow Your House Down)和《世纪的女儿》(The Century’s Daugh-ter)等小说。她于1991年起开始以第一次世界大战为背景写作,先后出版了《再生》(Regeneration)、《门里的眼睛》(the Eye In the Door)和《幽灵之路》(The Ghost Road)小说三部曲。今年出版的《幽灵之路》为她赢得了众所瞩目的布克奖,并获得2万英镑奖金。她认为,创作此小说目的并不是让人们感受战争的恐怖,而是要人们思考为什么会发生战争以及战火带给人类社会的灾祸。她说,作品是受当年参加过战争的祖父激发而写就。
巴克是继A.S拜阿特(A.S Byatt)1990年获布克奖以后,又一个获此奖的女小说家。她在英国文坛甚有影响,处女作《联盟街》曾被改编成电影《斯坦利和艾丽丝》(Stanley And Iris),由著名影星简·方达和罗伯特·德尼罗主演。今年与她同获布克奖提名的除拉什迪外,还有3年前的布克奖得主巴里·昂斯沃思(Barry Unsworth)、澳大利亚小说家蒂姆·温顿(Tim Wintm)和南非作家贾斯廷·卡特赖特(Justin Cartwright)。
全称布克·麦康奈尔小说奖(Booker Mc-Connell Prize for Fiction)的布克奖设立于1969年,评奖经费由英国布克·麦康奈尔跨国公司提供,由5位资深文学评论家组成的评委对每年在英国和英联邦国家内用英文出版的小说进行评选,初次选出141部,经过评委6个月审读,再推举出6部(有时可达8部)入围终评,最后评出一名获奖者,奖金2万英镑。
年选一次的布克奖虽常因评奖结果引起争议,但也因其得奖作家的非凡功力而被认为当今英伦最有权威性的文学大奖,历届得主中不乏获奖后又获诺贝尔文学奖的纳丁·戈迪默和威廉·戈尔丁,以及因作品被拍成电影而名扬全球的实力派作家,比如《辛德勒名单》作者汤姆斯·基尼利和《余日残恋》作者石黑一雄。
Pat Barker
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Pat Barker (born May 8 1943[1]) is an English writer and historian. She published her first novel, Union Street, in 1982 and has since won critical acclaim for her First World War series, the Regeneration trilogy, a fictionalised account of the wartime experiences of the poets Siegfried Sassoon and Wilfred Owen, the psychiatrist W. H. R. Rivers, and the fictional protagonist, Lt. Billy Prior. The final book in the trilogy, The Ghost Road, won the Booker Prize upon its publication.
In 1965 Barker completed a degree in international history at the London School of Economics[2] and subsequently studied at Durham University marrying David Barker, a now retired Zoology Professor at the institution. Their daughter Anna Ralph published her own novel The Floating Island (Hutchinson, ISBN 10: 0091795559) in 2007.
Barker's biographer is Sharon Montieth.[3].
[edit] Books
Union Street (1982)
Blow Your House Down (1984)
The Century's Daughter (also known as Liza's England; 1986)
The Man Who Wasn't There (1989)
Regeneration Trilogy :
Regeneration (1991)
The Eye in the Door (1993)
The Ghost Road (1995)
Another World (1998)
Border Crossing (2001)
Double Vision (2003)
Life Class (2007)
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从一个纯粹的叙事爱好者角度来看,这本书最成功的地方在于它构建了一个几乎无懈可击的逻辑闭环。尽管故事涉及了许多看似偶然的巧合,但到最后你会发现,所有的线索都如同精密的齿轮一样咬合在一起,没有一个多余的转动。这种结构上的严谨性,对于追求逻辑自洽的读者来说,无疑是最大的享受。作者高明地运用了“不可靠叙述者”的技巧,让你在阅读过程中不断地自我怀疑:我所相信的,究竟是事实,还是被精心编织的谎言?这种不确定性,贯穿始终,使得每一次“真相大白”的时刻都充满了震撼力和反思的价值。这本书更像是一份精心布局的棋局,你以为自己看穿了对手的下一步,但最终发现,所有的预判都只是作者希望你看到的表象。强烈推荐给喜欢深度解密和复杂布局的读者。
评分读完这本书,我脑海中挥之不去的是那种压抑到极致的氛围感,仿佛空气本身都凝固了,充满了不祥的预兆。作者显然对悬疑的节奏感有着深刻的理解,他深谙“欲扬先抑”的艺术,总是在最平静的表象下埋下最令人不安的伏笔。书中的对话精炼而富有张力,很少有冗余的词句,每一个字似乎都承载着双重甚至多重的含义,这使得解读人物动机成为一种充满乐趣的解谜游戏。更让我感到惊喜的是,故事背景的设定——那种老旧、充满历史尘埃感的场所——本身就成为了一个重要的角色,它见证了人物的兴衰与秘密的滋生。这种地域性带来的宿命感,使得故事的悲剧色彩更加浓烈,让人在阅读过程中,时常感到一种无力回天的宿命论的压迫感。这是一本需要捧着咖啡,在深夜里细细品味的杰作,它会抓住你的心绪,让你无法轻易抽离。
评分这本书的叙事结构犹如迷宫,初读时会让人感到一丝眩晕,但随着情节的层层剥开,那种精心设计的错综复杂感便转化为一种令人着迷的阅读体验。作者对时间线的处理极为大胆,常常在关键时刻进行跳跃或回溯,这使得读者必须时刻保持高度的专注力,去拼凑出故事的全貌。我尤其欣赏其中对人物内心挣扎的细腻刻画,那些潜藏在角色言语和行动之下的细微犹豫与矛盾,被描绘得入木三分。书中对环境的渲染也极具感染力,无论是阴郁的城市角落,还是看似宁静却暗藏玄机的乡村小镇,都仿佛拥有了独立的生命力,与人物的命运紧密交织在一起。这种对细节的执着,让整部作品的质感达到了一个相当高的水准,让人忍不住一读再读,每一次都能捕捉到之前忽略的微小线索。整体而言,这是一部考验智力的阅读挑战,但回报是丰厚的,它提供的远不止一个简单的故事,而是一种沉浸式的探索过程。
评分坦白说,这本书的开篇有些慢热,需要一点耐心去适应作者构建的那个独特的语境。但一旦情节开始加速,那种推进力简直势不可挡,就像一列脱缰的火车,呼啸着冲向一个不可知的终点。我非常欣赏作者在处理道德灰色地带时的那种毫不妥协的态度。书中没有绝对的好人或坏人,每个角色都在各自的利益、恐惧和爱恨交织中挣扎,他们的选择往往是两难的困境,迫使读者去反思自身的道德底线。这种对人性复杂性的深度挖掘,远超出了普通类型小说的范畴,更像是一部深刻的社会寓言。此外,书中穿插的一些哲学思辨,虽然篇幅不长,却掷地有声,为整个故事增添了厚重的思想内核。这使得阅读体验不仅仅是感官上的刺激,更是一次精神上的洗礼和拷问。
评分这部作品的文字功底实在令人叹服,简直可以用“华丽”来形容,但这种华丽并非空洞的辞藻堆砌,而是精准地服务于叙事情绪的烘托。作者的笔触细腻得像艺术家的雕刻刀,能将最微小的表情变化、最转瞬即逝的心绪波动描摹得栩栩如生。我常常需要停下来,回味某一个精妙的比喻,或者某一句如同诗歌般的描述,那种语言的力量感,让人不得不承认作者在文字驾驭上的非凡天赋。故事的节奏控制得如同大师的指挥,时而舒缓如潺潺溪流,让读者得以喘息;时而骤然紧张,心跳几乎要跟上文字的跳跃。总而言之,这是一场视觉与智力的双重盛宴,它不仅讲述了一个扣人心弦的故事,更展现了一种卓越的文学造诣,值得被反复阅读和细细品味其语言的韵味。
评分“One began by finding mental illness mystifying, and ended by being still more mystified by health.”《重生三部曲》之二,舞台离开了苏格兰那家医院,视线更多地集中在了出院的士兵之一身上。然而出院和痊愈是没有必然联系的。除了延续了第一部中的创伤后心理治疗的主题之外,这一部也更多地提及了“一战”对英国社会造成的其他影响。一种由上自下的、由“被敌国渗透”忧虑带来的paranoia可以将同性恋情归结为德国佬的某种阴谋。门上有眼这个意象很是big brother了,盯着男男女女的一举一动,由此引申出的梦境分析也很有意思。虽然是一战背景,我一直觉得自己像在看二战时期的故事,或者因为战争都有相似性?
评分“One began by finding mental illness mystifying, and ended by being still more mystified by health.”《重生三部曲》之二,舞台离开了苏格兰那家医院,视线更多地集中在了出院的士兵之一身上。然而出院和痊愈是没有必然联系的。除了延续了第一部中的创伤后心理治疗的主题之外,这一部也更多地提及了“一战”对英国社会造成的其他影响。一种由上自下的、由“被敌国渗透”忧虑带来的paranoia可以将同性恋情归结为德国佬的某种阴谋。门上有眼这个意象很是big brother了,盯着男男女女的一举一动,由此引申出的梦境分析也很有意思。虽然是一战背景,我一直觉得自己像在看二战时期的故事,或者因为战争都有相似性?
评分“One began by finding mental illness mystifying, and ended by being still more mystified by health.”《重生三部曲》之二,舞台离开了苏格兰那家医院,视线更多地集中在了出院的士兵之一身上。然而出院和痊愈是没有必然联系的。除了延续了第一部中的创伤后心理治疗的主题之外,这一部也更多地提及了“一战”对英国社会造成的其他影响。一种由上自下的、由“被敌国渗透”忧虑带来的paranoia可以将同性恋情归结为德国佬的某种阴谋。门上有眼这个意象很是big brother了,盯着男男女女的一举一动,由此引申出的梦境分析也很有意思。虽然是一战背景,我一直觉得自己像在看二战时期的故事,或者因为战争都有相似性?
评分“One began by finding mental illness mystifying, and ended by being still more mystified by health.”《重生三部曲》之二,舞台离开了苏格兰那家医院,视线更多地集中在了出院的士兵之一身上。然而出院和痊愈是没有必然联系的。除了延续了第一部中的创伤后心理治疗的主题之外,这一部也更多地提及了“一战”对英国社会造成的其他影响。一种由上自下的、由“被敌国渗透”忧虑带来的paranoia可以将同性恋情归结为德国佬的某种阴谋。门上有眼这个意象很是big brother了,盯着男男女女的一举一动,由此引申出的梦境分析也很有意思。虽然是一战背景,我一直觉得自己像在看二战时期的故事,或者因为战争都有相似性?
评分“One began by finding mental illness mystifying, and ended by being still more mystified by health.”《重生三部曲》之二,舞台离开了苏格兰那家医院,视线更多地集中在了出院的士兵之一身上。然而出院和痊愈是没有必然联系的。除了延续了第一部中的创伤后心理治疗的主题之外,这一部也更多地提及了“一战”对英国社会造成的其他影响。一种由上自下的、由“被敌国渗透”忧虑带来的paranoia可以将同性恋情归结为德国佬的某种阴谋。门上有眼这个意象很是big brother了,盯着男男女女的一举一动,由此引申出的梦境分析也很有意思。虽然是一战背景,我一直觉得自己像在看二战时期的故事,或者因为战争都有相似性?
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