At the end of a class reunion that he didn't want to attend, poor Cliff notices that his wife has returned to the party with grass stains on her clothes. She soon deserts him to run off with an old high school flame and, in the bargain, pockets most of the profits from the sale of the Michigan farm where Cliff has raised cattle and tended orchards for the past 25 years. Oh, and his dog just died. With a dim future ahead, the 60-year-old protagonist of Jim Harrison's latest novel hits the open road like a superannuated Jack Kerouac in search of adventure and self-understanding. He's also propelled by his absurd "sacred project" of assigning new names to birds and to the 50 states. In his long-ago past, Cliff was an English major at Michigan State and spent 10 years as a high school teacher. Somewhere in Minnesota, he hooks up with a libidinous former student named Marybelle -- a married woman 17 years his junior -- and the two embark on a graphically described cross-country sex romp. "There's something about Nebraska that has me sexually wired," says the insatiable Marybelle. (As a native Nebraskan, I have to confess I've never had quite that response toward my home state.) By the time they get to Montana, Cliff has grown tired of Marybelle's drama and, more to the point, her constant cellphone chatter. "Forty-five years of sex fantasies come true," he says before dropping her off, "and I'm thinking that I wish I could go fishing." He continues his tour of Western states, developing a crush on a new waitress in every town. Between his minutely detailed meals -- lots of meat, lots of booze -- Cliff muses on reuniting with his wife and wonders if he's wasted his time and his mind by working on the farm. This much is certain: Harrison has saddled Cliff -- English major or not -- with some atrocious prose. He writes with all the grace of a car that has blown its tires and is running on the rims. Some passages are laughably awkward on many levels: "At dinner my ears had reddened watching a pretty Mexican waitress float across the room with her trays of food. There was Mexican music on the jukebox and I felt like I was in a foreign land, Mexico to be exact." In one of the more ludicrous scenes, Cliff meets a 21-year-old waitress who agrees to take off her clothes for $300, if he'll keep a distance of at least 10 feet. "You might be a farmer," she says, "but I bet big money you were an English major in college." Yeah, sure. Somehow, I doubt if Harrison's aimless road trip will have many students rushing over to the English department.
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说实话,这本书的语言风格,初看之下,颇有一种老派的古典韵味,那种对长句和复杂从句的偏爱,一度让我担心它会变成一场对读者的智力考验。然而,一旦适应了这种节奏,你便会发现其中蕴含着惊人的音乐性和内在逻辑。作者仿佛是一位技艺高超的钟表匠,将每一个词汇、每一个短语都打磨得无比精准,它们咬合在一起,驱动着叙事这台复杂的机器平稳前行。尤其是在描述自然环境和城市景观时,那种近乎诗意的笔触,将外部世界的质感与人物的内在情绪完美地融合在一起,形成了一种浑然天成的氛围。例如,某段关于一场突如其来的秋雨的描写,用词之精妙,让我仿佛能闻到湿润泥土和旧书页混合的味道。更让人称道的是,作者似乎对“空白”的运用有着独到的理解。那些没有被明说出来的情感暗流、那些被刻意省略的关键信息,反而比大张旗鼓的叙述更具穿透力,迫使读者主动参与到意义的建构过程中来。这是一种需要全神贯注去阅读的文本,但回报绝对是丰厚的。
评分我得承认,我原本以为这会是一本枯燥的学术讽刺小说,充斥着晦涩的脚注和对康德哲学的半吊子引用。但事实证明,我的先入为主完全错了。这部小说的魔力在于它的“散焦”能力。它从一个看似聚焦于文学研究的核心点出发,却能以令人眩晕的速度将焦点扩展到更广阔的人性议境。你读着读着,会突然意识到,关于“意义的追寻”这个宏大主题,作者并没有给出一个标准答案,而是抛出了一系列精妙的、充满生活气息的困境。例如,书中对于人际关系中误解和自我表达失败的描摹,其细腻程度足以媲美最优秀的心理小说。那些人物间的对话,听起来是那么的真实,充满了欲言又止、言不由衷的张力。我尤其喜欢其中关于“记忆的不可靠性”的探讨,这部分的处理手法极具实验性,叙事视角在不同角色的主观体验中跳跃,让你不得不重新审视自己对既定事实的认知。整个阅读体验就像是走入一个光线复杂的画廊,每一幅作品都要求你放下上一幅的解读,重新调整眼睛,适应新的光影结构。它成功地避开了学院派写作的陷阱,转而提供了一种更具生命力的、关于“存在”的文学考察。
评分我向来对那些试图通过大量引用来营造“深度”的作品持保留态度。这部作品同样涉猎甚广,从早期现代主义到后结构主义的思潮都有所触及,但它的高明之处在于,所有这些文化引用的堆砌,都不是为了炫耀作者的学识,而是作为角色思维活动不可或缺的基石。它们自然而然地嵌入到角色的日常对话和内心独白之中,使得人物的思考层次显得无比立体和真实。更让我印象深刻的是,故事在处理“时间”和“地点”的概念时所展现出的后现代手法。现实与虚构的界限被处理得极其模糊,你时常会产生一种错觉,分不清哪些是主角在现实中经历的,哪些是他通过阅读或想象构建的精神景观。这种对现实边界的不断试探和侵蚀,赋予了整部作品一种持续的、令人不安的张力。它没有提供廉价的慰藉,而是邀请你一同进入这个由文字构筑的,既熟悉又疏离的平行世界。读完合上书本,那种感觉就像是刚从一场漫长而烧脑的梦境中醒来,世界依然存在,但你看待它的角度已经悄然发生了位移。
评分这部作品的结构设计,可以说是其最令人称奇的部分之一。它并非线性叙事,更像是一个由无数相互连接的棱镜组成的几何体。每一个章节,每一个场景,都从一个不同的角度折射出核心主题的光芒,但每一个折射点本身又构成了一个完整而迷人的小世界。作者在不同主题之间的转换,其平滑度令人叹服,比如,从对一个晦涩词源的考证,可以无缝过渡到对一段陈年旧情的追溯,而这种跨越在逻辑上却出乎意料地协调统一。这种跳跃式的叙事,要求读者必须保持高度的专注力,因为它拒绝被轻易地归类或简化。我特别留意到作者对“沉默”的描绘。在那些充斥着大量文字的篇幅中,那些关键时刻的停顿、那些因无法言喻而产生的空白,其分量往往超过了任何密集的对白。它不是一本让你在通勤路上轻松翻阅的读物,它需要一个安静的角落,需要你放下手机,全神贯注地去“倾听”文字背后的回响。它挑战了我们对传统小说的期待,最终提供的,是一种更接近于交响乐体验的、复杂而丰满的文学盛宴。
评分这部作品,坦白说,我最初是被它那极具挑衅性的书名所吸引的。《文学专业的英语》(The English Major)——这本身就是一种宣言,一个身份的标签,一个潜在的文化战场。我带着一种混合了好奇与审视的态度翻开了扉页,期待着一场关于语言、文学教育乃至知识分子自我认同的深刻剖析。然而,它提供的远不止于此。作者似乎精心编织了一个多层次的叙事迷宫。书中对学术圈内部权力动态的刻画,其犀利程度令人咋舌,简直像是在给那些终身教职的壁垒做一次内部的、毫不留情的解剖。那些关于经典文本阐释权的争夺,那些学院派术语的华丽堆砌背后的空洞感,都被描绘得栩栩如生。我尤其欣赏作者在处理角色内心挣扎时的笔法——主角那种既渴望融入又本能地抗拒既定规范的矛盾心理,仿佛就是我们每一个在特定专业领域中寻找立足之地的“局外人”的缩影。更妙的是,叙事节奏的掌控,时而急促如同一场关于论文截止日期的焦虑风暴,时而又慢得如同在深夜的图书馆里,手指摩挲着泛黄的书页,试图从中捕捉一丝失落已久的美感。这不只是一本书,它更像是一面镜子,映照出我们对“严肃阅读”的集体迷恋与恐惧。
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