TAP HERRON; A NOVEL WRITTEN FROM THE OUIJA BOARD WITH AN INTRODUCTION - 1917 - ON the afternoon of the second Thursday in March, 1915, I responded to an invitation to the regular meeting of a small psychical research society. There was to be a lecture on cosmic relations, and the hostess for the afternoon, whom I had met twice socially, thought I might be interested, my name having ap peared in connection with a recently detailed series of psychic experiments. To all those present, with the exception of the hostess, I was a total stranger. I learned, with some surprise, that these men and women had been meeting, with an occasional break of a few months, for more than five years. The record of these meetings filled several type-written volumes. When word came that the lecturer was unavoidably detained, the hostess requested Mrs. Lola V. Hays to entertain the members and guests by a demonstration of her ability to transmit spirit messages by means of a planchette and n lettered board. The apparatus was familiar to me but the outcome of that afternoons experience revealed a new use for the transmission board. After several messages, more or less personal, had been spelled out, the pointer of the planchette traced the words Samuel L. Clemens, lazy Sam. There was a long pause, and then Well, why dont some of you say something I was born in Hannibal, and my pulses quickened. I wanted to put a host of questions to the greatest humorist and the greatest philosopher of modern times but I was an outsider, unacquainted with the usages of the club, and I remained silent while the planchette continued Say, folks, dont knock my memoirs too hard. They were written when Mark Twain was dead to all senseof decency. When brains are soft, the method should be anasthesia. Not one of those present had read Mark Twains memoirs, and the plaint fell upon barren soil. The arrival of the lecturer prevented further confession from the unseen communicant but I was so deeply impressed that I begged my hostess to permit r. le to come again. For my benefit a meeting was arranged at which there was no lecturer, and I was asked to sit for the first time with Mrs. Hays. In my former psychic investigation, it had been my habit to pronounce the letters as the pointer of the planchette indicated them, and Mrs. Hays urged me to render the same service when I sat with her, because she never permitted herself to look at the board, fearing that her own mind would interfere with the transmission. Scarcely had our finger-tips touched the planchette when it darted to the letters which spelled the words I tried to write a romance once, and the little wife laughed at it. I still think i t is good stuff and I want it written. The plot is simple. Youd best skeletonize the plot. Solly Jenks, Hiram Wall-young men. Time, before the Civil War. Then the outline of a typical Mark Twain story came in short, explosive sentences. It was entitled, Up the Furrow to Fortune. A brief account of its coming seems vital to the more sustained work which was destined to follow it. I was not present a t the next regular meeting of the society but at its close I was summoned to the telephone and informed that Mark Twain had come again and had said that the Hannibal girl was the one for whom he and Mrs. Hays had been waiting. When they asked him what he meant, the planchette made reply Consult your record for 1911. One of the earlyvolumes of the societys record was brought forth, and a curious fact that all the members of the society had forgotten was unearthed. About a year after his passing out, Mr. Clemens had told Mrs...
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这本书的装帧和排版,无声地讲述了它自身的格调。我注意到字体选择上那种略带古旧感的衬线体,以及纸张散发出的那种沉稳的、仿佛吸收了大量时间分量的质感,这与书名中蕴含的灵异色彩完美地契合。它不是那种追求现代极简风格的作品,而是拥抱了一种对历史和神秘学符号的敬意。这种视觉上的暗示,极大地增强了阅读过程中的沉浸感。当你翻开第一页时,那种触感和气味仿佛都在告诉你,你即将接触到的内容并非寻常的文学虚构,而是某种被“打捞”上来的、带有时代印记的记录。作者在构建这个阅读体验的物理层面也下了大功夫,这使得每一次手持这本书,都像是在进行某种庄重的仪式。这种对细节的考究,表明了创作者对这个题材的严肃态度,绝非草率地利用噱头,而是真正想让读者感受到那种从彼岸传来的“信息流”。
评分最让我好奇的是“导言”部分。通常情况下,导言是作者向读者交代的创作动机、背景或者理论框架。然而,在这部作品的语境下,那篇“导言”的意义恐怕远超常规。它或许是作者本人对这次“降神会”经历的记录,是对整个创作过程的哲学反思,甚至可能是在故意模糊“作者”与“媒介”之间的界限。我猜想,那篇导言会设置下一层迷雾,让我们去质疑我们所阅读的一切的真实性——究竟是作者的深思熟虑,还是仅仅是对某种无意识流动的忠实转录?这种对叙事权威的不断质疑和解构,是探讨通灵题材时最令人兴奋的部分。它迫使读者从被动的接受者,转变为主动的解读和批判者,去分辨哪些是“被告知的”,哪些是“被编织的”。
评分这部作品,光是书名就足以让人心头一紧,那种带着一丝神秘和禁忌的诱惑力,如同夜幕下的低语,让人忍不住想一探究竟。它所营造的氛围是如此的引人入胜,仿佛作者并非单纯地进行文学创作,而是充当了一座桥梁,连接着我们这个清晰可见的世界与那片模糊不清、充满未知力量的领域。在阅读之前,我已经被那种强烈的宿命感和超自然暗示所攫住了。我预感这不会是一本轻松愉快的读物,而更像是一场深入潜意识的探险,一次对人类心智边界的试探。这种由书名带来的预期,本身就构筑了一种强大的阅读动力,它承诺的不仅仅是故事,更是一种经验,一种挑战既有认知的体验。我非常期待作者如何处理这种“非人”的叙事源头,那种“来自通灵板”的文本,必然会带着一种异样的节奏和逻辑,也许是断续的、也许是充满象征意义的,这正是其最大的魅力所在。
评分从整体的阅读预期来看,这部作品似乎在挑战我们对“创作”本身的定义。如果文本的源头是非人类的,那么艺术的原创性在哪里?作者的角色仅仅是速记员吗?这种元叙事层面的思考,使得这本书的价值超越了其故事内容本身。我倾向于认为,这本书的真正价值不在于它告诉了我们什么关于“Jap Herron”的秘密,而在于它如何通过这种特殊的创作方式,来揭示我们人类在面对未知、面对死亡、面对我们无法完全掌控的宇宙力量时的反应和解读机制。它提供了一个绝佳的文本样本,用以研究文化如何消化和转化那些无法被理性完全解释的现象,并将其转化为具有某种美学形式的产物。这无疑是一次充满智力挑战和感官刺激的阅读旅程。
评分关于“Jap Herron 的降临”这个主题,我个人认为,它触及了人类文化中对“他者”的永恒着迷。无论是神话中的先知,还是现代的灵媒,我们总是渴望从那些不属于我们自身经验的维度中获取知识和慰藉。这本书承诺的正是这样一个“他者”的现身。我期待看到这个名为“Jap Herron”的存在,究竟是怎样一个形象?他会是古老的智慧,还是某种混乱、原始的冲动?作者如何塑造他的语言模式,让他听起来既陌生又异常熟悉?如果处理得当,这本书将不仅仅是关于一个角色的故事,而是对人类集体潜意识中那些被压抑或遗忘的元素的一次集中投射。这种心理深度的探索,远比单纯的灵异故事要来得深刻和耐人寻味。
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