Chris and Emily, teenagers from two neighbored and very close families, have been as close as siblings since birth, but as teenagers their relationship develops into a romance. When they are seniors in high school, however, both families are called to the hospital: Emily is dead at seventeen from a gunshot to the head, and Chris says the two had intended to carry out a suicide pact.
Every other chapter is a flashback to Emily and Chris's childhood life, leading up to the night of Emily's death. Some scenes include flashbacks on Emily and Chris's life while they were young (best friends) through their teenage years as lovers. It is revealed that, as a result of a dare made by Chris to go into a men's restroom, Emily is molested as a child. It is also discovered that she was impregnated by Chris, but she never revealed it to him. It is also revealed in flashbacks that Emily's feeling for Chris were more sisterly, yet she felt pressured to be with him in a romantic way due to the closeness of their families. She also felt uncomfortable having sex or being touched due to the molestation. She wanted to go to college, not raise a baby and she thought she'd brought shame on her family by becoming pregnant. She went for an abortion but couldn't go through with it in the end as it was a male carrying it out and it brought back flashbacks of her being molested. It was all of these things that made her suicidal.
In the end it is revealed that Emily's death wasn't really part of a suicide pact; Emily asked Chris to kill her because she couldn't do it herself. Chris tried to talk Emily out of it but pointed the gun to her head in the end to bring her out of her misery. Emily placed her hand on the trigger, over his.
Picoult was born and raised in Nesconset on Long Island, and moved to New Hampshire when she was 13 years old. She has described her family as "non-practicing Jewish".[3] Picoult wrote her first story at age 5, entitled "The Lobster Which Misunderstood." She studied writing at Princeton University, and graduated in 1987. She published two short stories in Seventeen magazine while still in college. Immediately after graduation, she landed a variety of jobs, ranging from editing textbooks to teaching eighth-grade English. She earned a master's degree in education from Harvard University.
She became the writer of DC Comics' Wonder Woman (vol. 3) series following the departure of fellow writer Allan Heinberg.[4][5] Her first issue (#6) was released on March 28, 2007, and her last was issue #10 (released on June 27, 2007).
She is married to Tim Van Leer, [6] whom she met while in college. They and their three children, Sammy, Kyle, and Jake, and a handful of pets, live in Hanover, New Hampshire.
Nineteen Minutes, Picoult's novel about the aftermath of a school shooting in a small town, has become her first book to debut at #1 on the New York Times Best Seller list. Her book Change Of Heart was published on March 4, 2008, and became Picoult's second novel to debut at #1 on the NYT Best Seller list.
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这本书的叙事节奏简直是大师级的掌控,每一个转折都恰到好处地抓住了读者的心弦,让人根本停不下来。作者似乎深谙如何在高潮和低谷之间切换,制造出一种令人窒息的悬念感。我记得有几个章节,那种紧张气氛几乎要穿透纸面,我不得不放下书做几次深呼吸才能继续。不仅仅是情节的推进,人物的内心挣扎也刻画得淋漓尽致,他们的每一个选择都带着沉甸甸的分量,让人不禁反思自己在类似困境中会如何抉择。更令人称道的是,故事背景的构建极其扎实,无论是对某个特定社会阶层的细致描摹,还是对历史事件的巧妙融入,都让整个故事拥有了坚实的现实基础,显得无比真实可信。读完之后,那种回味悠长的感觉久久不散,仿佛自己也成为了故事中那个复杂世界的一部分。这种叙事功力,在当今文学界实属难得,绝对值得细细品味。
评分从结构上看,这部小说的精妙之处在于其多重时间线的交织和叙事视角的频繁转换,这种复杂性处理得异常流畅,没有丝毫拖沓或混乱。作者巧妙地将过去埋下的伏笔,在不同的时间点上以不同的方式揭示出来,每一次回溯都像是在拼图上添了一块关键的碎片,使得读者对已发生事件的理解不断深化和修正。你以为你掌握了全局,下一刻新的视角就会将你带入完全不同的理解维度。这种叙事上的“不确定性”,极大地增强了阅读的智力参与度,我常常需要停下来梳理人物关系和事件的时间顺序,但这个过程本身就充满了乐趣。这种高超的结构驾驭能力,证明了作者不仅仅是一个讲故事的人,更是一个构建世界的建筑师,每一个元素都服务于最终的宏大蓝图。
评分让我印象最深刻的是这部小说对人性灰色地带的探讨,它毫不留情地撕开了那些光鲜亮丽外表下的阴暗角落。这本书拒绝提供简单的“好人”或“坏人”标签,每一个角色都浸泡在道德的泥沼里,挣扎着向上爬,或者沉沦下去。作者似乎对人类的复杂性有一种近乎残酷的洞察力,她揭示了在极端压力下,普通人是如何一步步逾越自己设定的界限的。读到某些角色的自我辩护和最终的悲剧性结局时,我感到的不仅仅是同情,更是一种深刻的自我反思:我们所谓的道德底线,在真正的考验面前,究竟有多么脆弱?这种对人性深渊的挖掘,让这部小说超越了一般的娱乐作品,具有了哲学思辨的深度。它迫使读者直面自己内心深处那些不愿意承认的阴影,非常震撼。
评分这部作品在语言运用上展现出了惊人的多样性和创造力,简直是一场文字的盛宴。作者的词汇量丰富得令人咋舌,但绝不是故作高深,而是精准地为每一个场景和情绪找到了最恰当的表达。我特别喜欢那些充满画面感的描述,它们并非堆砌辞藻,而是像高超的摄影师镜头捕捉到的瞬间,清晰、有力,直击心灵。例如,对一个角色的外貌描绘,仅仅用了一句话,却能让人立刻在脑海中勾勒出一个立体、鲜活的形象,带着复杂的情感色彩。而有些段落,语言又变得异常简洁、破碎,仿佛是角色在极度混乱或痛苦中的思维碎片,这种风格的切换,极大地增强了文本的感染力。阅读过程就像是在欣赏一幅不断变换风格的艺术品,从写实的油画到印象派的晕染,每一种笔触都恰如其分,让人赞叹不已。
评分这部小说的情感冲击力是爆炸性的,它成功地捕捉并放大了那些我们日常生活中小心翼翼隐藏起来的、关于“连接”与“疏离”的终极命题。它探讨的主题并非新颖,但其处理方式极其细腻和真诚,没有流于俗套的煽情,而是通过一系列精心设计的微小互动和无声的对峙,将人与人之间那些微妙的张力表现得淋漓尽致。我被那些关于信任的建立与崩塌的过程深深打动,那种从彼此依靠到彻底失望的转变,是如此真实,以至于让人感到心口发紧。读完之后,我感觉自己对周围的人和事物的理解都更深了一层,仿佛被赋予了某种“透视”的能力,去看穿表象,直达情感的核心。这是一本能真正触动你内心深处关于“关系”这个主题的佳作,力量源自其不动声色的真诚。
评分到最后怎样 是人性战胜了规则。但是又怎样?他们还是分开了 人性又有多重要呢。不能算是最喜欢的picoult的书 但依然是字字珠玑 拿得起放不下的一本。
评分到最后怎样 是人性战胜了规则。但是又怎样?他们还是分开了 人性又有多重要呢。不能算是最喜欢的picoult的书 但依然是字字珠玑 拿得起放不下的一本。
评分到最后怎样 是人性战胜了规则。但是又怎样?他们还是分开了 人性又有多重要呢。不能算是最喜欢的picoult的书 但依然是字字珠玑 拿得起放不下的一本。
评分到最后怎样 是人性战胜了规则。但是又怎样?他们还是分开了 人性又有多重要呢。不能算是最喜欢的picoult的书 但依然是字字珠玑 拿得起放不下的一本。
评分到最后怎样 是人性战胜了规则。但是又怎样?他们还是分开了 人性又有多重要呢。不能算是最喜欢的picoult的书 但依然是字字珠玑 拿得起放不下的一本。
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