At first savagely reviewed, The Way We Live Now (1875) has since emerged as Trollope's masterpiece and the most admired of his works. When Trollope returned to England from the colonies in 1872 he was horrified by the immorality and dishonesty he found. In a fever of indignation he sat down to write The Way We Live Now, his longest novel. Nothing escaped the satirist's whip: politics, finance, the aristocracy, the literary world, gambling, sex, and much else. In this world of bribes and vendettas, swindling and suicide, in which heiresses are won like gambling stakes, Trollope's characters embody all the vices: Lady Carbury, a 43-year-old coquette, 'false from head to foot'; her son Felix, with the 'instincts of a horse, not approaching the higher sympathies of a dog'; and Melmotte, the colossal figure who dominates the book, a 'horrid, big, rich scoundrel ...a bloated swindler ...a vile city ruffian'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
ANTHONY TROLLOPE, the quintessential Victorian novelist whose dozens of books illuminate virtually every aspect of late nineteenth century E ngland, was born in Russell Square, London, on April 24, 1815. He was the son of Thomas Anthony Trollope, a failed barrister. His mother, Frances Trollope, successfully turned to writing in order to improve their finances.
As a charity day student at Harrow School Trollope was shunned by boarders. Later as a student at Winchester College he was often flogged his older brother Tom. At the age of nineteen Trollope embarked on a career as a civil servant in London's General Post Office. In 1841 he was transferred to Ireland, where he lived happily for the next eighteen years, advancing steadily through the ranks of the postal service. In 1844 he married Rose Heseltine, who became a trusted literary assistant once he began to write.
The Macdermots of Ballycloran, Trollope's first book, was published in 1847. But it was not until 1855 that he achieved commercial success with The Warden, the initial volume in six-book series about clerical life in and around the fictional cathedral town of Barchester. Two sequels, Barchester Towers (1857) and Doctor Thorne (1858), quickly ensured his fame. The West Indies and the Spanish Main, the first of several travelogues Trollope recorded while journeying abroad on postal business, appeared in October 1859. The same year he returned to England and took up residence at Waltham House in Hertfordshire, some twelve miles from London. There Trollope settled into a disciplined routine that enabled his phenomenal productivity. He rose every morning at five o'clock and wrote for three to four hours in order to meet a self-imposed weekly quota of approximately forty pages; moreover he frequently began a new book the very day he completed one. The novelist's only passionate diversion was foxhunting.
Trollope quickly became part of London's literary life. His work began to appear serially in Cornhill Magazine, and he formed a great friendship with its editor, William Thackeray. He finished the last three volumes in the Barsetshire series--Framley Parsonage (1861), The Small House at Allington (1864), and The Last Chronicle of Barset (1867). Meanwhile, he launched the Palliser novels, a new series about politics, with Can You Forgive Her? (1865). At the time, Nathaniel Hawthorne perfectly pinpointed the secret of the Englishman--s appeal: 'The novels of Anthony Trollope [are] just as real as if some giant had hewn a great lump out of the earth and put it under a glass case, with all its inhabitants going about their daily business, and not suspecting that they were being made a show of. These books are just as English as a beef-steak . . . but still I should think that human nature would give them success anywhere.'
Trollope resigned from the postal service late in 1867, to become editor of Saint Paul's Magazine. The next year he made an unsuccessful bid for a seat in Parliament. In 1871 Trollope relinquished Waltham House and embarked on a two-year trip to Australia, New Zealand, and the United States. Upon returning to London he settled at 39 Montagu Square and soon published the engaging travel book Australia and New Zealand (1873). In later novels Trollope shifted his interest from scenes of provincial life to satires of English politics and society--among them The Claverings (1867), He Knew He Was Right (1869), The Way We Live Now (1875), and The American Senator (1877). The five remaining Palliser novels--Phineas Finn (1869), The Eustace Diamonds (1873), Phineas Redux (1874), The Prime Minister (1876), and The Duke's Children (1880)--also focused on political and social themes.
In the final years of his life Trollope traveled extensively. He journeyed to Ceylon and South Africa, and revisited both Ireland and Australia. He also turned out two biographies, Thackeray (1879) and The Life of Cicero (1880), and began writing his memoirs. Anthony Trollope died on December 6, 1882, a month after suffering a paralyzing stroke. The author's self-portrait, An Autobiography, appeared the following year. 'Trollope will remain one of the most trustworthy . . . of the writers who have helped the heart of man to know itself,' judged Henry James. 'His great, his inestimable merit was a complete appreciation of the usual.'
【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...
评分【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...
评分小时候,最喜欢听别人讲故事。(第一句话就是谎言,因为小时候并没有人给我讲故事。父母忙于生计,所以自己多半时候都待在外婆的家里。老太太倒是十分宠我,却总摆不脱现实生活中的吃喝拉撒。) 第一篇印象深刻的故事还是上幼儿园的时候,老师讲给我的。(第二句话又在撒谎,明...
评分【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...
评分小时候,最喜欢听别人讲故事。(第一句话就是谎言,因为小时候并没有人给我讲故事。父母忙于生计,所以自己多半时候都待在外婆的家里。老太太倒是十分宠我,却总摆不脱现实生活中的吃喝拉撒。) 第一篇印象深刻的故事还是上幼儿园的时候,老师讲给我的。(第二句话又在撒谎,明...
这本小说,初读时只觉叙事节奏如同一个老式钟表的滴答声,缓慢而精准,但随着情节的层层剥开,我发现作者的笔触下隐藏着一股强大的力量,那种力量并非来自于惊心动魄的事件,而是对人性幽微之处的深刻洞察。书中对社会阶层的描摹细腻得令人心惊,那些光鲜亮丽的表象之下,是多么脆弱和相互依存的利益网络。我特别欣赏作者对于“新贵”心态的捕捉,他们如何努力地想要融入一个并非真正接纳他们的圈子,那种既渴望又恐惧的矛盾心理,被刻画得入木三分。更不用说那些看似无足轻重的配角,他们每个人都有自己的生存哲学和挣扎,共同编织出一幅复杂多变的社会浮世绘。阅读的过程中,我常常停下来,不是因为故事情节的转折,而是因为某一句台词或某个场景,如同精准地击中了我对现实生活中的某种模糊感受,将其清晰地勾勒了出来。这本书的魅力在于它的“不动声色”,它不靠廉价的戏剧冲突取悦读者,而是用一种近乎冷峻的现实主义,迫使我们直视我们所身处的这个时代的底色。
评分我必须承认,这本书的阅读过程对我来说是一次智力上的挑战,它更像是需要解码的文本,而非轻松消遣的读物。作者似乎有一种独特的癖好,那就是不断地设置陷阱和误导,让你以为自己已经掌握了故事的走向,但下一章,你就会发现自己完全错判了局势。这种叙事上的反套路,虽然偶尔会让人感到挫败,但也正是它维持了阅读的新鲜感和张力。我尤其欣赏作者对于“金钱”这一核心驱动力的多维度解构,它不再仅仅是财富的象征,而是演变成了一种语言、一种权力结构、甚至是一种新的宗教信仰。书中涉及的各个领域,从媒体的操纵到政商勾结的隐秘运作,都展示了作者广阔的知识储备和严谨的调查能力。这本书让人反思的不是“好人与坏人”的二元对立,而是“系统如何运作”的复杂机制,它成功地将严肃的社会批判包裹在一个引人入胜的故事框架之内,让人在不知不觉中,被卷入了对当代社会结构的反思之中。
评分这本书的语言风格给我一种极度的疏离感,仿佛作者是一位冷漠的旁观者,他站在高处俯瞰芸芸众生,记录着他们的愚蠢与挣扎,却不带一丝一毫的怜悯。这种冷静,起初让人感到有些不适,但很快,我领会到这正是作者的艺术选择——他拒绝提供任何情感上的慰藉或道德上的简单判断。人物的动机往往是晦涩不清的,他们的选择常常是基于一种非理性的冲动,或者是被环境和体制所塑造的必然结果。这使得阅读体验充满了挑战性,你不能轻易地站队,你只能站在那里,观察着这个世界如何精妙地自我毁灭。书中对细节的关注达到了近乎偏执的程度,无论是对一栋豪宅内部陈设的描绘,还是对一场晚宴上人们交谈内容的捕捉,都体现出一种对“真实质感”的执着。读完之后,我没有感到振奋,反而有一种深刻的疲惫感,仿佛刚经历了一场漫长而真实的社会观察,那种被世界真相微微刺痛的感觉久久不散。
评分很久没有读到如此具有时代回声的作品了。这本书的精妙之处在于,它虽然设定在一个特定的时空背景下,但它所探讨的关于身份认同、财富焦虑以及社会流动性的困境,却是如此具有普适性,仿佛就是对我们眼前正在发生的一切的预演或总结。作者的笔触轻盈得像一阵风,却又厚重得像一块铅,这种矛盾的质感非常迷人。我尤其喜欢其中几位主要人物的内心独白,那些关于自我价值和外部期待的拉扯,真实得让人感到刺痛,那是现代人普遍的内心剧场。这本书的节奏掌控得极好,高潮部分并非是一场爆炸,而是一次精密的、无可挽回的集体失误,那种“一切都已注定”的宿命感,才是最令人震撼的。它不是一本会让你感到温暖或安慰的书,它是一本让你感到清醒的书,让你意识到我们生活中的许多“必然”,其实都是人为构建的泡沫,只需要轻轻一戳,便会幻灭无踪。
评分老实说,这本书的开头差点让我弃读。叙事视角在不同人物之间跳跃得有些突兀,信息量也显得过于密集,让人感觉像是在试图快速消化一份冗长而复杂的商业报告。我一度怀疑作者是否过于沉迷于构建他心中的那个宏大社会结构,而牺牲了人物的连贯性。然而,当我坚持读到中段时,一切开始“咬合”了。那些看似分散的线索,如同无数条细小的溪流,最终汇入了一条汹涌的大河。这种结构上的复杂性,反而是其高明之处,它要求读者付出更多的注意力,而这种付出最终得到了丰厚的回报。我开始意识到,作者并非在讲述一个简单的故事,而是在进行一场社会学实验,将形形色色的人物投入到特定的社会压力之下,观察他们的反应。尤其是在处理金融泡沫和道德滑坡这两个主题时,作者的笔锋既犀利又克制,他没有进行说教,而是让事件本身替他说话。这本书更像是一面镜子,映照出的是我们这个时代无处不在的焦虑和对“成功”的病态追逐。
评分.....
评分很难用我们当前的金钱概念来衡量维多利亚时代的收入,他的收入或许约等于现在每年的350 000英镑的样子。他的勤奋写作和他对金钱的热衷不无关系,很久以来他也不断因为把这两者联系起来而受到指责,还有就是他竟如此直白地承认此事。
评分好好学习,天天向上
评分很棒!!!!
评分好好学习,天天向上
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