Elizabeth Ferrars (6 September 1907 – 30 March 1995), born Morna Doris MacTaggart, was a British crime writer.
She was born in Rangoon (currently Yangon), Burma into a Scottish timber and rice-trading family. Her early years were in the hands of a German nanny, and the initial intention was that she should be sent to Berlin to complete her education. The deteriorating political climate between Britain and Germany led to a late switch to Britain instead at the age of six, ending up at Bedales School (1918–1924). She claimed in later years that she never would have been able to write crime novels if she had not learned German as a child from her nanny: the rigorous sentence structure and complex rules of grammar being an indispensable preparation for the architecture of a crime thriller. Unable to study English Literature, because she was never taught Latin or Greek, she took a diploma in journalism at London University (1925–1928),[1] and wrote two novels under her own name in the early 1930s, when she met and married her first husband. Around 1940, she met a Lecturer in Botany at Bedford College, Dr (later Professor) Robert Brown, and the same year her first crime novel, Give a Corpse a Bad Name, was published. She separated from her first husband and lived with Robert Brown in Belsize Park, London, from 1942. However, she did not obtain a divorce and marry Brown until October 1945. She remained on friendly terms with her first husband, who also remarried. In 1951 they moved to Cornell University in the USA, where her husband had been offered a post. Notwithstanding the financial attraction of such a posting in austerity postwar Britain, they returned a year later owing to the atmosphere of McCarthyism. Having seen the rise of fascism in Europe, they were disturbed by witch-hunts against many writers and academics accused of communist sympathies. In 1953, she became one of the founding members of the Crime Writers' Association, and she was its chair in 1977. She was inducted into the famed Detection Club in 1958.
From 1957, when her husband was appointed Regius Professor of Botany at the University of Edinburgh, until shortly after his retirement in 1977 they lived in Edinburgh. Citing the long, cold winters as a reason, they then moved south to the village of Blewbury in Oxfordshire, where they lived contentedly together until her sudden death in 1995. She professed no religious faith and was probably instrumental in turning her husband from distinct evangelism in the 1930s towards agnosticism. She was buried in Blewbury in a non-religious ceremony. Her final novel, A Thief in the Night, was published posthumously in 1995. She was survived by a nephew, Peter MacTaggart. In the United States, her novels were published under the name E.X. Ferrars, her US publishers assuring her that "the 'X' would 'do it'". Ferrars was in fact her mother's maiden name.
Though the majority of Ferrars's works are standalone novels, she wrote several series. Her first five novels all feature Toby Dyke, a freelance journalist, and his companion, George, who uses several surnames and is implied to be a former criminal. Late in her career, she began writing about a semi-estranged married couple, Virginia and Felix Freer, and a retired botanist, Andrew Basnett. Several of her short stories also feature an elderly detective called Jonas P. Jonas.
Her extraordinary output owes a great deal to considerable self-discipline and diligent method. Her plots were worked out in detail in hand-written notebooks before being filled out in typed manuscript; she said that they were worked backwards from the denouement. Like every writer, she based characters and situations on people she knew and things she had seen in real life. She travelled with her husband when his academic career required, for example to Adelaide where he was a visiting professor at the University of South Australia, and on holidays specially to Madeira, which they loved.
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坦白讲,初拿到这本书时,我对书名中“Designs”(设计)这个词抱有一丝警惕,生怕读到的是一套僵硬的“生活SOP”。然而,这本书彻底打消了我的顾虑。它真正的核心在于“解构”而非“构建”。作者巧妙地运用了大量的历史案例,从文艺复兴时期的城市规划到当代极简主义的家居理念,来佐证一个观点:最成功的设计,往往是那些能最大程度地适应不确定性的系统。在探讨“时间的材质”那部分,我感觉自己仿佛进入了一个由文字构筑的迷宫,作者用各种看似矛盾的描述,将时间从单一的线性概念中解放出来,让它变得立体、可塑,甚至具有触感。这种思维方式的转变,对我的工作产生了潜移默化的影响——我不再急于将所有项目塞满截止日期,而是开始为那些“未知的变量”预留足够的空间。这是一本需要反复阅读的书,因为每次重读,总能在不同的年龄阶段和生活状态下,捕捉到作者隐藏在字里行间的、更为深刻的隐喻。
评分这本《Designs on Life》真是让人耳目一新,它以一种极为细腻和富有哲理的笔触,探讨了现代人在追求“完美生活”过程中的种种挣扎与反思。作者并没有给出任何标准答案,而是像一位资深的生活设计师,引导读者去审视自己内心深处的蓝图。我特别欣赏其中关于“意外美学”的那一章节,它颠覆了我一直以来对计划和控制的执念。书中大量引用了建筑学和园林艺术中的理念,将“生命结构”比作一栋不断在建、需要不断修缮的房屋,这使得抽象的哲学思考变得具象可感。我常常在夜深人静时,合上手册,看着窗外的街景,脑海中浮现出作者描绘的那些“未完成的转角”和“未被预期的光影”,这种阅读体验是极其沉浸的,仿佛生活本身就变成了一件需要被精心雕琢的艺术品,但雕琢的对象不是外界,而是我们对世界的感知方式。全书的语调沉稳而富有诗意,即便是讨论看似枯燥的决策理论,也能融入对人性深层次的洞察。
评分这本书的结构布局非常大胆,它没有采用传统的章节递进方式,而是像一幅拼贴画,各个主题之间看似松散,实则通过某种看不见的“张力线”相互牵引。我花了一些时间才适应这种跳跃式的叙事节奏,但一旦适应,便沉浸其中无法自拔。最让我震撼的是关于“遗忘的力量”的论述。在当前这个信息过载的时代,我们都被教育要记住一切、记录一切,但作者却提出了一个反直觉的观点:真正的“生命设计”需要战略性的遗忘,需要为心灵腾出空白区域,以便新的、更重要的东西能够扎根。这种对“减法哲学”的深入挖掘,非常贴合我近来对极简主义生活方式的探索。阅读过程中,我常常感到一种被理解的共鸣,仿佛作者能直接洞察到我内心深处那些尚未被明确表达的困惑。这本书的语言是高级的,但绝不故作高深,它像一位技艺高超的工匠,用最精良的工具,打磨出了最朴素的真理。
评分阅读体验方面,《Designs on Life》的排版和用词都透露出一种克制的优雅,读起来毫不费力,但回味起来却余韵悠长。它并非那种快节奏的励志读物,更像是一杯需要慢慢品鉴的陈年威士忌,每一页都蕴含着时间的厚度。我尤其喜欢作者在论述“人际连接的几何学”时所采用的类比,他将友谊比作一种动态的拓扑结构,强调了关系的流动性和相互依存性,这与我过去读到的那些强调“独立个体”的社会学著作形成了鲜明的对比。读完后,我开始重新审视我与身边人的互动模式,不再以结果论英雄,而是更关注过程中的“形变”与“张力”。书中穿插的一些短篇寓言故事,虽然简短,但力量十足,它们像是散落在生活地图上的微小灯塔,照亮了那些常常被我们忽略的情感细节。对于那些渴望在忙碌中找到片刻安宁,并对“为什么我们如此生活”抱有深刻疑问的人来说,这本书无疑是一剂清醒剂。
评分《Designs on Life》的魅力在于它的“留白艺术”。它提供了一个广阔的思考场域,而不是一套紧密的理论框架。书中对“感知边界”的讨论尤其精彩,作者认为,我们对世界的定义,往往受限于我们所能接收信息的物理和心理界限,而真正的成长,就是不断地拓宽和模糊这些边界。我发现,作者在叙事时很少使用“应该”或“必须”,而是倾向于使用“或许可以尝试”、“如果想象一下”这类引导性的词汇,这极大地鼓励了读者的自主探索。书中对自然界中自组织现象的引用,比如蚁群的协作和晶体的生长,被用来解释人类社会的复杂系统,这种跨学科的融合使得全书的视野极其开阔,充满了生命力和活力。对于那些厌倦了陈词滥调和口号式哲学的读者来说,这本书提供了一种全新的、更具韧性和适应性的生活哲学视角。它不是教你如何建造一个漂亮的房子,而是教你如何与地基共存,并欣赏季节更迭带来的所有变化。
评分1980年的短篇集。两篇悬疑小说The Dreadful Bell和Scatter His Ashes很厉害,结局余韵无穷,剩下的犯罪小说也都算是水准之作。作为Elizabeth Ferrars的入门书还不错。
评分感觉这本与其说是推理小说,更像是悬疑小说多一些。风格有点像布兰德那本《The Spotted Cat and Other Mysteries from Inspector Cockrill》。内容简介:【http://www.douban.com/note/509737565/】
评分感觉这本与其说是推理小说,更像是悬疑小说多一些。风格有点像布兰德那本《The Spotted Cat and Other Mysteries from Inspector Cockrill》。内容简介:【http://www.douban.com/note/509737565/】
评分挑了几篇看开头比较感兴趣的读了,非常流畅好读,感觉比读翻译过来的作品要舒适的多。基本没什么推理的成分,只能算比较有趣的犯罪小说,最喜欢的是烟灰那篇。
评分感觉这本与其说是推理小说,更像是悬疑小说多一些。风格有点像布兰德那本《The Spotted Cat and Other Mysteries from Inspector Cockrill》。内容简介:【http://www.douban.com/note/509737565/】
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