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In Dubliners, Joyce's first attempt to register in language and fictive form the protean complexities of the 'reality of experience,' he learns the paradoxical lesson that only through the most rigorous economy, only by concentrating on the minutest of particulars, can he have any hope of engaging with the immensity of the world. 內容簡介
With these fifteen stories James Joyce reinvented the art of fiction, using a scrupulous, deadpan realism to convey truths that were at once blasphemous and sacramental. Whether writing about the death of a fallen priest ("The Sisters"), the petty sexual and fiscal machinations of "Two Gallants," or of the Christmas party at which an uprooted intellectual discovers just how little he really knows about his wife ("The Dead"), Joyce takes narrative places it had never been before.
The text of this edition has been newly edited by Hans Walter Gabler and Walter Hettche and is followed by a new afterword, chronology, and bibliography by John S. Kelly. Also included in a special appendix are the original versions of three stories as well as Joyce's long-suppressed Preface to Dubliners. 作者簡介
James Joyce, the twentieth century’s most influential novelist, was born in Dublin on February 2, 1882. The oldest of ten children, he grew up in a family that went from prosperity to penury because of his father’s wastrel behavior. After receiving a rigorous Jesuit education, twenty-year-old Joyce renounced his Catholicism and left Dublin in 1902 to spend most of his life as a writer in exile in Paris, Trieste, Rome, and Zurich. On one trip back to Ireland, he fell in love with the now famous Nora Barnacle on June 16, the day he later chose as “Bloomsday” in his novel Ulysses. Nara was an uneducated Galway girl who became his lifelong companion an the mother of his two children. In debt and drinking heavily, Joyce lived for thirty-six years on the Continent, supporting himself first by teaching jobs, then trough the patronage of Mrs. Harold McCormick (Edith Rockerfeller) and the English feminist and editor Harriet Shaw Weaver. His writings include Chamber music (1907), Dubliners (1914), A Portrait of the Artist as a Young Man (1916), Exiles (1918), Ulysses (1922), Poems Penyeach (1927), Finnegans Wake (1939), and an early draft of A Portrait of a Young Man, Stephan Hero (1944). Ulysses required seven years to complete, and his masterpiece, Finnegans Wake, took seventeen. Both works revolutionized the form, structure, and content of the novel. Joyce died in Zurich in 1941.,,, 精彩書評
"Joyce renews our apprehension of reality, strengthens our sympathy with our fellow creatures, and leaves us in awe before the mystery of created things."
——Atlantic Monthly
It is in the prose of Dubliners that we first hear the authentic rhythms of Joyce the poet…Dubliners is, in a very real sense, the foundation of Joyce's art. In shaping its stories, he developed that mastery of naturalistic detail and symbolic design which is the hallmark of his mature fiction.
——Robert Scholes and A. Walton Litz
《泰晤士河上的霧靄與喧囂:一窺十九世紀末倫敦的眾生相》 作者: 維多利亞·布萊剋伍德(虛擬) 譯者: (此處留空,因本書為原創虛構作品) 裝幀: 精裝,附插圖 頁數: 約680頁 --- 內容簡介 這部鴻篇巨製,並非聚焦於愛爾蘭的孤島或詹姆斯·喬伊斯的故鄉,而是將目光投嚮瞭維多利亞時代晚期,那個在煤煙與榮光中劇烈喘息的英格蘭心髒——倫敦。本書是維多利亞·布萊剋伍德窮盡二十年心血,以近乎顯微鏡般的細緻,描繪瞭1880年至1900年間,倫敦城中形形色色的生命群像。它拒絕宏大的曆史敘事,轉而深入挖掘那些在霧靄和喧囂中被時間衝刷的、最真實也最脆弱的個體經驗。 第一部:迷宮般的西區與權力的陰影 故事的開篇,我們將跟隨年輕的詹姆斯·哈羅德,一個來自約剋郡的法律係學生,滿懷對上流社會的憧憬,踏入瞭沉重而威嚴的倫敦法律界。哈羅德迅速被捲入梅費爾區(Mayfair)錯綜復雜的社交網絡中。布萊剋伍德以冷峻的筆觸,揭示瞭那些光鮮亮麗的俱樂部、沙龍和歌劇院背後,隱藏的權力交易、繼承權的爭奪以及道德的腐朽。 我們遇到瞭阿德萊德·範肖,一位在社交季中努力尋找一個“閤意婚事”的貴族遺孤。她的內心掙紮——在傢族責任與個人情感之間——構成瞭對維多利亞時代“完美女性”刻闆印象的深刻解構。作者對室內陳設、著裝禮儀的精確描繪,讓讀者仿佛能聞到哈羅德公寓中濕冷壁爐散發的煙味,以及阿德萊德裙擺上鳶尾花的幽香。 本書的精華在於對“體麵”與“真實”的對比。哈羅德在處理一樁涉及西區著名銀行傢的欺詐案時,逐漸意識到,法律的公正與金錢的力量相比,是何其蒼白無力。他與那位銀行傢私生女——一個在劇院後颱秘密學習錶演藝術的女孩——的相遇,成為他內心道德天平傾斜的關鍵點。 第二部:東區的煙塵與工薪階層的掙紮 視角陡然轉嚮泰晤士河的東岸,來到白教堂(Whitechapel)和斯皮塔菲爾德(Spitalfields)的深處。這裏的空氣不再是西區的昂貴香水,而是煤灰、啤酒花和汗水混閤的刺鼻氣息。布萊剋伍德將筆觸轉嚮瞭工廠主、碼頭工人以及那些在貧民窟中掙紮求生的傢庭。 核心人物之一是瑪莎·科爾,一個堅韌的洗衣婦,她依靠微薄的收入撫養著三個孩子,同時還得應對來自惡劣居住環境和醉酒丈夫的壓力。作者細緻入微地記錄瞭十九世紀末倫敦底層生活的節奏:清晨刺耳的叫賣聲、擁擠不堪的公共澡堂、以及周日清晨在非國教教堂裏獲得的短暫慰藉。 在這裏,政治激進主義正在暗流湧動。碼頭工人的罷工運動被描繪得淋灕盡緻,充滿瞭緊張和無可奈何的憤怒。我們目睹瞭社會改革者和工會組織者的努力,以及他們如何與盤根錯節的城市勢力抗衡。這種生活,與西區貴族的晚宴形成瞭強烈的、令人心悸的反差。 第三部:知識分子的睏境與藝術的覺醒 在聖保羅大教堂和布盧姆斯伯裏(Bloomsbury)的咖啡館中,第三條故事綫展開瞭。這裏匯聚瞭哲學傢、早期的女性主義者和那些對僵化的“進步”思想感到厭倦的知識分子。 愛德華·芬奇,一位雄心勃勃的文學評論傢,試圖擺脫維多利亞時代陳舊的審美規範,尋求一種更直接、更注重當下體驗的藝術錶達。他與一群緻力於“新美學”的藝術傢交往,討論著進步主義的局限性以及機器時代對人類精神的影響。 布萊剋伍德巧妙地將這些高深的哲學辯論,放置在日常瑣事之中:芬奇在擁擠的電車上閱讀尼采的譯本,或者在薩剋維爾·韋斯特(Sackville-West)的沙龍裏,為瞭一句關於“現代性焦慮”的定義而爭得麵紅耳赤。這些知識分子並非生活在象牙塔中,他們的理論直接觸及瞭東區工人的睏境和西區貴族的空虛。 主題的深度與結構 本書並非簡單地羅列倫敦的社會階層,而是通過人物命運的交織,探討瞭幾個深刻的主題: 1. 隔離與連接: 倫敦這座城市,既是世界上最緊密聯係的樞紐,也是個體最深的孤獨之地。哈羅德的發現與瑪莎的堅韌,在城市的不同角落,反映瞭人類求存的共通主題。 2. 時間的感知: 作者對時間流逝的描繪是多層次的。在貴族圈子裏,時間是奢靡而緩慢的;在底層,時間是緊迫的、被鍾錶無情追趕的。 3. “霧”的意象: 貫穿全書的,是倫敦特有的濃霧——它不僅是氣候現象,更是道德模糊、真相掩蓋的象徵。當霧氣散去時,顯露齣的往往是殘酷的現實。 結語 《泰晤士河上的霧靄與喧囂》是一部極其耗費心力的作品。它摒棄瞭傳統小說對英雄主義的偏愛,轉而關注於“普通人”在巨大社會機器碾壓下的韌性與脆弱。布萊剋伍德的敘事風格沉穩、考究,充滿瞭十九世紀末文學的厚重感,但其對人性的洞察卻超越瞭時代。讀者讀完後,或許會感到一陣窒息的壓抑,但同時也為這些倫敦靈魂在夾縫中求得的一絲尊嚴而深感敬佩。這部作品是對一個逝去時代最忠實、也最殘酷的肖像畫。