村上春樹(1949- ),日本小說傢。曾在早稻田大學文學部戲劇科就讀。1979年,他的第一部小說《聽風之歌》問世後,即被搬上瞭銀幕。隨後,他的優秀作品《1973年的彈子球》、《尋羊冒險記》、《挪威的森林》等相繼發錶。他的創作不受傳統拘束,構思新奇,行文瀟灑自在,而又不流於庸俗淺薄。尤其是在刻畫人的孤獨無奈方麵更有特色,他沒有把這種情緒寫成負的東西,而是通過內心的心智性操作使之升華為一種優雅的格調,一種樂在其中的境界,以此來為讀者,尤其是生活在城市裏的人們提供瞭一種生活模式或生命的體驗。
With Kafka on the Shore, Haruki Murakami gives us a novel every bit as ambitious and expansive as The Wind-Up Bird Chronicle, which has been acclaimed both here and around the world for its uncommon ambition and achievement, and whose still-growing popularity suggests that it will be read and admired for decades to come.
This magnificent new novel has a similarly extraordinary scope and the same capacity to amaze, entertain, and bewitch the reader. A tour de force of metaphysical reality, it is powered by two remarkable characters: a teenage boy, Kafka Tamura, who runs away from home either to escape a gruesome oedipal prophecy or to search for his long-missing mother and sister; and an aging simpleton called Nakata, who never recovered from a wartime affliction and now is drawn toward Kafka for reasons that, like the most basic activities of daily life, he cannot fathom. Their odyssey, as mysterious to them as it is to us, is enriched throughout by vivid accomplices and mesmerizing events. Cats and people carry on conversations, a ghostlike pimp employs a Hegel-quoting prostitute, a forest harbors soldiers apparently unaged since World War II, and rainstorms of fish (and worse) fall from the sky. There is a brutal murder, with the identity of both victim and perpetrator a riddle–yet this, along with everything else, is eventually answered, just as the entwined destinies of Kafka and Nakata are gradually revealed, with one escaping his fate entirely and the other given a fresh start on his own.
Extravagant in its accomplishment, Kafka on the Shore displays one of the world’s truly great storytellers at the height of his powers.
##1.看完瞭《海邊的卡夫卡》,覺得有些作傢天賦就是寫短篇的。寫短篇與寫長篇與其說是一種纔能,不如說是天生的心性。(這麼一說,我喜歡的作傢幾乎都是寫中短篇的。寫長篇的一個也沒有。)寫長篇首先需要的是一種結構力。這可不是普通的結構力,而是一種能夠把讀者“結構”進來...
評分比起頗有爭議的中譯本,英譯本確實是順暢。但想不到這本曾經16歲時影響我最深的小說,這次第三次讀也就get over瞭,很高興我的審美和感知力在二十幾歲的時候終於上瞭個颱階。。村上的硬傷太明顯,everything is a metaphor,沒錯,但村上就喜歡把隱喻攤開來生怕彆人不知道他有這個牛逼的想法。。然後再掉掉文藝書袋,得得,確實沒有靈氣!但還是謝謝,烏鴉少年陪瞭我太多重要的時候 ><
評分##先照抄一段村上春樹《天黑之後》的中文評論: 村上在書中塑造的白川,可以說是日本這個民族“惡”的典型,他敬業、勤奮、文質彬彬,但生活刻闆,觀念頑固,施暴後行若無事,還繼續加班,絲毫沒有作惡的意識。著名翻譯傢林少華教授在譯後記中寫道:“這種惡,既不同於恐怖分子的...
評分##讀罷《海邊的卡夫卡》,我忽然想,那個寫《且聽風吟》,寫《挪威的森林》村上究竟哪裏去瞭? 我不知道,為什麼有人會說《挪威的森林》是村上最差的作品。《挪威的森林》於我而言,就像是一首詩。多年之後,我依然記得主人公坐在波音客機降落在漢堡機場,看著窗外熟悉的風...
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