Good-bye to All That is the autobiography of Robert Graves.[1] First published in 1929, the work is a landmark anti-war memoir of life in the trenches during World War I. The title expresses Graves' disillusionment in the existence of traditional, stable values in European and English society. Graves first wrote the work in his thirties, when he had a long and eventful life ahead of him, and the book deals mainly with his childhood, youth and military service.
He devotes a large part of the book to his experiences of the First World War, where he gives a detailed description of trench warfare, including the tragic incompetence of the Battle of Loos. Many readers will be interested in his secondhand description of the killing of German prisoners of war by British, Canadian and Australian troops. Although he had not witnessed any incidents himself and knew of no large-scale massacres, he knew of a number of incidents where prisoners had been killed individually or in small groups, and he believed that a large proportion of Germans who surrendered never made it to prisoner-of-war camps.
Graves was severely traumatized by his war experience. After he was wounded, he endured a five day train journey amid squalor and unchanged bandages. The trench telephone scared him such that he never lived with the technology for the rest of his life (he received an electric shock because the line was struck by lightning). Upon his return home, he describes being haunted by ghosts and nightmares. Laura Riding, Graves' lover, is credited with being a "spiritual and intellectual midwife" to the work, which made him famous.[2]
Graves heavily revised his book and re-published it in 1957 with many significant events and figures either excised or added.
Robert Ranke Graves (1895-1985) was a British poet, novelist, and critic. He is best known for the historical novel I, Claudius and the critical study of myth and poetry The White Goddess.
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这本书简直是令人心神为之一振的旅程!它的叙事如同潺潺溪水,时而平静舒缓,时而激流奔涌,牢牢抓住了我的注意力。作者对人物内心世界的刻画细腻入微,仿佛能触摸到他们最深层的恐惧与渴望。读到某些情节时,我甚至会不由自主地屏住呼吸,生怕打断了故事的流动。那种身临其境的感觉,是很多作品难以企及的。尤其欣赏它在探讨人性复杂性时所展现出的那种不加粉饰的坦诚,它没有给我任何廉价的安慰,而是将生活的真实面貌赤裸裸地呈现在我眼前,让人在阅读的过程中不断反思自身的处境与选择。这本书的结构精巧,每一章的过渡都如同丝线般精准地连接着前后文,读完之后,合上书页,那种回味悠长的感觉久久不能散去,仿佛又经历了一场跌宕起伏的人生。我尤其喜欢作者那种独特的幽默感,它不是那种浮于表面的滑稽,而是在最沉重的话题中,依然能找到一丝让人会心一笑的清明,这种张弛有度的处理,极大地提升了阅读的愉悦度。
评分说实话,这本书的节奏掌握得非常高明,它拒绝了平铺直叙的叙事方式,而是采用了多重时间线的交错推进,这在初期读起来略微考验读者的专注力,但一旦适应了这种跳跃的思维模式,你会发现它带来的阅读快感是无可比拟的。每一次时间点的切换,都像是揭开了一个新的谜题,让你不得不立刻去寻找前因后果。作者的高明之处在于,他让这些看似零散的片段,最终如同一幅巨大的拼图,在最后才完整地展现出它本来的面貌。这种结构上的精妙设计,使得整部作品充满了悬念和张力,迫使我几乎是一口气读完的。对于那些喜欢挑战思维、享受解谜过程的读者来说,这本书无疑是一个绝佳的选择。它不提供任何捷径,要求读者主动参与到故事的构建中去,这种互动性让阅读体验提升了一个维度,远非那些线性叙事的故事可以比拟。
评分这本书给我带来最大的冲击是它对时代背景的深度挖掘和批判性反思。作者似乎拥有一个古老的灵魂,能洞察历史的必然性和人性的永恒弱点。它不仅仅记录了一个个体的遭遇,更像是通过这个个体的经历,折射出了一个宏大时代的侧影。那些关于社会结构、权力运作以及个体在巨大历史洪流中挣扎的描写,深刻而有力,不含任何说教的语气,只是冷静地陈述事实,却比任何口号都更具震撼力。读罢此书,我感觉自己对周遭的世界多了一层理解的滤镜,看事情的角度也变得更加多维和审慎。它成功地将私人情感的抒发与公共议题的探讨完美地融合在一起,使得人物的命运不再是孤立的,而是与更广阔的社会肌理紧密相连。这种深邃的历史感和哲学思辨,是如今快餐式阅读中极为罕见的宝藏。
评分这部作品的魅力在于它的“人味儿”。它极其成功地塑造了一批有血有肉、充满矛盾的角色。这些人物不是非黑即白的符号,他们会犯错,会软弱,会在压力下做出令人不解的决定,但正是这些不完美,才让他们如此真实可信。作者似乎对人类的心理有着近乎病态的着迷,他毫不留情地剖析了爱与背叛、希望与绝望之间的微妙界限。我甚至会因为某个角色的痛苦而感到揪心,因为他们的挣扎太贴近我们日常生活中的某些瞬间。这种强烈的代入感,使得阅读过程充满了情感的起伏,时而心潮澎湃,时而低沉黯然。最妙的是,作者在故事的高潮部分,并没有给予一个标准化的“圆满结局”,而是留下了一个充满可能性和灰色地带的尾声,这反而让故事更加真实——因为生活本身,往往就是这样悬而未决的。这本书,是献给所有在生活中摸索前行的人们的一份深刻致敬。
评分我必须承认,这本书的文笔是极其老道的,它拥有一种近乎催眠的魔力。作者的遣词造句充满了韵律感和力量,像是一位技艺精湛的雕塑家,用文字细细打磨每一个场景和每一个词汇。我花了比平时更多的时间来阅读,不是因为内容晦涩难懂,而是因为我忍不住要停下来,反复咀嚼那些精妙的措辞。它不仅仅是在讲述一个故事,更像是在演奏一首宏大的交响乐,每一个音符、每一个休止符都恰到好处。特别是对环境和氛围的渲染,简直达到了出神入化的地步,即使是闭着眼睛,我都能清晰地“看见”那些文字所描绘的场景,闻到空气中弥漫的气味。这种强烈的画面感,让我对作者的观察力和表达欲产生了由衷的敬佩。整本书读下来,感觉像经历了一次深度的冥想,那些看似不经意的细节,在结尾处汇聚成一股强大的洪流,让人不禁拍案叫绝,感叹作者布局之深远。
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