Mum and Dad - Squibs and Bert - were a complete mystery to Brian Thompson as he grew up in Cambridge and London during the 1940s. His mother danced with the Yanks all night and slept under a fake fur coat all day, and when his father bothered to come home he resolutely discouraged Brian in everything. Whilst other children were evacuated out of the big cities, Brian found himself travelling into London, and spent much of the war with an eccentric crowd of ribald relations.
Review By Will Cohu (19 Feb 2006)
For the past 30 years Brian Thompson has made his living primarily as a writer for television and radio, which has been a loss to the world of books. He has a disarmingly casual and elegant way with outrageous subject matter, and in Keeping Mum, the first volume of his memoirs, he's like a man whistling an infectiously happy tune while taking us through a leech-infested swamp.
Keeping Mum is riveting stuff. It is built around the poisonous marriage of his parents, Peggy and Bert, whose relationship was so broken that they couldn't even find the pieces. Though working-class Londoners, the couple moved to Cambridge in the late 1930s, where they were tenants on an estate promoted as "Homes for the Future".
There, in the filthy interior of the rented house, Thompson spent the Second World War "licking the salty grime from the windows" and waiting for his mother to come home. His father had volunteered for the RAF. While Bert was flying troops into Arnhem, Peggy doused herself in Blue Moon, drew nylons on her legs and went out dancing. The house was full of cartons of Lucky Strikes.
Before the war Bert had been a Post Office engineer, "ruthlessly ambitious and a quick learner". Peggy was always unstable, unhappy and promiscuous. She despised the family she had left behind in London, but equally loathed Cambridge: "On hot days she would sit in a chair outside the kitchen door, her legs exposed to the crotch of her knickers, her back turned resolutely to the pleasure of the lawn, smoking and throwing the dog ends at the dustbin."
In Bert's absence, both parents charged their six-year-old son with impossible responsibilities. Bert told him that he should "do something" about his mother, while Peggy screamed at him to keep his effing mouth shut. Brian assumed a furtive, observational role, dodging the blows of both parents. He was a grateful refugee to wartime London, where he was dumped on his aunt Elsie. When her house was bombed, he was sent to his father's parents above a bicycle repair shop in Lambeth Walk. But he always ended up back in Cambridge, alone in the house with an atlas, Johnson's Dictionary and a copy of BB's The Little Grey Men, sent to him by his father's aircrew.
Bert was courageous and rose to flight-lieutenant, but he remained brutally uncharitable. He even rejected an appeal by his former rear-gunner for the loan of a quid.
Despite his mother's madness, Thompson felt for Peggy. "There was something in her war that was more real than my father's slow progress towards making himself an officer and a gentleman," he writes. "For all the mess she made of things, she was by temperament more likely than he to have sensed the huge ache in the skies that overlaid England. Hers was a tragic war, filled with cupboards stuffed with skeletons. One of her boyfriends gave me his baseball bat and a huge meaty softball. He was killed a week or so later."
In the post-war years, Bert worked for a London planning department and metamorphosed into a working-class Tory with a "fine disdain of lefties, commies, poofs, conchies, spivs, scroungers, tarts, and of course, above all, Yanks". Peggy and Brian were left to rot in Cambridge.
Grammar school provided Brian with libraries and girls, but his education made both parents suspect that he was turning into a swot, and his father promptly taught him to swim by throwing him in the deep end of the pool at Jesus Green. One summer day, Brian told Peggy he was going to London on his brakeless, rusting bicycle. His mother shrugged and lit a fag. He narrowly survived the 50-mile trip and followed the bus route across the West End to Lambeth, where his grandparents gave him a bottle of stout.
"You mean you never come down Stamford Hill way?" asked his grandfather. "Well, you missed a trick there."
Evocative and precisely written, laced with choice dialogue and scenes of vivid seediness, Keeping Mum is a beautifully judged account of an era usually doused in generalised sentiment. Thompson catches England on the cusp, when the population escaping from its "Victorian canyons" was lost without the extended families that had been an integral part of their self-sufficient poverty. Bert and Peggy are freaks in an oddly desolate new world. Like Larkin, Thompson finds in this deprivation something akin to Wordsworth's daffodils.
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这本书真是让人眼前一亮,那种细腻的情感描写和对人物内心世界的刻画,简直是教科书级别的。作者似乎有一种魔力,能将那些转瞬即逝的情绪和复杂的思想凝结成文字,让你在阅读的过程中,仿佛身临其境,与书中的角色一同经历着人生的起起落落。我尤其欣赏它在构建世界观上的那种不着痕迹的深厚功力,每一个细节的堆砌都恰到好处,既保证了故事的真实感,又增添了一层引人入胜的神秘色彩。读到某些段落时,我甚至会停下来,反复品味那些措辞的精妙,那种节奏感和韵律感,如同优美的音乐,在脑海中久久回荡。它不是那种强行灌输观点或制造戏剧冲突的作品,而是更像一场温柔的对话,引导着读者去思考那些关于人性、时间与选择的终极命题。那种阅读体验是极其私密且富有启发性的,让你在合上书本之后,仍旧能感受到它带来的那种绵长而深刻的回味。我强烈推荐给那些追求阅读深度和艺术性的朋友们,它绝对值得你投入时间去细细品咂。
评分从纯粹的文学性角度来看,这本书的语言运用达到了一个令人惊叹的高度。作者的词汇量是毋庸置疑的丰富,但更厉害的是他对语言的驾驭达到了“信手拈来,浑然天成”的境界。他能根据不同的场景和人物心境,瞬间切换到最贴切的语调和句式,时而是带着年代感的古典韵味,时而又是充满现代都市的疏离和尖锐。我特别留意了那些比喻和拟人手法的运用,简直是鬼斧神工,很多句子读起来不像是在描述,而是在进行一场诗意的创造。例如,他描述光影变幻的方式,那种细腻到让人仿佛能触摸到空气中尘埃的质感,实在是令人叫绝。这本书就像一个语言的万花筒,旋转之间,展现出无穷无尽的美丽和可能性。它让我重新认识到,文字本身也可以成为一种强大的感官体验,而不仅仅是承载故事的工具。
评分坦白说,这本书的基调是偏向沉郁和思辨的,它并不提供廉价的安慰或简单的答案,而是直面人性的复杂和世界运行的残酷规律。然而,正是这种不回避、不粉饰的态度,让它显得格外真诚和有力量。它探讨的主题非常宏大,涉及历史的重量、命运的不可抗力,以及个体在巨大洪流面前的挣扎与坚守。阅读过程中,我时常会感到一种沉重的宿命感,仿佛看到了那些无可挽回的错误和那些注定要错过的美好。但这并不是让人绝望的阅读,恰恰相反,正是在这种深邃的悲剧性中,我看到了人性中最微小却也最坚韧的光芒——那就是对意义的不懈追寻。作者没有给我们提供一个光明的结局,但他给了我们一个更宝贵的东西:理解苦难的必要性。这本书的价值在于它拓宽了我们对“存在”的理解边界,读完后,你可能会对生活中的许多小事产生全新的敬畏之心。
评分说实话,我一开始对这本书并没有抱太大的期望,毕竟市面上同类型的作品太多了,很容易让人感到审美疲劳。但是,这本书在叙事结构上的创新性完全颠覆了我的固有印象。它采用了多线并进的叙事手法,却能将看似不相关的支线巧妙地编织在一起,最终汇集成一个宏大而又精密的整体,这种高超的驾驭能力令人叹服。更难得的是,即使结构如此复杂,作者依然保持了叙事的流畅性和可读性,没有丝毫晦涩难懂的感觉。每一次情节的转折都出乎意料,却又在回过神来后觉得“原来如此”,这种智力上的博弈感极大地提升了阅读的乐趣。它不仅仅是在讲一个故事,更像是在展示一种叙事艺术的极致。读完之后,我甚至忍不住去回顾前文,试图找出那些埋藏得极深的伏笔,那种发现的喜悦,不亚于解开一个精妙的谜题。对于喜欢结构复杂、逻辑严密的小说的读者来说,这本书绝对是饕餮盛宴。
评分这本书给我的感觉是极其“克制”而又“有力”。作者似乎非常懂得留白的重要性,很多关键的情感冲突和背景信息并没有直接喷薄而出,而是通过环境的描绘、人物的动作、乃至是对话中那些未说出口的潜台词来暗示。这种“说与不说之间”的张力,比直白的倾诉更具感染力。我常常在那些看似平淡的场景中,捕捉到人物内心翻江倒海的情绪,那是一种需要读者主动投入心力去解读的阅读过程,非常锻炼人的观察力和共情能力。这种风格让我想起一些老电影,镜头语言的运用达到了出神入化的地步,每一个静止的画面背后都蕴含着千言万语。它要求你慢下来,去感受文字之间的空气流动,去品味那些被省略的、留给想象力的部分。对于习惯了快节奏、信息量爆炸式输出的现代读者来说,这本书提供了一种难得的、沉浸式的、需要深度参与的阅读体验。
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