Birds Without Wings traces the fortunes of one small community in southwest Turkey (Anatolia) in the early part of the last century — a quirky community in which Christian and Muslim lives and traditions have co-existed peacefully over the centuries and where friendship, even love, has transcended religious differences.
But with the disintegration of the Ottoman Empire and the onset of the Great War, the sweep of history has a cataclysmic effect on this peaceful place: The great love of Philothei, a Christian girl of legendary beauty, and Ibrahim, a Muslim shepherd who courts her from near infancy, culminates in tragedy and madness; Two inseparable childhood friends who grow up playing in the hills above the town suddenly find themselves on opposite sides of the bloody struggle; and Rustem Bey, a wealthy landlord, who has an enchanting mistress who is not what she seems.
Far away from these small lives, a man of destiny who will come to be known as Mustafa Kemal Atatürk is emerging to create a country from the ruins of an empire. Victory at Gallipoli fails to save the Ottomans from ultimate defeat and, as a new conflict arises, Muslims and Christians struggle to survive, let alone understand, their part in the great tragedy that will reshape the whole region forever.
From the Hardcover edition.
Novelist Louis de Bernières was born in London in 1954. He joined the army at 18 but left after spending four months at Sandhurst. After graduating from the Victoria University of Manchester, he took a postgraduate certificate in Education at Leicester Polytechnic and obtained his MA at the University of London.
Before writing full-time, he held many varied jobs including landscape gardener, motorcycle messenger and car mechanic. He also taught English in Colombia, an experience which determined the style and setting of his first three novels, The War of Don Emmanuel's Nether Parts (1990), Señor Vivo and the Coca Lord (1991) and The Troublesome Offspring of Cardinal Guzman (1992), each of which was heavily influenced by South American literature, particularly 'magic realism'.
In 1993, he was selected as one of the 20 'Best of Young British Novelists 2' promotion in Granta magazine. His fourth novel, Corelli's Mandolin, was published in the following year, winning the Commonwealth Writers Prize (Best Book). It was also shortlisted for the Sunday Express Book of the Year. Set on the Greek island of Cephalonia during the Second World War, the novel tells the story of a love affair between the daughter of a local doctor and an Italian soldier. It has become a worldwide bestseller and has now been translated into over 30 languages. A film adaptation of the novel was released in 2001, and the novel has also been adapted for the stage. In 2001, Red Dog was published - a collection of stories inspired by a statue of a dog encountered on a trip to a writers' festival in Australia in 1998.
Prizes and awards
1991 Commonwealth Writers Prize (Eurasia Region, Best First Book) The War of Don Emmanuel's Nether Parts
1992 Commonwealth Writers Prize (Eurasia Region, Best Book) Señor Vivo and the Coca Lord
1994 Sunday Express Book of the Year (shortlist) Corelli's Mandolin
1995 Commonwealth Writers Prize (Overall Winner, Best Book) Corelli's Mandolin
1995 Lannan Literary Award (Fiction)
1997 British Book Awards Author of the Year
2004 Whitbread Novel Award (shortlist) Birds Without Wings
2005 Commonwealth Writers Prize (Eurasia Region, Best Book) (shortlist) Birds Without Wings
When the legendary beauty Philothei died, her ugly childhood friend Drosoula said griefly What is the use of being beautiful Here, in the story, the author tends to believe that all the beautiful things in our life are to be killed or destroyed, which is ...
评分When the legendary beauty Philothei died, her ugly childhood friend Drosoula said griefly What is the use of being beautiful Here, in the story, the author tends to believe that all the beautiful things in our life are to be killed or destroyed, which is ...
评分When the legendary beauty Philothei died, her ugly childhood friend Drosoula said griefly What is the use of being beautiful Here, in the story, the author tends to believe that all the beautiful things in our life are to be killed or destroyed, which is ...
评分When the legendary beauty Philothei died, her ugly childhood friend Drosoula said griefly What is the use of being beautiful Here, in the story, the author tends to believe that all the beautiful things in our life are to be killed or destroyed, which is ...
评分When the legendary beauty Philothei died, her ugly childhood friend Drosoula said griefly What is the use of being beautiful Here, in the story, the author tends to believe that all the beautiful things in our life are to be killed or destroyed, which is ...
这本书的魅力,很大程度上源于它对环境和地域的细致描摹,仿佛每一个场景都拥有了自己的生命。你几乎可以闻到书中描绘的那些地方特有的气味,感受到阳光照射在特定材质上的那种质感。作者对于细节的偏执达到了令人发指的地步,无论是古老的建筑群落,还是日常生活的琐碎物件,都被赋予了强烈的象征意义。这种强烈的代入感,让阅读体验从单纯的文字获取,变成了一种全方位的感官体验。故事的推进并非一帆风顺,它时常会在看似无关紧要的日常对话中,突然爆发出惊人的信息量,让人不得不回溯前文,重新审视之前忽略的蛛丝马迹。我花了很长时间才适应这种略显散漫却又暗藏玄机的叙事节奏。对于那些喜欢在阅读中自己扮演“侦探”角色的读者来说,这本书简直是天堂。它要求你全神贯注,不能错过任何一个看似随意的物品摆放或是人物的短暂失神,因为那里可能隐藏着解开整个谜团的关键钥匙。这不仅仅是一部小说,更像是一份关于特定时代、特定地域的文化档案。
评分这本书最让我印象深刻的是其对“记忆”与“遗忘”主题的探讨达到了一个新的高度。它不是简单地叙述过去发生的事情,而是深入剖析了记忆是如何被构建、被篡改,以及被群体选择性地搁置的过程。书中不同叙事者对同一事件的回忆存在着巨大的偏差,这迫使我不断质疑眼前所读到的“真相”究竟是何物。作者的叙事结构仿佛是一个破碎的万花筒,每一个新的视角都重新折射出不一样的光影,让你对主角的认知不断推翻和重塑。这种结构上的精巧设计,完美地呼应了主题本身——即历史真相的不可触及性。我特别喜欢那些非线性的叙事片段,它们如同闪回的片段,冷不防地切入当前的场景,带来了强烈的时空错乱感,也极大地增强了故事的张力。这本书不提供明确的答案,它更像是提供了一套精密的工具,让你自己去解构和重组你对“真实”的理解。读完后,我感觉自己对“讲述”这件事本身,都产生了全新的敬畏之心。
评分这本小说简直是文学领域的一场饕餮盛宴,那种细腻入微的笔触,仿佛能将读者的灵魂直接拽入故事的核心。我尤其欣赏作者对于人物内心世界的挖掘深度,那种复杂纠葛的情感纠缠,绝非三言两语能够道尽。书中描绘的那些时代背景下的众生相,每一个转身、每一个眼神都充满了历史的重量感,让我不禁停下来,反复咀嚼那些蕴含的深意。叙事节奏的掌控简直是教科书级别的示范,时而如涓涓细流,温柔地铺陈开来,让人沉浸其中,时而又如疾风骤雨,猛地将情节推向高潮,让你措手不及却又拍案叫绝。阅读过程中,我几次为了书中某些情节的转折而感到震撼,那不仅仅是情节设计的高明,更是对人性幽暗与光辉的深刻洞察。这本书的语言风格是如此的典雅而不失力量,很多句子本身就可以单独摘出来成为格言警句,那种韵味,是许多当代小说难以企及的。它需要的不仅仅是快速的翻阅,更需要静下心来,去品味字里行间流淌出的那种时代的哀歌与生命的赞颂。读完后,那种久久不能散去的余韵,让我对生活中的许多小事都有了全新的理解,这才是真正伟大的文学作品所应具备的影响力。
评分坦白说,这本书的文风非常具有侵略性,它不给你喘息的机会。从第一页开始,作者就用一种近乎宣言式的语言,奠定了全书的悲剧基调。那些关于失落、关于错位、关于个体在宏大历史面前的无力感的描写,如同冰锥一般直刺人心。我最欣赏的是作者如何巧妙地运用了神话原型和民间传说,将它们编织进现代的故事线里,使得那些平凡人物的命运也染上了一层宿命的色彩。这种古典与现代的对撞,产生了极为强烈的化学反应。阅读过程像是在攀登一座陡峭的山峰,虽然每一步都充满艰辛,但当你到达顶端回望时,那种开阔与震撼是无与伦比的。当然,对于寻求轻松娱乐的读者来说,这本书可能过于沉重和晦涩。它需要读者有足够的耐心去消化那些复杂的人物关系网和层层叠叠的历史隐喻。但对于愿意付出心力去探究文学深度的人来说,它所给予的回报,将远远超过你付出的努力。
评分我得说,初读这本书时,我差点被它那近乎“冷酷”的客观叙事风格给劝退了。它不煽情,甚至在描绘最惨烈的场景时,也保持着一种近乎新闻报道般的冷静,但这恰恰是它最致命的吸引力所在。作者似乎是一位冷眼旁观的记录者,他将那些残酷的现实赤裸裸地摊开在你面前,不加任何粉饰,让你自己去感受那种刺痛。人物的塑造极其立体,没有绝对的好人或坏人,每个人物都有其难以言说的苦衷和自身的局限性,这种“灰色地带”的描绘,让我感觉他们像是真实生活中认识的某个人。特别是关于权力斗争和道德困境的部分,处理得极其精妙,作者似乎在不断抛出哲学层面的拷问,迫使读者站在不同的立场进行辩护与审视。这本书的结构非常宏大,像是一幅精密的织锦,所有的线索最终都汇聚到同一个主题上,但这个过程却充满了迷人的曲折和意想不到的伏笔。我强烈推荐给那些厌倦了刻意制造戏剧冲突,而渴望真正沉浸在复杂人性探索中的读者。它读起来不轻松,但读完之后带来的精神洗礼,是其他轻松读物无法比拟的。
评分Set in Turkey during 1900 - 1920. Really good, quite sad.
评分Set in Turkey during 1900 - 1920. Really good, quite sad.
评分Set in Turkey during 1900 - 1920. Really good, quite sad.
评分Set in Turkey during 1900 - 1920. Really good, quite sad.
评分Set in Turkey during 1900 - 1920. Really good, quite sad.
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