Weissman gathers all that is ugly, vulgar, obscene, scary, disgusting, dangerous, sick, tragic, and sad to create a debut collection that offers a refreshing, nauseating, hilarious, deranged take on human nature. In these stories what at first seems average suddenly, or sometimes stealthily, turns perverse. A man returning home from a a job ``too bland and pitiful'' to name, dreams of the only thing in life he looks forward to--eating his favorite cherry-filled cookie; he breaks down when he discovers that his dog has beaten him to it. A woman who never wanted to be anything but a mother refuses to lose her son to his new wife, so she hires two hoodlums to decapitate her in order to get him back. A young boy gives a detailed account of his day, including church (``I want to go to hell because in hell the dead run around with no clothes on and I can spend all day staring'') and a trip to the museum, where he wanders away from his parents and has sex with a naked girl in a painting. A 16-year-old birthday girl seduces her older brother by talking dirty to him over breakfast. A serial killer who keeps favorite body parts (torsos and heads) in a valise for sexual release, explains how ``killing, cutting up little boys has made me a better person.'' A Christian Scientist reprimands his son for thinking that ``just because his mother is dead we should bury her.'' And a father thanks a dead person for having a car accident and enlivening his family's road trip. While these tales can be too much when read all at once, we come to understand when a man who kills his friends because he loves to eulogize them says ``no matter how pathetic I become it amazes me how there's always room to get worse.'' A blood-and-guts account of the real American Dream. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.
Los Angeles-based writer Benjamin Weissman, who teaches Short Story at Art Center College of Design, Pasadena, CA.
這部作品在氛圍營造上的成就,絕對值得大書特書。它成功地營造齣一種揮之不去的不安感,那種感覺就像是你知道有什麼可怕的事情即將來臨,但又不知道它會以何種麵目齣現。作者的筆觸冷峻而剋製,極少用直白的恐怖描寫,而是通過對細節的捕捉——比如窗外持續不斷的雨聲、老舊傢具散發齣的黴味、人物不自覺地顫抖——來構建起一種令人窒息的心理壓力。我尤其喜歡作者對於“沉默”的運用,很多時候,最關鍵的衝突和情感爆發點都隱藏在人物的沉默之中,這種留白的處理,極大地激發瞭讀者的想象空間,讓每個人都能在自己的腦海中填補那些未被言明的恐懼。讀完後,我感覺自己像是經曆瞭一場漫長而疲憊的心理戰,但正是這種被深度共情的體驗,讓我對這部作品贊不絕口。
评分這本書的語言風格獨樹一幟,充滿瞭古典文學的韻味,但又毫不費力地融入瞭現代的敘事技巧中,形成瞭一種奇特的張力。我常常需要放慢速度,細細品味那些精心錘煉的句子,它們如同打磨光滑的寶石,每一個詞語的選擇都恰到好處,充滿瞭暗示和多重含義。作者似乎對人性的弱點有著深刻的洞察力,筆下的人物總是遊走在道德的灰色地帶,他們的“正確”往往建立在某種“錯誤”之上,這種復雜性極大地提升瞭故事的深度。我特彆關注瞭作者如何構建對話,那些看似平淡的交流背後,往往蘊含著巨大的信息量和潛颱詞,讓人在閱讀時時刻保持高度的警覺性。坦白說,一開始我被這種略顯“晦澀”的文風稍微勸退,但堅持下去後,一旦適應瞭這種節奏,就會發現它帶來的閱讀滿足感是其他快餐式作品無法比擬的,這簡直就是一場智力與情感的雙重盛宴。
评分令人驚喜的是,這本書在探討人際關係和情感紐帶方麵的深刻性。它沒有落入俗套的浪漫化處理,而是赤裸裸地展現瞭親情、友情乃至敵對關係中那些復雜、甚至有些病態的相互依賴。作者對“依戀”的描繪尤其精準,展現瞭愛與控製之間那條模糊不清的界限。故事中的幾組核心人物關係,充滿瞭張力,他們的每一次靠近都伴隨著潛在的傷害,每一次疏離都可能引發連鎖反應。我特彆關注瞭作者如何處理角色的動機轉變,他們並非一成不變,而是隨著外部環境和內在發現不斷地修正自己的行為模式,這種動態的、有機的角色發展,讓故事的現實感大大增強。總而言之,這部作品不僅在敘事技巧上令人稱道,其對人性幽微之處的挖掘,也達到瞭一個相當高的水準,是一部值得細細品讀的佳作。
评分從結構布局上來看,這部小說的精妙之處在於它對時間綫的巧妙處理。它並非簡單的綫性敘事,而是穿插著閃迴、日記片段和多重視角的切換,這些碎片化的信息被作者熔鑄在一起,構建齣一個宏大而又精密的故事全貌。這種敘事手法要求讀者必須全身心地投入,去主動地進行信息重組和邏輯推理,這對於喜歡深度思考的讀者來說,無疑是一種極大的樂趣。我個人對其中關於“記憶的不可靠性”這一主題的探討印象最為深刻,作者通過不同人物對同一事件的描述差異,提齣瞭一個發人深省的問題:我們所堅信的“真相”,究竟是客觀事實,還是被情感扭麯後的自我保護機製?這種哲學層麵的叩問,讓這部作品超越瞭一般的娛樂範疇,具備瞭值得反復咀嚼的文學價值。
评分這部作品的敘事節奏簡直讓人著迷,開篇就將我牢牢地拽入瞭那個充滿迷霧和秘密的小鎮。作者對於環境的描摹極為細膩,那種濕冷、帶著海腥味的空氣仿佛都能穿透紙頁撲麵而來。故事的推進並非一蹴而就,而是像抽絲剝繭般,一層層揭開人物內心深處的掙紮與矛盾。特彆是主角麵對睏境時那種近乎本能的反應和掙紮,刻畫得入木三分,讓人不禁思考在極端壓力下,我們自身會做齣何種選擇。我尤其欣賞作者在處理群像戲時的功力,每一個配角都不是扁平的工具人,他們都有自己的陰影和動機,共同編織成瞭一張復雜的情感之網。雖然故事涉及瞭一些沉重的主題,但作者巧妙地運用瞭幽默和反諷的筆觸來調劑氣氛,使得整體閱讀體驗張弛有度,絲毫不會感到壓抑。讀完後,那種揮之不去的情感餘韻,讓人久久不能平靜,迫不及待地想重溫那些關鍵的轉摺點,去捕捉那些之前可能被忽略的細微綫索。
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