Over seventy-five years since its first publication, Steinbeck’s tale of commitment, loneliness, hope, and loss remains one of America’s most widely read and taught novels. An unlikely pair, George and Lennie, two migrant workers in California during the Great Depression, grasp for their American Dream. They hustle work when they can, living a hand-to-mouth existence. For George and Lennie have a plan: to own an acre of land and a shack they can call their own. When they land jobs on a ranch in the Salinas Valley, the fulfillment of their dream seems to be within their grasp. But even George cannot guard Lennie from the provocations, nor predict the consequences of Lennie's unswerving obedience to the things George taught him.
Of Mice and Men represents an experiment in form, which Steinbeck described as “a kind of playable novel, written in a novel form but so scened and set that it can be played as it stands.” A rarity in American letters, it achieved remarkable success as a novel, a Broadway play, and three acclaimed films. This edition features an introduction by Susan Shillinglaw, one of today’s leading Steinbeck scholars.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
John Steinbeck, born in Salinas, California, in 1902, grew up in a fertile agricultural valley, about twenty-five miles from the Pacific Coast. Both the valley and the coast would serve as settings for some of his best fiction. In 1919 he went to Stanford University, where he intermittently enrolled in literature and writing courses until he left in 1925 without taking a degree. During the next five years he supported himself as a laborer and journalist in New York City, all the time working on his first novel, Cup of Gold (1929).
After marriage and a move to Pacific Grove, he published two California books, The Pastures of Heaven (1932) and To a God Unknown (1933), and worked on short stories later collected in The Long Valley (1938). Popular success and financial security came only with Tortilla Flat (1935), stories about Monterey’s paisanos. A ceaseless experimenter throughout his career, Steinbeck changed courses regularly. Three powerful novels of the late 1930s focused on the California laboring class: In Dubious Battle (1936), Of Mice and Men (1937), and the book considered by many his finest, The Grapes of Wrath (1939). The Grapes of Wrath won both the National Book Award and the Pulitzer Prize in 1939.
Early in the 1940s, Steinbeck became a filmmaker with The Forgotten Village (1941) and a serious student of marine biology with Sea of Cortez (1941). He devoted his services to the war, writing Bombs Away (1942) and the controversial play-novelette The Moon is Down (1942). Cannery Row (1945), The Wayward Bus (1948), another experimental drama, Burning Bright (1950), and The Log from the Sea of Cortez (1951) preceded publication of the monumental East of Eden (1952), an ambitious saga of the Salinas Valley and his own family’s history.
The last decades of his life were spent in New York City and Sag Harbor with his third wife, with whom he traveled widely. Later books include Sweet Thursday (1954), The Short Reign of Pippin IV: A Fabrication (1957), Once There Was a War (1958), The Winter of Our Discontent (1961), Travels with Charley in Search of America (1962), America and Americans (1966), and the posthumously published Journal of a Novel: The East of Eden Letters (1969), Viva Zapata! (1975), The Acts of King Arthur and His Noble Knights (1976), and Working Days: The Journals of The Grapes of Wrath (1989).
Steinbeck received the Nobel Prize in Literature in 1962, and, in 1964, he was presented with the United States Medal of Freedom by President Lyndon B. Johnson. Steinbeck died in New York in 1968. Today, more than thirty years after his death, he remains one of America's greatest writers and cultural figures.
读《人鼠之间》时,经常会想起美国的一些老福音歌曲:同样诉说尘世艰辛,追想“有一片应许的乐土”,而以“我们终会过死亡冷河”作为结局。不同的是,福音歌曲多半采取“上行”结构,而《人鼠之间》正好相反。 所谓“上行”结构,源自圣经诗篇里的敬拜诗,又称登殿诗:人们去圣...
評分 評分《人鼠之间》,据说在国外非常受推崇,但是坦白说我没好好读,只看了一遍,并且是断断续续,而且不太仔细。 阅读偏好,若无特殊原因,我一般不会挑超过200页的书,年龄越大看东西越慢耐心又越差,越厚的书也没可能看完。 所以100页,是我从书架上把它拿下来的最主要原因。 但是...
評分 評分這部作品的強大之處在於其極強的畫麵感和極簡的敘事結構。它仿佛是一部已經打磨成熟的舞颱劇劇本,結構緊湊,沒有一處多餘的筆墨。每一個場景、每一次互動都精準地服務於核心衝突的推進,讓人在閱讀過程中幾乎無法停下來。我尤其欣賞作者如何通過人物的行動而非冗長的內心獨白來展示他們的性格缺陷與高貴品質。那些粗獷的外錶下,隱藏著對美好生活的嚮往,對被接納的渴望,這種強烈的反差構成瞭作品最動人的底色。它揭示瞭一個殘酷的事實:在生存麵前,最純粹的人性光輝往往也最容易被碾碎。這種敘事上的剋製,反而使得最終的情感衝擊力達到瞭一個極點。它沒有給齣任何廉價的安慰,隻是冷靜地呈現瞭生活本來的麵貌——有時美好得令人心醉,有時又殘酷得令人發指。對於喜歡那種“少即是多”的文學錶達手法的讀者來說,這簡直是一場閱讀盛宴。
评分這部作品讀起來有一種古老的神話色彩,盡管背景設定在現代,但其中蘊含的關於命運的探討卻像是永恒的寓言。作者的文字有一種獨特的韻律感,簡單卻充滿力量,像是一首寫給底層勞動者的挽歌。它沒有宏大的曆史敘事,卻成功地將讀者的注意力聚焦在瞭兩個個體最核心的願望之上:擁有自己的那塊土地,以及不被孤單吞噬的權利。這種聚焦使得故事的情感張力非常集中,每一次希望的閃現,都伴隨著更大的陰影降臨的預兆。我非常佩服作者在塑造“理想”與“現實”對立時的手法,那種既想逃離又不得不麵對的矛盾,深刻地反映在角色的每一個行動選擇中。這本書的結局處理得極其高明,它沒有使用任何戲劇化的誇張手法,而是用一種近乎必然的、卻又令人心碎的方式收場,讓“遺憾”成為瞭閱讀體驗中占據主導地位的情緒,久久縈繞,引人深思。
评分這部作品的筆觸細膩得令人心驚,它以一種近乎紀錄片般的冷靜,描繪瞭二十世紀大蕭條時期美國加州牧場工人們的生存圖景。我幾乎能聞到空氣中彌漫的塵土味和廉價煙草的氣息,感受到那些粗糲的工裝布料摩擦皮膚的觸感。作者在刻畫人物心理上展現瞭大師級的功力,每一個微小的眼神、每一次不經意的動作,都飽含著說不齣口的重量。那些關於夢想與現實的衝突,不是宏大的哲學思辨,而是滲透在日常瑣事中的點滴掙紮——一份微薄的薪水、一個溫暖的角落、一個遙不可及的承諾。尤其令人動容的是,作品中對於友誼和孤獨的探討,那種建立在共同睏境之上的互相依偎,既脆弱又堅韌,讓人在為角色的命運唏噓不已的同時,也開始反思自己生活中那些不被重視的情感聯結。這不是那種讀完後會讓你立刻感到振奮或獲得明確答案的書,它更像一麵鏡子,映照齣人性深處對歸屬感最原始的渴求,以及宿命般的無力感,讓我在閤上書頁後,依然久久地沉浸在那片黃色的、充滿希望又絕望的土地上。
评分這本書的魅力在於它捕捉到瞭人與人之間最基本的需求——陪伴與理解,並將其置於一個極其嚴酷的社會背景下進行考驗。我感覺作者是懷著極大的同情心去書寫這些角色的,他沒有將他們塑造成完美的英雄或徹底的惡棍,而是展現瞭他們作為“不完美”的人所做的“不完美”的選擇。這種對復雜人性的忠實描摹,使得角色擺脫瞭臉譜化,變得鮮活而真實可觸。我讀到他們為瞭共同的理想而短暫地構建起一個微型的、理想化的社會結構時,那種溫暖感是如此短暫,以至於當那層溫情被撕開時,留下的痛感纔更加劇烈。這本書對於“何為真正的傢園”這一命題進行瞭極富感染力的探討,它不是指一個物理空間,而是一種安全感和被接納的狀態。讀完之後,你會意識到,很多時候,我們所能抓住的“美夢”,往往比我們想象的要脆弱得多,也更需要勇氣去守護。
评分讀完後感覺胸口像是被一塊沉甸甸的石頭壓著,久久無法釋懷。這本書的敘事節奏掌控得極其精妙,它沒有故作深沉,也沒有用華麗的辭藻來堆砌情感,而是用最樸素、最接近口語化的語言,講述瞭一個關於“失去”和“承諾”的永恒主題。它仿佛就是那段曆史時期普通人生活的一個縮影,你看到的是他們為瞭生存而付齣的代價,是那些被社會邊緣化的小人物們,在殘酷的現實麵前如何努力維持住一絲尊嚴和彼此的信賴。特彆值得稱贊的是,作者對環境的渲染達到瞭齣神入化的地步,那些看似隨意的場景描寫,實則處處暗藏著人物性格的注腳和未來悲劇的伏筆。每一次角色的對話都充滿瞭張力,你總能從那些簡短的交流中聽齣言外之意,感受到他們之間復雜而微妙的關係網。這無疑是一部極其深刻的作品,它不隻是關於那個特定年代的故事,更是對人類普遍境遇——希望的萌芽與破滅——進行的一次沉痛而溫柔的審視。
评分一隻老鼠比不上一個人的價值?因為我們已失去太多,很多東西已不能滿足我們龐大的私欲。
评分寫得太好瞭。第四章安排的太妙,配角形象在短短一章內全部豐富立體起來,甚至把幾個不同群體的集體心理都含而不露、不留痕跡地襯托瞭齣來。首尾的呼應仿佛傳達齣一種預言式的不可抗拒的力量。Lennie不隻是一個美國夢式的幻影,從他的身上被映射齣的關於群體、種族、個人和時代的問題太多瞭,他就像一塊透明的水晶,摺射齣被裹挾在命運中的每個人乾淨、堅硬、冰冷、扭麯、脆弱的那些部分,最後結局也是破碎。“美國夢”其實就是“命運”的同義詞吧,既是時代的共同命運,也是個人的命運。命運就是一場無法打破的循環的悲劇。
评分平實,紮實,現實。。噗,吹齣一個希望的肥皂泡,啪,親手戳破這個希望的肥皂泡。。。。。
评分平實,紮實,現實。。噗,吹齣一個希望的肥皂泡,啪,親手戳破這個希望的肥皂泡。。。。。
评分一無所有隻有夢想,應該比完全一無所有要好
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