Collected here in one volume is James T. Farrell's renowned trilogy of the youth, early manhood, and death of Studs Lonigan: Young Lonigan , The Young Manhood of Studs Lonigan , and Judgment Day . In this relentlessly naturalistic portrait, Studs starts out his life full of vigor and ambition, qualities that are crushed by the Chicago youth's limited social and economic environment. Studs's swaggering and vicious comrades, his narrow family, and his educational and religious background lead him to a life of futile dissipation.
Ann Douglas provides an illuminating introductory essay to Farrell's masterpiece, one of the greatest novels of American literature.
With an introduction by Ann Douglas.
James Thomas Farrell (1904--1979) was born in Chicago to a struggling family of second-generation Irish Catholic immi grants. In 1907, his father, James Farrell, a teamster unable to support his growing family, placed young Jim with his maternal grandparents. It was his grandparents' neighborhood in Chicago's South Fifties that would provide the background to Farrell's Studs Lonigan trilogy. Farrell worked his way through the University of Chicago, shedding his Catholic upbringing and absorbing the works of William James, John Dewey, Sigmund Freud, while reading widely in American and European literature: Herman Melville, Sherwood Anderson, H. L. Mencken, Sinclair Lewis, and James Joyce were critical influences on his literary development. "Slob" (1929), his first published story, was also his first render ing of the real life "Studs Lonigan," a young man he had known growing up in Chicago. Farrell's first novel, Young Lonigan was published in 1932, followed by The Young Manhood of Studs Lonigan (1934) and Judgment Day (1935)--the three volumes making up his celebrated Studs Lonigan trilogy. A prolific writer, Farrell left more than fifty books of stories and novels behind him when he died in 1979. Alongside his masterpiece Studs Lonigan, Farrell's best-known works include the Danny O'Neill novels, A World I Never Made, No Star is Lost, Father and Son, and My Days of Anger.
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我很少能找到一部作品能将社会阶层的固化和个体野心的碰撞描绘得如此淋漓尽致。它不是那种高高在上的批判,而是扎根于生活肌理的呈现。书中的那些人物,他们的渴望、他们的局限,无不与他们所处的社会位置紧密相连。你会清晰地看到,有些门永远为某些人敞开,而另一些人无论如何努力,都只能在门外徘徊,甚至撞得头破血流。这种宿命感与反抗精神之间的拉扯,构成了全书最动人心魄的核心动力。它挑战了“只要努力就能成功”的简单叙事,以一种更为冷峻、更接近现实的视角,审视了机遇的不公与命运的嘲弄。对于理解特定社会结构下,个体“向上流动”的艰难与代价,这本书提供了极为深刻且富有洞察力的文本例证,值得反复深思。
评分这本书的语言风格具有一种罕见的冷峻的诗意。它并非使用大量华丽辞藻堆砌的“美文”,而是通过精准、克制甚至略带粗砺的词汇,构建出一种强大的情感冲击力。有些句子读起来平实无奇,但组合在一起后,却能突然爆发出穿透人心的力量,如同冰冷的刀锋划过皮肤,留下的疼痛感久久不散。这种文字的“韧性”非常高,不卖弄,不煽情,却能将人物内心的矛盾和环境的压抑感有效地传递出来。它迫使读者放弃那些浮于表面的阅读习惯,转而深入挖掘词语背后的重量和暗示。读完之后,我常常会回味一些关键性的对话片段,它们在简洁的外表下,蕴含着巨大的信息量和情绪张力,体现了作者非凡的文字驾驭能力。
评分从整体结构来看,这部作品的处理手法极为成熟,它避开了传统线性叙事的窠臼,更像是一幅不断展开的、层次丰富的壁画。作者似乎并不急于给出一个清晰的“结论”或“答案”,而是专注于展示“过程”本身——那些充满张力、反复拉锯的生命过程。这种叙事策略要求读者具备极大的耐心和专注力,但回报也是丰厚的。它提供了一种沉浸式的体验,让人感觉自己不是在“看”故事,而是“活”在故事里。它探讨了成长中必然会遭遇的幻灭、理想与现实的巨大鸿沟,以及在复杂的人际关系网络中寻找自我定位的艰难。读罢合卷,留下的不是一个完整的故事线索,而是一系列挥之不去、需要自行整理和消化的复杂情绪碎片,这些碎片最终汇聚成对那个时代和人性更深一层的理解。
评分这本书的叙事手法简直让人拍案叫绝,作者像一位经验老道的魔术师,手里捏着一把叙事的“骨牌”,轻轻一推,读者便身不由己地被卷入那个特定的时代背景和人物群像之中。我尤其欣赏它在描绘人物内心挣扎时的那种细腻入微,那种不加粉饰的真实感。书中那些角色的选择,那些在社会洪流中被裹挟、挣扎、最终做出决定的瞬间,都仿佛能看到自己或是身边人的影子。它没有给我一个简单的道德标尺去衡量是非,而是将生活本身的复杂性、灰色地带赤裸裸地呈现在眼前,让人在阅读的过程中不得不反复停下来,细细咀嚼那些潜台词和未言明的动机。文字的密度极高,但绝不晦涩,反而有一种沉淀下来的力量感,每一次重读都会有新的感悟,仿佛那字里行间藏着尚未被完全发掘的宝藏。那种对人性深处幽暗角落的探索,既让人感到不安,又有一种被深刻理解的共鸣,使得阅读体验充满了张力与回味。
评分阅读体验如同经历了一场漫长而真实的幻觉,时间感在书中被处理得极其巧妙。有时,事件的推进快得像一场突如其来的暴风雨,让人措手不及,只剩下喘息的空间;而另一些时刻,关键性的心理转变却被拉长、放大,每一个细微的心理波动都被精准地捕捉并呈现出来,仿佛慢镜头回放,让你不得不去审视那些决定性瞬间的重量。这种节奏的掌控,展现了作者对叙事艺术的深刻理解。更值得称道的是,它对环境的描绘达到了近乎可触摸的程度。街道的气味、空气中的湿度、光线投射在老旧墙面上的质感,所有这些感官细节都构建了一个坚实可信的舞台,让故事中的一切都拥有了无可辩驳的落地性。我几乎能闻到那个特定街区特有的尘土与烟火味,这不仅仅是背景板的构建,更是推动人物命运的重要力量,环境与人物之间形成了密不可分的共生关系。
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