John Williams (1922–1994) was born and raised in northeast Texas. Despite a talent for writing and acting, Williams flunked out of a local junior college after his first year. He reluctantly joined the war effort, enlisting in the Army Air Corps, and managed to write a draft of his first novel while there. Once home, Williams found a small publisher for the novel and enrolled at the University of Denver, where he was eventually to receive both his B.A. and M.A., and where he was to return as an instructor in 1954.
He remained on the staff of the creative writing program at the University of Denver until his retirement in 1985. During these years, he was an active guest lecturer and writer, editing an anthology of English Renaissance poetry and publishing two volumes of his own poems, as well as three novels, Butcher’s Crossing, Stoner, and the National Book Award–winning Augustus (all published as NYRB Classics).
Daniel Mendelsohn was born in 1960 and studied classics at the University of Virginia and at Princeton, where he received his doctorate. His essays and reviews appear regularly in The New York Review of Books, The New Yorker, and The New York Times Book Review. His books include The Lost: A Search for Six of Six Million; a memoir, The Elusive Embrace; and the collection Waiting for the Barbarians: Essays from the Classics to Pop Culture, published by New York Review Books. He teaches at Bard College. His essay in the September 25, 2014 issue will appear as the introduction to a new translation of The Bacchae by Robin Robertson, to be published in September by Ecco.
In Augustus, his third great novel, John Williams took on an entirely new challenge, a historical narrative set in classical Rome, exploring the life of the founder of the Roman Empire. To tell the story, Williams turned to the epistolary novel, a genre that was new to him, transforming and transcending it just as he did the western in Butcher’s Crossing and the campus novel in Stoner. Augustus is the final triumph of a writer who has come to be recognized around the world as an American master.
约翰·威廉斯,1994年去世的美国作家,随着2012年左右那本《斯通纳》在全球范围内的再度畅销,而被很多读者熟知。到了2018年,他的中译本终于出到了第三本——讲述屋大维·凯撒的《奥古斯都》。 他对我而言是非常独特的一位作家,因为我总是一口气读完了他的小说,用废寝忘食来...
评分 评分边看边画的《奥古斯都》人物关系图 真诚奉上 感谢该作品带给我的感动 ——————分割线—————— 一切生命大概都是神秘莫测的,包括我的生命。 我逐渐相信,每个人一生中迟早会有个时刻令他知道——无论他还懂别的什么,无论他能否说清自己所知——那件恐怖的事实:他是孤...
评分盖乌斯·屋大维·恺撒,人称奥古斯都,是罗马帝国第一位元首,为罗马带来了两个世纪的和平与繁荣。关于他的史料从不匮乏且毁誉参半:作为一个不算太坏的独裁者,他如何平衡私欲和善举?作为一个有表演欲的政治家,我们又能在史料中读到多少真实? 约翰·威廉斯无意深究历史细节...
评分我们都希望自己读到的历史就是事实,但其实绝大多数(甚至可以说是全部)历史书都不可能是全部事实,历史就是由一系列无法还原的事实构成的,所以历史在我心里,就是一系列的故事,也因此,我不太喜欢有人批评一部“史书”是胡诌之类的,当然如果作者能说明哪些材料是引用,哪...
好书好书好书╰(*°▽°*)╯细节超赞,需要再看一遍缕缕
评分2.作者在小说中所表现的对细节的恢复:计时饮食等 3.呼应是否过于刻意?
评分谁有他的处女作nothing but the night请豆油我。。
评分书信,总是带着风,千里飘摇。信封中,是灵魂碎片,有情意绵绵,有暗流汹涌,有剑拔弩张,有沧海桑田。John Williams不仅容纳书信,还有公文,辞令,日记...透过精心安排,于虚实之间,构建出奥古都斯一生之波澜。此谓形式。再者,长篇小说之结构最见作家的功力。第一部,征服史,即成功史。第二部,私生活,即失败史。前两部,均为人言,由此一笔一画雕刻奥古都斯之轮廓。第三部,是“本尊”之正声,是灵魂奥义,亦是巨大彩蛋。John Williams的奥古都斯,一去莎士比亚剧作中之阴险狡诈,树立正面形象,由神至人,令读者切肤共鸣。就如“命运”二字,“命”为注定,而“运”为偶然,命在前,运在后,命定与意外摩擦,不断侵蚀,回望中,方沧桑。生命,不论伟大或卑微,都不免通向极致:面对自我。而自我,即孤岛,即牢笼。
评分TofF indeed 译者说“第三卷陡高”我同感。前两卷相对平直,权谋/混乱家庭关系都属于历史本身的跌宕胜过了作家的笔头;卷三才驯服这烈马,真正由自己书写起伏。人生从奥德赛到悲剧再到喜剧,是比“不服神命,誓死犯天”更深刻的搏击,选择命运也被命运选择;不是R背叛了我,是我走上这条路而背叛了他;我如亚历山大般渺小;领略不了的老妇智慧。最牛逼的还是野蛮人与罗马比喻,文明摧枯拉朽之时,也反过来给野蛮打上烙印;生命被时间吞噬,但也改造雕磨和驯化了时间。唯情欲之爱(尤利娅日记)和文字之爱(诗权)最为纯粹无私,留存在一切飞尘之中。他最终梦到了五十年前和自己眼睛同色的祭牛,于自己尽头处谅解了所有人的尽头。S讲罗马人本质,H讲E故事新解两段很受启发。怪不得写作语气奇怪,原来是模仿拉丁语法。想到秦始皇
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