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.
我承認,在閱讀本書之前,我並不知道約翰‧威廉斯這位作家,他一生的作品不多,都是我不感興趣的。而這部《奧古斯都》,則是偶然看到簡體版的譯者鄭遠濤先生的介紹時,方才知道有此優秀的作品存在。 《奧古斯都》正如其名,是一部講述那位知名的羅馬“第一公民”屋大維一生的...
评分 评分 评分 评分一个个矛盾的人物穿插上演了这出罗马史诗,每一个人物塑造地都极其好,极其丰满生动。这不止是奥古斯都一个人的传奇,如果说奥古斯都是月,配角是星,这本书就构成了很美很美的一幕星河夜景,令人叹息,令人唏嘘。宿命的感觉,难逃又无处可寻的无奈感。 奥古斯都·凯撒,19岁组...
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this ... this... this is just so good!!
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。
评分谁有他的处女作nothing but the night请豆油我。。
评分好书好书好书╰(*°▽°*)╯细节超赞,需要再看一遍缕缕
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