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.
我的命运是改变世界,但时间会毁掉罗马 赵松 距今2062年前,即公元前44年的3月15日,罗马共和国发生了一件影响深远的大事件——终身独裁官尤利乌斯·凯撒在元老院遇刺身亡。随后出现的,却并非刺杀凯撒的那些贵族共和派所宣称的“自由”,而是罗马陷入了无政府状态的可怕动乱。...
评分两年前,我有幸拜读了作家的另一部作品:《斯通纳》,发自内心的喜欢,因此做过一篇极为斧凿,略有些做作的读后感。及到这本《奥古斯都》,从购买到阅读都没有任何犹豫,同样的喜欢甚至可以说是更加喜欢,所以抑制不住,同时又不胜惶恐的写下这篇读后感。 并没有刻意与《斯通纳...
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...
评分我的命运是改变世界,但时间会毁掉罗马 赵松 距今2062年前,即公元前44年的3月15日,罗马共和国发生了一件影响深远的大事件——终身独裁官尤利乌斯·凯撒在元老院遇刺身亡。随后出现的,却并非刺杀凯撒的那些贵族共和派所宣称的“自由”,而是罗马陷入了无政府状态的可怕动乱。...
评分great style, deeply affecting (in an austere sort of way, true to its period), can't be praised more
评分this ... this... this is just so good!!
评分2017.26.B.
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
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?
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