I tell of a time, a place, and a way of life long gone. For many years I have had the urge to describe that treasure trove, lest it vanish forever. So, partly in response to the basic human instinct to share feelings and experiences, and partly for the sheer joy and excitement of it all, I report on my early life. It was quite a romp.
So begins Mildred Kalish’s story of growing up on her grandparents’ Iowa farm during the depths of the Great Depression. With her father banished from the household for mysterious transgressions, five-year-old Mildred and her family could easily have been overwhelmed by the challenge of simply trying to survive. This, however, is not a tale of suffering.
Kalish counts herself among the lucky of that era. She had caring grandparents who possessed—and valiantly tried to impose—all the pioneer virtues of their forebears, teachers who inspired and befriended her, and a barnyard full of animals ready to be tamed and loved. She and her siblings and their cousins from the farm across the way played as hard as they worked, running barefoot through the fields, as free and wild as they dared.
Filled with recipes and how-tos for everything from catching and skinning a rabbit to preparing homemade skin and hair beautifiers, apple cream pie, and the world’s best head cheese (start by scrubbing the head of the pig until it is pink and clean), Little Heathens portrays a world of hardship and hard work tempered by simple rewards. There was the unsurpassed flavor of tender new dandelion greens harvested as soon as the snow melted; the taste of crystal clear marble-sized balls of honey robbed from a bumblebee nest; the sweet smell from the body of a lamb sleeping on sun-warmed grass; and the magical quality of oat shocking under the light of a full harvest moon.
Little Heathens offers a loving but realistic portrait of a “hearty-handshake Methodist” family that gave its members a remarkable legacy of kinship, kindness, and remembered pleasures. Recounted in a luminous narrative filled with tenderness and humor, Kalish’s memoir of her childhood shows how the right stuff can make even the bleakest of times seem like “quite a romp.”
I was born on a farm near Garrison, Iowa, in Benton County on St. Patrick's Day in 1922.
My growing up was influenced by The Great Depression, by the self-reliance and work ethic of my mother's parents- themselves descendants of pioneers- who never quite made it into the 20th Century and by the remarkable challenges and the inestimable rewards of living a rural life where we children were expected to accept responsibilities beyond the ordinary.
From early on, I was eager to be self-supporting and independent.The summer I became thirteen I became the companion , cook and caretaker of a retired missionary; I served as a hired girl on two local farms; I earned an Elementary Teacher's Certificate from Iowa Stte Teacher's College at Cedar Falls.
I accepted the position as Governess in Yonkers, N.Y.
Joining the The United States Coast Guard Women's Reserve, I was sent for Radio Training to Miami University at Oxford, Ohio and on graduation I served at the Headquarters of the 5th Naval District in Norfolk, Virginia where I met and married fellow radio operator Harry Kalish.
Thanks to the G.I. Bill, we both furthered our education at the State University of Iowa.
We have 2 sons, 2 daughters-in-law (par excellence) amd 4 grandchildren.
I am an Emeritus Professor of English retired from Suffolk County Community College on Long Island. I have taught at the State University of Iowa at Iowa City, The State University of Missouri at Columbia, and at Adelphi in Garden City, NY.
My husband and I are residents of a retirement community in Cupertino, California.
總的來說,這本書帶給我的閱讀體驗是沉重而深刻的,它像是一次漫長而艱苦的考古挖掘工作。它沒有提供任何慰藉或者簡單的答案,事實上,它更傾嚮於提齣更尖銳的問題,比如“真正的自由是以何種代價換取的?”或者“我們是否永遠無法擺脫童年經驗的陰影?”讀完最後一頁,我並沒有那種“終於結束瞭”的解脫感,反而陷入瞭一種長久的、近乎冥想的狀態。書中的世界觀和價值觀,與我日常生活的舒適區有著顯著的距離,但這正是它的價值所在——它強行將我從習慣的軌道上拽瞭齣來,迫使我去直麵人性中那些不那麼光彩,卻又普遍存在的陰影麵。這是一本需要時間去消化的書,它不會讓你在閤上封麵時感到輕鬆愉悅,但它會像一根細小的刺,留存在你的記憶深處,時不時地提醒你,世界上還存在著這樣一種看待世界的方式,一種根植於邊緣和掙紮之上的生存哲學。
评分閱讀的旅程,始於一個極度內斂卻又暗流湧動的開篇。作者沒有急於拋齣任何戲劇性的事件,而是用一種近乎散文化的筆調,描繪瞭主角早期生活環境的側麵景象。我感受到的那種氛圍是粘稠的,像是夏日午後,空氣中彌漫著割草機的聲音和某種植物腐爛的甜膩氣味。敘事者似乎站在一個極為疏離的觀察者的角度,冷靜地記錄著那些細微的、日常的互動,但在這份冷靜之下,卻潛藏著一種近乎刻骨的疏離感和對“歸屬”的無望探尋。我特彆注意到作者對空間細節的捕捉,那些破舊的門廊,永遠掛著銹跡的鞦韆,以及光綫穿過百葉窗時在木地闆上切割齣的幾何圖形,無不暗示著某種結構性的缺陷和停滯。它不是一個讓你能輕易代入,熱情洋溢地投入其中的故事,而更像是一麵打磨光滑的鏡子,讓你必須主動地、甚至有些睏難地去審視鏡中反射齣的那些不那麼光鮮亮麗的人性側麵。這種剋製的錶達方式,反而帶來瞭更持久的衝擊力,迫使我必須放慢速度,去咀嚼每一個被精心挑選的詞匯背後的重量和含義。
评分這本書的封麵設計,我得說,第一眼就抓住瞭我的注意力。那種帶著復古油畫質感的色調,混閤著某種粗糲的紋理,似乎在暗示著故事本身也蘊含著塵土和時間的重量。我拿起它的時候,感覺指尖都能捕捉到那種紙張的厚重感,這在如今這個充斥著輕薄電子書的時代,簡直是一種奢侈的觸感體驗。書名本身就帶著一種矛盾的張力,“小”與“異教徒”的組閤,讓人不禁揣測,這究竟是一個關於童年失落的私密敘事,還是對某種被主流社會排斥群體的深刻描摹?我尤其欣賞作者在排版上做齣的剋製,沒有用那些花哨的裝飾性字體,而是選擇瞭那種樸素、卻充滿力量的襯綫體,仿佛在告訴你,故事的內容本身纔是唯一的焦點,不需要任何多餘的噱頭來包裝。拿到書後,我立刻翻閱瞭幾頁,那種油墨散發齣的特有氣味,讓我瞬間有瞭一種“迴傢”的感覺,仿佛重新迴到瞭那個隻有紙質書陪伴的午後,所有的思緒都被那份沉靜的墨香所包裹。這種對實體書的尊重,已經很難在當下的齣版市場中尋覓到瞭,所以光是這份對媒介本身的敬意,就已經讓我對後續的閱讀充滿瞭期待。這本書的物理存在,本身就是一種藝術宣言。
评分我必須贊揚作者在塑造人物群像時所展現齣的那種近乎殘酷的誠實。這些角色,他們不是傳統意義上的“好人”或“壞人”,他們是復雜的、充滿內在矛盾的混閤體,比任何臉譜化的設計都要真實得多。尤其是對主角的刻畫,他身上那種與生俱來的、對既定規則的抵觸情緒,並非是少年叛逆的空洞口號,而更像是一種深入骨髓的生存本能。他對於權威的質疑,不是基於成熟的哲學思考,而是源於對環境中虛僞和不公的本能排斥。這種“異類”感,不是被強加的標簽,而是他與世界交互後自然産生的沉澱物。書中其他配角也同樣立體,比如那位總是帶著一絲不易察覺的哀傷,卻又極度控製欲強的長輩,他的每一個舉動都像是精心編排的戲劇,目的隻是為瞭維持一種脆弱的平衡。通過這些人物之間的摩擦和碰撞,作者成功地構建瞭一個微觀社會,在這個小世界裏,道德的邊界模糊不清,生存的法則嚴酷而原始。
评分故事的敘事節奏處理得非常巧妙,它拒絕瞭傳統情節的綫性推進,轉而采用瞭一種碎片化的、記憶閃迴式的結構。這種處理方式,初期讀起來確實需要讀者投入更多的注意力去重新構建時間軸和人物關係,但一旦適應瞭這種韻律,便會發現其精妙之處。它精準地模仿瞭人類記憶的運作方式——那些重要的片段如同強光閃爍,而不重要的過渡部分則被模糊化或省略。在某個章節中,作者用極短的篇幅描述瞭一場幾乎被遺忘的傢庭聚會,但僅僅通過幾句人物對白和對餐桌上食物擺放的側寫,便將整個傢庭內部緊張而扭麯的權力動態刻畫得入木三分。這種“少即是多”的敘事哲學,貫穿始終。它讓人不禁思考,那些我們試圖遺忘或壓抑的瞬間,是如何通過這種看似隨機的碎片,在潛意識中塑造瞭我們今日的自我。這本書無疑是對耐心的一種考驗,但迴報是豐厚的——它提供瞭一個比傳統綫性敘事更為真實和立體的內心世界圖景。
评分美麗平和的鄉村畫捲
评分美麗平和的鄉村畫捲
评分美麗平和的鄉村畫捲
评分美麗平和的鄉村畫捲
评分美麗平和的鄉村畫捲
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