具体描述
On 12 March 1976 Calgary police officer Allan Keith Harrison was shot and killed following a robbery at the Ingleside Credit Union. By the end of the year, Janise Marie Gamble, a twenty-one year-old woman from Peterborough, Ontario, had been convicted of murder in the first degree and sentenced to the mandatory twenty-five to life. It was clear that Gamble had not fired the shot that killed Henderson, but it was less clear whether she had participated in the robbery that had led to his murder. In "Unlucky to the End" Richard Pound provides a detailed and thought-provoking examination of the circumstances of the robbery, the subsequent flight of the suspects and murder of the policeman, as well as the hostage scene that led to the death of one of the robbers. He uses transcripts from the Calgary trial to explore Gamble's conviction and details the efforts that, after fourteen years in the desolate Kingston Prison for Women, finally led to her parole. Pound argues that Gamble's first degree murder sentence was based on legislation not in force at the time the crime was committed and resulted in a much harsher sentence than would have applied under the existing law. The ongoing enforcement of that sentence violated the prohibition against cruel and unusual punishment contained in the Charter of Human Rights and Freedoms. Gamble's story is a searing account of an abusive relationship and its tragic result.From the book: 'I didn't get a chance ...They asked me if she was so afraid of this man, why didn't she leave him? If you had someone telling you that you were the only hope in the world that they had, could you walk away from something like that? Especially someone you in church married and said that I vow that I will help you whether it's good or it's bad? He hadn't had Christmas since he was eleven. Could you leave someone like that when he really needed you? I couldn't. I couldn't. It wasn't a case of right or wrong then with me. I wasn't thinking that. All I was thinking was need and devotion ...He was always the man I loved and the man I married, the man that wanted kids, the man that tried to make it but just never had any background to base it on. I love him still today for what he was'.
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这本书给我带来的最大震撼，在于它对“时间”这一维度近乎残忍的解构。在故事中，时间似乎失去了线性的意义，过去、现在和未来互相渗透、纠缠不清，就像是三股不同速度的水流强行汇入同一个狭窄的河道。我时常会感到困惑，眼前的事件究竟是早已注定的宿命，还是主角自己过去行为的幽灵在不断回溯和干扰？作者巧妙地运用了大量的记忆闪回和预言式的梦境片段，使得“此刻”变得极其不稳定和可疑。这种时间的错位感，极大地增强了故事的宿命论色彩，让人不禁反思，我们所坚信的“前进”是否只是一种集体错觉。我印象最深的是其中一段关于“等待”的描写，主角等待一封信件，但这段等待在书中被拉伸成了仿佛一个永恒的纪元，期间穿插了无数微小但致命的意外，使得等待本身成为了最大的折磨。这种对时间流逝的扭曲处理，无疑是这本书中最具颠覆性的艺术手法。
评分与许多探讨悲剧主题的作品不同，这本书的“悲”中带着一种奇异的、令人上瘾的“甜味”。这种甜味并非来自廉价的希望，而是源于主角对自身不幸的彻底接纳与表演。他已经不再试图逃脱，而是开始以一种近乎艺术家的姿态，去欣赏自己是如何一步步走向必然的终结。书中对主角内心独白的描绘极其深入，那种自嘲和清醒的痛苦交织在一起，形成了一种近乎禅宗的境界——“空”。他已经失去了对掌控的欲望，剩下的只是纯粹的“存在”。我能体会到作者想要传达的某种信息：或许真正的自由并非是选择的结果，而是彻底放弃选择权后达成的内心宁静。这本书的价值在于，它提供了一个极端案例，让我们得以观察人性的边界在哪里，以及当所有希望的支柱都被移除后，残存的自我形态究竟是崩溃还是升华。它不是一本读完就忘的书，它像一根细小的刺，扎在读者的潜意识深处，时不时地提醒你，生活中的“不顺”可能远比你想象的更有深度和组织性。
评分我得承认，这本书的叙事节奏把握得简直像一位经验丰富的大提琴手在演奏巴赫的无伴奏奏鸣曲——时而低沉如耳语，时而爆发出一阵令人心悸的急促琶音。它不像那种快餐式的通俗小说，翻开就能直接吸收营养，它更像是一块需要时间去细细咀嚼的陈年琥珀，每一层纹理都蕴含着不同的信息密度。那些看似漫不经心的对话片段，实则暗藏着多重指涉的伏笔，我甚至需要回翻好几页，才能捕捉到前文一个不起眼的小动作，是如何在后文演变成一场灾难性的蝴蝶效应。这本书的魅力在于它的“留白”，作者吝啬于给出明确的解释，而是将大量的解释工作交给了读者自己去完成，这无疑让阅读体验变得极其个人化和主动化。我感觉自己不像是在阅读，而是在进行一场艰苦的考古发掘，小心翼翼地清理掉覆盖在真相之上的尘土。这种高强度的脑力投入，虽然过程略显疲惫，但最终收获的顿悟感是无与伦比的，仿佛自己真的参与了这场存在的解谜游戏。
评分从文学技巧的角度来看，这本书的语言风格简直是一场对传统叙事规范的公然反叛。它的句式结构时常是断裂的、破碎的，充满了非预期的插入语和意识流的倾泻，读起来有一种在暴风雨中驾驶老式木船的刺激感——你不知道下一秒船体会不会被巨浪击穿，但你又贪恋那种与自然伟力抗争的原始快感。作者对于形容词的选用极富匠心，很多词汇组合我闻所未闻，但它们却精准地捕捉到了那种难以言喻的、介于“痛苦”与“麻木”之间的灰色地带的情绪。特别是在描述主角面对接连不断的厄运时，那种不动声色的接受，比歇斯底里的反抗更令人心寒。这反映出作者对人类精神韧性的深刻洞察：当灾难成为常态，人会进化出一种新的“常态感”。这本书的美学核心，我认为在于对“反高潮”的极致追求，每一次读到以为情节即将迎来转机时，作者总能用一种近乎冷酷的幽默感，将其推向更深、更无可挽回的境地。
评分这本书的开篇就如同一个被施了咒语的漩涡，将我这个习惯于线性叙事的读者瞬间卷入了一个光怪陆离的梦境。作者的笔触极其细腻，描绘的场景充满了荒诞却又无比真实的质感。我能清晰地感受到空气中弥漫的某种潮湿的、带着旧报纸味道的气息，以及远方传来的、像是老式钟表齿轮摩擦的咯吱声。故事的主角，一个行走的厄运集合体，他的每一次呼吸似乎都在悄悄地改变着周围世界的物理定律。那种“倒霉”并非是简单地丢钥匙或者错过公交，而是一种深层次的、形而上的存在性危机，仿佛他本身就是宇宙法则中一个微小的、但至关重要的逻辑错误。我尤其欣赏作者对环境心理学的运用，那些破败的建筑、褪色的壁纸、以及窗外永远阴沉的天空，无一不在烘托主角那种无力回天的宿命感。阅读过程中，我几次停下来，不是为了喝水，而是为了整理自己被拉扯得七零八落的思绪，思考“运气”这个概念到底是如何被构建和瓦解的。这本书挑战了我们对日常因果律的信任，将“巧合”这个词语彻底剥离了它的中性色彩，赋予了它一种近乎恶意的重量。
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