具体描述
美国著名作家霍华德・法斯特畅销小说，主要以美国西海岸为背景，生动描绘包括华侨在内的不同血统的移民和他们后代的遭遇、爱情、奋斗和幻灭，反映了十九世纪至二十世纪三十年代初的美国社会现实。
作者简介
Howard Melvin Fast (November 11, 1914 – March 12, 2003) was an American novelist and television writer. Fast also wrote under the pen names E. V. Cunningham and Walter Ericson.
Fast was born in New York City. His mother, Ida (née Miller), was a British Jewish immigrant, and his father, Barney Fast, was a Ukrainian Jewish immigrant whose name was shortened from Fastovsky upon arrival in the USA. When his mother died in 1923 and his father became unemployed, Howard's youngest brother, Julius, went to live with relatives, while he and his older brother Jerome worked by selling newspapers. He credited his early voracious reading to his part-time job in the New York Public Library.
Young Howard began writing at an early age. While hitchhiking and riding railroads around the country to find odd jobs, he wrote his first novel, Two Valleys, published in 1933 when he was 18. His first popular work was Citizen Tom Paine, a fictional account of the life of Thomas Paine. Always interested in American history, he also wrote The Last Frontier, about an attempt by Cheyennes to return to their native land; and Freedom Road, about the lives of former slaves during Reconstruction.
The novel 'Freedom Road' is based on a true story and was made into a 1979 film starring Muhammad Ali, who, in a very rare acting role, plays Gideon Jackson, an ex-slave in 1870's Virginia who gets elected to the US Senate in Washington DC and battles other former slaves and white sharecroppers to keep the land they tended all their lives
Fast spent World War II working with the United States Office of War Information, writing for Voice of America. In 1943, he joined the Communist Party USA and in 1950 he was called before the House Committee on Un-American Activities; in his testimony, he refused to disclose the names of contributors to a fund for a home for orphans of American veterans of the Spanish Civil War (one of the contributors was Eleanor Roosevelt), and was given a three-month prison sentence for contempt of Congress.
It was while he was in jail that Fast began writing his most famous work, Spartacus, a novel about an uprising among Roman slaves. Blacklisted by major publishing houses following his release from prison, Fast was forced to publish the novel himself. By the standards of a self-published book, it was a great success, going through seven printings in the first four months of publication. (According to Fast in his memoir, 50,000 copies were printed, of which 48,000 were sold.) He subsequently established the Blue Heron Press, which allowed him to continue publishing under his own name throughout the period of his blacklisting. Just as the production of the film version of "Spartacus" (released in 1960) is considered a milestone in the breaking of the Hollywood blacklist, the reissue of Fast’s novel by Crown Publishers in 1958 effectively ended his own blacklisting within the American publishing industry.
In 1952, Fast ran for Congress on the American Labor Party ticket. During the 1950s he also worked for the Communist newspaper, the Daily Worker. In 1953, he was awarded the Stalin Peace Prize. Later in the decade, Fast broke with the Party over issues of conditions in the Soviet Union and Eastern Europe.
In the mid-1950s, Fast moved with his family to Teaneck, New Jersey.[2] In 1974, Fast and his family moved to California, where he wrote television scripts, including such television programs as How the West Was Won. In 1977, he published The Immigrants, the first of a six-part series of novels.
He married his first wife, Bette Cohen, on June 6, 1937. Their children are Jonathan and Rachel. Bette died in 1994. In 1999 he married Mercedes O'Connor, who already had three sons. He died in Old Greenwich, Connecticut on March 12, 2003.
Fast's son Jonathan Fast, himself a novelist, was married to novelist Erica Jong; their daughter is the novelist Molly Jong-Fast.
The writer Julius Fast was Howard Fast's younger brother.
目录信息
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用户评价
这本书，坦率地说，初读时我有些不适应它那种近乎冷峻的写实风格，它像一把锋利的手术刀，毫不留情地剖开了现代社会中一个被光鲜外表掩盖的角落——那些为了生存而不得不游走在灰色地带的边缘人群。我尤其关注其中关于“融入”与“隔离”的辩证关系。叙事者对社会阶层差异的观察入木三分，书中那些关于租金的段落，关于被区别对待的眼神，那种潜移默化的歧视，比直接的冲突更具杀伤力。它没有提供廉价的安慰剂，而是逼迫读者直面一个令人不适的事实：有些鸿沟，即使用尽一生努力也难以跨越。我印象最深的是书中对“家”这个概念的解构。它不再是某个地理坐标，而是一种不断流动的、需要用巨大的精神内耗来维持的脆弱平衡。作者高明之处在于，她通过几个相互交织的人物命运，勾勒出了一个多维度的社会切面，每一个小人物的选择都充满了人性的挣扎与无奈。整本书的节奏沉稳而有力，如同深海中的洋流，看似缓慢，实则蕴含着巨大的推动力，它迫使我反思，我们今天所享受的某些“便利”，其背后，是否建立在了他人牺牲和被遗忘的角落之上。这是一本需要静下心来，带着敬畏去阅读的作品。
评分我必须承认，我是一个对宏大叙事不太感冒的读者，但我被这本书里那些极其微小、近乎日常的细节深深吸引了。作者似乎拥有某种魔力，能将一碗热腾腾的简陋面条，描绘出跨越千山万水的情感重量。故事的主线其实很淡，更多的是对个体生活片段的捕捉与放大。比如对新旧语言混杂使用时产生的尴尬、对不同节日习俗无法同步的失落，以及那种每逢“佳节倍思亲”时，内心那份被无限拉长的思念。这种“以小见大”的叙事策略，使得整部作品充满了烟火气，让人倍感亲切，仿佛我就是那个提着菜篮子在异国市场穿梭的邻居。书中关于“身份认同危机”的探讨，不是空洞的理论阐述，而是通过角色在做出每一次微小选择时（比如是否要让孩子完全使用当地名字）所体现出来的纠结。特别是那个关于“被遗忘的童年记忆”的情节，几近诗意，它揭示了文化传承的脆弱性，以及时间对记忆的无情消磨。与其说这是一部小说，不如说它是一本细致入微的“生活田野调查报告”，充满了真诚与温度，读完后，我仿佛与那些书中人物一同度过了一段真实的人生旅程。
评分手捧这本《**流光里的尘埃**》，我仿佛被一股无形的力量拉入了那个遥远的、充满矛盾与希望的时代。作者的笔触细腻得像能触摸到纸张上的每一粒微尘，她对人物内心世界的刻画简直是神来之笔。书中那个叫阿梅的女子，她为了追寻一个虚无缥缈的“更好生活”，毅然决然地离开了故土，踏上了那艘拥挤不堪、散发着汗水与恐惧气味的船。我特别欣赏作者处理冲突的方式，她没有将移民塑造成一个非黑即白的符号，而是展现了他们在新世界中那种微妙的、时而温暖时而冰冷的生存状态。阿梅初到异国，语言不通带来的那种近乎瘫痪的无助感，那种面对霓虹闪烁却倍感孤独的萧瑟，读起来让人心口发紧。更令人动容的是，她与故乡亲人的书信往来，那些字里行间小心翼翼地掩饰着艰辛，只为不让远方的父母担忧，这份沉甸甸的亲情羁绊，真正触动了我内心最柔软的部分。这本书不仅仅讲述了一个人的漂泊，它更像是一部关于“身份重塑”的史诗，探讨了当根基被拔除后，灵魂如何在新土壤上艰难地扎下新的根须，以及那些永不磨灭的文化烙印是如何在异乡的空气中闪烁。读完后，我久久无法平静，合上书页，眼前浮现的不再是书中的场景，而是无数个在时代洪流中挣扎前行的普通面孔。
评分这是一本充满哲学思辨色彩的作品，它不像传统意义上的故事书，更像是一场关于“存在性焦虑”的深刻对话。书中采用了大量的内心独白和意识流的片段，探讨的议题非常宏大：何为故乡？何为归属？当一个人为了生存而不断地改变自己的行为模式、语言习惯，甚至情感表达方式时，他失去的究竟是文化，还是“自我”的核心？作者对这种“身份的漂移感”的捕捉极其精准，那种始终处于“中途”状态的迷惘，是阅读过程中最强烈的感受。我尤其欣赏其中对时间观的处理，传统线性时间被打破，过去、现在和对未来的微小希望，在角色的记忆碎片中不断交叠、重组。每一次回忆故乡，都不是简单的怀旧，而是一次对当下选择的审视与拷问。这种内向的挖掘，使得整本书的张力更多地存在于角色的思想层面，而非外部事件的冲突。它不是一本读完能让人心情愉悦的书，但它绝对是一本能拓展你思维边界，让你重新审视自己生命中“定位”的书籍。
评分说句实在话，这本书的结构略显松散，前期的铺垫有些冗长，甚至一度让我怀疑作者是否能将所有散落的线索收拢。然而，一旦熬过了开头的几章，那种“酝酿已久”的力量便猛然爆发出来。它最引人注目的一点，在于它对“权力与无权”的探讨，这已经超越了一般的家庭伦理剧的范畴。书中描绘了底层移民在遭遇不公时，那种被制度性地边缘化和沉默化的困境。作者没有采用激动人心的反抗场面，而是通过法律文书的冰冷、律师语焉不详的敷衍，营造出一种令人窒息的压抑感。这种对于“程序正义”与“实质公平”之间巨大落差的刻画，极具批判力量。它将读者从道德的制高点拉回到现实的泥潭，让人思考，在规则的缝隙中，个体能保有多少尊严？对我而言，这本书的价值在于它提供了一个观察西方社会“另一面”的独特视角，一个光鲜的橱窗背后，那些被系统性忽略的声音。它没有提供任何救赎，但它成功地发出了警报，让那些身处安稳之地的人们，能听见遥远角落的低吼。
评分很好看，豆瓣怎么没有移民三部曲的第三步“生根”呢？
评分很好看，豆瓣怎么没有移民三部曲的第三步“生根”呢？
评分好看！
评分好看！
评分很好看，豆瓣怎么没有移民三部曲的第三步“生根”呢？
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