Anywhere But Here is a moving, often comic portrait of wise child Ann August and her mother, Adele, a larger-than-life American dreamer. As they travel through the landscape of their often conflicting ambitions, Ann and Adele bring to life a novel that is a brilliant exploration of the perennial urge to keep moving, even at the risk of profound disorientation. Simpson's first novel is ultimately a heart-rendering tale of a mother and daughter's invaluable relationship.
"The two women in this book are American originals. Ann is a new Huck Finn, a tough, funny, resourceful love of a girl. Adele is like no one I've encountered, at once deplorable and admirable--and altogether believable."
--Walker Percy
"Anywhere But Here is a wonder: big, complex, masterfully written, it's an achievement that lands [Simpson] in the front ranks of our best novelists."
--Newsweek
Mona Simpson was born in Green Bay, Wisconsin, then moved to Los Angeles as a young teenager. Her father was a recent immigrant from Syria and her mother was the daughter of a mink farmer and the first person in her family to attend college. Simpson went to Berkeley, where she studied poetry. She worked as a journalist before moving to New York to attend Columbia's MFA program. During graduate school, she published her first short stories in Ploughshares, The Iowa Review and Mademoiselle. She stayed in New York and worked as an editor at The Paris Review for five years while finishing her first novel. Anywhere But Here. After that, she wrote The Lost Father, A Regular Guy and Off Keck Road.
Her work has been awarded several prizes: a Whiting Prize, a Guggenheim, a grant from the NEA, a Hodder Fellowship from Princeton University, a Lila Wallace Readers Digest Prize, a Chicago Tribune Heartland Prize, a Pen Faulkner finalist, and most recently a Literature Award from the American Academy of Arts and Letters.
She worked ten years on My Hollywood. "It's the book that took me too long because it meant too much to me," she says.
Mona lives in Santa Monica with her two children and Bartelby the dog.
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天哪,这本书简直是情绪的过山车,但它不是那种粗暴的推搡,而是温柔地将你引向深渊,再用一丝微弱的光芒把你拉回来。作者在心理描写上下了血本,我感觉自己完全被代入了主角的视角,体会到那种被困住、无处可逃的绝望感。最让我震惊的是,情节的发展充满了各种“意外”,但回过头看,那些看似偶然的事件,其实都是由角色早期的某个微小决定所埋下的伏笔,这种因果链条的缜密设计,不得不让人拍案叫绝。我尤其欣赏作者对“日常琐碎”的处理,那些关于吃饭、通勤、整理房间的细节描写,非但没有拖慢节奏,反而成了烘托核心矛盾爆发点的绝佳背景,让虚构的故事更具烟火气和真实感。这本书成功地做到了艺术性与可读性的完美平衡,它既有文学性的深度,又有让人忍不住想知道接下来会发生什么的驱动力,一口气读完,成就感爆棚。
评分这本书读起来有一种非常奇特的“疏离感”,但这种疏离感并非负面的,反而提供了一个观察人际关系和复杂社会结构的安全距离。作者构建的世界观,虽然建立在现实基础之上,却又在某些方面夸张到了近乎魔幻的程度,这使得故事在探讨严肃主题时,避免了说教的嫌疑。我感触最深的是,作者如何不动声色地批判了现代都市生活中那种肤浅的连接和真正的孤独。角色们看似生活在同一个空间,呼吸着相同的空气,但彼此之间的心灵鸿沟却巨大得令人心寒。对话部分极其精妙,充满了双关和潜台词,每一次交锋都像是在进行一场不动声色的心理战。对于喜欢结构精巧、主题深刻的读者来说,这绝对是一本不容错过的佳作。它不是那种读完可以轻松放下的书,它会像一根刺一样扎在你心头,让你不断回味那些未解的谜团和隐晦的暗示。
评分这是一部需要用“耳朵”去听,而不是仅仅用“眼睛”去看的小说。作者对于节奏的掌控简直达到了大师级别,某些章节的短句密集排布,营造出一种令人窒息的紧迫感,而另一些段落又慢得如同滴水,让你不得不放慢呼吸去感受每一个字眼的力量。我个人非常喜欢其中对于不同人物内心“独白”的区分处理,每个人都有自己独特的语言模式和思维逻辑,读起来完全不会串味,仿佛有五个不同的人在同时向你倾诉他们的秘密。它探讨的主题很宏大——关于身份认同和时代洪流对个体命运的裹挟,但作者却将这些宏大的主题巧妙地嵌套在几个普通人的日常生活轨迹中,使得讨论变得非常私人化和感同身受。这本书的魅力在于它的多义性,我相信不同年龄、不同阅历的读者读完后,提取出的“主题”都会截然不同,这才是真正优秀小说的标志,它永远不会提供标准答案,只会抛出更多引人深思的问题。
评分老实说,我一开始是被这本书的封面吸引的,但读进去之后,才发现内容远比封面复杂得多。这不是那种情节跌宕起伏、让你肾上腺素飙升的故事,它更像是一幅徐徐展开的、关于“存在”的哲学画卷。作者似乎对人性的幽暗面有着近乎偏执的探索欲,角色的动机常常游走在道德的灰色地带,让你一边读一边忍不住在心里和自己辩论。叙事结构上,它玩了不少花样,时间线不断地跳跃、重叠,初读可能会有些迷失,但一旦跟上作者的节奏,那种被巧妙引导的感觉又会带来巨大的阅读快感。我特别欣赏作者对“沉默”的运用,很多关键的情感转折,都不是通过激烈的对话完成的,而是通过人物的凝视、未说出口的话语来完成的,那种留白的处理,给了读者极大的想象空间去填补内心的空白。总而言之,这本书需要你静下心来,带着一点智力上的挑战准备去品味,它奖励那些愿意投入精力的读者。
评分这部小说简直是艺术品,作者的笔触细腻得让人心疼。故事的核心围绕着一个家庭的破碎与重建,那种情感的拉扯和内心深处的挣扎,真是刻画得入木三分。我尤其喜欢作者对环境的描绘,那种萧瑟、压抑的氛围,仿佛能透过文字感受到人物周遭的空气。主角的成长线设计得非常巧妙,不是那种一帆风顺的英雄主义,而是充满了现实的泥泞和自我怀疑,这让人物形象更加立体和可信。阅读过程中,我好几次需要停下来,深吸一口气,因为那种强烈的代入感让人几乎要一同承受角色的痛苦。特别是关于记忆与遗忘的主题,作者的处理非常高明,没有生硬地灌输道理,而是让读者自己去体会时间对人心的雕刻。文笔的流畅度和词语的选择,都显示出作者深厚的文学功底,许多句子读起来像诗歌一样优美,即便是在描述最残酷的场景时,也带着一种近乎残酷的美感。这本书远超出了我对于一般文学作品的期待,它更像是一次深入灵魂的对话,让人在合上书本后,依然久久不能平静。
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