Karim Amir lives with his English mother and Indian father in the routine comfort of suburban London, enduring his teenage years with good humor, always on the lookout for adventure and sexual possibilities. Life gets more interesting, however, when his father becomes the Buddha of Suburbia, beguiling a circle of would-be mystics. And when the Buddha falls in love with one of his disciples, the beautiful and brazen Eva, Karim is introduced to a world of renegade theater directors, punk rock stars, fancy parties, and all the sex a young man could desire. A love story for at least two generations, a high-spirited comedy of sexual manners and social turmoil, The Buddha of Suburbia is one of the most enchanting, provocative, and original books to appear in years.
Hanif Kureishi grew up in Kent and studied philosophy at King's College London. His novels include The Buddha of Suburbia, which won the Whitbread Prize for Best First Novel, The Black Album, Intimacy and The Last Word. His screenplays include My Beautiful Laundrette, which received an Oscar nomination for Best Screenplay, Sammy and Rosie Get Laid and Le Week-End. He has also published several collections of short stories. He has been awarded the Chevalier de l'Ordre des Arts et des Lettres and been translated into thirty six languages., Hanif Kureishi was born and brought up in Kent. He read philosophy at King's College, London. In 1981 he won the George Devine Award for his plays Outskirts and Borderline, and in 1982 he was appointed Writer-in-Residence at the Royal Court Theatre. In 1984 he wrote My Beautiful Laundrette, which received an Oscar nomination for Best Screenplay. His second screenplay Sammy and Rosie Get Laid (1987) was followed by London Kills Me (1991) which he also directed. The Buddha of Suburbia won the Whitbread Prize for Best First Novel in 1990 and was made into a four-part drama series by the BBC in 1993. His version of Brecht's Mother Courage has been produced by the Royal Shakespeare Company and the Royal National Theatre. His second novel, The Black Album, was published in 1995. With Jon Savage he edited The Faber Book of Pop (1995). His first collection of short stories, Love in a Blue Time, was published in 1997. His story My Son the Fanatic, from that collection, was adapted for film and released in 1998. Intimacy, his third novel, was published in 1998, and a film of the same title, based on the novel and other stories by the author, was released in 2001 and won the Golden Bear award at the Berlin Film Festival. His play Sleep With Me premiered at the Royal National Theatre in 1999. His second collection of stories, Midnight All Day, was published in 2000. Gabriel's Gift, his fourth novel, was published in 2001. The Body and Seven Stories and Dreaming and Scheming, a collection of essays, were published in 2002. His screenplay The Mother was directed by Roger Michell and released in 2003. In 2004 he published his play When The Night Begins and a memoir, My Ear At His Heart. A second collection of essays, The Word and the Bomb, followed in 2005. His screenplay Venus was directed by Roger Michell in 2006. His novel Something to Tell You was published in 2008.In July 2009 his adaptation of his novel, The Black Album, opened at the National Theatre, prior to a nation-wide tour. In 2010 his Collected Stories were published.He has been awarded the Chevalier de l'Ordre des Arts et des Lettres.
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这本书最大的亮点,或许在于它对“身份构建”这一宏大主题的微观处理。作者没有试图给出一个关于“我是谁”的简单答案,而是展示了身份是如何在无数次的模仿、误解、自我欺骗和偶然的顿悟中缓慢形成的。角色们都在努力扮演着某种角色——叛逆者、理想主义者、局外人——但这些扮演都带着一种滑稽的、不合时宜的特质,让人忍俊不禁。叙事者与人物之间的距离感处理得非常巧妙,既保持了足够的客观性来评判事件,又在关键时刻流露出深深的共情。这种克制而又饱含情感的笔触,使得故事在爆发力上更具张力。书中一些对流行文化和亚文化的引用,非常精准地定格了那个特定时代的精神风貌,让身为读者的我仿佛也参与了那场文化的大迁徙。我特别喜欢那种“失焦”的描写,仿佛世界在主角眼中永远是略微模糊的,反映了他内心的不确定性,这比任何清晰的描绘都更真实。
评分说实话,这本书的氛围营造功力堪称一流,那种特定年代和特定地域的集体记忆,被作者精准地捕捉并放大,形成了一种强烈的怀旧(但不是伤感的怀旧,而是一种带着批判性的审视)的基调。我能想象出那些阴雨连绵的天空,以及被工业化阴影笼罩的街景,一切都变得如此具体可感。主角的内心独白简直是教科书级别的,充满了青春期特有的那种自大与脆弱并存的矛盾体。他观察世界的角度既冷峻又充满诗意,对成人世界的虚伪有着近乎残酷的洞察力。然而,这种洞察力有时也让他显得格格不入,这本书细腻地描绘了这种“局外人”的心态,那种渴望融入却又本能地保持距离的挣扎。我特别欣赏作者处理社会议题的方式,它没有进行说教,而是通过人物的命运和选择,让读者自己去得出结论。这本书读起来很“重”,不是指篇幅,而是指它带来的思想重量,它迫使你重新审视自己成长的环境以及那些塑造了你的无形力量。
评分我得承认,这本书的文体实验性非常强,它大胆地挑战了传统小说的线性叙事结构,这一点在我看来是它最引人入胜的地方。阅读过程更像是在解构一个复杂的谜团,作者不断地在时间线上跳跃,在现实与幻觉的边缘游走,这种不确定性使得每一次翻页都充满了期待。语言的运用更是炉火纯青,充斥着大量充满创造力的比喻和新颖的词汇组合,读起来颇有一种在啃食一块结构复杂但味道层次极其丰富的食物的感觉,需要细细咀嚼才能体会到其深层风味。它毫不避讳地展现了边缘文化的挣扎与活力,那种对主流价值的嘲讽和不屑,写得既尖锐又带着一种近乎天真的热情。很多段落的文字密度非常高,信息量巨大,我甚至需要放慢速度,反复阅读某些句子,以确保没有遗漏作者精心编织的那些微妙的暗示和文化指涉。对于那些寻求阅读挑战,厌倦了一成不变故事套路的人来说,这绝对是一部不容错过的作品,它拓宽了我对“小说”这个概念的理解边界。
评分这本小说简直是一场感官的盛宴,叙事节奏把握得如同大师级的音乐演奏,时而舒缓,时而激昂,让人完全沉浸在主角那光怪陆离的青春期世界里。作者对于细节的捕捉能力令人称奇,那些琐碎却又至关重要的生活片段,被描绘得栩栩如生,仿佛我就是那个在郊区迷茫摸索的少年。文字的质感非常独特,既有那种英国特有的冷幽默,又蕴含着深沉的对身份认同的探讨。尤其让我印象深刻的是,书中对家庭关系的刻画,那种爱与疏离的复杂交织,处理得极其细腻,没有落入俗套的刻板印象,每个家庭成员都有其复杂的内在驱动力。我特别喜欢那种叙事中时不时闪现的哲学思考,它不是生硬地灌输,而是自然地从主角的困惑中生长出来,让人在捧腹大笑之后,会陷入片刻的沉思。这本书的魅力在于它的真实感和疏离感的完美平衡,它让你感觉无比亲近,却又让你意识到,每个人的成长都是一场孤独的朝圣。读完后,我感觉自己的某些青春期的迷雾似乎也被点亮了一角。
评分这部作品的叙事结构和角色发展是如此有机地融合在一起,以至于你很难将两者分开讨论。它不是那种一气呵成的流畅叙事,而是充满了断裂和回声,就像记忆本身一样,时而清晰,时而模糊不清。作者对于语言的运用达到了近乎魔术的境界,能够用最日常的词汇,构建出最不日常的场景感。我发现自己常常因为一个词语的选择、一个句子的停顿而被作者的才华所折服。它深入探讨了成长的代价——你必须放弃一些东西才能成为新的自己,而这些被放弃的部分,往往在你成年后会化为难以言喻的乡愁。这本书成功地避开了青春期小说常见的感伤主义陷阱,它提供的是一种清醒的、近乎手术刀般的剖析,毫不留情地揭示了成长的残酷与美丽。每一次重读,我都能发现一些之前忽略掉的、埋藏在文字深处的伏笔或彩蛋,证明了它经得起反复推敲的文学价值。
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