From Publishers Weekly Warren's ( Each Leaf Shines Separate ) second book covers a broad formal range, though a rather narrow emotional one. The most powerful material is personal, like the work of mourning in "From New Hampshire," in which the poet imagines an absent, familiar figure--"I think you have taken a long late evening walk / Your heavy shoes glisten with dew / I hear your footsteps pause on the dirt road / and I know you are picking out / the dark mass of the sleeping mountain from the dark / mass of night and testing the heaviness of each." However, her many poems triggered by literature, photographs or historical figures are distanced, not experienced. For example, "Child Model," about a picture of an Eskimo child mummy, and "The Cost," about a baby found in a trash can ("The cost of empire is great and disturbing / the secret knowledge of philosophy") achieve sympathy, not empathy. As Warren writes in a memorable line, "It is not distance / we're after, but clarity." Her technical abilities join with an emotional tautness in "The Cormorant": ". . . ocean, old blowhard, wheezing in the give / and take, gulls grieving the battered shore. / It is your death I can't believe, / last night, inland, away from us, beyond/these drawling compensations of the moon." Copyright 1993 Reed Business Information, Inc. From Library Journal While undeniably skillful, Warren's emotionally and linguistically condensed poems are best taken in small doses. Passages like "Pansy/ freaked with jet be/ damned: it take radiant bitterness to stand, to take the throb of sky" immediately catch the eye and the imagination, but poring over poem after densely layered poem can be exhausting. Warren ( Each Leaf Shines Separate , LJ 11/15/84) is often at her best when she works against her instinct for richly slathered images and lets her poems breathe a little: "the little we know of St. Eustache/ becomes him: how this Roman (third century A.D.) general/ while hunting beheld/ a crucifix/ in a stag's antlers/ and instantly converted/ how broiled in a bull, his cries/ converted/to music" runs one lovely example. Recommended for solid poetry collections.- Barbara Hoffert, "Library Journal"Copyright 1993 Reed Business Information, Inc.
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这本集子的语言风格简直是令人耳目一新,它拒绝了时下流行的那种过度直白的表达方式,转而采取了一种近乎于古典主义的雕琢感。每一个词语的选择都像是经过千锤百炼,带着一种不容置疑的准确性,但奇妙的是,这种雕琢感并未带来距离感,反而因为其独特的节奏感,形成了一种强烈的内在张力。特别是那些描述光影流转或时间停滞的段落,句子结构常常是复杂而富有韵律的,读起来像是在欣赏一曲精心编排的乐章,抑扬顿挫,高潮迭起。我发现自己常常需要停下来,反复咀嚼那些看似简单的组合,去探寻隐藏在词语肌理之下的多重含义,这种智力上的挑战与享受并存的阅读体验,是相当罕见的。
评分这本书的装帧设计简直是一场视觉的盛宴,那种厚重而又不失典雅的气质,光是捧在手里摩挲封面,就能感受到一种仪式感。纸张的选择非常考究,摸上去细腻光滑,墨色在这样的介质上呈现出一种恰到好处的沉稳,阅读体验因此提升了好几个档次。我尤其喜欢它在排版上的用心,字距、行距的把控都极为精准,让阅读的节奏感油然而生,不会让人感到拥挤或空洞。即便是长时间沉浸其中,眼睛也不会感到疲惫,这无疑是对阅读者最大的尊重。而且,内页的细微纹理,似乎都在无声地诉说着创作者对细节的执着,这不仅仅是一本书,更像是一件可以被珍藏的艺术品。那种油墨散发出的特有的气味,混合着新书特有的清香,构筑了一个让人完全沉浸其中的私密空间,让人不自觉地想要放慢速度,去品味每一个被精心安排的元素。
评分这本书所营造的意境,有一种令人沉醉的古典美学底色,它似乎汲取了某种古老哲学或艺术流派的精髓,并用极其现代的敏感度进行了重构。读完之后,我脑海中浮现的不是具体的画面,而是一系列清晰的、具有结构感的“氛围”——比如清晨薄雾中某种特定的寂静,或者在巨大空间内感受到的个体渺小感。这种对“氛围感”的极致捕捉,使得文本具有了极强的内观性,它更像是一面镜子,映射出读者自身潜意识中的某些情绪褶皱。我不得不承认,这本书的阅读门槛确实不低,它需要读者暂时放下外界的喧嚣,完全进入到作者所构建的那个由光线、阴影和微妙的内心波动构成的世界里,才能真正体会到其深邃和不朽的魅力。
评分这本书的整体情绪基调非常耐人寻味,它仿佛在用一种极其克制但又极其有力的笔触,描绘着某种深埋于生活底层的复杂情感。初读时,可能会被一些意象的跳跃性所迷惑,但随着阅读的深入,你会发现这些看似零散的片段,实则共同编织了一张巨大而精密的网,将人类经验中的那些微妙的、难以言喻的瞬间精准地捕获。作者的叙事视角变化多端,时而宏大如俯瞰历史长河,时而又细腻到只有耳语可闻的私密角落,这种尺度的转换处理得极其自然流畅,让人在不同的心境之间无缝切换。我感觉自己仿佛被邀请进入了一个只有作者和少数懂得欣赏的人才能进入的私密剧场,观看一场关于存在与虚无的深刻对话,那种久久回荡在心头的余韵,需要时间慢慢消化。
评分我尝试着将这本书与其他一些我常读的当代文学作品进行对比,立刻就能感受到其强烈的独立性和不可替代性。它似乎有意避开了所有流行的叙事陷阱和主题炒作,而是专注于对人类经验本质的探寻,这种纯粹的艺术追求,在如今这个追求快速反馈的时代,显得尤为珍贵。作者展示出一种近乎于学者的严谨,但其情感的爆发点又极其真挚动人,两者之间达到了一个近乎完美的平衡点。它不是那种读完后能用几句时髦的标签快速概括的作品,它要求读者付出更多的注意力,去构建属于自己的理解框架,这反而激发了我作为读者最大的热情——那种“我正在参与创造意义”的成就感,是阅读过程中最迷人的部分。
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