Amazon.com In the hearts of the elaborate Renaissance gardens of Italy, writes essayist John Hanson Mitchell, lie small patches of untended ground, overgrown with moss and tangled undergrowth, called boscos. These wild patches are there to remind us of the untamed country that lies far outside the city walls, the abode of wild animals, where wilderness experiences are to be had for the adventurous traveler. A veteran of many such experiences, Mitchell counsels that wilderness does not teach us much about how to live in and with nature; such lessons lie closer to home, for, he writes, wildness "lurks in the wilder corners of suburbia, or even in cities, and exists as potential even in some of the most barren, devastated environments." In The Wildest Place on Earth, Mitchell travels to Mediterranean gardens, writing of their meaning and history. Heeding his own counsel, he also sticks close to his own home, restoring a hardscrabble New England farm called Scratch Flat, building mazes and trellises, and exploring the lessons that making a garden offer a student of the natural world. Though his efforts at environmental philosophizing tend to be underdone, his dedication to gardening is evident, and his account of that hard but rewarding work may inspire like-minded readers to take up their trowels. --Gregory McNamee From Publishers Weekly Mitchell (Ceremonial Time) opens this lush, labyrinthine book with his long-ago encounter, in the American desert, with "a wildman," "who claimed you could live forever in the wilderness with two or three milk goats and a working knowledge of edible plants." The younger Mitchell embraced this philosophy, but, ultimately, it was in "the most thoroughly transformed landscape of all, the hedged terraces, all‚es, pathways, pools, fountains, and hidden rooms of what was left of the old Renaissance gardens of Italy" that he "rediscovered that old sense of goatly wildness." From the great mazes of ancient Egypt to the 12th-century hedge maze where Henry II's wife murdered his mistress, to the construction of his own backyard maze and tea house, Mitchell explores the wilderness of the human imagination and "the undiscovered country of the nearby." Three of what Thoreau would have called "clews" to Mitchell's project keep cropping up: first, Thoreau's idea of "Contact," or oneness with nature; second, the contrast between conceptions of true wilderness "as a separate place" with "a certain aura of power or ability to bestow information or insight" and the construction of the garden; and finally, the beloved demigod Pan, who physically embodies both the untamed forests and deserts (his goat half) and sculpted gardens (his human half). Part travelogue, part garden history in the tradition of Edith Wharton's Italian Villas and Their Gardens, this poetic little book traces the transportation of humankind to the wilderness and the transformation of the wild into rich human habitat. Copyright 2001 Cahners Business Information, Inc. See all Editorial Reviews
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这本书真正击中我的是其对“野性”的重新定义。在许多人的固有印象中,意大利花园是巴洛克式的奢华和理性至上,是人类对自然彻底驯服的产物。然而,作者巧妙地指出,恰恰是在这些被严格控制的空间内部,人们开始渴望和设计出“模拟的失序”——那些看似不受约束的野花角落,那些模仿古老废墟的“浪漫的衰败”。这种对边界的试探,对禁忌的轻微触碰,构成了这些花园迷人的张力核心。它揭示了一种深层的人类心理:无论我们如何努力建立秩序,内心深处总有一种冲动,想要回归到更原始、更不可预测的状态。阅读过程中,我不断地反思,我们今天所推崇的“自然保护区”或“生态友好型设计”,是否也在不经意间,重复着历史上的某种“发明”行为,即用一种新的框架去定义和圈禁我们所认为的“野生”?
评分这本书的叙事节奏有一种古典音乐般的韵律感,起承转合之间,充满了历史的厚重感和细节的精致性。我发现自己沉浸在对那些宏伟的喷泉、错落有致的台阶以及隐藏的迷宫般的步道的想象之中。作者对材料的运用——大理石的冰冷、植物的芬芳、水的潺潺声——描绘得淋漓尽致,几乎能让人通过文字感受到那种意大利夏日午后的燥热与阴凉的对比。最让我震撼的是,书中对“发明荒野”这一概念的深入挖掘。在那个时代,当广袤的土地还未被完全勘探时,“荒野”本身就是一种被构建出来的概念,它既是贵族展示其财富和学识的背景,也是对遥远、异域风情的浪漫化想象。这种想象的构建过程,与当时新兴的地理发现和殖民扩张的思潮形成了微妙的共振。每一次翻页,都像是在揭开一层厚厚的历史尘埃,发现那些被精心维护的绿色殿堂背后,隐藏着复杂的社会政治逻辑和审美取向。
评分从阅读体验上来说,这本书的学术严谨性与大众可读性之间取得了令人赞叹的平衡。它没有陷入纯粹的专业术语泥潭,而是用一种极其流畅、引人入胜的文笔,将复杂的文化史和艺术理论融入到对具体花园案例的分析中。我特别欣赏作者对不同地域、不同时期园林风格差异的对比分析。比如,北部地区对水景的精妙运用如何反映了当地的水源环境,而南部地区对高差的利用又如何体现了对古罗马别墅传统的继承与发展。这种地域性和时间性的多维视角,使得阅读过程充满了解构和重塑的乐趣。它不是简单地罗列事实,而是引导读者像一位侦探一样,去探究这些户外空间是如何成为特定社会阶层的身份象征和精神寄托的。读完后,我对“风景”这个词汇的理解也被彻底刷新了,它不再是单纯的自然景观,而是一个被多重意义编码的文化文本。
评分这本书的装帧和排版也给我留下了深刻的印象,尽管我更关注内容本身,但纸张的质感和插图的选取无疑提升了阅读的仪式感。更重要的是,作者展现出的跨学科洞察力令人折服。她不仅是一位园艺史学家,更像是一位细致入微的社会人类学家,将园林置于启蒙运动、科学革命以及帝国扩张的大背景下进行考察。通过对特定家族档案、私人信件以及早期旅行记录的细致梳理,她成功地复原了那些消失在时间长河中的对话和辩论:什么是真正的“美德花园”?人工修剪的树篱与未经修剪的灌木,哪一种更能体现高贵的灵魂?这种对历史语境的精准把握,使得那些陈旧的石雕和干涸的喷泉仿佛重新获得了生命和声音,它们不再是静默的遗迹,而是充满活力的历史见证者。这本书提供了一个极佳的切入点,让我们得以窥见欧洲文化在面对“异质”和“未知”时,所采取的艺术与哲学应对策略。
评分阅读这本关于意大利花园的书籍,我感到仿佛置身于一片被精心雕琢却又充满野性呼唤的绿洲之中。作者以一种近乎诗意的笔触,描绘了那些掩映在历史深处的秘密庭院,它们不仅仅是植物的集合,更是思想与权力的交汇点。我尤其被那种在秩序与失控之间游走的张力所吸引。想象一下,在文艺复兴时期,那些手握权力的贵族们,如何试图通过几何图形和严格的对称性来驯服自然,而在这份刻意的控制之下,又如何暗流涌动着对原始、未经修饰的“野性”的向往。这种二元对立的探讨,让原本可能枯燥的园艺史变得引人入胜。它迫使我重新审视我们对“美”和“自然”的传统定义,思考人类的干预在多大程度上塑造了我们眼中的“完美景观”。那种跨越世纪的对话,关于人类如何试图掌控环境,却又不断被环境的生命力所反噬的哲学思辨,极大地丰富了我的阅读体验。这本书不仅仅是关于园林设计,它更像是一部关于人类心灵史的隐喻。
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