From Publishers Weekly Love-starved Internet trawlers, beware, warns this provocative and amusing cautionary tale about chat-room romances by versatile fiction writer Reed. Stuck in sleepy Brevert, S.C., with her husband, Lt. Col. Charlie Wilder, USMC, and two hostile stepkids, Jenny Wilder becomes obsessed with life online at the imaginary offshore island StElene, "a sprawling resort... where Jenny can shed her problems and walk free." She can also shed her name (online she's Zan) and her persona as responsible wife and careerwoman. Days, Jenny is a therapist, bored by her neurotic Southern patients and homesick for her loft on lower Broadway. Nights, she's at StElene, where "you are what you type" and where she and "Reverby" are in love. They fraternize with friends in the ballroom, but disdain enemies like "Mireya," "Rev's" ex-lover, and "Azeath," a self-styled demonic figure; both try to help "Lark," a 19-year-old college dropout whose parents want to evict him. Every night, they retreat to the Dak Bungalow, their private place, where they make love by what "Reverby" calls "performative utterance." Whereas Jenny's Charlie is "relentlessly physical," "Reverby" knows "how to make love to her soul." Long nights in virtual reality begin to affect Jenny's daytime existence; her professional partner notes her distraction and warns her about the dangers of Internet obsession. But Jenny no longer sees the line between fantasy and reality. Suddenly, "Reverby" disappears from StElene and Jenny, accompanied by the desperate "Lark," goes in search of him, embarking on a disastrous real-life journey. Reed makes Jenny's slide into an online world seem nearly plausible in this up-to-the-minute alternative love story. (Sept.) Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title. From Kirkus Reviews The always original Reed (Seven for the Apocalypse, 1999, etc.) perceptively probes that point where reality and the virtual converge as a young married professional woman finds herself more alive and in love when she meets her anonymous lover online each night.Psychologist Jennie Wilder is newly married to Marine colonel Charlie, a widower with two children. Life in the southern town near his base is boring to a New Yorker like Jennie, who's also having problems with the kids. To pass the hours of Charlie's frequent absences, she surfs the Web, where one night she discovers the fantasy Island of StElene. Entranced with the clever talk about politics, sex, and anything else that engages the anonymous guests, Jenny is soon hooked, and becomes an authorized guest herself under the name Zan. As an only child, Jenny escaped reality by reading; now she finds visiting StElene like going to live in a richly imagined book. StElene's, she realizes, is a place where "you are what you type," and people assume identities that hide the realities of their often pathetic lives. Lark, a troubled teenage loner whose real name is Hubert, is eloquent and gregarious; dowdy Florence becomes sexy warrior woman Mireya; and her online lover is gorgeous hunk Azeath, not Vinnie, a convicted murderer. Jenny soon falls in love with sympathetic Reverdy, the godlike creator of new scenarios and effects. As time passes, she begins to live for her nights online, and soon realizes she is as much in love with her virtual prince as with her real husband. When reality, drab and problematic, threatens her e-idyll, Jenny, with Lark in tow, sets off to find the real but elusive Reverdy, with regrettably predictable results. A generally engaging tale that demonstrates-without preaching-the pitfalls of virtual romance in a place where no one can hurt you and everybody turns out to be somebody. -- Copyright © 2000 Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title. See all Editorial Reviews
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如果以人物塑造的真实性来衡量,这本书的成绩非常不理想。书中的人物仿佛是作者手中提着线的木偶,他们的动机服务于作者想要探讨的哲学命题,而不是来源于他们自身的人性弱点或内在欲望。他们要么是过度理想化的圣人,要么是扁平化的恶人,缺乏那种令人信服的灰色地带。特别是主角,他似乎被塑造成了某种“时代精神的承载者”,他的痛苦、他的觉醒,都像是经过精密计算的,完美契合了作者对某种社会现象的批判意图。我更喜欢那些充满矛盾、会犯错、会做出愚蠢决定的“人”,而非这种被精心设计的“理念载体”。他们的对话也常常显得过于书面化,缺乏日常生活的质感,更像是哲学辩论的发言稿。我读完整本书,也没有能真正走进任何一个角色的内心,与他们产生哪怕一丝丝共鸣。他们是活在作者的宏大叙事中的符号,而非活在纸页上的有血有肉的灵魂,这让整个阅读体验变得冰冷而疏离。
评分这本书的配乐和场景设计简直是天才之作,如果它是一部电影的话。我说的“配乐”指的是那种无处不在的象征符号和隐喻。几乎每一个平凡的物品,从一把生锈的钥匙到一个特定的天气现象,都被赋予了某种沉重到几乎要压垮读者的寓意。作者对符号学的运用到了近乎偏执的程度,以至于你很难相信任何一个角色只是在“做一件事”,他们总是在“象征着某种更深层次的人类困境”。这种过度解读的空间,虽然能满足某些热爱挖掘文本深层含义的读者,但对于追求故事自然流淌的读者来说,无疑是种折磨。每当我想放松下来享受情节时,我总会下意识地在想:“这扇窗户到底代表了自由还是囚禁?”这种持续的、高强度的精神分析工作,极大地削弱了阅读的乐趣。好的象征是潜移默化的,是让读者在事后回味时豁然开朗的惊喜;而这里,象征物被放置得太明显,如同贴着标签的道具,让人感到被牵着鼻子走,少了一份探索的乐趣。
评分这本书的叙事节奏实在让人捉摸不透,仿佛作者故意要考验读者的耐心。开篇的铺陈冗长得有些令人发指,每一个场景的描绘都像是被硬生生地拉长了数倍,细节堆砌得让人喘不过气来。我承认,有些场景的意境营造是颇为独特的,那种迷蒙的、带着旧日回响的氛围感确实能让人暂时沉浸其中,但这种“美”付出的代价是情节推进的停滞。人物的行动逻辑也时常令人费解,他们似乎总是在做一些与当前处境格格不入的选择,让人忍不住想撕开纸页,直接询问作者这背后的深意究竟是什么。更不用提那些看似深奥实则空洞的内心独白,它们占据了大量的篇幅,却鲜少能真正触及人物的灵魂深处,更像是作者在进行一场自我意识的冗长宣告。读到中段,我几乎要放弃,直到某个突如其来的转折才勉强将我拉回。然而,即便是这个转折,处理得也显得仓促而生硬,缺乏足够的铺垫和合理的逻辑支撑,仿佛是为了制造戏剧性而强行插入的道具。整本书的阅读体验像是在一片浓雾中跋涉,偶尔能瞥见远处的灯火,但很快又被更深的迷惘所吞噬,让人感到一种智力上的挫败感。
评分这本书的语言风格与其说是在写作,不如说是在进行一场华丽的辞藻堆砌表演。我必须承认,某些段落的句子结构复杂到令人赞叹,仿佛每一个词语都被精心挑选、打磨,然后以一种近乎巴洛克式的繁复排列组合呈现在读者面前。但这过度的雕琢,反而使得情感的表达变得疏离和矫饰。角色的情感张力被那些过于精美的比喻和排比句稀释了,那些本该直击人心的悲欢离合,读起来却像是隔着一层厚厚的玻璃在欣赏一幅过度曝光的油画。尤其是在描写情绪波动时,作者似乎更热衷于使用罕见或生僻的词汇,这让阅读过程需要频繁停下来查阅,极大地破坏了沉浸感。我更倾向于那种朴素却有力的文字,能够直接穿透表象直达内核,而非这种故作高深的、需要读者付出额外解读努力才能勉强理解的语态。这种阅读体验让人感觉自己像是一个笨拙的解码员,而不是一个享受故事的听众。作者的文字功力毋庸置疑,但其选择的表达方式,无疑是为故事本身设置了一道不必要的、令人疲惫的门槛。
评分从结构上看,这部作品的野心是显而易见的,它试图在现实、梦境与历史的碎片之间建立某种宏大的联系。然而,这种野心最终导致了叙事视角的失控。我们不断地在不同的时间线和不同的叙述者之间跳跃,这种切换往往缺乏清晰的标记或有效的过渡,使得读者常常在“我”是谁、“现在”是何时何地中迷失方向。我花了好大力气才勉强跟上主要人物的脉络,但故事的支线人物则如同流星般闪过,他们被匆匆引入,又在读者尚未对其产生任何情感连接时便被无情地抛弃。这种碎片化的处理方式,如果运用得当,可以营造出破碎而真实的现代感;但在这里,它更像是一种叙事上的偷懒,或者说,是对复杂情节的无力掌控。结果是,故事的各个部分像是散落的宝石,虽然单独看可能光彩夺目,但缺乏一条坚固的线索将它们串联起来,最终呈现给读者的,是一种拼凑感而非整体的震撼力。我期待的是一条清晰的主线能够统摄全局,而不是被无数条细微、最终又不了了之的线索所困扰。
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