"What Moves at the Margin" collects three decades of Toni Morrison's writings about her work, her life, literature, and American society. The works included in this volume range from 1971, when Morrison (b. 1931) was a new editor at Random House and a beginning novelist, to 2002 when she was a professor at Princeton University and Nobel Laureate. Even in the early days of her career, in between editing other writers, writing her own novels, and raising two children, she found time to speak out on subjects that mattered to her. From the reviews and essays written for major publications to her moving tributes to other writers to the commanding acceptance speeches for major literary awards, Morrison has consistently engaged as a writer outside the margins of her fiction. These works provide a unique glimpse into Morrison's viewpoint as an observer of the world, the arts, and the changing landscape of American culture. The first section of the book, "Family and History," includes Morrison's writings about her family, Black women, Black history, and her own works. The second section, "Writers and Writing," offers her assessments of writers she admires and books she reviewed, edited at Random House, or gave a special affirmation to with a foreword or an introduction. The final section, "Politics and Society," includes essays and speeches where Morrison addresses issues in American society and the role of language and literature in the national culture. Among other pieces, this collection includes a reflection on 9/11, reviews of such seminal books by Black writers as Albert Murray's "South to a Very Old Place" and Gayl Jones's "Corregidora," an essay on teaching moral values in the university, a eulogy for James Baldwin, and Morrison's Nobel lecture. Taken together, "What Moves at the Margin" documents the response to our time by one of American literature's most thoughtful and eloquent writers. Toni Morrison is the Robert F. Goheen Professor Emerita at the Center for Creative and Performing Arts at Princeton University and is the author of "Sula," "Song of Solomon," "Beloved," "Paradise," and other novels. She has received the National Book Critics Circle Award, the Pulitzer Prize, and the 1993 Nobel Prize in Literature. Carolyn C. Denard is the author of scholarly essays on Toni Morrison and the forthcoming "Cambridge Introduction to Toni Morrison." She is Associate Dean of the College at Brown University and founder of the Toni Morrison Society.
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说实话,这本书一开始给我造成了不小的阅读障碍,它的主题太过抽象,开篇的处理方式也相当晦涩,让人一度怀疑自己是否抓住了作者的意图。它似乎更关注“间隙”本身——人与人之间、自我与外界之间那层薄薄的、却又难以逾越的界限。作者的哲学思考贯穿始终,但绝非生硬的说教,而是内化于人物的日常对话和环境描写之中。我特别喜欢它对城市景观的描摹,那种都市的疏离感被捕捉得入木三分,每一条街道、每一盏霓虹灯都仿佛拥有了独立的意识,冷眼旁观着人类的悲喜剧。这本书的魅力在于它的“未完成感”,它没有提供清晰的答案或明确的救赎,而是将所有的开放性都交还给了读者,让人自己去填补那些留白的空白。这要求读者必须保持高度的专注和开放的心态,否则很容易在其中迷失方向。对于那些追求直接、清晰情节的读者来说,这本书可能会让人感到挫败,但对于愿意投入心力去挖掘深层含义的人来说,它绝对是一场智力与情感的双重盛宴。
评分这部作品的文本张力,与其说是来自情节的跌宕起伏,不如说源自于其内部的韵律感和语言的音乐性。作者对句式的运用简直是出神入化,长句的蜿蜒曲折与短句的果断有力交替出现,形成了一种令人着迷的阅读节奏。我经常会不自觉地放慢语速来朗读某些段落,因为它们本身就具有诗歌的特质。它探讨的主题是关于身份的破碎与重塑,探讨一个人如何在不断变化的环境中,试图锚定一个不变的“自我核心”。书中的人物往往处于一种半梦半醒的状态,他们的行动逻辑常常游走在理性与潜意识的边缘。最让我印象深刻的是,作者如何利用环境的变化来映射角色的内心转折,比如一场突如其来的暴雨,不仅仅是天气现象,更像是对既有秩序的彻底冲刷。这本书不适合在嘈杂的环境中阅读,它需要一种近乎冥想式的专注,才能真正领略到文字背后那股汹涌但被压抑的情感暗流。
评分读完之后,我有一种强烈的冲动,想要立刻跳起来,去体验那种书中描绘的、与世界保持半步距离的观察者状态。这部作品的语言风格是极其冷峻而精准的,它拒绝一切多余的煽情,却用最朴素的词汇搭建起一个极度感性的世界。它的力量在于其克制——那种对情感爆发的完美把控,让每一次情绪的涌动都显得无比珍贵和震撼。特别是关于记忆和失落的章节,作者没有用大段的文字去渲染悲伤,而是通过一些具体的物件,比如一个旧相框、一封未寄出的信,将那种深埋的遗憾巧妙地投射出来。这本书的结构安排也颇具匠心,它采用了非线性的时间轴,不同的片段像是被扔在桌上的拼图碎片,需要读者自己去寻找连接点,这个过程本身就是一种参与和创造。我感觉作者是在邀请我们进入一个共同构建的、略带荒诞色彩的内心剧场。它的后劲很大,读完很久了,那种“局外人”的视角依然像一个滤镜,让我看世界的方式都有了微妙的变化。
评分这本封面设计极简的文学作品,初读时总让人觉得有些捉摸不定,像是在薄雾中行走。作者的叙事手法非常独特,他似乎并不急于将故事推向前进,而是更专注于捕捉那些转瞬即逝的情绪和细微的心理波动。我尤其欣赏他对人物内心挣扎的刻画,那种不动声色的痛苦和自我怀疑,在日常琐事的缝隙中悄然滋生,最终汇集成一股难以言喻的暗流。比如,书中关于“等待”的描写,不是那种焦灼的期盼,而是一种近乎禅意的、对时间流逝的沉思。文字的密度很高,每一句话都像经过精心打磨的宝石,闪烁着复杂的光泽。初看时可能会觉得节奏缓慢,但随着深入,你会发现那些看似无关紧要的片段,其实都是构建整个情感迷宫的关键砖石。它不是那种能让你一口气读完的通俗小说,更像是一杯需要细细品味的陈年佳酿,回味悠长,适合在安静的午后,伴着一杯热茶,独自沉浸其中,去体会那种被时间温柔包裹的疏离感。这本书挑战了传统叙事结构,更像是对存在本身的探索,让人在阅读过程中不断反思自己与周遭环境的关系。
评分我不得不承认,这本书带给我的是一种缓慢渗透的震撼。它不像一部小说,更像是一部关于“感知力”的实验报告。作者对细节的捕捉能力令人惊叹,他能够将最微不足道的日常琐事,提升到具有普遍意义的符号层面。比如,他可以用一整页篇幅来描绘光线如何穿过百叶窗投射在木地板上的变化,而在这光影的移动之间,却蕴含着角色对时间流逝的全部焦虑。这本书的结构是去中心化的,没有一个绝对的主角或明确的冲突点,所有的焦点都分散在那些边缘地带——那些被主流叙事所忽略的、沉默的角落。它迫使你放弃对“故事应该是什么样”的既有期待,转而接受一种更碎片化、更接近真实生活混沌感的体验。它不迎合任何人,它只是安静地存在着,像一块未经雕琢的玉石,其价值需要读者用耐心和敏感去发掘。读完后,感觉自己的感官被重新校准了,对周围世界的感知变得更加敏锐和复杂。
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