菲利普・羅斯(Philip Roth),1933年齣生在美國新澤西州的紐瓦剋市,被認為是當代最傑齣的美國猶太裔作傢之一。羅斯以短篇小說《再見,哥倫布》崛起,在過去的十年間,他已贏得美國多個主要文學奬項,1998年更是憑藉《美國田園詩》一舉獲得美國普利策文學奬,電影《人性汙點》即由他2000年齣版的同名暢銷小說改編,他也是近年來獲諾貝爾文學奬呼聲頗高的作傢之一。
David Kepesh is white-haired and over sixty, an eminent TV culture critic and star lecturer at a New York college, when he meets Consuela Castillo, a decorous, well-mannered student of twenty-four, the daughter of wealthy Cuban exiles, who promptly puts his life into erotic disorder. Since the sexual revolution of the 1960s, when he left his wife and child, Kepesh has experimented with living what he calls an "emancipated manhood," beyond the reach of family or a mate. Over the years he has refined that exuberant decade of protest and license into an orderly life in which he is both unimpeded in the world of eros and studiously devoted to his aesthetic pursuits. But the youth and beauty of Consuela, "a masterpiece of volupt" undo him completely, and a maddening sexual possessiveness transports him to the depths of deforming jealousy. The carefree erotic adventure evolves, over eight years, into a story of grim loss. What is astonishing is how much of America's post-sixties sexual landscape is encompassed in THE DYING ANIMAL. Once again, with unmatched facility, Philip Roth entangles the fate of his characters with the social forces that shape our daily lives. And there is no character who can tell us more about the way we live with desire now than David Kepesh, whose previous incarnations as a sexual being were chronicled by Roth in THE BREAST and THE PROFESSOR OF DESIRE. A work of passionate immediacy as well as a striking exploration of attachment and freedom, THE DYING ANIMAL is intellectually bold, forcefully candid, wholly of our time, and utterly without precedent--a story of sexual discovery told about himself by a man of seventy, a story about the power of eros and the fact of death.
身體所包含的人生故事和頭腦一樣多。 ——埃德納·奧勃蘭恩 我八年前就認識她瞭。她那會兒聽我的課。我不再教全日製班瞭,準確地說是不再上文學課瞭——多年來就教這一個班,是個高年級的文學批評大型研討班,名為 “實用批評”。我吸引瞭不少女生。原因有二。一是因為這門課程很...
評分我承認,第一次閱讀是把它當作一本洛麗塔式的色情小說來看的。 今天早晨吃完早點,從床頭的一堆書中偶然抽齣這本,再次翻看,發現開篇的“一切都有待藝術來拯救”竟然是孫甘露先生的文字,不免又起重新閱讀的念想,索性揣包裏帶到公司。由於今天是第一天上班不會很忙,找瞭個安...
評分從前言開始吧,小時候喜歡小說很多,後來,但凡是有字的東西都非得想法設法去看。彆人的讀後也罷,前言也好,代序都好,總之,我真是喜歡書的。 如果閱讀主要是作為談資。。。我想,我無法避免這樣的莫名驕傲感,總是話嘮和愛掉書袋的自己,這是我值得小自傲的極少數時刻。 “...
評分說實話,中文翻譯的不怎麼高明... 這本小說其實沒有用什麼很玄妙的敘事技法,和《低音提琴》相仿,如果和《赫索格》相比那還是單薄瞭許多。菲利普・羅斯想要錶達的東西太多太多,死亡,流放,美國六七十年代青年的反叛,傢庭,肉身,恐懼,愛。在這麼多東西麵前,作者的筆...
080210-120210 / how much do we care about body than brain? sex, what do we want from it?
评分080210-120210 / how much do we care about body than brain? sex, what do we want from it?
评分看完電影纔急急的把剩下的看完的
评分六旬老教授把妹自白
评分六旬老教授把妹自白
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