In more than thirty books, M.F.K. Fisher forever changed the way Americans understood not only the art of eating but the art of living. Whether considering the oyster or describing how to cook a wolf, she addressed the universal needs "for protection, food, love." Readers were instantly drawn into her circle of husbands and lovers, artists and artisans; they felt they knew Fisher herself, whether they encountered her as a child with a fried-egg sandwich in her pocket, a young bride awakening to the glories of French food, or a seductress proffering the first peas of the season.
Oldest child, wife, mother, mistress, self-made career woman, trail-blazing writer--Fisher served up each role with panache. But like many master stylists, she was also a master mythologizer. Her portraits and scenarios were often unrecognizable to those on whom they were based, and her own emotions and experiences remained cloaked in ambiguity.
To retell her story as it really happened is an important enterprise, and Joan Reardon has made the most of her access to Fisher, her family and friends, and her private papers. This multifaceted portrayal of the woman John Updike christened the "poet of the appetites" is no less memorable than the personae Fisher crafted for herself.
具體描述
讀後感
半個多世紀以來，M·F·K·菲捨已經被列為美國最有特色的文學名傢之一。她的寫作對象是食物，雖然不必非得是食物：即便她描寫的是鍾或者聖誕樹，她的文章也可以在不知不覺中滲透到愛、死亡和欲望的領域，一如她描寫橘子和生蠔時那樣。 菲捨選擇文體類型中最具有滲透力的自...
評分半個多世紀以來，M·F·K·菲捨已經被列為美國最有特色的文學名傢之一。她的寫作對象是食物，雖然不必非得是食物：即便她描寫的是鍾或者聖誕樹，她的文章也可以在不知不覺中滲透到愛、死亡和欲望的領域，一如她描寫橘子和生蠔時那樣。 菲捨選擇文體類型中最具有滲透力的自...
評分半個多世紀以來，M·F·K·菲捨已經被列為美國最有特色的文學名傢之一。她的寫作對象是食物，雖然不必非得是食物：即便她描寫的是鍾或者聖誕樹，她的文章也可以在不知不覺中滲透到愛、死亡和欲望的領域，一如她描寫橘子和生蠔時那樣。 菲捨選擇文體類型中最具有滲透力的自...
評分半個多世紀以來，M·F·K·菲捨已經被列為美國最有特色的文學名傢之一。她的寫作對象是食物，雖然不必非得是食物：即便她描寫的是鍾或者聖誕樹，她的文章也可以在不知不覺中滲透到愛、死亡和欲望的領域，一如她描寫橘子和生蠔時那樣。 菲捨選擇文體類型中最具有滲透力的自...
評分半個多世紀以來，M·F·K·菲捨已經被列為美國最有特色的文學名傢之一。她的寫作對象是食物，雖然不必非得是食物：即便她描寫的是鍾或者聖誕樹，她的文章也可以在不知不覺中滲透到愛、死亡和欲望的領域，一如她描寫橘子和生蠔時那樣。 菲捨選擇文體類型中最具有滲透力的自...
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