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In Dubliners, Joyce's first attempt to register in language and fictive form the protean complexities of the 'reality of experience,' he learns the paradoxical lesson that only through the most rigorous economy, only by concentrating on the minutest of particulars, can he have any hope of engaging with the immensity of the world. 内容简介
With these fifteen stories James Joyce reinvented the art of fiction, using a scrupulous, deadpan realism to convey truths that were at once blasphemous and sacramental. Whether writing about the death of a fallen priest ("The Sisters"), the petty sexual and fiscal machinations of "Two Gallants," or of the Christmas party at which an uprooted intellectual discovers just how little he really knows about his wife ("The Dead"), Joyce takes narrative places it had never been before.
The text of this edition has been newly edited by Hans Walter Gabler and Walter Hettche and is followed by a new afterword, chronology, and bibliography by John S. Kelly. Also included in a special appendix are the original versions of three stories as well as Joyce's long-suppressed Preface to Dubliners. 作者简介
James Joyce, the twentieth century’s most influential novelist, was born in Dublin on February 2, 1882. The oldest of ten children, he grew up in a family that went from prosperity to penury because of his father’s wastrel behavior. After receiving a rigorous Jesuit education, twenty-year-old Joyce renounced his Catholicism and left Dublin in 1902 to spend most of his life as a writer in exile in Paris, Trieste, Rome, and Zurich. On one trip back to Ireland, he fell in love with the now famous Nora Barnacle on June 16, the day he later chose as “Bloomsday” in his novel Ulysses. Nara was an uneducated Galway girl who became his lifelong companion an the mother of his two children. In debt and drinking heavily, Joyce lived for thirty-six years on the Continent, supporting himself first by teaching jobs, then trough the patronage of Mrs. Harold McCormick (Edith Rockerfeller) and the English feminist and editor Harriet Shaw Weaver. His writings include Chamber music (1907), Dubliners (1914), A Portrait of the Artist as a Young Man (1916), Exiles (1918), Ulysses (1922), Poems Penyeach (1927), Finnegans Wake (1939), and an early draft of A Portrait of a Young Man, Stephan Hero (1944). Ulysses required seven years to complete, and his masterpiece, Finnegans Wake, took seventeen. Both works revolutionized the form, structure, and content of the novel. Joyce died in Zurich in 1941.,,, 精彩书评
"Joyce renews our apprehension of reality, strengthens our sympathy with our fellow creatures, and leaves us in awe before the mystery of created things."
——Atlantic Monthly
It is in the prose of Dubliners that we first hear the authentic rhythms of Joyce the poet…Dubliners is, in a very real sense, the foundation of Joyce's art. In shaping its stories, he developed that mastery of naturalistic detail and symbolic design which is the hallmark of his mature fiction.
——Robert Scholes and A. Walton Litz
《泰晤士河上的雾霭与喧嚣:一窥十九世纪末伦敦的众生相》 作者: 维多利亚·布莱克伍德(虚拟) 译者: (此处留空,因本书为原创虚构作品) 装帧: 精装,附插图 页数: 约680页 --- 内容简介 这部鸿篇巨制,并非聚焦于爱尔兰的孤岛或詹姆斯·乔伊斯的故乡,而是将目光投向了维多利亚时代晚期,那个在煤烟与荣光中剧烈喘息的英格兰心脏——伦敦。本书是维多利亚·布莱克伍德穷尽二十年心血,以近乎显微镜般的细致,描绘了1880年至1900年间,伦敦城中形形色色的生命群像。它拒绝宏大的历史叙事,转而深入挖掘那些在雾霭和喧嚣中被时间冲刷的、最真实也最脆弱的个体经验。 第一部:迷宫般的西区与权力的阴影 故事的开篇,我们将跟随年轻的詹姆斯·哈罗德,一个来自约克郡的法律系学生,满怀对上流社会的憧憬,踏入了沉重而威严的伦敦法律界。哈罗德迅速被卷入梅费尔区(Mayfair)错综复杂的社交网络中。布莱克伍德以冷峻的笔触,揭示了那些光鲜亮丽的俱乐部、沙龙和歌剧院背后,隐藏的权力交易、继承权的争夺以及道德的腐朽。 我们遇到了阿德莱德·范肖,一位在社交季中努力寻找一个“合意婚事”的贵族遗孤。她的内心挣扎——在家族责任与个人情感之间——构成了对维多利亚时代“完美女性”刻板印象的深刻解构。作者对室内陈设、着装礼仪的精确描绘,让读者仿佛能闻到哈罗德公寓中湿冷壁炉散发的烟味,以及阿德莱德裙摆上鸢尾花的幽香。 本书的精华在于对“体面”与“真实”的对比。哈罗德在处理一桩涉及西区著名银行家的欺诈案时,逐渐意识到,法律的公正与金钱的力量相比,是何其苍白无力。他与那位银行家私生女——一个在剧院后台秘密学习表演艺术的女孩——的相遇,成为他内心道德天平倾斜的关键点。 第二部:东区的烟尘与工薪阶层的挣扎 视角陡然转向泰晤士河的东岸,来到白教堂(Whitechapel)和斯皮塔菲尔德(Spitalfields)的深处。这里的空气不再是西区的昂贵香水,而是煤灰、啤酒花和汗水混合的刺鼻气息。布莱克伍德将笔触转向了工厂主、码头工人以及那些在贫民窟中挣扎求生的家庭。 核心人物之一是玛莎·科尔,一个坚韧的洗衣妇,她依靠微薄的收入抚养着三个孩子,同时还得应对来自恶劣居住环境和醉酒丈夫的压力。作者细致入微地记录了十九世纪末伦敦底层生活的节奏:清晨刺耳的叫卖声、拥挤不堪的公共澡堂、以及周日清晨在非国教教堂里获得的短暂慰藉。 在这里,政治激进主义正在暗流涌动。码头工人的罢工运动被描绘得淋漓尽致,充满了紧张和无可奈何的愤怒。我们目睹了社会改革者和工会组织者的努力,以及他们如何与盘根错节的城市势力抗衡。这种生活,与西区贵族的晚宴形成了强烈的、令人心悸的反差。 第三部:知识分子的困境与艺术的觉醒 在圣保罗大教堂和布卢姆斯伯里(Bloomsbury)的咖啡馆中,第三条故事线展开了。这里汇聚了哲学家、早期的女性主义者和那些对僵化的“进步”思想感到厌倦的知识分子。 爱德华·芬奇,一位雄心勃勃的文学评论家,试图摆脱维多利亚时代陈旧的审美规范,寻求一种更直接、更注重当下体验的艺术表达。他与一群致力于“新美学”的艺术家交往,讨论着进步主义的局限性以及机器时代对人类精神的影响。 布莱克伍德巧妙地将这些高深的哲学辩论,放置在日常琐事之中:芬奇在拥挤的电车上阅读尼采的译本,或者在萨克维尔·韦斯特(Sackville-West)的沙龙里,为了一句关于“现代性焦虑”的定义而争得面红耳赤。这些知识分子并非生活在象牙塔中,他们的理论直接触及了东区工人的困境和西区贵族的空虚。 主题的深度与结构 本书并非简单地罗列伦敦的社会阶层,而是通过人物命运的交织,探讨了几个深刻的主题: 1. 隔离与连接: 伦敦这座城市,既是世界上最紧密联系的枢纽,也是个体最深的孤独之地。哈罗德的发现与玛莎的坚韧,在城市的不同角落,反映了人类求存的共通主题。 2. 时间的感知: 作者对时间流逝的描绘是多层次的。在贵族圈子里,时间是奢靡而缓慢的;在底层,时间是紧迫的、被钟表无情追赶的。 3. “雾”的意象: 贯穿全书的,是伦敦特有的浓雾——它不仅是气候现象,更是道德模糊、真相掩盖的象征。当雾气散去时,显露出的往往是残酷的现实。 结语 《泰晤士河上的雾霭与喧嚣》是一部极其耗费心力的作品。它摒弃了传统小说对英雄主义的偏爱,转而关注于“普通人”在巨大社会机器碾压下的韧性与脆弱。布莱克伍德的叙事风格沉稳、考究,充满了十九世纪末文学的厚重感,但其对人性的洞察却超越了时代。读者读完后,或许会感到一阵窒息的压抑,但同时也为这些伦敦灵魂在夹缝中求得的一丝尊严而深感敬佩。这部作品是对一个逝去时代最忠实、也最残酷的肖像画。