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The Goldfinch读后感精选10篇

2018-08-03 04:35:02 作者:文章吧 阅读:载入中…

The Goldfinch读后感精选10篇

  《The Goldfinch》是一本由Donna Tartt著作,Little, Brown and Company出版的2013-10-22图书,本书定价:784,页数:,特精心网络整理的一些读者读后感希望大家能有帮助

  《The Goldfinch》读后感(一):rainbow edge尿急书

  Jonathan letheme说过,每年都会有这么一本小说,给不看书、或每年最多看上一两本书的人准备的。就跟上班打卡一样,哪怕你是文盲,只要把卡打了,把这本书看了,今年就算过关,你就算是文化人

  今年毫无疑问肯定是《goldfinch》

  Lorin stein 也在这个问题担忧:“很多读者一年不咋读书,跟风捧上个goldfinch就自以为开天眼,识得严肃文学的庐山真面目了。明明无聊的要死却欺骗自己好看,就怕是没品位,也难怪亚马逊上的那四星死活掉不下来呢。”

  今年一共两本让人找不着北的书,一个是这个,一个是thomas pynchon。大爷大娘您能多少掺和进来点情节,哪怕是言情呢,推着我们往前走走,别冷不丁豁出去400多页丝毫不影响情节成不?

  喜欢boris 那些评论家们,你们是高中毕业嘛?我打从心里觉得las vegas那段绝对是donna 喝高了写出来的,pippa的戏份少的可怜,搞得结尾牵强。

  what you see is what you believe。。

  磨磨唧唧主人翁+牵强天马行空烂情节+最后生搬硬套升华结尾=金丝

  《the secret history》令人觉得人生好短,不用急,本人担保你读foldfinch时会大叹时间真他妈过的慢。我到现在都不知道怎么看完的

  伦勃朗的学生,画了幅金丝雀鸟图,就洋洋洒洒八百多页,我的奶奶。。。。。。

  我他妈都不知道这画是真的。。没准他爸和micky rourke 当年抢饭碗也是真的。。。

  原画这里http://www.wga.hu/art/f/fabritiu/carel/goldfinc.jpg

  《goldfinch》就是对henry winter的敬仰,为了给bunny 复仇,tartt 让theo 戴上了眼镜

  《The Goldfinch》读后感(二):Loved the book, but not without reservations.

  Well. I finally finished the novel.

  I can totally see why people fall into two camps when it comes to their opinions about this book. Indeed I am torn myself— though I mostly did enjoy the novel, my enthusiasm was curbed by sporadic issues here and there. For example, certain chapters of the book are way too repetitive and unnecessarily long. I remember the few occasions when I dozed off at the protracted descriptions of the protagonist’s mental activities: great diction of words, beautiful construction of sentences, intricate depictions of the inner world, but outright boring. However, I did not want to give up on the book because when things (e.g., plot, language, and pace of storytelling) hit the right stride, the novel can be quite gratifying.

  Indeed the novel would deliver a much more enjoyable read if the author could trim down the book by a couple hundred pages at the right places. Some of the issues of the novel such as verbosity and disjointedness would be less protruding.

  《The Goldfinch》读后感(三):细微之处描摹人性复杂

  二月三月的异常忙碌中,断断续续的读完了这本书。实在是太长,太长,太长了。

  很庆幸的是,网络上的书评剧情都没有太详细的剧透(也可能是我没仔细看),因此对于故事最终的走向最终促使我读到了最后一页。故事的情节可谓跌宕起伏主人公Theo从13岁父亲不告而别,母亲遭受意外开始,人生走向了一条充满未知、沉郁乃至悲剧道路。伴随着他与The Goldfinch这幅画之间的种种羁绊,得而复失,失而复得,其人生之路时而平静,时而陡生变故,而作者自那一场灾难压抑悲观心境始终笼罩其身。正如Theo在多年以后重新见到这幅画时的感慨:这么多年过去了,你没有变,而我早已不是当年的我。人生的每个拐角都充满了不可预知。

  作者对于心境与环境结合描写实在是细致入微,发乎于内而寄之于周遭万物优点是每每让人感觉身临其境,比如Theo在母亲未回家之后的焦灼,和Boris嗑药之后的神游,都让人觉得作者的描摹既真实又超乎想象。但有时用得太多,长久回忆和对身边所有相关不相关事物的描摹,漫长内心独白,也让人受阻于故事节奏的停滞而心生焦躁。相比较而言,我更喜欢那些情节推进与心理独白相结合的段落,比如Theo父亲出现后他如何不情不愿的离开纽约来到大西部,父亲死后当晚他决定出逃一路辗转回到纽约,以及街头黑社会火拼的前前后后的心理描写。对Theo这个小小人物来说,这些人生巨变是非宏大的,但作者用心中的意念微转消解了戏剧化的巨变所带来的巨大冲击,如层层潮水泛起的细腻泡沫一般,将惊涛骇浪所掀翻的一切都溶于其中。

  我们生活中的悲剧时刻都在发生,对路人来说或许只是一则新闻,一个花边,但对当事人来说,是一辈子不可磨灭伤痕。对Theo,对Pippa都是,对冷静如Mrs Barbour和Kitsey亦如是。再完善社会救助机构,也无法弥补其中绝大部分伤害,比如幸存者对自己一辈子的拷问,“what if?”是多么让人心痛的一句。

  关于Theo母亲的人生悲剧,我有和Theo一样的疑问:为什么她最终选择了Theo父亲这样一个浮夸、自私、长不大的男人,而不是一个冷静睿智、有高雅艺术品位的人,一个和她更有共同语言的人,像Welty或是她的个人律师那样的人呢?或许爱情是盲目的,或许假想这样一个人容易,真实遇到并爱上这样一个人并不容易,人生无常本就如是。不过,Theo的母亲,真是又美丽、又高雅、又细腻敏感,作者藉由母亲对艺术作品的阐释,实在是令人耳目一新。如果母亲没有在意外中死去,Theo应该是多么幸福小孩子啊!

  作者极为细腻的描写,让每个人物都充满了细节有血有肉。Theo的父亲,在不负责任的离家出走突然回来,无论对Theo母亲的遗物处理还是对Theo的态度,无一不写着“简单粗暴”。而最后逼迫Theo交出母亲所遗留的教育金的做法,更是近乎绑架勒索,对自己的亲生儿子如此,令人发指。可他并非一个十足的坏人啊,他怎么说也算是给了Theo一个屋檐必要的饱暖,笨拙的试图与儿子沟通和为自己辩护,而从Boris的口中我们也读到了旁人眼中的他,他也并非一无是处的。如Boris所说,世上或许并没有好人坏人之分,并没有好与坏之分,所谓的好与坏可以共存于一个人、一件事上,或者说,根本就是一个人、一件事。过于偏执的给人或事打上这样的烙印,蒙蔽了我们的心智

  作为一部成长小说,Theo的成长固然是故事的主线,但故事也或多或少展示了Theo的同龄人的成长故事。Pippa和Theo一样,长久的困于大变故后肉体精神的双重折磨音乐事业前途尽毁,在唯一的、并不亲密亲人主导之下,不得不去瑞士的寄宿制学校学习边复健,而那是一个与世隔绝、近乎牢笼地方,无法想象Pippa在那里经历了什么。而Pippa最终逐渐好起来,定居欧洲,有了新的生活——她明确的知道自己的问题,也知道自己需要离开纽约这个伤心之地,和Theo这个同样受困于这一悲剧的盟友保持距离,寻找更加稳定的生活寄托。在我看来,这个女孩比Theo更理智,更坚强

  oris是个富有经历小孩,如果说Theo的生活是泥潭,而其中唯一的阳光就是Boris的存在。Boris并非完人,他喝酒吸毒,他管不住自己的手去偷东西——也因此让Theo的人生发生又一次巨变,但只要他开口絮絮叨叨,你就会很安心。尽管他也丧母,他流离于不同国家,他的父亲酗酒且暴力,常常把他打得鼻青脸肿全身是伤,但他是个简单直率的人,很容易开心起来,也容易看到事情好的方面,可以说,他有着一颗难得的赤子之心。他和Theo同样有着困苦境况,可是他一直秉持着乐观豁达心态在挣脱那些负面因素,抓住机会享受当下,所以有着无比精彩的生活。正如他说他和Theo一起喝酒但态度不同,他喝酒是为了其中的快感,而Theo则是想要死过去。他对Theo的真诚常常让人感动,也正是他对于Theo近乎独断的态度,才能让偏执而迷茫的Theo的生活里有了些许安定快乐,也有了最终的救赎。虽然他的絮絮叨叨让我看着很累,但总体说来,Boris还是本书中我最喜欢的两个人物之一。

  其他的同龄人,有Barbour家的小孩们,聪慧内向的Andy,曾经总是欺负Andy和Theo的哥哥Platt,对Theo不甚友善的Kitsey,以及,故事开始出现的小混混Cable。时光流逝物是人非,种种牵绊让仍活着的人或多或少依然纠缠在一起。成长让一切似乎变了模样克制美好的生活表象下,是多少无奈辛酸、暗流汹涌

  另一个我最喜欢的人物,毫无疑问是Hobie。这是主人公Theo另一个温暖寄托。在母亲去世后找到了Welty和Hobie的小店和住在店里的Pippa,来看望Pippa和默默的在Hobie的工作室里消磨时光,这让Theo第一次从丧母、失去家园行尸走肉的状态缓和下来,有了一些生气。而丧父后万里奔袭回到纽约,走投无路的Theo再次找到了Hobie这里,并最终在这里长大、完成学业,成长为一名古董商。Hobie也并非完人,不善商业,对Welty死后的小店经营不善让他们的生活陷入了巨大危机,但对于Theo来说,温厚的Hobie更像是父亲一般的存在,对于Theo这十多年来从不稳定乃至绝望中逐渐好转至关重要。从这一方面说,内敛的Mrs Barbour在某一方面也像是Theo母亲一般的亲人,而在Theo心里,估计也有母亲一般的投射。

  其他的人物,也有很多很有意思的地方。父亲的女友Xandra,对Theo说不上好,但也不是全无照顾。专注于骗老人收藏的古董的两个职业骗子,看上去却是仪表堂堂的正人君子,得到无数人的好感奇怪落魄公子Horst,在文物交易中充当的亦正亦邪的神秘角色。每个人,都是复杂的,无法脸谱化的。

  这本书之所以能让人看得下去,看得有所感触,最重要的就是做到了好好塑造人物,好好写故事。每一个人物,无论是主角还是配角,无论是事无巨细的描摹还是惊鸿一瞥,那些字句透露出来的细节都是出于这个人物内心性格的表现,而将他们汇聚在一起,最终体现的或许就是作者想要表达主题:人生的复杂性,人性的复杂性。

  复杂之中,总归是有光亮的。正如作者在借Theo之口所做的抒怀中所说,生活本身就是一场悲剧,我们的生命每分每秒都在无可避免的驶向悲剧的终点。而从此时此刻起到终点之间,却有一些东西值得我们去珍惜、去留恋、去体味。那,或许是Hobie的木头工房里好闻的木屑香气,是Boris的开怀大笑和温暖拥抱,是Pippa红头发的背影,是西部沙漠里的血色夕阳与浩瀚星空,是母亲等待着我回家的身影。那是暖,那是爱,那是天与地之间,真实与非真实之间的光亮,那是无法施以任何理智标准进行评价的,无法判断其意义与无意义的,人生与人性的本体。我并不确定我理解了Theo的本意或是作者的本意,不过只是想感慨一句:人生无常,何必偏执?漫漫天涯,总有一些温暖让人向往。

  最后说一句,作者在写作中体现出的文化底蕴与知识积累实在让人叹服。无论是对画作的赏析,还是对古董物件、家具木料的描写,无不令人惊叹,对各国语言的运用也无令人不适之处。要将这些细节写得妥帖而生动,不知道要耗费多少时间去做功课、去充实自己、完善知识库。无论多有天赋,“认真”总归是有用武之地的。

  《The Goldfinch》读后感(四):The meaning of art and beauty

  This is such a long book to read, almost 800 pages. I bought the kindle version of it, thinking that I would not be able to carry it daily on the train during my commutes. It turned out to be an absolutely brilliant idea. In reality, I finished the book in a span of almost seven months. The first 500 or so pages took me six months, simply because I read it on and off, and multiple times I almost abandoned it altogether. And it finally picked up the pace and I finished the rest in the past couple of days.

  What drew me to the book in the beginning was the painting - the Goldfinch, painted by Carel Fabritius (1622-1654), a pupil of Rembrandt, in 1654, the last year of his short life. It is rather small in size, only about 13 x 9 inches. The goldfinch, or European goldfinch (carduelis carduelis), is tethered by a metal chain in front of its feeding-box, against a whitewashed wall. In the past, the goldfinch was a popular pet and can perform tricks like drawing water from a bowl using a thimble-sized bucket on a chain. This painting was hailed by art historians and critiques as a masterpiece representing the concept of illusionism and trompe l'oeil techniques.

  It is not clear what was the painter's original intention. Why was the goldfinch painted? Apart from being a popular household pet, it was also a symbol of death and resurrection. However, the true reason was not known.

  As for the novel, the painting served as a major character, and the plot centered around the fate of the painting. The narrator, Theo, an orphan from NYC, accidentally got possession of this priceless piece from MET, and his fate forever changed after that.

  The story overall was good, although the ending seemed a bit oversimplified, I hate to say this, but it feels like a typical ending in a Hollywood movie. The characters are vivid, and some are lovable, and you would like to invite them to your own dinner party, like Hobie, Welty, Theo's Mom. I like the relations depicted in this book, friendship, true love, companionship out of convenience, father and son, mother and son, all were dealt with depth yet delicacy,

  One thing I really enjoyed are the insights on various paintings and artists mentioned in the book. For example, on John Singer Sargent: "in portraiture, Sargent always looked for the animals in the sitter (a tendency that, once I knew to look for it, I saw everywhere in his work: in the long foxy noses and pointed ears of Sargent's heiresses, in his rabbit-toothed intellectuals and leonine captains of industry, plump owl-faced children)." Also, the detailed description of the restoration of antique furniture was also intriguing. A broader question the author did bring forward and tried to answer in the end was: What is art? Why is it important to us? What is it in a specific painting that we feel so attached to? Some of the passages at the end of the book were beautiful - "and as much as I would like to believe there is a truth beyond the illusion, I've come to believe that there is no truth beyond illusion. Because, between 'reality' on the one hand, and the point where the mind strikes reality, there is a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic." To me, all art forms, paintings, music, poems, movies, books, all of them are very personal, they are all communications between their creators and their audience. It is like speaking to another soul, and each conversation is different.

  Therefore, to sum up the conversation I had with Donna Tartt through this book, I am impressed with her talents and intelligence, but I was impatient and frustrated in the first half, enjoyed it at times, and felt a bit disappointed in the end. She tends to be obsessed at times on her subjects, although her writing is very skilled, and she had an important message to tell. The problem with this book was, she ran the risk of losing her audience during the process so the message may never get acrossed.

  《The Goldfinch》读后感(五):Goldfinch

  There's no triumph or glory in such a story, only misery, sorrow, regret, and other dark allies in human hearts. But strangely, throughout this long and seductive narrative, you see beauty sparkling, sometimes seems totally unintentional, here and there. We are not master of our lives, most of times, but god puts us in various paths where the mountains and valleys could be fully seen.

  《The Goldfinch》读后感(六):2014年普利策小说奖 – 《The Goldfinch》

  这本书真是来头不小

  2014年普利策小说奖 4/14/2014

  one of 10 Best Books of 2013 by the editors of the New York Times Book Review.

  Amazon best novel 2013 (#1 of the 10)

  hortlisted for 2013 National Book Critics Circle Award

  hortlisted for the Baileys Women’s Prize for Fiction

  花了十足一个多月,把这本书一点点看掉了。是我看过的英文书中花时最长的一本。等我快看完的时候,4/14日,普利策还把今年的小说奖颁给了它。

  这本书的情节其实很简单,描写了一个小孩子在一次意外中得到了一幅名画<TheGoldfinch>,他的一生也因为这次意外而发生了巨大的变化 – 被寄养在朋友家的日子,跟随亲生父亲在LasVegas只有沙子、星星和一个朋友的生活,重回纽约,以及最后名画和他的戏剧性的最后结果(当然了,这个结局很不错的。)

  小说最赞的是文笔,遣词用句太优美了,随便翻开几页,都可能看到美文,如果有心一点,摘抄作为读书比价,学习背诵一下,对自己的英文水平绝对有帮助。

  当然,这本小说也有诟病之处,太长啦!而且有点向意识流方向去了。一不小心就来个二三十页的心里描写,回忆。主人公从A走到B,一路经过小店铺可以回忆,路过个小咖啡馆要回忆,碰到个路人,要思考,朋友一个手势、动作,也可以激起以往点点,所以基本来个100多页,剧情没有任何发展。这本书直到70%处,才有个关键情节的展开,要知道,这本书可是有770+页的厚厚一本。如果是看书追情节的,那建议这本书直接忽略。

  不过我发现,读这样的书有一个好处,一是一拿起书,就平静了(看一大段一大段的心理、感情、回忆描写),再过个20分钟,肯定入睡,哈哈,第二个好处是,这本书看了累了,可以放下个1周,再继续,也不会有问题。

  《The Goldfinch》读后感(七):Entertaining read but no masterpiece

  The goldfinch is Donna Tartt’s third novel in 21 years and the first, since 2002’s The little friend. It is appearing on numerous end-of-the-year top ten lists and has been frequently called Dickensian. Running to a daunting 771 pages, reading the hardcover edition could be physically exhausting. But the story zips through thirteen years of Theo Decker’s life, from the age of 13 to 26, with barely a boring interlude. Is it well-written and entertaining? Definitely yes. But is it the instant classic or masterpiece some critics indicated it might be? I don’t think so.

  Theo loses his mother in a terrorist attack on a museum. With a deadbeat father, he is about to be sent into the foster care system. Desperate to escape that fate, he goes on the run, repeatedly. He is also running from survivor’s guilt and his obsession with the events of the day his mother died. The story moves from the Park Avenue apartment of an old money New York family to an almost abandoned housing development on the edge of the desert in Las Vegas and the musty, cluttered basement of an antiquarian’s shop in the East village.

  A character says that if a piece of art really changes your life, you don’t go, “I love this painting because it speaks to all mankind…It’s a secret whisper from an alleyway. Psst, you. Hey Kid. Yes You.” Donna Tartt is insistent about keeping the focus on the personal. Though the focal point of the story is a terrorist attack, though the characters use iPods and iPhones, though the book is the length of an epic, the larger, outside larger world is not her concern.

  That is no reason to complain when the author can create virtuoso segments, such as the psychedelic drugs and drinks driven haze, in which Theo spends his time in Las Vegas. Theo and his practically parentless, partner in crime, the Polish-Ukranian Boris, could be two of Dickens’ orphan waifs braving the world. Donna Tartt effortlessly fleshes out characters and adds color and texture to Theo’s life. You can feel the tingle of dread, as she depicts Theo steadily closing himself up in a miasma of dread and paranoia. The reading on for the sake of reading, savouring the details, sliding up and down along the emotional registers of the protagonists, therein lies the pleasure of this book.

  Long stretches of the book are devoted to discussing the nature of art in general and specifically, Carl Fabritius’ masterpiece, the painting called the Goldfinch, from which the book takes its name. The painting is weaved into the fabric of the plot. The references sprinkled liberally range from Proust to Kill bill, Shostakovich to Elliott Smith and Panda bear. But in spite of the apparent heavy themes, art, fate, friendship, deception, crime and its dividends (Dostoevsky lite), the whole is something less than the sum of its parts. At the end of Theo’s adventures, I was left feeling a bit short-changed by the mechanical neatness of the conclusion, all the conflicts resolved smoothly, all the threads tied up. I agree that art doesn’t have to speak a universal truth. But it must have depth and layers, so every member of the audience can dig into it and find their own version of the truth. That complexity is lacking here.

  And when Theo finally speaks to the reader in a bizarrely clumsy 10 page epilogue reminiscent of Philosophy 101, epiphanies like “Although I have come to realize that the only truths which matter to me are the ones I don’t, and can’t understand. What’s mysterious, ambiguous, inexplicable” are spelled out painfully explicitly. It’s a shame, considering the heights Tartt’s prose can rise to.

  Though, the Goldfinch doesn’t match up to her haunting debut, The secret history, you can still curl up with it for a few gratifying days. That’s why I will pick up Donna Tartt’s next book, whenever it comes out, whether in five or ten years.

  《The Goldfinch》读后感(八):生命之累,藝術之靈——評《金翅雀》

  入夜,是神話的開始。可是狄更斯之後,當小說以波瀾壯闊的藝術形式發展到極致之後,我們還可以讀什麽?唐娜•塔特的《金翅雀》(Goldfinch,Little Brown,2013)提供了一個選擇,它剛剛成為暢銷書奪得普利策小說獎的典範 。事實上,斯蒂芬•金在一篇轟動文壇的評論中,首先就調侃了那嚇人的厚度,他引述某位評論家戲弄某個大部頭時所說的,「我建議最好別讀它,如果讀就要小心別砸到了腳」。

  唐娜.塔特有美國文壇奇女子之稱。《金翅雀》作為她的第三部著作直追800頁,距她的上部作品整整過去了十二年,也被認為是迄今最宏大、最具份量的一部。十二年來,這位現已年入五旬還單身的作家到底在做什麼?她說她最大的樂趣無外乎花上幾個小時,在字裡行間專注地移動一個逗號。她好像是用小號的畫筆,在巨型畫布上潛心描摹的那種藝術家,任時間淌過,她要讓作品浮上水面的每一只生物,都沉澱出其中的份量。這既是她的風格,也是她的秘訣。

  塔特28歲發表《秘史》後就一炮而紅,38歲才出版《小友》,斯蒂芬•金在她第三部新作出版後熱切地推薦:「每隔十年,也沒有半打的機會遇到《金翅雀》這樣珍貴的作品。這是一部考究的文學小說,在精神與心靈間架起橋樑。我混著恐懼與興奮在閱讀它...你沒機會拿它砸到腳!」塔特也憑藉這部書入選2014年美國《時代》雜誌百大人物榜,認為她「塑造的角色生命正在改變著我們」。她的朋友、作家帕切特對《時代》說,塔特「用藝術和暴力,用無法言說的美與令人戰慄的損失,為《金翅雀》構建了一個龐大的舞臺,然後她用她的才華點亮了那裡」。

  《金翅雀》用老派的手法,講述了一個小男孩偷走同名油畫的故事,自始至終被一股維多利亞式的神秘所籠罩。青年西奧(Theo Decker)在開篇以主人公的口吻娓娓道來:「我還在阿姆斯特丹,多年來第一次夢到了母親...」之後讀者會跟著滑入塔特沉鬱憂傷的筆端,走入西奧的童年:13歲的男孩捲著偶然得到的小幅真跡,與神秘老人託付的古董戒指,搖搖晃晃地從遍地橫屍,已被炸成廢墟的大都會博物館裡跑出來,他再也沒有見過母親。就在剛剛,他們還在一起端詳懷裡這幅小小的畫,「黃色的雀鳥,立在又灰又平的佈景前,有只腳被一根鏈子拴在棲架上」。

  荷蘭畫家卡雷爾•法布里蒂烏斯1654年死於代爾夫特恐怖爆炸案,《金翅雀》是他所遺留的,為數甚少的一幅名作,一直被認為是他在倫勃朗與弗美爾之間的重要關聯。塔特十年前在阿姆斯特丹遇到這幅畫,就為手頭的故事配好了命懸一線的鑰匙。作者好像在蜿蜒的現實深處,挖出了另一塊所在,書寫出一段壯麗的「秘史」。在那裡,藝術穿越時空,選擇與某個個體竊竊私語。

  孤苦伶仃的西奧先是借宿在曼哈頓第四大道的有錢人家裡,之後又被酗酒爛賭的父親帶到了拉斯維加斯。他最終逃回隱沒在曼哈頓南部的古董傢具店——一處充滿狄更斯式想像的角落,幫助神秘老人的合夥人哈比(Hobbie)復原了經營,也成為一名獨具慧眼的舊傢俱交易商。他以為一路都帶著那幅真跡,那是他隱秘的榮耀,他活下去的支點,也將他推向深淵。

  小說的最後一部分陡然變奏。西奧與拉斯維加斯結識的朋友鮑瑞斯(Boris)重逢,兩個青年人展開了激烈的尋畫之旅,他們的友誼也經受著最複雜的考驗。鮑瑞斯這個混著澳大利亞口音,英語里還夾著一半俄語的小夥子,幾乎是書中最惹人喜愛的角色,他隨時蹦出來的幽默總能噴散最嚴肅的痛楚。他們被捲入了阿姆斯特丹的藝術黑市爭鬥,西奧對著酒店裡《國際先驅導報》上的廣告發呆,「超越時空的美與工藝,蒂芬尼祝你聖誕快樂!」

  最終名畫被鮑瑞斯還了回去,西奧忽而想起了哈比的話「美改變著現實的種子」。書的尾聲大膽地顯示了塔特作為一名奇女子的野心,她借西奧的思索不斷揭示藝術與心靈的關係:「在這幅堅強不屈的小畫像裡,那藏在小鳥身體裡的人性無法被忽略,端莊,脆弱。我們是囚徒對著囚徒」...「在現實與衝撞心靈的現實之間,有一處中間帶,有一處彩虹邊緣,其中美可以應運而生。兩種質地不同的現實表層混淆、模糊,卻給予了生活所不能給予的-這就是所有藝術,所有不可思議發生的空間」。

  這幅畫就是主人公西奧可以超越生活的秘密。它還穿越時空,點亮了塔特的《金翅雀》,讓這部小說一出爐就遠遠超越了暢銷的範疇。

  (刊於香港報章)

  《The Goldfinch》读后感(九):风光霁月地向艺术告白

  作为一个流俗派读者,是在看到本书得了Pulitzer Prize for Fiction之后才太特地找来读的,和很多人的感受一样:读、得、很、慢!不过幸亏过去一年受过Shantaram、The Fountainhead等几本大部头的洗礼,在延绵了几周之后(当中还翻看了几本中文小说)才总算读完了。

  这本书从阅读乐趣上来说实在有点慢热,作者又掉书(画)袋得厉害,其实不该成为畅销小说。批评这本书的人觉得它情节拖沓、不知所云,就差没把它比作传统的韩国日日剧,不管从哪个泡菜餐桌离开都能精准地返回澡堂子场景。而作为曾经不理解这本书、现在又爱不释手的我而言,她代表了一种细腻的美,把艺术的灵性春风化雨入Theo那十多年的人生经历之中,让一个孤儿的生命在灰败与瘠薄中大胆透出斑斓与厚重。那些似乎没有情节推进的每一页,都以微妙的主观视角走进纽约、拉斯维加斯、阿姆斯特丹的角角落落,也都悄然呼吸着书中角色的呼吸,如果那些貌似乏味迟滞的书页消失,主角也就活生生失去了性命啊。

  我们的主角Theo,尽管先后失去了父母双亲,还是足够幸运的,许多有趣的人不断走进他的生命:令他一遇误终身的Pippa、神秘又慈爱的Hobbie、给予他温暖的Barbour一家、永远不按常理出牌的好友Boris……当然,怎么能不提Boris?虽然不是一个完美的人物,这个身份背景过于复杂的小坏蛋却已经取代Shantanram里的Prabaker成为我心目中逗比No.1了,之前在读的时候摘了类似将都柏林误作迪拜的小段子放在微博上,引起笑声一片。而Theo这个当仁不让的主角就复杂多了,早年的遭遇一直乌云盖顶,他甘于让自己生活在矛盾中,艺术和药物的结合不时会让我想起The Time Traveller's Wife里的Henry,敏感却又诱人靠近,可惜Theo的“小女神”Pippa和他一样受PTSD之苦,两颗心无法熨帖在一起。相较之下,Kitsey的形象就模糊太多了,可见着墨深浅并不仅仅体现在戏份多少上。

  说到戏份,这幅名为The Goldfinch的小画自然少不了用来点题,这不仅仅是一只毛茸茸的浅黄色小鸟,恐怕更是Theo身上一抹迟来的胎记。他的逐年成长加深了人与画彼此间的羁绊,没有这只金翅雀,Theo是没法走上他的救赎之路的。整本书都像是喷上了一种名为“艺术”的香氛,无论是恐怖的爆炸现场、繁忙的曼哈顿街道还是沉静的古董家具店,都有挥之不去的香气牵引着Theo,把他引诱至对生命的回望与期盼,就像文中所引用的那句尼采:“We have art in order not to die from the truth.” 所以看到后来故事被拉到了阿姆斯特丹——也就是画家Fabritius追随伦勃朗学画之处——当Theo决意放手也放下了心结,我也不禁为这样带着一丝残缺的圆满舒了口气,甚至产生了一种“这小子之前积攒的那么多生离死别原来就是为了让他在最后一刻开挂啊”的错觉,最后救了他的,不是常见的爱或者希望,而是艺术——沦肌浃髓全是艺术。

  最末的那一段略显冗长的独白有不少闪光之处,似乎是Donna Tartt女士对着镜子在归结自己十年磨一剑的心路历程,她显然对这样风光霁月地向艺术告白很有自信。仔细说来,书中未必字字玑珠,作家的精心雕琢多少也有迹可循,但难得有一股浑然天成的艺术底气,这正是一个多世纪前Oscar Wilde那种"art for art's sake"的气魄,或是更早Emily Dickinson那种遗世而内省的姿态,因此越读到后来越是欣欣然。(如此看来,今年的读书计划必然要加上作者的两本前作啦。)

  .S.在Wikipedia的Carel Fabritius条目里看来了这段:“He died young, caught in the explosion of the Delft gunpowder magazine on October 12, 1654, which destroyed a quarter of the city, along with his studio and many of his paintings. Only about a dozen paintings have survived. According to Houbraken, his student Mattias Spoors and the church deacon Simon Decker died with him, since they were working on a painting together at the time.” 一来全然契合了开篇的爆炸场景,二也为主角Theodore Decker的姓氏找到了依据。

  .P.S.之前看到一些媒体在介绍本书时竟写着“小说《金翅雀》的故事发生在维多利亚时代”、“14年前,8岁的西奥和母亲在纽约大都会艺术博物馆受恐怖袭击”,我差点一口老血喷在亲爱的KPW上,看来有眼光的出版社得抓紧引入出版中译本了呢。

  《The Goldfinch》读后感(十):有些鸟儿注定无法飞翔

  长篇通常很难读,为了吸引读者读下去而不是被书的厚度吓到,Donna Tartt的《金翅雀》用了三个suspense来持续调动读者的注意力。第一个suspense,是Theo希望Barbour夫妇收养自己,而自己的酒鬼父亲突然出现的时候;第二个,是Theo的父亲发生车祸,为了避免进入政府的收养系统,未成年的Theo逃离拉斯维加斯;第三个,是成年后的Theo和Boris在阿姆斯特丹自卫杀人后。这三个suspense决定了主人公命运的走向,一个个客观事件,种种情绪,主人公最终和命运达成某种意义上的和解。

  这是一本阴郁低沉的书,关于命运的不可抗力和机械,主人公Theo就像他偷走的那副画中的金翅雀,大爆炸失去母亲之后,人生就被锁链捆绑,再也飞不起来。未成年的大部分时期,他的每一步都要依仗周遭的环境, 小心翼翼,仰人鼻息,上东区的Barbour夫妇会不会收养他,父亲会不会突然失控,Hobie会不会让逃回纽约的他住在古董店里。即使成年后,Theo有了选择的权利,他仍然是过去的产物,和Kitsey恋爱订婚,更多的是对过去熟悉生活的留恋和Barbour夫人让他感受到的母亲般的温暖。

  Theo不是一个正面的主人公,他吸毒,意志消沉,欺骗客户,甚至杀了人,但你仍然会爱他,同情他,为他流泪。他是活在过去的人,他让你知道,什么是人类的困境和绝望,向往光和温暖,但是不一定能从深渊里爬起,也许深渊本身就是救赎。就像Theo最后的思考,与其挣扎努力做一个看起来幸福的正常人,是不是像Boris那样“throw yourself head first and laughing into the holy rage calling your name"会更好?

  书中我最喜欢的片段是Theo和Boris在浩渺的拉斯维加斯夜空下告别,告别前周围环境的紧张和慌乱,告别时“来不及了,也许以后我们再也不会相见” 的一吻,两个少年就此各奔东西,命运无情的齿轮轰隆向前,但是读者一定都相信,他们谁也不会忘掉那段荒凉放纵日子里的相互取暖。

  在Theo打算自首前,有段关于他所做的母亲的梦的描写,那次他终于在梦中见到了他的母亲。吸引我的不是梦中的相见,而是之前的多次梦而不见。我想作者一定有过梦魇经历,这段描写让我想起自己幼年和青少年时期频繁出现的三个梦。虽然没有太大的相似,但感觉很相同。一个我幼年时期做的梦,昏天暗地,天上掉下一张大网,向我四面包抄过来,绳结之粗,我能看到拧成绳的每根线,我拼命跑,想要挣脱那张大网,但是好像永远也跑不出,而大网永远悬在我头顶。青少年时期的其中一个梦,世界变成一望无际的幽深的绿水,绿水下面有我极为害怕的未知的人和物,我在水面上跳, 不想掉进那令我恐惧的水中,每次都没有掉进去,但是每次那绿水都在,等着我。另外一个梦,我也在逃,有人在后面举着大刀追我,我拼命地从一个屋顶跳到另一个屋顶,感觉风从耳边呼呼而过,每次梦中,我都不敢回头看,所以我永远不知道那副面孔,我永远在前面跑,那人永远在后面追。

  拥抱黑暗,接受无情的命运,也许是另一种出路。

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