“唐纳德·巴塞尔姆” 的 “名句” 列表

Kaleidoscopically mesmerizing... Powerfully illuminating -- Village VoiceFrom New York to Tokyo to Copenhagen to the Radiant City of Le Corbusier, this sophisticated and surreal collection of short stories and brief visionary texts takes us on an exhilarating tour of the modern urban -- and psychological -- landscape. Alexandra, a designer of artificial ruins, creates a ruined wall with classical columns and a number of broken urns for a park in Arizona; a journalist for a magazine called Folks sets out to interview nine people who have been struck by lightning; and a retired messman steals fifty-three mothballed ships from the U.S. government.Like a master magician, working with control and illusion, Barthelme breaks all rules. Manipulating language with irony, humor, and imagination, he captures the essence of our disorienting times.Dizzying and enjoyable -- Publishers WeeklyEnticing. . . flecked with charm, surprise, and challenge -- Kirkus Reviews

Experimentation with the absurd, both in theme and technique, is by no means a totally new development in literature, especially for those readers familiar with the works of Camus, Kafka, Beckett, Genêt, and Robbe-Grillet. Like these writers, Mr. Barthelme satirizes and mimics most of the clichés of our popular culture, and, through the predicaments of his characters, makes the reader ask Why? Yet these predicaments, although bizarre, inane, and usually surrealistic, do not necessarily contain the morose connotations of most writers of the absurd. For example, in one tale the narrator is thirty-five years old, six feet tall, with the logic and reasoning of an adult. He is in the sixth grade, where Miss Mandible, his teacher, is frustrated in her desires to have an affair with him because, officially, he is a child!These imaginative stories of dark humor, some of which have appeared in The New Yorker, are to be interpreted on many levels, and offer refreshing and thoroughly exciting reading.

Donald Barthelme's new book of stories, Great Days, is perhaps most notable for the presence of seven formally related dialogues, The Crisis, The Apology, The New Music, Morning, On the Steps of the Conservatory, The Leap, and Great Days, which introduce a new aspect of his work. In these restless, possibility-haunted colloquies, stripped of everything save voices, changing pairs of women and pairs of men range an emotional terrain whose poles are hope and memory. Extravagant, profane, and comic, the dialogues are a considerable achievement, testing the possibilities of form and extending our engagement with the world.In other stories Barthelme explores the tragic, ambiguous relationship between Cortés and Montezuma, uncovers units of the Swedish army on maneuvers in Manhattan, offers a country-music version of Mozart's Abduction from the Seraglio, describes a heroic cutting contest between a king of jazz and a young challenger, and provides an account of a group of zombies out on a wife-buying expedition.As Philip Stevick wrote in The Nation, Donald Barthelme's stories stand as touchstones for narrative art of the last two decades. Great Days is an important addition to an already impressive body of work.

A fifty-three-year-old architect with a tragic sense of brick, Simon takes a year's sabbatical from his job and his marriage and moves to New York. The apartment he sublets is spacious and empty, so when he meets three gorgeous lingerie models -- half his age and a little down on their luck -- at a Lexington Avenue bar, it seems perfectly natural to invite them to move in. The situation, they point out, has the structure of a male fantasy. Simon's houseguests prove to be surprisingly perceptive and intelligent, but they are each a little lost, struggling to find their way in that difficult city. Simon, by turns doting and inattentive, tempted and horrified, offers them his skewed philosophies of life and love. Privately, he mourns his age, his stalled career, his diminishing sexual prowess, and the inevitable day when the women will leave him.

唐纳德·巴塞尔姆Donald Barthelme（1931年4月7日—1989年7月23日）是美国后现代主义小说家，代表作是《白雪公主》。他一生写了大量的短篇小说，并曾从事新闻记者、杂志编辑等工作，并曾在纽约城市大学任教。虽然以短篇小说文明，巴塞尔姆一生中亦著有四部中长篇小说：《白雪公主》（Snow White），《死去的父亲》（The Dead Father），《天堂》（Paradise）以及 The King。他的一百多篇短篇收集在《Come Back, Dr. Caligari》、 《Unspeakable Practices, Unnatural Acts》《City Life》和《Sadness》等书中。另外，它的大部分作品汇集在了《故事六十篇》（Sixty Stories）和《故事四十篇》（Forty Stories）之中。巴塞尔姆还著有一些非小说书籍，如：《Guilty Pleasures》、《Not-Knowing: The Essays and Interviews of Donald Barthelme》。并和女儿一道写了儿童文学作品《The Slightly Irregular Fire Engine》，并因此在1972年获得美国国家图书奖。巴塞尔姆的短篇小说作品通常只重视偶然和片断，而并传统、完整的叙述并不多见。一些作品背离了小说传统表现方式，甚至在一些作品里采用大量非文字的表达方式例如插入让读者难以捉摸的图片或者单调的色块。人们对他的作品有褒有贬。褒者认为巴塞尔姆的作品思维方式奇特、观点独到，贬者认为他的作品毫无意义不能理解。他也是美国最富有影响力的后现代主义作家之一。

The Dead Father is a gargantuan half-dead, half-alive, part mechanical, wise, vain, powerful being who still has hopes for himself--even while he is being dragged by means of a cable toward a mysterious goal. In this extraordinary novel, marked by the imaginative use of language that influenced a generation of fiction writers, Donald Barthelme offered a glimpse into his fictional universe.

白雪公主是家喻户晓的童话故事，本书中的白雪公主完全摆脱了童话的模式，成了一个普通的现代女性，有烦恼，有心事。会压抑，也会有妒忌心，还充满了女权意识。此书充满了一种黑色幽默，堪称荒诞派文学的经典之作。《白雪公主后传》是美国文学大师巴塞尔姆最重要的作品。在大师的笔下，白雪公主已成为一个普通的现代女性，是个有七情六欲的真实人：有压抑感，落魄感和妒忌心，也仍然想入非非，做着与现实生活格格不入的童话中的梦。她仍然希望像原来那样，成为关注的中心。她已经厌烦了这个家和自己的家庭角色，对歧视女性的社会忿忿不满，听厌了矮人们喋喋不休的陈问滥调，因此内心充满改变现状的渴求。绝望中，她甚至盼望着能有一次带性丑闻的冒险，能打破单凋乏味的生活……作家用貌似疯狂的叙述来表达一种玩世不恭的讥诮，以反映当代人滑稽无奈的众生相。