SILENT WOMAN, THE(ISBN=9780679751403) 英文原版 chm umd 阿里云 下载 夸克云 pdf azw3 kindle

　　From the moment it was first published in The New Yorker, this

brilliant work of literary criticism aroused great attention. Janet

Malcolm brings her shrewd intelligence to bear on the legend of

Sylvia Plath and the wildly productive industry of Plath

biographies. Features a new Afterword by Malcolm.

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一个人，不管他多么受人欢迎和崇拜，主要还是和他自己相处。假如他没法和自己相安无事了，假如他被某件他为保持自己在自己心目中的形象应该去 做而又没有去做的事情折磨，那他可真像是“不幸福的精灵、 流亡的幽魂，高高地飞翔在罪恶的世界之上”。我还明白了另外的东西。有很多小道和斜坡可以通往道德 的顶峰。但是一个人可以独自到达那顶峰，至多也只需一个朋 友的帮助，就像米特卡和我爬树那样。

我知道小说和政治截然不同，政治只能以夸夸其谈的种种许诺描画一个乌托邦式的未来，而小说却能按生活的本来面目表现人生百态。

我们每个人都是形单影只地活着，一个人越早意识到所有的加夫里拉们、米特卡们和“沉默者”们都是可以舍弃的，就越能更好地活下去。自己是个哑巴也没有什么关系；人们根本就没法彼此理解。他们互相吸引或发生冲突，互相拥抱或彼此践踏，但每一个人想到的只是他自己。他的情绪、记忆和理智都把他和其他的人分开，就像茂密的芦苇把河道和泥泞的河岸有效地隔开一样。人与人彼此相望，像环绕我们的一个个山峰一样，互相被山谷隔开，因太高而没法忽略，因太低而够不着天堂。

我坐到了地上。我在跌落的祈祷书下面发出的最后那声惊叫，仍然在我耳朵中回响。那将是我此生最后一次叫喊吗？我的嗓音是不是在和它一起逃离，像辽阔水塘中的一声迷失的鸭哨呢？它现在在哪里呢？我能想象出我的嗓音在教堂高高隆起的屋顶下孤单地飞翔。我看见它撞在冰冷的墙壁和那些圣画上撞在教堂厚厚的彩色窗玻璃上，太阳光简直没法穿过那些玻璃。我看见它漫无目的地穿过教堂内的走廊，在多声部的管风琴声和人群歌唱的声浪驱逐下，从祭坛飘向布道坛，从布道坛飘到楼厅，又从楼厅飘回祭坛。

脆弱孩童尚未健全的思想里对自身最绝望而凄美的想象...

我离教堂越来越远，进入了逐渐茂密的森林。从太阳从未照到过的黑土中伸出很久以前被砍倒的树干。这些树柱子现在都成了残废，没法为它们那低矮而残缺的身体披上绿衣。它们孤孤单单地立着，驼着背蹲在地上，没有能力向上追逐阳光和空气。没有任何力量能改变它们的状况，它们的汁液没法升上树枝和叶片。它们的残干上那些低矮的大节瘤像死去的眼睛，在用看不见任何东西的瞳仁永远盯着它们活着的兄弟们摇曳的华冠。它们永远不会被风拔掉和摇动，但是会慢慢地腐烂，成为湿气的残缺的牺牲品，成为大地的腐土烂泥。

只有那些对仇恨、贪婪、复仇或者为某种目的折磨他人怀有足够强烈的激情的人，才能和妖魔鬼怪一拍即合。而其他的人一心思混乱的人、漫无目的的人、迷失于诅咒与祈祷之间的人、徘徊于酒馆和教堂之间的人一一只能孤单地挣扎一辈子，既得不到上帝的垂青，也得不到魔鬼的帮助。

媒体评论

　　Rich and theatrical.--The New York Times Book Review.

　　"The Silent Woman is one of the deepest, loveliest, and most

problematic things Janet Malcolm has written. It is so subtle, so

patiently analytical, and so true that it is difficult to envisage

anyone writing again about Plath and Hughes. She is the cat who has

licked the plate clean. It has an almost disabling authority about

it, a finality like a father's advice."--James Wood, The Guardian

(London)

　　"Not since Virginia Woolf has anyone thought so trenchantly about

the strange art of biography."--Christopher Benfey, Newsday

　　"There is more intellectual excitement in one of Malcolm's riffs

than in many a thick academic tome . . . She is among the most

intellectually provocative of authors . . . able to turn epiphanies

of perception into explosions of insight."--David Lehman, Boston

Globe

　　"It is the best-written and most stirring polemic of the year.

Completely brilliant."--David Hare, The Times (London)

　　"The Journalist and the Murderer was a deeply thoughtful exposure

of the moral problems of in-depth journalism . . . [The Silent

Woman] contains some of the best thinking I know on both the

practical and the philosophical problems of biography."--Bernard

Crick, New Statesman & Society -- Review

　　The Silent Woman is a book that sets out to be provocative and

succeeds. It is superbly written, flowing like a piece of music

from theme to theme, recapitulating here, changing key there,

always disguising the complexity of its underlying construction. --

The Independent (U.K.), Lucasta Miller

　　The Silent Woman is one of the deepest, loveliest, and most

problematic things Janet Malcolm has written. It is so subtle, so

patiently analytical, and so true that it is difficult to envisage

anyone writing again about Plath and Hughes. She is the cat who has

licked the plate clean. It has an almost disabling authority about

it, a finality like a father's advice. -- The Guardian (U.K.),

James Wood

　　In spite of the fact that there have been five biographies of

Sylvia Plath along with other shorter accounts of her life and

poetry, Malcolm's brief, pungent contribution is provocative,

original and welcome. I don't think any reader of the book will

ever be able to regard the genre of biography in quite the same

light again. -- The Times (U.K.), Anthony Storr