凯里总爱在故事中给角色各种宏大任务和各种精细的手艺。在《奥斯卡于露辛达》一书中,他描写了一座由玻璃和铁制成的教堂的构想,并且让这个构想随着主人公的旅程顺水而下,直到它的目的地,直到故事的最终;同样的,在小说《奥利维尔与鹦鹉》中,他又痴情于仿品工艺,贯穿始终。在《泪水制剂》中,钟表发条永远忠实的滴答声与血肉人类最终的忘弃形成了鲜明对比。
Two stories intertwine. One strand, set in 2010, follows Catherine, an oddly elegant tallwoman with seaweed hair. She muses on her lover s fate, trapped beneath the earth, all hisbeauty turned into a factory, producing methane, carbon dioxide, rotten egg gas, ammonia.She drinks vodka and rages at the weather, hail and hate, the entire back garden stoned todeath.
小说分两个故事面,有如两缕丝线般难解难分。一条,是追随着凯瑟琳的,定点在2010年。凯瑟琳,这个一头海藻般头发的女人,这个奇妙而优雅的高挑女人,沉浸在爱人的命运中不可自拔,那美丽的生命深陷在地底,如同化工厂一般制造着沼气、二氧化碳、硫化氢和氨气她用伏特加麻醉自己,她为坏天气而暴怒,冰雹夹着憎恨,整个后花园犹如石刑后的死寂。
A second narrative traces the clock s original manufacture. Henry Brandling, a sorrowful,rich Englishman, travels to Germany to commission a mechanical marvel so wondrous itwill raise his consumptive son from his sickbed.
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