数十年内,围绕伦敦编就的蹩脚小说层出不穷,风流传奇泛滥成灾,但伦敦本身真正重回到镁光灯下,还是在20世纪80年代这座城市重振旗鼓之后。马丁艾米斯的《伦敦场地》大获成功,这部黑色幽默叙述着欲望,以及暗潮汹涌的底层生活。
As London has grown in all dimensions, authors have chosen to present a segment of itrather than a Dickensian sweep. The most pioneering modern London novel was HanifKureishi s The Buddha of Suburbia , set amid one of the many ethnic and immigrantcommunities that fictionand many Britonshad ignored for decades. It introduced readersto the city s southern outskirts, and threw in sex, drugs and rock n roll.
随着伦敦全面发展,作家不再像狄更斯一样力求面面俱到,而是择其一二展开阐述。最先锋的现代小说当属汉尼夫库雷什的《郊区佛陀》,书中的主角是伦敦众多种族移民群体中的一支,多年来一直为小说界和许多英国人忽略。这部小说引领读者深入伦敦南郊,其间穿插着性,毒品与摇滚乐。
A new genre was born. The multicultural and dysfunctional families of Zadie Smith s WhiteTeeth brought celebrity to London s lesser-known boroughs. Like Dickens scharacters, Ms Smith s are preoccupied with rootsyet class and identity had come to meansomething quite different.
一种新的体裁应运而生。扎迪史密斯的《白牙》中分崩离析的多文化家庭使伦敦不为人熟知的街区出了名。与狄更斯笔下的人物一样,史密斯女士刻画的角色也一心牵挂着根系所在但阶级与身份的内涵已大相径庭。
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