The Charioteer

Renault, Mary

出版时间

2013-11-07

ISBN

9781844089505

评分

★★★★★
书籍介绍

After enduring an injury at Dunkirk during World War II, Laurie Odell is sent to a rural veterans' hospital in England to convalesce. There he befriends the young, bright Andrew, a conscientious objector serving as an orderly. As they find solace and companionship together in the idyllic surroundings of the hospital, their friendship blooms into a discreet, chaste romance. Then one day, Ralph Lanyon, a mentor from Laurie's schoolboy days, suddenly reappears in Laurie's life, and draws him into a tight-knit social circle of world-weary gay men. Laurie is forced to choose between the sweet ideals of innocence and the distinct pleasures of experience.

Originally published in the United States in 1959, The Charioteer is a bold, unapologetic portrayal of male homosexuality during World War II that stands with Gore Vidal's The City and the Pillar and Christopher Isherwood's Berlin Stories as a monumental work in gay literature.

Mary Renault (1905-1983) was born in London and educated at St Hughs, Oxford. She trained as a nurse at Oxford's Radcliffe Infirmary, where she met her lifelong partner, Julie Mullard. Her first novel, Purposes of Love, was published in 1937. In 1948, after North Face won a MGM prize worth $150,000, she and Mullard emigrated to South Africa. There, Renault was able to write for...

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AI导读
核心看点
  • 本书是英国文学史上第一部公开出版且未删减的男同性恋题材小说,具有极高的历史与文学地位。作者玛丽·瑞瑙特以二战后英国为背景,大胆挑战了当时严苛的社会道德规范,将反战和平主义者与同性恋者的边缘处境并置,展现了超越时代的勇气与人文关怀,为后世酷儿文学奠定了重要基石。
  • 故事聚焦于退伍军人劳里在疗养院期间与和平主义者安德鲁之间纯洁而含蓄的情感萌芽,以及随后与昔日导师拉尔夫之间充满张力与世俗诱惑的关系。小说深刻探讨了理想主义与经验主义、纯真与世故之间的冲突,展现了主角在道德困境与情感纠葛中的痛苦挣扎与最终妥协,心理描写细腻入微。
  • 作者运用柏拉图《斐德罗篇》中灵魂战车的隐喻贯穿全书,象征人物内心理性与欲望的激烈博弈。文本不仅是对个人情感经历的记录,更是对战争创伤、身份认同及社会偏见的深刻反思。尽管部分读者认为结局晦涩且主角行为令人不适,但其对人性复杂面的真实刻画与文学价值仍获高度认可。
适合谁读
  • 对英国文学史、LGBTQ+文学起源及二战后社会文化变迁感兴趣的读者。本书作为具有里程碑意义的作品,适合希望了解早期同性恋文学发展脉络、探讨社会禁忌与个人自由冲突的学术研究者或深度文学爱好者,提供珍贵的历史视角与文本分析素材。
  • 偏好细腻心理描写、复杂人物关系及严肃文学主题的读者。玛丽·瑞瑙特以古希腊历史小说闻名,但其现代小说同样具备极高的文学造诣。适合能接受缓慢叙事节奏、深入剖析人物内心矛盾、不追求爽文式情节,而是愿意沉浸于情感伦理困境与哲学思辨的成熟读者。
  • 对柏拉图哲学、心理学及人性阴暗面探索有浓厚兴趣的读者。书中大量引用古典哲学隐喻,探讨欲望、补偿心理及自我认知的扭曲。适合希望从心理学角度分析人物行为动机,理解战争创伤对个体人格影响,以及反思道德相对主义与绝对主义冲突的读者群体。
读前提醒
  • 请注意,本书存在不同版本差异。早期版本可能因审查制度而删减关键情节,导致逻辑断裂或人物动机不明。建议读者务必寻找未删节版或注明包含完整内容的版本进行阅读,以确保获得作者原意的完整体验,避免因文本缺失而产生对人物行为的误解或阅读障碍。
  • 阅读时需克服语言与文化隔阂。作者文笔典雅但晦涩,包含大量英国特定俚语、军事术语及哲学引用,非母语读者可能感到吃力。建议配合注释版或先了解二战背景、英国阶级文化及柏拉图相关哲学概念,以便准确理解人物对话背后的隐喻与社会批判,避免浅层误读。
  • 请做好心理准备面对不讨喜的主角与无解的结局。主角劳里的自私、懦弱与背叛行为可能引发读者强烈反感,但这正是作者对人性弱点毫不留情的揭露。读者应摒弃传统道德审判视角,尝试理解战争创伤与社会压迫下个体的异化与扭曲,接受作品对人性复杂性与悲剧性的深刻呈现。
读者共识
  • 读者普遍惊叹于作者玛丽·瑞瑙特超越时代的思想深度与写作勇气,认为其在恐同氛围浓厚的年代敢于直面同性恋议题并批判战争与偏见,具有极高的历史价值。尽管部分情节因版本删减或叙事晦涩引发争议,但其在文学史上的开创性地位及对人性的深刻洞察仍获广泛尊重与认可。
  • 多数读者认为主角劳里性格缺陷明显,其自私、虚伪及对安德鲁的背叛令人难以共情甚至反感,但同时也承认这是作者对人性阴暗面的真实刻画。读者对拉尔夫这一角色评价两极,有人欣赏其现实与强大,有人谴责其操纵与伤害。整体而言,读者认为作品对情感张力的描写极具艺术感染力,尽管结局令人压抑。
  • 读者共识指出,本书不适合寻求轻松阅读或浪漫爱情故事的受众,其沉重主题、晦涩文风及悲剧结局可能带来阅读障碍。然而,对于能深入理解文本的读者,其心理描写的精准度、哲学隐喻的巧妙运用及对时代创伤的反思被视为极高文学成就。许多读者表示虽感痛苦但仍被其艺术价值震撼,并计划重读以深化理解。

本导读基于书籍简介、目录、原文摘录、短评和书评生成,不等同于全文精读。

精彩摘录
  • "The party had warmed up by this time. A momentary detachment came upon Laurie as he looked on. After some years of muddled thinking on the subject [of his homosexual desire], he suddenly saw quite clearly what it was he had been running away from; why he had refused Sandy's first invitation, and wha"
  • "They had come to a bridge over the river. The ground was high here, the river ran between cliffs. Laurie thought how in peacetime, from here, the town would have lain below them like a starry sky. Now, as the bridge gave gently on its chains in the wind that swept along the gorge, there was only a d"
  • "In seven years, thought Laurie, every cell in one's body has been replaced, even our memories live in a new brain. That is not the face I saw, and these are not the eyes I saw with. Even our selves are not the same, but only a consequence of the selves we had then. Yet I was there and am here; and t"
  • "There was a long silence after he had spoken. Then Ralph said, with the crudity of deep feeling, "You've got someone there." "Yes," Laurie said. Voices came through the shell now; kindness and loyalty tapped remindingly on the walls. He said dully, "But you couldn't have known that.""
  • "Ralph said, "So this is your house." "Yes. It's been mine for four hours, now...It looks different." Ralph stood looking in silence, and then said quietly, "It couldn't be different." They went up the path together, not speaking till Ralph said, "You'll keep this place?" "If I can." "You must. It go"
  • "...Only pressure of circumstances made him admit even to himself that he thought Laurie strikingly handsome...."
  • "...Laurie's Tacitly acknowledged position as a leader of public opinion had been founded not on spectacular escapades, which in real life are often a nuisance, but by a quiet positiveness and a knack of settling other people's quarrels without getting involved in them..."
  • "He had got to the door. His footsteps must have been heard by now; there could be no more procrastination. He knocked. "Come in," Said Lanyon briskly. At this point Laurie ceased to feel any awkwardness. Fright had swallowed everything. Concerned only not to show it, he walked in. Lanyon was sitting"
作者简介
Mary Renault (1905-1983) was born in London and educated at St Hughs, Oxford. She trained as a nurse at Oxford's Radcliffe Infirmary, where she met her lifelong partner, Julie Mullard. Her first novel, Purposes of Love, was published in 1937. In 1948, after North Face won a MGM prize worth $150,000, she and Mullard emigrated to South Africa. There, Renault was able to write forthrightly about homosexual relationships for the first time - in her masterpiece, The Charioteer (1953), and then in her first historical novel, The Last of the Wine (1956). Renault's vivid novels set in the ancient world brought her worldwide fame. In 2010 Fire From Heaven was shortlisted for the Lost Booker of 1970.
用户评论
历史
看到最后真的非常心疼Ralph。一开始没怎么看仔细,以至于到中间喜欢Laurie和Andrew,然后后知后觉地意识到Ralph几乎完美,对Laurie是真爱,反而觉得Laurie太犹豫不决模棱两可了。
无与伦比地具象化了人的精神世界,笔下人物的情感如同看得见线条的引力场,细腻哀伤。它无意展现时代全景,只是时间洪流中某些特定时刻、特定人群的横断面,确实像快照(snap shot)。Laurie这个角色是挺不讨喜的,感觉跟她的写法有关,也不全是设定问题,相较于几乎弥漫全书的与Ralph之间那种浓墨而非重彩的情感张力,他和Andrew之间的感情反倒显得朦胧而寡淡,也使他最终的选择难免显得缺乏情感逻辑,Ralph则完美得有些失真。全书看下来,最喜欢的人物竟是Alec,看到他最后对Laurie说“用用你的脑子,如果你还有的话”,竟感到莫名的解气,最后就连Bunny都感觉坏得真实,我一定是没有get到玛丽奶奶的深意。
这篇真的很晦涩,看评论有提到这版有删节,不知道是不是因此影响了阅读
发烧在家两天,读完全书。我以后一定会再重新读一遍,或许更多遍。惊叹于Renault对人物的处理,有意思的是,Andrew是Laurie认为“最真实”的人,作者却只从Laurie的主观视角进行描写,反而显得遥远而理想化,并不令人厌烦,但越看越和其他的主要人物有所区别。微妙精准的心理描写和具有英国特色的人物对话也是值得琢磨的地方,看到外网上有美国读者评价说单是拨开层层英式对话的外衣看懂人物想表达什么就花了不少功夫(扶额)
💔..make sense
英国第一部queer小说(《莫瑞斯》作者生前拒绝出版,美国早几年出版了vidal的《城与柱》),也是Renault最后一部现代小说,写作时间是在剑桥左派同性恋者被KGB策反叛国曝光导致恐同进一步严重的50年代初。故事背景是敦刻尔克撤退之后,把以爱国名义歧视贵格会和平反战者和以道德名义歧视同性恋并置,很勇敢了。小说里面到处可见Renault超越时代的思想闪光,甚至讨论到了男权社会必然导致同妻、性向政治化等等,70年后再看也未过时。在“limbo”的草地上读《斐德若篇》那段太美好,和《莫瑞斯》里对柏拉图的粗暴理解比起来Renault才是真的精神希腊人啊
…需要找时间重读一遍
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