![重生三部曲 - [英 ]派特·巴克](https://static.book345.com/covers/s/9787208156197.jpg)
☆写给激荡时代的悲悯史诗
☆二十世纪末英国小说中极少数真正的大师杰作
☆荣获布克奖、卫报小说奖
☆入选布克奖40周年最佳小说 | 十大历史小说（《观察家报》） | 《写作这回事》推荐书单
☆入选《中华读书报》2019年年度十大好书：巴克夫人厚逾八百页的《重生三部曲》是非凡的文学杰作，具备一切达成这一标准的优秀品质。它也远不只是写战争创伤的战争小说和写心理诊疗的心理小说。“现代史诗”这顶桂冠如今固然已遭滥用，戴在它头上却理所应当。但更令人惊奇的是它制造惊奇的能力。它执意而且乐于打破文体、阶级和性的界限或禁忌，显露出勃勃的雄心和圆熟的技艺。考虑到1995年的布克奖已是足够重大的荣誉，中文版长达二十四年的迟到便更令人惊奇。
……战争、性别和弹震症之间的有机联系，在情绪压抑、男性气概和心理创伤之间构建出了一条可悲的通道。传统的战争文学用抽象的、丰碑式的社会记忆，代替具体的、创伤性的经验。西方的鸡血战争文艺作品更是充斥着对民族主义和男子气概的过度渲染。但从个人层面上讲，巴克告诉我们，战争没有胜利者。
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“很奇怪，对不对？尽管不支持战争，尽管对将领没信 心，尽管堂而皇之的大话一堆，战场照样像是唯一干净的地方，令人向往。”
“对。天啊，你说的对。”
1917年8月，爱丁堡，克雷格洛卡精神病院。拒战的萨松，失语的普莱尔，口吃的欧文……他们经医生治疗成功才能重返战场。一个吞噬青年的社会是否仍值得效忠？
1918年6月，伦敦，军需部。战时体制靠树立打击异类提振士气。有人出卖了普莱尔反战的挚友，有人发现了曼宁上尉的秘密……牢狱的门上画着一只眼，谁在监视谁？
1918年11月。法国—伦敦—南太平洋。顾念同袍、不愿独活的普莱尔重回战场，见证最后的战役打响。士兵在倒下，幽灵在飘荡。无间伤痛里，救赎在何方？
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小说家可以用一种更开放的方式来处理当代困境——通过书写历史，这种人们不熟悉的幌子来呈现，人们不会自动知道自己对此的看法。如果你直接处理一个当代问题，有时你所做的只是激活人们的偏见。我认为历史小说可以成为通往现实的后门，这极有意义。
——派特·巴克
用全新的视角看一战如何影响了人类，如何影响了男人和女人，士兵和平民。
——A. S. 拜厄特
派特·巴克扩充当代英国小说之广度，功不可没。《重生》发人深省，以乱世为背景，针砭时弊、唤起良知。
——《纽约客》
《重生》三部曲所讨论的问题是深刻的，如正常神志的本质、阶级政治、战争与性，在无意义的杀戮中挣扎着保留人性。作者用想象力诗意地关照现实。
——《出版人周刊》
巴克的主题——战争与疯狂，战争与男子气概——使得战争的疯狂不仅是一个比喻的说法而已。在文学写实主义的传统下，作者不逞口舌之强，不愠不怒，不矫揉造作地正视现实。她的故事成了一篇反战小说的杰作，并且精彩动人地为她的信念背书。读者在深入小说人物的生活之后，人生观将因此而彻底改变。
——《纽约时报》
这不仅是一部战争小说，作者仿若设身处地般刻画人物故事所流露的同理心，奠定本书在一战文学上的经典地位。
——《科克斯书评》
派特·巴克 Pat Barker
1943年5月8日生于英国约克郡蒂斯河畔索纳比一个工薪阶层家庭。1962—1965年在伦敦政治经济学院学习国际关系史。巴克在第一个孩子出生后才开始写作，早期的小说关注英国工薪阶层女性。《重生》三部曲是她创作的一个转折点和里程碑，入选布克 奖40周年最佳小说、“十大历史小说”（《观察家报》）。《重生》于1997年被搬上银幕且获多项电影奖项提名，2014年被改编成舞台剧；《门中眼》获1993年卫报小说奖；《幽灵路》获1995年布克奖。
巴克于2000年被授予大英帝国指挥官勋章（CBE）。她现居英国达勒姆郡。
- 荣获布克奖，入选年度好书，被誉为现代史诗杰作。
- 聚焦一战创伤，深度剖析弹震症、性别与阶级困境。
- 融合心理学、人类学视角，打破传统战争文学边界。
- 喜爱英国文学、一战历史及心理创伤题材的读者。
- 关注人性深度、社会批判及女性战争书写的读者。
- 能接受厚重文本、偏好严肃文学与长篇叙事的读者。
- 全书厚逾八百页，建议分册阅读，避免一次性读完。
- 部分读者反映译文生硬，建议耐心适应或参考原文。
- 非纯故事驱动，重在人物心理与社会背景的深层探讨。
- 文学价值极高，对战争残酷与人性扭曲刻画入木三分。
- 普莱尔与萨松的故事线极具张力，情感冲击力强。
- 翻译质量争议较大，部分读者认为影响了阅读体验。
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。
- "The case had given rise to heated discussion in the MO's common room—about the freedom of the individual conscience in wartime, and the role of the army psychiatrist in 'treating' a man who refused to fight. Rivers, listening to those arguments, had been left in no doubt of the depth and seriousness"
- "Sassoon's determination to remember might well account for his early and rapid recovery, though in his case it was motivated less by a desire to save his own sanity than by a determination to convince civilians that the war was mad. Writing the pomes had obviously been therapeutic, but then Rivers s"
- "When all the corpses were on the ground, he [Burns] arranged them in a circle round the tree and sat down within it, his back against the trunk. He felt the roughness of the bark against his knobbly spine. He pressed his hands between his knees and looked around the circle of his companions. Now the"
- "He [Siegfried Sassoon] thought of Rivers, and what he'd said that morning about finding safety unbearable. Well, Rivers was wrong, people were more corruptible than that. He was more corruptible than that. A few days of safety, and all the clear spirit of the trenches was gone. It was still, after a"
- "In leading his patients to understand that breakdown was nothing to be ashamed of, that horror and fear were inevitable responses to the trauma of war and were better acknowledged than suppressed, that feelings of tenderness for other men were natural and right, that tears were an acceptable and hel"
- "He [Sassoon] knew he was shivering more with fear than cold, though it was difficult to name the fear. The place, perhaps. The haunted faces, the stammers, the stumbling walks, that indefinable look of being 'mental'. Craiglockhart frightened him more than the front had ever done."
- "Prior said, "You mustn't make too much of it, you know, the snobbery. I didn't. The only thing that really makes me angry is when people at home say there are no class distinctions at the front. Ball-ocks. What you wear, what you eat. Where you sleep. What you carry. The men are pack animals." He he"
- "Owen, feeding the names, would have given anything to say one sentence without stammering. No hope of that — he was far too nervous. Everything about Sassoon intimidated him. His status as a published poet, his height, his good looks, the clipped aristocratic voice, sometimes quick, sometimes haltin"
