来源 :老毛桃官网 2019-11-14 05:51:54|2014年买马最准的网站资料



  LATE IN THE DAY By Tessa Hadley 273 pp. Harper/HarperCollins Publishers. .99.

  Midway through Tessa Hadley’s brilliant and upsetting new novel, Isobel Klimec attempts to explain to her endlessly patient date who Zachary Samuels was. “He was my dad’s best friend, my best friend’s father, Mum’s best friend’s husband.” The date responds that “it sounds like one of those puzzles. … You know: ‘Who is my father’s brother’s mother’s husband’s grandson,’ that kind of thing.” In fact, it’s splendidly more complicated than that. In the hands of a lesser novelist, the intricate tangle of lives at the center of “Late in the Day” might feel like just such a self-satisfied riddle or, at best, like sly narrative machinations. Because this is Tessa Hadley, it instead feels earned and real and, even in its smallest nuances, important.

  The longer version, with which Isobel does not belabor her date: Lydia Smith and Christine Drinkwater first met the married Alexandr Klimec (a sardonic Czech-born erstwhile poet) as their French instructor. Lydia, a hungry and capricious schemer, decided she must have him and insinuated herself into his life, babysitting for his son and setting up Christine with Alex’s friend Zachary. Before long, though, Alex had chosen Christine, and Zach had chosen Lydia. Marriages and babies ensued. Each woman would likely have picked the other man, and in each case it might have been a better match. But the men do the choosing here, as so often in life, and the result is a tenuous decades-long balance, a wobbly but serviceable four-legged table.

  This is all past and prologue, though. By the start of the novel, these characters are in their 50s, the babies are grown (one, of course, is Isobel), and Zachary has just dropped dead of a heart attack.

  Zach was an easy and easy-to-love man, full of bustling life, a wealthy art dealer who, at a child’s birthday party, would rather be upstairs with the 4-year-olds than drinking with the adults. His absence destabilizes Lydia in ways beyond simple grief — in part because she’s a woman with very little to do, one who has refused paid work and charity work alike and cultivates idleness. “Now I don’t know how I’m going to fill my days!” she cries, an echo of her decades-earlier longing for Alex: “Unless Alex wants me I’m not real. … I’m just a shadow.” At the end of the first chapter, we see Lydia, who has temporarily moved in with Alex and Christine, climbing into bed between them. This is before we know her past with Alex, before we learn that one night years earlier, the four of them almost embarked — but didn’t quite — on a ménage à quatre. But the tension of all we don’t yet know still suffuses the scene. We sense, correctly, that Hadley has built us a fine pipe bomb.

  So unquestioningly do the women, in their earlier years, enjoy “the golden good fortune of being chosen” and so subtly do all the characters undervalue Christine’s viable career as a visual artist even as they fetishize Alex’s neglected writing that one worries the narrative and the author are doing the same — until it becomes clear that these are the very complacencies Hadley is here to dismantle.

  For it’s not just Zach who has held the four of them, and the two marriages, together; it’s the power structures they agreed to in their 20s, the vows they took when they were different people. (“Marriage,” Christine thinks, “simply meant that you hung on to each other through the succession of metamorphoses. Or failed to.”)

  As their lives unravel, we wonder with Christine if the “questioning of impervious male knowledge had always come to women at a certain age, in their prime, as they grew out of the illusions of girlhood. Or was it a new thing coming about in history, because of cultural change?” The novel seems to suggest the former. By the end, the romantic fates of the couples’ two grown daughters are still being left to fate and chance, while Christine and Lydia begin for the first time to make their own choices. We see, as well, an older generation of women represented in Alex’s mother, who dispenses surprisingly liberated sexual advice to her granddaughter, years after her own disappointing marriage, and in Christine’s mother, who also offers late-in-life wisdom: “Aren’t men ridiculous?” she asks. It might not be history that frees us, Hadley seems to suggest, but personal history, a late coming-of-age.



  2014年买马最准的网站资料【这】【几】【日】【白】【玉】【京】【中】,【周】【鸿】【很】【有】【些】【不】【高】【兴】,【张】【玉】【堂】【死】【皮】【赖】【脸】【要】【拜】【师】,【得】【知】【许】【宣】、【周】【鸿】【都】【是】【和】【小】【青】【平】【辈】【论】【交】,【便】【打】【听】【到】【了】【王】【不】【易】【的】【消】【息】,【又】【眼】【巴】【巴】【跑】【到】【钱】【塘】【县】,【去】【找】【王】【不】【易】【去】【了】。 【小】【青】【自】【然】【是】【不】【放】【心】【他】【一】【人】【上】【路】【的】,【于】【是】【两】【人】【结】【伴】【而】【行】,【一】【起】【走】【了】。 【对】【此】【许】【宣】【倒】【是】【没】【什】【么】【意】【见】,【张】【玉】【堂】【要】【是】【真】【能】【说】【动】【王】【不】【易】,【那】【也】【算】【他】

“【本】【宫】【能】【做】【什】【么】?【自】【当】【是】【饿】【了】,【你】【莫】【不】【是】【觉】【得】【本】【宫】【要】【寻】【死】?【本】【宫】【不】【是】【那】【么】【蠢】【笨】【之】【人】。” 【舒】【沁】【雅】【被】【姜】【贝】【锦】【推】【着】,【便】【只】【能】【不】【得】【不】【依】【姜】【贝】【锦】,【缓】【缓】【的】【背】【过】【身】【去】【离】【开】【了】【栖】【鸾】【殿】。 【此】【时】【未】【央】【宫】【外】【一】【旨】【诏】【书】【而】【来】,【那】【来】【人】【念】【道】,“【皇】【后】【姜】【氏】,【秽】【乱】【宫】【闱】,【厮】【会】【外】【男】,【出】【卖】【朝】【堂】,【毒】【害】【宫】【妃】……” 【那】【诏】【书】【上】【写】【了】【许】【多】,【罪】【名】

【贺】【雅】【兰】【决】【定】【把】【刚】【刚】【得】【知】【的】【那】【个】【事】【情】,【告】【诉】【面】【前】【这】【个】【女】【人】。 【因】【为】【她】【也】【知】【道】【这】【做】【梦】【的】【习】【惯】,【可】【不】【是】【很】【好】,【这】【个】【毛】【病】【得】【改】【改】,【不】【然】【到】【时】【候】【就】【会】【麻】【烦】【身】【边】【的】【人】。 【被】【贺】【雅】【兰】【给】【盯】【得】【有】【点】【毛】【骨】【悚】【然】,【但】【她】【还】【是】【挺】【起】【了】【头】【直】【视】【着】【贺】【雅】【兰】【的】【眼】【睛】。 “【你】【刚】【刚】【那】【个】【是】【什】【么】【表】【情】【啊】,【不】【会】【是】【害】【怕】【我】【比】【你】【厉】【害】【吧】,【我】【比】【你】【厉】【害】【不】【是】【很】

  【一】【声】【刺】【耳】【的】【刹】【车】【声】【中】,【车】【外】【的】【惊】【恐】【叫】【声】、【怒】【骂】【声】、【求】【救】【声】【等】【等】【喧】【闹】【涌】【入】【车】【厢】。 【紧】【接】【着】,【冯】【百】【万】【错】【愕】【的】【发】【现】,【夏】【武】、【薛】【玲】【珑】、【小】【剑】【圣】【飘】【了】【起】【来】。 【想】【起】【刚】【才】【的】【话】,【冯】【百】【万】【猛】【然】【意】【识】【到】【那】【白】【光】【可】【能】【有】【问】【题】,【遂】【迅】【速】【关】【了】【车】【窗】,【让】【车】【厢】【内】【重】【新】【陷】【入】【了】【黑】【暗】【之】【中】。 【砰】【砰】…… 【夏】【武】【几】【人】【重】【重】【落】【回】【座】【位】【上】,【让】【车】【身】【都】【不】2014年买马最准的网站资料“【简】【单】【哥】【哥】【不】【哭】【哦】!【你】【可】【是】【哥】【哥】【哦】,【哥】【哥】【不】【能】【哭】【鼻】【子】【的】!【不】【然】【村】【里】【大】【壮】【看】【到】【会】【笑】【话】【的】!” …… 【转】【眼】,【郝】【简】【单】【便】【让】【凌】【氏】【跟】【凌】【清】【宁】【给】【哄】【离】【了】【饭】【桌】,【也】【不】【哭】、【也】【没】【闹】。 【凌】【清】【哲】“……”【感】【觉】【自】【己】【的】【宠】【爱】【好】【像】【被】【抢】【走】【了】。 【凌】【清】【浅】:“……”【还】【说】【让】【他】【学】【习】【生】【活】【技】【能】,【看】【她】【们】【比】【郝】【宏】【才】【还】【要】【宠】【他】【的】【亚】【子】,【能】【让】【他】【学】

  【聂】【棠】【亲】【手】【编】【织】【的】【竹】【制】【灯】【笼】,【在】【感】【受】【到】【血】【腥】【气】【之】【后】,【腾】【得】【一】【声】【从】【里】【面】【冒】【出】【一】【簇】【愈】【加】***【火】【焰】。 【那】【竹】【编】【灯】【笼】【本】【是】【易】【燃】【物】,【可】【是】【在】【这】【样】【绚】【烂】【的】【火】【光】【之】【下】,【它】【却】【岿】【然】【不】【动】,【一】【点】【都】【没】【有】【被】【火】【光】【灼】【烧】【的】【痕】【迹】。 【沈】【陵】【宜】【骤】【然】【松】【了】【一】【口】【气】,【他】【知】【道】【这】【一】【步】,【显】【然】【是】【走】【对】【了】。 【可】【是】【这】【之】【后】【呢】?【之】【后】【又】【该】【怎】【么】【做】? 【他】【试】【探】

  【芮】【进】【是】【叶】【凡】【的】【绝】【对】【心】【腹】,【在】【剑】【宗】【所】【有】【人】【中】,【跟】【随】【叶】【凡】【时】【间】【也】【算】【是】【比】【较】【长】【的】【了】,【资】【格】【比】【较】【老】,【最】【关】【键】【的】【是】,【芮】【进】【跟】【随】【叶】【凡】【多】【次】【出】【生】【入】【死】,【是】【真】【正】【的】【生】【死】【之】【交】。 【虽】【然】【叶】【凡】【和】【芮】【进】【没】【有】【师】【徒】【之】【名】,【却】【有】【师】【徒】【之】【实】,【修】【炼】【方】【面】,【叶】【凡】【拼】【着】【受】【伤】,【也】【要】【帮】【助】【芮】【进】【提】【升】【修】【为】,【使】【用】【各】【种】【方】【法】,【强】【化】【芮】【进】【的】【肉】【身】、【经】【脉】【和】【丹】【田】,【硬】【生】

  【夏】【一】【为】【了】【掩】【饰】【身】【上】【的】【一】【些】【痕】【迹】,【所】【以】【特】【意】【换】【了】【长】【袖】【衬】【衣】,【穿】【了】【一】【条】【牛】【仔】【裤】,【配】【上】【帆】【布】【鞋】。 【看】【起】【来】【很】【清】【爽】,【工】【作】【起】【来】【也】【方】【便】。 【城】【堡】【里】【面】【停】【着】【不】【少】【的】【车】,【她】【有】【些】【纳】【闷】,【难】【道】【是】【还】【有】【一】【些】【客】【人】【昨】【晚】【没】【有】【离】【开】。 【当】【然】,【她】【也】【很】【佩】【服】,【是】【怎】【样】【的】【人】,【胆】【子】【如】【此】【大】,【胆】【敢】【在】【城】【堡】【留】【宿】。 【她】【走】【过】【停】【车】【场】,【正】【打】【算】【去】【花】【园】

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