作者简介

Paul Murray was born in Dublin in 1975 and is the author of An Evening of Long Goodbyes, Skippy Dies, The Mark and the Void and The Bee Sting. An Evening of Long Goodbyes was shortlisted for the Whitbread First Novel Award and nominated for the Kerry Group Irish Fiction Award. Skippy Dies was shortlisted for the Costa Novel award and the National Book Critics Circle Award, and longlisted for the Booker Prize. The Mark and the Void won the Everyman Wodehouse Prize 2016. Paul Murray lives in Dublin.

内容简介

Irresistibly funny, wise and thought-provoking, The Bee Sting is a tour de force about family, fortune, and the struggle to be a good person when the world is falling apart . . .

The Barnes family is in trouble. Dickie's once-lucrative car business is going under - but rather than face the music, he's spending his days in the woods, building an apocalypse-proof bunker with a renegade handyman. His wife Imelda is selling off her jewellery on eBay while their teenage daughter Cass, formerly top of her class, seems determined to binge-drink her way to her final exams. And twelve-year-old PJ is putting the final touches to his grand plan to run away from home.

Where did it all go wrong? A patch of ice on the tarmac, a casual favour to a charming stranger, a bee caught beneath a bridal veil - can a single moment of bad luck change the direction of a life? And if the story has already been written - is there still time to find a happy ending?


Paul Murray was born in Dublin in 1975 and is the author of An Evening of Long Goodbyes, Skippy Dies, The Mark and the Void and The Bee Sting. An Evening of Long Goodbyes was shortlisted for the Whitbread First Novel Award and nominated for the Kerry Group Irish Fiction Award. Skippy Dies was shortlisted for the Costa Novel award and the National Book Critics Circle Award, and ...

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豆瓣评论

  • lieerli
    家庭的悲剧已经被描写过多,但这本书依然是悲剧的新层次。作者呈现了非常真实微妙的人与人之间的隔阂,以及表面平静之下的风暴。没有政局动荡、战争难民,他人即地狱的同时,自我也画地为牢,有毒的友情、嫉妒、自私、胆怯、欺骗、只想抓住浮木而不管那是谁。以第一章为现实时间线起点,到午夜森林大概是一年左右,而时间在一家四口的轮替视角中向前的同时,也拼凑完整了往事。受害者也是加害者,作者可以把悲剧写成如此绝境又无辜的局面,也是厉害。12-12
  • Jameson
    太好看了我打十颗星!每次读到PJ的部分就忍不住流泪,眼睁睁看着最纯真懵懂的孩子被原生家庭一点点改变,年纪大了真得看不了这种……实在是佩服作者,四个人四个视角仿佛作者是亲身经历过每一个女人男人少女男孩的青春期厌世、中年危机、存在主义危机、原生家庭暴力一样。语言和句子充满灵气,好多时候看着看着就感慨英语竟然是能写成这样。第三人称到第二人称的叙事转换和三幕编排的结构也非常吸引人。一方面感觉非常适合视觉化影视化,不过另一方面影视化无法带来人称改变和结构变幻的新奇快感。期待有一天能有编剧尝试改编吧。ps.唯一的小遗憾是个人不太喜欢结局的安排(但也许有人会非常喜欢),不过因为阅读体验非常好就还是满分01-14
  • 玉折
    第一部分中规中矩地平铺直叙,写作方式也符合角色特点。第二部分每一章变得更短,节奏变快更加紧张,到了第三部分的“剧本”有种跟着运镜跑的感觉。塞了很多话题和冲突但一点都不拥挤,反而合情合理。最后戛然而止很适合放到大银幕上,接着roll credits (非常喜欢第一部分Imelda章节的最后一句,像是在读鬼故事,起了鸡皮疙瘩)2024第一本读完的书,非常带劲。01-08
  • 威叔在香港
    2023.10.29【无剧透】四星半。整体上是一部荒诞又悬念迭起的爱尔兰小城四人家庭悲喜剧,但故事的厉害之处在于,它既有肥皂剧式的抓马,又有希区柯克式的紧张和惊悚,还讨论了原生家庭、童年创伤、女权、LGBT、性侵犯、网约骗局、恋童癖、性录像勒索、甚至气候变化/环境保护等一揽子时事/热点/敏感议题。手法上,全书结构非常复杂,用了第三+第二人称两种叙事,还有大篇幅的【无标点符号意识流写作】,可以说是一部试探和挑战了小说世界叙事多样性、复杂性、甚至可能性边界的【纯炫技】作品。这样的作品成为今年布克奖的头号热门,的确不足为奇。结尾近三十页转为【话剧】式文本:在暴风雨夜,全书所有人物都从不同地方汇集到一起,在漆黑林中“枪是否会响+谁会被打死”成为终极悬念,是在600余页后给读者的巨大回馈,非常精彩。10-29
  • Sin Cera
    一家四口人,从每个人的视角展开叙事,这种手法很不新鲜了,囊括各种话题有蹭热点之嫌。但故事内核是我喜欢的忧伤,绝望的人相互救赎。结尾扣半星!01-31

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