内容简介

The best-selling, Pulitzer Prize–winning author of The Road returns with the first of a two-volume masterpiece: The Passenger is the story of a salvage diver, haunted by loss, afraid of the watery deep, pursued for a conspiracy beyond his understanding, and longing for a death he cannot reconcile with God.

1980, PASS CHRISTIAN, MISSISSIPPI: It is three in the morning when Bobby Western zips the jacket of his wetsuit and plunges from the Coast Guard tender into darkness. His divelight illuminates the sunken jet, nine bodies still buckled in their seats, hair floating, eyes devoid of speculation. Missing from the crash site are the pilot’s flightbag, the plane’s black box, and the tenth passenger. But how? A collateral witness to machinations that can only bring him harm, Western is shadowed in body and spirit—by men with badges; by the ghost of his father, inventor of the bomb that melted glass and flesh in Hiroshima; and by his sister, the love and ruin of his soul.

Traversing the American South, from the garrulous barrooms of New Orleans to an abandoned oil rig off the Florida coast, The Passenger is a breathtaking novel of morality and science, the legacy of sin, and the madness that is human consciousness.

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豆瓣评论

  • Sound_Fury
    这可能是麦卡锡最缥缈的一本书了,这么多年之后,在如此高龄颠覆过往,写从没碰过的题材,用从未尝试过的手法。很难想象在麦卡锡的书中能看到幻想中的马戏团、变性人角色、粒子物理理论(当然如果关注他近年动态也很容易理解)、肯尼迪谋杀案,倒像是满足了读者“麦卡锡与XXX”结合体这类罪恶隐秘的愿望。主线情节是卡夫卡式的故事,主角Bobby和朋友们在餐桌上的长段对话是伸出的枝叶,是离题,是出走,也是逃避。行文一如既往地冷峻,对话依旧利落,天地依旧不仁,麦卡锡最擅长描绘的情景之一,就是一人独对广袤无际与悲凉的生,背着父辈的原罪,所爱消逝的创伤及负罪,连同他四处碰壁东躲西藏的孤独。但可能到了这个年纪人总会展露出一些诚挚的温情,在虚无和哀戚中总有long John,和不易显露的、深刻的缱绻柔情。11-01
  • _水泥花园
    一串孤高自许的废话 11-08
  • Nightwing
    处女读Cormac就一头栽进近90岁高龄创作的深水区。雄性措辞,随意的长短句,像海明威,但鲜活得多,尤其是在描写和氛围渲染上。出身高智商家庭的男主遁入蓝领事业,有点公路和noir色彩,都是些本该不可一世却有意无意自限生命的怪角色,好似以此来应对生活的宿命和悖论,同时缓解自己的责任感和由此而来的自责。纷杂的背景主题涉及核爆、乱伦、变性、量子理论、刺杀肯尼迪等等,感觉作者在努力洞悉世界的规律以参透小人物的苦难,读到最后分不清是更释然还是更压抑。最享受友人John Sheddan天马行空的哲思。这是老人家所达到的创作末期境界:一种摆脱自傲和虚饰的成熟主观性,坦然面对岁月积淀出的信心或谬误,让幻灭和欣慰共存而无需化解两者间的矛盾。08-02
  • 飘飘然
    In a world lit by the evil sun of nuclear invention, all history is nothing more than a rehearsal for its own extinction. As opposed to the usual gnostic pessimism in McCarthy’s early works, this is nihilism at its finest. 01-06

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