2017年51期买马买什么
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   文章来源: 科学传播局    发布时间: 2019-12-07 07:34:20|2017年51期买马买什么   【字号:         】

  

  FEAST YOUR EYES By Myla Goldberg

  Myla Goldberg’s ambitious new novel, her first since “The False Friend” (2010), follows a fictional midcentury photographer whose pioneering oeuvre draws from the real-life work of Sally Mann, Diane Arbus and Berenice Abbott, and whose milieu — the Lower East Side of the 1950s; Brooklyn in the 1960s — offers a lively fictional counterpart to the Beat movement.

  As a high school junior, Lillian Preston discovers photography. “Making pictures makes me fully and truly myself,” she gushes as she spends Saturdays taking undercover “photography walks” around Cleveland in her father’s clothes. Though she maintains the appearance of a proper girl of her era, even after she moves to New York and carves a niche for herself in the downtown bohemian-intellectual scene, Lillian has been waiting since childhood for a “different life to reveal itself”: “Since I was little, I knew I was meant to live differently than others, I just wasn’t sure how or why.”

  Live differently, she does. At 19, she finds herself pregnant. After a harrowing trip to a back-room abortionist, she decides to keep the baby and raise her alone. That baby, Samantha, will become her greatest subject, as well as the one who secures her fame: An exhibit of photos depicting Samantha half-dressed is deemed obscene. Lillian and her gallerist are thrown in jail, the photos are splashed all over the tabloids and the case becomes a free speech cause célèbre, ultimately going to the Supreme Court.

  The story unfolds, cleverly, through an imaginary (and, it has to be said, highly improbable) museum catalog — the accompaniment to a posthumous Preston retrospective at MoMA — written by Samantha, and filled with Lillian’s letters and journal entries, as well as interviews with the major players in her life. Together, these “documents,” linked by Samantha’s wry commentary on the photos and Lillian’s life, form a kind of feminist Künstlerroman, in which the artist comes of age in tandem with becoming a mother, and her divided loyalties to her child and her art threaten to tear her apart, emotionally. (The Dexedrine she takes, to stay awake all night in the darkroom and tend to Samantha during the day, helps a bit.)

  [ Read the review of Goldberg’s 2000 breakout best-seller, “Bee Season.” ]

  Goldberg’s passionate depiction of Lillian rings heartbreakingly true at a moment when discussions of emotional labor dominate certain sectors of the media and writers like Kim Brooks and Claire Vaye Watkins write viral essays contemplating whether it is truly possible to be both an artist and a mother. (To wit: I read “Feast Your Eyes” twice, often nodding my head in recognition, as an ear-infection-riddled 3-year-old slept on my lap.)

  At times, Goldberg crosses the slender line between clever and cute — too many characters refer to their fathers as “Pops” and speak in a style of contorted irony. The constraints of the catalog form, hinging on descriptions of photographs we cannot see and Samantha’s labored contemplations of how Lillian might have composed them, grow tedious as the novel wears on. One wishes Goldberg had chosen to frame her story as, say, a faux oral history, in the vein of Taylor Jenkins Reid’s “Daisy Jones & the Six,” or a pastiche like Christine Sneed’s sublime “Little Known Facts.”

  Though the novel’s plot hinges on the obscenity trial, its most powerful moments arrive in the form of Lillian’s wrenchingly intimate reflections in her journal, from devastating accounts of watching her daughter sleep to poignant descriptions of her artistic process. “If shooting is like hitching a ride on the back of the living city, in the darkroom I am riding the current of an invisible slipstream … I’m reduced to a mote of pure awareness.”

B:

  

  2017年51期买马买什么【沈】【浅】【歌】【着】【急】【起】【来】,【挂】【断】【电】【话】,【立】【刻】【又】【拨】【打】【她】【母】【亲】【的】【电】【话】,【电】【话】【那】【头】【像】【是】【看】【到】【了】【手】【机】【来】【电】。【捡】【起】【电】【话】【告】【诉】【她】,【她】【母】【亲】【晕】【血】【晕】【了】【过】【去】。 【接】【听】【电】【话】【的】【是】【个】【护】【士】,【沈】【浅】【歌】【询】【问】【了】【医】【院】【的】【地】【址】,【拜】【托】【对】【面】【的】【护】【士】【帮】【忙】【把】【她】【母】【亲】【送】【到】【病】【房】【里】【休】【息】。 【挂】【断】【电】【话】,【沈】【浅】【歌】【找】【到】【温】【煦】【讲】【了】【一】【下】【她】【家】【里】【出】【事】【了】,【需】【要】【立】【刻】【回】【去】【一】【趟】。

  (【码】【字】【不】【易】,【求】【一】【份】【全】【订】,【哪】【怕】【是】【投】【推】【荐】【票】【和】【月】【票】【也】【是】【一】【种】【支】【持】,【你】【们】【的】【支】【持】,【是】【作】【者】【创】【作】【的】【动】【力】【源】【泉】,【谢】【谢】【大】【家】【了】!) 【长】【安】【城】。 【经】【历】【了】【一】【场】【大】【战】【之】【后】,【太】【阴】【真】【君】【的】【余】【孽】【都】【已】【经】【伏】【法】。 【宰】【相】【郑】【朗】【得】【到】【了】【应】【有】【的】【惩】【罚】。 【大】【局】【已】【经】【稳】【定】【下】【来】,【一】【切】【都】【好】【似】【尘】【埃】【落】【定】。 【但】【此】【时】【长】【安】【的】【景】【象】【满】【目】【苍】【夷】。

  “【我】【回】【来】【了】!” 【陈】【贝】【贝】【将】【手】【下】【都】【收】【入】【奴】【灵】【塔】【后】【就】【启】【程】【回】【家】。 【在】【她】【的】【想】【象】【中】,【自】【己】【回】【到】【家】【肯】【定】【会】【有】【众】【多】【小】【弟】【迎】【接】,【哪】【成】【想】,【回】【到】【家】【小】【弟】【迎】【接】【是】【有】。 【两】【个】【看】【大】【门】【儿】【的】! 【说】【好】【的】【列】【队】【欢】【迎】【呢】? 【说】【好】【的】【久】【别】【重】【逢】【呢】? 【去】【你】【妹】【的】,【还】【能】【再】【惨】【点】【儿】【吗】? 【哭】【丧】【着】【一】【张】【脸】,【满】【脸】【怨】【念】【的】【盯】【着】【两】【个】【看】【门】【的】【小】【弟】

  “【那】【真】【的】【要】【好】【好】【的】【谢】【谢】【鬼】【斯】【才】【行】【呢】~~” 【明】【莉】【小】【姐】【说】【着】,【就】【好】【像】【被】【拯】【救】【的】【人】【是】【她】【自】【己】【一】【般】【的】,【拥】【有】【的】【被】【拯】【救】【的】【语】【气】【让】【我】【分】【不】【清】【楚】【她】【跟】【君】【沙】【小】【姐】【究】【竟】【是】【什】【么】【关】【系】,【还】【是】【说】【只】【是】【单】【纯】【的】【老】【好】【人】【而】【已】【呢】? “【看】【你】【那】【一】【脸】【不】【解】【的】【样】【子】,【看】【来】【在】【这】【之】【前】【你】【就】【已】【经】【遇】【到】【君】【沙】【小】【姐】【了】【吧】?” “【嗯】。” 【我】【果】【然】【是】【很】【好】【看】【穿】

  【洛】【至】【琦】【颤】【抖】【呢】【壹】【番】,【听】【捯】【這】【句】【誓】【言】,【它】【終】【干】【放】【汧】【壹】【切】,【扑】【茬】【墨】【宁】【鸿】【哋】【怀】【祌】,【嚎】【啕】【夨】【哭】……“【捯】【祱】【咍】【麽】【囙】【倳】?【渊】【镞】【吥】【使】【赱】【呢】【吗】?”【冇】【強】【着】【汇】【聲】【问】【檤】,【眞】【使】【憋】【屈】【嘚】【腰】【命】。 “【嘶】……【偶】【怎】【麽】【憾】【覺】,【這】【片】【涳】【間】【壹】【點】【练】【気】【嘟】【沒】【呢】?”【冇】【亼】【慌】【骇】【檤】。 “【艓】【仔】【覺】【偶】【哋】【练】【気】【受】【捯】【压】【製】,【冇】【琺】【使】【苚】【呢】?”【壹】【哋】【祌】【哖】【握】【呢】【握】【拳】【頭】,【內】【吣】2017年51期买马买什么【这】【天】【地】【无】【情】。 【而】【天】【道】【又】【是】【何】【等】【的】【弄】【人】。 【每】【一】【个】【人】【都】【如】【那】【星】【辰】【棋】【盘】【上】【的】【一】【子】。 【无】【法】【摆】【脱】【的】【宿】【命】。 【带】【着】【斗】【篷】【的】【李】【珠】,【早】【已】【在】【此】【处】【等】【候】【多】【时】。 【就】【如】【同】【之】【前】【在】【此】【等】【候】【其】【他】【的】【李】【珠】【一】【样】。 【他】【的】【双】【眼】【似】【乎】【可】【以】【透】【过】【时】【间】【与】【空】【间】,【那】【条】【黄】【金】【巨】【龙】【正】【在】【与】【他】【对】【话】,【黄】【金】【巨】【龙】【说】【他】【此】【时】【正】【在】【跟】【过】【去】【的】【李】【珠】【通】【话】。【而】

  “【哎】,【为】【什】【么】【人】【家】【刷】【副】【本】【都】【是】【找】【宝】【贝】,【我】【刷】【副】【本】,【最】【后】【挖】【出】【来】【的】【都】【是】【这】【些】【奇】【葩】?”【夏】【凡】【无】【奈】【的】【感】【叹】【道】。 【不】【过】【话】【一】【出】【口】【又】【有】【点】【后】【悔】,【因】【为】【风】【瑶】【也】【是】【这】【么】【被】【挖】【出】【来】【的】。 【风】【瑶】【倒】【没】【想】【这】【么】【多】,【反】【而】【认】【真】【的】【回】【应】【道】,“【或】【许】【是】【因】【为】【您】【不】【缺】【宝】【贝】,【这】【些】【普】【通】【的】【丹】【药】【法】【器】【看】【不】【上】【眼】?” 【严】【格】【来】【算】【的】【话】,【刚】【才】【被】【挖】【走】【的】【那】【几】

  【纪】【抱】【着】【栖】,【降】【落】【到】【了】【一】【座】【由】【栖】【创】【造】【出】【的】【小】【岛】【上】,【在】【这】【里】,【将】【栖】【轻】【轻】【的】【抱】【着】,【在】【这】【一】【片】【火】【光】【当】【中】,【静】【静】【的】【等】【待】【着】【栖】【醒】【过】【来】,【以】【及】,【纪】【在】【思】【考】,【自】【己】【该】【如】【何】【面】【对】【今】【后】【的】【人】【生】【与】【世】【界】,【此】【刻】【的】【他】,【还】【认】【为】【这】【是】【一】【个】【同】【他】【的】【过】【去】【不】【一】【样】【的】【世】【界】,【并】【没】【有】【自】【觉】【意】【识】【到】【这】【个】【世】【界】,【这】【条】【时】【间】【线】,【本】【就】【是】【属】【于】【他】【的】。 【在】【等】【待】【栖】【醒】【来】【的】

  【但】【理】【解】【是】【一】【回】【事】,【接】【受】【又】【是】【另】【外】【一】【回】【事】。 【本】【来】【他】【只】【是】【觉】【得】【自】【己】【喜】【欢】【池】【影】【多】【过】【她】,【并】【非】【讨】【厌】,【或】【者】【反】【感】,【加】【上】【她】【伤】【心】【落】【泪】【决】【绝】【自】【杀】,【让】【他】【心】【里】【更】【添】【了】【几】【分】【愧】【疚】【和】【责】【任】。 【但】【是】,【现】【在】……【却】【连】【门】【口】【都】【不】【想】【踏】【进】【去】【了】。 【他】【含】【着】【金】【汤】【匙】【出】【生】,【从】【小】【到】【大】【可】【谓】【是】【呼】【风】【唤】【雨】,【要】【什】【么】【有】【什】【么】。 【唯】【独】【在】【这】【件】【事】【上】,【他】【无】

  “【不】【能】【走】。” 【防】【人】【之】【心】【不】【可】【无】。 【湖】【泊】【对】【希】【尔】【村】【来】【说】【太】【重】【要】【了】,【以】【往】【没】【有】【外】【人】,【自】【然】【无】【需】【看】【管】,【可】【现】【在】【不】【一】【样】。 【万】【一】【这】【些】【佣】【兵】,【突】【发】【奇】【想】【在】【这】【里】【洗】【个】【澡】,【那】…… 【薇】【薇】【安】【的】【洗】【澡】【水】,【宁】【凡】【可】【以】【接】【受】,【可】【是】【换】【做】【这】【些】【毛】【茸】【茸】、【浑】【身】【臭】【汗】【的】【糙】【汉】【子】。 【那】【他】【保】【证】,【一】【定】【会】【杀】【了】【那】【些】【人】。 【为】【了】【这】【些】【人】【小】【命】【着】




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