太阳照常升起

出版时间：2011-3  出版社：辽宁大学出版社  作者：海明威  页数：276  译者：姜蕾,赵广发,郭朝  
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内容概要

《太阳照常升起》共十九章，压抑的年代过去了，太阳照样生起。《太阳照常升起》故事超乎寻常的悬念魅力。

作者简介

欧内斯特•米勒尔•海明威(Ernest Miller Hemingway，1899－1961），美国小说家。出生于美国伊利诺伊州，晚年在爱达荷州的家中自杀身亡。代表作有《老人与海》、《太阳照常升起》、《永别了，武器》、《丧钟为谁而鸣》等，并凭借《老人与海》获得普利策奖（1953年）及诺贝尔文学奖（1954年）。海明威被誉为美利坚民族的精神丰碑，他的写作风格以简洁著称，是“新闻体”小说的创始人，人称“文坛硬汉”。他对美国文学及二十世纪文学的发展有着极深远的影响。

书籍目录

第一章第二章第三章第四章第五章第六章第七章第八章第九章第十章第十一章第十二章第十三章第十四章第十五章第十六章第十七章第十八章第十九章

章节摘录

　　办好了离婚手续，罗伯特·科恩去了西海岸。在加州他身处于文人之中，因为他的五万美金仍有一少部分剩余，不久他便赞助了文艺评论杂志。这本评论杂志在加利福尼亚州的卡默尔开始出版，在马萨诸塞州的普罗文斯敦停刊。与此同时，科恩成为了独家编辑，完全被当做是一个后台老板，他的名字仅作为一名顾问委员会的成员出现在编辑那一页。他的钱使他发现他喜欢编辑这一职业。当杂志的开支变得很大的时候，他感到很遗憾，他不得不放弃这本杂志。　　那时，尽管他还有其他的事情要去操心，却得到了一位希望靠这本杂志发达的女士的帮助。她非常强势，科恩总是被她控制，而且确信他爱她，当这位女士发现杂志的销售量没有上升时，她开始有一点厌恶科恩，并且决定在能够捞到好处时大捞一把，于是她怂恿科恩去欧洲，在那里科恩可以写作。他们去了欧洲，这位女士在那里念过书，他们在那里一待就是三年。在这三年期间，第一年他们旅游，后两年他们待在巴黎。罗伯特·科恩有两个朋友——布雷多克斯和我。布雷多克斯是他的文学朋友，我是他的网球友。　　……

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•   　　Heroes and Vagrants
  　　--subjectivity in Ernest Hemingway’s the Sun Also Rises
  　　
  　　 ‘You are all a lost generation.’ It’s almost unverifiable under what circumstances Gertrude Stein said these words to Hemingway. But these words ended up on the inside of the front cover of the latter’s 1926 novel, which along with F. Scott Fitzgerald’s contemporary works sculpted the perception of post first world war generation. These works, though later prestigiously recognized and had bestowed upon both art history and social studies, actually came into being through such a rebellious fashion. That Gertrude must have said the pungent comment in a less than indifferent tone, as if the decadency is self-explanatory.
  　　And the writer chose to depict his defense in an almost paralleled way. He vitally molded the character of Jake Barnes and framed the story within Jake’s angle of vision. And Jake’s narration was arranged in a deliberate manner, that throughout he’s attempt to camouflage the story to be an impersonal one, his indifference and decadency itself had become the element through which the disillusion was made possible for the reader, to peep beneath sea level and get a glimpse of ‘the iceberg’.
  　　 The mannerism of writing ‘rationally’ traces back to Hemingway’s early experience in journalism. He omits meticulous writing of emotions, avoiding any attempt of luring a reader into pure empathy and the addressing of historical background were considered to be excessive. It was mentioned, but muted. In Hemingway’s own words the abyss of ignorance ‘strengthens the story’ , and that wound deep enough to become the common life tolls with silence. But in this book the rationality of the narrator should be read separately from the rationality the author subscribes to, though they do share a common faith in the strength of such a technique. Hemingway designates Jake Barnes to narrate in a tone that while objective enough for the reader to grasp characters and their stories, still leaves the story-teller’s subjectivity legible. And it is through such an arrangement that unyielding voices from ‘the lost generation’ conveys.
  　　
  　　1 Lady Brett Ashley, ‘everybody’s sick’
  　　 The protagonists in the Sun Also Rises are vagrants and therefore heroes and heroine. Despite the differences of their gender, race or personality a shared trauma shapes their lives as the predominant factor. ‘That bloody war’. Those who endeavored to pinpoint the character’s complex, diagnosing Brett Ashley with ‘a personality disorder’ , may have forgotten the unrealistic nature of the text. Readers are staring through the goggle that is Jake Barnes and therefore literal interpretations should be considered unreliable. ‘Brett was damned good-looking.’ Lady Ashley seems to never fail in capturing the heart of her male companions. But the key to such success is solely based on her choice of only reacting to those who is falling for her, while distancing herself from her true love, Jake Barnes. ‘What’s the matter? You sick? Everybody’s sick. I’m sick, too.’ ‘It makes one feel rather good deciding not to be a bitch.’
  　　Brett and Jake are extreme contraries in a sense while Jake’s disability prisons him from any possibility of romance, Brett the social beauty seems to be receiving all the chivalry the world has to offer. However, their love equates them. Brett lives under the destiny that she shall never be together with the one she truly loves, that there is no happy ending in this life for her, and the pain of such cruel truth may only be mitigated by alcohol and hedonism. Such desperation replicates Jake’s. On the other hand Jake has to tell the story of his loved one’s betrayal in a tone that grief and self-pity was hard to be traced, and such a coolness comes form an understanding that War the Witch curses and no matter disabled (Jake) or very able (Brett), generation are doomed to the same decadent fate, though in various forms.
  　　
  　　2 Robert Cohn, ‘don’t be silly’
  　　 Incapability appears in both the inadequate man, and also the very adequate. Jake started his story with a recollection of Robert Cohn’s early life. The Jewish man is blessed with a fortunate family, the talent of writing and physical ability competent to be a boxing champion, or to beat up rivals in love within one swing of fist. Yet his vulnerability lies within his shyness, the racial discrimination against him, an inferiority complex that was manipulated by Frances, and very much like Jake, a desperate passion for Brett. Jake relate very much to the passiveness that the two of them shares, while disdaining Robert’s impulses of emotions that lead to traveling, fighting for Brett, or overall, taking a control over his own life. ‘Don’t be silly’, repeats Jake when turning down Robert’s many spontaneous invitations. He (Jake) speaks with contempt when speaks of him (Robert), yet he cannot help but speak of him. Jake has surrendered to act silent and numb toward his own feelings and hurts, while the telling of Robert Cohn’s story alludes to and rekindles them. They are rivals in romance, however, since the inevitable failure shadows both of them, hostility was replaced by sarcasm. Jake does not have to speak ill of Robert. He shows absolute unconcern when he fails and exits the story. The intrusion of the ‘silly’ and rigid was over and Jake maintained his apathetic manner of endurance.
  　　
  　　3 Jake Barnes, ‘all a lost generation’
  　　 The Sun Also Rises is the story of Robert Cohn, Brett Ashley or even Romero but after all it is the story of Jake Barnes. He is the damaged, the disenchanted youth, the cynic amongst all self-chosen exiles and has given up to feel belong. Yet his heroism lies in this very vagrant act of life. As the victim he comprehends the poison of war years, and his tolerance evolves to become such an indifference that is his wisdom of bearing with life. War keeps haunting him. It haunts him on the verge of physical attachment, as he observes Brett’s playfulness leading her nowhere and neither he nor she is able to ‘do any thing about it’. The fiesta can be read as an allegory about the war. Jake tells about the meaningless violence, how riots are thrilled and promising at first and how it ended up being long and deathful. And during the chaos he observes. He looks at his love once again draws away from him, himself who does not intend to strike out is defeated, and the ones who challenge fate, Robert Cohn, the matadors, rises and fails to prove the era’s tragedy. A tragedy that is concentrated into his eyes and sight of seeing. He ends up being alone as this does not surprise him. He ends up missing Paris but does not determine to go back, and he has been through such nostalgia like this. What happens is that he does not fight. Over or not the war is he does not fight any more. And as the pages turn over this will always be his story.
  　　 One’s subjectivity is one’s heroism. Jake is the one writing the story down and the implication screams to the audience louder than any fictitious character can. Jake Barnes, a veteran deprived of dreams chooses to tell us his love story. He looks at his vagrant life without any evasion, and asks for no empathy. He starts and ends the storytelling with another episode of ‘Jake and Brett in the taxi’, and such episodes repeat and he knows the routine and the ending. They would feel close and they would talk. They would imagine impossible happiness drunk and in the dark, being taken somewhere, and only to be alienated. They would know how momentary yet still tries to enjoy. And the sun also rises. Days continue with the dark night that tolerate them to share each other’s companion for just a minute, and the dark memories that linger and haunt them in their sleep. And the sun also rises.
  　　
  　　
•   　　冰山原则是海明威的创作手法，即我们只能看到事实的八分之一，余下的八分之七全靠我们读者自己去挖掘。《太阳照常升起》描写了一群经历过一战之后寻欢作乐，酗酒调情，钓鱼斗牛的青年男女。她们的生活是奢靡的，无力的，空虚的，就好像行驶在茫茫大海中的孤舟，无论它多努力地漂泊都只能是徒劳因为它找不到方向。这座“冰山”的八分之一我们有目共睹，但剩下的八分之七就应该是仁者见仁了。我以为，海明威塑造的迷惘的一代不仅仅属于那个时代，也属于今天这个时代，只是造成他们迷惘的原因略有差异罢了。没有目标，逃避现实继而得过且过甚至于悲观绝望是他们的共同点。我们都不想当迷惘的一代人，但生活的事实却总是让我们不得不迷惘。也许我们都应当为自己找一盏生活的明灯，寻找目标，不再迷惘。