New York in the 1950s. A man on a barstool is telling a story about a woman he met in a bar, early married and soon divorced, her child farmed out to her parents, good-looking, if a little past her prime. They’d gone out, they’d grown close, but as far as he was concerned it didn’t add up to much. He was a busy man. Then one day, out dancing, she runs into a rich awkward lovelo...
New York in the 1950s. A man on a barstool is telling a story about a woman he met in a bar, early married and soon divorced, her child farmed out to her parents, good-looking, if a little past her prime. They’d gone out, they’d grown close, but as far as he was concerned it didn’t add up to much. He was a busy man. Then one day, out dancing, she runs into a rich awkward lovelorn businessman. He’ll pay for her to be his, pay her a lot. And now the narrator discovers that he is as much in love with her as she is with him, perhaps more, though it will take him a while to realize just how utterly lost he is.
Executed with the cool smoky brilliance of a classic Miles Davis track, In Love is an unequaled exploration of the tethered—and untethered—heart.
作者简介
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Alfred Hayes (18 April 1911 – 14 August 1985) was a British screenwriter, television writer, novelist, and poet, who worked in Italy and the United States. He is perhaps best known for his poem "Joe Hill" ("I dreamed I saw Joe Hill last night…"), later set to music by Earl Robinson.
Born in London, Hayes graduated from New York's City College (now part of City University of New...
Alfred Hayes (18 April 1911 – 14 August 1985) was a British screenwriter, television writer, novelist, and poet, who worked in Italy and the United States. He is perhaps best known for his poem "Joe Hill" ("I dreamed I saw Joe Hill last night…"), later set to music by Earl Robinson.
Born in London, Hayes graduated from New York's City College (now part of City University of New York), worked briefly as a newspaper reporter, and began writing fiction and poetry in the 1930s. During World War II he served in Europe in the U.S. Army Special Services (the "morale division"). Afterwards, he stayed in Rome and became a screenwriter of Italian neorealist films. As a co-writer on Roberto Rossellini's Paisan (1946), he was nominated for an Academy Award; he received another Academy Award nomination for Teresa (1951). He adapted his own novel The Girl on the Via Flaminia into a play; in 1953 it was adapted into a French-language film Un acte d'amour.
He was an uncredited co-writer of Vittorio De Sica's neorealist film Bicycle Thieves (1948) for which he also wrote the English language subtitles.
Among his U.S. filmwriting credits are The Lusty Men (1952, directed by Nicholas Ray) and the film adaptation of the Maxwell Anderson/Kurt Weill musical Lost in the Stars (1974). His credits as a television scriptwriter included scripts for American series Alfred Hitchcock Presents, The Twilight Zone, Nero Wolfe and Mannix.
原文摘录
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p27
To ask nothing of her (as I was apparently doing) or to demand, or to pretend to demand, nothing, to act out while I kissed her some half-expressed comedy of independence, drew her to me and at the same time stirred in her some inarticulate antagonism, and made her feel, obscurely, some unvoiced denial of herself.
p28
Didn't she want me to survive?
And I suppose she didn't; only an absolute sort of incapacitation, if she left me, would have pleased her; nothing, I suppose (for at that time I did not think her going would have really occasioned in me more than a particularly sharp regret), but an extreme of suffering, or even possibly a gentle attempt to hang myself from some convenient chandelier, would have satisfied her that I was truly in love.
p29
The portrait I drew of mys... (查看原文)
0 有用 无脊椎 2015-06-03 23:28:15
描写非常精彩。语言有时候有种伯恩哈特的感觉。
0 有用 天蓝懒 2024-09-20 17:35:02 湖南
亲手送爱人离开的过程，是折磨也是解脱。