爱丽丝·门罗经典语录(2018年诺贝尔文学奖获得者)

获奖原因：The Nobel Prize in Literature 2013 was awarded to Alice Munro "master of the contemporary short story"./mediaplayer/index.php?id=1973门罗演讲词：Alice Munro - Nobel LectureAlice Munro: In her Own WordsConversation with Alice MunroBy Stefan Åsberg, SVTThe English text concerning the conversation has been the necessary starting point for the Swedish version. As the work has been done during some shortage of time, minor divergences in the English text can be found.I got interested in reading very early, because a story was read to me, by Hans Christian Andersen, which was The Little Mermaid, and I don't know if you remember The Little Mermaid, but it's dreadfully sad. The little mermaid falls in love with this prince, but she cannot marry him, because she is a mermaid. And it's so sad I can't tell you the details. But anyway, as soon as I had finished this story I got outside and walked around and around the house where we lived, at the brick house, and I made up a story with a happy ending, because I thought that was due to the little mermaid, and it sort of slipped my mind that it was only made up to be a different story for me, it wasn't going to go all around the world, but I felt I had done my best, and from now on the little mermaid would marry the prince and live happily ever after, which was certainly her desert, because she had done awful things to win the prince's power, his ease. She had had to change her limbs. She had had to get limbs that ordinary people have and walk, but every step she took, agonizing pain! This is what she was willing to go through, to get the prince. So I thought she deserved more than death on the water. And I didn't worry about the fact that maybe the rest of the world wouldn't know the new story, because I felt it had been published once I thought about it. So, there you are. That was an early start, on writing.And tell us how you learned to tell a story, and write it?I made stories up all the time, I had a long walk to school, and during that walk I would generally make up stories. As I got older the stories would be more and more about myself, as a heroine in some situation or other, and it didn't bother me that the stories were not going to be published to the world immediately, and I don't know if I even thought about other people knowing them or reading them. It was about the story itself, generally a very satisfying story from my point of view, with the general idea of the little mermaid's bravery, that she was clever, that she was in general able to make a better world, because she would jump in there, and have magic powers and things like that.Was it important that the story would be told from a woman's perspective?I never thought of it being important, but I never thought of myself as being anything but a woman, and there were many good stories about little girls and women. After you got maybe into your teens it was more abouthelping the man to achieve his needs and so on, but when I was a young girl I had no feeling of inferiority at all about being a woman. And this may have been because I lived in a part of Ontario where women did most of the reading, telling most of the stories, the men were outside doing important things, they didn't go in for stories. So I felt quite at home.How did that environment inspire you?You know, I don't think that I needed any inspiration, I thought that stories were so important in the world, and I wanted to make up some of these stories, I wanted to keep on doing this, and it didn't have to do with other people, I didn't need to tell anybody, and it wasn't until much later that I realized that it would be interesting if one got them into a larger audience.What is important to you when you tell a story?Well, obviously, in those early days the important thing was the happy ending, I did not tolerate unhappy endings, for my heroines anyway. And later on I began to read things like Wuthering Heights, and very very unhappy endings would take place, so I changed my ideas completely and went in for the tragic, which I enjoyed.What can be so interesting in describing small town Canadian life?You just have to be there. I think any life can be interesting, any surroundings can be interesting, I don't think I could have been so brave if I had been living in a town, competing with people on what can be called a generally higher cultural level. I didn't have to cope with that. I was the only person I knew who wrote stories, though I didn't tell them to anybody, and as far as I knew, at least for a while, I was the only person who could do this in the world.Were you always that confident in your writing?I was for a long time, but I became very unconfident when I grew up and met a few other people who were writing. Then I realized that the job was a bit harder than I had expected. But I never gave up at all, it was just something I did.When you start a story, do you always have it plotted out?I do, but then it often changes. I start with a plot, and I work at it, and then I see that it goes another way and things happen as I'm writing the story, but at least I have to start out with a fairly clear idea of what the story is about.How consumed are you by the story when you start writing?Oh, desperately. But you know, I always got lunch for my children, did I not? I was a housewife, so I learned to write in times off, and I don't think I ever gave it up, though there were times when I was very discouraged, because I began to see that the stories I was writing were not very good, that I had a lot to learn and that it was a much, much harder job than I had expected. But I didn't stop, I don't think I have ever done that.What part is hardest when you want to tell a story?I think probably that part when you go over the story and realize how bad it is. You know, the first part, excitement, the second, pretty good, but then you pick it up one morning and you think ―what nonsense‖, and that is when you really have to get to work on it. And for me it always seemed the right thing to do, it was my fault if the story was bad, not the story's fault.But how do you turn it around if you are not satisfied?Hard work. But I try to think of a better way to explain. You have characters that you haven't given a chance, and you have to think about them or do something quite different with them. In my earlier days I was prone to a lot of flowery prose, and I gradually learned to take a lot of that out. So you just go on thinking about it and finding out more and more what the story was about, which you thought you understood in the beginning, but you actually had a lot more to learn.How many stories have you thrown away?Ha, when I was young I threw them all away. I have no idea, but I haven't done that so often in recent years, I generally knew what I had to do to make them live. But there may still always be a mistake somewhere that I realize is a mistake and you just have to forget about it.Do you ever regret throwing a story away?I don't think so, because by then I have gone through enough agony about it, knowing that it didn't work from the beginning. But as I say that doesn't happen very often.Growing older, how does that change your writing?Oh, well, in a very predictable way. You start out writing about beautiful young princesses and then you write about housewives and children and later on about old women, and this just goes on, without your necessarily trying to do anything to change that. Your vision changes.Do you think you have been important to other female writers, being a housewife, being able to combine household work with writing?I actually don't know about that, I would hope that I have been. I think I went to other female writers when I was young, and that was a great encouragement to me, but whether I have been important to others I don't know. I think women have a much, I wouldn't say easier time, but it's much more okay now for women to be doing something important, not just fooling around with a little game that she does while everybody else is out of the house, but to be really serious about writing, as a man would write.What impact do you think that you have on someone reading your stories, women especially?Oh, well, I want my stories to move people, I don't care if they are men or women or children. I want my stories to be something about life that causes people to say, not, oh, isn't that the truth, but to feel some kind of reward from the writing, and that doesn't mean that it has to be a happy ending or anything, but just thateverything the story tells moves the reader in such a way that you feel you are a different person when you finish.Who do you think you are? What has that expression meant to you?Well, I grew up in the countryside, I grew up with people who were generally Scotch-Irish, and it was a very common idea not to try too much, never to think you were smart. That was another image that was popular, ―Ah, you think you are smart.‖ And to do anything like writing you'd have to think you were smart, for quite a while, but I was just a peculiar person.Were you an early feminist?I never knew about the word ―feminism‖, but of course I was a feminist, because I actually grew up in a part of Canada where women could write more easily than men. The big, important writers would be men, but knowing that a woman wrote stories was probably less to her discredit than if a man wrote stories. Because it was not a man's occupation. Well, that was very much in my youth, it's not that way at all now.Would it have changed your writing if you had finished your university studies?It might have indeed, it might have made me a lot more cautious and a lot more scared about being a writer, because the more I knew about what people had done, I was naturally rather daunted. I would perhaps have thought I couldn't do it, but I don't think it would have happened, really, maybe for a while, but then, I wanted to write so much that I would just have gone ahead and tried it anyway.Was the writing a gift, given to you?I don't think the people around me would have thought that, but I never thought about it as a gift, I just thought that it was something that I could do, if I just tried hard enough. So if it was a gift, it certainly wasn't an easy gift, not after The Little Mermaid.Did you ever hesitate, did you ever think that you were not good enough?All the time, all the time! I threw out more stuff than I ever sent away or finished, and that went on all through my twenties something. But I was still learning to write the way I wanted to write. So, no, it wasn't an easy thing.What did your mother mean to you?Oh, my feelings about my mother were very complicated, because she was sick, she had Parkinson's disease, she needed a lot of help, and her speech was difficult, people couldn't tell what she was saying, and yet she was a very gregarious person, who wanted very much to be part of a social life, and of course that wasn't possible for her because of her speech problems. So I was embarrassed by her, I loved her but in a way perhaps didn't want to be identified with her, I didn't want to stand out and say the things she wanted me to say to people, it was difficult in the same way that any adolescent would think of a person or a parent who was maimed in some respect. You would want that time to be totally free of such things.Did she inspire you in any way?I think she probably did but not in ways I could notice or understand. I can't remember when I wasn't writing stories, I mean, I didn't write them down, but I told them, not to her, to anybody. But the fact that she read, and my father read too … My mother, I think, would have been more agreeable to someone who wanted to be a writer. She would have thought that was an admirable thing to be, but the people around me didn't know that I wanted to be a writer, cause I didn't let them find out, it would have seemed to most people ridiculous. Because most people I knew didn't read, they took to life in a very practical way and my whole idea of life had to be rather sheltered from people I knew.Has it been hard to tell a true story from a woman's perspective?No, not at all, because that's the way I think, being a woman and all, and it never bothered me. You know this is kind of a special thing with growing up as I did, if anybody read, it was the women, if anybody had the education it was often the woman; it would have been a school teacher or something like that, and far from being closed to women, the world of reading and writing was widely more open to women than it was to men, men being farmers or doing different kinds of work.And you were brought up in a working class home?Yes.And that's where your stories start as well?Yes. I didn't realize it was a working class home, I just looked at where I was and wrote about it.And did you like the fact always to write at specific times, looking at a schedule, taking care of the kids, cooking dinner?Well, I wrote whenever I could, and my first husband was very helpful, to him writing was an admirable thing to do. He didn't think of it as something that a woman couldn't do, as many of the men that I met later did, he took it as something that he wanted me to do and never wavered from that.In the BookstoreIt was great fun in the first place, because we moved in here, determined to open a bookstore, and everybody thought we were crazy and would starve to death, but we didn't. We worked very hard.How important was the bookstore in the beginning for the two of you, when it all started?It was our livelihood. It was all we had. We didn't have any other source of income. The first day when we opened we made 175 dollars. – Which you thought was a lot. Well, it was, cause it took us a long time to get back to that again.I used to sit behind the desk and find the books for people and handle all the things you do in a bookstore, generally just by myself, and people came in and talked about books a lot, it was very much a place for people to get together rather than immediately buy things, and this was especially true at night, when I'd be sitting here by myself, and I had these people come in every night, talking to me about something, and it was great, it was a lot of fun. Up until this point I had been a housewife, I was at home all the time, I was a writeras well, but this was a wonderful chance to get into the world. I don't think we made much money, possibly I talked to people a little too much, you know, instead of getting them to the books, but it was a fantastic time in my life.Visitor in the bookstore: Your books remind me of home. – Yes, I live right south of Amsterdam. Thank you so much, goodbye.Think of that! Well, I love it when someone just comes up to you like that, when it's not only a matter of getting autographs, but of telling you why.[During the Nobel programme on December 7 an excerpt from the short story 'Carried Away' was read by the Swedish actor Pernilla August. Se below.]Conversation (cont.)Do you want young women to be inspired by your books and feel inspired to write?I don't care what they feel as long as they enjoy reading the book. I want people to find not so much inspiration as great enjoyment. That's what I want; I want people to enjoy my books, to think of them as related to their own lives in ways. But that isn't the major thing. I am trying to say that I am not, I guess I am not a political person.Are you a cultural person?Probably. I am not quite sure what that means, but I think I am.You seem to have a very simple view on things?Do I? Well, yes.Well, I read somewhere that you want things to be explained in an easy way.Yes, I do. But I never think that I want to explain things more easily, that's just the way I write. I think I write naturally in an easy way, without thinking that this was to be made more easy.Have you ever run into periods when you haven't been able to write?Yes, I have. Well, I gave up writing, when was it, maybe a year ago, but that was a decision, that was not wanting to write and not being able to, a decision that I wanted to behave like the rest of the world. Because when you are writing you are doing something that other people don't know you are doing, and you can't really talk about it, you are always finding your way in this secret world, and then you are doing something else in the normal world. And I am sort of getting tired of that, I have done it all my life, absolutely all my life. When I got in company with writers who were in a way more academic, then I became a little flustered, because I knew I couldn't write that way, I didn't have that gift.I guess it's a different way of telling a story?Yes, and I never worked on it in a, what shall I say, conscious way, well, of course I was conscious, I worked in a way that comforted and pleased myself more than in a way that followed some kind of idea.Did you ever see yourself win the Nobel Prize?Oh, no, no! I was a woman! But there are women who have won it, I know. I just love the honour, I love it, but I just didn't think that way, because most writers probably underestimate their work, especially after it's done. You don't go around and tell your friends that I will probably win the Nobel Prize. That is not a common way of greeting one!Do you ever go back these days and read any of your old books?No! No! I am afraid to! No, but then I would probably get a terrific urge to change just a little bit here, alittle bit there, and I have even done that in certain copies of my books that I would take out of the cupboard, but then I realize that it doesn't matter if I change them, because it's not changed out there.Is there anything you want to say to the people in Stockholm?Oh, I want to say that I am so grateful for this great honour, that nothing, nothing in the world could make me so happy as this! Thank you!LETTERSIn the dining room of the Commercial Hotel, Louisa opened the letter that had arrived that day from overseas. She ate steak and potatoes, her usual meal, and drank a glass of wine. There were a few travellers in the room, and the dentist who ate there every night because he was a widower. He had shown an interest in herin the beginning but had told her he had never before seen a woman touch wine or spirits."It is for my health," said Louisa gravely.The white tablecloths were changed every week and in the meantime were protected by oilcloth mats. In winter, the dining room smelled of these mats wiped by a kitchen rag, and of coal fumes from the furnace, and beef gravy and dried potatoes and onions—a smell not unpleasant to anybody coming in hungry from the cold. On each table was a little cruet stand with the bottle of brown sauce, the bottle of tomato sauce, and the pot of horseradish.The letter was addressed to "The Librarian, Carstairs Public Library, Carstairs, Ontario." It was dated six weeks before—January 4, 1917.Perhaps you will be surprised to hear from a person you don't know and that doesn't remember your name.I hope you are still the same Librarian though enough time has gone by that you could have moved on.What has landed me here in Hospital is not too serious. I see worse all around me and get my mind off of all that by picturing things and wondering for instance if you are still there in the Library. If you are the one I mean, you are about of medium size or perhaps not quite, with light brownish hair. You came a few months before it was time for me to go in the Army following on Miss Tamblyn who had been there since I first became a user aged nine or ten. In her time the books were pretty much every which way, and it was as much as your life was worth to ask her for the least help or anything since she was quite a dragon. Then when you came what a change, it was all put into sections of Fiction and Non-Fiction and History and Travel and you got the magazines arranged in order and put out as soon as they arrived, not left to molder away till everything in them was stale. I felt gratitude but did not know how to say so. Also I wondered what brought you there, you were an educated person.My name is Jack Agnew and my card is in the drawer. The last book I took out was very good—H. G. Wells, Mankind in the Making. My education was to Second Form in High School, then I went into Douds as many did. I didn't join up right away when I was eighteen so you will not see me as a Brave Man. I am a person tending to have my own ideas always. My only relative in Carstairs, or anyplace, is my father Patrick Agnew. He works for Douds not at the factory but at the house doing the gardening. He is a lone wolf even more than me and goes out to the country fishing every chance he gets. I write him a letter sometimes but I doubt if he reads it.After supper Louisa went up to the Ladies' Parlor on the second floor, and sat down at the desk to write her reply.I am very glad to hear you appreciated what I did in the Library though it was just the normal organization, nothing special.I am sure you would like to hear news of home, but I am a poor person for the job, being an outsider here. I do talk to people in the Library and in the hotel. The travellers in the hotel mostly talk about how business is (it is brisk if you can get the goods) and a little about sickness, and a lot about the War. There are rumors on rumors and opinions galore, which I'm sure would make you laugh if they didn't make you angry. I will not bother to write them down because I am sure there is a Censor reading this who would cut my letter to ribbons.You ask how I came here. There is no interesting story. My parents are both dead. My father worked for Eaton's in Toronto in the Furniture Department, and after his death my mother worked there too in Linens.And I also worked there for a while in Books. Perhaps you could say Eaton's was our Douds. I graduated from Jarvis Collegiate. I had some sickness which put me in hospital for a long time, but I am quite well now.I had a great deal of time to read and my favorite authors are Thomas Hardy, who is accused of being gloomy but I think is very true to life—and Willa Cather. I just happened to be in this town when I heard the Librarian had died and I thought, perhaps that is the job for me.A good thing your letter reached me today as I am about to be discharged from here and don t know if it would have been sent on to where I am going. I am glad you did not think my letter was too foolish.If you run into my father or anybody you do not need to say anything about the fact we are writing to each other. It is nobody's business and I know there are plenty of people would laugh at me writing to the Librarian as they did at me going to the Library even, why give them the satisfaction?I am glad to be getting out of here. So much luckier than some I see that will never walk or have their sight and will have to hide themselves away from the world.You asked where did I live in Carstairs. Well, it was not anyplace to be proud of. If you know where Vinegar Hill is and you turned off on Flowers Road it is the last house on the right, yellow paint once upon a time. My father grows potatoes, or did. I used to take them around town with my wagon, and every load I sold got a nickel to keep.You mention favorite authors. At one time I was fond of Zane Grey, but I drifted away from reading fiction stories to reading History or Travel. I sometimes read books away over my head, I know, but I do get something out of them. H. G. Wells I mentioned is one and Robert Ingersoll who writes about religion. They have given me a lot to think about. If you are very religious I hope I have not offended you.One day when I got to the Library it was a Saturday afternoon and you had just unlocked the door and were putting the lights on as it was dark and raining out. You had been caught out with no hat or umbrella and your hair had got wet. You took the pins out of it and let it come down. Is it too personal a thing to ask if you have it long still or have you cut it? You went over and stood by the radiator and shook your hair on it and the water sizzled like grease in the frying pan. I was sitting reading in the London Illustrated News about the War. We exchanged a smile. (I didn't mean to say your hair was greasy when I wrote that!)I have not cut my hair though I often think about it. I do not know if it is vanity or laziness that prevents me.I am not very religious.I walked up Vinegar Hill and found your house. The potatoes are looking healthy. A police dog disputed with me, is he yours?The weather is getting quite warm. We have had the flood on the river, which I gather is an annual Spring event. The water got into the hotel basement and somehow contaminated our drinking supply so that we were given free beer or ginger ale. But only if we lived or were staying there. You can imagine there were plenty of jokes.I should ask if there is anything that I could send you.I am not in need of anything particular. I get the tobacco and other bits of things the ladies in Carstairs do up for us. I would like to read some books by the authors you have mentioned but I doubt whether I would get the chance here.The other day there was a man died of a heart attack. It was the News of all time. Did you hear about the man who died of a heart attack? That was all you heard about day and night here. Then everybody would laugh which seems hard-hearted but it just seemed so strange. It was not even a hot time so you couldn't say maybe he was scared. (As a matter of fact he was writing a letter at the time so I had better look out.) Beforeand after him others have died being shot up or blown up but he is the famous one, to die of a heart attack. Everybody is saying what a long way to come and a lot of expense for the Army to go to, for that.The summer has been so dry the watering tank has been doing the streets every day, trying to lay the dust. The children would dance along behind it. There was also a new thing in town—a cart with a little bell that went along selling ice cream, and the children were pretty attentive to this as well. It was pushed by the man who had an accident at the factory—you know who I mean, though I can't recall his name. He lost his arm to the elbow. My room at the hotel, being on the third floor, it was like an oven, and I often walked about till after midnight. So did many other people, sometimes in pajamas. It was like a dream. There was still a little water in the river, enough to go out in a rowboat, and the Methodist minister did that on a Sunday in August. He was praying for rain in a public service. But there was a small leak in the boat and the water came in and wet his feet and eventually the boat sank and left him standing in the water, which did not nearly reach his waist. Was it an accident or a malicious trick? The talk was all that his prayers were answered but from the wrong direction.I often pass the Douds' place on my walks. Your father keeps the lawns and hedges looking beautiful. I like the house, so original and airy-looking. But it may not have been cool even there, because I heard the voice of the mother and baby daughter late at night as if they were out on the lawn.Though I told you there is nothing I need, there is one thing I would like. That is a photograph of you. I hope you will not think I am overstepping the bounds to ask for it. Maybe you are engaged to somebody or have a sweetheart over here you are writing to as well as me. You are a cut above the ordinary and it would not surprise me if some Officer had spoken for you. But now that I have asked I cannot take it back and will just leave it up to you to think what you like of me.Louisa was twenty-five years old and had been in love once, with a doctor she had known in the sanitorium. Her love was returned, eventually, costing the doctor his job. There was some harsh doubt in her mind about whether he had been told to leave the sanitorium or had left of his own accord, being weary of the entanglement. He was married, he had children. Letters had played a part that time, too. After he left, they were still writing to one another. And once or twice after she was released. Then she asked him not to write anymore and he didn't. But the failure of his letters to arrive drove her out of Toronto and made her take the travelling job. Then there would be only the one disappointment in the week, when she got back on Friday or Saturday night. Her last letter had been firm and stoical, and some consciousness of herself as a heroine of love's tragedy went with her around the country as she hauled her display cases up and down the stairs of small hotels and talked about Paris styles and said that her sample hats were bewitching, and drank her solitary glass of wine. If she'd had anybody to tell, though, she would have laughed at just that notion. She would have said love was all hocus-pocus, a deception, and she believed that. But at the prospect she still felt a hush, a flutter along the nerves, a bowing down of sense, a flagrant prostration.She had a picture taken. She knew how she wanted it to be. She would have liked to wear a simple white blouse, a peasant girl's smock with the string open at the neck. She did not own a blouse of that description and in fact had only seen them in pictures. And she would have liked to let her hair down. Or if it had to be up, she would have liked it piled very loosely and bound with strings of pearls.。

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次 轻 微 的 ，还 会 得 下 一 次 ， 下 下一 次 ……有 一 天她 就会 得 一 次
一
大 中风 。
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日子是多么难熬 。 她全身浮肿 ， 到
处 都水 肿 。 他 们来 过一 次 ， 从 她 身 体 里 抽 出满 满 一桶 ，抽 出满 满 一
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妈妈得了病 我 ｌ ５岁 时她 就 去世
，
襄
了 在 那段 时间里 ， 我跟 她一 起 的
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2019年爱丽丝·门罗经典语录(年诺贝尔文学奖获得者) 篇一：20XX年1-8月诺贝尔文学图书排名20XX年1月-8月诺贝尔文学奖得主（2000年-20XX年）作家排行榜前十为：斯维特兰娜·阿列克谢耶维奇（20XX年诺贝尔文学奖得主）、莫言（20XX年诺贝尔文学奖得主）、爱丽丝·门罗（20XX年诺贝尔文学奖得主）、奥尔罕·帕慕克（20XX年诺贝尔文学奖得主）、V.S.奈保尔（2001年诺贝尔文学奖得主）、帕特里克·莫迪亚诺（20XX 年诺贝尔文学奖得主）、马里奥·巴尔加斯·略萨（20XX年诺贝尔文学奖得主）、约翰·M·库切（2003年诺贝尔文学奖得主）、多丽丝·莱辛（20XX年诺贝尔文学奖得主）、让-玛丽·古斯塔夫·勒克莱齐奥（20XX年诺贝尔文学奖得主）。

附录1：亚马逊中国20XX年1-8月诺贝尔文学奖得主（2000年-20XX年）作品排行榜前301.《二手时间》，斯维特兰娜·阿列克谢耶维奇2.《我不知道该说什么，关于死亡还是爱情》，斯维特兰娜·阿列克谢耶维奇3.《公开的秘密》，艾丽丝·门罗4.《切尔诺贝利的悲鸣》，斯维特兰娜·阿列克谢耶维奇5.《丰乳肥臀》，莫言6.《我脑袋里的怪东西》，奥尔罕·帕慕克7.《蛙》，莫言8.《锌皮娃娃兵》，斯维特兰娜·阿列克谢耶维奇9.《我的名字叫红》，奥尔罕·帕慕克10.《酒国》，莫言11.《我是女兵，也是女人》，斯维特兰娜·阿列克谢耶维奇12.《爱的进程》，爱丽丝·门罗13.《我还是想你，妈妈》，斯维特兰娜·阿列克谢耶维奇14.《企鹅经典丛书：绿房子》，马里奥·巴尔加斯·略萨15.《师傅越来越幽默》，莫言16.《红高粱家族》，莫言17.《檀香刑》，莫言18.《伊斯坦布尔：一座城市的记忆》，奥尔罕·帕慕克19.《红树林》，莫言20.《白狗秋千架》，莫言21.《纯真博物馆》，奥尔罕·帕慕克22.《好女人的爱情》，爱丽丝·门罗23.《快乐影子之舞》，爱丽丝·门罗24.《八月的星期天》，帕特里克·莫迪亚诺25.《天堂蒜薹之歌》，莫言26.《印度三部曲2：受伤的文明》，V.S.奈保尔27.《暗店街》，帕特里克·莫迪亚诺28.《米格尔街》，V.S.奈保尔29.《欢乐》，莫言30.《戴眼镜的女孩》，帕特里克·莫迪亚诺篇二：加拿大女作家门罗获20XX年诺贝尔文学奖加拿大女作家门罗获20XX年诺贝尔文学奖北京时间10月10日19时(当地时间10月10日13时)，瑞典学院宣布20XX年诺贝尔文学奖获得者为加拿大作家爱丽丝·门罗(AliceMuo)。

2013年诺贝尔文学奖于瑞典当地时 间10月10日下午1时(北京时间10月10日 晚7时)揭晓，加拿大作家爱丽丝· 门罗 （Alice Munro）获此殊荣。
艾丽丝· 门罗（1931- ） 加拿大著名女作 家。以短篇小说闻名全球，入选美国《时代 周刊》“世界100名最有影响力的人物”。 门罗出生在渥太华，大部分时间都在这 个安静的城市度过。她的小说写的也都是这 个城市郊区小镇中上演的平民中的爱情、家 庭日常生活，而涉及的却都是和生老病死相 关的严肃主题。


主要短篇小说集有《快乐影子舞》（1968）、 《我青年时期的朋友》（1973）、 《你以为你是谁？》（1978，亦得总督奖）、 《爱的进程》（1986，第三次得总督奖）、 《公开的秘密》（1994）、 《一个善良女子的爱》（1996）、 《憎恨、友谊、求爱、爱恋、婚姻》（2001）、 《逃离》（2004）等 2006年出版《石城远望》是她最新的一部作品集 她亦曾出版过一部叫《少女们和妇人们的生活》（1973）的 长篇小说
著作和评价
门罗一生创作了11部短篇小说集和1部类 似故事集的长篇小说。 很多人对门罗获奖的感受可以用一个词 来形容：“值！” “每读爱丽丝· 门罗的小说， 便知生命中未曾想到之事。”这是由作家、 学者、编剧等组成的评委对她的评价。
ቤተ መጻሕፍቲ ባይዱ
写作之路
1968年她37岁，那一年，加拿大女权运 动正在最高峰，她发表第一部短篇小说集 《快乐影子舞》，一炮打红，并得了她的第 一座加拿大总督文学奖。此时，她已是三个 女儿的母亲。 她的许多早期创作，是陆陆续续地在孩 子的呼噜声旁，或者等待烤炉的间歇中完成 的。事实上，《快乐影子舞》前后花了20年 才写完。
上世纪80年代，门罗曾访问过中国。

爱丽丝·门罗：14部小说集，82岁获得诺贝尔文学奖，她被誉为加拿大的契诃夫爱丽丝·门罗，加拿大女作家，当代国际文坛著名的短篇小说作家。

自少女时代，门罗便开启了伴随她一生的写作生涯，先后出版了14部短篇小说集，被誉为“加拿大的契诃夫”。

美国《时代周刊》杂志将爱丽丝·门罗评为“世界一百名最有影响力的人物”。

2013年，瑞典文学院将该年获诺贝尔文学奖授予了82岁高龄的爱丽丝·门罗。

爱丽丝·门罗由此成为第110位诺贝尔文学奖得主，也是该奖项第13位女性得主，并且是首位获诺贝尔文学奖的加拿大作家。

瑞典文学院给出的获奖理由是：“当代短篇小说大师。

”并称“门罗以精致的讲故事方式著称，清晰与心理现实主义是其写作特色”。

1968 年，爱丽丝·门罗出版了第一部短篇小说集《快乐影子之舞》，备受好评和关注，并将当年的加拿大总督奖收入囊中。

至此，爱丽丝·门罗逐渐确立了她在加拿大文坛的地位。

之后，门罗的创作进入了成熟期，艺术水平更为精进。

1976至1990年，门罗先后出版了《你以为你是谁？》《木星的月亮》《爱的进程》和《我青年时代的朋友》四部短篇故事集。

其中，1978年出版的小说集《你以为你是谁》为她赢得第二座加拿大总督文学奖，1986年出版的小说《爱的进程》为她赢得第三座加拿大总督奖。

可以说，爱丽丝门罗，凭借精湛的写作和短篇小说成就，在加拿大文坛上演了令人眼花缭乱的“帽子戏法”。

20世纪90年代之后，年届六旬的门罗依然笔耕不辍，又陆续出版了《公开的秘密》《好女人的爱》《憎恨、友谊、求爱、爱恋、婚姻》《逃离》《石城远眺》《太多欢乐》和《亲爱的生活》等七部短篇故事集。

2009年5月，由于作品一贯的极高水准和在全球的巨大影响，毫无争议地荣获第3届布克国际文学奖。

作为代表作，影响巨大的《逃离》于2004年隆重出版，读者好评如潮，迅速夺得当年加拿大吉勒文学奖，并入选《纽约时报》年度图书。

爱丽丝语录爱丽丝漫游奇境》中的主人公是爱丽丝，爱丽丝是一位非常可爱善良的小女孩,下面小编整理了爱丽丝句子大全，供大家赏析！爱丽丝语录11. 这回可别错过时机，爱丽丝像一阵风似地追了过去。

2.老鼠听后，吓得猛地跳出水面，浑身发抖。

3.“它走了，多遗憾哪!”当老鼠刚走得看不见了时，鹦鹉就叹息着，老螃蟹趁这个机会对女儿说:“哦，我亲爱的，这是一个教训，告诉你以后永远也不要发脾气。

”4.毛毛虫和爱丽丝彼此沉默地注视了好一会。

最后，毛毛虫从嘴里拿出了水烟管，用慢吞吞的、瞌睡似的声调同她说起了话。

5.爱丽丝不吭气了。

这时候，睡鼠已经闭上了眼，打起盹来了，但是被帽匠捅了—下，它尖叫着醒来了，继续讲，“用‘老’字开头的东西，例如老鼠笼子，老头儿，还有老多。

你常说老多东西，可是你怎么画出这个—老多’来?”6.刽子手的`理由是:除非有身子，才能从身上砍头，光是一个头是没法砍掉的。

他说他从来没做过这种事，这辈子也不打算做这样的事了。

7.国王的理由是:只要有头，就能砍，你刽子手执行就行了，少说废话。

8.王后的理由是:谁不立即执行她的命令，她就要把每个人的头都砍掉，周围的人的头也都砍掉。

9.他们走了不远，就远远望见了那只素甲鱼，孤独而悲伤地坐在一块岩石的边缘上。

10.当再走近一点时，爱丽丝听见它在叹息着，好像它的心都要碎了，她打心眼儿里同情它。

11.“它有什么伤心事呢?”她这样间鹰头狮。

12.鹰头狮还是用同刚才差不多的话回答:“这全是它的想象，你知道，它根本没有什么伤心事。

走吧。

”13.爱丽丝还没有到过法庭，只在书上读到过。

她很高兴的是对这里的一切都能说得上。

14.“那是法官，”她对自己说，“因为他有假发。

”好词如愿以偿如醉如痴如坐针毡任重道远依依不舍依依惜别一往情深取长补短热火朝天千辛万苦千言万语千载难逢事倍功半失之交臂诗情画意轻描淡写受宠若惊受益匪浅人心所向荣华富贵洗耳恭听如虎添翼荣辱与共小巧玲珑饮水思源叹为观止如火如荼山盟海誓胸有成竹雄才大略与日俱增与众不同天经地义添枝加叶同心同德神通广大神魂颠倒脱胎换骨脱颖而出网开一面爱丽丝语录2爱丽丝有很多朋友，小猪、老鼠、三月兔、扑克王后……爱丽丝和她的朋友相处的非常好，遇到困难她们互相帮助，遇到快乐时大家一起分享。

爱丽丝·门罗：小说不像一条道路，更像一座房子作者：来源：《润·文摘》2013年第12期10月10日，2013年诺贝尔文学奖花落82岁的加拿大女作家爱丽丝·门罗。

门罗成为第一个获得该奖的加拿大本土作家，还打破了以往短篇小说家难获诺奖的魔咒。

门罗的笔触简单朴素，作品以情节细腻见长，文风透彻，带有心理现实主义特色，有“加拿大契诃夫”的美誉。

在孩子的酣睡中拓展纸上空间门罗1931年生于安大略省温纳姆，加拿大西部一个只有3000居民的小镇，父母以饲养狐狸和家禽为业。

门罗十几岁时即开始写作，并凭借写作特长考入大学攻读新闻专业。

大学期间，家境贫寒的门罗业余做过女招待、烟叶采摘工和图书管理员。

20岁时，还在大学就读的门罗嫁给了第一任丈夫詹姆斯，婚后连生四个女儿，此间开了一家小书店维持生计。

如今，前夫詹姆斯还在用心经营着那家书店。

门罗的获奖，给冷清的书店带来不少生意。

门罗早期的许多创作，都是陆陆续续在孩子的酣睡声中，或是在烤炉旁的等待中完成的。

她克服了年轻妈妈的抑郁，顽强地拓展纸上空间。

1968年，门罗37岁，她的第一部短篇小说集《快乐的影子之舞》终于问世——这部集子的写作时间前后花了20年。

这本迟到的处女作一炮而红，为她第一次赢下加拿大最高文学奖——总督奖。

此后一发而不可收，迄今为止，门罗共创作了11部短篇小说集和1部类似故事集的长篇小说，并屡获大奖。

因为门罗的小说，她如今生活的小镇已经和福克纳的约克纳帕塔法县、莫言的高密县一样，成为诞生传奇的地方。

门罗的作品大多取材于小镇上的故事，表现的是小镇上平民的爱情、家庭等日常生活，而揭示的却是有关生老病死的严肃主题。

她的作品地域性很强，同时，也为我们呈现出此地人们的普遍共通的人性。

打磨出平凡女性的光彩她总是将目光流连于平凡女性的生活，从自己和母亲身上寻找灵感，精确地记录她们从少女到人妻与人母，再度过中年与老年的历程，以及由此而来的身心重负。

爱丽丝·门罗：短篇女王和她“公开的秘密”2013年诺贝尔文学奖于10月10日晚7点揭晓--82岁的加拿大女小说家爱丽丝·门罗(Alice Munro)摘得大奖。

门罗以短篇小说闻名全球，其影响巨大的《逃离》2004年出版，她被称为“当代短篇小说大师”，以其精致的讲故事方式著称，清晰与心理现实主义是门罗的写作特色。

现在，把诺贝尔文学奖颁给她，又会有谁不服呢？美国女作家、普利策奖得主简·斯迈利(Jane Smiley)曾大赞门罗的作品“既精妙又准确，几近完美”。

这位加拿大短篇女王的确是个追求完美的人，她始终以严谨的态度对待文学，努力去写伟大的小说。

她写30页短篇所用的心力，如斯迈利女士所言，足可抵得上某些作家写出整本长篇。

她在文坛的地位，好比当代契诃娃--契诃夫的女传人。

在40余年的文学生涯中，门罗女士始终执著地写作短篇小说，锤炼技艺，并以此屡获大奖，其中包括三次加拿大总督奖，两次吉勒奖，以及英联邦作家奖、欧亨利奖、笔会/马拉穆德奖和美国全国书评人奖、布克奖等。

在每年秋天的诺贝尔文学奖猜谜大赛中，她的大名必在候选人之列，而今天，诺贝尔文学奖终于颁给了这位82岁的伟大女作家。

在等烤炉间歇中写作门罗一生创作了11部短篇小说集和1部类似故事集的长篇小说。

在短篇小说普遍地位低下的欧美文学界，诺贝尔文学奖颁给她或许会让一些人惊讶，但更多的人对门罗获奖的感受，却应该可以用一个词来形容：“值！”“每读爱丽丝·门罗的小说，便知生命中未曾想到之事。

”这是由作家、学者、编剧等组成的布克奖评委对她的评价。

“以其精致的讲故事方式著称，清晰与心理现实主义是门罗的写作特色”，这是诺贝尔文学奖评审委员会对门罗的评价。

门罗女士娘家姓莱德劳(Laidlaw)，1931年生于安大略省温格姆镇，少女时代即开始写小说，同时上大学，课余做女招待、烟叶采摘工和图书馆员。

年仅20岁时，她便以大二女生之身，嫁与詹姆斯·门罗，为此退学，此后连生四女，但二女儿出生后不到一天，便不幸夭折。

艾丽丝·门罗：三个孩子的全职母亲，82岁时获诺贝尔文学奖文/晏砚砚12013年10月10日，一位82岁的老妇人获得2013年诺贝尔文学奖。

她就是艾丽丝·门罗，她是首位获得诺奖的加拿大作家，也是诺贝尔文学奖历史上获此殊荣的第13位女作家。

1968年，37岁的门罗发表第一部短篇小说集《快乐影子舞》，一炮而红，获得她的第一座加拿大文学奖。

此时的她，是三个女儿的母亲。

2门罗的写作生涯就是一部平凡女性的人生奋斗史。

门罗少女时代即开始创作小说，上大学时候她在课余时间做女招待、烟叶采茶工和图书馆员。

但她在20岁时却结了婚，那时她还在上大二。

为此不得不退学，并接连生了四个孩子，一个女孩夭折。

一个原本很有理想很有前途的女性就此被生活淹没，如果按照人生最老套的剧本演下去，这个女人在世界上什么浪花也不会留下，什么声音也不会发出，她来了她去了，不过是所有芸芸众生中的一个而已。

但就是这个像所有天下婚姻所塑造的情节一样，女人、婚姻、母亲，这些角色同样束缚着她，不甘心被平凡的生活沦为牺牲品，门罗挣扎着。

食物烤熟前，她在写作，一家人上桌吃饭前的几分钟里，她在写作，给孩子讲完故事孩子们睡下后，她爬起来写作。

门罗有一段非常著名的言论，说的就是身为一个女人要是想写作，她必须得等一切家务活都完成后才有资格写作，而男人则不用，他们写作，只是写作。

对一个男人来说，房子用来工作挺合适。

他把工作带回家，为此还特意清出一块地方给他工作。

为了尽可能地配合他的需要，房子的布局要重新安排。

谁都能看出来他的工作存在。

没人指望他接电话，也不会指望他能找到找不到的东西，或者孩子哭了他能起来看看，更不会盼着他去喂猫。

他完全可以关上房门。

我说，想想吧，要是一个妈妈关上了房门，而所有的孩子都知道她就在门后头。

为什么孩子们都会觉得这样对待他们太粗暴？一个女人，坐着那里，看着空气，看着一片乡村的田野，但她的丈夫并不在这片田野中，她的孩子也不在，人们就会觉得这是违反人类天性的。

爱丽丝门罗的历史故事爱丽丝·门罗（Alice Munro）是加拿大最著名和最具有影响力的当代作家之一。

她以她精湛的短篇小说而闻名于世，并曾获得许多文学奖项，包括诺贝尔文学奖。

本文将向您介绍爱丽丝·门罗的个人背景以及她在文学领域的巨大成就。

爱丽丝·门罗于1931年出生在加拿大安大略省的温哥华湖附近的一个小镇上。

尽管她的家庭并不富有，但门罗从小就显示出了对文学的浓厚兴趣。

她喜欢阅读各种类型的书籍，并在中学时代开始写作。

门罗在故乡的一所小学教了一年的英语，并在那里培养了她对故事和语言的热爱。

门罗的写作风格鲜明，以真实而细腻的描写闻名。

她的故事常常发生在安大略省的乡村小镇上，主要围绕着普通人的生活和情感经历展开。

她通过对细节的独特观察和透视，以及对人物内心世界的深入探索，成功地揭示了生活的复杂性和人性的纷繁多样。

门罗的作品主题多样，涵盖了家庭、爱情、婚姻、成长、亲情等各种人类关系和情感。

她以扣人心弦的叙述手法吸引读者，并充满智慧地表达关于性别、权力和社会问题的见解。

门罗的作品有时以非线性的方式展开，运用回忆、闪回和时间跳跃等手法，使故事更加引人入胜。

爱丽丝·门罗的作品在全球范围内享有盛誉，并受到许多文学评论家和读者的赞赏。

她的作品被翻译成多种语言，并在世界各地出版。

由于她对人性和生活的深刻洞察力，门罗的作品常常被认为是文学经典，对许多作家产生了深远的影响。

除了丰富的创作生涯，爱丽丝·门罗还积极参与文学活动和社区服务。

她多次担任文学奖项的评委，并致力于推广加拿大文学的发展。

门罗还经营了一家小型独立出版公司，为其他作家提供了展示自己作品的平台。

总结起来，爱丽丝·门罗是一位杰出的作家，她通过她深入人心的故事、对人性的触动以及对生活的独到见解，留下了深远的影响。

通过她的作品，读者可以更好地理解人类情感和关系的复杂性，并对生活中的琐事和细节有更深入的思考。

24位诺贝尔文学奖得主的100个经典名句，每一句都是人生萧伯纳（1856—1950）萧伯纳，爱尔兰剧作家。

1925年获诺贝尔文学奖，他是英国现代杰出的现实主义戏剧作家，是世界著名的擅长幽默与讽刺的语言大师。

1. 人生有两出悲剧。

一是万念俱灰；另一是踌躇满志。

2. 想结婚的就去结婚，想单身就维持单身，反正到最后你们都会后悔。

3. 真正的闲暇并不是说什么也不做，而是能够自由地做自己感兴趣的事情。

4. 历史的经验教训告诉我们，人们不会从历史的经验中吸取教训。

5. 一个理智的人应该改变自己去适应环境，只有那些不理智的人，才会想去改变环境适应自己。

但历史是后一种人创造的。

泰戈尔（1861—1941）拉宾德拉纳特·泰戈尔，印度著名诗人、文学家。

1913年，他以《吉檀迦利》成为第一位获得诺贝尔文学奖的亚洲人。

6. 生如夏花之绚烂，死如秋叶之静美。

7. 世界以痛吻我，要我报之以歌。

8. 当你为错过太阳而哭泣的时候，你也要再错过群星了。

9. 只有经历过地狱般的磨砺，才能练就创造天堂的力量；只有流过血的手指，才能弹出世间的绝响。

10. 纵然伤心，也不要愁眉不展，因为你不知是谁会爱上你的笑容。

罗素(1872—1970)伯特兰·罗素是二十世纪英国哲学家、数学家、逻辑学家、历史学家，无神论或者不可知论者，也是上世纪西方最著名、影响最大的学者和和平主义社会活动家之一，1950年，罗素获得诺贝尔文学奖，以表彰其"多样且重要的作品，持续不断的追求人道主义理想和思想自由"。

他的代表作品有《幸福之路》《西方哲学史》等。

11. 战争不决定谁对了，只决定谁留下了。

12. 乞丐并不会妒忌百万富翁，但是他肯定会妒忌收入更高的乞丐。

13. 你能在浪费时间中获得乐趣，就不是浪费时间。

14. 如果一听到一种与你相左的意见就发怒，这表明，你已经下意识地感觉到你那种看法没有充分理由。

如果某个人硬要说二加二等于五，你只会感到怜悯而不是愤怒。

24位诺贝尔文学奖得主的100个经典名句1.历史的经验教训告诉我们，人们不会从历史的经验中吸取教训。

——萧伯纳2.自我控制是最强者的本能。

——萧伯纳3.人喜欢习惯，因为造它的就是自己。

——萧伯纳4.人生有两出悲剧。

一是万念俱灰；另一是踌躇满志。

——萧伯纳5.一切假知识比无知更危险。

——萧伯纳6.一个理智的人应该改变自己去适应环境，只有那些不理智的人，才会想去改变环境适应自己。

但历史是后一种人创造的。

——萧伯纳7.劳动是唯一导向知识的道路。

——萧伯纳8.想结婚的就去结婚，想单身就维持单身，反正到最后你们都会后悔。

——萧伯纳9.健全的身体是健全心灵的产物。

——萧伯纳10.好书读的越多越让人感到无知。

——萧伯纳11.真正的闲暇并不是说什么也不做，而是能够自由地做自己感兴趣的事情。

——萧伯纳12.愚人总会发现有更愚的人钦佩他。

——萧伯纳13.有机会出去的话人人都要离开监狱。

——萧伯纳14.一切世俗的权力都会使人成为无赖。

——萧伯纳15.让生命有如夏花之绚烂，死亡有如秋叶之静美。

——泰戈尔16.沉默是一种美德。

——泰戈尔17.当人微笑时，世界爱了他；当他大笑时，世界便怕了他了。

——泰戈尔18.世界以它的痛苦同我接吻，而要求歌声做报酬。

——泰戈尔19.真理之川从他的错误的沟渠中流过。

——泰戈尔20.你在我童年玩过的玩偶中间，每天早晨当我用泥巴塑造我的偶像时，我反反复复捏出你。

——泰戈尔21.眼睛不能看到你，因为你是眼睛中的瞳仁；心灵不能了解你，因为你是内心深处的秘密。

——泰戈尔22.眼睛为他下着雨，心却为他打着伞，这就是爱情。

——泰戈尔23.当你为错过太阳而哭泣的时候，你也要再错过群星了。

——泰戈尔24.只有经历过地狱般的磨砺，才能练就创造天堂的力量；只有流过血的手指，才能弹出世间的绝响。

——泰戈尔25.纵然伤心，也不要愁眉不展，因为你不知是谁会爱上你的笑容。

——泰戈尔26.知识是使人类快乐的主要因素之一。

新诺贝尔文学奖得主艾丽丝？门罗短篇小说《机缘》赏读机缘-（加拿大）艾丽丝?门罗■ 艾丽丝?门罗◆（加拿大）艾丽丝?门罗82岁的加拿大作家艾丽丝?门罗刚刚成为第110位诺贝尔文学奖得主。

本版今日节选其小说集《逃离》中的短篇小说《机缘》以飨读者。

1岩石、树木、流水、白雪。

六个月之前，在圣诞节与新年之间的一天早上，这些始终不变的东西在火车窗外构成了一幅又一幅的景色。

岩石很大，有时是嶙峋突兀的，有时则平滑得像块圆石，不是深灰色的便是黑色的。

树木大抵是常绿树，松树、云杉，或是雪松。

那些云杉——是黑云杉——老树的树尖上似乎还长出了新的小云杉，那是它自己的雏形。

不是常绿的那些树便变得光秃秃的只剩下树干了——它们可能是杨树、柽柳或是桤木吧。

有些树干上还结有斑疤。

厚厚的雪层聚积在岩石的顶端，树干当风的一面上也粘结着冰雪。

那些大大小小的湖已冻结的湖面上都铺有一层软软的雪。

只是偶尔，在湍急、狭窄的暗流里，你才能见到完全不结冰的水。

朱丽叶膝头上有本摊开的书，不过她没在看。

她眼睛一直盯看着流逝过去的风景。

她独自坐在双人座上，对面的双人座也是空着的。

到晚上，这儿就是她搭铺的地方。

乘务员此刻正在这节卧铺车厢里忙着，把夜间所用的设备一一归置好。

有些铺位上，那块墨绿色带拉锁的帷帘还一直垂到地板。

这种布料像帐篷布一样，总有一股味儿，也许是睡衣和厕所残留的气味吧。

只要有人打开任何一头的车厢门，便会有一股冬季的新鲜空气吹进来。

那是最后去吃早餐的人正在离开，或是吃完早餐的人在回进来。

朱丽叶才二十一岁，却已经获得古典文学的学士与硕士学位。

她如今正在做博士论文，不过却抽一段时间出来在温哥华的一所私立女子学校里教拉丁文。

她并未受过如何当老师的训练，可是学期进行到一半，学校偏巧缺了一位老师，这就使得学校很愿意雇用她。

也很可能见到广告前来应聘的除了她以外根本就没有第二个人吧。

工资不高，也不是任何有正式资历的教师愿意接受的。

不过朱丽叶在过了多年清苦的学生生活之后，能多少挣到点儿钱就已经很高兴了。

优秀诺贝尔奖得主经典金句（高中议论文作文必备）1.其实我们都是海滩人，沙子只把我们的脚印保留几秒钟。

——帕特里克•莫迪亚诺（2014年）2.我已经五十一岁了，有了自己的孩子，可我还是想妈妈。

——斯韦特兰娜•亚历山德罗夫娜•阿列克谢耶维奇（2015年）3.有些人能感受雨，而其他人则只是被淋湿。

——鲍勃•迪伦（2016年）4.当你相信你做的是对的时候，你就不愿意浪费一分一秒。

——石黑一雄（2017年）5.她是个孤独的人，她不在乎和人在一起，所以失败和成功都与她无关。

——奥尔加•托卡尔丘克（2018年）6.如果一个国家失去了讲故事的人，它就失去了童年。

——彼得•汉德克（2019年）7.我要告诉你一些事情：每天人都在死亡。

而这只是个开头。

——露易丝·格丽克（2020年）8.人心只能赢得不能靠人馈赠。

——威廉•巴特勒•叶芝1923年9.我梦想着伟大的行动和航行穿越海洋，过上自由独立的生活。

——拉迪斯拉夫•提里希•莱蒙特1924年10.一个尝试错误的人生不但比无所事事的人生更荣耀，并且更有意义。

——乔治•萧伯纳1925年11.罪恶比任何其他的病症更为严重，因为它侵袭人的灵魂。

——格拉齐娅•黛莱达1926年12.生存就是改变，改变就是成熟成熟就是不断创造自己。

——亨利•柏格森1927年13.我所有的日子都渴望走上正确的道路。

——西格里德•温塞特1928年14.作家是一个写作比其他人更难的人。

——托马斯•曼恩1929年15.没有失败经验的人不可能成功。

——辛克莱•刘易斯1930年16.它低声说道，所有人都在这里等着，年复一年，为你保持安全。

——埃利克•阿克塞尔•卡尔费尔德1931年17.爱情不是一朵温室的花，而是一株野生植物，生于略潮湿的夜晚，生于一小时的阳光。

——约翰•高尔斯华绥1932年18.言语是一回事，行动是另一回事。

——伊凡•亚历克塞维奇•蒲宁1933年19.生活充满了奇怪的荒谬，奇怪的是这些荒谬甚至不需看似可信，因为它们是真实的。

收稿日期：2021-3-11《留存的记忆》中梅里埃尔的精神顿悟□ 康有金 王 蝶 庄澜汐武汉科技大学外国语学院[摘 要] 诺贝尔文学奖获得者艾丽丝·门罗的短篇小说《留存的记忆》中，女主人公梅里埃尔与送她去探望缪丽尔姨妈的无人区医生突生情愫，做了对不起丈夫的事。

梅里埃尔在丈夫去世后顿悟：自己是因为觉得有愧于丈夫才会陪着他一起走完人生路；之后在无人区医生空难离世后她再一次突然醒悟，她是被医生欺骗了。

这两个顿悟合二为一：如果梅里埃尔没有被欺骗，她不会一直陪在丈夫身边。

小说中，失去主体性是梅里埃尔被欺骗的原因。

通过放纵自我来寻找自我最终只能伤害自我。

梅里埃尔的顿悟验证了“不识庐山真面目，只缘身在此山中”的道理。

[关键词] 《留存的记忆》；梅里埃尔；精神顿悟[中图分类号] I106 [文献标识码] A [文章编号] 1009-6167（2021）11-0015-03基金项目：清华大学出版有限公司资助教研课题“德勒兹文学批评思想的应用研究”；武汉科技大学教务处教学改革研究项目“英语专业跨文化思辨教学模式研究”（2019X065）。

艾丽丝·门罗的小说《留存的记忆》讲述的是：女主人公梅里埃尔（Meriel ）与丈夫一起参加他好友葬礼后，要去林恩山谷养老院看望母亲曾经爱戴和崇拜的缪丽尔姨妈，但是丈夫碰巧有事不能陪她去。

而刚刚认识的无人区医生埃里克·亚瑟（Erik Asher ）恰巧要开车去马蹄湾，所以提出带她一程。

医生把她送到了养老院并陪她去探望老人。

不料两人之间突生情愫，做了有愧于梅里埃尔丈夫的事。

之后两人便分手，各自回到了自己的生活中，此生再未谋面。

门罗肯定并深入地剖析了出轨者的心路历程：出轨时激荡奔放，出轨后失望沮丧。

“顿悟”的英文epiphany 在基督教中还有另一个意思，即每年1月6日的东方三圣显灵日。

东方三圣显灵让人们突然意识到：“耶稣基督乃上帝之子”。

后来爱尔兰小说家詹姆斯·乔伊斯将其引入文学批评中，用epiphany 指“精神上的突然醒悟”（Bullock ，1999：278）。

alice munro nettles译文摘要：1.爱丽丝·门罗简介2.《荨麻》的故事背景和主要角色3.《荨麻》的故事情节4.故事主题与寓意正文：爱丽丝·门罗（Alice Munro）是一位著名的加拿大短篇小说作家，曾多次获得文学奖项，其中包括2013 年的诺贝尔文学奖。

她的作品以精细的情节构造和深入的人物描绘而著称，常常探讨人性和生活的复杂性。

《荨麻》（Nettles）是爱丽丝·门罗的一部短篇小说，讲述了一个发生在20 世纪50 年代的故事。

故事的主要角色包括主人公“我”（一位年轻女性）、她的母亲、父亲和一个名叫罗伊·麦卡勒姆（Roy McCallum）的男人。

故事发生在“我”的童年时期，那时的她与父母一起生活在安大略省的一个小镇上。

某天，一个名叫罗伊·麦卡勒姆的年轻男子出现在他们的生活中。

罗伊是一个魅力十足但神秘的人，他的出现引起了“我”和母亲的注意。

然而，随着故事的发展，罗伊的真实面目逐渐显现出来，他其实是一个不务正业、懒惰、不负责任的人。

尽管如此，“我”的母亲仍然对他情有独钟，甚至愿意为了他离开家庭。

在故事的高潮部分，罗伊在一场火灾中救出了“我”，却因此失去了双手。

这场火灾成为了改变所有人命运的转折点。

在火灾之后，罗伊离开了小镇，而“我”和母亲也回归了平静的生活。

然而，故事并没有结束，而是通过“我”多年后与罗伊的重逢，揭示了生活的无奈与无常。

《荨麻》这部作品通过讲述一个看似平凡的故事，探讨了人性的复杂性、生活的无常以及家庭关系等主题。

在门罗的笔下，人物形象栩栩如生，情节紧凑而富有层次感。

顺从,逃离,回归——爱丽丝门罗短篇小说《法力》女性主义解读黎桑【摘要】艾丽丝·门罗的小说写的是加拿大小镇中普通女性的爱情和日常生活,涉及的却都是和生老病死相关的严肃主题.以女性主义理论家波伏娃作品《第二性》中的女性主义理论为依据,从女性主义的角度解读门罗的短篇小说《法力》,论述作品中反映出的男权社会中不平等的两性关系,分析男权制对女性造成的压抑和束缚以及女性的反抗与觉醒,但最终女性又回归家庭的过程.【期刊名称】《湖南工程学院学报（社会科学版）》【年(卷),期】2018(028)004【总页数】3页(P77-79)【关键词】女性主义;顺从;逃离;回归【作者】黎桑【作者单位】岳阳职业技术学院,湖南岳阳 414000【正文语种】中文【中图分类】I106.4加拿大著名女作家爱丽丝·门罗，被誉为“当代短篇文学大师”。

2013年门罗代表作《逃离》获得诺贝尔文学奖。

这部讲述女性婚姻、情感及日常生活的小说集由八个短篇故事组成。

《法力》是门罗短篇小说集《逃离》里面的最后一个短篇，故事以日记体开启，借助南希的日记引出了整部小说的主人公泰莎。

一顺从：任人摆布的泰莎波伏娃在《第二性》中写到：“婚姻对于男人和女人，一向都是完全不同的两回事。

女人从未形成过一个等级，平等地与男性等级进行交换、订立契约”。

在早期的欧洲中世纪，已婚妇女在西方社会里是弱势群体，通常在家庭里担任主要劳动力和繁衍后代的角色，并且被视为家庭的财产，其地位的高低通常由嫁妆决定，不仅要对丈夫千依百顺，还必须忍受丈夫的冷落或者粗暴对待。

德国有句谚语“丢失牲畜比丧妻更令人悲伤”，中国古文献《礼记·内则》里有文字:“男不言内，女不言外”。

都形象的说明了妻子在家庭的地位。

由此可见，无论中西方，结婚后的女性必须果断地与她的过去决裂，完全依附于丈夫的世界。

女性在婚姻中始终处于一个依附的地位，完全体现不出自我价值。

泰莎，门罗《法力》里第一个出现的角色，在商店里和南希短暂相逢。