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패키지
북카드
Booklist Editor’s Choice for Young Adults WINNER
Orange Prize FINALIST 2003
The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet-unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson?sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss. Filled with hairpin turns of plot and “a bustling, ridiculous humanity worthy of Dickens” (The New York Times Book Review), The Little Friend is a work of myriad enchantments by a writer of prodigious talent.
작가정보
저자(글) Tartt, Donna
Donna Tartt is a novelist, essayist, and critic. The Secret History has been translated into twenty-four languages and is available in hardcover from Knopf.
책 속으로
AUTHOR Q&A
A Conversation with Donna Tartt, Author of THE LITTLE FRIEND
Q: Relieved?
A: About what?
Q: That you can finally tell people your novel is done.
A: Actually, I enjoy the process of writing a big long novel. Melville came up with the best metaphor for it: a deep-sea dive. “I love all men who dive,” he says. “Any fish can swim near the surface, but it takes a great whale to go down stairs five miles or more; & if he dont attain the bottom, why, all the lead in Galena can’t fashion the plumet that will.” He’s talking here not about Moby Dick, as you might think, but about writers-about “thought-divers,” as he calls them, “the whole corps that have been diving & coming up again with bloodshot eyes since the world began.”
Anyway, it gets into one’s blood, this long lonely way of writing, like a long sea-voyage. Men used to come back from three-year whaling voyages sunburnt and emaciated and vowing never to go on another one, yet something would draw them back to the water again. And it’s the same with me. I’ve written only two novels, but they’re both long ones, and they each took a decade to write. It’s a slow, quiet, gorgeous drift, with its own pleasures and difficulties and dangers, completely removed from whatever storms are going on up on the surface, and there’s a slight sense of decompression when I come back up and into the regular old noisy world again. So I’m rather anxious to get back to work on something else. Not preliminary dives-not the little shallow ones, where you’re only getting ready-but the kind where you don’t come up again for years.
Q: It’s been ten years. Inevitably, people are going to ask, why so long?
A: There’s an expectation these days that novels-like any other consumer product-should be made on a production line, with one dropping from the conveyor belt every couple of years. But it’s for every writer to decide his own pace, and the pace varies with the writer and the work. The Little Friend is a long book. It’s also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story. Taking on challenging projects is the way that one grows and extends one’s range as a writer, one’s technical command, so I consider the time well-spent.
When I was young, I was deeply struck by a piece of advice that John Gardner gave to beginning writers: “Write as if you have all eternity,” he says. This is the last thing a publisher or an agent or an accountant would tell you, but it’s the best advice in the world if you want to write beautiful, well-made books. And that’s what I want to do. I’d rather write one good book than ten mediocre ones.
Q: Like its predecessor, THE LITTLE FRIEND opens with a murder and deals ostensibly with crime and punishment. Why are you fascinated with these subjects?
A: I’m interested less in the act of murder itself than in what drives people to it, and the echoes and repercussions of the act.
Q: What prompted you to adopt the point of view of a young girl?
A: Actually, the novel isn’t from the point of view of a young girl-a good deal of the novel is seen through her eyes, but by no means all of it. We also see into the hearts and minds of her grandmother, her mother and sister, her best friend-and we see too across town, into the hearts and minds of the people who are her sworn enemies. It’s the viewpoint some critics call “authorial omniscient” and for reasons which are probably obvious, it’s much more technically difficult to write than first-person.
I think that any writer will tell you that it’s extremely hard to write about children, but the trick is to resist the temptation to make them “lovable.” Children have very sharp powers of observation-probably sharper than adults-yet at the same time their emotional reactions are murky and much more primitive. They see things quite clearly, but they don’t entirely under
출판사 서평
“The Little Friend seems destined to become a special kind of classic. . . .It grips you like a fairy tale, but denies you the consoling assurance that it’s all just make-believe.” - The New York Times Book Review
“At times humorous, at times heartbreaking, The Little Friend is most surprising when it is edge of the seat scary.” - USA Today
“Harriet [is] one of the most engaging and rounded characters you are likely to find…Tartt’s writing: gorgeous, fluent, visual.” -The Times (London)
“Languidly atmospheric… psychologically acute…. A rich novel that takes you somewhere worth going.” -The New Yorker
“A terrific story. . . . Tartt etches each of these characters with indelible assurance.” - Newsweek
기본정보
ISBN | 9781400031696 ( 1400031699 ) |
---|---|
발행(출시)일자 | 2003년 10월 28일 |
쪽수 | 640쪽 |
크기 |
134 * 202
* 28
mm
/ 454 g
|
총권수 | 1권 |
언어 | 영어 |
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