英语小说网

The first appearance of Pierre Loti's works, twenty years ago, causeda sensation throughout those circles wherein the creations ofintellect and imagination are felt, studied, and discussed. The authorwas one who, with a power which no one had wielded before him, carriedoff his readers into exotic lands, and whose art, in appearance mostsimple, proved a genuine enchantment for the imagination. It was thetime when M. Zola and his school stood at the head of the literarymovement. There breathed forth from Loti's writings an all-penetratingfragrance of poesy, which liberated French literary ideals from theheavy and oppressive yoke of the Naturalistic school. Truth now soaredon unhampered pinions, and the reading world was completely won by theunsurpassed intensity and faithful accuracy with which he depicted thealluring charms of far-off scenes, and painted the naive soul of theraces that seem to endure in the isles of the Pacific as survivingrepresentatives of the world's infancy.

《战争风云》是小说，书中关于亨利一家的人物和事迹纯属虚构。但小说中有关战争的史实是确凿的；统计数字是可靠的；那些大人物的言行要不是根据史实，便是根据可靠的记载。象这样范围的工作不可能没有错误，但作者希望读者们能看出，他是在尽很大的努力给一次大规模的世界战争描绘一幅真实的、宏伟的图景。

"Toldees, Mondath, Arizim, these are the Inner Lands, the lands whose sentinels upon their borders do not behold the sea. Beyond them to the east there lies a desert, for ever untroubled by man: all yellow it is, and spotted with shadows of stones, and Death is in it, like a leopard lying in the sun . . ." So begins "Poltarnees, Beholder of Ocean," Lord Dunsany's celebrated story about the enchantment of the sea over young men. This collection of sixteen stories, including "Idle Days on the Yann," "Bethmoora," and "In Zaccarath," contains Dunsany's finest writing. Dunsany is considered the precursor of modern fantasy. His style influenced, among others, H.P. Lovecraft, Michael Moorcock, Arthur C. Clarke, and Ursula K. Le Guin.

在法国南部海滨的一座悬崖上，一个精神恍惚的男人来回徘徊着。一声惊叫打断了他的沉思，来到附近画画的一个年轻女子怀疑他有自杀的倾向而上前喝止。这个鲁莽的举动让两人很快结识，甚至很快成为一对亲密的恋人。这位英俊潇洒的贵族富豪叫梅西·文德斯，几年前的丧妻令他沉痛不已，而那个年轻女子只是一个贴身使女。他们开始在外面约会，但每次年轻的姑娘问起德文特久负盛名的曼德利庄园时，文德斯先生总是显得忧郁而沉默。文德斯先生逐渐爱上了这个天真、善良的姑娘，就在她要随主人离去的时候，他向她正式求婚。很快，梅西·文德斯带着他新婚的妻子回到了自己在英国的庄园。 庄园里严厉的管家丹弗斯夫人明显流露出对文德斯夫人的厌恶和对前任文德斯夫人丽贝卡的崇拜。丽贝卡虽然死了，却影响着庄园里的一切，庄园到处都是带有里贝卡名字缩写的物品。文德斯夫人尝试着熟悉环境，却一次次碰壁，所有这些痛苦经历似乎都在给她一个暗示：她的丈夫只爱丽贝卡。但是逝去的丽贝卡仿佛隐藏着很多的秘密，远远不是表面上看起来那么圣洁、美丽。终于，为了挽回文德斯夫人的心，梅西承认是他杀死了丽贝卡，并把丽贝卡沉尸大海。就在这时，丽贝卡的尸体被人发现，她的死因重新引起了人们的关注。经过调查，最终还是真相大白：丽贝卡是自杀死的，却把一切布置得象是被梅西亲手杀死的样子来报复他。最后，丹弗斯夫人在绝望中点起大火，与曼德利庄园一起化为灰烬。

1607年，英国人来到北美洲的弗吉尼亚，他们想在这片新大陆上开始崭新的生活，并在这里安家落户。他们建造了一座城镇，取名为“詹姆斯敦”，它是以英格兰国王詹姆斯一世的名字命名的。在这些英国人看来，弗吉尼亚是一个全新的世界，而对于北美洲的印第安人来说，就没什么新鲜的了。印第安人生活在这里，他们的祖祖辈辈们很久前就居住在这里了。这里是他们的国度，是他们的家园。印第安人可不喜欢这些来自大洋彼岸的白人们。在这些英国人当中，有一个叫约翰·史密斯的人乘着一艘小船逆流而上，印第安人发现了他，并把他带到首领波瓦坦酋长那里。印第安人本想杀了他，但波瓦坦有一个漂亮的女儿，名叫波卡洪塔斯。从她凝望着约翰·史密斯那双蓝蓝的眼睛的那一刻起。一段有关两个国家、两个人以及一段不了情的广为人知的故事就这样拉开了序幕。

苔丝是一位美丽的农家少女，因受假冒的少爷亚历克诱迫而失身怀孕。她后来和安奇尔相恋结婚,结婚的那天晚上，他们互相坦白了自己的过失，苔丝原谅了安奇尔，但安奇尔觉得这是不可接受的事情，经过一番挣扎离开了她。从此，这一耻辱的事实一直烦扰着她。她重见亚历克，亚历克在传颂圣经。亚历克再次纠缠苔丝，这时苔丝一家由于父亲的突然去世，流落街头。亚历克乘虚而入，并多次强调苔丝已经被抛弃，她的丈夫不会回来。于是苔丝与他同居了，但是精神仿佛已经飘离了肉体。不料，就在这时她丈夫回来了。苔丝为了自己真正的爱。毅然杀死同居的少爷，在与丈夫逃亡中,感受到了甜蜜与满足，五天后，走上了绞刑台。

当在雪地里冷得直打哆嗦的鼹鼠和水鼠终于进到獾先生舒适的家，钻进带着肥皂香味的被窝；当他们第二天起床看见餐桌旁吃着荞麦粥的两只小刺猬时，当癞蛤蟆先生跳上令他心弛神往的那辆豪华汽车，“轰隆”一声发动引擎，然后扬长而去的那一刻。我们听着故事的眼睛都会迸出光芒，几乎想立刻跳进那个童话世界。《柳林风声》不仅带读者经历动物主角们随着季节变化的生活故事，还生动地刻画了柳林中萦绕的友谊与温情。

Notwithstanding my friendly relations with Lupin and the many flattering proofs of his confidence which he has given me, there is one thing which I have never been quite able to fathom, and that is the organization of his gang.

The Autobiography of Malcolm X was the result of a collaboration between Malcolm X and journalist Alex Haley, who wrote the autobiography based on a series of in-depth interviews he conducted with Malcolm X between 1963 and 1965. After Malcolm X's death Haley authored the book's epilogue, which describes their collaboration and summarizes the end of Malcolm X's life. While Malcolm X and contemporary scholars may have regarded Haley as the book's ghostwriter, modern scholarship tends to regard him as an essential collaborator who intentionally subsumed his authorial voice to allow readers to feel as though Malcolm X were speaking directly to them. Haley also influenced some of Malcolm X's literary choices; for example, when Malcolm X left the Nation of Islam during the composition of the book, Haley persuaded him to favor a style of "suspense and drama" rather than rewriting earlier chapters into a polemic against the Nation. Further, Haley's proactive censorship of the manuscript's antisemitic material significantly influenced the ideological tone of the Autobiography, increasing its commercial success and popularity although distorting Malcolm X's public persona. Eliot Fremont-Smith, reviewing the book for The New York Times in 1965, called it "extraordinary" and a "brilliant, painful, important book". Two years later, historian John William Ward said the book "will surely become one of the classics in American autobiography". In 1998, Time named The Autobiography of Malcolm X one of the ten most influential nonfiction books of the 20th century. A screenplay adaptation of the Autobiography by William Baldwin and Arnold Perl provided the source material for Spike Lee's 1992 film Malcolm X.