2016年23期开什么码

5g套餐超了

来源:333芜湖教育网

2019-11-20 01:55:06|2016年23期开什么码

  

  When I first encountered the work of David Means, I disliked it. The book was “Assorted Fire Events,” his second collection, published in 2000 and reissued in 2012 with an adoring introduction by Donald Antrim — whose work I adore, which is why I picked up the book. The endorsement notwithstanding, I found the stories plotless and, worse, formless. But there was one story, “What They Did,” that I could not stop thinking about. Its central moment, in which a mother looking out the kitchen window sees her young daughter fall through a hole in the seemingly solid earth, haunted me.

  “What They Did” unfurls over a single nine-page paragraph in which time radiates outward in both directions from the spatial/emotional/historical zero point of the gaping hole. As the rescue attempt turns into a recovery effort, we jump back to the day that the newlyweds first toured the house, and further, to the construction of the neighborhood, when corner-cutting developers covered over a creek with concrete slabs, fill dirt and sod, rather than paying to have it diverted. We also move forward through the inevitable media circus and court battle, the abdication of responsibility by everyone except the girl’s mother, who sags beneath the weight of an irrational yet inexpiable guilt.

  Means, like Proust or Woolf or Munro, is a time artist. (One might also mention the Denis Johnson of “Already Dead,” Richard McGuire’s graphic novel “Here” and, however improbably, the recent Halloween episode of “Bojack Horseman.”) What I had first taken for dislike was in truth a sort of altitude sickness. Once acclimatized, I recognized that I was having an encounter with radical originality, and that understanding this work on its own complicated, rewarding terms would mean rethinking what a story could be. Since there’s no zealot quite like a convert, let me save you some time.

  Means’s first story collection, “A Quick Kiss of Redemption” (1991), is fairly traditional, but one can already feel him chafing at the surly bonds of realist norms. A native of Kalamazoo, Mich., Means imbues the world of “Quick Kiss” with winters on the snowmobile and summers on the lake; it’s a place where a loaded 12-gauge is just common sense, and the awe inspired by a set of train tracks is that they could take you “all the way to Chicago, or Detroit, depending on the way you go.” The later collections — the pathbreaking “Assorted Fire Events,” “The Secret Goldfish” (2004), “The Spot” (2010) and now “Instructions for a Funeral” — take us farther afield in place and time, but tend to return either to the Michigan of Means’s youth or to the Hudson Valley, where he now lives, and where down at the edge of the half-frozen river, “the soft shish of ice sliding over itself as the tide swept upstream, or down, became audible when the traffic noise on the road behind them subsided.” This is from the new book, from a story called “Farewell, My Brother,” and if the title echoes Cheever the characters are pure Means: railroad bums and wharf rats and other castaways whose lives have been shattered by violence, loss and chance. Means extends the profound empathy of his attention to those who need it most, even if they deserve it least, which must be why he writes so often about adulterers, criminals and teenagers.

  Half the stories in “Instructions for a Funeral” are apparently narrated by the same person (or at any rate, persona), a writer in the Hudson Valley who is increasingly agnostic about his work’s ability to effect the kinds of transformation on which he has long staked his aesthetic and spiritual claims. One of these stories (“Fatherhood: Three”) was first published as a personal essay. Another, “Carver & Cobain,” has a headnote in which the writer-character describes his failure to produce a coherent fiction out of two biographical sketches: one of the legendary story writer Raymond Carver, the other of the grunge-rock icon Kurt Cobain. The connection was based on the fact that both men were from tough mill towns in Washington State, which remind the writer of the rural Michigan of his own childhood. But he never managed to connect these dots, and so presents the work as unfinished and abandoned, a failure. As a gesture, this is either incredibly lazy or incredibly brave. Or maybe, just maybe, the story’s performance of failure is the true subject of its inquiry, in which case (i.e., considered as an exploration of artistic implosion) it succeeds, albeit with an asterisk by the win.

  Certainly, “Carver & Cobain” encourages us to revisit “Confessions,” the book’s essayistic opener, in which the writer-character reflects with candor on his successes and failures over “30 years” spent heeding “a gut feeling, a need to reveal something and to pin it down forever.” “Carver & Cobain” also sets up the final story, “Two Ruminations on a Homeless Brother,” in which the same experiment (unrelated narratives forced to generate meaning through the friction of proximity) is an unqualified success, no hem-hawing headnote required. All this makes sense for a writer who is devoted to “the compressed intensity of the moment,” yet whose most frequently used transition is “Years later.” “Instructions for a Funeral” is both sweeping and narrow, panoramic and fragmentary, possessed, as Means writes in “The Ice Committee,” by “a gloriously full understanding … fractured to shards.” What beauty there is in their jagged gleaming. What pleasure it gives us to gather them up, and to dream of a world made whole.

B:

  

  2016年23期开什么码【其】【实】【小】【桃】【的】【这】【几】【本】【书】【几】【乎】【快】【要】【被】【唐】【末】【给】【翻】【烂】【了】,【书】【上】【每】【一】【个】【细】【碎】【的】【图】【片】【唐】【末】【都】【可】【以】【背】【下】【来】。 【甚】【至】【翻】【到】【某】【一】【页】,【就】【可】【以】【马】【上】【在】【心】【里】【还】【原】【出】【那】【个】【碎】【片】【原】【型】。 【确】【定】【自】【己】【已】【经】【完】【全】【把】【这】【几】【本】【书】【上】【的】【内】【容】【全】【部】【吃】【透】【了】【以】【后】,【唐】【末】【这】【才】【把】【临】【摹】【的】【那】【几】【幅】【墙】【上】【的】【画】【给】【拿】【了】【出】【来】。 【唐】【末】【从】【宗】【长】【那】【拿】【到】【了】【三】【幅】【画】,【她】【现】【在】【可】【以】【确】

  “【你】”,【听】【到】【柳】【无】【双】【这】【么】【说】,【狐】【妖】【感】【到】【一】【阵】【气】【结】,【看】【样】【子】【对】【方】【是】【不】【打】【算】【放】【过】【自】【己】【了】。 “【你】【什】【么】【你】,【我】【只】【是】【说】【会】【考】【虑】【饶】【过】【你】,【但】【是】【没】【有】【说】【一】【定】【会】【放】【过】【你】【哦】”,【用】【戏】【谑】【的】【眼】【神】【看】【了】【一】【眼】【狐】【妖】,【柳】【无】【双】【嘴】【角】【上】【扬】【莞】【尔】【一】【笑】,【对】【于】【残】【害】【百】【姓】【的】【妖】【族】,【她】【是】【一】【定】【不】【会】【放】【过】【的】。 “【你】【居】【然】【骗】【我】,【卑】【鄙】【无】【耻】【的】【人】【类】”,【狐】【妖】【咬】【牙】

  【手】【臂】【交】【叉】【环】【绕】,【各】【自】【饮】【尽】【了】【杯】【中】【酒】。 【墨】【隐】【伸】【手】【接】【过】【子】【曦】【手】【里】【的】【杯】【子】,【连】【同】【他】【自】【己】【的】,【一】【同】【放】【回】【桌】【上】,【垂】【眸】【看】【着】【她】。 【也】【不】【知】【是】【不】【是】【喝】【了】【酒】【的】【缘】【故】,【灯】【光】【照】【耀】【下】,【子】【曦】【明】【艳】【的】【小】【脸】【微】【微】【泛】【着】【酡】【红】,【显】【得】【格】【外】【娇】【艳】【动】【人】。 【交】【杯】【酒】【之】【后】,【便】【是】【洞】【房】【花】【烛】【夜】。 【子】【曦】【深】【深】【吸】【了】【口】【气】,【红】【唇】【微】【勾】:“【夫】【君】……” 【墨】

  【易】【王】【凭】【借】【臂】【展】【和】【出】【色】【的】【弹】【跳】,【让】【老】【吉】【无】【法】【盖】【帽】,【球】【直】【接】【飞】【向】【篮】【板】,“【砰】【唰】~!”【一】【个】【漂】【亮】【的】【内】【线】【小】【后】【仰】【转】【身】【打】【板】【入】【框】,【刷】【下】2【分】! 【很】【快】,【易】【王】【凭】【借】【出】【色】【的】【手】【感】【和】【后】【仰】【跳】【投】,【使】【全】【队】【进】【攻】【得】【分】【重】【新】【变】【得】【顺】【畅】,【重】【新】【回】【到】【了】【与】【尼】【克】【斯】【的】【对】【攻】【当】【中】。 【虽】【然】【甜】【瓜】【不】【断】【利】【用】【中】【距】【离】【刷】【分】,【但】【易】【王】【与】【内】【线】【的】【替】【补】【大】【前】【锋】【也】【开】【始】

  “【这】【冰】【天】【雪】【地】【的】,【你】【们】【要】【去】【哪】?”【齐】【淑】【宁】【问】【道】。 “【我】【们】,【我】【们】……”【应】【乐】【咬】【着】【唇】,【不】【知】【道】【应】【该】【怎】【么】【说】。 “【无】【妨】,【不】【方】【便】【说】【就】【算】【了】,【我】【们】【要】【去】【鸿】【文】【山】【庄】,【如】【果】【不】【同】【路】【的】【话】,【你】【看】【哪】【里】【方】【便】,【我】【们】【尽】【量】【送】【你】【们】【去】【方】【便】【的】【地】【方】。” “【这】,【我】,【我】【也】【不】【知】【道】,【我】【都】【是】【听】【哥】【哥】【的】,【可】【是】【哥】【哥】……”【这】【时】【候】,【应】【乐】【这】【才】【发】2016年23期开什么码【虽】【然】【不】【知】【道】【是】【不】【是】【这】【种】,【但】【从】【楚】【晴】【身】【上】【拿】【出】【来】【的】,【显】【然】【也】【不】【会】【差】,【于】【是】【刘】【伟】【鸣】【屁】【颠】【屁】【颠】【的】【亲】【自】【出】【去】【倒】【水】【去】【了】。 【等】【刘】【伟】【鸣】【把】【水】【拿】【来】【的】【时】【候】,【楚】【晴】【伸】【手】【接】【过】【放】【到】【了】【莫】【文】【静】【的】【手】【中】,【然】【后】【对】【她】【嘱】【咐】【道】:“【这】【药】【吃】【下】【去】【后】,【你】【最】【好】【是】【睡】【一】【觉】,【一】【觉】【起】【来】,【可】【能】【身】【上】【有】【很】【多】【黑】【乎】【乎】【黏】【黏】【的】【东】【西】,【到】【那】【时】,【你】【们】【千】【万】【不】【要】【惊】【慌】,【因】

  【如】【此】【说】【着】,【刘】【必】【从】【怀】【里】【取】【出】【一】【支】【涂】【了】【白】【色】【的】【小】【竹】【筒】,【对】【着】【天】【空】【释】【放】。 【只】【听】【啪】【啦】【啦】【响】【声】【后】,【天】【空】【中】【现】【出】【了】【马】【匹】【的】【图】【案】。 【这】【在】【刘】【佩】【军】【中】,【是】【撤】【退】【的】【意】【思】。 【与】【此】【同】【时】,【北】【城】【门】【方】【向】【也】【放】【出】【一】【支】【信】【号】【弹】,【一】【座】【城】【门】【形】【状】【的】【半】【圆】【形】【图】【案】【出】【现】【在】【半】【空】【中】,【在】【刘】【佩】【军】【中】,【这】【是】【突】【围】【的】【方】【向】。 【紧】【接】【着】,【东】【西】【两】【个】【方】【向】【也】【释】

  【相】【信】【不】【少】90【后】【都】【和】【小】【编】【一】【样】,【对】《【欢】【天】【喜】【地】【七】【仙】【女】》【这】【部】【童】【年】【经】【典】【电】【视】【剧】【十】【分】【的】【怀】【念】【吧】!【童】【年】【时】【期】,【每】【个】【女】【孩】【都】【有】【一】【个】【美】【好】【的】【仙】【女】【梦】,【因】【此】【当】【时】【每】【天】【最】【快】【乐】【的】【事】【情】,【就】【是】【放】【学】【之】【后】【第】【一】【时】【间】【跑】【回】【家】【打】【开】【电】【视】【追】【这】【部】【剧】。【如】【今】【已】【经】【过】【去】【十】【几】【年】【了】,【不】【知】【昔】【日】【的】7【位】【仙】【女】,【如】【今】【怎】【么】【样】【了】【呢】?

  【感】【觉】【到】【魂】【体】【已】【经】【修】【复】【好】【的】【陈】【白】【起】【低】【眸】【淡】【笑】【了】【一】【下】,“【白】【马】【子】【芮】”【是】【她】【的】【一】【魄】【一】【魂】,【她】【魂】【体】【不】【稳】【时】,【身】【体】【便】【自】【动】【归】【纳】【残】【缺】【部】【分】【修】【补】,【暂】【由】【她】【的】【一】【魄】【一】【魂】【来】【驱】【动】【躯】【体】【运】【行】。 【而】【这】【一】【魄】【为】【爱】,【一】【魂】【为】【善】,【恰】【巧】【是】【她】【身】【上】【最】【纯】【粹】【的】【真】【善】【美】。 【她】【看】【着】【另】【一】【个】“【自】【己】”,【感】【知】【到】【她】【此】【刻】【身】【上】【挥】【之】【不】【去】【的】【灰】【暗】【阴】【翳】【的】【悲】【伤】【情】【绪】,

  【黎】【明】【之】【城】【西】【海】,24【空】【室】。 【沃】【利】【贝】【尔】【按】【从】【为】【想】【过】,【再】【一】【次】【见】【到】【卡】【瑞】【希】【娅】【会】【是】【这】【种】【情】【况】。 【核】【心】【区】【的】【坚】【冰】【即】【便】【是】【沃】【利】【贝】【尔】【用】【上】【全】【力】【也】【无】【法】【破】【除】,【也】【就】【是】【说】,【沃】【利】【贝】【尔】【带】【不】【走】【寒】【冰】【女】【皇】,【只】【能】【任】【由】【她】【身】【处】【异】【客】【他】【乡】。 【沃】【利】【贝】【尔】【是】【头】【熊】,【但】【是】【他】【却】【比】【人】【更】【看】【重】【感】【情】。 【在】【他】【还】【是】【幼】【年】【时】,【得】【幸】【遇】【到】【卡】【瑞】【希】【娅】,【是】【卡】