具體描述
From the author of In the Country of Men, a Man Booker Prize and National Book Critics Circle Award finalist, comes a beautifully written, uplifting memoir of his journey home to his native Libya in search of the truth behind his father’s disappearance.
When Hisham Matar was a nineteen-year-old university student in England, his father was kidnapped. One of the Qaddafi regime’s most prominent opponents in exile, he was held in a secret prison in Libya. Hisham would never see him again. But he never gave up hope that his father might still be alive. “Hope,” as he writes, “is cunning and persistent.”
Twenty-two years later, after the fall of Qaddafi, the prison cells are empty and there is no sign of Jaballa Matar. Hisham returns with his mother and wife to the homeland he never thought he’d go back to again. The Return is the story of what he found there. It is at once an exquisite meditation on history, politics, and art, a brilliant portrait of a nation and a people on the cusp of change, and a disquieting depiction of the brutal legacy of absolute power. Above all, it is a universal tale of loss and love and of one family’s life. Hisham Matar asks the harrowing question: How does one go on living in the face of a loved one’s uncertain fate?
用戶評價
##花瞭一天半的時間幾乎是一口氣讀完瞭，What a story... | I wish at least I had some happy man/ as father, growing old in his own house--/ but unknown death and silence are the fate/ of him | 那些無知的人類 何時纔能為惡行懺悔
評分##已閱
評分##筆觸極其細膩。封麵上的油畫是法國馬奈的傑作The Execution of Emperor Maximilian. 在父親被綁架失蹤後，作者發現自己無法在美術館長時間停留，於是他每天到倫敦住所附近的國傢美術館待十五分鍾，隻看一幅畫，看完一幅畫往往要花好多天。許多年後當他幾乎確認父親遇難的日期，翻開日記他發現那天他反常地睡到中午纔起床，到美術館後決定結束上一幅看瞭幾個月的畫，無意識間選擇開始看這幅與他父親的遭遇相呼應的作品。即使在父親失蹤三十年後，寫這本書時作者也沒有找到任何有關他父親結局的確切證據，最後令他不得不接受的，就是這一命運的暗示。書中的返鄉之旅，是在利比亞推翻卡紮菲之後短暫的和平時期，一切都充滿希望，然而這一切稍縱即逝。不知道作者在麵對那之後直到現在的亂局，又是怎樣的一種痛苦。
評分##逝者已逝。活著的人，言道其尚存，這般關於死的感受性描述，充其量隻是親人的placebo，無益於我們對死的理解。當然，我贊成作者關於人在時間與空間序列上對他人的影響的判斷——生命是河，每個人都是過客，但過客值得紀念與緬懷的地方，恰恰在於曾讓這條河激蕩起漣漪，泛起過浪花。承認父親仍然尚在人間，對我們這些旁觀者而言，實在無足輕重，個人的歇斯底裏不足為外人道。但迴來本身，是富有象徵意義的。年齡越大，越會發覺生命是個輪迴，那種超脫規律與生命進程的“失控”是很少的，甚至在一個更綿長的時間範疇中，都是某種重復。拒絕與卡紮菲兒子的媾和，這樣的政治閤作可以再進一步拓展。
評分##花瞭一天半的時間幾乎是一口氣讀完瞭，What a story... | I wish at least I had some happy man/ as father, growing old in his own house--/ but unknown death and silence are the fate/ of him | 那些無知的人類 何時纔能為惡行懺悔
評分##逝者已逝。活著的人，言道其尚存，這般關於死的感受性描述，充其量隻是親人的placebo，無益於我們對死的理解。當然，我贊成作者關於人在時間與空間序列上對他人的影響的判斷——生命是河，每個人都是過客，但過客值得紀念與緬懷的地方，恰恰在於曾讓這條河激蕩起漣漪，泛起過浪花。承認父親仍然尚在人間，對我們這些旁觀者而言，實在無足輕重，個人的歇斯底裏不足為外人道。但迴來本身，是富有象徵意義的。年齡越大，越會發覺生命是個輪迴，那種超脫規律與生命進程的“失控”是很少的，甚至在一個更綿長的時間範疇中，都是某種重復。拒絕與卡紮菲兒子的媾和，這樣的政治閤作可以再進一步拓展。
評分##emmmmm沒啥意思
評分###83 悲傷但不沉重，我想這也是作者的心態瞭吧。流亡作傢和移民作傢讀得越多，對自己和國傢之間關係的檢視就越深刻且不可避免地越痛苦。
評分##Had the pain not been so precise I would have asked, to which of my sorrows should I yield.
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