加斯·格林韦尔 - 属于您的法勒,斯特劳斯和吉鲁。2016年208页。

来自康纳尔·伯克

加斯·格林韦尔的移动处女作,什么是属于你的, details the experiences of an American expat living in Bulgaria as he journeys through his own lust and desire, through the addiction he feels for Mitko—the young, sometimes volatile wanderer whom the novel’s unnamed protagonist meets in the below-ground bathrooms of the National Palace of Culture—and through his exploration of the maze of his own life, an exploration that he seems to hope will lead him toward a fuller understanding of himself and of those other bodies who are, at one time or another, and so often unavoidably so, an essential part of that self.

小说在结构上分为三个部分:第一细节都主角和Mitko之间的首次会议,以及耀斑和燃烧不稳定的关系,两人彼此之间建立的;the second, sparked by news of the sudden illness of his estranged father, prompts an interrogation into the protagonist’s childhood, exploring his expulsion from the closeness and intimacy he once shared with his father as well as revealing the story of his first (and, compared to all those that follow, most encompassing) love for K.; the third returns to the present moment in Bulgaria and examines the consequences and aftermath that follow his earlier and continued entanglements with Mitko.

由此可见,Mitko和他从主人公身上引出的感受是小说的框架,是小说试图从一页到下一页的集中问题(或者说是一系列问题)的体现。虽然他没有直接的一部分长,single-chapter第二节,一个人可以感觉Mitko的存在只是舞台写作推动和促使读者规模主人公陷入困境的经验与k和父亲对所有他觉得不太完全理解在他遇到Mitko和在他的新生活到目前为止从他留下的旧的地方。

Later in the novel, we again have Mitko’s presence, despite his physical absence, when the protagonist and his mother travel by train across Bulgaria, sharing a car with a trio of strangers, one of whom is a young boy who quickly can’t bring himself to sit still, but instead slips into the performance of a series of antics that delight the others but generate a partial dismay in his grandmother (who tries with varying degrees of seriousness to rein him in). At one point during this encounter Greenwell writes,

下来,祖母严厉地说,我已经告诉过你了。男孩把手放下了,没有
让他们自由地讨价还价。但你不知道我要做什么,他说
抗议,他的声音充满了这种不公平的,我还没有尝试过呢。等一下,让我跟你,然后
看看是不是不好,他做了一个特别的手势,他的手指微微弯曲
抱着他们俩掌心向上在他面前,恳求一个手势......

从这个和别的什么场景发生时,扬声器实现与鲜明的惊喜,这么多的东西男孩进行,他是如何将他的手,手势,他的航班从一端到另一端可见情感频谱召回正是一切,他已经吸引到Mitko的方式和运动,并提出很多关于我们如何学习,我们在我们的生活中扮演着文化和性别角色。

这一幕,有这么多的人安置在小说的情节,揭示了可能是什么最惊人的约格林韦尔的写作:他深厚的功力,以精美的这种精确性使暴露的却往往忽略了语言,即使在最小的物理手势绑起来。另一种这样的实施例在与Mitko一个特定会议的闭合被发现。在那里,格林威尔写道,

再次感谢您,他说,然后,如此之快,我没有机会阻止他,我就算了
想,他把他的双手在我的肩膀上,并朝我俯下身,抚摸他的嘴唇
我的脸颊。他又靠在椅背上,笑了,收回他的手,但没有tousling之前我
头发,用我想起了unguardedness现在微笑克这是一个友好的姿态,平淡,
这并没有解雇他的吻的亲密关系,但将其设置在一个新的密钥,我充满了喜爱的
他走出并拉上了门在他身后。

这样的时刻在小说中比比皆是,时刻,其中一个体相对于其他运动说比任何文字所能通过语音单独阐述这么多。

阅读这本小说一个人听到,在这里和那里的回声詹姆斯·鲍德温的乔凡尼房间—in how the protagonist has been forced to leave behind his country and go abroad in search of what he could not find or get back home, in the writing’s urgency which ripples with a tension that bespeaks how much is at stake for each character, in the insistence of the story’s drive toward the answers to deep and essential questions about love, identity, dependency, and human connection. And, like乔瓦尼的房间,我希望这个故事的结尾所产生的共鸣会在我心里萦绕一段时间。

这登场,在其覆盖的深度,在其散文的肌肉发达,在讲故事的力量,表明格林威尔是一个作家要小心注意。我的一个期待与极大的期待到什么礼物,他给了我们下一个。