☆☆☆☆☆




點擊這裡下載

類似圖書 點擊查看全場最低價

---

編輯推薦

　　In the now-classic novel Interview with the Vampire Anne Rice refreshed the archetypal vampire myth for a late-20th-century audience. The story is ostensibly a simple one: having suffered a tremendous personal loss an 18th-century Louisiana plantation owner named Louis Pointe du Lac descends into an alcoholic stupor. At his emotional nadir he is confronted by Lestat a charismatic and powerful vampire who chooses Louis to be his fledgling. The two prey on innocents give their "dark gift" to a young girl and seek out others of their kind (notably the ancient vampire Armand) in Paris. But a summary of this story bypasses the central attractions of the novel. First and foremost the method Rice chose to tell her tale——with Louis' first-person confession to a skeptical boy——transformed the vampire from a hideous predator into a highly sympathetic seductive and all-too-human figure. Second by entering the experience of an immortal character one raised with a deep Catholic faith Rice was able to explore profound philosophical concerns——the nature of evil the reality of death and the limits of human perception——in ways not possible from the perspective of a more finite narrator.

內容簡介

Here are the confessions of a vampire. Hypnotic, shocking, and chillingly erotic, this is a novel of mesmerizing beauty and astonishing force–a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses. It is a novel only Anne Rice could write.

作者簡介

Anne Rice is the author of twenty-seven books. She lives in Rancho Mirage, California.

精彩書評

While Rice has continued to investigate history, faith, and philosophy in subsequent Vampire novels (including The Vampire Lestat, The Queen of the Damned, The Tale of the Body Thief, Memnoch the Devil, and The Vampire Armand), Interview remains a treasured masterpiece. It is that rare work that blends a childlike fascination for the supernatural with a profound vision of the human condition.
——Patrick O'Kelley

Rice turned the vampire genre on its ear with this first novel (LJ 5/1/76), which evolved into one of the most popular series in recent history. Though the quality of the books has declined, this nonetheless is a marvelous, innovative, and literate tale of the longing for love and the search for redemption. This 20th-anniversary edition offers a trade-size paperback for a good price.
——Library Journal

"A magnificent, compulsively readable thriller...Rice begins where Bram Stoker and the Hollywood versions leave off and penetrates directly to the true fascination of the myth–the education of the vampire."
——Chicago Tribune

"Unrelentingly erotic...sometimes beautiful, and always unforgettable."
——Washington Post

"If you surrender and go with her...you have surrendered to enchantment, as in a voluptuous dream."
——Boston Globe

"A chilling, thought-provoking tale, beautifully frightening, sensuous, and utterly unnerving."
——Hartford Courant

精彩書摘

"I see--" said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his briefcase on the table and waited.

"But how much tape do you have with you?" asked the vampire, turning now so the boy could see his profile. "Enough for the story of a life?"

"Sure, if it's a good life. Sometimes I interview as many as three or four good people a night if I'm lucky. But it has to be a good story. That's only fair, isn't it?"

"Admirably fair," the vampire answered. "I would like to tell you the story of my life, then. I would like to do that very much."

"Great," said the boy. And quickly he removed a small tape recorder from his brief case, making a check of the cassette and batteries. "I'm really anxious to hear why you believe this, why you--"

"No," said the vampire abruptly. "We can't begin that way. Is your equipment ready?"

"Yes," said the boy.

"Then sit down. I'm going to turn on the overhead light."

"But I thought vampires didn't like the light," said the boy. "If you think the dark adds atmosphere--" But then he stopped. The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord.

At once the room was flooded with a harsh yellow light. And the boy, staring up at the vampire, could not repress a gasp. His fingers danced backwards on the table to grasp the edge. "Dear God!" he whispered, and then he gazed, speechless, at the vampire.

The vampire was utterly white and smooth, as if he were sculpted from bleached bone, and his face was as seemingly inanimate as a statue, except for two brilliant green eyes that looked down at the boy intently like flames in a skull. But then the vampire smiled almost wistfully, and the smooth white substance of his face moved with the infinitely flexible but minimal lines of a cartoon. "Do you see?" he asked softly?

The boy shuddered, lifting his hand as if to shield himself from a powerful light. His eyes moved slowly over the finely tailored black coat he'd only glimpsed in the bar, the long folds of the cape, the black silk tie knotted at the throat, and the gleam of the white collar that was as white as the vampire's flesh. He stared at the vampire's full black hair, the waves that were combed back over the tips of the ears, the curls that barely touched the edge of the white collar.

"Now, do you still want the interview?" the vampire asked.

The boy's mouth was open before the sound came out. He was nodding. Then he said, "Yes."

The vampire sat down slowly opposite him and, leaning forward, said gently, confidentially, "Don't be afraid. Just start the tape."

And then he reached out over the length of the table. The boy recoiled, sweat running down the sides of his face. The vampire clamped a hand on the boy's shoulder and said, "Believe me, I won't hurt you. I want this opportunity. It's more important to me than you can realize now. I want you to begin." And he withdrew his hand and sat collected, waiting.

It took a moment for the boy to wipe his forehead and his lips with a handkerchief, to stammer that the microphone was in the machine, to press the button, to say that the machine was on.

"You weren't always a vampire, were you?" he began.

"No," answered the vampire. "I was a twenty-five-year-old man when I became a vampire, and the year was seventeen ninety-one."

The boy was startled by the preciseness of the date and he repeated it before he asked, "How did it come about?"

"There's a simple answer to that. I don't believe I want to give simple answers," said the vampire. "I think I want to tell the real story--."

"Yes," the boy said quickly. He was folding his handkerchief over and over and wiping his lips now with it again.

"There was a tragedy--" the vampire started. "It was my younger brother--. He died." And then he stopped, so that the boy could clear his throat and wipe at his face again before stuffing the handkerchief almost impatiently into his pocket.

"It's not painful, is it?" he asked timidly.

"Does it seem so?" asked the vampire. "No." He shook his head. "It's simply that I've only told this story to one other person. And that was so long ago. No, it's not painful--.

"We were living in Louisiana then. We'd received a land grant and settled two indigo plantations on the Mississippi very near New Orleans--."

"Ah, that's the accent--" the boy said softly.

For a moment the vampire stared blankly. "I have an accent?" He began to laugh.

And the boy, flustered, answered quickly. "I noticed it in the bar when I asked you what you did for a living. It's just a slight sharpness to the consonants, that's all. I never guessed it was French."

"It's all right," the vampire assured him. "I'm not as shocked as I pretend to be. It's only that I forget it from time to time. But let me go on--."

"Please--" said the boy.

"I was talking about the plantations. They had a great deal to do with it, really, my becoming a vampire. But I'll come to that. Our life there was both luxurious and primitive. And we oursel Interview with the Vampire夜訪吸血鬼 英文原版 [平裝] 下載 mobi epub pdf txt 電子書

評分☆☆☆☆☆

【拉丁語學名】Citrus reticulata Blanco

評分☆☆☆☆☆

質量還行吧正版還行吧東西，在課程講授過程中,我們沒有把重點放在語法規則的敘述上,而是放在算法和程序設計方法上,通常由幾個例題引齣一種語法規則,通過一些求解具體問題的程序來分析算法,介紹程序設計的基本方法和技巧,既注重教材的係統性、科學性,又注意易讀性和啓發性。從最簡單的問題入手,一開始就介紹程序,要求學生編寫程序,通過反復編寫、運行程序來掌握語言的規定和程序設計的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。注意培養學生良好的編程風格,讓學生在編製程序過程中不斷總結、鞏固,達到學會方法、記住語法規則,提高設計技巧的目的。 《C語言程序設計》是我係各專業的必修課程，也是我校非計算機專業開設的程序設計課程之一。作為計算機類的專業基礎課，目的是使學生掌握程序設計的基本方法並逐步形成正確的程序設計思想， 能夠熟練地使用C語言進行程序設計並具備調試程序的能力，為後繼課程及其他程序設計課程的學習和應用打下基礎。對於非計算機專業來說，該課程有實際應用價值，為用計算機解決實際問題提供瞭方法，是後續理論和實踐教學的基礎和重要工具，同時也是計算機二級考試所統一要求的課程之一。 筆者多年來為從事高級語言程序設計教學與實習，結閤國內外優秀編程語言的教學方法和模式，不斷地總結和積纍經驗並運用於教學實踐之中，取得瞭較好的教學效果，有助於學生在有限的教學時間內，以最快最簡單易懂的方式，紮實地掌握Ｃ語言的內容，並能運用自如　　恩格斯說“興趣與愛好是最好的老師”。為瞭使初學者能盡快地掌握計算機知識,進入計算機的應用領域,在課程講授過程中,要特彆注意培養學生的學習興趣。初接觸計算機時,很多學生感到新奇、好玩,這不能說是興趣,隻是一種好奇。隨著課程的不斷深入,大量的規則、定義、要求和機械的格式齣現,很容易使一部分(甚至是大部分)學生産生枯燥無味的感覺。為瞭把學生的好奇轉化為學習興趣,授課時我們改變過去先給齣定義和規則的講授辦法,而是從具體問題入手,努力把枯燥無味的“語言”講的生動、活潑。 　　在第一節課上,就給學生找一些《高等數學》、《綫性代數》等已學課程的問題,用算法語言來求解,使學生體會程序設計的用途和一種全新的解決問題的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。

評分☆☆☆☆☆

銷魂的，震驚的，令人脊梁發冷地情色。這是一部充滿令人著魔的美艷以及讓我無法抵擋的力量的作品。一個關於險惡和叛離的故事，一個關於愛與失去、疑惑和決心，還有非比尋常的情感力量的故事。這樣的故事隻有Anne Rice能夠著就！她的這本處女作亦是成名作何止能用“驚艷”來形容！

評分☆☆☆☆☆

【釋義】指柑橘屬的任何一種植物或果實，俗稱蘆柑或橘子。

評分☆☆☆☆☆

評分☆☆☆☆☆

【拉丁語學名】Citrus reticulata Blanco

評分☆☆☆☆☆

Interview with the Vampire

評分☆☆☆☆☆

【性味】平，甘、酸。

評分☆☆☆☆☆

【拉丁語學名】Citrus reticulata Blanco

類似圖書 點擊查看全場最低價

查看全網最低價