出版与作家生涯2017nobelprize.org
2017年诺贝尔文学奖：石黑一雄（PDF）
The Nobel Prize in Literature 2017 – Kazuo Ishiguro [pdf]
导读
2017 年诺贝尔文学奖授予石黑一雄，这条帖子把奖项新闻和一篇他自述写作方法的文章放在一起讨论。最值得写作者读的是他如何在四周内写完《长日将尽》：长达一年的“无进展”期其实在做研究与积累，真正的爆发只发生在判断“知道得刚好够”的那一刻。评论还谈到他笔下不可靠叙述者的魅力。
可以直接用的写作要点
- 01
看起来“一年没写一个字”的阶段不一定是浪费：那段时间做的背景研究，正是后面四周高效冲刺的燃料。
- 02
动笔写正文的时机要拿捏到“知道得刚好够”——太早会写偏，太晚则热情和锐气都被磨掉。
- 03
冲刺期可以不讲章法：手写、不管文风、允许下午写的内容推翻上午的设定，先把粗料大量倒出来。
- 04
给写作一个专属空间和明确的“冲刺期”，比每天挤一点时间更容易把整部作品贯通起来。
HN 评论精选
写作前的长期研究与“何时动笔”的判断，比写作期本身更决定成败。
发帖人补充了一篇石黑一雄 2014 年发表于《卫报》的文章，讲他如何“冲刺”写作。他上一个夏天写完了《长日将尽》的第一章，之后近一年毫无进展，但那一年他大量研究了当时英国的生活、政治与仆役制度；正是这些积累让为期四周的冲刺真正高产。他说，决定何时开始真正动笔始终是关键：知道多少才动笔？太早有害，太晚同样有害；写这本书时他运气好，冲刺点正合适，知道得刚好够。冲刺期间他刚搬家，有一间专用书房（前两部小说是在餐桌上写的）。四周里他完全手写，不在乎风格，也不在乎下午写的东西与上午的设定相矛盾。
danso查看英文原文
I submitted this 2014 essay from Ishiguro, but no point in having 2 separate threads for the same Nobel Prize news/discussion. Thought some folks here would be interested in how a famous novelist does "crunch" weeks". In this 2014 op-ed for the Guardian, he describes how it took 4 weeks for him to create his most famous novel, "The Remains of the Day": https://www.theguardian.com/books/2014/dec/06/kazuo-ishiguro-the-remains-of-the-day-guardian-book-club tl;dr - Had the first chapter written the previous summer, but made no progress on it for about a year. - Even though he couldn't write that year, he did a "substantial amount of 'research'" about British life/politics/servitude of that time period. This is what led to his 4-week "Crash" session being productive: > he decision when to start the actual writing of a novel – to begin composing the story itself – always seems to me a crucial one. How much should one know before starting on the prose? It’s damaging to start too early, equally so to start too late. I think with Remains I got lucky: the Crash came just at the right point, when I knew just enough. During the 4-week "crash", he had a dedicated study in a house he recently moved in; his previous 2 novels were written at his dining table. His process during the 4-weeks was not at all structured (in the traditional sense): > Throughout the Crash, I wrote free-hand, not caring about the style or if something I wrote in the afternoon contradicted something I’d established in the story that morning. The priority was simply to get the ideas surfacing and growing. Awful sentences, hideous dialogue, scenes that went nowhere – I let them remain and ploughed on. Note that he didn't finish the novel in 4 weeks. But he did reach the critical mass to make it a complete idea and story: > I kept it up for the four weeks, and at the end of it I had more or less the entire novel down: though of course a lot more time would be required to write it all up properly, the vital imaginative breakthroughs had all come during the Crash.
叙事悬念本身就是作品的一部分，提前知道情节会削弱阅读体验。
小建议：《别让我走》最好在你对情节一无所知的情况下读。
evtothedev查看英文原文
Pro tip: "Never Let Me Go" is best read if you know absolutely nothing about its plot.
不可靠叙述者的力量在于：让读者看清人物的自欺，却依然对他抱有同情。
诺贝尔奖本身对我意义不大，但我就是喜欢石黑一雄。他那些超现实的小说总让我动容。我尤其喜欢他玩弄不可靠叙述者的方式，比如《长日将尽》《山影淡色》《我辈孤雏》。他让我们看到这些叙述者有缺陷、有时甚至自我毁灭，可我们（至少是我）依然同情他们。《长日将尽》的结尾几乎让我落泪：管家意识到自己把一生献给了不值得的人，却又重蹈覆辙，几乎什么也没学到——而我仍然为他加油。
the_af查看英文原文
Great! Not that the Nobel prize means anything to me, but I simply love Kazuo Ishiguro. His surreal novels are always moving to me. I absolutely love how he plays with unreliable narrators, like in "The Remains of the Day", "A Pale View of Hills" and "When We Were Orphans". He shows how they are flawed, sometimes self-sabotaging, but we (or rather, I) still empathize with them. The ending of "The Remains of the Day" always moves me, almost to tears. How the butler, having realized he threw his life away for people who were not worth it, is at it again, repeating the same mistakes and having learned (almost) nothing. And still, I root for him.
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