Fiona漸漸變得忘記越來越多的事情撤嫩，走向野外的時候回忘記了她家是在哪里。也忘記了住在這里多久了鹉梨。對于七八十歲的人來說也算正常吧讳癌。
看同名電影柳暗花明時候，我想的最多的問題是存皂，如果我老了析桥，我會處于一個什么樣的境況。

• Fiona
  對Fiona著筆遠遠少于Grant艰垂。但我聽喜歡Fiona這個形象，可能也和電影Fiona的扮演者很有氣質(zhì)埋虹，平靜的表情猜憎。演的很到位。
• Grant
  雖然Grant的著筆比Fiona多很多搔课。他的轉(zhuǎn)變和轉(zhuǎn)變后對Fiona的執(zhí)著也讓人不可思議胰柑。但是我還是不喜歡這個角色。
  因為他曾經(jīng)出那么多次軌，一定深深傷害了Fiona柬讨。怎么可以拿那些出軌后就拋棄妻子的人作比較崩瓤。那為什么不拿那些對妻子異常忠貞的人作比較呢。
  是不是我要求太高踩官？
  兩性在一起也許新鮮感會越來越少却桶，但是也不能成為出軌理由。
  也許我對感情仍舊是太幼稚蔗牡。
  是不是對于迷途知返的應該給于原諒颖系。
  門羅大概寫出了人性的兩難性。是否就這樣原諒丈夫的出軌還是一定要鬧分手辩越。
  Fiona的父親原來是一名心臟學專家嘁扼，用關(guān)系讓Grant成為大學教授，但是Fiona卻只是一個護士之類的黔攒，還必須依靠丈夫才維持中產(chǎn)階級地位趁啸。即使是父母有能力，為了維持下一代高標準的生活督惰，卻只能培養(yǎng)女婿不傅，這不可不說是女性的悲哀，女性權(quán)利的無姑丑。

開頭的描寫

小說

“FIONA LIVED IN her parents’ house, in the town where she and Grant went to university. It was a big, bay-windowed house that seemed to Grant both luxurious and disorderly, with rugs crooked on the floors and cup rings bitten into the table varnish. Her mother was Icelandic – a powerful woman with a froth of white hair and indignant far-left politics. The father was an important cardiologist, revered around the hospital but happily subservient at home, where he would listen to strange tirades with an absentminded smile. All kinds of people, rich or shabby-looking, delivered these tirades, and kept coming and going and arguing and conferring, sometimes in foreign accents. Fiona had her own little car and a pile of cashmere sweaters, but she wasn’t in a sorority, and this activity in her house was probably the reason.
“Not that she cared. Sororities were a joke to her, and so was politics, though she liked to play “The Four Insurgent Generals” on the phonograph, and sometimes also she played the “Internationale,” very loud, if there was a guest she thought she could make nervous. A curly-haired, gloomy-looking foreigner was courting her – she said he was a Visigoth – and so were two or three quite respectable and uneasy young interns. She made fun of them all and of Grant as well. She would drolly repeat some of his small-town phrases. He thought maybe she was joking when she proposed to him, on a cold bright day on the beach at Port Stanley. Sand was stinging their faces and the waves delivered crashing loads of gravel at their feet.
“Do you think it would be fun –” Fiona shouted. “Do you think it would be fun if we got married?”
He took her up on it, he shouted yes. He wanted never to be away from her. She had the spark of life.”

“JUST BEFORE THEY left their house Fiona noticed a mark on the kitchen floor. It came from the cheap black house shoes she had been wearing earlier in the day.
“I thought they’d quit doing that,” she said in a tone of ordinary annoyance and perplexity, rubbing at the gray smear that looked as if it had been made by a greasy crayon.
She remarked that she would never have to do this again, since she wasn’t taking those shoes with her.
“I guess I’ll be dressed up all the time,” she said. “Or semi dressed up. It’ll be sort of like in a hotel.”

電影

電影開頭Fiona的形象

• 一開場的時候在海邊蛤签，F(xiàn)iona說我們結(jié)婚會有趣么。一個男人把她舉了起來栅哀，很開心的樣子震肮。這樣的視覺形象一閃而過。
• 第二個場景留拾，是兩個孤單的老人在廚房里搗鼓戳晌，一個人在水池旁收拾碗筷，Grant從后面抱著Fiona痴柔。當Fiona把鍋放在冰箱里的時候沦偎，F(xiàn)iona沒說什么，把鍋從冰箱里拿出來放到了柜子里咳蔚。從細節(jié)展現(xiàn)出原來Fiona大概失憶了吧豪嚎。空蕩蕩的房子里只有他們兩個人相依為命谈火。
  看到這段的時候侈询，我想如果我和乖乖走下去，我們會面臨什么樣的境況糯耍？

從這些畫面來看扔字，電影真的挺忠實于原著的囊嘉。電影給我的視覺印象果然更加深刻。但是小說對于人物人心形象的描寫是電影難以比擬的革为。Grant到低怎么想的扭粱，也只有看原著才更明白。

敘事結(jié)構(gòu)

小說的每句話都看上去挺短的震檩。
比如：

“Do you think it would be fun –” Fiona shouted. “Do you think it would be fun if we got married?”
He took her up on it, he shouted yes. He wanted never to be away from her. She had the spark of life.”

雷蒙德卡佛的作品也是琢蛤，是不是這是北美短篇小說的一個特色？
對小說細節(jié)的描寫恳蹲，比如Fiona

“She rinsed out the rag she’d been using and hung it on the rack inside the door under the sink.“ Then she put on her golden-brown fur-collared ski jacket over a white turtle-necked sweater and tailored fawn slacks. She was a tall, narrow-shouldered woman, seventy years old but still upright and trim, with long legs and long feet, delicate wrists and ankles and tiny, almost comical-looking ears. Her hair, which was light as milkweed fluff, had gone from pale blond to white somehow without Grant’s noticing exactly when, and she still wore it down to her shoulders, as her mother had done. (That was the thing that had alarmed Grant’s own mother, a small-town widow who worked as a doctor’s receptionist. The long white hair on Fiona’s mother, even more than the state of the house, had told her all she needed to know about attitudes and politics.)

對于人物的描寫挺細致入微的虐块。
我的五十歲的母親人生還有至少三十多年可以活著，真的挺長的嘉蕾。我真的不希望他們現(xiàn)在就覺得一輩子好像就告一階段就結(jié)束了一樣贺奠，其實不是的。但是什么對于他們來說是值得做下去的呢错忱？我有那么成熟和成長可以給他們指明明路么儡率。
大概沒有。
如果我希望在那個年紀我能做什么以清。大概也是有一個穩(wěn)定的家儿普。有自己大大的房子，那樣就可以有一個屬于自己的書屋了掷倔。還有健康的身體吧眉孩。閑的時候看看書。
現(xiàn)在的母親是怎么樣：
母親雖然很瘦小勒葱，但是肚子看起來還是有點凸起浪汪。臉上的皺紋越來越深了。如果攝像頭從下部看上去凛虽，母親的臉看起來是如此的蒼老死遭。甚至有點肥大。臉看上去越來越方了凯旋，雖然是小臉但是歲月的痕跡很明顯打在臉上呀潭。母親對著裝也越發(fā)不在乎，隨意穿上個內(nèi)褲就在房間轉(zhuǎn)悠至非。母親每天的消遣就是飯后看看電視钠署。到那個年紀的父母的期望就是可以抱個小孩。

“Otherwise Fiona with her fine bones and small sapphire eyes was nothing like her mother. She had a slightly crooked mouth which she emphasized now with red lipstick – usually the last thing she did before she left the house. She looked just like herself on this day – direct and vague as in fact she was, sweet and ironic.”

• 在超市迷失荒椭，被警察撿到谐鼎。警察問：總統(tǒng)是誰。Fiona說如果你這都不知道戳杀，怎么當警察该面。 小幽默。
• Russian wolfhounds
• 家里各處的小紙條

Meadowlake的出現(xiàn)是通過Fiona說錯名字信卡，認為是Shallowlake隔缀。

• A kind of experimental treatment.
• A rest cure.

這個代價真的好高。不知道送到這種病院讓老人和親人隔離一個月的制度真的是真的么傍菇。如果是真的猾瘸，覺得好殘酷。就這樣讓生病的老人無依無靠那么久丢习。如書中的Grant牵触，就這樣被她的妻子忘記了。
不過只有被忘記了的情節(jié)咐低，故事才可以繼續(xù)發(fā)展下去揽思。生活中的細小差錯讓生活變得更加有趣到低是值不值得的。

“THERE WAS A RULE that nobody could be admitted during the month of December. The holiday season had so many emotional pitfalls. So they made the twenty-minute drive in January. Before they reached the highway the country road dipped through a swampy hollow now completely frozen over. The swamp-oaks and maples threw their shadows like bars across the bright snow.
Fiona said, “Oh, remember.”
Grant said, “I was thinking about that too.”
“Only it was in the moonlight,” she said.
She was talking about the time that they had gone out skiing at night under the full moon and over the black-striped snow, in this place that you could get into only in the depths of winter. They had heard the branches cracking in the cold.
So if she could remember that so vividly and correctly, could there really be so much the matter with her?
It was all he could do not to turn around and drive home.”

在開車去醫(yī)院的路上觸景生情想到他們曾經(jīng)在這里游玩的情景见擦。Grant懷疑了钉汗，F(xiàn)iona真的是什么都忘了嗎，還是和自己開玩笑鲤屡。人生好像就是一個玩笑损痰，我們在一起了，然后我們老去酒来，記憶見見把我們離棄卢未，讓我們忘記了曾經(jīng)的美好時刻。
門羅的小說中其實也沒有完全只是講女性的堰汉，如果只是從女性的視角去分析這本書辽社，也是可以，但那只是評論書的人選取的一個角度而已衡奥。

“THEY HAD GONE over to Meadowlake a few times several years ago, to visit Mr. Farquar, the old bachelor farmer who had been their neighbor. He had lived by himself in a drafty brick house unaltered since the early years of the century, except for the addition of a refrigerator and a television set. He had paid Grant and Fiona unannounced but well-spaced visits and, as well as local matters, he liked to discuss books he had been reading – about the Crimean War or Polar explorations or the history of firearms. But after he went to Meadowlake he would talk only about the routines of the place, and they got the idea that their visits, though gratifying, were a social burden for him. And Fiona in particular hated the smell of urine and bleach that hung about, hated the perfunctory bouquets of plastic flowers in niches in the dim, low-ceilinged corridors.
Now that building was gone, though it had dated only from the fifties. Just as Mr. Farquar’s house was gone, replaced by a gimcrack sort of castle that was the weekend home of some people from Toronto. The new Meadowlake was an airy, vaulted building whose air was faintly pleasantly pine-scented. Profuse and genuine greenery sprouted out of giant crocks.
Nevertheless, it was the old building that Grant would find himself picturing Fiona in during the long month he had to get through without seeing her. It was the longest month of his life, he thought – longer than the month he had spent with his mother visiting relatives in Lanark County, when he was thirteen, and longer than the month that Jacqui Adams spent on holiday with her family, near the beginning of their affair. He phoned Meadowlake every day and hoped that he would get the nurse whose name was Kristy. She seemed a little amused at his constancy, but she would give him a fuller report than any other nurse he got stuck with.
Fiona had caught a cold, but that was not unusual for newcomers.
“Like when your kids start school,” Kristy said. “There’s[…]”

這一部分情節(jié)在電影中也被省略了爹袁。好像也不太好用視覺語言去描述這一段，怎么描述矮固？這段更多的是人物心理狀態(tài)的描寫失息。
Mr Farquar 單身漢農(nóng)民是他們的鄰居。對于他們對他在養(yǎng)老院的訪問档址，Mr Farquar更覺得是一個負擔而不是感激盹兢。Fiona特別討厭尿的味道和到處的漂白劑。
現(xiàn)在建筑物的狀況改變了守伸，雖然那個建筑是在五十年代才建立的绎秒。
在Fiona在醫(yī)院的時候，Grant想象Fiona住的是Mr Farquar住的那原來的房子尼摹，如果用鏡頭表現(xiàn)见芹，大概就切換到老房子剂娄，然后加上旁白？Fiona原來住的是這個房子玄呛。觀影者想阅懦，這是什么鬼。視覺語言的局限性徘铝。

• Kristy 小說中還用少數(shù)的幾個筆觸描寫了一些其余人耳胎，比如Kristy。當Fiona住在醫(yī)院一個月的時候惕它，Grant每天打電話怕午，Kristy會耐心接聽。告訴Grant Fiona每天的進展淹魄。

“He phoned Meadowlake every day and hoped that he would get the nurse whose name was Kristy. She seemed a little amused at his constancy, but she would give him a fuller report than any other nurse he got stuck with.”
“Fiona had caught a cold, but that was not unusual for newcomers.
“Like when your kids start school,” Kristy said. “There’s a whole bunch of new germs they’re exposed to, and for a while they just catch everything.”
Then the cold got better. She was off the antibiotics, and she didn’t seem as confused as she had been when she came in. (This was the first time Grant had heard about either the antibiotics or the confusion.) Her appetite was pretty good, and she seemed to enjoy sitting in the sunroom. She seemed to enjoy watching television.”

Kristy是有四個孩子的母親郁惜，在影片中她也耐心解答Grant。當管理者除了一開始比較耐心對待Grant以后揭北，對Grant就處于一種不理睬狀態(tài)扳炬，根本不關(guān)心病人和病人家人的狀況。走路也是匆匆忙忙搔体。

影片中Kristy的扮演者

• 對待電視的態(tài)度

“They had spied on the lives of every beast or reptile or insect or sea creature that a camera was able to reach, and they had followed the plots of what seemed like dozens of rather similar fine nineteenth-century novels. They had slid into an infatuation with an English comedy about life in a department store and had watched so many reruns that they knew the dialogue by heart. They mourned the disappearance of actors who died in real life or went off to other jobs, then welcomed those same actors back as the characters were born again. They watched the floorwalker’s hair going from black to gray and finally back to black, the cheap sets never changing. But these, too, faded; eventually the sets and the blackest hair faded as if dust from the London streets was getting in under the elevator doors, and there was a sadness about this that seemed to affect Grant and Fiona more than any of the tragedies on Masterpiece Theatre, so they gave up watching before the final end.”

活生生的家庭生活展現(xiàn)在眼前恨樟。

• 敘述方式
  電影和小說都是夾雜著敘述。

“ They had usually prepared supper together. One of them made the drinks and the other the fire, and they talked about his work (he was writing a study of legendary Norse wolves and particularly of the great Fenris wolf who swallows up Odin at the end of the world) and about whatever Fiona was reading and what they had been thinking during their close but separate day. This was their time of liveliest intimacy, though there was also, of course, the five or ten minutes of physical sweetness just after they got into bed – something that did not often end up in sex but reassured them that sex was not over yet.”

兩個人親密的生活方式疚俱。

“So Grant went off to find Fiona in Meadowlake – the old Meadowlake – and got into a lecture theater instead. Everybody was waiting there for him to teach his class. And sitting in the last, highest row was a flock of cold-eyed young women all in black robes, all in mourning, who never took their bitter stares off him and conspicuously did not write down, or care about, anything he was saying.
Fiona was in the first row, untroubled. She had transformed the lecture room into the sort of corner she was always finding at a party – some high-and-dry spot where she drank wine with mineral water, and smoked ordinary cigarettes and told funny stories about her dogs. Holding out there against the tide, with some people who were like herself, as if the dramas that were being played out in other corners, in bedrooms and on the dark verandah, were nothing but childish comedy. As if charity was chic, and reticence a blessing.
“Oh, phooey,” Fiona said. “Girls that age are always going around talking about how they’ll kill them”

小說中加進了夢的敘述方式劝术。Grant想去Meadowlake找Fiona，但是卻到了一個劇院呆奕。這個夢境的刻畫是不是也有點想象力养晋？但是在電影中只是通過Grant的敘述表現(xiàn)出來，可能一般人不會去仔細回味Grant說的這話梁钾。