《The World According to Garp》读后感1000字

《The World According to Garp》是一本由John Irving著作，Ballantine Books出版的Paperback图书，本书定价：$14.00，页数：437，特精心收集的读后感，希望对大家能有帮助。

《The World According to Garp》读后感(一)：充满想象力的世界

The Cider House Rules是我阅读的John Irving的第一步作品。老韦尔伯医生性格乖张、人生目标明确、有许多可爱而顽固的小习惯和偏见，但这些更显这位老医生的伟大。

读《盖普眼中的世界》，我遇见了一位同样性格乖张的人物，不过，这次是位刀子嘴豆腐心的护士，一位女士。呵呵。

想象力在这些作品中恣意蔓延开去，只是忍不住会很心疼这几位乖张的主角，他们，在外人眼里，有着无尽的孤独；而又欣赏着这几位伟大的角色，他们扮演着上帝的角色，在为社会所冷落的忽略的地方，带来温暖。他们的怪癖、执着、责任感，令人钦佩！

很喜欢Irving。

他的语言总充满着幽默，他的思想总凝结着深沉。

《The World According to Garp》读后感(二)：盖普的世界及其他

最近没发生什么新鲜事，只有我哥在QQ上问我还有没有看书，看电影，一贯都是别人关心我吃什么吃几碗有没有男朋友学习怎么样，很久都没有人来问候我的精神世界。

我说有啊一直看书和电影都看。然后我哥问我看了什么书，恰好我最近刚看完盖普眼中的世界（the world according to Garp),他就问我讲什么的

一句话难说清，讲什么的，讲的实在太多了讲欲望，讲极端女权运动，讲通奸，讲死亡，4P，在事故中咬断情人的penis,以及暴力的强奸描写。

然后我哥来一句别愤青哈。

这年头说谁是愤青就跟说谁是sb一样。只不过精神上愤青一把，然后还不一样在家过自己的小日子，老婆孩子热炕头的，那些仇富的，爱国的，只是找个借口散发一下自己过剩的荷尔蒙。我早就明白了歌颂黄土高坡的人，她一定就不住在黄土高坡。

这本书听起来像三流色情小电影，可是盖普说our life is an X-rated opera.

这本书里有很多潜藏的伏笔和深层的隐喻，只有大师才能写出这样的书来。其中一个是关于梦和死亡的。在小小说中garp写了一个短片小说关于梦和死亡。然后之后他梦到他的大儿子领着小儿子走向地下室，在那个令他小儿子死亡的车祸中，他的儿子最后一句话是开心的说it's like a dream.Garp回忆说在小儿子walt死前，他们全家到海边度假，让年幼的walt小心海中的undertow，小walt听成了under toad，还问它是绿色的还是褐色的？toad这个词在德语里和死亡音很相似...等等，找到一个网页是关于这部念书的研究和评论的有兴趣的可以好好研究一下。国内有这本书的译本

http://www.geocities.com/irvingophile/Garp.html

还读了almost moon可爱骨头作者最近的新书，写的是一个有精神疾病妈妈的女儿觉得妈榨干了她的生活终于在妈80几岁得了老年痴呆症并拉裤子之后，用毛巾捂死了，然后睡了两次她好朋友的儿子。外国的作家写起文章来也开始有天涯的调调了。跟盖普的世界不同，这部小说绝对的三流电影的情节，三流电影的写法。

还有这个世界太疯狂，也太复杂，欣欣向荣一如小树的你可能不能接受我们都是晚期患者这个事实。很多人厌倦了我爱你，你爱我，不要变行不行这个套路，开始采用另一个捷径。我曾问过小j怎么和他语言不同的前女友交流，小j跟我说不用语言交流就用身体交流就行了。对哈，真坦白，真性情的人，敢这么说，大多数人都还假装深情款款地问候你的精神世界，然后才逐渐过渡到身体交流。就像盖普书里的变性人说的，其实all he wants is a good lay.小j坦白的说我开始有点欣赏你了。

还有的人搞另一种极端，最近一个日本人就在网上倡议，要征集100万个签名让ta可以跟漫画人物结婚，ta说ta厌倦了三维世界，只有二维世界才是适合他的。日本可是只承认男人和女人之间的婚姻，连男男女女都不行，估计这个老兄该一无所获了。想法是好的。

盖普的世界还是写关于欲望的，刚才洗澡的时候我想起来一个好玩的事，关于欲望的

不知道少年前我在icq上加了新西兰男人，也忘记了他怎么跑到我msn的。开始几次说话还挺正常，此人自称软件工程师。后来说说话就不对了，变成了我现在欲火焚身，我没穿衣服在卧室....作为一个纯洁天真的小红帽我应该被马上吓得伏案大哭，我没有我好奇，我还继续和他说话，一边掏出文曲星来查我不认识的单词，关于身体构造的我不认识的单词太多了..这位大叔自己一个人说的津津有味儿，还问下我觉得怎么样，实话说我觉得他怪可怜的，找个我这个外国人，连身体构造名称都说不全，我还能觉得怎么样。我就说没用的，你让我兴奋不起来。然后我就帮他出主意啊，问他怎么不去酒吧找个random girl然后have a good lay then everyone gets what they want and everyone is happy.他说他不愿意去酒吧。下次看到他时还是欲火焚身，我单词也学的差不多了，颠来倒去也就那几个词，也懒得理他。下次打算告诉他我是个男人其实。估计他很久都不会欲火焚身了。

《The World According to Garp》读后感(三)：死為永生

#書# 1978《The World According to Garp》9-1=8/10

好久沒有這種痛快淋漓的閱讀高潮了，每天晚飯后第一件事就是拿起書來讀，經常放下書就已經接近凌晨。這不是那種為了追看偵探或言情小說最終結尾的八卦心，而是書中海面波瀾不驚但海底一直波瀾起伏的人物情節和情緒發展讓人放不下心，好像undertow / undertoad一直拉扯著你，要把你揪回海里，整個淹浸。

如此厚重的一本書，卻可以宛如多部精彩短篇串聯，局部高潮不斷，既沒有用力過猛，也沒有後續無力，JohnIrving功力了得，絕對一級造夢師。他總是拋出漫不經心一句話，劇透後面人生結局，讓你揪著心要看完一段人生故事，但又被下一句劇透深深捆綁住…… 這個“劇透”工具，Irving用起來毫不留情，整本書圍繞著Garp的成長，特別是對於慾望的無知、好奇、挑釁、臣服、沉迷、抵抗到理解和放下，一次又一次上帝視角，在閱讀迷宮上空告訴你出口的模樣，但就是不指明出口路徑，讓你繼續在迷宮里磕磕碰碰，你說怎麼可能把書放下？

可是有時候，Irving又耍起小遊戲，埋下一堆雞毛蒜皮的伏筆，到最後突然大爆發，給你心臟重重一擊！比如Garp耍寶的熄火滑車入庫和Volvo脫落檔位把手，你以為只是情緒體現的一個表象，哪知道……

Garp had a way of entering their driveway and garage, after dark, that terrified Helen.

The knob had been falling off for weeks, the screw threads were stripped, and Garp had several times attempted to make the knob stay on the stick-shift shaft with tape. Helen had complained about this half-assed method of repair, but Garp never claimed to be handy and the care of the car was one of Helen's domestic responsibilities.

As for Helen, she developed a fondness for the bare, sharp shaft of the Volvo's stick shift; its bite at the end of the day, driving home from her office, felt good against the heel of her hand, and she often pressed against it until she felt it was only a hair away from the pressure necessary to break her skin. She could bring tears to her eyes, this way, and it made her feel clean again, when she arrived home--when the boys would wave and shout at her, from the window where the TV was; and when Garp would announce what dinner he had prepared for them all, when Helen walked into the kitchen.

Duncan's eye was gouged out when he was flung forward between the bucket seats; the uncovered tip of the stick-shift shaft was the first thing to break his fall.

文章後半部分才出現的undertoad是我心頭所愛，如同鎮海神獸賜予了結尾深海般的重量。但總覺得作者為什麼不把它安排在開頭出現，讓Jenny這個缺根筋的無畏女性，從一開始就和它對抗，讓Jenny多一些人性的柔軟？然後延續到兒子與它的對抗，孫子與它的對抗，難道不會更有穿越時間和代際的力量？（還是說作者認為這寫法媚俗，太好被讀者猜到而捨棄不用？）

And Garp and Helen and Duncan held their breath; they realized that all these years Walt had been dreading a giant toad, lurking offshore, waiting to suck him under and drag him out to sea. The terrible Under Toad.

Between Helen and Garp, the Under Toad became their code phrase for anxiety.

John Wolf's voice over the phone had the cold, unseen, quick flick of the tongue of old You-Know-Who--the Under Toad, that's who, Helen thought. But she didn't know why; not yet.

"I don't like it," Helen told him, in bed. "I think it's terrific," Garp said. "It's not like you," Helen said; she was doing her best to muss it up. "It looks like the hair on a corpse," she said in the darkness. "A corpse!" Garp said. "Jesus." "A body prepared by an undertaker," said Helen, almost frantically running her hands through his hair. "Every little hair in place," she said. "It's too perfect. You don't look alive!" she said. Then she cried and cried and Garp held her and whispered to her--trying to find out what the matter was. Garp did not share her sense of the Under Toad--not this time.

He lay hugging the wet ground, he heard the croak of the vile-tasting Under Toad in his dry throat--he heard the explosion of hooves as the Angus thundered away from him. He heard the rock-and-metal meeting of the dirty-white Saab with the stone wall.

Maybe that was the Under Toad I felt, Helen thought, lying awake beside the soundly sleeping Garp. She hugged his warm body; she nestled in the smell of her own rich sex all over him. Maybe that dead Ellen Jamesian was the Under Toad, and now she's gone, thought Helen; she squeezed Garp so hard that he woke up. "What is it？" he asked. But, wordless as Ellen James, Helen hugged his hips; her teeth chattered against his chest and he hugged her until she stopped shivering.

Garp was sorry for Helen--that she was here--but he was happy to have her scent nearest him. He savored it, among those other intimate odors in the Steering wrestling room. If he could have talked, he would have told Helen not to be frightened of the Under Toad anymore. It surprised him to realize that the Under Toad was no stranger, was not even mysterious; the Under Toad was very familiar--as if he had always known it, as if he had grown up with it. It was yielding, like the warm wrestling mats; it smelled like the sweat of clean boys--and like Helen, the first and last woman Garp loved. The Under Toad, Garp knew now, could even look like a nurse: a person who is familiar with death and trained to make practical responses to pain.

Irving最厲害就是反反復復的前後呼應，把人生發展的偶然性和必然性穿插起來，又是上帝視角的宿命感。比如Garp中學畢業晚上戲劇性的earforear，那血跡淋淋的場面感和復仇的痛快感——這個伏筆的前後呼應——讓人拍桌叫好！為Garp的青少年時代，畫上了無瑕的句號。

At the kitchen table, Jenny washed away a black scablike thing that was stuck to Garp. It fell off Garp's throat and landed on the table--it was the size of a silver dollar. They both stared at it. "What is it？" Jenny asked. "An ear," Garp said. "Or part of one." On the white enamel table lay the black leathery remnant of an ear, curling slightly at the edges and cracked like an old, dry glove. "I ran into Bonkers," Garp said. "An ear for an ear," said Jenny Fields.

而最大的伏筆絕對是整本書開頭結尾完美的呼應，Garp的一生，就是向外到向內的回歸，不可能有比Steering摔跤室更加符合Garp的死亡現場，Helen在角落的閱讀，熟悉的汗水味與叫喊聲，打開門走進來一個穿著護士服的人——一切都開始了，一切都結束了；一切都還沒有開始，一切都還沒有結束……

Garp looked at Helen; all he could move was his eyes. Helen, he saw, was trying to smile back at him. With his eyes, Garp tried to reassure her: don't worry--so what if there is no life after death？ There is life after Garp, believe me. Even if there is only death after death (after death), be grateful for small favors--sometimes there is birth after sex, for example. And, if you are very fortunate, sometimes there is sex after birth! Oh yeth, as Alice Fletcher would have said. And if you have life, said Garp's eyes, there is hope you'll have energy. And never forget, there is memory, Helen, his eyes told her.

而這一個生死回歸，讓人不得不想起開篇Garp父親回歸子宮的狀態：所有看似的漫不經心，都是精巧的深思熟慮。

Once a Garp, then an Arp, now only an Ar; she knew he was dying. He had just one vowel and one consonant left.

He was back in the womb, Jenny knew; he resumed a fetal position, tucked up small in the center of the bed. He made no sound at all. One morning Jenny watched him kick with his small, weak feet; she imagined she felt a kick inside. Though it was too soon for the real thing, she knew the real thing was on its way.

一個個四兩撥千斤的劇透推進，處處埋地雷最後引爆的伏筆，再加上大大小小的前後呼應，Irving不愧是故事框架構造大師，但他更是內容細節的室內裝潢大師。

對於維也納的街道描述，讓人身臨其境，特別是去過的人，會不自主地把對維也納的回憶粘合在他的文字裡，分不清到底是誰的印象。

"In Vienna," Tinch told Jenny, "I found the real Europe. It was c-c-contemplative and artistic," Tinch said. "You could sense the sadness and the g-g-grandness."

Vienna was more of "a museum housing a dead city"--as he wrote Helen--than it was a city that was still alive. Garp's observation was not offered as criticism. Garp liked wandering around in a museum. "A more real city might not have suited me so well," he later wrote. "But Vienna was in its death phase, it lay still and let me look at it, and think about it, and look again. In a living city, I could never have noticed so much. Living cities don't hold still."

All around Garp, now, the city looked ripe with dying. The teeming parks and gardens reeked of decay to him, and the subject of the great painters in the great museums was always death. There were always cripples and old people riding the No .38 Strassenbahn out to Grinzinger Allee, and the heady flowers planted along the pruned paths of the courtyard in the Rudolfinerhaus reminded Garp only of funeral parlors.

Vienna, Garp thought, was a cadaver; all Europe, maybe, was a dressed-up corpse in an open coffin.

其中特別喜歡The Pension Grillparzer對於維也納小街的描寫，夢幻般的真實感。

Spiegelgasse is so narrow that you can see the reflection of your own car in the windows of the shops you pass, and I felt our movement through Vienna was superimposed(like that)--like a trick with a movie camera, as if we made a fairy-tale journey through a toy city.

在細節情緒掌控方面，作者是克制的，有計劃的。比如Walt的死去，Irving沒有選擇馬上去大肆煽情悲傷場面，而是等大家都好像恢復過來，先給予一擊，等大家再恢復一點點，又來一擊……

They remembered, of course, the years Walt had washed himself within their hearing, how they would listen for any telltale slipping sounds, or for the most frightening sound of all--which was no sound. And then they'd call, "Walt？" And Walt would say, "What？" And they would say, "Okay, just checking!" To make sure that he hadn't slipped under and drowned.

It was not a sound. It was no sound. It was the absence of sound.

EVER since Walt died," wrote T.S. Garp, "my life has felt like an epilogue." When Jenny Fields died, Garp must have felt his bewilderment increase--that sense of time passing with a plan. But what was the plan？

When Jenny Garp was born, Helen said nothing. Helen was grateful; she felt for the first time since the accident that she was delivered from the insanity of grief that had crushed her with the loss of Walt.

"I can still see him," Helen whispered, later. "All the time," Garp said. "I know." "I just shut my eyes," said Helen. "Right," Garp said. "I know." But Duncan said it best. Duncan said that sometimes it was as if his missing right eye was not entirely gone. "It's like I can still see out of it, sometimes," Duncan said. "But it's like memory, it's not real--what I see." "Maybe it's become the eye you see your dreams with," Garp told him. "Sort of," Duncan said. "But it seems so real." "It's your imaginary eye," Garp said. "That can be very real." "It's the eye I can still see Walt with," Duncan said. "You know？" "I know," Garp said.

然後在結尾時候再來一重擊：時間只能把碎裂的心湊合起來，外面看不清楚，但是這裂痕永遠是新鮮的，連呼吸都會疼的……

There were baby pictures of Jenny Garp, too; and in the large, group portraits--largely imagined, not from any photograph--the critics said that the blank face, or the repeated figure (very small) with its back to the camera, was always Walt. Duncan did not want children of his own. "Too vulnerable," he told his mother. "I couldn't stand watching them grow up." What he meant was, he couldn't stand watching them not grow up.

最後不得不提書裡面穿插的幾個短篇小說段落，用這種旁敲側擊的方法，第三方再第三方的視角去鞏固故事情節發展的，妙不可言。

《The Pension Grillparzer》處女作是我個人最喜歡的一篇，哀而不傷，沒有廉價的同情，只是旁觀著。這就是19歲Garp的人生觀價值觀，所以他和妓女Charlotte保持商業買賣的關係，但又臨終前騙醫院，以她兒子的身份給予她離開的尊嚴。

In "The Pension Grillparzer" Garp had somehow struck the chord of comedy (on the one hand) and compassion (on the other). The story did not belittle the people in the story--either with forced cuteness or with any other exaggeration rationalized as necessary for making a point. Neither did the story sentimentalize the people or otherwise cheapen their sadness.

而《Procrastination》有趣的看似針對意識形態“抵抗”的諷刺，但是不是反映Garp對自己人生拖延的諷刺？但是拖延的到底是什麼，失望的又是什麼，Garp自己搞清楚了嗎？

Through the war years, the young anarchist works as a zookeeper at Schoenbrunn. When the population of Vienna begins seriously starving, and midnight raids on the zoo are a common source of stolen food, the anarchist decides to liberate the remaining animals--who are, of course, innocent of his country's own procrastination and its acquiescence to Nazi Germany. But by then the animals themselves are starving; when the anarchist frees them, they eat him. "That was only natural," Garp wrote. The animals, in turn, are slaughtered easily by a starving mob now roaming Vienna for food--just ahead of the Russian forces. That, too, was "only natural."

In an effort to awaken the complacent city--that it must not sit back and watch things develop again--the mother tries to do what her son did: she releases the animals in the Schoenbrunn Zoo. But the animals are well fed and content now; only a few of them can even be goaded into leaving their cages, and those who do wander out are easily confined in the Schoenbrunn paths and gardens; eventually they're returned to their cages, unharmed. One elderly bear suffers a bout of violent diarrhea. The old woman's gesture of liberation is well intended but it is completely meaningless and totally unrealized.

當然《The World According to Bensenhaver》是最具爭議性，但這是Garp對家庭悲劇和心裡恐慌最好的梳理和總結。他把對妻子的愧疚和憤怒，對大兒子失去眼睛和小兒子逝去的悲痛和絕望，通過血腥的小說嘔吐出來，把他的虛弱和無力感放在太陽底下暴曬，不希望溫暖能夠重新進入死去的內心，只是因為憋著太難受，要崩潰了！

"The World According to Bensenhaver," the book jacket flap said, "is about a man who is so fearful of bad things happening to his loved ones that he creates an atmosphere of such tension that bad things are almost certain to occur. And they do.

"Would you ever read it again yourself？" John Wolf asked. "Well," Jillsy said. "Not all of it, I imagine. At least not all at once, or not right away." Again, she looked confused. "Well," she said, sheepishly, "I guess I mean there's parts of it I wouldn't mind readin' again." "Why？" John Wolf asked. "Lawd," Jillsy said, tiredly, as if she were finally impatient with him. "It feels so true," she crooned, making the word true cry like a loon over a lake at night. "It feels so true," John Wolf repeated.

Garp的小女兒JennyGarp認為，只要父親的作品一直還在書店里售賣，那麼父親是永生的。

Well, she was eccentric. She made a point of going into every bookstore and asking for her father's books. If the store was out of stock, she would order. She had a writer's sense of immortality: if you're in print and on the shelves, you're alive. Jenny Garp left fake names and addresses all over America; the books she ordered would be sold to someone, she reasoned. T.S. Garp would not go out of print--at least not in his daughter's lifetime.

Garp（Irving）也說過，小說是要讓人物永生，而且書中死去的人物，更加是要永恆不朽！

what the act of starting a novel felt like. "It's like trying to make the dead come alive," he said. "No, no, that's not right--it's more like trying to keep everyone alive, forever. Even the ones who must die in the end. They're the most important to keep alive."

1978年出版，40年後的今天依然震撼人心，無論從哪一點來說，Garp的確是死而永生了！