-The Eyre Affair was a New York Times bestseller and a Book Sense 76 pick- The Well of Lost Plots appeared on The New York Times extended bestseller list and was a Los Angeles Times bestseller- Lost in a Good Book appeared on The New York Times extended bestseller list and was a San Francisco Chronicle bestseller- Jasper Fforde was named 2002 "It" Fantasy Author in Entertainment Weekly- Penguin will publish The Well of Lost Plots simultaneously- Visit www.thursdaynext.com
基本介紹
- 中文名稱：Something Rotten (Thursday Next Novels)
- 裝幀：Paperback
- 定價：USD 14.00
- 作者：Jasper Fforde
- 出版社：Penguin
- 出版日期：2005-07-26
- ISBN：9780143035411
媒體推薦,作者簡介,文摘,
媒體推薦
"It’s easy to be delighted by a writer who loves books so madly."—The New York Times
"Impressive, and arguably Fforde’s best work to date."—The Denver Post
作者簡介
Something Rotten (Thursday Next Novels) Jasper Fforde traded a varied career in the film industry for staring vacantly out of the window and arranging words on a page. He lives and writes in Wales. The Eyre Affair was his first novel in the bestselling series of Thursday Next novels, which includes Lost in a Good Book, The Well of Lost Plots, Something Rotten, First Among Sequels, One of Our Thursdays is Missing, and The Woman Who Died A Lot. The series has more than one million copies (and counting) in print. He is also the author of The Big Over Easy and The Fourth Bear of the Nursery Crime series, Shades of Grey, and books for young readers, including The Last Dragonslayer. Visit jasperfforde.com.
文摘
A Cretan Minotaur in Nebraska
Jurisfiction is the name given to the policing agency inside books. Working with the intelligence-gathering capabilities of Text Grand Central, the many Prose Resource Operatives at Jurisfiction work tirelessly to maintain the continuity of the narrative within the pages of all the books ever written. Performing this sometimes thankless task, Jurisfiction agents live mostly on their wits as they attempt to reconcile the author’s original wishes and readers’ expectations against a strict and largely pointless set of bureaucratic guidelines laid down by the Council of Genres. I headed Jurisfiction for over two years and was always astounded by the variety of the work: one day I might be attempting to coax the impossibly shy Darcy from the toilets, and the next I would be thwarting the Martians’ latest attempt to invade Barnaby Rudge. It was challenging and full of bizarre twists. But when the peculiar and downright weird becomes commonplace, you begin to yearn for the banal.
—Thursday Next, The Jurisfiction Chronicles
The Minotaur had been causing trouble far in excess of his literary importance—first by escaping from the fantasy-genre prison book Sword of the Zenobians, then by leading us on a merry chase across most of fiction and thwarting all attempts to recapture him. The mythological half-man, half-bull son of Queen Pasiphaë of Crete had been sighted within Riders of the Purple Sage only a month after his escape. We were still keen on taking him alive at this point, so we had darted him with a small dose of slapstick. Theoretically, we needed only to track outbreaks of custard-pie-in-the-face routines and walking-into- lamppost gags within fiction to lead us to the cannibalistic man-beast. It was an experimental idea and, sadly, also a dismal failure. Aside from Lafeu’s celebrated mention of custard in All’s Well That Ends Well and the ludicrous four-wheeled-chaise sequence in Pickwick Papers, little was noticed. The slapstick either hadn’t been strong enough or had been diluted by the BookWorld’s natural disinclination to visual jokes.
