松本清張小説セレクション 〈第7巻〉球形の荒野

球形の荒野

by Seichō Matsumoto

1945年春，二战末期，败局已定的日本军政府制定了疯狂的“一亿玉碎本土决战计划”，准备牺牲一亿国民来保卫天皇，将同盟国拖入两败俱伤的混局；在整个日本为此陷入狂乱之际，一等外交官野上显一郎被悄悄推上了决定历史走向的转折点。

爱国家还是爱和平？爱天皇还是爱人民？野上显一郎用自己的死来回答了这个问题，并一举扭转战局。

多年以后，日本朝野关于二战的斗争并未停息，甚至愈演愈烈，神秘的袭击与杀人事件接连发生，人们仍在为早已过去的战争流血、丧命；一个偶然的机会让记者添田彰一发现了历史真相的踪迹，好奇心与正义感促使他冒着生命危险不断挖掘，随着一个个小人物、大人物戏剧性地浮出水面，日本国民性中的险恶与善良、卑鄙与崇高、武士精神与现代文明的融合与冲突在他面前缓缓展开……

翻开本书，让日本悬疑宗师松本清张，用紧张得透不过气来的精彩故事，带您进入日本民族的灵魂深处，真正了解日本人看待二战的矛盾、冲突、纠结与反思。

Tankobon Hardcover

About the author

Seicho Matsumoto (松本清張, Matsumoto Seichō), December 21, 1909 – August 4, 1992) was a Japanese writer.

Matsumoto's works created a new tradition of Japanese crime fiction. Dispensing with formulaic plot devices such as puzzles, Matsumoto incorporated elements of human psychology and ordinary life into his crime fiction. In particular, his works often reflect a wider social context and postwar nihilism that expanded the scope and further darkened the atmosphere of the genre. His exposé of corruption among police officials as well as criminals was a new addition to the field. The subject of investigation was not just the crime but also the society in which the crime was committed.

The self-educated Matsumoto did not see his first book in print until he was in his forties. He was a prolific author, he wrote until his death in 1992, producing in four decades more than 450 works. Matsumoto's mystery and detective fiction solidified his reputation as a writer at home and abroad. He wrote historical novels and nonfiction in addition to mystery/detective fiction.

He was awarded the Akutagawa Prize in 1952 and the Kikuchi Kan Prize in 1970, as well as the Mystery Writers of Japan Award in 1957. He chaired the president of Mystery Writers of Japan from 1963 to 1971.

Credited with popularizing the genre among readers in his country, Matsumoto became his nation's best-selling and highest earning author in the 1960s. His most acclaimed detective novels, including Ten to sen (1958; Points and Lines, 1970); Suna no utsuwa (1961; Inspector Imanishi Investigates, 1989) and Kiri no hata (1961; Pro Bono, 2012), have been translated into a number of languages, including English.

He collaborated with film director Yoshitarō Nomura on adaptations of eight of his novels to film, including Castle of Sand.

Reviews

[Luoluo · Rating 4 out of 5]

不是一本推理性很强的小说。从一开始的欲盖弥彰，到一点一点揭示真相的过程中，并没有太多悬疑推理的成分。哪怕是中途出现的开枪流血和相关人员的死亡也显得朴实无华和无关紧要。有一种作者志不在此的感觉。他不想烘托恐怖悬疑的氛围，也不想设置精巧复杂的解密，甚至连人物前后的态度也是有点矛盾的大反转。他大概只想要讲述一旦一个人被这个世界默认死去以后的世界。无法与亲人相见，无法陪伴他们成长和变老，唯一能做的只有时隔多年后远远的看一眼，地球上的每一个角落对他来说都只是一片荒野。古代中国宣扬的人间大义，舍小家为大国，那些英雄们若只是战死沙场，留的身前生后名似乎反而是个好结局。矛盾纠结之处在于，一旦“苟且偷生“的活下来，哪怕是为了大义，依然会背上叛国的罪名，而在战争的大背景下个人命运微不足道，卷在滔滔洪流中逝去。

[宅女阿reen · Rating 3 out of 5]

这本小说不如想象中的政治化，敏感话题只是轻轻带过而已。贯穿整个故事的是父女情。犹如开始的结局，对我而言是整本书最催泪的部分。

[Kat · Rating 4 out of 5]

松本清張多少把自己代入了書中的記者身上吧。這本比《點與線》好看。他的故事如果當作純推理看大概會失望，沒有出人意料的詭計。他總是借推理的方式寫人性寫社會，情理交融，即使很快能猜到情節，他的文字就是會吸引人一口氣讀下去。
看到書中京都的情節，尤其是描寫南禪寺和苔寺的景致，彷彿穿越回幾年前的京都行，能感受到那種清清冷冷的美。全書最後一段有點唏噓也有點暖，很有電影感。

[XXX · Rating 3 out of 5]

话说这封面跟东野圭吾《没有凶手的杀人夜》真像啊！