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　　In the now-classic novel Interview with the Vampire Anne Rice refreshed the archetypal vampire myth for a late-20th-century audience. The story is ostensibly a simple one: having suffered a tremendous personal loss an 18th-century Louisiana plantation owner named Louis Pointe du Lac descends into an alcoholic stupor. At his emotional nadir he is confronted by Lestat a charismatic and powerful vampire who chooses Louis to be his fledgling. The two prey on innocents give their "dark gift" to a young girl and seek out others of their kind (notably the ancient vampire Armand) in Paris. But a summary of this story bypasses the central attractions of the novel. First and foremost the method Rice chose to tell her tale——with Louis' first-person confession to a skeptical boy——transformed the vampire from a hideous predator into a highly sympathetic seductive and all-too-human figure. Second by entering the experience of an immortal character one raised with a deep Catholic faith Rice was able to explore profound philosophical concerns——the nature of evil the reality of death and the limits of human perception——in ways not possible from the perspective of a more finite narrator.

內容簡介

Here are the confessions of a vampire. Hypnotic, shocking, and chillingly erotic, this is a novel of mesmerizing beauty and astonishing force–a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses. It is a novel only Anne Rice could write.

作者簡介

Anne Rice is the author of twenty-seven books. She lives in Rancho Mirage, California.

精彩書評

While Rice has continued to investigate history, faith, and philosophy in subsequent Vampire novels (including The Vampire Lestat, The Queen of the Damned, The Tale of the Body Thief, Memnoch the Devil, and The Vampire Armand), Interview remains a treasured masterpiece. It is that rare work that blends a childlike fascination for the supernatural with a profound vision of the human condition.
——Patrick O'Kelley

Rice turned the vampire genre on its ear with this first novel (LJ 5/1/76), which evolved into one of the most popular series in recent history. Though the quality of the books has declined, this nonetheless is a marvelous, innovative, and literate tale of the longing for love and the search for redemption. This 20th-anniversary edition offers a trade-size paperback for a good price.
——Library Journal

"A magnificent, compulsively readable thriller...Rice begins where Bram Stoker and the Hollywood versions leave off and penetrates directly to the true fascination of the myth–the education of the vampire."
——Chicago Tribune

"Unrelentingly erotic...sometimes beautiful, and always unforgettable."
——Washington Post

"If you surrender and go with her...you have surrendered to enchantment, as in a voluptuous dream."
——Boston Globe

"A chilling, thought-provoking tale, beautifully frightening, sensuous, and utterly unnerving."
——Hartford Courant

精彩書摘

"I see--" said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his briefcase on the table and waited.

"But how much tape do you have with you?" asked the vampire, turning now so the boy could see his profile. "Enough for the story of a life?"

"Sure, if it's a good life. Sometimes I interview as many as three or four good people a night if I'm lucky. But it has to be a good story. That's only fair, isn't it?"

"Admirably fair," the vampire answered. "I would like to tell you the story of my life, then. I would like to do that very much."

"Great," said the boy. And quickly he removed a small tape recorder from his brief case, making a check of the cassette and batteries. "I'm really anxious to hear why you believe this, why you--"

"No," said the vampire abruptly. "We can't begin that way. Is your equipment ready?"

"Yes," said the boy.

"Then sit down. I'm going to turn on the overhead light."

"But I thought vampires didn't like the light," said the boy. "If you think the dark adds atmosphere--" But then he stopped. The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord.

At once the room was flooded with a harsh yellow light. And the boy, staring up at the vampire, could not repress a gasp. His fingers danced backwards on the table to grasp the edge. "Dear God!" he whispered, and then he gazed, speechless, at the vampire.

The vampire was utterly white and smooth, as if he were sculpted from bleached bone, and his face was as seemingly inanimate as a statue, except for two brilliant green eyes that looked down at the boy intently like flames in a skull. But then the vampire smiled almost wistfully, and the smooth white substance of his face moved with the infinitely flexible but minimal lines of a cartoon. "Do you see?" he asked softly?

The boy shuddered, lifting his hand as if to shield himself from a powerful light. His eyes moved slowly over the finely tailored black coat he'd only glimpsed in the bar, the long folds of the cape, the black silk tie knotted at the throat, and the gleam of the white collar that was as white as the vampire's flesh. He stared at the vampire's full black hair, the waves that were combed back over the tips of the ears, the curls that barely touched the edge of the white collar.

"Now, do you still want the interview?" the vampire asked.

The boy's mouth was open before the sound came out. He was nodding. Then he said, "Yes."

The vampire sat down slowly opposite him and, leaning forward, said gently, confidentially, "Don't be afraid. Just start the tape."

And then he reached out over the length of the table. The boy recoiled, sweat running down the sides of his face. The vampire clamped a hand on the boy's shoulder and said, "Believe me, I won't hurt you. I want this opportunity. It's more important to me than you can realize now. I want you to begin." And he withdrew his hand and sat collected, waiting.

It took a moment for the boy to wipe his forehead and his lips with a handkerchief, to stammer that the microphone was in the machine, to press the button, to say that the machine was on.

"You weren't always a vampire, were you?" he began.

"No," answered the vampire. "I was a twenty-five-year-old man when I became a vampire, and the year was seventeen ninety-one."

The boy was startled by the preciseness of the date and he repeated it before he asked, "How did it come about?"

"There's a simple answer to that. I don't believe I want to give simple answers," said the vampire. "I think I want to tell the real story--."

"Yes," the boy said quickly. He was folding his handkerchief over and over and wiping his lips now with it again.

"There was a tragedy--" the vampire started. "It was my younger brother--. He died." And then he stopped, so that the boy could clear his throat and wipe at his face again before stuffing the handkerchief almost impatiently into his pocket.

"It's not painful, is it?" he asked timidly.

"Does it seem so?" asked the vampire. "No." He shook his head. "It's simply that I've only told this story to one other person. And that was so long ago. No, it's not painful--.

"We were living in Louisiana then. We'd received a land grant and settled two indigo plantations on the Mississippi very near New Orleans--."

"Ah, that's the accent--" the boy said softly.

For a moment the vampire stared blankly. "I have an accent?" He began to laugh.

And the boy, flustered, answered quickly. "I noticed it in the bar when I asked you what you did for a living. It's just a slight sharpness to the consonants, that's all. I never guessed it was French."

"It's all right," the vampire assured him. "I'm not as shocked as I pretend to be. It's only that I forget it from time to time. But let me go on--."

"Please--" said the boy.

"I was talking about the plantations. They had a great deal to do with it, really, my becoming a vampire. But I'll come to that. Our life there was both luxurious and primitive. And we oursel Interview with the Vampire夜訪吸血鬼 英文原版 [平裝] 下載 mobi epub pdf txt 電子書

評分☆☆☆☆☆

很好，值得推薦，價格閤理

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質量還行吧正版還行吧東西，在課程講授過程中,我們沒有把重點放在語法規則的敘述上,而是放在算法和程序設計方法上,通常由幾個例題引齣一種語法規則,通過一些求解具體問題的程序來分析算法,介紹程序設計的基本方法和技巧,既注重教材的係統性、科學性,又注意易讀性和啓發性。從最簡單的問題入手,一開始就介紹程序,要求學生編寫程序,通過反復編寫、運行程序來掌握語言的規定和程序設計的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。注意培養學生良好的編程風格,讓學生在編製程序過程中不斷總結、鞏固,達到學會方法、記住語法規則,提高設計技巧的目的。 《C語言程序設計》是我係各專業的必修課程，也是我校非計算機專業開設的程序設計課程之一。作為計算機類的專業基礎課，目的是使學生掌握程序設計的基本方法並逐步形成正確的程序設計思想， 能夠熟練地使用C語言進行程序設計並具備調試程序的能力，為後繼課程及其他程序設計課程的學習和應用打下基礎。對於非計算機專業來說，該課程有實際應用價值，為用計算機解決實際問題提供瞭方法，是後續理論和實踐教學的基礎和重要工具，同時也是計算機二級考試所統一要求的課程之一。 筆者多年來為從事高級語言程序設計教學與實習，結閤國內外優秀編程語言的教學方法和模式，不斷地總結和積纍經驗並運用於教學實踐之中，取得瞭較好的教學效果，有助於學生在有限的教學時間內，以最快最簡單易懂的方式，紮實地掌握Ｃ語言的內容，並能運用自如　　恩格斯說“興趣與愛好是最好的老師”。為瞭使初學者能盡快地掌握計算機知識,進入計算機的應用領域,在課程講授過程中,要特彆注意培養學生的學習興趣。初接觸計算機時,很多學生感到新奇、好玩,這不能說是興趣,隻是一種好奇。隨著課程的不斷深入,大量的規則、定義、要求和機械的格式齣現,很容易使一部分(甚至是大部分)學生産生枯燥無味的感覺。為瞭把學生的好奇轉化為學習興趣,授課時我們改變過去先給齣定義和規則的講授辦法,而是從具體問題入手,努力把枯燥無味的“語言”講的生動、活潑。 　　在第一節課上,就給學生找一些《高等數學》、《綫性代數》等已學課程的問題,用算法語言來求解,使學生體會程序設計的用途和一種全新的解決問題的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。

評分☆☆☆☆☆

經典之作，但是實際封麵與圖標不符，其他都很好，包裝質量一般，書本上有壓痕。

評分☆☆☆☆☆

和書店的比較過瞭，應該是正版圖書。價格可以，購買方便，送貨上門，網購就是好，我一下買瞭好幾本書。京東的物流很給力，送貨的速度還不錯，商品的質量也可以接受，價格也能比較公道。你,值得擁有!超低的價格,超好的質量,超高的品質,感謝京東,有你陪伴,真好!不錯，很喜歡。

評分☆☆☆☆☆

由於“曉”的命令，鼬與鬼鮫負責捕捉九尾的任務，兩度與鳴人、卡卡西等人交手，均獲勝。

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不錯。

評分☆☆☆☆☆

書不錯，慢慢看

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物美價廉！最大的優點！比較喜歡這個係列的叢書！第一，價格實惠，物美價廉！以這樣的價格能買到這麼好品質的書是相當的不錯的瞭！第二，是正版書！這個十分地重要，不然難以確保內容的正確性。第三，這個係列的叢書的版本也都還不錯，並不是那些比較糟糕的譯本，所也推薦！反正，對於資金並不是特彆充裕的人，選擇這個係列的叢書還是一個不錯的選擇。不然，同樣買一企鵝齣版的外文書的錢，能夠買這個版本的書好多本瞭，能夠接觸更多的作品，何樂而不為呢！這個係列的也都是一些經典的作品，大師的作品。這些作品機智、俏皮、辛辣、奇特，多為社會諷刺和政治諷刺，無情嘲弄上層社會的陳腐庸俗與愚蠢淺陋。故事結構巧妙，多以異峰突起式的意外結局點明主題；對話機智俏皮，為故事增添瞭不少情趣。物美價廉，印刷質量很好，紙張也保護眼睛。真希望國內的經典作品應該有這樣的齣版機會，以提高國民的普遍素養。對個人來說，閱讀也實際上也是生命陳長的過程。一個人閱讀什麼書，也就預示著以後會成為什麼樣的人。從外在的角度來說，閱讀本身實際上是一個人對外在世界探索的方法，通過閱讀可以收集到足夠的信息和知識，從而能夠更加從容地應對社會萬象。從內在的角度來說，閱讀實際上就是對自身生命潛質的開發，當我們發現書中作者的某個思想觸動我們的靈魂，就有可能發現我們生命地脈裏蘊藏的寶藏，生命的激情與潛能也由此而被激發，因為閱讀的過程實際上也就是一個生命與生命、心靈與心靈之間相互感通的過程。閱讀的德性也決定瞭個體寫作的德性，政治哲學傢列奧•斯特勞斯指齣，閱讀習慣造就寫作習慣，“一般來說，人們怎樣閱讀就怎樣寫作。通常，細心的作者也是細心的讀者，反之亦然。我們的知識體係是通過課內外的自主學習而逐漸建立起來的。讀書是搜集和汲取知識的一條重要途徑。我們從課堂上掌握的知識不是很具體和容易理解的，需要再消化纔會吸收。大量的閱讀，可以將自己從課內學到的知識，融匯到從課外書籍中所獲取的知識中去，相得益彰，形成“立體”的，牢固的知識體係，直至形成能力。 　　讀書不僅對我們的學習有著重要作用，對道德素質和思想意識也有重大影響。“一本好書，可以影響人的一生。”這句話是有道理的。我們都有自己心中的英雄或學習的榜樣，如軍人、科學傢、老師、英雄人物等。這些令我們崇拜或學習和模仿的楷模，也可以通過閱讀各類書籍所認識。我們在進行閱讀時，會潛意識地將自己的思想和行為與書中所描述的人物形象進行比較，無形中就提高瞭自身的思想意識和道德素質。推薦購買！

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